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Journal articles on the topic 'Percy Bysshe Shelley ; Poetry'

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Published: 4 June 2021

Last updated: 10 February 2022

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1

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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2

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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3

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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4

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 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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6

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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7

Dawson, P. M. S. "Review: The Complete Poetry of Percy Bysshe Shelley, Volume I." Review of English Studies 53, no. 209 (February 1, 2002): 154–56. http://dx.doi.org/10.1093/res/53.209.154.

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8

Gregus, Andrej. "Sublimity in the Poetry of William Wordsworth and Percy Bysshe Shelley." Keats-Shelley Review 35, no. 1 (January 2, 2021): 100–104. http://dx.doi.org/10.1080/09524142.2021.1911172.

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9

Aryan, Ayaz Ahmad, Liaqat Iqbal, and Rafiq Nawab. "Moral and Political System as Objects of Aesthetic Beauty and the Case of Shelly." Global Language Review V, no. II (June 30, 2020): 72–82. http://dx.doi.org/10.31703/glr.2020(v-ii).08.

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Researchers and critics, most of the time, have drawn the poets of revolutionary and political ideologies and ideals to the description of aesthetics qualification. Percy Bysshe Shelley's aesthetics of Romanticism tackles a new dimension in appraising and understanding the Romantic spur of poetry. The aspect is aesthetics as a moral and political system of Romantic poetry. In this study, Shelley has been studied from the lens of moral and political dimensions as to how through moral and political engagements, he resisted the prevailed system. The method used for such investigation was textual analysis. Shelley's works hold reformist, moral, political, and radical bases, thus motivating his people from within. In a similar pattern, the poet tries to shape his work in a way that intensely substantiates his idealism for the transformation of sustained rigid structure prevailed that time throughout England, especially, and Europe in general.

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Duffy, Cian. "‘Time is flying’: Lyrical And Historical Time in the Poetry of Percy Bysshe Shelley." Gaziantep University Journal of Social Sciences 18 (December 31, 2019): 37–49. http://dx.doi.org/10.21547/jss.602615.

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Jones, Steven E. "The Complete Poetry of Percy Bysshe Shelley, Vol. 1. Donald H. Reiman , Neil Fraistat." Papers of the Bibliographical Society of America 95, no. 2 (June 2001): 260–62. http://dx.doi.org/10.1086/pbsa.95.2.24304521.

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12

Schey, Taylor. "Skeptical Ignorance: Hume, Shelley, and the Mystery of “Mont Blanc”." Modern Language Quarterly 79, no. 1 (March 1, 2018): 53–80. http://dx.doi.org/10.1215/00267929-4264267.

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AbstractLiterary history commonly holds that the Enlightenment inaugurated an epistemological crisis to which the British Romantic poets sought to respond. The skeptical separation of subject and object is considered a central problem for Romanticism, which is thought to rest on a desire to regain access to things in themselves—or, in a more recent idiom, to what Quentin Meillassoux calls “the great outdoors” and Jane Bennett calls “the out-side.” This story does not stand up to scrutiny. A reexamination of Percy Bysshe Shelley’s poetry and philosophy reveals that he was positively invested in a poetic praxis of skeptical ignorance derived from David Hume and that this praxis allowed him to vacate the question of the way things really are. Eschewing the masculinist quest to penetrate the secrets of the natural world, this skeptical praxis offers a quiet solution to the mind-nature problem by dissolving its existence as a problem. It also overhauls our understanding of “Mont Blanc” and illuminates a Romantic tradition founded on a poetics of epistemic sufficiency.

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13

SCHROEDER, DORIS, and PETER SINGER. "Access to Life-Saving Medicines and Intellectual Property Rights: An Ethical Assessment." Cambridge Quarterly of Healthcare Ethics 20, no. 2 (March 25, 2011): 279–89. http://dx.doi.org/10.1017/s0963180110000939.

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Dying before one’s time has been a prominent theme in classic literature and poetry. Catherine Linton’s youthful death in Wuthering Heights leaves behind a bereft Heathcliff and generations of mourning readers. The author herself, Emily Brontë, died young from tuberculosis. John Keats’ Ode on Melancholy captures the transitory beauty of 19th century human lives too often ravished by early death. Keats also died of tuberculosis, aged 25. “The bloom, whose petals nipped before they blew, died on the promise of the fruit” is how Percy Bysshe Shelley expressed his grief over Keats’ death. Emily Dickinson wrote So Has a Daisy Vanished, being driven into depression by the early loss of loved ones from typhoid and tuberculosis.

