Notes All quotations from Shelley's poetry are taken from the edition by Donald H. Reiman and Sharon B. Powers, Shelley's Poetry and Prose (New York: Norton, 1980), except the fragment 'On Medusa', which is taken from the Julian Edition of his works. All quotations from Shelley'~ prose are taken from the Julian Edition of The Complete Works of Percy Bysshe Shelley, ed. Roger Ingpen and Walter E. Peck (London: Benn, 1926-1930) 10 vols.

Notes to Chapter 1: Memories in Feeling

1. C. G. Jung, Aion: Researches into the Phenomenology of the Self (Princeton, N.J.: Princeton University Press, 1959; 2nd edn, 1975) p. 8.

2. For the most resolutely positive praise of Shelley in recent years, see Timothy Webb, Shelley: A Voice Not Understood (Atlantic Highlands, N.J.: Humanities Press, 1977).

3. See Earl Wasserman, Shelley: A Critical Reading (Baltimore, Md: Johns Hopkins Press, 1971) chs 5 and 15; and R. G. Woodman, 'Shelley's Urania', Studies in Romanticism, 10 (Winter 1978) pp. 61-75.

4. Carl Grabo, The Magic Plant: The Growth of Shelley's Thought (Chapel Hill, N.C.: University of North Carolina Press, 1936) p. 431.

5. Neville Rogers, Shelley at Work: A Critical Inquiry (Oxford: Clarendon Press, 1967) p. 97.

6. Angela Leighton, Shelley and the Sublime (London: Cambridge University Press, 1984). See ch. 2, 'Shelley: from Empiricism to the Sublime'.

7. William Keach, Shelley's Style (New York: Methuen Press, 1984) pp. 119-21.

8. For a close analysis of this drama, see Stuart Curran, Shelley's 'Cenci': Scorpions Ringed with Fire (Princeton, N.J.: Princeton University Press, 1970).

9. P. M. S. Dawson, The Unacknowledged Legislator: Shelley and Politics (Oxford: Clarendon Press, 1980), p. 3.

10. Nathaniel Brown, Sexuality and Feminism in Shelley's Poetry (Cambridge, Mass.: Harvard University Press, 1979).

11. Wilfred Desan, The Tragic Finale: An Essay on the Philosophy of Jean-Paul Sartre (New York: Harper and Row, 1960), p. 27.

12. The Complete Works of Percy Bysshe Shelley, Julian Edition, vol. 1, p. 141. 13. Ibid., vol. 7, pp. 72-81. 14. Ibid., vol. 6, pp. 245--6. 15. Ibid., vol. 7, p. 118. 16. Ibid., vol. 7, p. 139. 17. The speculation should be mentioned that one may add to this list Elise

Poggi, Shelley's Swiss maid who lived with them in Italy. See Ursula Orange, 'Elise, Nursemaid to the Shelleys', Keats-Shelley Memorial Bul­letin, 6 (1955) pp. 24-34; and Richard Holmes, Shelley: The Pursuit (London: Weidenfeld and Nicolson, 1974) Appendix to ch. 18.

182

Notes 183

18. Newman Ivey White, Shelley (New York: A. A. Knopf, 1947) vol. I, pp. 170-4; and Holmes, Shelley: The Pursuit, pp. 90-1.

19. Percy Bysshe Shelley, Letters, ed. Frederick L. Jones (New York: Oxford University Press, 1964) vol. n, no. 140, p. 184.

20. White, Shelley, vol. I, p. 340. 21. Characteristic is Kenneth Neill Cameron in Shelley: The Golden Years

(Cambridge, Mass.: Harvard University Press, 1974); esp. see ch. 7: 'Shelley and Mary'.

22. Eight months after their elopement, Mary wrote in her journal:

March 11. Talk about Clara's going away; nothing settled; I fear it is hopeless. She will not go to Skinner Street; then our house is the only remaining place, I see plainly ....

March 14. Shelley and I ... talk of Clara's going; the prospect appears to me more dismal than ever; not the least hope. This is, indeed, hard to bear. (Mary Shelley's Journal, ed. Frederick L. Jones (Norman, Okla: University of Oklahoma Press, 1968) p. 40)

23. See Orange, 'Elise', and Holmes, Shelley: The Pursuit, Appendix to ch. 18. 24. Shelley's culpability in all of this has very often been slighted by his

critics: see my ch. 3. 25. Jerrold E. Hogle, 'Metaphor and Metamorphosis in Shelley's "Witch of

Atlas"', Studies in Romanticism, vol. 19 (Fall1980) p. 348. 26. See C. E. Pulos, The Deep Truth: A Study of Shelley's Scepticism (Lincoln,

Neb.: University of Nebraska Press, 1954); Wasserman, Shelley: A Critical Reading; Judith Chernaik, The Lyrics of Shelley (Cleveland, Ohio: Case Western Reserve Press, 1972); Stuart Curran, Shelley's Annus Mirabilis: The Maturing of an Epic Vision (San Marino, Calif.: Huntington Library Press, 1975); and Lloyd R. Abbey, Destroyer and Preserver: Shelley's Poetic Skepticism (Lincoln, Neb.: University of Nebraska Press, 1979).

27. See Wasserman, Shelley: A Critical Reading; and Curran, Shelley's Annus Mirabilis.

28. Carl Grabo, The Magic Plant: The Growth of Shelley's Thought (Chapel Hill, N.C.: University of North Carolina Press, 1936). See also Desmond King-Hele, 'Shelley and Erasmus Darwin', in Kelvin Everest (ed.), Shelley Revalued (New York: Barnes and Noble, 1983).

29. Kenneth Neill Cameron, Shelley: The Golden Years (Cambridge, Mass.: Harvard University Press, 1974); P.M. S. Dawson, The Unacknowledged Legislator: Shelley and Politics (Oxford: Clarendon Press, 1980); Michael Henry Scrivener, Radical Shelley (Princeton, N.J.: Princeton University Press, 1982); Richard Hendrix, 'The Necessity of Response: How Shelley's Radical Poetry Works', Keats-Shelley Journal, 27 (1978) pp. 45-69.

30. I have cited these 'countercurrent' articles throughout in my discussions of specific poems.

31. Holmes, Shelley: The Pursuit, p. ix. 32. The definitive book on their friendship is Charles E. Robinson's Shelley

and Byron: The Snake and Eagle Wreathed in Fight (Baltimore, Md: Johns Hopkins Press, 1976).

