Analysis of the Poem "England 1819" by Shelley

Mary Shelley was a young, well-educated woman from England. She was born on August 30th 1797, in London. Her mother Mary Wollstonecraft, was the author of “A Vindication of the Rights of Woman”. She died giving birth to Mary, leaving her daughter in the care of her husband, William Godwin. The atmosphere that Mary Shelley grew up in exposed her to cutting-edge ideas, which are shown all throughout the novel. Mary Shelley’s lover, Percy Shelley was a young poet, and as he was already married, her relationship with him wasn’t the smoothest.

“But where were my friends and relations? No father had watched my infant days, no mother had blessed me with smiles and caresses; or if they had, all my past life was now a blot, a blind vacancy in which I distinguished nothing. From my earliest remembrance I had been as I then was in height and proportion. I had never yet seen a being resembling me or who claimed any intercourse with me.” (Shelley

The life of a dominant king who got lost in the things of the world, resulted in him losing focus on his destiny through power and time. It is a battle between man and the natural world he faced. Percy Shelley’s poem, Ozymandias, demonstrates that no matter the position one holds, in time, power can be arrogant and ruling, but cannot ultimately last for an eternity.

In conjunction with her political ideologies, Shelley used her personal economic hardships as basis for the actions of the Frankenstein family, showing sympathy towards the victims of debt and poverty. Mary Shelley was raised by her father who was always deeply in debt, and the threat of a debtor’s prison persisted even after marriage to the point where they had to flee Britain. This parallels the story of Beaufort in the beginning of the novel: “One of his friends...assistance” (Volume I, Chapter I, p 33, 35). Because of her own struggles with debt, Shelley may have been sympathetic to those in similar circumstances, shown in the grief that the frankenstein family felt when their close friend was suffering through economic hardships. Through historical accounts, literary criticisms and in-text analyses it can be concluded that Frankenstein was much more than a just a fantastical story; it was a commentary on mass revolution, social injustice, and a memento of Shelley’s own life

Mary Wollstonecraft Shelley was born in 1791 in London. She is the daughter of Mary Wollstonecraft and William Goodwin. Wollstonecraft was a radical feminist writer, and Goodwin was a writer as well as a philosopher. It was said that this couple's combined intellect was dangerous to society; however, days after Mary's birth, Wollstonecraft died due to complications from the pregnancy. Mary spent a lot of time visiting her mother's grave when she was growing up. Her father taught her how to spell her mother's name by having her trace the letters on the headstone with her fingers, an interesting yet morbid way to teach a seven year old how to spell. Goodwin raised Mary by himself for the early part of her

The passions for power and command are chiselled into a face, but line 8 describes things that are not seen in the eye of the beholder. Shelley describes the hand of Ozymandias, which mocked, and his heart, which fed. This one line sums up the metaphysical aspects of Ozymandias' character, both described and implied. Here Shelley is telling about the reality that one day the king must leave this world. "Mocked" is particularly well worth noting, since it is one of two words which directly relate how Ozymandias, treated his subjects. A king, high and mighty, transmuted into high and mighty stone, exuding airs

Many innovations throughout the modern world have made life significantly easier, safer, of higher quality, and are said to be done for the "greater good of humanity". However, these accomplishments come at a cost, as expressed through the concepts of creation and responsibility that lie at the core of Mary Shelley's Frankenstein. It is through these concepts that Shelley explores how society has changed during Romanticism and the Industrial Revolution, with lessening importance on shared knowledge and the "public sphere" and more emphasis on individual achievement and identity, leading to a fractured and isolated society. In this paper I argue that Mary Shelley's Frankenstein criticizes the impacts of Industrial Revolution and Romantic

