By M. Garrett
This finished consultant to the poems, prose, biography, principles and contexts of Percy Bysshe Shelley beneficial properties entries on all of the significant poems and prose works (including notion, composition and publication), Shelley's politics, relationships and travels, his illustration in novels, drama, movie and photos, and his serious reception.
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Extra info for The Palgrave Literary Dictionary of Shelley
1815–16, a future monarch, almost certainly Charlotte (Prose 400, 402–3) is counselled to break free from her heritage and hold her crown ‘on this condition: of deserving it alone’ (Prose 162). Her death is the occasion of An Address to the People on the Death of the Princess Charlotte. E. B. Murray points out that the picture there of Charlotte as an undistinguished, little educated figure misrepresents, for rhetorical purposes, her real liberal credentials (Prose 452–3). Chartism Mainly working-class movement which campaigned for reform of the political system in the late 1830s and 1840s.
90, the play ‘could be said to portray Jacobean evil through a Gothic filter’. Byatt (1985), p. 496, sees Cenci as ‘a series of neoclassical confrontations, Senecan in their horrid clarity, haunted by the echoes of Shakespearean and Jacobean tragic verse’. Curran (1970), p. 48, finds it ‘more Greek than Elizabethan’ in its simplicity of both structure and diction, its enlarging of ‘the moral considerations sequentially, not simultaneously’. Goulding (2002), pp. 40–1, identifies in ‘the ratiocinative forensic detection’ practised by Savella at the scene of the crime the influence both of *Godwin’s Caleb Williams and of Shelley’s mentor *Lind.
324, 328). 323). Shelley responds to, challenges or pays tribute to Byron in his *ottava rima poems. Brewer (1994), p. 129, looks at ‘Self-destructive love’ in Childe Harold’s Pilgrimage, Canto IV and TL; Robinson (1976), p. 237, at The Island as ‘an elegy on Shelley’. Many other links are discussed by Robinson, Brewer, Cochran (2009), and Howe (2007). There is a long tradition of contrasting Shelley and Byron – ethereal and pragmatic, earnest and flippant, optimistic and pessimistic – as well as, more recently, of associating them as ‘second generation’ Romantics.
The Palgrave Literary Dictionary of Shelley by M. Garrett