184 Notes

33. Several studies have considered the sexuality present in Shelley's poetry; and this element in Shelley's work is certainly important for any psychological interpretation of his poetry. See Edmund Hostetter, 'Shelley and the Mutinous Flesh', Texas Studies in Literature and Language, 1 (1959) pp. 203-13; Gerald Enscoe, Eros and the Romantics (The Hague: Mouton, 1967); and Brown, Sexuality and Feminism in Shelley's Poetry. More Freudian than Jungian critics have analysed Shelley. In the former camp, see: Milton Miller, 'Manic Depressive Cycles of the Poet Shelley', Psychoanalytic Forum 1 (1965) pp. 188-95; Leon Waldoff, 'Father-Son Conflict in Prometheus Unbound', Psychoanalytic Review, 62 (1975), pp. 79-96; Richard S. Caldwell, '"The Sensitive Plant" as Original Fantasy', Studies in Romanticism, 15 (Spring 1976) pp. 221-52; and Woodman, 'Shelley's Urania', pp. 61-75. The last three are especially fine. For Jungian readings, see: John Hagopian, 'A Psychological Approach to Shelley's Poetry', American Imago, 12 (Spring 1965) pp. 25--65; and Barbara Schapiro, 'Shelley's Alas tor and Whitman's "Out of the Cradle": The Ambivalent Mother', American Imago, 36 (1979) pp. 245-59. Her book is psychological but not Jungian: The Romantic Mother (Baltimore, Md: Johns Hopkins Press, 1983). See also Peter Thorslev, Jr, 'Incest as Romantic Symbol', Comparative Literature Studies, 2 (1965) pp. 41-58; and Richard Hendrix, 'The Necessity of Response'.

34. Both Paul de Man ('Shelley Disfigured') and J. Hillis Miller ('The Critic as Host') promise to write about Shelley in their essays in Harold Bloom et at., Deconstruction and Criticism (New York: Continuum, 1979). Only de Man really does so. See also: Angela Leighton, 'Deconstructive Criticism and Shelley's Adonais', in Everest (ed.), Shelley Revalued; Hogle, 'Metaphor and Metamorphosis in Shelley's "Witch of Atlas'"; Tilottama Rajan, Dark Interpreter: Discourse of Romanticism (Ithaca, N.Y.: Cornell University Press, 1980), and 'Deconstruction or Recon-struction: Reading Shelley's Prometheus Unbound' , Studies in Romanticism, vol. 23 (Fall 1984) pp. 317-38; and Herman Rapaport, 'Staging: Mont Blanc', in Mark Krupnick (ed.), Displacement (Bloomington, Ind.: Indiana University Press, 1983). This last is an exception, being more concerned with Freud than Derrida (or Shelley).

35. Hogle, 'Metaphor and Metamorphosis in Shelley's "Witch of Atlas'", p. 351.

36. Jacques Derrida, Of Grammatology, trans. Gayatri Chakravorty Spivak (Baltimore, Md: Johns Hopkins Press, 1976), p. xlvi.

37. Sigmund Freud, Standard Edition of the Complete Psychological Works, trans. James Strachey (London: Hogarth, 1953) vol. 10, p. 239.

38. While Melanie Klein (1882-1960) began as a Freudian analyst, she developed her own theories about the growth of the ego, holding that the pre-Oedipal years are more significant than the later ones of the Oedipal stage. Her work has influenced the psychoa~alysis of children, especially in Great Britain. Her best-known works are: Love, Guilt, and Reparation & Other Works, 1921-1945 (New York: Delacourt Press, 1975); Envy and Gratitude & Other Works, 1946-1963 (New York: Delacourt Press, 1975); and The Psychoanalysis of Children (London: Hogarth Press, 1932). Others aimed at a more general reading audience are Our Adult

Notes 185

World and Other Essays (New York: Basic Books, 1963); and (with Joan Riviere) wve, Hate and Reparation (New York: Norton, 1964).

39. Klein, Love, Guilt, and Reparation, especially pp. 309-13. 40. Klein, Envy and Gratitude, p. 234. And see her Love, Guilt, and Reparation. 41. A prominent Jungian analyst has recently written of cases in which

patients are dominated by this archetype: cut off from their roots and possessing rigid personae, these people found that infantile materials broke through their fa~ades. A sense of early abandonment was a crucial feature of all these cases. See Frieda Fordham, 'The Care of Regressed Patients and the Child Archetype', Journal of Analytical Psychology, vol. 9, no. 1 (1964) pp. 61-73.

42. Michael Fordham, Children as Individuals (London: Hodder and Stough-ton, 1969; New York: Putnam, 1970) p. 99.

43. White, Shelley, vol. 1, pp. 21-3, 26, 37, 40, 42, 80, 132, 371, 427,.510, 686; vol. n, pp. 357--8.

Notes to Chapter 2: The Maternal Landscape 1. Donald H. Reiman (ed.), Shelley and His Circle: 1773-1822, 6 vols

(Cambridge, Mass.: Harvard University Press, 1973) vol. VI, pp. 638 and 644~

2. Ibid., pp. 638-43. 3. Roy Male, 'Shelley and the Doctrine of Sympathy', Texas Studies in

English, vol. 29 (1950) pp. 183-203. 4. D. W. Winnicott (1896-1971), former President of the British Psycho-

analytical Society, has explained his theories and findings in books that appeal to specialists, to laymen and to both audiences. The Maturation Processes and the Facilitating Environment: Studies in the Theory of Emotional Development (New York: International Universities Press, 1965) is for the specialist; The Child, The Family, and the Outside World (Harmondsworth, Mddx: Penguin Books, 1964) is for the layman. Both groups of readers may enjoy Playing and Reality (London: Tavistock, 1971) and Home Is Where We Start From: Essays by a Psychoanalyst, ed. Clare Winnicott, Ray Shepherd and Madeleine Davis (New York: Norton, 1986).

5. Winnicott, Playing and Reality, pp. 111-12. 6. Nathaniel Brown, Sexuality and Feminism in Shelley's Poetry (Cambridge,

Mass. : Harvard University Press, 1979) p. 33. 7. Earl A. Wasserman, Shelley: A Critical Reading (Baltimore, Md: Johns

Hopkins Press, 1971) p. 11. 8. Ibid., p. 18. 9. Ibid., p. 8.

10. The Complete Works of Percy Bysshe Shelley, Julian Edition, vol. 6, p. 246. 11. Donald H. Reiman and Sharon B. Powers, Shelley's Poetry and Prose

(New York: Norton, 1980) p . 71. 12. 'Wordsworth's Prefaces of 1800 and 1802', in William Wordsworth,

Lyrical Ballads, ed. R. L. Brett and A. R. Jones (1963; rptd London: Methuen, 1971) pp. 242-3. Later in the Preface Wordsworth writes: 'Poets do not write for Poets alone, but for men . . . he must express himself as other men express themselves' (p. 255).

186 Notes

13. Ibid., pp. 249-50. Compare Wordsworth's description of a Poet with Shelley's: 'What is a Poet? ... He is a man speaking to men: a man, it is true, endued with more lively sensibility, more enthusiasm and tender-ness, who has . . . a more comprehensive soul, than is supposed to be common among mankind ... who rejoices more than other men in the spirit of life that is in him; delighting to contemplate similar volitions and passions as manifested in the gpings-on of the Universe, and habitually impelled to create them where he does not find them'.

14. Ibid., p. 243. 15. Ibid., p. 266. 16. Ronald Tetreault writes in The Poetry of Life: Shelley and Literary Form

(Toronto: University of Toronto Press, 1987) that the Visionary is the Narrator's 'fatal counterpart ... who dares to enact his most deeply repressed desires' (p. 46).

