Abstract
This literary study examines the ideology of romantic beauty in the poem "On the Medusa of Leonardo Da Vinci in the Florentine Gallery" by Percy Bysshe Shelley. The writer notes that the central theme of romanticism that arises in this poem focuses on the dark and terrifying Grecian mythological creature Medusa. The writer maintains that for romantic poets such as Shelley, there was a concerted effort to represent feminine beauty and grace through the veil of darkness or death in this poem about Da Vinci's famous painting. In essence, the premise of death and decay is the central element of romantic beauty in Shelley's poem about Da Vinci's depiction of the terrifying Medusa.

From the Paper
"This critical perspective is one key aspect for understanding why Shelley saw beauty in this terrible creature--through the lens of mythological history and the victimization of Medusa at the hands of Minerva and Neptune. In this manner, the basis of romantic beauty hinges on the darkness of humanity, which invariably will produce a cycle of life. For romantics like Shelly, this cycle of death and decay is an essential part of life that illuminates the beauty he sees within Da Vinci's Medusa.
"The evolution of the poem further builds upon the beauty of Medusa as a seductive woman figure that seeks to bring down any man that comes within her grasp. Shelly is keen to point out her horrifying appearance, but it is her inner 'grace' that defines her beauty through the image of death and decay that seduces men .."

Tags:image, likeness, romantics, grace

Abstract
The paper examines four Romantic poems, Byron's "She Walks in Beauty", Keats' "On First Looking into Chapman's Homer", Shelley's "Ozymandias" and Wordsworth's "I wandered lonely as a cloud". Following a short introduction in which the definition and purpose of imagery is presented, each poem is closely analyzed to extract its most striking and meaningful use of imagery. In each case, the paper explains how the imagery contributes to the overall theme, effect or meaning.

From the Paper
"Byron's poem "She Walks in Beauty" is written in the vein of Romanticism, and therefore it relies mostly on imagery. Romanticism was an effort to idealize nature, and to express feelings in the most natural way. The poet depicts a young woman walking, and the beauty in every aspect of her is expressed as ideal, and in gushing terms. For this purpose, a series of exquisite images are evoked. For example, in the first two lines we have the description of "the night / Of cloudless climes and starry skies" (Kinsella et al 718). It is the glittering beauty of the night sky, without clouds to obstruct the view, that the poet wants to compare the beauty of the woman with. This imagery is important, because in the next two lines we are drawn to the eyes of the girl, which are said to be "dark and bright" like the clear night sky: "And all that's best of dark and bright / Meet in her aspect and her eyes" (Ibid)."

Tags:Byron, Wordsworth, Keats, Shelley, association, meaning, theme

Abstract
In this article, the writer studies the novel 'Frankenstein' and looks at its characters. The writer notes that the relationship that is established between the creator and his creation, as well as the other relations between the characters of the novel, form the core of the moral and psychological investigation developed in the book. The writer points out that Shelley's novel is full of superior characters, which are all angelic to a certain extent. Victor is the superior Romantic hero, alone and isolated in his quest for an unreachable ideal. Walton and Clerval resemble him, with the difference of being more humane. The women are clearly angelic figures, excelling in beauty and virtue. The writer concludes that the creature is like the fallen angel, Satan, who is banished by his own creator and because of this, he becomes evil.

From the Paper
"Of the various pairings of characters in Shelley's novel, the one between Victor Frankenstein and the Creature is arguably the most interesting and most complex. Other pairings might be established however, such as that of Frankenstein with his best friend Henry Clerval, that of Frankenstein and Robert Walton, his biographer, or that between the women characters in the novel, Elizabeth, Caroline, Justine and the others. Thus, first of all, the relationship that takes contour between Frankenstein and his creation is very complex and symbolic. Following the Biblical account, what the creator does when he engenders life is to give birth to a replica of himself, of his own image. In spite of his good intentions to perfect humanity by introducing a new and more enduring race, Frankenstein fails in his attempt because he is trying to assume the place of the divine creator without realizing his own imperfection. The imperfect creator therefore engenders an even more imperfect creation."

Tags:satan, figure, pairs, resemble

Abstract
In this article, the writer describes the various ways that poets use figurative language and goes on to illustrate with four poems from the Romantic era. Figurative language is said to be in three forms - simile, analogy and personification. Each is defined and explained. A paragraph is then devoted to each category, in which four poems are scanned for their use of figurative language. The poems in question are "I Wandered Lonely as a Cloud" by Wordsworth, "She Walks in Beauty" by Byron, "Ozymandias" by Shelley and "On First Looking into Chapman's Homer" by Keats.

From the Paper
"Three ways in which poets use figurative language is through simile, metaphor or personification. A simile is a direct comparison, most frequently using the words `like' or `as' to make the comparison. A metaphor is an indirect comparison, where a connective is not used, and where the comparison is only suggested. A personification is a form of metaphor, where an object or concept is made out to be a person, and described as such. The following are examples taken from 19th century Romantic poetry that illustrate the use of figurative language.
" The first two lines of Byron's poem ``She Walks in Beauty'' is a simile: ``She walks in beauty, like the night / Of cloudless climes and starry skies''. Here the gait of the young woman is being compared to the cloudless and brilliant night sky. At first the comparison seems odd, because the motion of the woman is being compared to something that is still. However, it is the beautiful aspect of both that is being linked."

Tags:simile, analogy, personification, imagery, poetic, device

Abstract
This paper explains that William Wordsworth and Percy Shelly were deeply concerned with the importance of the imaginative process, which, to them, was a portal to another dimension that was almost beyond the scope of words. The author points out that, in Wordsworth's poem, "The Prelude," his active imagination is evidenced; it also demonstrates why he is considered a visionary poet in the Romantic Era. The paper relates that Shelley is in agreement with Wordsworth in that he supports the notion that our imaginations can enhance our existence on earth; however, he is not completely sure that our senses, with the aid our imagination, can fully comprehend the world or nature, as demonstrated in his poem, "Mont Blanc".

