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Romanticism
General Information
| Question | Answer |
|---|---|
| Samuel Taylor Coleridge | 1772-1834 |
| Kubla Khan | Samuel Taylor Coleridge, late 1797 or early 1798, contrasts, great beauty |
| "In Xanadu did Kubla Khan/A stately pleasure-dome decree:/Where Alph, the sacred river, ran/Through caverns measurelese to man/Down to a sunless sea" | Kubla Khan, Samuel Taylor Coleridge, late 1797 or realy 1798 |
| "And 'mid this tummult Kubla heard from far/Ancestral voices prophesying war!" | Kubla Khan, Samuel Taylor Coleridge, late 1797 early 1798, comparisons |
| "It was a miracle of rare device,/A sunny pleasure-dome with caves of ice!" | Kubla Khan, Samuel Taylor Coleridge, late 1797 early 1798, contrast |
| "In consequence of a slight disposition,...here the Khan Kubbla" | Samuel Taylor Coleridge about the writing of Kubla Khan |
| "A damsel with a dulcimer/In a vision once I saw" | Kubla Khan, Samuel Taylor Coleridge, late 1797 early 1798, has no connection to poem |
| "I would build that dome in air/That sunny come! those caves of ice!" | Kubla Khan, Samuel Taylor Coleridge, late 1797 early 1798 |
| "And close your eyes with holy dread/For he on honeydew hath fed/And drunk the milk of Paradise." | Kubla Khan, Samuel Taylor Coleridge, late 1797 early 1798, artistic poet |
| What is the connection of the damsel to the poem? | Kubla Khan, Samuel Taylor Coleridge, the damsel is creating music. Men have created the dome. Coleridge wants to create something through words. Her art=music, his art=poems |
| Coleridge Bibliography | Attended Cambridge and became a radical, met Wordsworth in 1797, knowon as the "Sage of Highgate" met Keats in 1819, addicted to Opium and Laudanum, lonely poet |
| When did Coleridge meet Wordsworth | 1797 |
| When did Coleridge meet Keats? | 1819 |
| When was Kubla Khan published? | 1816 |
| Info about Kubla Khan | lyric in tone and manner, resembling a meditative poem and an ode, full of mystery and dread |
| George Gordon Byron, Lord Byron | 1788-1824 |
| When did George Gordon Byron become Lord Byron | 1794, when his cousin was killed in battle in Corsica |
| What poem made Byron famous and when? | Childe Harold's Pilgrimage, 1812 |
| George Gordon Byron, Lord Byron's bibliography | Became baron in 1794 and famous in 1812 with the publication of Childe Harold's Pilgrimage, very public life, met Shelley and began his literary career, died from fevers going to battle (36 yers old), talent for longer works--satire, drama, narratives |
| When was Childe Harold published? | 1812 |
| What was George Gordon Byron, Lord Byron's greatest work | Don Juan |
| Biographia Literaria | Samuel Taylor Coleridge |
| Dejection: An Ode | Samuel Taylor Coleridge (1802) |
| Who was the "Sage of Highgate"? | Samuel Taylor Coleridge, named so in 1816 |
| Rime of the Ancient Mariner | Samuel Taylor Coleridge (late 1797 early 1798) |
| Childe Harold's Pilgrimage | George Gordon, Lord Byron 1812 |
| Don Juan | George Gordon, Lord Byron |
| English Bards and Scotch Reviewers | George Gordon, Lord Byron, first satire, 1800 |
| Hebrew Melodies | George Gordon, Lord Byron, lyrics set to music, 1812 |
| Manfred | George Gordon, Lord Byron, a tradegy |
| Beppo | George Gordon, Lord Byron, the revival of an old verse form the ottava rima in a short satiric work |
| Don Juan | George Gordon, Lord Byron, using the ottava rima verse form |
| She Walks in Beauty | George Gordon, Lord Byron, 1814, written about Lady Wilmot Horton, beautiful widow dressed in mourning at a ball |
| "She walks in beauty, like the night/Of cloudless climes and starry skies/An all that's best of dark and bright/Meet in her aspect and her eyes" | George Gordon, Lord Byron, She Walks in Beauty, 1814 |
| So We'll Go No More A-Roving | George Gordon, Lord Byron, poem addressed to himself, aware of the passing of his youth |
