Relevant bibliographies by topics / Defence of poetry (Shelley, Percy Bysshe)

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Academic literature on the topic 'Defence of poetry (Shelley, Percy Bysshe)'

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Published: 4 June 2021
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Journal articles on the topic "Defence of poetry (Shelley, Percy Bysshe)"

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Lee, Monika. "Dream Shapes as Quest or Question in Shelley's Prometheus Unbound." Romantik: Journal for the Study of Romanticisms 5, no. 1 (December 1, 2016): 111. http://dx.doi.org/10.7146/rom.v5i1.26421.

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In Percy Bysshe Shelley’s Prometheus Unbound, the Oceanides – Asia, Panthea, and Ione – direct the evolution of poetic consciousness through their lyricism which expresses human intuition and what Shelley calls in his ‘Defence of Poetry’ (1820) ‘the before unapprehended relations of things’. Their presence in Shelley’s lyrical drama leads from both abstract transcendental and literalist perspectives on reality in Act I to a more flexible and creative inner perspective in Act 2. The internal spaces evoked by the language of the Oceanides, spaces of reverie and dream, are the locus of metaphor – the endowment of absence with meaning and the identification of disparate objects with one another. As in dream, the dissolution of metaphor is integral to its dynamic processes. Asia, her dreams, and the unconscious liberate Prometheus as consciousness from the fixed rigidity which kills both metaphor and purpose; dream unfurls a ‘nobler’ myth to replace the stagnant one. Although Prometheus Unbound cannot narrate its own apotheosis, it weaves the process or spell of metaphor-making: ‘These are the spells by which to reassume / An empire o’er the disentangled Doom’ (IV, 568–69). After the words have been spoken, meaning must be continually sought in the non-verbal reverberating echoes of the unconscious.
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Paley, Morton D., Donald H. Reiman, Neil Fraistat, and Percy Bysshe Shelley. "The Complete Poetry of Percy Bysshe Shelley." Studies in Romanticism 40, no. 2 (2001): 300. http://dx.doi.org/10.2307/25601508.

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Varinelli, Valentina. "The Complete Poetry of Percy Bysshe Shelley." European Romantic Review 33, no. 1 (January 2, 2022): 109–15. http://dx.doi.org/10.1080/10509585.2021.2019402.

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Motion, Andrew. "The Complete Poetry of Percy Bysshe Shelley." Hopkins Review 15, no. 4 (September 2022): 194–98. http://dx.doi.org/10.1353/thr.2022.0094.

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Hajjari, Leila, and Zahra Soltani Sarvestani. "IMPERMANENCE / MUTABILITY: READING PERCY BYSSHE SHELLEY’S POETRY THROUGH BUDDHA." Littera Aperta. International Journal of Literary and Cultural Studies 5 (December 30, 2017): 19–37. http://dx.doi.org/10.21071/ltap.v5i5.13320.

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As an ongoing phenomenon, the impermanence of the world has been observed by many people, both in ancient and modern times, in the East and in the West. Two of these authors are Gautama Buddha (an ancient, eastern philosopher from the 6th-5th centuries B.C.) and Percy Bysshe Shelley (a modern Western poet: 1792-1822). The aim of this paper is to examine in the light of Buddhist philosophy what impermanence means or looks in a selection of Shelley’s poems, after considering that this philosophy was not alien to the Europeans of the 18th and 19th centuries. Buddhism, seeing impermanence (anicca) as the foundation of the world, both acquiesces to it and urges the individuals to sway with its ebb and flow. Shelley mainly falters in the incorporation of the phenomenon into his mindset and his poems. However, he often shows a casual acceptance of it; and even, in a few cases, he presents it with a positive assessment. Keywords: Buddhism, Shelley, impermanence, mutability, transience, anicca
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Lindstrom, Eric Reid, Percy Bysshe Shelley, Donald H. Reiman, and Neil Fraistat. "The Complete Poetry of Percy Bysshe Shelley. Vol. 2." Journal of the Midwest Modern Language Association 39, no. 1 (April 1, 2006): 168. http://dx.doi.org/10.2307/20464167.