17. C. G. Jung, Aion (Princeton, N.J.: Princeton University Press, 1959) p. 14. 18. For an excellent discussion of this archetype and its effects, see Marie-

Louise von Franz, The Problem of the Puer Aeternus (Dallas, Texas: Spring Publications, 1970).

19. Stuart Curran, Shelley's Annus Mirabilis: The Maturing of an Epic Vision (San Marino, Calif.: Huntington Library Press, 1975).

20. Barbara Schapiro, 'Shelley's Alastor and Whitman's "Out of the Cradle": The Ambivalent Mother', American Imago, 36 (1979) p. 247.

21. Ibid., p. 250. 22. Reiman and Powers, Shelley's Poetry and Prose, p. 95. 23. Wasserman says: 'The Objective of ("Mont Blanc") is not merely the

imaginative ascent to the sensorily inaccessible realm of Power, but the application of the imagination's vision to the world of the sense .... But [it] ends with .. . skeptical incertitude' (Shelley, pp. 237-8). C. E. Pulos, the main proponent of Shelley's scepticism, sees 'Mont Blanc' to be pervaded by that philosophical school. Shelley's idea of Necessity is traceable to Humean scepticism, for Necessity remains an unknown power (The Deep Truth: A Study of Shelley's Scepticism (Lincoln, Neb.: University of Nebraska Press, 1954) p. 62). This concept of Necessity itself becomes a fiction by the end of the poem, another creation of the imagin-ation (p. 66). See also Lloyd R. Abbey, Destroyer and Preserver: Shelley's Poetic Skepticism (Lincoln, Neb.: University of Nebraska Press, 1979).

24. Reiman and Powers, Shelley's Poetry and Prose, p. 93. 25. Freud, Standard Edition, vol. 17, p. 245. 26. Ibid., pp. 236, 241 and 245. 27. Oxford English Dictionary (Oxford: Clarendon Press, 1933; rptd 1970)

vol. 4, pp. 67-8. 28. Herman Rapaport, 'Staging: Mont Blanc', in Mark Krupnick (ed.),

Displacement (Bloomington, Ind.: Indiana University Press, 1983) pp. 69-71.

29. Ibid., p. 672. 30. C. G. Jung, The Archetypes and the Collective Unconscious (Princeton, N.J.:

Princeton University Press, 1959) p. 82. 31. F. R. Ellis, A Lexical Concordance to the Works of Percy Bysshe Shelley

(London: Bernard Quaritch, 1892; rptd 1967), p. 137.

Notes 187

32. Ibid., p. 672. 33. Paul Turner, 'Shelley and Lucretius', Review of English Studies (1959) pp.

269-82; and Jane E. Phillips, 'Lucretian Echoes in Shelley's "Mont Blanc"', Classical and Modern Literature: A Quarterly (1982) 2 (2), pp. 71-93.

34. Newman Ivey White, Shelley (New York: A. A. Knopf, 1947) vol. 1, p. 460; vol. II, p. 542.

35. Phillips, 'Lucretian Echoes in Shelley's "Mont Blanc'", pp. 73--6. 36. L. Stein, 'In Pursuit of First Principles', Journal of Analytical Psychology,

11 (1966) p . 26. 37. Schapiro, in 'Shelley's A/astor and Whitman's "Out of the Cradle'"

discusses the Mother in A/astor as 'ambivalently split, threatening' (p. 248), but only discusses the aspect that is negative and threatens 'utter annihilation' (p. 248). However, ambivalence involves a positive aspect as well.

38. R. G. Woodman, 'Shelley's Urania', Studies in Romanticism, 10 (1978) p . 72.

39. Kelvin Everest, 'Shelley's Doubles: An Approach to Julian and Maddalo', in Kelvin Everest (ed.), Shelley Revalued (New York: Barnes and Noble, 1983).

40. Otto Rank, The Double: A Psychoanalytic Study, trans. Harry Tucker, Jr (1914; New York: New American Library, rptd 1971).

41. Ibid., pp. 74--6. Robert Rogers, A Psychoanalytic Study of the Double in Literature (Detroit, Mich. : Wayne State University Press, 1970) pp. 63-4.

42. Everest (ed.), Shelley Revalued, p. 68.

Notes to Chapter 3: Shelley's Bad Faith

1. Letter to Shelley's publishers, the Olliers, 10 November, 1820. 2. Charles E. Robinson, Shelley and Byron: The Snake and Eagle Wreathed in

Fight (Baltimore, Md: Johns Hopkins Press, 1976). 3. For a fuller discussion of this incident, see ibid., pp. 212-16. 4. Newman lvey White, Shelley (New York: A. A. Knopf, 1947) vol. II,

p. 29. 5. Ibid., p. 33. 6. Ibid., p. 77. 7. Kenneth Neill Cameron, Shelley: The Golden Years (Cambridge, Mass.:

Harvard University Press, 1974) p . 256. 8. Ibid., p . 297. 9. Ibid., p. 72.

10. Richard Holmes, Shelley: The Pursuit (London: Weidenfeld and Nicolson, 1974) p. 466.

11. Ibid., p. 447. 12. See Ursula Orange, 'Elise, Nursemaid to the Shelleys' , Keats-Shelley

Memorial Bulletin, 6 (1955) pp. 24-34; and Holmes, Shelley: The Pursuit, pp. 481-4. Holmes has since retracted this theory that Elise Foggi was the mother of the 'Neopolitan ward'; however, his original argument is persuasive. See Richard Holmes, Footsteps: Adventures of a Romantic Biographer (New York: Viking, 1985) pp. 172-3.

188 Notes

13. Cameron, Shelley: The Golden Years, p. 303. 14. Donald H. Reiman, 'Structure, Symbol, and Theme in "Lines Written

Among the Euganean Hills"', PMLA, 77 (1962) pp. 404-13. See also Earl Wasserman, Shelley: A Critical Reading (Baltimore, Md: Johns Hopkins Press, 1971) pp. 197-203; and Judith Chernaik, The Lyrics of Shelley (Cleveland, Ohio: Case Western Reserve Press, 1972) pp. 61-74.

15. See Richard H:endrix, 'The Necessity of Response: How Shelley's Radical Poetry Works', Keats-Shelley Journal, 27 (1978) pp. 45--69.

16. So Reiman interprets this passage, in 'Structure, Theme, and Symbol', as does Chernaik in The Lyrics of Shelley.

17. Robinson, Shelley and Byron, p. 105. 18. See ibid. 19. Ibid.; the chapter on this poem is the best in this vein. 20. Ibid., pp. 31-2. 21. Bernard Hirsch, '"A Want of that True Theory": Julian and Maddalo as

Dramatic Monologue', Studies in Romanticism, 17 (1978) pp. 13-34. 22. Ibid., p. 34. 23. Vincent Newey, 'The Shelleyan Psychodrama: Julian and Maddalo', in

Miriam Allott (ed.), Essays on Shelley (Liverpool: Liverpool University Press, 1982) p. 75.