From the Paper
"One aim of Shelley's poetry is to express emotions that are nearly impossible to describe. The process of his art brings these two things closer together and would be impossible without his imagination. However, the imagination is essential for him to comprehend the experience. In fact, it is the most important faculty that humans possess."

Tags:spiritual, portal, prelude, visionary, romantic

Abstract
This paper examines Shelley's poem, "Adonais: An Elegy on the Death of John Keats", and discusses whether readers should consider outside influences when reading the poem. The paper debates whether readers should believe that, because Keats's name is not to be found in the poem again, that the poem has nothing to do with Keats, even when Shelley states in his title that it does. The paper examines whether Shelley was influenced by ideas of poets who came before him. It analyzes different stanzas of the poem to search for answers to these questions.

From the Paper
"By once again failing to say Keats's name in the text of the poem, Shelley continues to allow his readers to open up their minds and think of other people that such an experience may apply to. The above stanza serves to further universalize this experience and directly points out that everybody is susceptible to such a fate because everybody is mortal. By continuing to make this experience applicable to readers, readers are more likely to realize that what happened to Keats could happen to anybody, including themselves, making it more likely that readers will pay attention to what Shelley is saying."

Tags:invisible, corruption, Romantic

Abstract
This paper provides a discussion of the differences that separate the first generation of Romantic poets from the second generation of Romantic poets, including examples from their works and elements of Romanticism that carry across both generations of poets.

From the Paper
"In "The Norton Anthology of Literature", M. H. Abrams maintains that there are five cardinal elements of Romantic poetry, including the fact that poetry is not an imitation of nature but a representation of the poet's internal emotions. The Romantic poets were grouped into first Coleridge, Wordsworth, Blake, etc. generation, and second, Byron, Shelley, Keats, etc. generation poets. While all of the poets in both generations focused on emotion and nature in their works, there are distinct differences between the generations..."

Tags:Wordsworth, Shelley, Blake, Coleridge, Keats, Byron, nature, revolution, God, identity

Abstract
This paper discusses William Wordsworth and Samuel Taylor Coleridge's joint poetic venture, 'Lyrical Ballads'; Coleridge's 'The Rime of the Ancient Mariner'; Wordsworth's 'Lines Composed a Few Miles above Tintern Abbey, 'Lines Written in Early Spring', 'The World is Too Much with Us' and 'To Toussaint L'Ouverture' and William Blake's 'A Poison Tree', 'The Chimney Sweeper' and 'America: A Prophecy Empire is No More'. The author describes the various ways that each poet addresses the grandeur in everyday things, the common person and the concept of liberation. The paper concludes that these romantic poets used their individual skills to convey to their readers their concerns about life and the plight of humanity in what was becoming an increasingly difficult and unpredictable world.

From the Paper
"Wordsworth and Coleridge's joint poetic venture, 'Lyrical Ballads', showcases the poetic ability of each man. Coleridge with the inclusion of 'The Rime of the Ancient Mariner' holds the reader fascinated with his powerful use of language to convey a message to his reader. In 'The Rime of the Ancient Mariner', Coleridge relies on a fantastic story to teach a moral lesson to his reader. Coleridge puts his masterpiece in language that speaks powerfully to people and with which people can identify. In this, Coleridge is a skilled writer."

Tags:language, beauty, disconnection, interactions, criticism

Abstract
This paper explains that Hollywood film adaptations of novels, such as "Frankenstein" by Mary Shelley, are often quite different in plot, characterization and theme. The author points out that Mary Shelley's novel was written nearly two-hundred years ago. The paper relates that her approach was dictated by her perceptions of the prevailing moral, social, intellectual, and religious views of her early nineteenth century audience.

From the Paper
"As this comparison of Victor Frankenstein's transforming portrayals in fiction and film demonstrate, Hollywood film adaptations of novels such as "Frankenstein" by Mary Shelley are often quite different in plot, characterization and theme. Mary Shelley's novel was written nearly two-hundred years ago, and her approach was naturally dictated by her perceptions of the expectations of her early nineteenth century audience, for she was aware that she needed to appeal to the prevailing moral, social, intellectual and religious views of contemporary English society. "

Tags:mary, shelley's, frankenstein

Abstract
This paper discusses the part played by John Keats in the Romantic movement. The writer gives a brief overview of Keats' life and explains, giving examples from "Ode to a Nightingale and "Bright Star," how his writing shows his passion for appreciating the natural beauty of the known world, as well as his ability to express the tension between the desire and the reality of life. Doomed to an early death by his chronic tuberculosis, the contradictory force of wanting to live for his love, but also wanting to be somewhere else and to be something else to escape the truth was excruciating for Keats. He captured the moment of ecstasy amidst the pain, a moment in time where the human soul is able to leave suffering behind by escaping into the idealistic beauty of Nature. The paper concludes that Keats' influence on the Romantic period may have been greater than that of any other writer in his time.

From the Paper
"Keats was drawn to the organic, ethereal nostalgia of the earth. All of his poems include characteristics of natural phenomena that expose his perception of the world as the ultimate and perfect existence, the entity that a dying Keats strongly desires to identify with. For instance, in Ode to a Nightingale, the song of the bird heard from the window is immortalized in several of Keats's stanzas. By the third stanza, Keats encourages the bird to enjoy its freedom."

Tags:literary, anti-intellectualism, humanitarianism, Yeats, Shelley, conflict, death