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Blake Davis, Amanda. "The Complete Poetry of Percy Bysshe Shelley: Volume VII." Keats-Shelley Review 36, no. 1 (January 2, 2022): 44–47. http://dx.doi.org/10.1080/09524142.2022.2075612.

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Pappas, Nickolas. "Plato's Ion: The Problem of the Author." Philosophy 64, no. 249 (July 1989): 381–89. http://dx.doi.org/10.1017/s0031819100044727.

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Today Plato's Ion, thought one of his weaker works, gets little attention. But in the past it has had its admirers–in 1821, for example, Percy Bysshe Shelley translated it into English. Shelley, like other Romantic readers of Plato, was drawn to the Ion's account of divine inspiration in poetry. He recommended the dialogue to Thomas Love Peacock as a reply to the latter's Four Ages of Poetry: Shelley thought the Ion would refute Peacock's charge that poetry is useless in a practical world.
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Lindstrom, Eric. "Mourning Life: William Wordsworth and Percy Bysshe Shelley." Romanticism 23, no. 1 (April 2017): 38–52. http://dx.doi.org/10.3366/rom.2017.0305.

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What does it mean that Shelley publicly mourns the death a living Wordsworth in his poetry? This essay argues that Percy Bysshe Shelley's renunciation of a narrow concept of selfhood not only informs, but germinates, his psychological and political principles, and in the process shapes his response to William Wordsworth—not as an “egotistical” poet, but as one who paradoxically and enviably escapes mutability by being ontologically identified with forms of non-life. I argue that Shelley brilliantly (and correctly) attributes this position to Wordsworth's poetic thought through his own poetic thinking in works such as Peter Bell the Third, and that Shelley also finds such an alignment incomprehensible. His construction of Wordsworth is a skeptical dialectician's disavowal of mute or dull inclusion. The essay attends to Shelley's treatment of Wordsworth in connection to Shelley's performative speech acts of inversion: life-death; heaven-hell; blessing-curse. Shelley abjures Wordsworth for excessive love for otherwise inanimate things; for ‘ma[king] alive | The things it wrought on’ and awakening slumberous ‘thought in sense’.
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Vail, Jeffery. "The Complete Poetry of Percy Bysshe Shelley, Volume II. Edited by Percy Bysshe Shelley, Donald H. Reiman, and Neil Fraistat." Wordsworth Circle 36, no. 4 (September 2005): 194–95. http://dx.doi.org/10.1086/twc24044274.

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Dissertations / Theses on the topic "Defence of poetry (Shelley, Percy Bysshe)"

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Roberts, Merrilees Fay. "Poetical and philosophical reticence in the major poetry of Percy Bysshe Shelley." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30945.

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This thesis explores how Shelley's poetic reticence characteristically produces hermeneutical and ethical aporias within received ways of thinking. These aporias elicit critiques of the philosophical and social discourses that support them. Shelley's poetry employs narratological ambiguity, omission and above all communicative reserve to make the reader more aware of his or her interpretative responsibility to engage with or resolve these strategic gaps. His reticence also allows his reader to conceptualise an enlarged constitution of the Subject. I develop a phenomenological approach to reading Shelley's major verse inspired by Wolfgang Iser's work on the productive functioning of textual gaps and blanks. I show how Shelley's poems, by destabilising their own processes, produce dynamic intersubjective experience. As in Sartre's phenomenological aesthetics, (upon which Iser's work is based) where the world is productively re-constituted through an act of imagination, Shelley's reticence makes visible the dialectical relations between world and consciousness. To some extent each uses the other to supply its content. But whereas textual self-reflexivity is normally seen as resulting in intellectualised meta-phenomena (such as irony), the self-critique generated by Shelley's reticence paradoxically results in a positive hermeneutic that challenges influential deconstructive readings of Shelley's aporias as figuring moments of philosophical limitation. Reticence, therefore, has a double function in Shelley's work: it marks areas of uncertainty, scepticism and psychological anguish; it also provides ways of choosing to become knowingly seduced by temporary self-representations that satisfy nostalgia for a more essentialist conception of identity or meaning. This doubleness creates a dialectic that is never resolved, and which continually drives the hermeneutic tensions in Shelley's texts and thought. Shelley's reader is left with the possibility of choosing nostalgia in a generous spirit of self-parody; but nevertheless, reticence also keeps such illusions of fixity, however satisfying, feeling illusory.
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Laniel-Musitelli, Sophie. "Science et poésie dans l'oeuvre de Percy Bysshe Shelley." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030109.