24. Hirsch and Newey mention similarities between Julian and Maddalo and Alastor, but only in passing. See Hirsch, '"A Want of That True Theory"', p. 26, and Newey, 'The Shelleyan Psychodrama', p. 89.

25. Shelley wrote to Hunt in 1819 that the Maniac was 'in some degree a painting from nature, but with respect to time and place, ideal', which seems like a too purposeful disclaimer of any resemblance to the living or dead (Shelley, Letters, n, 108).

26. Otto Rank, The Double: A Psychoanalytic Study, trans. Harry Tucker, Jr (1914; New York: New American Library, rptd 1971) p. 74.

27. Neville Rogers, Shelley at Work: A Critical Inquiry (Oxford: Clarendon Press, 1967) p. 174.

Notes to Chapter 4: Love, Hate and Reparation

1. Stuart Curran in Shelley's An nus Mirabilis: The Maturing of an Epic Vision (San Marino, Calif: Huntington Library Press, 1975) p. 39, and many other critics have traditionally considered the four acts as a unit. But Jean Hall thinks otherwise in 'The Socialized Imagination: Shelley's The Cenci and Prometheus Unbound', Studies in Romanticism, vol. 23 (Fall1984) p. 339. Michael Henry Scrivener also considers the time-lapse between Acts 111 and IV of Prometheus Unbound to be significant. See ch. 5 of his Radical Shelley (Princeton, N.J.: Princeton University Press, 1982).

2. See Earl Wasserman, Shelley: A Critical Reading (Baltimore, Md: Johns Hopkins Press, 1971).

3. Ross Woodman, The Apocalyptic Vision in the Poetry of Shelley (Toronto: University of Toronto Press, 1964) chs 7 and 8.

4. Curran, Shelley's Annus Mirabilis. 5. See Kenneth Neill Cameron, Shelley: The Golden Years (Cambridge,

Notes 189

Mass.: Harvard University Press, 1974); P. M. S. Dawson, The Unac­knowledged Legislator: Shelley and Politics (Oxford: Clarendon Press, 1980); and Scrivener, Rndical Shelley.

6. C. G. Jung, The Structure and Dynamics of the Psyche (Princeton N.J.: Princeton University Press, 1960) pp. 23, 38-9.

7. Ibid., pp. 34-5. 8. Ernst Kris, Psychoanalytic Explorations in Art (New York: International

Universities Press, 1952), p. 312. 9. Ibid., p. 318.

10. Leon Waldo££, 'The Father-Son Conflict in Prometheus Unbound', Psycho­analytic Review, 62 (1975) pp. 79-96.

11. Ibid., p. 92. 12. Wasserman, indeed, sees Jupiter only as a 'cruel parody of Prome-

theus', simply Prometheus's 'own former self which he has dispelled since he no longer hates but pities' (Shelley: A Critical Reading, p. 260). Prometheus's change of mind thus takes place before the play begins. However, Prometheus seems definitely flawed during the present action of Act r, as he certainly was also in cursing Jupiter before.

13. See Brisman's excellent analysis of the problem Shelley faced of trans-forming this Promethean voice from defiance to love, while preserving the sublime style. Susan Hawk Brisman, '"Unsaying His High Lan-guage": The Problem of Voice in Prometheus Unbound', Studies in Roman­ticism, 16 (1977) pp. 51-86. See also Leon Waldo££, 'Father-Son Conflict in Prometheus Unbound', Psychoanalytic Review, 62 (1975) pp. 79-96, for a detailed look at Prometheus's unacknowledged failings.

14. There is much critical disagreement about why and when Prometheus revokes his curse of Jupiter, a pivotal point in the play. Pottle says that the hatred 'evaporated' one day, and Prometheus discovered that love had taken over. (Frederick A. Pottle, 'The Role of Asia in the Dramatic Action of Prometheus Unbound', in George M. Ridenou (ed.), Shelley, A Collection of Critical Essays (Englewood Cliffs, N.J.: Prentice-Hall, 1965), p. 137.) Baker thinks that the moral reformation of Prometheus is complete by the end of the curse repeated by the Phantasm of Jupiter. (Carlos Baker, Shelley's Major Poetry: The Fabric of a Vision (Princeton, N.J.: Princeton University Press, 1948) p. 97.) Reiger sees the change occurring before the beginning of the play, as Prometheus had already begun to pity Jupiter. Games Reiger, The Mutiny Within: The Heresies of Percy Bysshe Shelley (New York: Braziller, 1967) p. 105.) Vitoux holds that Prometheus is freed because he comes to see that love is the real power in Act n, and that he really has no secret nor hidden knowledge. (Pierre Vitoux, 'Jupiter's Fatal Child in Prometheus Unbound', Criticism, 10 (1968) pp. 115-25.) Wasserman sees Jupiter only as a negative reflection of Prometheus, 'an unnatural condition that Mind wrongfully permits and can repeal by an act of the will' (Shelley: A Critical Reading, p. 258).

15. Waldo££, 'The Father-Son Conflict in Prometheus Unbound', pp. 88-90. 16. Curran, Shelley's Annus Mirabilis. 17. Hesiod, The Homeric Hymns and Homerica, trans. Hugh G. Evelyn-White

(Exeter, N.H.: Heinemann, 1924), pp. 11, 15-17, 87.

190 Notes

18. For a persuasive reading of Demogorgon in this way, see Stuart M. Sperry, 'Necessity and the Role of the Hero in Prometheus Unbound', PMLA, 96 (March 1981) pp. 242-54, especially pp. 248-9.

19. Curran, Shelley's Annus Mirabilis, p. 39. 20. Ibid., p. 53. 21. Wasserman, Shelley: A Critical Reading, pp. 320-3. 22. Jung, Archetypes, p. 162. 23. Ibid., p. 164. 24. The Dialogues of Plato, trans. B. Jowett, 4th edn, 2 vols (London: Claren-

don Press, 1968) vol. II, pp. 768 and 639. 25. Ibid., p. 639. 26. Curran, Shelley's Annus Mirabilis, pp. 49-50. 27. James B. Twitchell, 'Shelley's Use of Vampirism in The Cenci', Tennessee

Studies in Literature, 24 (1979) pp. 120-3. 28. See Hall, 'The Socialized Imagination'. 29. Stuart Curran, Shelley's 'Cenci': Scorpions Ringed with Fire (Princeton,

N.J.: Princeton University Press, 1970), pp. 142-7, and Shelley's Annus Mirabilis, p. 129.