| "Though the night was made for loving/And the day returns too soon" | George Gordon, Lord Byron, So We'll Go No More A-Roving, time is going away, life ends soon |
| "For the sword outwears its sheath/And the soul wears out the berast/And the heart must pause to breathe/And love itself have rest" | George Gordon, Lord Byron, So We'll Go No More A-Roving, one has to rest, pull back a little |
| "So we'll go no more a-roving/So late into the night/Though the heart be still as loving/And the moon be still as bright" | George Gordon, Lord Byron, So We'll Go No More A-Roving, going out at night, having a good time |
| "One shade the more, one ray the less/Had half impaired the nameless grace/Which waves in every raven tress" | George Gordon, Lord Byron, She Walks in Beauty |
| "And on that cheek, and o'er that brow/So soft, so calm, yet eloquent/The smiles that win, the tints that glow/But tell of days in goodness spent" | George Gordon, Lord Byron, She Walks in Beauty |
| London | William Blake, effects of oppression on the human spirit, Songs of Experience, negative view of London, naturalistic writer, life is determined by heredity and environment, keeps lines connected, writing about the poor in London, darkness, sadness |
| "I wander through each chartered street/Near where the chartered Thames does flow/And mark in every face I meet/Marks of weakness, marks of woe" | William Blake, London, keeps lines connected, ties lines together using similar words |
| "In every cry of every man/In every infant's cry o fear/In every voice, in every ban/The mind-forged manacles I hear" | Ban--legal prohibition, should be happy if spelt ban, which is a wedding bann--read allowed in church |
| "How the chimney sweeper's cry/Every blackning church appalls/And the hapless soldier's sigh/Runs in blood down palace walls" | Chuch is black because of the coal but also because they aren't doing anything to help, should help but are part of the problem |
| "But most through midnight streets I hear/How the youthful harlot's curse/Blasts the newborn infant's tear/And blights with plagues the marriage hearse" | Veneral disease, children were born blind, diseases passed from prostituted to fathers and then to children, msot often syphillis |
| London, 1802 | William Wordsworth, 1802, adresses John Milton calling for the need for a new and powerful poetic "voice" in Wordsworth's own time to correct the weaknesses of English society |
| "Milton! thou shouldst be living at this hour/England hath need of thee: she is a fen/Of stagnant waters: altar, sword, and pen/Fireside, the heroic wealth of hall and bower" | William Wordsworth, London, 1802, 1802, England is a mess |
| "Have forfeited their anciet English dower/Of inward hapiness. We are selfish men/Oh! raise us up, return to us again/And give us manners, virtue, freedom, power." | William Wordsworth, London, 1802, 1802 |
| "Thy soul was like a star, and dwelt apart/Thou hadst a voice whose sound was like the sea/Pure as the nake heavens, majestic, free/So didst thou travel on life's common way/In cheerful godlinessl and yet thy heart/The lowliest duties on herself did lay" | William Wordsworth, London, 1802, 1802, showing he is saying how bad England is at the time, not directly attacking the Enlish smugness and materialism |
| Composed Upon Westminster Bridge | William Wordsworth, 1807, Wordsworth is moved by the majesty of sleeping London, unsual for Wordsworth beacuse it is in the form of a sonnet, in praise of Longon, describing it in the morning when he wouldn't have had much experience with |
| "Earth has not anything to show more fair/Dull would he be of soul who could pass by/A sight so touching in its majesty" | William Wordsworth, Composed Upon Westminster Bridge, contrast to London, 1802, London is peaceful, quiet, beautiful |
| "This city now doth, like a garment, wear/The beauty of the morningl silent, bare/Ships, towers, domes, theaters, and temples lie/Open unto the fields, and to the sky" | William Wordsworth, Composed Upon Westminster Bridge, 1807 |