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L’époque romantique marque un tournant décisif dans les relations entre création littéraire et connaissance scientifique. Le discours scientifique se dote progressivement d’un langage et d’une méthode spécifiques, rompant avec la philosophie naturelle, qui conjuguait jusqu’alors considérations physiques et métaphysiques, observation et célébration de la nature. À l’heure où William Wordsworth lance l’aphorisme « we murder to dissect », déclaration d’indépendance de la parole poétique vis-à-vis du discours scientifique, Percy Bysshe Shelley (1792-1822) étudie avec assiduité les sciences à Eton puis à Oxford, avant d’entreprendre une formation médicale au Saint Bartholomew’s Hospital de Londres. Cette thèse met en évidence la transfiguration poétique des concepts et théories scientifiques dont Shelley avait pris connaissance à travers ses lectures et sa formation, ainsi que le saut imaginatif qui subvertit ces représentations en les intégrant aux réseaux des métaphores que le texte tisse selon ses propres lois. En une métamorphose féconde, Shelley déploie les soubassements mythiques et imaginaires, ainsi que les prolongements éthiques et métaphysiques des écrits scientifiques sur lesquels il se pencha. Cette étude se situe à la rencontre de deux ambitions heuristiques, de deux exigences formelles. Science et poésie sont à la recherche des harmonies cachées qui sous-tendent le monde des apparences. Soumettre l’absolu à la mesure, soumettre la beauté à la métrique poétique, soumettre la complexité infinie du monde naturel au calcul mathématique : telles sont les entreprises parallèles de la poésie de Shelley et de la science de son temps
The Romantic era was a time of tremendous change in the relationship between literary creation and scientific knowledge. Scientists framed a specific language and distinctive methods as they moved away from natural philosophy, which had thus far combined physics with metaphysics and united the observation of nature with its celebration. While William Wordsworth stated that « we murder to dissect », thus declaring the secession of poetic writing from scientific discourse, Percy Bysshe Shelley (1792-1822) was steadily studying science at Eton and then at Oxford, before embarking on a medical training at Saint Bartholomew’s Hospital in London. This thesis explores the poetic transfiguration of the scientific theories and concepts that Shelley came across in his readings and during his studies. It focuses on the way science is subverted by the poet’s imagination, as scientific representations undergo a fruitful metamorphosis, and become pa! rt of the webs of metaphors woven by the text according to its own laws. Shelley recreates the mythical and imaginary foundations as well as the ethical and metaphysical implications which lie dormant in the scientific writings he looks into. This study examines the encounter of two heuristic endeavours, of two highly formalised ways of writing. Science and poetry are in search of the hidden harmonies which underlie appearances. Measuring the measureless, encompassing absolute beauty within poetic metrics, subsuming the infinite richness of the natural world within the rules of mathematical calculation, such are the parallel endeavours of Shelley’s poetry and the science of his age
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Wallace, Jennifer. "Shelley and Hellenism : the ambiguous image of Greece in the poetry of Percy Bysshe Shelley." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259531.

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Lacey, Andrew. "The philosophy of death in the poetry of William Wordsworth and Percy Bysshe Shelley." Thesis, University of Newcastle Upon Tyne, 2012. http://hdl.handle.net/10443/2637.

