Titlebook: Shelley‘s Poetry; The Divided Self Simon Haines Book 1997 Palgrave Macmillan, a division of Macmillan Publishers Limited 1997 Percy Bysshe

Adrenaline

,Shelley’s Poetry, 1811–17,ird section and Chapter 6 with the fourth section. The four chapters offer full readings of nine poems, three from each of the periods of Shelley’s life outlined in Chapter 2, and briefer comments on other poems, some of them related dispositionally rather than chronologically to the major poems und

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,Shelley’s Poetry, 1818–20 (continued), the nineteenth century”.2 Even those who are unwilling to accept these assertions in the light of . or . would probably agree with Carlos Baker that . is Shelley’s “masterpiece”, and that it has been so regarded ever since its composition - “except by a few unreconstructed dissenters”.3 Baker was t

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嘴唇可修剪

痛得哭了

ng it and distrusts the language expressing it. A few of his admirers offer an alternative view of the poems as symbolical pointers to a non-linguistic reality transcending passion; most miss the point, justifying their admiration by referring to the poems‘ systems of thought. This reading of Shelle

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Book 1997transcending passion; most miss the point, justifying their admiration by referring to the poems‘ systems of thought. This reading of Shelley‘s major poems and critical prose finds the adverse case more convincing.

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mechanism

,Shelley’s Poetry, 1818–20,uman relationship, familiar poems quite peripheral and insignificant from the poet’s point of view, which nevertheless thought about the self in a completely different way. We shall glance at one or two of these at the end of the first section of this chapter.

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