The Complete Poetical Works Of Percy Bysshe Shelley Vol 1

Excerpt from The Complete Poetical Works of Percy Bysshe Shelley, Vol. 1 of 4 In addition to these, his poems may be divided into two classes, -the purely imaginative, and those which sprung from the emotions of his heart. Among the former may be classed The Witch of Atlas, Adonais, and his latest com position, left imperfect, The Triumph of Life. In the first of these particularly, he gave the reins to his fancy, and luxuriated in every idea as it rose; in all, there is that sense of mystery which formed an essential portion of his perception of life - a clinging to the'subtler inner spirit, rather than to the outward form - a curious and meta physical anatomy of human passion and per ception. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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Excerpt from The Complete Poetical Works of Percy Bysshe Shelley, Vol. 1: The Text Newly Collated and Revised and Edited With a Memoir and Notes; Part One Which hiscwnimagn'nationwasfcd; orhowoulddc clam' lath fiorhilfather's pleasure; mum he lodthcmontrampthroughtbsflcldgdroppinghis. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from The Complete Poetical Works of Percy Bysshe Shelley, Vol. 1 of 3: The d104 Carefully Revised, With Notes and a Memoir The Preface which I wrote for my Edition of Shelley in 1870, two volumes, will in various respects answer for this Re-edition of 1878, three volumes: in some other respects it is necessarily modified. A few paragraphs will suffice; other details, relevant to Shelley's poems and to our republication of them, being supplied in the Memoir, and in the Notes at the close of the volumes. The fact that the old editions of Shelley were the reverse of scrupulously correct has frequently been remarked upon; as, for instance, thus by a poet who is also a keen critic, Mr. Allingham: - "Hardly any great poet, certainly no modern one, has been so inaccurately printed as Shelley. Helps to the very necessary revision are in existence, and ought quickly to be used." And thus by Mr. Swinburne, when our edition of 1870 was already in an advanced stage: - "It is seldom that the work of a scholiast is so soon wanted as in Shelley's case it has been. The first collected edition of his works had many gaps and errors patent and palpable to any serious reader. His text is already matter for debate and comment, as though he were a classic newly unearthed." If we enquire why Shelley has suffered so much in the printed form of his poems, we shall find that the responsibility rests upon three defendants - Shelley himself, Casualty, and Mrs. Shelley. Shelley was essentially unprecise as a writer. Spite of his classical education and tastes, and his cultivated perceptions of many kinds, he was at all times capable of committing, and incapable of avoiding, slips of grammar and syntax - slips which may indeed be called small, but which are not the less gross - and other oversights, such as rhymes left unsupplied, or nullified by writing the wrong word. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Winners of an Honorable Mention from the Modern Language Association's Prize for a Distinguished Scholarly Edition Writing to his publisher in 1813, Shelley expressed the hope that two of his major works "should form one volume"; nearly two centuries later, the second volume of the Johns Hopkins edition of The Complete Poetry fulfills that wish for the first time. This volume collects two important pieces: Queen Mab and The Esdaile Notebook. Privately issued in 1813, Queen Mab was perhaps Shelley's most intellectually ambitious work, articulating his views of science, politics, history, religion, society, and individual human relations. Subtitled A Philosophical Poem: With Notes, it became his most influential—and pirated—poem during much of the nineteenth century, a favorite among reformers and radicals. The Esdaile Notebook, a cycle of fifty-eight early poems, exhibits an astonishing range of verse forms. Unpublished until 1964, this sequence is vital in understanding how the poet mastered his craft. As in the acclaimed first volume, these works have been critically edited by Donald H. Reiman and Neil Fraistat. The poems are presented as Shelley intended, with textual variants included in footnotes. Following the poems are extensive discussions of the circumstances of their composition and the influences they reflect; their publication or circulation by other means; their reception at the time of publication and in the decades since; their re-publication, both authorized and unauthorized; and their place in Shelley's intellectual and aesthetic development.

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