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The one aim of those who practice philosophy in the proper manner’, says Socrates in Phaedo, ‘is to practice for dying and death’. From its earliest beginnings, philosophy has sought to illuminate the phenomenon of death, and there is a rich body of writing on the subject. William Wordsworth and Percy Bysshe Shelley are, I posit, the most death-facing of the Romantics, and that both expressed a desire to write ‘philosophical poetry’ at various stages in their poetic careers sets them somewhat apart from their peers. Fundamentally, this thesis explores Wordsworth’s and Shelley’s rich and varied philosophical thinking on the common subject of death over the period 1798-1821. More theoretically, and advancing the view that reading poetry and philosophy in parallel is of mutually illuminating benefit, it makes new cross-connections between traditionally separate categories (death in poetry, and death in philosophy), and thus attests to an often underappreciated commonality of traditions. In Chapters 1 and 2, on Wordsworth, I trace a death-focused intellectual trajectory from Lyrical Ballads (1798-1800) to The Excursion (1814), and find the progression, from typically ‘earlier’ to ‘later’ thinking, to be both distinct and fairly linear. In Chapters 3 and 4, I read Queen Mab; A Philosophical Poem: with Notes (1813), Alastor; or, The Spirit of Solitude: and Other Poems (1816), and Adonais (1821), and show Shelley’s always-impassioned attitudes towards death to be in a state of marked flux over the course of eight highly productive years. I identify a hitherto overlooked circularity in Shelley’s thinking on death which is not present in Wordsworth’s, and conclude by stressing, in light of my readings of the poems, the particular appropriateness of the poetic form as a means of exploring the phenomenon of death.
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Fortier, Jonathan. "Shelley's unquiet republics : freedom and the inner self." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365557.

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Stokoe, Leanne. ""Poetry (...) concealed by (...) facts and calculating processes" : political economy in the prose of Percy Bysshe Shelley." Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/3076.

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This thesis focuses exclusively on Shelley’s prose works. Firstly, it asks why few of those critics who admire Shelley’s poetry have analysed his prose in detail. Secondly, it explores Shelley’s engagement with political economy, with a view to questioning assumptions that he was hostile towards this discipline. Such a reading is indebted to the work of Connell (2001) and Bronk (2009), who argued that Malthusian and Benthamite doctrines may be aligned with literary concerns. However, my thesis extends these arguments by suggesting that Shelley refused to separate economic and aesthetic categories. Chapter One focuses upon Shelley’s early economic interests, culminating in a reading of his Notes to Queen Mab. These include Smith’s moral philosophy and Spence’s use of poetry to promote agrarian ideas. Such influences inspired Shelley to explore not only contemporary economic theories, but also the way that these were expressed. Chapter Two, which addresses Shelley’s essays on vegetarianism and political reform, discusses his interest in the ways in which metropolitan reformers like Hunt addressed economic issues in aesthetic language, whilst provincial writers like Cobbett incorporated poetry into their criticism of contemporary hardship. This affinity between political economy and literature can be seen as influencing a term that Shelley introduces in his major essays: – ‘Poetry’. Chapter Three, on A Philosophical View of Reform, explores how Shelley defines this capitalised word as encompassing all enlightening disciplines, not simply a literary genre. Chapter Four culminates in an analysis of Shelley’s treatment of utilitarianism in A Defence of Poetry. By engaging with the theories of Mill and Ricardo, it shows that Shelley saw political economy as containing qualities that were ‘concealed’, yet could be revealed within its ‘calculating processes’. Through exploring the way that political economy thus shaped, and was shaped by, his definition of ‘Poetry’, I present Shelley as a distinctive contributor to nineteenth-century economic thought.
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Roberts, Hugh. ""The boundless realm of unending change" : Shelley and the politics of poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28525.

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This thesis argues that in the De Rerum Natura of Lucretius Shelley found an insight into the role of contingency in physical and historical process which allowed him to go beyond the limitations of an intellectual inheritance divided between post-Kantian Romanticism and the sceptical revolutionary Enlightenment. This insight entails radical implications for our understanding of the political role of the literary text. Shelley conceives society in evolutionary terms, making poetry a revolutionary clinamen (or mutation) in the iterative cycles of social reproduction. Models drawn from contemporary chaos theory help us to understand how this entropic tendency to disorder can work simultaneously as a negentropic motor of social innovation. Building on the work of Michel Serres, who demonstrates that Lucretius anticipates the recent scientific interest in "determinate indeterminacy," this thesis shows that Shelley's understanding of historical process and the role of the poet in social reproduction has anticipated some of the implications of contemporary "chaos science" in ways that suggest models for the general application of this new paradigm of contemporary scientific thought to literary and political issues.
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Mushakavanhu, Tinashe. "Anarchies of the mind : a contrapuntal reading of the poetry and prose of Percy Bysshe Shelley and Dambudzo Marechera." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/69686/.