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14

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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15

Mitchell, Robert. "Suspended Animation, Slow Time, and the Poetics of Trance." PMLA/Publications of the Modern Language Association of America 126, no. 1 (January 2011): 107–22. http://dx.doi.org/10.1632/pmla.2011.126.1.107.

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Suspended animation emerged as a concept in the late eighteenth century as part of the efforts of the newly founded Royal Humane Society to convince lay and medical readers that individuals who had apparently drowned might still be alive, albeit in states of “suspended animation” (a condition we would now likely describe as a coma). The term was quickly taken up by medical and literary authors, including Samuel Taylor Coleridge, Mary and Percy Bysshe Shelley, and John Keats. Exploring these Romantic-era approaches to suspended animation can help us understand the reception and formal structures of creative literature, grasp the often counterintuitive links that Romantic-era authors established between “altered states” and “Romantic sobriety,” and articulate why poetry and other slow media remain important in our contemporary new-media landscape.

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16

Romanyshyn, Nataliia. "REPRESENTATION OF NATURAL AND SPATIAL CONCEPTS IN PERCY BYSSHE SHELLEY’S POETRY." Inozenma Philologia, no. 132 (November 25, 2019): 113–24. http://dx.doi.org/10.30970/fpl.2019.132.2927.

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17

Leader, Zachary. "The Complete Poetry of Percy Bysshe Shelley, Volume One. Edited by Donald H. Reiman and Neil Fraistat." Wordsworth Circle 31, no. 4 (September 2000): 247–49. http://dx.doi.org/10.1086/twc24044835.

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18

Pite, R. "The Human Mind's Imaginings: Conflict and Achievement in Shelley's Poetry; Percy Bysche Shelley: A Literary Life." English 40, no. 166 (March 1, 1991): 73–79. http://dx.doi.org/10.1093/english/40.166.73.

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19

Ngide, George Ewane. "“Ye Are Many, They Are Few”: Nonviolence as Response to Oppression and Repression in the Poetry of Percy Bysshe Shelley." Open Journal of Social Sciences 08, no. 06 (2020): 530–54. http://dx.doi.org/10.4236/jss.2020.86039.

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20

Manzoor, Saima, Zainab Akram, and Saima Yousaf. "Percy Byssey Shelleyand Mir Gul Khan Naseer's Socialist Creed: A Comparative Study of the Champions of Human Liberation." Global Language Review V, no. III (September 30, 2020): 172–82. http://dx.doi.org/10.31703/glr.2020(v-iii).18.

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History is the witness of the immense influence literature exercises upon the nations. Percy Byssey Shelley and Mir Gul Khan Naseer, the two great names in the history of English and Balochi literature simultaneously, played an important role in the emancipation of society. Both the poets were against the bogus system of caste, color and creed, suppressing the masses. They were highly against social stratification and feudalism and raised their voice dauntlessly against the prevalent injustice. They are termed as poets of resistance who expressed repulsion against the corrupt social, political and religious scenario. Both the poets were termed as champions of liberty and had the creed to promote social, political and religious reforms. Anon they realized the ineffectiveness of their efforts. Finally, they strove to transform the individuals through their incredible poetry where a profusion of gorgeous verse along with brilliant imagery enchants the readers.

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21

Fulford, Tim, and Michael O'Neill. "Percy Bysshe Shelley." Modern Language Review 90, no. 2 (April 1995): 419. http://dx.doi.org/10.2307/3734568.

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22

Austin, Linda M. "The Lament and the Rhetoric of the Sublime." Nineteenth-Century Literature 53, no. 3 (December 1, 1998): 279–306. http://dx.doi.org/10.2307/2903041.

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The appearance of melodramatic language and gesture in nineteenth-century lyric poetry was underwritten by two theories of ecstasis, the sense of losing oneself or going beyond the limits of comprehension. The first kind of ecstasis belonged to the sublime reaction, as Kant and Burke had imagined it. The second sort belonged to the picture of the disordered mind in the medical literature. A rhetoric of shock and loss in the melodramatic lyric bears the remains of the inchoate language and wild gestures in ancient lamentation but also refers to more recent performances of overpowering emotion on stage. Conventional reactions to sublime landscapes in painting, for example, employ expressions and gestures inventoried both in Longinus's treatise on the sublime and in acting manuals for tragedians. Percy Bysshe Shelley's "A Lament" (1821) and Richard Harris Barham's "Epigram" (1847) are performances of the sublime confrontation with the idea of death. Both poems were attempts to record ecstasis and to transcribe melodramatic acting. "Epigram," moreover, alludes to another interpretation of ecstasis in the lately popular Romantic ballet. This revolutionary technique created an illusion of bodilessness-a vision of the body losing itself and fading into nothing. The reformulations of the sublime in philosophy and medicine thus enabled a set of signifying practices that appear in transcriptions of lamentation and in dance. Both are efforts to perform the sublime moment.

