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Influence on mary shelley frankenstein
Percy shelley literary techniques
Analysing tone in poetry
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Tone plays a most pivotal role in the conveyance of meaning in Percy Shelley’s “Ode to the West Wind”. While many other factors contribute to the meaning of the work as a whole and how the work is perceived, tone is the dominant device manipulated by Shelley to portray his anguish and internal sense of inferiority. However short his life may have been, Shelley was able to accomplish more in his thirty years than most people accomplish in a lifetime. He attended Oxford University, he rescues his first wife, Harriet, from the grip of her abusive father, and had a nice family with her (Marshall 729-741). Many things influenced his poetry such as ideas of revolution and a utopian society. He included many natural motifs from his childhood including water, trees, and grass to symbolize the simplistic power these things possess (Tomalin 1-30). Alongside his achievements are his shortcomings. Soon after he was admitted to Oxford he was expelled due to his openly atheistic views. In consequence, his family disowned him; however, he still maintained his idealistic and optimistic view towards life. Next he ran away from his wife with Mary Godwin. Leaving behind his suicidal wife and his young children, he married Mary and had a few children with her (Marshall 729-741). Pain and suffering accompanied Shelley during these years, but the fault is all his own. These self-inflicted tortures greatly affected his poetry, morphing his perspective into romantic understanding from his previous view of naïve hope (Tomalin 1-30).
Even as a man of brilliance, Shelley struggled greatly with inferiority complexes and a fear of the inability to express himself. Obviously he had nothing to fear, because his poems would not be cherished today if he w...
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...maintain a state of progress. Seek a higher power for assistance if your unable open up on your own. Beg the Wind to clear your mind as it “loose(s) the clouds” from clogging up the beautiful blue sky. Perfection cannot be achieved without the contribution from everyone part of society.
Works Cited
1. Bloom, Harold. Modern Critical Views: Percy Bysshe Shelley . New York: Chelsea House Publishers, 1-22. Print.
2. Tomalin, Claire. Shelley and his world. New York: Charles Scribner’s sons, 1980. 1-30,122-124. Print.
3. "TTM's Guidance for Studying English Literature." freehelpstoenglishliterature . Awesome inc., 01 Jan 2009. Web. 4 Apr 2011. .
4. Marshall, Kristine. Elements of literature. Austin: Holt, Rinehart, and Winston, 1997. 729-741. Print.
Meyer, Michael, ed. The Bedford Introduction to Literature: Reading, Thinking, Writing. 5th ed. Boston: Bedford/St. Martin's, 1999.
Shelley, Mary Wollstonecraft. Frankenstein. The Mary Shelley Reader. Ed. Betty T. Bennet & Charles E. Robinson. New York: Oxford University Press, 1990.
Huston, Kristin N. "Percy Shelley and Lord Byron." UMKC Campus, Kansas City. 20 Sept. 2010. Lecture.
Eaglestone, R. (2009). Doing English: a guide for literature student. (3rd ed., pp. 40-41). New York: Routeledge.
Shelley, Mary Wollstonecraft, and Maurice Hindle. Frankenstein, Or, The Modern Prometheus. London: Penguin, 2003. Print.
Gilbert, Sandra M. and Susan Gubar. "Mary Shelley's Monstrous Eve." Reprinted in Mary Shelley's Frankenstein. Norton Critical Edition. 1979; New York: W. W. Norton, 1996. 225-240.
Shelley, Mary. Frankenstein: A Norton Critical Edition. Ed. J. Paul Hunter. New York: W. W.
Mary Shelley assumes that the ideas of reason should be measured with the common sense. She criticizes with this narration the radical rationalism that was evident in the literary pieces of her parents. Shelley’s husband also used the similar ideas in his poems, the so-called Prometheanism of the Romantic Age (Bloom 8).
Shelley, Percy Bysshe. Excerpt from "Journal-Letter from Percy Bysshe Shelley to Thomas Love Peacock, 22 July to 2 August 1876." Romanticism: An Anthology. 2nd ed. Ed. Duncan Wu. Oxford: Blackwell, 1998. 844.
Meyer, M. (2013). Bedford introduction to literature: Reading, thinking, writing. Boston: Bedford Bks St Martin’s.
Shelley, Percy Bysshe. Prometheus Unbound. Shelley’s Poetry and Prose. Ed. Donald H. Reiman and Neil Fraistat. New York: W. W. Norton & Company, Inc., 2002. 206-283.
English Literature. By Stephen Greenblatt and M. H. Abrams. 8th ed. Vol. 2. New York:
Shelley, Percy. Selected poems found in The Norton Anthology of English Literature. Volume 2, 7Th edition (2000): 698-798.
Percy Bysshe Shelley is a very influential Romantic poet, who is part of what is the second generation of Romantic poets, the “young hellions”. He is catagorized with Lord Byron and John Keats, who are also important poets during their times. Shelley, like his other two comrades, died at a young age, as they lived fast and hard. He had died in a boating accident, when he was 29 years old. Shelley had a few notable poems, such as Ozymandias, Ode to the West Wind, and To a Skylark. As a Romantic poet, Shelley often used connected nature to spirit, and did that using examples of personification in his poems Ode to the West Wind and To a Skylark.
Thus, the speaker of the poem is not only acknowledging the dual aspect of nature, but it is also acknowledging their own dual aspect. Further examples of this duality lie in England in 1819, when Shelley made reference to the Peterloo Massacre, an event that displays the destructive power of mankind over their own kind. Contrary to Hymn to Intellectual Beauty which displays the creative and inventive power of the human mind for constructive purposes. Turning back to the Ode to the West Wind, in the same last couplet the words: everywhere /ˈevrēˌ(h)wer/, destroyer /dəˈstroiər/ and preserver /prəˈzərvər/, they create the sound effect of harmony and musicality considering that they are three syllabic words that all rhyme in the last syllable [3:r]. It is the creativity of the poet to select the right words to convey their thoughts what makes this last couplet a strong conclusion for stanza one. Collins suggests that the Ode to the West Wind “is the voice of the poet attempting to make itself heard (8). In addition to the closing interjection demanding the wind to hear the speaker’s invocation: “hear, O hear!” (15), which seems like a plea to appeal the