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The thesis examines the historical and contemporary engagements of philosophical anarchism in the selected writings of Percy Bysshe Shelley and Dambudzo Marechera in a bid to establish an anarchic poetics that emerges between them. Both use poetry and prose to express opposition to values and relations characterising authoritarian societies while also expressing alternative social, political and personal values. The unusual pairing of two writers who wrote and lived in very different times inevitably prompts an enquiry into the various trajectories of philosophical anarchism, Romanticism and postcoloniality in world literature. The aim is to blur the stereotypical nature of writers and writings from specific regions of the world and instead argue for an interliterary and intertextuality tradition as the new critical idiom. This thesis also analyses the social functioning of poetry and fiction in social reform and political revolution. Juxtaposing the perspectives of and writings from different spatio- temporal and cultural locations is necessary to emphasise the continuity of ideas, the evolution of theory and philosophy and the historical interconnectedness of humanity as explained by Edward Said's notion of 'contrapuntal juxtaposition.' The writings of Shelley and Marechera do raise important questions about society and the state and continue to address serious political issues. As will be demonstrated, the literature of Shelley and Marechera is not static, it grows and develops with each new reading, it is continually changing, and for this reason it is essentially moving. This study contributes to the fields of literary anarchist theory, postcolonialism as well as Romantic studies by extending a conceptual bridge between the political and literary histories of ideas in which Shelley and Marechera are both ambassadors.
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Edmonds, Markus. "A Defence of Literary Theory : A psychoanalytical study of selected works by Percy Bysshe Shelley with a view to didactic usage." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-61065.

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This essay argued the importance of literary theory in the classroom. As a teacher, it is possible to achieve the empathetic goals of the English curriculum and Judith A. Langer’s ambition of literate thinking by using poetry and literary theory in school. The essay demonstrated this with a Lacanian reading of Percy Bysshe Shelley’s poems “To a Skylark” and “Ode to the West Wind.” The analysis focused on readable and unreadable aspects of the poems. The readable aspects centred on the role of the Imaginary in “To a Skylark” and the representation of the fragmented body in “Ode to the West Wind.” Furthermore, the unreadable elements of the poetry demonstrated the discrepancy between the performative and declarative dimensions and the role of the pathetic fallacy in the signifying chain. Finally, this essay argued that, although all aspects of psychoanalytic literary theory should not be used in the classroom, elements of Lacanian thought can be used to combat the prevalence of individualism in Swedish upper secondary schools.
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Sultana, Fehmida. "Romantic orientalism and Islam : Southey, Shelley, Moore, and Byron /." Thesis, Connect to Dissertations & Theses @ Tufts University, 1989.

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Thesis (Ph.D.)--Tufts University, 1989.
Submitted to the Dept. of English. Includes bibliographical references (leaves 209-215). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Books on the topic "Defence of poetry (Shelley, Percy Bysshe)"

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Shelley, Percy Bysshe. A facsimile of Bodleian MS. Shelley d. 1: Including drafts of Speculations on morals and metaphysics, A defence of poetry, Ode to Naples, The witch of Atlas, Epipsychidion, and Mary Wollstonecraft Shelley's The fields of fancy/Mathilda, together with minor poems, fragments, and prose writings. New York: Garland, 1988.

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Shelley, Percy Bysshe. Percy Bysshe Shelley. New York: Pearson Longman, 2009.

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Shelley, Percy Bysshe. Percy Bysshe Shelley. New York: Garland Pub., 1985.

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Kelvin, Everest, and English Association, eds. Percy Bysshe Shelley: Bicentenary essays. Cambridge (England): D.S. Brewer, 1992.

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Shelley, Percy Bysshe. Percy Bysshe Shelley: [selected poems]. London: J.M. Dent, 1998.

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Shelley, Percy Bysshe. Percy Bysshe Shelley: Selected poetry and prose. London: Routledge, 1991.