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23

Borushko, Matthew C. "The Complete Poetry of Percy Bysshe Shelley, Volume 3. Donald H. Reiman, Neil Fraistat, Nora Crook, Stuart Curran, Michael O'Neill, Michal J. Neth, and David Brookshire.The Poems of Shelley: Volume 3. Jack Donovan, Cian Duffy, Kelvin Everest, and Michael Rossington.The Unfamiliar Shelley. Timothy Webb and Alan M. Weinberg." Wordsworth Circle 44, no. 4 (September 2013): 194–96. http://dx.doi.org/10.1086/twc24044457.

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O'Neill, Michael. "The Complete Poetry of Percy Bysshe Shelley, Volume One. Eds. Donald H. Reiman and Neil Fraistat. Baltimore and London: The Johns Hopkins University Press, 2000. ISBN: 0-8018-6119-5. Price: US$75.00 (£58.00)." Romanticism on the Net, no. 20 (2000): 0. http://dx.doi.org/10.7202/005953ar.

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25

Soltan Beyad, Maryam, and Mahsa Vafa. "Transcending Self-Consciousness: Imagination, Unity and Self-Dissolution in the English Romantic and Sufis Epistemology." International Journal of Linguistics, Literature and Translation 3, no. 8 (August 30, 2021): 08–18. http://dx.doi.org/10.32996/ijllt.2021.4.8.2.

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English Romantic literature of the late eighteenth and early nineteenth centuries often recounts an individual life journey which depicts physical and spiritual pilgrimage and traverses both the inner and outer world to liberate the self and reach a revelatory moment of unification where the division between human mind and the external world is reconciled. For the Romantic poets this reconciliatory state cannot be achieved through rational investigation but via the power of imagination. In this regard, there is striking resemblance between the mystical and philosophical thought of Sufism and the idealistic thought of the English Romantic poets as they both strive for a sense of unification with the Divine or the Ultimate reality, and they both rely on imagination and intuitive perception to apprehend reality. Applying an analytical-comparative approach with specific reference to Northrop Frye’s anagogic theory (1957) which emphasizes literary commonalities regardless of direct influence or cultural or theological distinctions, this study endeavors to depict that certain Romantic poets’ longing for the reconciliation of subject and object dualism via imagination and its sublime product, poetic language, echoes the mystic’s pursuit of transcendental states of consciousness and unification with the divinely infinite. Through analysis of the concept of self-dissolution (fana) in Islamic mysticism and Sufi literature, particularly the poems of Jalal ad-Din Mohammad Balkhi (1207-1273) known in the West as Rumi, the outcome of this study reveals that the Romantics’ yearning for a state of reconciliation, which is prevalent in the major works of the Romantic poets such as William Blake (1757-1827), William Wordsworth (1770-1850), Samuel Taylor Coleridge (1772-1834), Percy Bysshe Shelley (1792-1822), and John Keats (1795-1821), corresponds to the mystic’s pursuit of unity or the Sufi’s concept of self-annihilation or fana.

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Bakić-Mirić, Nataša, and Mirjana Lončar-Vujnović. "Percy Bysshe Shelley: The neglected genius." Зборник радова Филозофског факултета у Приштини 49, no. 3 (2019): 129–45. http://dx.doi.org/10.5937/zrffp49-21447.

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Borushko, Matthew C. "Percy Bysshe Shelley and the Sciences." Literature Compass 2, no. 1 (January 2005): **. http://dx.doi.org/10.1111/j.1741-4113.2005.00205.x.

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28

Stephens, Paul. "Percy Bysshe Shelley: Poet and Revolutionary." Keats-Shelley Review 33, no. 1 (January 2, 2019): 134–36. http://dx.doi.org/10.1080/09524142.2019.1611285.

