Adonais E-Book

Percy Bysshe Shelley

• Herausgeber: Percy Bysshe Shelley
• Kategorie: Poesie und Drama
• Sprache: Englisch
• Veröffentlichungsjahr: 2015

Beschreibung

For nearly two months after the death of Keats, 23 February, 1821, Shelley appears to have remained in ignorance of the event: he knew it on or before 19 April. The precise date when he began his Elegy does not seem to be recorded: one may suppose it to have been in the latter half of May. On 5 June he wrote to Mr. and Mrs. Gisborne: 'I have been engaged these last days in composing a poem on the death of Keats, which will shortly be finished; and I anticipate the pleasure of reading it to you, as some of the very few persons who will be interested in it and understand it. It is a highly wrought piece of art, and perhaps better, in point of composition, than anything I have written.'

Leseprobe

Percy Bysshe Shelley

Adonais

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Table of contents

PREFACE.

MEMOIR OF SHELLEY.

MEMOIR OF KEATS.

ADONAIS: ITS COMPOSITION AND BIBLIOGRAPHY.

ADONAIS: ITS ARGUMENT.

ADONAIS: GENERAL EXPOSITION.

BION AND MOSCHUS.

ADONAIS, AN ELEGY ON THE DEATH OF JOHN KEATS

ADONAIS.

CANCELLED PASSAGES OF ADONAIS

NOTES.

PREFACE.

Cancelled Passages of Adonaise, Preface.

PREFACE.

Adonais is the first writing by Shelley which has been included in the Clarendon Press Series. It is a poem of convenient length for such a purpose, being neither short nor decidedly long; and—leaving out of count some of the short poems—is the one by this author which approaches nearest to being 'popular.' It is elevated in sentiment, classical in form,—in substance, biographical in relation to Keats, and in some minor degree autobiographical for Shelley himself. On these grounds it claimed a reasonable preference over all his other poems, for the present method of treatment; although some students of Shelley, myself included, might be disposed to maintain that, in point of absolute intrinsic beauty and achievement, and of the qualities most especially characteristic of its author, it is not superior, or indeed is but barely equal, to some of his other compositions. To take, for instance, two poems not very different in length from Adonais—The Witch of Atlas is more original, and Epipsychidion more abstract in ideal.I have endeavoured to present in my introductory matter a comprehensive account of all particulars relevant to Adonais itself, and to Keats as its subject, and Shelley as its author. The accounts here given of both these great poets are of course meagre, but I assume them to be not insufficient for our immediate and restricted purpose. There are many other books which the reader can profitably consult as to the life and works of Shelley; and three or four (at least) as to the life and works of Keats. My concluding notes are, I suppose, ample in scale: if they are excessive, that is an involuntary error on my part. My aim in them has been to illustrate and elucidate the poem in its details, yet without travelling far afield in search of remote analogies or discursive comment—my wish being rather to 'stick to my text': wherever a difficulty presents itself, I have essayed to define it, and clear it up—but not always to my own satisfaction. I have seldom had to discuss the opinions of previous writers on the same points, for the simple reason that of detailed criticism of Adonais, apart from merely textual memoranda, there is next to none.It has appeared to me to be part of my duty to point out here and there, but by no means frequently, some special beauty in the poem; occasionally also something which seems to me defective or faulty. I am aware that this latter is an invidious office, which naturally exposes one to an imputation, from some quarters, of obtuseness, and, from others, of presumption; none the less I have expressed myself with the frankness which, according to my own view, belongs to the essence of such a task as is here undertaken. Adonais is a composition which has retorted beforehand upon its actual or possible detractors. In the poem itself, and in the prefatory matter adjoined to it, Shelley takes critics very severely to task: but criticism has its discerning and temperate, as well as its 'stupid and malignant' phases.W.M. ROSSETTI.July, 1890.

MEMOIR OF SHELLEY.

The life of Percy Bysshe Shelley is one which has given rise to a great deal of controversy, and which cannot, for a long time to come, fail to be regarded with very diverse sentiments. His extreme opinions on questions of religion and morals, and the great latitude which he allowed himself in acting according to his own opinions, however widely they might depart from the law of the land and of society, could not but produce this result. In his own time he was generally accounted an outrageous and shameful offender. At the present date many persons entertain essentially the same view, although softened by lapse of years, and by respect for his standing as a poet: others regard him as a conspicuous reformer. Some take a medium course, and consider him to have been sincere, and so far laudable; but rash and reckless of consequences, and so far censurable. His poetry also has been subject to very different constructions. During his lifetime it obtained little notice save for purposes of disparagement and denunciation. Now it is viewed with extreme enthusiasm by many, and is generally admitted to hold a permanent rank in English literature, though faulty (as some opine) through vague idealism and want of backbone. These are all points on which I shall here offer no personal opinion. I shall confine myself to tracing the chief outlines of Shelley's life, and (very briefly) the sequence of his literary work.