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Shelley, Percy Bysshe. The complete poetry of Percy Bysshe Shelley. Baltimore, Md: Johns Hopkins University Press, 2000.

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Shelley, Percy Bysshe. Percy Bysshe Shelley: Selected poems. New York: Gramercy Books, 1994.

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Harold, Bloom, ed. Percy Shelley. New York: Bloom's Literary Criticism, 2009.

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In the household of Percy Bysshe Shelley: Poems. Gainesville: University Press of Florida, 1993.

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Book chapters on the topic "Defence of poetry (Shelley, Percy Bysshe)"

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Humphrey, Richard. "Shelley, Percy Bysshe: A Defence of Poetry." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17078-1.

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Gelpi, Barbara Charlesworth. "‘Verses with a Good Deal about Sucking’: Percy Bysshe Shelley and Christina Rossetti." In Influence and Resistance in Nineteenth-Century English Poetry, 150–65. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-23084-6_9.

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Sun, Emily. "Literary Modernity and the Emancipation of Voice." In On the Horizon of World Literature, 23–49. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823294787.003.0002.

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Chapter 1 approaches the literary manifesto as an exemplary form of literary modernity, which writers all over the world used in the nineteenth and twentieth centuries to declare bold new conceptions of literature and aesthetics. It focuses on texts by Percy Bysshe Shelley and Lu Xun, major writers whose critical sophistication and wide-ranging erudition have made their work sources of both literary influence and forces in ongoing legacies of cultural critique. While the chapter focuses on Shelley’s 1821 A Defence of Poetry and Lu Xun’s 1908 “On the Power of Mara Poetry” and “Toward a Refutation of Malevolent Voices,” it refers also more widely to other of these authors’ writings that sustain and extend the preoccupation with the emancipatory power of poetic voice found in the aforementioned literary manifestoes.
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D’Arcy Wood, Gillen. "Shelley’s Musical Gifts." In The Edinburgh Companion to Literature and Music, 339–48. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0035.

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Percy Bysshe Shelley, though not an active musician, was a keen listener. Like other progressive intellectuals in the 1810s, he perceived in the act of listening to music a form of soulful elevation which, in poems such as ‘Ode to the West Wind’, he connected to awakened political consciousness and self-realisation. Shelley twice gave musical instruments to women whose musical talents inspired him poetically. The first was an expensive Kirkman piano given to Claire Clairmont, the second an Italian-made guitar given to Jane Williams. His poems inspired by them, ‘To Constantia, Singing’ and ‘With a Guitar. To Jane’, are contrasted with his ‘Letter to Maria Gisborne’, a poem addressed to a third musician friend, which contains no explicit musical references. Shelley believed that music was a property of his verse: in his Defence of Poetry, he distinguishes poetry from prose by virtue of its ‘uniform and harmonious recurrence of sound, without which it were not poetry’. Finally, the neuroscience of listening to music is briefly discussed.
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"Unsigned article, ‘Critical Remarks on Shelley’s Poetry’." In Percy Bysshe Shelley, 276–78. Routledge, 2003. http://dx.doi.org/10.4324/9780203206898-61.

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"19. Percy Bysshe Shelley." In Classic Writings on Poetry, 349–74. Columbia University Press, 2005. http://dx.doi.org/10.7312/harm12370-019.

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Hazlitt, William. "William Hazlitt, extract from ‘Poetry’ in The Atlas." In Percy Bysshe Shelley, 352. Routledge, 2003. http://dx.doi.org/10.4324/9780203206898-83.

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"Extract from unsigned article, ‘On the Philosophy and Poetry of Shelley’." In Percy Bysshe Shelley, 279–82. Routledge, 2003. http://dx.doi.org/10.4324/9780203206898-62.

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"Unsigned notice, under ‘Criticisms 1811,’ The Poetical Register and Repository of Fugitive Poetry for 1810–1811." In Percy Bysshe Shelley, 45. Routledge, 2003. http://dx.doi.org/10.4324/9780203206898-4.

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"Defending Poetry." In The Life of Percy Bysshe Shelley, 302–12. Chichester, UK: John Wiley & Sons, Ltd, 2019. http://dx.doi.org/10.1002/9781118534014.ch29.

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