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29

Clemit, P. "Review: Percy Bysshe Shelley. The prose works of Percy Bysshe Shelley, vol. I, ed. EB Murray." Notes and Queries 43, no. 2 (June 1, 1996): 223–34. http://dx.doi.org/10.1093/nq/43.2.223.

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30

Coffey, Bysshe Inigo. "Percy Bysshe Shelley and China’s Gayest Art." Wordsworth Circle 51, no. 2 (March 2020): 221–41. http://dx.doi.org/10.1086/709153.

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31

Duffy, Cian. "The Neglected Shelley; The Oxford Handbook of Percy Bysshe Shelley." European Romantic Review 27, no. 4 (June 28, 2016): 526–32. http://dx.doi.org/10.1080/10509585.2016.1190090.

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32

Walker, Leila. "Percy Bysshe Shelley and the Ekphrasis of Hair." European Romantic Review 24, no. 2 (April 2013): 231–50. http://dx.doi.org/10.1080/10509585.2013.768178.

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33

Westwood, Daniel. "Jacqueline Mulhallen, Percy Bysshe Shelley: Poet and Revolutionary." Romanticism 25, no. 1 (April 2019): 109–11. http://dx.doi.org/10.3366/rom.2019.0408.

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Borushko, Matthew C. "Percy Bysshe Shelley: A Biography by James Bieri." Studies in Romanticism 51, no. 1 (2012): 114–18. http://dx.doi.org/10.1353/srm.2012.0049.

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35

Stokoe, Leanne. "Percy Bysshe Shelley: A Biography - By James Bieri." Journal for Eighteenth-Century Studies 33, no. 1 (March 2010): 121–22. http://dx.doi.org/10.1111/j.1754-0208.2009.00206.x.

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Behrendt, Stephen C., and Michael Henry Scrivener. "Radical Shelley: The Philosophical Anarchism and Utopian Thought of Percy Bysshe Shelley." Modern Language Studies 15, no. 3 (1985): 91. http://dx.doi.org/10.2307/3194448.

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Paley, Morton D., and Michael Henry Scrivener. "Radical Shelley: The Philosophical Anarchism and Utopian Thought of Percy Bysshe Shelley." Studies in Romanticism 24, no. 4 (1985): 572. http://dx.doi.org/10.2307/25600568.

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Dawson, P. M. S., and Michael Henry Scrivener. "Radical Shelley: The Philosophical Anarchism and Utopian Thought of Percy Bysshe Shelley." Yearbook of English Studies 16 (1986): 306. http://dx.doi.org/10.2307/3507830.

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39

Wroe, Ann. "Good self, bad self: The Struggle in Shelley." Articles, no. 51 (October 31, 2008): 0. http://dx.doi.org/10.7202/019259ar.

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Abstract Although he sometimes decried the notion of a duality of body and soul, few poets were more conscious than Percy Bysshe Shelley of the soul’s imprisonment in the illusory material world. In considering Shelley’s notion of the self, this essay will track his constant search to discover and unlock his own inner powers of empathy, imagination and liberation.

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40

Zwick, Renato, and Ludmila Menezes Zwick. "Tradução da “Carta ao lorde Ellenborough”, de Percy Bysshe Shelley." Idéias 10 (August 12, 2019): e019003. http://dx.doi.org/10.20396/ideias.v10i0.8656197.

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A carta ao lorde Ellenborough (1790-1871), escrita pelo poeta Percy Bysshe Shelley (1792-1822) em maio de 1812 em defesa de Daniel Isaac Eaton (1753-1814), condenado pela publicação da terceira parte de A idade da razão, de Thomas Paine (1737-1809), representa o posicionamento de um cidadão cuja arma, a escrita, o colocou em situações difíceis ao longo da vida. No ano anterior, Shelley já havia sido expulso de Oxford pelas opiniões expressas no texto A necessidade do ateísmo, e agora, nesta carta, o autor não apenas sai em defesa da liberdade de expressão de Eaton, que também pagou várias penas ao longo da vida, mas também de Paine. Thomas Paine é caro aos que se manifestam em favor da liberdade de abdicar da crença religiosa, e embora tenha sido exaltado num período de sua vida, viveu seus últimos dias na obscuridade; perderam-se inclusive seus restos mortais. Tendo participado das duas grandes revoluções de seu tempo – a norte-americana e a francesa –, compreende-se o porquê de tamanha reação do lorde Ellenborough à panfletagem de Eaton. Foi Paine o autor de obras-chave como Senso comum (publicado nos Estados Unidos em 1776) e Os direitos do homem (cuja primeira parte foi publicada na Inglaterra em 1791, e a segunda, em 1792), ambas com milhares de exemplares vendidos. Outras obras suas de radicalismo político são a Dissertação sobre os primeiros princípios do governo e da justiça agrária e A era da razão, ambas de 1795; para Paine, o homem apenas poderia esperar que o governo o deixasse em paz, já que este teria sido formado pela maldade humana. A seu ver, a primogenitura própria da aristocracia (esse monstro), com seus legisladores hereditários, seria tão ridícula quanto a existência de matemáticos hereditários. Além disso, julgava que a riqueza não era um atestado de caráter moral e que a miséria não deveria ser tolerada com normalidade. Defender alguém como Eaton, um divulgador das obras de Paine – autor que contribuiu tão intensamente para a democracia, mas que era tão malvisto e odiado que muitos desejavam nada menos que sua morte por enforcamento –, era uma atitude extremamente arriscada, mas Shelley pagou o preço, tendo sofrido retaliações em sua carreira literária, com o boicote de suas publicações e as consequentes e seriíssimas dificuldades financeiras.

