By Shelley, Percy Bysshe; Boulton, James T.; Shelley, Percy Bysshe
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315–73 as an example of the later critical treatment of this poem. 22 The pamphlet is not reprinted for lack of space, but has been reprinted in White’s The Unextinguished Hearth, pp. 62–95. , p. 71. , p. 75. , p. 75. 26 See Northrop Frye, Romanticism Reconsidered (New York, 1963) and Harold Bloom, The Visionary Company (New York, 1961). 27 Letters of Percy Bysshe Shelley, ed. Jones (1964), II, p. 163. 28 Complete Works of Shelley, ed. Ingpen (1965), x, p. 134. 29 Letters of Percy Bysshe Shelley, II, pp.
For whatever reason, Shelley’s residence in Italy, publication difficulties, public indifference, or Shelley’s sudden and tragic death which overshadowed his entire career, these later poems received relatively little critical attention. 39 On June 23, 1821, the critic attacked what he saw to be Shelley’s implied immorality and praise of free love. The second notice, a satiric attack in the form of a letter to the editor, took issue with Shelley’s language and imagery. ‘“It is poetry intoxicated,” said Clementina.
The London Magazine review (No. 40) repeats the oft heard charges of immorality, perversion of intellectual and religious qualities, and deformities of nature. But a new and now time-tested offense is added to the list. ‘Like poor Tom, in Lear, whom the foul fiend has possessed for many a day, it will run through ditches, through quagmires, and through bogs, to see a man stand on his head for the exact space of half an hour. ’ The Independent, or London Literary and Political Review (No. 44) sounded a similar warning, in an almost prophetic statement concerning the impending crisis between the artist and his public.