| "All bright ant glittering in the smokeless air/Never did sun more beautifully steep/In his first splendor, valley, rock, or hill/Ne'er saw I, never felt, a calm so deep!" | William Wordsworth, Composed Upon Westminster Bridge, 1807 |
| The Destruction of Sennacherib | George Gordon, Lord Byron, bouncy, anapestic rhythms, assyrians lost battle at egypt, bible tells the same story Kings 2, 18-19, plague killed everyone, this tells the story of it |
| "The Assyrian came down like the wolf on the fold/And his cohorts were gleaming in purple and gold/An the sheen of their spears was like stars on the sea/When the blue wave rolls nightly on deep Galilee" | George Gordon, Lord Byron, The Destruction of Sennacherib, Assyrians lost battle at Egypt, plague mice ate their weapons |
| "And the widows of Ashur are loud in their wail/And the idols are broke in the temple of Baal/And the might of the Gentile, unsmote by the sword/Hath melted like snow in the glance of the Lord" | George Gordon, Lord Byron, The Destruction of Sennacherib |
| Percy Bysshe Shelley | 1792-1822 |
| A Defense of Poetry | Percy Bysshe Shelley, 1821, "poets are the unacknowledged legislators of the world" |
| The Revolt of Islam | Percy Bysshe Shelley, 1818, Percy's first major poetic work |
| Julian and Maddalo | Percy Bysshe Shelley, 1818, major long poem |
| Prometheus Unbound | Percy Bysshe Shelley, 1819, major long poem |
| Epipsychidion | Percy Bysshe Shelley, 1821, major long poem |
| Hellas | Percy Bysshe Shelley, 1821, major long poem |
| Adonais | Percy Bysshe Shelley, 1821, highly wrought elegy for Keats |
| Julian and Maddalo | Percy Bysshe Shelley, 1812, not published until after his death |
| Epipsychidion | Percy Bysshe Shelley, 1821, published after his death |
| Ode to the West Wind | Percy Bysshe Shelley, 1819, major lyric achievement, provoked by the sight of an oncoming storm near Florence, temporary note of exaltation after a period of greif over the death of his three-year-old son, William |
| To a Skylark | Percy Bysshe Shelley, 1820, romantic poet is inclined to see in nature manifestations of some higher order of being, harmony, and divinity |
| England in 1819 | Percy Bysshe Shelley, 1832, about the Peterloo Massacre, the king in line 1 is George III, the insane king, historical references |
| Ozymandias | Percy Bysshe Shelley, 1817, sonnet, greek name for Rameses II, who left monuments all over Egypt, central theme of the poem=the sin of pride |
| When did Percy Shelley arrive at Oxford? | 1810 |
| "O wild West Wind, thou breath of Autumn's being/Thou, from whose unseen presence the leaves dead/Are drive, like ghosts from an enchanter fleeing" | Percy Bysshe Shelley, Ode to the West Wind, 1819 |
| "Drive my dead thoughts over the universe/Like withered levaes to quicken a new birth! And, by the incantation of this verse/Scatter, as from an unextinguished hearth/Ashes and sparks, my words among manking!" | Percy Bysshe Shelley, 1819, Ode to the West Wind |
| "Be though my lips to unawakened Earth/The trumpet of a prephecy! O Wind/If Winter comes, can Spring be far behind?" | Percy Bysshe Shelley 1819, Ode tot eh West Wind |
| Apostrophe | A writer directly addresses an absent person, a personified inanimate object, or an abstract idea |
| "Hail to thee, blithe Spirit!/Bird thou never wert--/That from Heaven, or near it/Pourest thy full heart/In profuse strains of unpremediated art" | Percy Bysshe Shelley, 1820, To a Skylark |
| "What thou art we know now/What is most like thee?" | Percy Bysshe Shelley, 1820, To a Skylark |
| "Like a poet hidden/In the light of thought/Singing hymns unbidden/Till the world is wrought/To sympathy with hopes and fears it heeded not" | Percy Bysshe Shelley, 1820, To a Skylark |
| "Teach us, Sprite or Bird/What sweet thoughts are thine/I have never heardPraise of love or wine/That panted forth a flood of rapture so divine" | Percy Bysshe Shelley, 1820, To a Skylark |
