Skip to main content

Blithe Spirit

  • Chapter
Shelley
  • 21 Accesses

Abstract

Between March and December 1819 Shelley wrote most of Prometheus Unbound and A Philosophical View of Reform, the whole of The Cenci, The Mask of Anarchy and Peter Bell the Third and several of his most famous lyrics, including the Ode to the West Wind — some 6000 lines of verse in all. After the usual hibernation, the lyric impulse took command again in the spring, and the unity among the lyrics written between September 1819 and July 1820 makes it natural to group them together in this chapter.

And walks with angel-step upon the winds.

Erasmus Darwin, Loves of the Plants

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 84.99
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 109.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 109.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Notes To X: Blithe Spirit

  1. The imagery of the boughs probably arose because Shelley was so impressed by the waterspouts he saw out at sea from Leghorn in the summer of 1819. They looked like tree-trunks, and he refers to ‘the black trunks of the waterspouts’ in A Vision of the Sea. The clouds near the waterspout would then be seen as being shaken off the boughs of the waterspout tree. See Henning Krabbe, Shelleys Poesi (Copenhagen, 1953), pp. 276–7.

    Google Scholar 

  2. H. D. Grant, Cloud and Weather Atlas (New York, 1944), p. 44. Plate I in Ludlam and Scorer’s Further Outlook (1954) shows a cloudscape like Shelley’s, except that the low clouds are fractocumulus not fractostratus.

    Google Scholar 

  3. See also Ludlam and Scorer’s Cloud Study (1957), p. 61.

    Google Scholar 

  4. For background to this paragraph, see J. Ruskin, Modern Painters; K. Badt, John Constable’s Clouds (Routledge, 1950);

    Google Scholar 

  5. W. J. Humphreys, Fogs and Clouds (Baltimore, 1926.)

    Google Scholar 

  6. For details of this banner cloud, see J. S. Collis, The Moving Waters (1955), p. 28. For photographs, see Grant, Cloud and Weather Atlas, pp. 90–1.

    Google Scholar 

  7. Hardy’s phrase. See E. Hardy, Thomas Hardy (1954), p. 218.

    Google Scholar 

  8. A Clutton-Brock, Shelley, the Man and the Poet, p. 226. See also R. Bridges, Milton’s Prosody (O.U.P., 1921), pp. 96–9.

    Google Scholar 

  9. See B. R. Pollin, Musicfor Shelleys Poetry (1974).

    Google Scholar 

  10. See preface to L. Vivante’s English Poetry (1950). The ‘New Critics’ are severely mauled by

    Google Scholar 

  11. W. C. Barton in Shelley and the New Criticism (1973).

    Google Scholar 

  12. E. Legouis and L. Cazamian, History of English Literature (1948 edition), p. 1058.

    Google Scholar 

Download references

Authors

Copyright information

© 1984 Desmond King-Hele

About this chapter

Cite this chapter

King-Hele, D. (1984). Blithe Spirit. In: Shelley. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-06803-6_10

Download citation

Publish with us

Policies and ethics