Abstract
In the first three months of 1822 the circle of friends at Pisa was thriving; but the social round was now almost routine and the search for diversions became more deliberate. One of these diversions was amateur theatricals, and it was planned to act Othello. Though this plan came to nothing the interest in drama continued. Williams was writing a play and Shelley was supposed to be at work on another, which was to have drawn on Trelawny’s piratical adventures. Shelley’s play, known as the Unfinished Drama, might well be renamed the Unstarted Drama, for its two fragments of filigree verse have no dramatic interest.
the tusked, ramshackling sea exults … As I sail out to die.
D. Thomas, Poem on his birthday
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Notes To XVI: The Triumph of Life
F. R. Leavis, Revaluation, p. 218. For hostile analyses, see Revaluation, pp. 216–21, and A. Tate, Reason in Madness (1941), p. 97. For friendly ones, see Propst, Shelley’s Versification, pp. 64–5, Fogle, Imagery of Keats and Shelley, pp. 258–64, and Wilson, Shelley’s Later Poetry, pp. 26–30.
Aldous Huxley, Those Barren Leaves (Penguin, 1951), p. 80.
T. S. Eliot, Essay on Dante in Selected Essays (1932).
Here and elsewhere I have made use of new texts by G. M. Mattnews, Studia Neophil., vol. 32 (1960) and D. H. Reiman, Shelley’s Triumph of Life.
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© 1984 Desmond King-Hele
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King-Hele, D. (1984). The Triumph of Life. In: Shelley. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-06803-6_16
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