Featured Contributor
Related
Related Books
Reviews
Reviews
Rigorously, enthusiastically, and innovatively edited, this volume has brought excitement and zest to my Shelley-reading life.
With volume seven raising the bar once again, this series is the gold standard for Shelley scholarship. Its expert and illuminating readings are peerless.
CPPBS 7 is set to become a model for editing modern poetry manuscripts. It strikes a difficult balance between philological rigor and scholarly comprehensiveness on the one hand and readability and usability at different levels of expertise on the other. Textual critics and students of Shelley's poetry will find it equally indispensable, but it will also serve as an important reference work for Mary Shelley scholars.
This outstanding installment of an epoch-making edition of Shelley's verse will transform the opportunities afforded to emerging Shelley scholars.
...this volume is a triumph, it is breathtaking, it is monumental, it is a summa.
Quite possibly the most significant publication among this year's Romantic studies,The Complete Poetry of Percy Bysshe Shelley, Volume Seven, edited by Nora Crook, is a magisterial scholarly edition of Shelley's posthumously published poems, including "The Triumph of Life" and many other fragments that Mary Shelley first edited, including some of his most beloved shorter lyrics. Part of the ongoing editorial project now directed by Crook and Neil Fraistat, Volume Seven arrives as a stunning and indispensable book, modeling both textual stewardship and critical acumen.
Exciting revelations, new connections, and editorial discoveries abound in volume seven, which is testament to the brilliance of one of our greatest scholars and editors of the Shelleys, Nora Crook.
Now that [Shelley's] poetry is coming into such revealing clarity of focus, thanks to editions such as this one, the question of its value can be explored with more confidence than ever before.
This latest installment of The Complete Poetry is nothing less than a landmark in Shelley studies: comprehensive and reliable, necessary and illuminating.
This is a critical volume of Shelley's works for the twenty-first century—in short, a scholarly masterpiece. No academic library should be without it.
[I]t is tremendously exciting to have access to a resource that provides such an intimate look into the poet's world and his creative process.The Year's Work in English Studies
An indispensable reference work for all who study Shelley.
What makes this volume so exceptional (like its predecessors) is not only the state-of-the-art editing, but also the knowledgeable commentaries that give information on the poems' composition, possible sources and influences, publication, and most welcome, their reception history.... This gigantic editorial project cannot be praised highly enough.
Will almost certainly be the standard in Shelley scholarship.
A more comprehensive collation of relevant materials, or a more sensitive, sensible, and reader-friendly presentation of evidence, is inconceivable.
A monumental edition—the Shelley edition for our time.
A scholarly delight.
About
Book Details
Publication Date
Status
Available
Trim Size
6.125
x 9.25
Pages
1040
ISBN
9781421437835
Illustration Description
7 b&w photos
Table of Contents
List of Illustrations
Acknowledgments
Editorial Overview
Abbreviations
TEXTS
From the Triumph MS and Posthumous Poems (Opening Section)
The Triumph of Life
Lyric Fragments from the Triumph MS
"An
List of Illustrations
Acknowledgments
Editorial Overview
Abbreviations
TEXTS
From the Triumph MS and Posthumous Poems (Opening Section)
The Triumph of Life
Lyric Fragments from the Triumph MS
"An Unfinished Drama"
From Posthumous Poems: Miscellaneous Poems
"On the Medusa of Leonardo da Vinci"
"The Fugitives"
"The sun is set, the swallows are asleep"
Lyrics for Mary W. Shelley's Proserpine and Midas
"Arethusa"
"Sacred Goddess, Mother Earth"
"Song of Apollo"
"Song of Pan"
Autumn A Dirge
"Our boat is asleep in Serchio's stream"
The Zucca
The good die first— The Two Spirits. An Allegory
"Tomorrow"
"They die—the dead return not"
"O World, O Life, O Time"
"Madonna, wherefore hast thou sent to me"
"I fear thy kisses, gentle maiden—"
"My lost William, thou in whom"
"A Portal as of shadowy adamant"
"The flower that smiles today"
From the Arabic—imitation
"One word is too often profaned"
"Music"
"Death is here, and death is there"
"When passion's trance is overpast"
"Listen, listen, Mary mine—"
"O Mary dear, that you were here"
"Wilt thou forget the happy hours"
"The fiery mountains answer each other"
"Mine eyes were dim with tears unshed"
"There was a little lawny islet"
"Rose leaves, when the rose is dead"
"Unfathomable Sea! whose waves are years"
"Tell me, Star, whose wings of light"
"Rough wind that moanest loud"
"Far, far away, O ye"
Jan. 1. 1821
From Posthumous Poems: Fragments
"Ginevra"
The Historical Tragedy of Charles the First
"Mazenghi"
"The Woodman and the Nightingale"
"Art thou pale for weariness"
"I loved—alas, our life is love"
"And like a dying lady lean and pale"
"These are two friends whose lives were undivided"
COMMENTARIES
From the Triumph MS and Posthumous Poems (Opening Section)
The Triumph of Life
Lyric Fragments from the Triumph MS
"An Unfinished Drama"
From Posthumous Poems: Miscellaneous Poems
"On the Medusa of Leonardo da Vinci"
"The Fugitives"
"The sun is set, the swallows are asleep"
Lyrics for Mary W. Shelley's Proserpine and Midas
Autumn A Dirge (and Supplements)
"Our boat is asleep in Serchio's stream"
The Zucca
The good die first— The Two Spirits. An Allegory
"Tomorrow"
"They die—the dead return not"
"O World, O Life, O Time"
"Madonna, wherefore hast thou sent to me"
"I fear thy kisses, gentle maiden—"
"My lost William, thou in whom"
"A Portal as of shadowy adamant"
"The flower that smiles today"
From the Arabic—imitation
"One word is too often profaned"
"Music"
"Death is here, and death is there"
"When passion's trance is overpast"
"Listen, listen, Mary mine"
"O Mary dear, that you were here"
"Wilt thou forget the happy hours"
"The fiery mountains answer each other"
"Mine eyes were dim with tears unshed"
"There was a little lawny islet"
"Rose leaves, when the rose is dead"
"Unfathomable Sea! whose waves are years"
"Tell me, Star, whose wings of light"
"Rough wind that moanest loud"
"Far, far away, O ye"
Jan. 1. 1821
From Posthumous Poems: Fragments
"Ginevra"
The Historical Tragedy of Charles the First
"Mazenghi"
"The Woodman and the Nightingale"
"Art thou pale for weariness"
"I loved—alas, our life is love"
"And like a dying lady lean and pale"
"These are two friends whose lives were undivided"
HISTORICAL COLLATIONS
From the Triumph MS and Posthumous Poems (Opening Section)
From Posthumous Poems: Miscellaneous Poems
From Posthumous Poems: Fragments
APPENDIXES
A. Contents of Posthumous Poems of Percy Bysshe Shelley (1824), Together with a List of Manuscript Sources of Items in This Volume
B. Mary W. Shelley's Preface to Posthumous Poems of Percy Bysshe Shelley (1824)
C. Source for "Ginevra": Marco Lastri, L'osservatore fiorentino
D. Charles the First: Ancillary Material
I. PBS's Reading Notes
II. Sketch of Acts I and II
III. Jottings (Preliminary)
Contributors
Index of Titles
Index of First Lines