30. Robert Whitman, 'Beatrice's Pernicious Mistake in The Cenci', PMLA, 74 (1959) p. 251.

31. Richard Holmes, Shelley: The Pursuit (London: Weidenfeld and Nicolson, 1974) p. 517.

32. Curran, Shelley's 'Cenci', p. 116. 33. Robert Langbaum, The Poetry of Experience; The Dramatic Monologue in

Modern Literary Tradition (New York: Norton, 1957) p. 79. 34. Whitman, 'Beatrice's Pernicious Mistake in The Cenci', p. 251. 35. Holmes, Shelley: The Pursuit, p. 218. 36. Ibid., p. 260. 37. Ibid., p. 175. 38. Donald H. Reiman (ed.), Shelley and His Circle: 1773-1822, 6 vols

(Cambridge, Mass.: Harvard University Press, 1973) vol. VI, pp. 897-9. 39. Curran, Shelley's 'Cenci', p. 90. 40. Judith Hubback, 'Envy and the Shadow', Journal in Analytical Psychology,

vol. 17, no. 2 (1972) p. 158. 41. Melanie Klein, Envy and Gratitude & Other Works, 1946-1963 (New York:

Delacourt Press, 1975) pp. 181 and 280. 42. Daniel Hughes, 'Shelley, Leonardo, and the Monsters of Thought',

Criticism, XII (1970), p. 208. 43. In Apocalyptic Vision, Woodman considers Shelley to be an apocalyptic

poet whose vision turned increasingly ironic: and he sees Prometheus Unbound as 'a psychic process whereby Prometheus revives the divinity within himself (p. 109). However, in his extended discussion of this work Woodman does not mention any allusions in it to the Book of the Revelation. Other critics have seen a connection between Prometheus Unbound and Revelation, but they discuss this relation in general terms. Harold Bloom (Shelley's Mythmaking (New Haven, Conn.: Yale Univer-sity Press, 1959) p. 141) says that Shelley's vision in the poem is consistent with the long visionary tradition running from Ezekiel through Revelation, Dante and Milton; and he mentions in passing that the

Notes 191

'winged infant' seen by Panthea may derive from Revelation's Son of Man. Meyer Abrams (Natural Supernaturalism (New York: Norton, 1971) holds that this Biblical book profoundly influenced Western literature, but does not analyse it as specifically influencing Prometheus Unbound. Timothy Webb also says that the general structure of Prometheus Unbound follows Biblical patterns, without a specific analysis of how this is so (Shelley: A Voice Not Understood (Atlantic Highlands, N.J.: Humanities Press, 1977) p. 176). ·

44. So compare these verses in Revelation with these lines in Prometheus Unbound: 21:2 and IV.319 ff; 21:3 and IV.326-31; 21:4 and IV.338-55; 21:5 and IV.356-62; 21:6 and IV.363-9; 21:7 and IV.370-423; 21:8 and IV.383-408; 21:9 and IV.424-36; 21:11-21 and IV.437-92; 21:33 and IV.437-98; 22:1 and IV.503-15; 22:4-5 and IV.510-16; 22:6 and IV.519-47; 22:11 and IV.549-52; and 22:13-20 and IV.554-78.

45. Carl Grabo, A Newton Among Poets: Shelley's Use of Science in 'Prometheus Unbound' (Chapel Hill, N.C.: University of North Carolina Press, 1936; rptd Staten Island, N.Y.: Gordian Press, 1978); and Desmond King-Hele, Shelley: His Thought and Work, 2nd edn (London: Macmillan, 1971). And see Desmond King-Hele, Erasmus Darwin and the Romantics (London: Macmillan, 1986).

46. Grabo, A Newton Among Poets, pp. 161-3. 47. Alfred North Whitehead, Science and the Modern World: Lowell Lectures,

1925 (New York: Macmillan, 1964) p. 163. 48. Grabo, A Newton Among Poets, pp. 180-1. 49. Woodman, Apocalyptic Vision, p. 71. 50. Wasserman, Shelley: A Critical Reading, p. 257. 51. Curran, Shelley's Annus Mirabilis, pp. 113 and 118. 52. Dawson, The Unacknowledged Legislator, pp. 109 and 133. 53. Scrivener, Radical Shelley, p. 156. 54. Ernst Kris, Selected Papers (New Haven, Conn.: Yale University Press,

1975), pp. 486-7.

Notes to Chapter 5: Fables of Ambivalence

1. Erasmus Darwin, The Botanic Garden (1791; rptd London: Scholar Press, 1973). See Desmond King-Hele, 'Shelley and Erasmus Darwin', in Kelvin Everest (ed.), Shelley Revalued (New York: Barnes and Noble, 1983) for a general discussion of Erasmus Darwin's contribution to Shelley's poetry.

2. Daniel Rubin, 'A Study of Antinomies in Shelley's "Witch of Atlas'", Studies in Romanticism, 8 (1968) p. 216.

3. Jerrold Hogle, 'Metaphor and Metamorphosis in Shelley's "Witch of Atlas'", Studies in Romanticism, 19 (1980) pp. 327-53, esp. pp. 327-30.

4. Ibid., p. 345. 5. Roger D. Abrahams, 'The Literary Study of the Riddle', Texas Studies in

Literature and Language, xrv (1972) p. 187. 6. Richard K. Priebe, 'Tutuola, the Riddler', in Bernth Lindfors (ed.),

Critical Perspectives on Amos Tutuola (Washington: Three Continents Press, 1975) p. 267.

192 Notes

7. Richard Caldwell, 'The Sensitive Plant as Original Fantasy', Studies in Romanticism, 15 (Spring 1976) p. 248.

8. Melanie Klein, The Psychoanalysis of Children (London: Hogarth, 1932) pp. 246-7.

9. D. W. Winnicott, Playing and Reality (London: Tavistock, 1971; rptd 1980) pp. 41-7.

10. Caldwell, 'The Sensitive Plant as Origtpal Fantasy', pp. 221-52. 11. Jung, Archetypes, and Michael Fordham, Children as Individuals. 12. Caldwell (in 'The Sensitive Plant as Original Fantasy') thinks that the

sensitive plant survives at the end of the poem (p. 250), and I agree. It seems more likely to be a perennial than an annual, for its family Mimosaceae is comprised of ornamental trees, shrubs and perennial herbs. But if the sensitive plant is a 'leafless wreck' at the end, that means that it has lost its one ornamental feature- its leaves.

13. Ibid., p. 250. 14. Ibid., pp. 234-7. 15. See John Allegro, The Sacred Mushroom and the Cross (Garden City, N.Y.:

Doubleday, 1970). 16. Donald H. Reiman and Sharon B. Powers, Shelley's Poetry and Prose

(New York, Norton, 1980) p. 217. 17. Ibid., p. 210. 18. Hogle, 'Metaphor and Metamorphosis', p. 331. 19. See Angela Leighton, 'Deconstructive Criticism and Shelley's Adona is',

in Kelvin Everest (ed.), Shelley Revalued (New York: Barnes and Noble, 1983), esp. pp. 156-63; and Peter Sacks, who says that the purpose of an elegy is to displace the raw emotion of mourning on to the 'organized currents of language' ('Last Clouds: A Reading of" Adonais"', Studies in Romanticism, 23 (Fall1984) p. 380).

20. Xavier Bichat, General Anatomy, trans. George Hayward, 3 vols (Boston, Mass.: Richardson and Lord, 1799-1801), vol. m, p . 285.

21. R. G. Woodman, 'Shelley's Urania', Studies in Romanticism, 10 (Winter 1978) p. 72.

22. Percy Bysshe Shelley, Letters, ed. Frederick L. Jones, 2 vols (New York: Oxford University Press, 1964) vol. II, p. 306.