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41

Mercer, Anna. "BeyondFrankenstein: The Collaborative Literary Relationship of Percy Bysshe and Mary Shelley." Keats-Shelley Review 30, no. 1 (January 2, 2016): 80–85. http://dx.doi.org/10.1080/09524142.2016.1145937.

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42

Jones, Ken Prichard. "The Influence of Field Place and Its Surroundings Upon Percy Bysshe Shelley." Keats-Shelley Review 8, no. 1 (January 1993): 132–50. http://dx.doi.org/10.1179/ksr.1993.8.1.132.

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Witcher, Heather Bozant. "‘With Me’: The Sympathetic Collaboration of Mary Godwin and Percy Bysshe Shelley." Forum for Modern Language Studies 52, no. 2 (April 2016): 144–59. http://dx.doi.org/10.1093/fmls/cqw004.

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44

Whatley, John. "Romantic and Enlightened Eyes in the Gothic Novels of Percy Bysshe Shelley." Gothic Studies 1, no. 2 (December 1999): 201–21. http://dx.doi.org/10.7227/gs.1.2.5.

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45

Ward, Ian. "Shelley’s Mask." Pólemos 12, no. 1 (March 26, 2018): 21–34. http://dx.doi.org/10.1515/pol-2018-0003.

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Abstract On the 16th August 1819, a crowd of around sixty thousand gathered outside Manchester to listen to the renowned radical Henry Hunt. When the crowd appeared to grow restless the authorities ordered in a regiment of Hussars. Eleven were killed, hundreds injured. The radical presses swiftly condemned the “Peterloo massacre.” So, away in Italy, did the poet Percy Bysshe Shelley. The consequence of Shelley’s anger was one of the greatest poems of political protest in the English language. It was entitled The Mask of Anarchy. This article is about this poem. It asks why Shelley wrote it, what he wanted to say, and how he chose to say it.

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Everest, Kelvin, Karsten Klejs Engelberg, and Stephen Maxfield Parrish. "The Making of the Shelley Myth: An Annotated Bibliography of Criticism of Percy Bysshe Shelley 1822-1860." Modern Language Review 85, no. 1 (January 1990): 150. http://dx.doi.org/10.2307/3732820.

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Braida, Antonella. "Mme de Staël’s Influence on Percy Bysshe Shelley and Mary Wollstonecraft Shelley: Empowering Women’s Politics through Literature." Keats-Shelley Review 33, no. 1 (January 2, 2019): 81–95. http://dx.doi.org/10.1080/09524142.2019.1611270.

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Quinn, Mary A. "The Prose Works of Percy Bysshe Shelley, Volume I. E. B. Murray, ed." Wordsworth Circle 25, no. 4 (September 1994): 253–56. http://dx.doi.org/10.1086/twc24043133.

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Scott, I. "Abraham (with apologies to Percy Bysshe Shelley--a homage to his poem Ozymandias)." Medical Humanities 37, no. 1 (February 26, 2011): 52. http://dx.doi.org/10.1136/jmh.2011.007237.

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Tedeschi, Stephen. "The Life of Percy Bysshe Shelley and Shelley’s Poetics of Reticence: Shelley’s Shame." European Romantic Review 32, no. 4 (July 4, 2021): 486–92. http://dx.doi.org/10.1080/10509585.2021.1944471.

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