| "What objects are the fountains/Of thy happy strain?" | Percy Bysshe Shelley, 1820, To a Skylark |
| "Waking or asleep/Thou of death must deem/Things more true and deep/Than we mortals dream/Or how could thy notes flow in such a crystal stream?" | Percy Bysshe Shelley, 1820, To a Skylark |
| "We look before and after/And pine for what is now/Our sincerest laughter/With some pain is fraught/Our sweetest songs are those that tell of saddest thought" | Percy Bysshe Shelley, 1820, To a Skylark |
| "Teach me half the gladness/That thy brain must know/Such harmonious madness/From my lips would flow/The world should listen then--as I am listening now" | Percy Bysshe Shelley, 1820, To a Skylark |
| "An old, mad, blind, despised, and dying King/Princes, the dregs of their dull rage, who flow/Through public scorn--mud from a muddy spring" | Percy Bysshe Shelley, 1832, England in 1829, George III became insane late in life, historical references to Peterloo massacre, army kills people |
| "A people starved and stabbed in th'untilled field/An army, whome libeticide and prey/Makes as a two-edged sword to all who weild" | Percy Bysshe Shelley, 1832, England in 1819, institutions that should be helping the people but aren't |
| "A senate, time's worst statute, unrepealed/Are graves from which a glorious Phantom may/Burst, to illuminate our tempestuous day." | Percy Bysshe Shelley, 1832, England in 1819, something positive may come |
| "I met a treveler from an antique land/Who said--"Two vast and trunkless legs of stone/Stand in the desert" | Percy Bysshe Shelley, 1817, Ozymandias, the speaker never would have known about Ozymandias if it weren't for the traveler |
| "Near them, on the sand/Half sunk a shattered visage lies, whose frown/And wrinkled lip, and sneer of cold command/Tell that its sculptor well those passions read/Which yet survive, stamped on these lifeless things" | Percy Bysshe Shelley, 1817, Ozymandias, Ozymandias thought his glory would last forever but it didn't, sculptor captured this |
| "The hand that mocked them, and the heart that fed/And on the pedestal, these words appear/My name is Ozymandias, King of Kings" | Percy Bysshe Shelley, 1817 Ozymandias, The sculptor mocked Ozymandias, hand of the sculptor, heart of Ozymandias, his vanity, he was a tyrant, terrible leader, vain, arrogant, his power, display of wealth, dies |
| "Look on my works, ye mighty, and despair!/Nothing beside remains. Round the decay.Of that colossal wreck, boundless and bare/The lone and level sands stretch far away." | Percy Bysshe Shelley, 1817, Ozymandias, nothing left, Ozymandias thought that by the statue, he would be immortal, but even the statue is gone |
| When was Frankenstein published? | 1817 |
| John Keats | 1795-1821 |
| Endymion | John Keats, 1818, a romance |
| The Fall of Hyperion | John Keats, unfinished, long poem |
| The Eve of St. Agnes | John Keats, most mature finished work, a romance, 1819, lyric in nature |
| On First Looking into Chapman's Homer | John Keats, 1816, not historically accurate, similes (astronomy and cortez) sonnet in praise of Chapman's translation of Homer's Iliad, one of his best sonnets, high quality, limited because hes looking at one translation, importance of discovery, empathy |
| "Much have I traveled in th realms of gold/And many goodly states and kingdoms seen/Round many western islands have I been/Which bards in fealty to Apollo hold." | John Keats, On First Looking into Chapman's Homer, 1816, concrete imagery, combines two senses, sensous, Petrarchan sonnet, about discovery, considered his first great poem |
| "Then felt I like some watcher of the skies/When a new planet swims into his ken/Or like stout Cortez when with eagle eyes/He stared at the Pacific" | John Keats, On Fist Loking into Chapman's Homer, 1816, comparison--similes that have to do wish discovery, traveling, exploration, his own literary exploration, then disvoery in reading, it made him feel like he discovered something, not historically corr |