23. Jean-Paul Sartre, Being and Nothingness, trans. Hazel E. Barnes (1943; New York: Washington Square Press, 1956) pp. 301-3, 384--7.

24. Shelley, Letters, vol. II. To Thomas Love Peacock, 8 November, 1820: · 'Thank you for your kindness in correcting "Prometheus", which I am

afraid gave you a great deal of trouble. Among the modem things which have reached me is a volume of poems by Keats . . . containing the fragment of a poem called "Hyperion" ... it is certainly an astonishing piece of writing, and gives me a conception of Keats which I confess I had not before.' To Claire Clairmont, 15 November, 1820: 'I am happy that the "Hyperion" and "Prometheus" please you. My verses please so few persons that I make much of the encouragement of the few, whose judgment (if I were to listen to Vanity, the familiar spirit of our race) I should say with Shakespeare and Plato "outweighed a whole theatre of others".' To Thomas Love Peacock, 16 February, 1821: 'I am devising literary plans of some magnitude. But nothing is so difficult

Notes 193

and unwelcome as to write without a confidence of finding readers; and if my play "The Cenci" found none or few, I despair of ever producing anything that shall merit them. Among your anathemas of the modem attempts in poetry, do you include Keats's "Hyperion"? I think it very fine. His other poems are worth little; but if the "Hyperion" be not grand poetry, none has been produced by our contemporaries.'

25. Fred L. Milne, 'Shelley on Keats: A Notebook Dialogue', English Lan­guage Notes, 13 (1976) p. 282.

26. James A. W. Heffernan, 'Adonais: Shelley's Consumption of Keats', Studies in Romanticism, 23 (Fal11984) pp. 295-316.

27. As Leighton comments in 'Deconstructive Criticism and Shelley's Adonais', its language is dense and 'at times grotesquely ingenious' (p.160).

28. All subsequent references to Dante, The Divine Comedy, use the trans-lation by Charles S. Singleton (Princeton, N.J.: Princeton University Press, 1973).

29. See Woodman, 'Shelley's Urania', p. 63. Sacks ('Last Clouds: A Reading of "Adonais" ') also considers the poem to be dealing with 'the bereavement of the maternal figure, the original loss' (p. 383).

30. Jung, Archetypes, see esp. pp. 160-1, 165-8, 170-1 and 278.

Notes to Chapter 6: The Triumph of Life 1. Paul de Man, 'Shelley Disfigured', in Harold Bloom et al., Deconstruction

and Criticism (New York: Continuum, 1979) pp. 40 and 67. 2. Donald H. Reiman, 'Shelley's "Triumph of Life": The Biographical

Problem', PMLA, 78 (Dec. 1963) 536-55; and Shelley's 'The Triumph of Life': A Critical Study (Urbana, Ill.: University of Illinois Press, 1965).

3. Donald H. Reiman and Sharon B. Powers, Shelley's Poetry and Prose (New York: Norton, 1980) p. 497.

4. Reiman notes these parallels, and also the early suggestion made by Paget Toynbee, in Dante in English Literature: From Chaucer to Cary (London: Methuen, 1909) that Rousseau's vision of the triumph is like Dante's Purgatorio; and Reiman goes on to say that Rousseau's story might then 'mark the beginning of Shelley's discussion of the purgatorial experience of mankind as opposed to the Inferno he had described in TL, 43-299'. (Reiman, Shelley's 'The Triumph of Life': A Critical Study, p. 68n.)

5. See A. C. Bradley, 'Notes on Shelley's "Triumph of Life'", Modern Language Review, rx (1914) pp. 44lff.; Steve Ellis, Dante and English Poetry (New York: Cambridge University Press, 1983) pp. 31-3; Charles E. Robinson, Shelley and Byron: The Snake and Eagle Wreathed in Fight (Baltimore, Md: Johns Hopkins Press, 1976) p. 227; and Reiman, Shelley's 'The Triumph of Life': A Critical Study, p. 30.

6. So Steve Ellis, in Dante and English Poetry, considers the many parallels between this poem and the Commedia, but uses them to support his thesis that modem poets admire Dante's poetry but ignore his religion and philosophy. His inference is that this is a deficiency on Shelley's part, caused by his failure to understand the true nature of Dante's achievement. See especially pp. 34-5 where these divergences are seen as Shelley's 'confusion'.

194 Notes

7. Mary Shelley's Journal, ed. Frederick L.Jones (Norman, Okla: University of Oklahoma Press, 1968) p. xiii. According to Mary, Shelley read the Purgatorio on 6 April, 1818; 12-19 April, 27 May and 7, 9, 11 August of 1819; and Paradiso on 22 April1818; and 14 September of 1819.

8. Thomas Medwin, The Life of Percy Bysshe Shelley (1847; rptd London: Oxford University Press, 1913) p. 244.

9. Ibid., p. 249. 10. Ibid., pp. 376-7. 11. See ch. 1 of Ellis, Dante and English Poetry: 'Shelley, Dante, and Freedom',

esp. pp. 21-31. 12. Teresa Emilia Viviani, the inspiration of Epipsychidion, was introduced

into the Shelley circle in November 1820. The beautiful daughter of the governor of Pisa, she was kept in isolation in a convent, apparently because of her mother's jealousy. The Shelleys and Claire Clairmont felt an immediate sympathy for her, and for Shelley the attachment seems to have passed from a brotherly friendship to something more. Mary grew disillusioned with Emilia, and her letters show more than a little jealousy of her. Epipyschidion is the only one of Shelley's long poems for which Mary failed to write a note. See Newman Ivey White, Shelley (New York: A. A. Knopf, 1947) vol. II, pp. 247-70. Ellis says that Shelley's use of Dante's conception of love in Epipsychidion 'seems hardly dissimilar to an adulterer's use of the text "Love thy neighbor" as he climbs the garden-fence' (Dante and English Poetry, p. 14).

13. Ellis, Dante and English Poetry, p. 9. 14. Reiman and Powers, Shelley's Poetry and Prose, pp. 496-500. 15. Percy Bysshe Shelley, Letters, ed. Frederick L. Jones (New York: Oxford

University Press, 1964) vol. II, p. 434. 16. All quotations are taken from Dante Alighieri, The Divine Comedy, trans.

with a commentary by Charles S. Singleton (Princeton, N .J.: Princeton University Press, 1970).

17. Ibid., commentary in the Inferno, p. 4. 18. Reiman and Powers, Shelley's Poetry and Prose, p. 458. 19. See John A. Hodgson, 'The World's Mysterious Doom: Shelley's "The

Triumph'", English Literary History, 42 (1975) pp. 59~22; and Reiman, Shelley's 'The Triumph of Life': A Critical Study.

20. Rousseau was in considerable difficulty and even danger after the publications of Social Contract and Emile. Hume invited him to England, where he was instantly lionised, and arranged to have George III give him a pension. But Rousseau soon came to feel that his host was secretly hostile to him and he renounced the pension, much embarrassing Hume. Rousseau wrote a vitriolic letter to his publisher about Hume's 'persecution' of him, a letter which wound up in the London news-papers. Hume answered with his own account, read with much interest by the king, and that ended any friendly relations between Rousseau and Hume.

