4433 Shelley Defence

Tarvin 1
PERCY BYSSHE SHELLEYS A DEFENCE OF POETRY: QUESTIONS WITH

ANSWERS
This handout was prepared by Dr. William Tarvin, a retired professor of literature.
Please visit my free website www.tarvinlit.com. Over 500 works of American and British
literature are analyzed there for free.
Text used: Charles Kaplan and William David Anderson, eds.
Statements, 4th ed. New York: Bedford, 2000.
Criticism:
Major
I. INTRODUCTION
1. Shelley (1792-1822) is one of the most famous poets of the Romantic period.
Like Keats, he died youngdrowning at sea while pleasure sailing.
2. Shelleys A Defence of Poetry was written 1821, but not published until 1840,
long after Shelleys death. Note: Defence is the British spelling of the American word
defense.
II. A DEFENCE OF POETRY
A. EXPRESSIVE THEORY
1. Imagination is the central aspect of Shelleys poetics.
2. Thus Shelley opens with a common Romantic distinction between Reason
and Imagination (Kaplan and Anderson 288). How does he contrast reason and
imagination? (288)
3. Shelleys definition of poetry has an EXPRESSIVE orientation: Poetry . . .
may be defined to be the expression of the __imagination__ (288).
4. The poets imagination gives the poet almost superhuman powers: He is able
to apprehend the true and the beautiful (290) and to imagine and express the
indestructible order (290) of the universe.
5. Poetic imagination reveals the eternal, the infinite, and the one (290). In the
poets mind, time and place and number are not (290).
6. A second EXPRESSIVE theory point is made toward the end of the essay when
Shelley presents the idea that poets are possessed of a divine madness in which they
become inspired prophets: A poet cannot determine to write a poem:
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A man cannot say, I will compose poetry. The greatest poet even cannot
say it because when writing the poets mind is under some invisible influence, a
power which arises from within (306).
6. He concludes that the finest passages of poetry are [not] produced by labour
and study (306), but by this inspiration: The very mind [of the poet] which directs the
hands in formation [of the poem] is incapable of accounting to itself for the origin, the
traditions, or the media of the [poetic] process (306).
7. A final point which Shelley makes about the author is that like Longinus,
Shelley contends that great poems cannot come from an evil or vicious person. Shelley
writes that the greatest poets have been men of the most spotless virtue (308).
B. AFFECTIVE THEORY
1. What are the effects of poetry? Shelley uses the same answers as Horace and
Sidney: Poetry both pleases and instructs; it gives pleasure and wisdom.
2. Shelley writes, Poetry is ever accompanied with pleasure; all spirits on which
it falls open themselves to receive the wisdom which is mingled with its delight (293).
3. Later he states, A great poem is a fountain for ever overflowing with the
waters of wisdom and delight (303).
4. Shelley objects to those who speak of the immorality of poetry (294). For
him, poetry is the best moral teacher because it enlarges the mind.
5. Contrary to social ethics, which narrow and make morality doctrinaire, poetry
acts in another and diviner manner. It awakens and enlarges the mind (294).
6.
Poetry works indirectly by awakening peoples ability to identify and
empathize: The great secret of morals [that is, morality] is love; or a going out of our
own nature, and an identification of ourselves with the beautiful which exists in thought,
action, or person, not our own (294).
7. Shelley says that the age in which he lived had too much science and not
enough poetry: He says that we have more scientific and economical knowledge than
people can utilize (305). What is needed is the poetry of Life (305), which will help
people to integrate all forms of knowledge and experience.
8. The essay closes with some exultant proclamations about the moral purpose of
poetry:
(1) Poetry is the record of the best and happiest moments of the happiest
and best minds (306).
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(2) Poetry thus makes immortal all that is best and most beautiful in the
world (307).
(3) Poets are the unacknowledged legislators of the world (309).
C. OBJECTIVE THEORY
1. Shelley makes just a few comments on the poem as a literary object.
2. First he acknowledges the power of metaphor: A poets language is vitally
metaphorical (289) since metaphor means to see the similarity in different things:
Metaphor marks the before unapprehended relations of things (289).
3. In Shelleys history of the drama, he points out the dangers of mingling tragic
and comic elements: The modern practice of blending comedy with tragedy, though
liable to great abuse in point of practice, is undoubtedly an extension of the dramatic
circle; but the comedy should be as in King Lear, universal, ideal, and sublime (295).
D. MIMETIC THEORY
1. Like the Objective approach, the MIMETIC view also is subordinate to the
Expressive and Affective aspects of the poetic process.
2. Shelley does write, A poem is the very image [or imitation] of life expressed in
its eternal truth (292), but this mimetic statement implies that what is being imitated
is, in the words of the editors, a Platonic conception of the universe (287).
3. Another mimetic-oriented point is made by Shelley: he does not see poets,
philosophers, and even historians as being competitors or pursuing truth differently, as
Plato, Aristotle, and Sidney do.
To Shelley, all great philosophers are necessarily poets since they present
an echo of the eternal music (292). The same holds for all the great historians,
Herodotus, Plutarch, Livy, who, Shelley asserts, were poets (292).
4. Similarly all great poets, such as Shakespeare, Dante, and Milton . . . are
philosophers of the very loftiest power (292).
III. SHELLEYS HISTORY OF POETRY
1. Almost half of Shelleys essay examines the course of Western literature; a few
of his comments on certain literary works have become famous.
2. Shelley judged Shakespeares King Lear the most perfect specimen of the
dramatic art existing in the world (295).
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3. Shelley goes against all convention to find (almost scandalously) the
rebellious Satan the hero of Paradise Lost: Miltons Devil [in Paradise Lost] as a moral
being is as far superior to his God, as one who perseveres in some purpose which he has
conceived to be excellent in spite of adversity and torture . . . (302).

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PERCY BYSSHE SHELLEYS A DEFENCE OF POETRY: QUESTIONS WITH

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