| More About On First Looking into Chapman's Homer | John Keats, 1816, believed greatness comes from one' ability to loose oneself in something bigger, greatness in art means you must loose yourself, importance of discovery through reading |
| When did Keats write On First Looking into Chapman's Homer | 1816 |
| Bright Star, Would I Were Steadfast as Thou Art | John Keats, 1819, poignant, overemphasized failure of Keats's ability to establish a full and steady relationship with Fanny beacuse of his health, sonnet |
| When was Bright Star, Would I Were Steadfast as Thou Art written? | 1819 |
| "And watching, with eternal lids apart/Like nature;s patient, sleepless eremite/The moving waters at their priestlike task/Of pure ablution round earth's human shores" | John Keats, Bright Star, Would I Were Steadfast as Thou Art, 1819 |
| "Still, still to hear her tender-taken breath/And so live ever--or else swoon to death" | John Keats, Bright Star, Would I Were Steadfast as Thou Art, 1819 |
| When I Have Fears | John Keats, 1818, show his aspirations to love as well as to fame |
| "When I behold, upon the night's starred face/Huge cloudy symbols of a high romance/And think that I may never live to trace/Their shadows, with the magic hand of chance" | John Keats, 1818, When I Have Fears, fear of dying before accomplishing anything |
| "And when I feel, fair creature of an hour/That I shall never look upon thee more/Never have relish in the faery power/Of unreflecting love!--then on the shore/Of the wide world I stand alone, and think/Till love and fame to nothingness do sink" | John Keats 1818 When I Have Fears, fear of dying and not accomplishing anything |
| Ode to a Nightingale | John Keats, 1819, this poem is of a human being who seized upon the experience of a moment and, with all the art at his command, tried to turn his thoughts and feelings into words and patterns that might outlast the moment |
| "My heart aches, and a drowsy numbness pains/My sense, as though of hemlock I had drunk/Or emptied some dull opiate to the drains/One minute past, and Lethewards had sunk" | Ode to a Nitingale, John Keats, 1819 |
| "'Tis not through envy of thy happy lot/But being too happy in thine happiness/That thou, light-winged Dryad of the trees/In some melodious plot" | Ode to a Nightingale, John Keats, 1819 |
| "Fade far away, dissolve, and quite forget/What thou among the leaves hast never known/The weariness, the fever, and the fret/Here, where men sit and hear each other groan" | John Keats, 1819, Ode to a Nightingale |
| "Away! away! for I will fly to thee/Not charioted Bacchus and his pards/But on the viewless wings of Poesy" | John Keats, 1819, Ode to a Nightingale |
| "Clustered around by all her starry Fays/But here there is no light." | John Keats 1819 Ode to a Nightingale |
| "Darkling I listenl and, for many a time/I have been half in love with easeful Death" | John Keats 1819 Ode to a Nightingale |
| "Now more than ever seems it rich to die/To cease upon the midnight with no pain/While thou art pouring forth thy soul abroad/In such an ecstacy" | John Keats, 1819, Ode to a Nightingale |
| "Thou wast not born for death, immortal Bird!" | John Keats 1819 Ode to a Nightingale |
| "The same that oftimes hath/Charmed magic casements, opening on the foam/Of perilous seas, in fairy lands forlorn" | John Keats 1819 Ode to a Nightingale |
| "Fornlorn! the very word is like a bell/To toll me back from thee to my sole self!" | John Keats 1819 Ode to a Nightingale |
| "Was it a vision, or a waking dream?/Fled is that music; Do I wake or sleep?" | John Keats 1819 Ode to a Nightingale |
| "Adieu! Adiue! thy plaintive anthem fades/Past the near meadows, over the still stream" | John Keats 1819 Ode to a Nightingale |