21. For a good account of Rousseau's reputation in England, see the first two chapters of Edward Duffy's Rousseau in England: The Context for Shelley's Critique of the Enlightenment (Berkeley, Calif.: University of California Press, 1979). Duffy concludes, it is true, that Shelley greatly

Notes 195

admired Rousseau as 'a fellow Promethean' (p. 53). But the evidence both within The Triumph of Life and without it- for in Shelley's circle Wollstonecraft, Hogg and Godwin all saw Rousseau as a hypocrite-seems to controvert him.

22. Hodgson, 'The World's Mysterious Doom', p. 618. He says that Shelley concludes that Venus represents 'man's only hope for remaining uncor-rupted by life'.

23. McGann and Reiman think the latter, seeing Rousseau's great flaw to be his contempt for the world, as the narrator well knows. See Jerome McGann, 'The Secrets of an Elder Day: Shelley After Hellas', Keats­Shelley Journal, xv (1966) pp. 3&-41; and Reiman, Shelley's 'The Triumph of Life': A Critical Study, p. 39.

24. See G. M. Matthews, 'On Shelley's "The Triumph of Life'", Studies Neophilologica, vol. 34, no. 1 (1962), p. 124; and Reiman, 'Shelley's "The Triumph of Life": The Biographical Problem', pp. 536-50.

25. Matthews points out this connection in 'On Shelley's "The Triumph of Life'".

26. Half of Paul de Man's book Allegories of Reading (New Haven, Conn.: Yale University Press, 1979) is devoted to Rousseau. His chapter 'Excuses (Confessions)' is especially relevant here. As he says, 'The extensive possibilities of bad faith engendered by the distinction between the actual event and the inner feeling are abundantly present throughout Rousseau' (p. 282n).

27. He who contributed most to the population of the Foundling Hospital was always most applauded. I caught the infection; I formed my manner of thinking upon that which I saw prevalent amongst very amiable and, in the main, very honourable people. I said to myself, 'Since it is the custom of the country, one who lives here may follow it.' Oean-Jacques Rousseau, Confessions, Book VII.)

Too honest towards myself, too proud in my heart to desire to belie my principles by my actions, I began to consider the desti-nation of my children. . . . But is it possible that my warm-heartedness, lively sensibility, readiness to form attachments . . . my natural goodwill towards all my fellow-creatures, my ardent love of the great, the true, the beautiful, and the just ... my utter inability to have or to injure, or even to think of it .. . is it possible, I ask, that all these can ever agree in the same heart with the depravity which, without the least scruple, tramples underfoot the sweetest of obligations? No! - it is impossible. (Ibid., Book VIII; how much this sounds like the Madman's lament in Julian and Maddalo, lines 442-450.)

Children ... were born to us: but this only made things worse. I shuddered at the thought of handing them over to the care of this badly brought up family the Le Vasseurs, to be brought up even worse. The risks of bringing up at the Foundlings Hospital were far less. (Ibid., Book IX.)

196 Notes

28. Dante Alighieri, The Divine Comedy, Singleton's commentary on Purgatorio, p. 663.

29. Ibid., p. 8. Reiman and Powers note that Shelley always means the planet Venus when he refers to Lucifer (Shelley's Poetry and Prose, p. 466).

30. Charles S. Singleton, Dante Studies 2: tourney to Beatrice (Cambridge, Mass.: Harvard University Press, 1967) p. 269.

31. Reiman and Powers, Shelley's Poetry and Prose, p. 498. 32. Dante compares Matilda to Proserpina, who was gathering violets

when abducted, according to Ovid. (Dante Alighieri, The Divine Comedy, Singleton's commentary on Purgatorio, p . 671.)

33. Reiman and Powers, Shelley's Poetry and Prose, p. 497. 34. Ibid., p. 500. 35. Ibid. 36. Ibid. 37. C. G. Jung, Two Essays on Analytical Psychology (Princeton, N.J.: Princeton

University Press, 1953) p . 219. 38. Maria Gisborne and Edward E. Williams: Shelley's Friends; Journals and

Letters, ed. Fredrick L. Jones (Norman, Okla: University of Oklahoma Press, 1951) p. 147.

Index Abbey, Lloyd R., 183 Abrahams, Roger D., 191 Acteon, 145 Allegro, John, 192 Ambivalence, 11-14, 118-19. See

also Shelley, Ambivalence; Shelley, Fantasies

Archetypes: Anima, 25; Child, 15, 88; Mother, 19-20; Puer Eternus, 27-8, 152. See also Shelley, Child-motif; Shelley, Mother-motif

Baker, Carlos, 189 Bichat, Xavier, 142-3, 192 Bloom, Harold, 190 Hostetter, Edmund, 184 Bradley, A. C., 193 Brisman, Susan Hawk, 189 Brown, Nathaniel, 5, 19, 182, 184,

185 Byron,S0-1,58-9, 61,157-8. See

also Shelley, envy of Byron

Caldwell, Richard, 134-5, 184, 192 Cameron, Kenneth Neill, 52-3,

183, 187, 188 Chernaik, Judith, 183, 188 Clairmont, Claire, 7-8, 50-1, 58,

112, 183, 192, 194 Curran, Stuart, 80, 86, 102, 106,

114, 182, 183, 186, 188, 189, 190, 191

Dante, 150-2, 155-65, 169-80 Darwin, Erasmus, 123, 125, 131-2,

191 Dawson, P.M. S., 5, 182, 183, 189,

191 De Man, Paul, 10, 154, 175, 184,

193, 195 Derrida,Jacques, 10,184 Desan, Wilfred, 182 Duffy, Edward, 194

197

Ellis. F. R., 186 Ellis, Steve, 158-9, 193, 194 Enscoe, Gerald, 184 Envy, 13-14, 115-16. See also

Shelley, envy Everest, Kelvin, 183, 187

Fantasies: Jung, 1; Klein, 12-14. See also Shelley, fantasies; Shelley, Child-motif; Shelley, Mother-motif

Foggi, Elise, 8, 51-3, 182, 183 Fordham, Frieda, 185 Fordham, Michael, 185, 192 Franz, Marie-Louise von, 186 Freud, 184, 186; ambivalence, 1,

11; 'The Uncanny', 39

Grabo, Carl, 123-4, 182, 183, 191

Hagopian, John, 184 Hall, Jean, 188, 190 Heffernan, James, A. W., 193 Hendrix, Richard, 183, 184, 188 Herschel, William, 124 Hesiod, 80-2, 89, 96, 126-7, 189 Hirsch, Bernard, 63, 188 Hodgson, John A., 194, 195 Hogg, Thomas, 7 Hogle, Jerrold, 10, 132, 183-4, 191,

192 Holmes, Richard, 9-10, 52-3, 104,

112, 182, 187, 190 Hubback, Judith, 190 Hughes, Daniel, 190 Hume, David, 165, 168-9, 194

