CPPBSThe Complete Poetry of Percy Bysshe Shelley, ed. Donald Reiman, Neil Fraistat, and Nora Crook. Baltimore: Johns Hopkins University Press, 2000, 2004, 2012. 3 vols to date.Letters: PBSThe Letters of Percy Bysshe Shelley, ed. Frederick L. Jones. Oxford: Clarendon Press, 1964. 2 vols....

The challenge of transmuting words into experience, the excessiveness of which experience seems to prevent any straightforward description, becomes the animating force of Shelley’s letter to Thomas Love Peacock of 22 July 1816 and the poetry written in the summer of 1816. This chapter emphasises the seriousness of the poetic philosophy explored in every poem contained in the Scrope Davies Notebook, from ‘Hymn to Intellectual Beauty’ and Mont Blanc to the lesser-known sonnets. The lyric self, biographical experience, and the impersonal observance of genre, make the Scrope Davies Notebook both intensely personal and coolly detached from the self. Shelley seeks to find words adequate to experience in both his letter to Thomas Love Peacock and the poems of the Scrope Davies Notebook.

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including the URL of the record and the reason for the withdrawal request. Forms of Conflict: Byron's Influence on Yeats From Yeats's earliest to his latest poetry, Byron looms large in Yeats's imagination. It is Byron's poetry of conflict, formal dexterity, political outspokenness, and, most crucially, his poetry of personality that offered a compelling model for Yeats, the aristocratically public poet. This article argues for the significance of Byron's influence on Yeats's poetry. Edward Larrissy and Steven Matthews have suggested the influence of Byron on Yeats, and Yeats himself avows the same to H. J. C. Grierson in a letter. 1 Yet there has been a relative dearth of studies that focus on their poetic kinship. This article shows that the Yeats-Byron bond, present from Yeats's early to his later poetry, involves a shared double manner, celebratory and mournful, where both poets fuse sardonic urbanity with imaginative felicity. Yeats's Romantic credentials have been long established. His elegy for lost time, 'Coole Park and Ballylee, 1931' proclaimed '[w]e were the last romantics', 2 (41) defining himself, if somewhat inaccurately, against that 'filthy modern tide' denounced in 'The Statues' (29). Yet the nature of Yeats's Romanticism is largely explored in the light of his self-anointed 'strong ghost[s]' ('A Prayer for my Son', 1), Shelley and Blake. George Bornstein's study compellingly showed the lines of influence stretching from Shelley to Yeats, and Harold Bloom's Yeats announced his agreement with Yeats's assessment of his career in Essays and Introductions, where Yeats wrote: 'When in middle life I looked back I found that he [Shelley] and not Blake, whom I had studied more and with more approval, had shaped my life'. 3 Yet Byron looms in the background, the Romantic poet who offered Yeats a model of strength. Yeats could draw power from an alliance with the older poet who claimed himself 'born for opposition'. 4 After reading H. J. C Grierson's collection of essays, 5 Yeats wrote to him: 'I am particularly indebted to you for your essay on Byron. My own verse has more and more adoptedseemingly without any will of minethe syntax and vocabulary of common 1 W. B. Yeats, letter to H.

The 'entire man of letters'?: Robert Southey, Correspondence, and Romantic Incompleteness '[I]ncompleteness, fragmentation, and ruin' have been described as central to 'both the theory and the actuality of Romanticism'. 1 In contrast, accounts of Robert Southey, now acknowledged as one of the most high profile and controversial of Romantic period writers, often stress his completeness as key. It is an emphasis captured in the subtitle of W. A. Speck's important 2006 study, which itself invokes a phrase originated by Byron: Robert Southey: Entire Man of Letters. 2 There is no doubt that Southey's published works contribute to this sense of entirety. They span a wide range of genres and fill thousands of pages. Yet their range and vastness masks a complex situation, one in which incompleteness played an important part. 3 For Southey, not being 'entire' was at best problematic and at worst unacceptable. He criticised those, like William Taylor, whose 'information upon all subjects was very