| To Autumn | John Keats, 1819, sugests a new serene manner in Keat's poetry, air of detachment, looks backward to the techniques of personification and looks forward to a modern attitude toward nature as something independent of human beings' longings and fantasies |
| Style of Keat's To Autumn | Highly structured, sections, time, apostrophe to autumn, time keeps structure tight, three periods of autumn, early ripening, middle-harvesting, late-sounds |
| "Seasons of mists and mellow fruitfulness/Close bosom-friend of the maturing sun/Conspiring with him how to load and bless/With fruit the vines that round the thatch-eves run" | John Keats, To Autumn, early ripening period of autumn, stresses ripening period of fruit |
| "And sometimes like a gleaner thou dost keep/Steady thy laden head across a brook/Or by a ciderpress, with patient look/Thou watchest the last oozings hours by hours" | John Keats, 1819, To Autumn, middle harvesting period of autumn, gleaner, harvesting period, gathering period |
| "Where are the songs of spring? Aye, where are they?/Think not of them, thou hast thy music too/While barred clouds bloom the soft-dying day/And touch the stubble-plains with rosy hue" | John Keats 1819 To Autumn, late autumn period, stressing sounds, sounds images contrast songs of spring |
| The Eye of St. Agnes | John Keats, 1819, intricate rhyme scheme, narrative poem, opposites, based on an ancient legend, a Christian martyr Saint Agnes, who refused the attentions of a man she did not love, in this poem the hopeful Madeline is rewarded |
| When is St. Agnes' day? | January 21 |
| What form is The Eve of St. Agnes in? | Spenserian stanza form, a nine-line stanza with the rhyme scheme ababbcbcc, the first eight lines of the stanza are in iambic pentameter, and the ninth line is an alexandrine--that is, a line of iambic hexameter, created by Edmund Spenser in The Faerie Qu |
| "They told her how, upon St. Agnes' Eve/Young virgins might have visions of delight/And soft adornings from their loves receive/Upon the honeyed middle of the night" | John Keats 1819 The Eve of St. Agnes, a gift God offers to all |
| "Meantime, across the mors/Had come young Porphyro, with heart on fire/For Madeline" | John Keats 1819 On the Eve of St Agnes |
| "Mercy, Porphyro! hie thee from this place/They are all here tonight, the whole bloodthirsty race!" | John Keats, 1819, On the Eve of St. Agnes |
| "He cursed thee and thine, both house and land/Then there's that old Lord Maurice, not a white/More lame for hsi gray hairs--Alas me! flit!/Flit like a ghost away."--"Ah, Gossip dear/We're safe enoughl here in this armchair sit" | John Keats, 1819 On the Eve of St. Agnes |
| "Of candied apple, quince, and plum, and gourd/With jellies soother than the creamy curd/And lucent syrops, tinct with cinnamon/Manna and dates, in argosy transferred/From Fez and spiced dainties, every one/From silken Samarkand to cedared Lebanon" | John Keates 1819 On the Eve of St. Agnes foods mentioned, contrast--bitter, cold, outside warm festivities inside, overlayed with sinister feeling, exotic foods mentioned came from the orient warm places unknown to England at the time |
| "There was a painful change, that nigh expelled/The blisses of her dream so pure and deep/At which fair Madeline began to weep/And moan forth witless words with many a sigh" | John keats 1819 On the Eve of St. Agnes |
| "No dream, alas! alas! and woe is mine!/Porphyro will leave me here to fade and pine/Cruel! what traitor could thee hither bring?" | John Keats 1819 On the Eve of St. Agnes, she's maried and he'll leave |
| "My Madeline! sweet dreamer! lovely bride!" | John Keats 1819 On the Eve of St. Agnes he proposes to Madeline |
| "Arise-arise! the morning is at hand/The bloated wassailers will never heed" | John Keats 1819 On the Eve of St Agnes spiritual overtones contrasted with erotic, sensual undertones |
| "The knowledge of contrast feeling of light and shade" | John Keats |