The theme of matrimony in the Wife of Bath’s Prologue as well as in the Miller’s Tale does not fit in with traditional fourteenth-century culture. The characters in these two texts turn what is suppose to be a sacred unity into a promiscuous and taboo fantasy for pilgrims. The characters narrating these two tales promote the idea of what fourteenth-century canon law would define as adultery—to have had a third lover while married is the new societal trend for the characters in these tales. And so, marriage becomes a component to the larger fantasy of having a relationship with a character who is already in a marital bond, i.e., cuckolding is a fetish for Alisoun in the Wife of Bath’s Prologue as well as for Nicholas and Absolom in the Miller’s Tale. That is, Alisoun’s pursuit of her lover Jankin while being married, promotes the idea that having a third partner amplifies one’s sexual life, meanwhile, Nicholas’s and Absalom’s quarrel over (a different) Alison encourages the idea that engaging with a married someone enhances the gratification of adultery. In other words, marriage is not portrayed as a scared bond, but as a device to fulfill a pilgrim’s sexual fantasy; and, this new fantasy is what the pilgrims try to make a trend throughout England. Note that I will be using the name, “Alisoun,” to represent the wife from Bath, and I will be using the name, “Alison,” to portray the wife in the Miller’s Tale.

In the late eighteenth century arose in literature a period of social, political and religious confusion, the Romantic Movement, a movement that emphasized the emotional and the personal in reaction to classical values of order and objectivity. English poets like William Blake or Percy Bysshe Shelley seen themselves with the capacity of not only write about usual life, but also of man’s ultimate fate in an uncertain world. Furthermore, they all declared their belief in the natural goodness of man and his future. Mary Shelley is a good example, since she questioned the redemption through the union of the human consciousness with the supernatural. Even though this movement was well known, none of the British writers in fact acknowledged

Shelley’s novel faces the task of creating a notable message that her audience will appreciate. In order for Shelley to effectively signify that mankind must be able to demarcate the attainment of knowledge, she takes her novel to an extreme. Shelley writes, “Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Shelley 40) in order to stress Victor’s extravagant notions. As Joseph Kestner, professor of Romantic and Victorian literature, puts it, Victor positions himself as the head of all hierarchies in denying God as the sole creator of man. The intention of the author for placing Victor at such a high position

Before delving too deep into Shelley's novel, it is very important to label the ideologies and connections behind Romanticism as a literary period, and a literary movement. The poetry and prose of the Romantic movement meant to show a obvious connection to the imagination. Romanticism, at it's most basic understanding, which was mainly active through the end of the eighteenth century and the beginning of the nineteenth century, can be separated from the preceding Enlightenment by recognizing that in the Enlightenment, there was a “preoccupation with reason in

Eleven days after Mary Shelley's birth, her mother, the famed author of A Vindication of the Rights of Woman, succumbed to puerperal fever, leaving her [Mary Shelley's] father, William Godwin, bereft of his beloved companion. In her honor, Godwin puts together a loving tribute entitled Memoirs of the Author of a Vindication of the

Shelley’s presentation of specific and powerful diction helps illuminate his strong thoughts about the mutability of humans. Shelley’s use of the two words “poison” and “pollutes” in the third stanza of the poem alludes to his thoughts about the human mind mentioned in his biography, “We rest.---A dream has power to poison sleep; / We rise.---One wandering thought pollutes the day; / We feel, conceive or reason, laugh or weep; / Embrace fond woe, or cast our cares away:” (Shelley, 1734). Shelley was frequently bullied as a child and was expelled from school for being an alleged atheist; thus, he had notions before writing the poem about man’s corruption and “man’s general

“Freedom is never voluntarily given by the oppressor; it must be demanded by the oppressed” declared by an influential leader Martin Luther King Jr. As a soldier againsts unfairness, King strongly states that people should fight for freedom. Driven by human nature, humans are always chasing freedom. In “A Century Later,” the Pakistan-born British poet Imtiaz Dharker uses the poetic devices of symbolism, diction, and allusion to explore how perseverance drives freedom.

In the aftermath of the failed French Revolution, citizens in England struggled, politically, with the effects of the slave trade and socially, a woman’s role in society. Percy Bysshe Shelley, famous for his writings on revolutionary spirits and ideas, grew up in England in the midst of it all. He, among others like Lord Byron, were seen as radicalists; the English did not want another revolution, similar to the American Revolution in 1776—their premise bearing fruits of equality notwithstanding class nor family name. Shelley’s radical mind became a force for others; he pushed for equality and demonstrated it in Prometheus Unbound. The focal point for this essay determines the truth in Shelley’s writings on nationalism between England and France