Ixion, 160

Jones, Frederick, 157, 183, 196 Jung, 182, 186, 189, 192, 193, 196;

archetypal fantasies, 180-1; regression, 73-4; 'Shadow' , 1, 116. See also archetypes; Shelley, Child-motif, fantasies, and Mother-motif

198

Keach, William, 182 Keats, John, 147-50, 160, 192. See

also Shelley: envy of Keats, individual poems: Adonais

King-Hele, Desmond, 123-4, 183, 191

Klein, Melanie, 12-13, 115-16, 134, 184-5, 190, 192

Kris, Ernst, 74, 82, 129, 189, 191

Langbaum, Robert, 111, 190 Leighton, Angela, 182, 184, 192,

193 Lucretius, 44-5

McGann, Jerome, 195 Male, Roy, 185 Matthews, G. M., 195 Medwin, Thomas, 157, 194 Miller, J. Hillis, 184 Miller, Milton, 184

Newey, Vincent, 63, 188

Orange, Ursula, 182, 183, 187

Peacock, Thomas Love, 85, 192 Phillips,Jane,45, 187 Play, 132-5, 141 Pottle, Frederick A., 189 Powers, Sharon, 138, 182, 186,

192, 193, 194, 196 Pre-Ambivalence, 47. See also

Shelley: Fantasies of splitting and dissolution

Priebe, Richard K., 191 Pulos, C. E., 183

Rajan, Tilotamma, 184 Rank, Otto, 48, 187, 188 Rapaport, Herman, 40, 184, 186 Reiger, James, 189 Reiman, Donald, 138, 167, 182,

185-6, 188, 190, 192, 193, 194,195, 196

Revelation, StJohn's, 121-3, 126-7, 191

Riddles, 133-4 Robinson, Charles, 10, 49, 168,

183, 187, 188, 193

Index

Rogers, Neville, 182, 188 Rogers, Robert, 187 Rubin, Daniel, 191

Sacks, Peter, 192, 193 Sartre, 5, 146, 192 Schapiro, Barbara, 184, 186-7 Scrivener, Michael Henry, 183,

188, 191 Shelley, Clara, 8, 51-3, 150 Shelley, Mary, 7-8,50-3,63,71,

104, 112-15, 149-50, 157-8, 183, 194

Shelley, P,ercy Bysshe, ambivalence: 11-14, 17, 53-4,

141-2, 175; acceptance of, 45-7, 127, 153; fear of, 26, see also Chapters 3 and 5; bad faith, 5-8, 12, 146-50, 167-9, 178-9, see also Chapter 3; Child-motif: 14-17, 181; in 'On Love', 18-20; in A/astor, 26-34; in 'Hymn to Intellectual Beauty', 36-7; in 'Mont Blanc', 38-43, 47; in Lines Written Among the Euganean Hills, 56-8; in Julian and Maddalo, 68-9; in 'Stanzas Written in Dejection', 69-70; in Prometheus Unbound, 86-9, 95-7; in The Cenci, 115-19; in The Sensitive Plant, 134-9; in The Witch of Atlas, 135-6, 139-41; in Adonais, 152; in TheTriumphofLife, 169,175, 180; critical reputation, 8-10

envy: in poems, Lines Written Among the Euganean Hills, 49-50, 53-4, 58-9; Julian and Maddalo, 61-2; The Cenci, 112, 115-19; The Sensitive Plant, 136-9; Adonais, 147-9; The Triumph of Life, 168; of Byron, 10,12,49-50,53,58-9, 61-2, 138, 168; of Keats, 12, 138, 147-9; primal, 112, 139

fantasies: of dissolution, 3-5,

31-3,35-9,54,56-9,115-17, 119, 136-9, 142-4; ofregres-sion, 31-2, 72-4, 81-3, 89-91, 94-5, 121, 127-29; of reparation, 60, 70, 121, 151, 179-80; of splitting, 33-4, 36-7, 43, 139, 136-7, 169, 174-5; see also Shelley, child-motif and mother-motif

individual poems: Adonais, 3-4, 14, 16, 141-53, 179; Alastor, 14, 16, 20-34, 42, 48, 63-4, 179; The Cenci, 3-4, 14, 73, 94, 98-120, 138, 179; A Defence of Poetry, 7, 71, 154, 159, 174, 177-8; Epipsychi­dion, 8, 158-60; 'Essay on Christianity', 6, 49, 130; 'Hymn to Intellectual Beauty', 16, 34-7, 179; Julian and Maddalo, 4, 14, 16, 61-70, 145-6, 179; Lines Written Among the Euganean Hills, 4, 16, 49-61, 64, 179; ~ont Blanc, 37-47; 'Note to Queen ~ab', 6; 'On Love', 18-20, 21, 169; 'On the Medusa of Leonardo da Vinci', 38-9; Prometheus Unbound, 3, 14, 71-100, 119-29, 179; The Sensitive Plant, 3-4, 14, 16, 130-9; 'Speculations on Metaphysics and Morals', 6, 18, 130; 'Stanzas Written in Dejection', 14, 69-70; The Triumph of Life, 4, 10, 154-80; The Witch of Atlas, 10, 14, 16, 130-2, 135-6, 139-41

mirror image, 19-20, 39, see also Shelley, fantasies of splitting

Mother-motif: 'On Love', 19-20; Alastor, 25-7, 30-4; 'Hymn to Intellectual Beauty', 36-7; ~ont Blanc, 38-43; Prometheus Unbound, 72-3, 76, 81-2, 90-1, 95; The Sensi­tive Plant, 134-6, 139; The Witch of Atlas, 135-6, 139-41; The Triumph of Life, 177-8

Index 199

'Neopolitan ward', 51-3; 'Roman' principle, 76-7, 174, 179; science in, 16, 123-7, 131-3, 142-4; self-con-tempt, 48, 145-50, 165, 167-9, 179-80, see also Chapter 3; self-images, 1-2, 22-6, 47-8, 61-8, 79, 105, 111-15, 145-7, 156-7, 164-9, 178-80; self-pity, 2, 12, 17, 50, 54-6, 145-6, see also Chapter 3; view of Wordsworth, 20-1, 23-4

Shelley, William, 71, 150-1 Singleton, Charles, 161, 173, 193,

194, 196 Sperry, Stuart M., 190 Stein, L., 47, 187

Taafe, John, 157 Tetrault, Ronald, 186 Thorslev, Jr, Peter, 184 Turner, Paul, 44, 187 Twitchell, James B., 190

Vitoux, Pierre, 189 Viviani, Teresa Emilia, 7, 160-1,

194

Waldo££, Leon, 74, 184, 189 Wasserman, Earl, 20-1, 182-3,

185, 188, 189, 190, 191 Webb, Timothy, 182, 191 Westbrook, Harriet, 7-8 White, Newton Ivey, 51-2, 183,

185, 187 Whitehead, Alfred North, 125, 191 Whitman, Robert, 190 Williams, Edwin, 160, 181 Williams, Jane, 7, 160 Winnicott, D. W., 19, 134-5, 185,

192 Woodrnan,Ross,47,182,184,187-

8, 190, 192, 193 Wordsworth, William, 20-1, 23-4,

185-6