| "Died palsy-twitched, with meager face deform/The Beadsman, after thousand aves told/For aye unsough for slept among his ashes cold." | John Keats 1819 The Eve of St Agnes people died at the end, contrast, old and young, beadsman dies at the end |
| The Eve of St Agnes Author | John Keats |
| Dorothy Wordsworth | 1771-1855 |
| Dorothy Wordsworth's biography | her literary art is expressed in forms--journals and letters--not considered "publishable", she spent more time transcribing the manuscripts of the male writer in the household, kept a journal of everyday life and reveal Dorothy's true self to us |
| When did William Wordsworth marry Mary Hutchinson? | 1802 |
| The Journals | Dorothy Wordsworth, 1802 onward, everyday life activities and incidents |
| Mary Wollstonecraft Shelley | 1797-1851 |
| Political Justice | William Godwin (Mary Wollstonecraft Shelley's father) one of the leading political philosophers of the Romantic generation, this work influenced Coleridge and Wordsworth and the young Percy Shelley |
| When did Percy Shelley meet Mary Wollstonecraft? | 1814 |
| When did Percy and Mary elope? Who came? | July 14 1813, Mary's half-sister Jane (later to be called Claire Clairmont) |
| History of a Six Weeks Tour | Mary Wollstonecraft Shelley, 1817, her first publication, she used her journal in this publication |
| Frankenstein: The Modern Prometheus | Mary Wollstonecraft Shelley, 1818, originally published anonymously, her best-known work, a novel |
| Valperga | Mary Wollstonecraft Shelley, 1823, her second novel, sent off to her father to arrange its publication and to keep the profits for himself |
| When did Mary and Percy Shelley finally marry | December 1816 |
| Mary Wollstonecraft Shelley's biography | From a liberal family--her mother was an advocate for women's rights and her father was a leading political philosopher, married to Percy Shelley, met up with Lord Byron and told ghost stories, leading to Frankenstein, had four children, all of which died |
| Percy Bysshe Shelley | 1792-1822 |
| A Defense of Poerty | Percy Bysshe Shelley, 1821, his early political activism and pronouncement that poets are the unacknowledged legislators of the world |
| The Revolt of Islam | Percy Bysshe Shelley 1818, his first major poetic work |
| Percy Bysshe Shelley's bibliography | Eloped with Harriet Westbrook then later with Mary Godwin, met with Lord Byron and told ghost stories, drowned with Edward Williams in their sailing boat, obscured literary career, published poetry and Gothic fiction, political pamphlets, topical satire |
| John Keats | 1795-1821 |
| Keats's first book of poetry | 1818, harsh reviews, stung him and aded to the periodic doubts that made his dedication to poetry sometimes seem an awful buden |
| How old was Keats when he died? | 25 |
| John Keats bibliography | Small physical stature, died of tuberculosis in 1821, fell in love with Fanny but he couldn't marry her, powerful elegy, poems rich in sensuous detail, obsession with his calling as a poet and his determination to become one |
| On The Vanity of Earthly Greatness | Arthur Guitterman (1871-1943), tells of great things that are in reality, nowadays minor |
| "The tusks that clashed in mighty brawls/Of mastodons, are billiard balls." | Arthur Guitterman, On the Vanity of Eartly Greatness |
| "The sword of Charlemagne the Just/Is ferric oxide, known as rust" | Arthur Guitterman, On the Vanity of Earthly Greatness |
| "The grizzly bear whose potent hug/Was feared by all, is now a rub" | Arthur Guitterman, On the Vanity of Earthly Greatness |
| "Great Caesar's bust is on the shelf/And I don't feel so well myself" | Arthur Guitterman, On the Vanity of Earthly Greatness |
| Very Like a Whale | Ogden Nash 1902 |
| "One thing that literature would be greatly the better for/Would be a mroe restricted employment by authors of simile and metaphor" | Very Like A Whale, Ogden Nash, 1902 |
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