Shelley's Poetry of Involvement by Roland A. Duerksen

By Roland A. Duerksen

During this research of Shelley's poetry the writer asserts that Shelley expressed the necessity for individuals to be bold in mind, clever in spotting love because the essence of humanity and humane in utilizing a loving mind in social occasions. the writer argues that Shelley's poetry urges a courageous, in charge, concerned and loving war of words of the occasions and questions of existence. Roland Duerksen is writer of "Shelleyan principles in Victorian Literature" and editor of 2 books of Shelley's works, "The Cenci" and "Political Writings".

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The way to go there is for the mind to accept the potentiality that such isles have for realization and to work toward that end. For Shelley these islands of solid actuality, when imaginative involvement becomes their atmosphere, not only make possible but are themselves indeed the love, beauty and delight of which he speaks in the Conclusion of 'The Sensitive Plant', where, after having described winter's horrid effect upon the once-beautiful garden, he declares: That garden sweet, that lady fair And all sweet shapes and odours there 46 Shelley's Poetry of Involvement In truth have never past away 'Tis we, 'tis ours, are changed - not they.

Language, a product of the mind, provides the necessary light for the actualization or germination of thoughts. There is a close parallel with Asia's report in Prometheus Unbound of Prometheus' gift of the power of language: He gave man speech, and speech created thought, Which is the measure of the universe. 72-3) William Keach suggests that this poetic assertion may be at least in part based on Locke's view in Book 3 of the Essay Concerning Human Understanding that knowledge has 'so near a connexion with words, that unless their force and manner of Signification were first well observed, there could be very little said clearly and pertinently concerning Knowledge'.

7) give evidence that, unlike the Alastor Poet, he has indeed realized within himself the all-important element of love's fire. As it tragically fails to do in Alastor, the fire of love in 'Ode to the West Wind' rightfully performs its role as the element that culminates and gives fulfilment to the interactions and unitings of the other three elements - the air or wind of mental potentiality, the earth of matter, and the water of material or natural process. The speaker of the ode has demonstrated how a person may achieve the ability to 'fear himself and love all human kind'.

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