Shelleyan

In this poem as in Shelleyan syncretism, the intimations "Of life, and power, and excellence" have announced themselves most pervasively through the Zoroastrian "symbols" of the stars and sun (stanzas 14, 17-19, 26-28).

Hemans, Heber, and _Superstition and Revelation_ 1998

Adam has his ear to the sound of Wordsworth's stanzas; Jim relays Wordsworth's Power of Sound into the Sound of Power and what "sound overpowers" in the Intimations Ode and Shelleyan coordinates; and the

Sounding Romantic: The Sound of Sound 2008

When Keats's poem waxes Shelleyan toward the end, the chariot of poetic flight encounters the visionary shapes it seeks by converting the previous phonatory

Phonemanography: Romantic to Victorian 2008

With the full-blown Shelleyan verse that this early pastiche by Keats so cannily anticipates, instances of phonetic reading proliferate in the visionary

Phonemanography: Romantic to Victorian 2008

Even among Shelleyan texts, Matilda contains a striking absence of commentary on social, economic, or political affairs, and, to the minimal extent that

Attached to Reading: Mary Shelley's Psychical Reality 2008

Shelleyan criticism tends to answer this question in terms of transcendence.

Shelley's Golden Wind: Zen Harmonics in _A Defence of Poetry_ and 'Ode to the WestWind' 2007

Closer in understanding to the dyadic fluctuations implicit in melodic constructiveness than to the multidirectional accommodations of codependent harmony, Hogle's concept of "motion" views Shelleyan process as "a drive toward a counterpart rising ahead of it and a harking back to a different one receding in its wake."

Shelley's Golden Wind: Zen Harmonics in _A Defence of Poetry_ and 'Ode to the WestWind' 2007

Shelleyan reliquary, from the tortured passions of the

Introduction: 'The Power is There': Romanticism as Aesthetic Insistence 2005

There would be plenty of scope for individual variation to reflect the particular styles of individual authors Sophocles could be rendered Shakespearian, Aristophanes as Jonsonian comedy, Plato translated into the style of Francis Bacon and so on; and writers from other periods could be slotted into other periods: Apollonius Rhodius translated with Shelleyan flourishes, for instance.

Translation Adam Roberts Project 2007

There would be plenty of scope for individual variation to reflect the particular styles of individual authors Sophocles could be rendered Shakespearian, Aristophanes as Jonsonian comedy, Plato translated into the style of Francis Bacon and so on; and writers from other periods could be slotted into other periods: Apollonius Rhodius translated with Shelleyan flourishes, for instance.

Archive 2007-12-01 Adam Roberts Project 2007