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This fantastic volume contains a collection of Thomas Love Peacock's best essays and reviews, including his "Memoirs of Shelley," a unique and insightful biography of his close friend Percy Bysshe Shelley. Contents include: "Memoirs of Shelley," "Part I," "Part II," "Supplementary Notes," "An Essay on Fashionable Literature," "The Four Ages of Poetry," "Jefferson's Memoirs," "Essays on Musical Subjects," "French Comic Romances," "The Epicier," "The Last Day of Windsor Forest," etc. Thomas Love Peacock (1785 - 1866) was an English poet, novelist, and important figure in the East India Company. A good friend of Percy Bysshe Shelley, they both had a significant influence on each other's work. Peacock was most famous for writing satirical novels, which usually involved characters sat around a table discussing contemporary philosophical ideas. Other notable works by this author include: "Maid Marian" (1822), "Gryll Grange" (1861), and "Melincourt" (1817). Many vintage books such as this are increasingly scarce and expensive. It is with this in mind that we are republishing this volume now in an affordable, modern, high-quality edition complete with a specially-commissioned new biography of the author.
The last two decades have seen the business of researching and writing about Percy Bysshe Shelley change in positive and significant ways. Shelleyan characteristics which were once deemed negative are now reviewed as critically engaging qualities. The New Shelley: Later Twentieth-Century Views is a collection of original essays by some of the leading Romanticists which situates Shelley for our own age, but not only by contextualizing him within our own scene of critical practice, but also by replacing him within his own scene of poetic production.
"Shelley found a retreat on the Bay of Lerici where, joined by his friends Edward and Jane Williams, he sailed his new boat and confided darkening thoughts to Edward Trelawny. Shelley's love lyrics to Jane, his last inamorata, were written as he composed his final great work, The Triumph of Life, broken off by his untimely drowning, a controversial sailing tragedy that is considered here in detail. Shelley's fascinating posthumous life is narrated in the subsequent intermingled lives of the poet's most intimate associates."--BOOK JACKET.
Addressing a gap in Shelley studies, Jessica K. Quillin explores the poet's lifelong interest in music. Quillin connects the trope of music with Shelley's larger formal aesthetic, political, and philosophical concerns, showing that music offers a new critical lens through which to view such familiar Shelleyan concerns as the status of the poetic, figural language, and the philosophical problem posed by idealism versus skepticism. Quillin's book uncovers the implications of Shelley's use of music by means of four musico-poetic concerns: the inherently interdisciplinary nature of musical imagery and figurative language; the rhythmic and sonoric dimensions of poetry; the extension of poetry into the performative realms of the theatre and drawing room through close links between most poetic genres and music; and the transformation of poetry into music through the setting and adaptation of poetic lyrics to music. Ultimately, Quillin argues, Shelley exhibits a fundamental recognition of an interdependence between music and poetry which is expressed in the form and content of his highly sonorous works. Equating music with love allows him to create a radical model in which poetry is the highest form of imaginative expression, one that can affect the mind and the senses at once and potentially bring about the perfectibility of mankind through a unique mode of visionary experience.
The book is an authoritative and up-to-date collection of original essays on one of the greatest of all English poets, Percy Bysshe Shelley. It covers a wide range of topics, exploring Shelley's life and work from various angles.
In this set of thorough and revisionary readings of Percy Bysshe Shelley's best-known writings in verse and prose, Hogle argues that the logic and style in all these works are governed by a movement in every thought, memory, image, or word-pattern whereby each is seen and sees itself in terms of a radically different form. For any specified entity or figure to be known for "what it is," it must be reconfigured by and in terms of another one at another level (which must then be dislocated itself). In so delineating Shelley's "process," Hogle reveals the revisionary procedure in the poet's various texts and demonstrates the powerful effects of "radical transference" in Shelley's visions of human possibility.
This comprehensive guide to the poems, prose, biography, ideas and contexts of Percy Bysshe Shelley features entries on all the major poems and prose works (including inspiration, composition and publication), Shelley's politics, relationships and travels, his representation in novels, drama, film and portraits, and his critical reception.
This study of the poetry and drama of Percy Bysshe Shelley reads the letters and their biographical contexts to shed light on the poetry, tracing the ambiguous and shifting relationship between the poet’s art and life.
The revival of interest in Arthurian legend in the 19th century was a remarkable phenomenon, apparently at odds with the spirit of the age. Tennyson was widely criticised for his choice of a medieval topic; yet The Idylls of the Kingwere accepted as the national epic, and a flood of lesser works was inspired by them, on both sides of the Atlantic. Elisabeth Brewer and Beverly Taylor survey the course of Arthurian literature from 1800 to the present day, and give an account of all the major English and American contributions. Some of the works are well-known, but there are also a host of names which will be new to most readers, and some surprises, such as J. Comyns Carr's King Arthur, rightly ignored as a text, but a piece oftheatrical history, for Sir Henry Irving played King Arthur, Ellen Terry was Guinevere, Arthur Sullivan wrote the music, and Burne-Jones designed the sets. The Arthurian works of the Pre-Raphaelites are discussed at length, as are the poemsof Edward Arlington Robinson, John Masefield and Charles Williams. Other writers have used the legends as part of a wider cultural consciousness: The Waste Land, David Jones's In Parenthesis and The Anathemata, and the echoes ofTristan and Iseult in Finnigan's Wake are discussed in this context. Novels on Arthurian themes are given their due place, from the satirical scenes of Thomas Love Peacock's The Misfortunes of Elphin and Mark Twain's A Connecticut Yankee at King Arthur's Court to T.H. White's serio-comic The Once and Future King and the many recent novelists who have turned away from the chivalric Arthur to depict him as a Dark Age ruler. The Return of King Arthurincludes a bibliography of British and American creative writing relating to the Arthurian legends from 1800 to the present day.