Shelley: The Pursuit (188 page)

654–5
; writes
Adonais
,
655–60
; and pirate edition of
Queen Mab
,
660–1
; Gisbornes leave for England and,
661
,
662
; visits Claire in Pisa,
662
; his plan for literary community in Pisa,
662–3
,
671–2
; visits Byron in Ravenna,
663–73
; and Elena affair,
666–9
; and Byron decides to go to Pisa,
669–70
; visits Allegra at Bagnacavallo,
670–1
; referred to as the ‘Snake’ by Byron,
672–3
; negotiates lease of Palazzo Lanfranchi for Byron,
673
,
676
; his scheme for joint publishing venture in Pisa,
673–5
,
682–3
; and letter to Ollier about
Valperga
,
675–6
; disappointed at Smiths’ decision to stay in Paris,
676–7
; and visits Spezia,
677
; writes
Hellas
,
677–81
; and Claire returns to San Giuliano,
678
; moves to Tre Palazzi di Chiesa in Pisa,
681–2
; and his Eastern scheme,
682–3
; writes ‘Evening: Ponte Al Mare’,
683–4
; and Byron’s arrival in Pisa,
685
; and afternoon shooting expeditions,
686
,
687
,
690
; proposes rescuing prisoner from Lucca,
687–8
; Byron’s presence acts as challenge to,
688
; and dinner-table conversations and jokes,
688–90
; his despondent letters to Claire,
690–1
; translates 2 scenes from
Faust
,
691–4
; Hunt’s visit to Pisa postponed,
694–5
; meets Trelawny,
696
; and plans for building new boat,
696
; and the ‘Spezia Plan’,
696–7
; his poem appealing for help ‘To Edward Williams’,
698–700
; and his new relationship with Jane Williams,
700–1
; committed to help Claire,
702–3
; and river sailing,
702–3
,
704
; secures loan for Hunt from Byron,
703–4
; his new sailing boat launched at Livorno,
704
; and ‘Fragments of an Unfinished Drama’,
704–5
; and
Charles I
,
705–6
; dragoon incident and,
706–8
,
709
,
710
; dissuades Claire from kidnapping Allegra,
709–10
; financial problems,
710–11
; and death of Allegra,
712
; and moves to Lerici,
712–14
; and his visions,
714–15
,
727
; his new sailing boat arrives,
715–17
; writes ‘The Triumph of Life’,
717–24
;
Bolivar
sails into Lerici,
724
; and Mary’s miscarriage,
724–5
; his lyrics and
ariettes
to Jane,
726
; sailing trip to meet Hunt postponed,
726
,
727
; and sets sail on
Don Juan
on 1st July,
728
; and reunion with Hunt in Livorno,
728
; and plans for the
Liberal
discussed in Pisa,
728
; his last letters to Jane and Mary,
728–9
; and drowned in storm in Gulf of Spezia (7 July 1822),
729
,
787
; funeral and burial of,
730
; and reactions to his death,
730

Shelley:
character
: ability to laugh at himself,
113
,
174
; callousness, cruelty,
7
,
175–6
,
666–7
; class consciousness,
150–2
; Coleridge’s view,
94
,
543–5
; eccentricity,
19
,
30
,
31
,
39
,
55
,
218
,
221
,
361
,
374
; egotism,
15
,
22
,
47
,
299
; fascination for fire,
3
,
17
,
149–50
,
174
,
255
,
257
,
344
; generosity,
22
,
168
,
187
,
350
,
351
; Hampstead set’s views,
359–62
; Hunt’s views,
63
; hypochondria, pose of ill-health,
143 n.
,
218
,
220–1
; instability,
22
,
56
,
58
,
62
,
113
,
288
,
290
; manipulation of people’s fears, intimidation,
1
,
2–3
,
13
,
17
,
88
,
110
,
248
,
257–61
,
330
,
362–3
,
374
,
461
; Mary Shelley’s views,
20–2
; melodramatic self-projection,
12
,
46–7
,
77
,
83
,
104–5
,
114
,
183
,
667
,
688
; mental relief in writing poetry,
656
; mischievous humour,
689–90
; Peacock’s opinion,
217–18
,
221
; and portrait-parody in
Nightmare Abbey
,
375–6
; public joking combined with private meditation,
292
; puritanism,
86
,
108
,
201
,
203
,
248
,
264
,
297
,
448–9
,
515
; reflected in
Queen Mab
,
203
; self-analysis, self-portrait,
103
,
264–6
,
390
,
450–7
,
633
,
658–60
; self-confidence, arrogance,
18
,
19
,
254
,
359
,
383–4
; self-identification with Devil,
106–7
,
110
,
139
; sense of personal inadequacies,
145
,
288
; solitude, awareness of,
64–5
; spiritual exile, sense of,
66
,
333–4
,
351
,
379
,
510
,
528
; split between public and private attitudes,
365
; violent temper,
5–6
,
13
,
19
,
20
,
88
,
113

Shelley:
fantasy and horror:
‘aesthetic of terror’,
261–2
;
The Cenci
,
483
,
514–16
,
523–5
; in ‘The Colosseum’,
461
; dreams, catalogue, journal of,
65–6
,
295–6
,
583
; ‘fit of fancy’ at Villa Diodati,
328–30
,
626
;
Frankenstein
(Mary’s),
330–4
; ghost-invoking, stories,
111
,
113–14
,
135
,
328
,
344
; gothic horror fiction, influence of,
3
,
13
,
14
,
31
,
221
,
274
; Great Snake and Great Tortoise legends,
1
,
2–3
,
258
,
737
; hallucination and ghost theories of Tan-yr-allt shooting incident,
187
& n.,
190
& n.,
193–5
,
196
& n.; ‘Hell’ section of
Peter Bell the Third
,
553–4
; in
Hellas
,
680–1
; imaginary world of childhood,
2–3
,
5
,
6
,
13
; Kentish Town ritual horror sessions,
257–61
,
275
,
681
; macabre, sense of,
42–3
,
217–18
,
248
; Maniac in ‘Julian and Maddalo’,
454–5
; mesmerism,
626–7
,
701
; in ‘Mont Blanc’,
341
; occultism, study of,
16
,
24–5
,
96
; ‘On Devils and the Devil’,
604–7
; Plato’s intermediary world of daemons,
437
,
495
,
627
,
681
,
718
; in
The Revolt of Islam
,
398–400
; in
St Irvyne
,
31
,
39–40
; in ‘The Sensitive Plant’,
582
; somnambulism,
6
,
66
,
627
; terror contrasted with loveliness,
479
; terror treatment of children,
362–3
,
374
; in ‘The Triumph of Life’,
718–19
,
722–3
; in
Victor and Cazire
,
33–5
; in ‘A Vision of the Sea’,
582–3
; visions and nightmares,
6
,
13
,
14
,
715
,
727
; Walpurgisnacht scene from
Faust
,
692–4
; in ‘The Witch of Atlas’,
604–7
;
Zastrozzi
,
31–2