conversations.from: human
conversations.value: What could be a title for a book about Kathy, Although, Shelley's with the genre: Science & Math, Nature & Ecology?
conversations.from: assistant
conversations.value: A title for this book could be 'Shelley'
conversations.from: human
conversations.value: Give me the first four paragraphs for this book.. Start with the sentence 'Shelley
  For all this, much of his verse – and not all of it bad verse – is didactic: 'Queen Mab', for instance, his first important poem, an odd mixture of fantasy, fairytale, and political theory; 'The Revolt of Islam', his second long – indeed overlong – poem (if 'Alastor' counts as short); and, at his greatest and still didactic, 'Prometheus Unbound', a drama on so heroic a scale that his lack of dramatic competence does not matter, for this is not theatre but huge metaphysical grand-opera, where the scenery can creak if the singing is good enough'.
conversations.from: assistant
conversations.value: Shelley
  For all this, much of his verse – and not all of it bad verse – is didactic: 'Queen Mab', for instance, his first important poem, an odd mixture of fantasy, fairytale, and political theory; 'The Revolt of Islam', his second long – indeed overlong – poem (if 'Alastor' counts as short); and, at his greatest and still didactic, 'Prometheus Unbound', a drama on so heroic a scale that his lack of dramatic competence does not matter, for this is not theatre but huge metaphysical grand-opera, where the scenery can creak if the singing is good enough.
  Autobiography, too, appealed naturally to , and while his short lyrics give personal clues to his state of mind at a particular moment and in relation to a particular woman, it is in the longer 'Alastor' that you find a full-length portrait, idealized but unmistakable:
  The same figure appears, more personally acknowledged, and with deeper marks of suffering, in 'Adonais'; this time it is:
  And in the 'Ode to the West Wind' he becomes 'tameless and swift and proud'. But this is portraiture, and static. For a record of 's spiritual development there is 'Epipsychidion', where, with an intensity he never equalled, even in the shorter lyrics, he described the progress of his search for the ideal, and his whole conception of love. Whatever he felt for the literal woman to whom the poem is addressed, Emilia Viviani (and it is ironical that soon after it was written she was bothering him for money: 'so much', said Mary, with understandable tartness, 'for Percy's platonics'), she was the excuse for an 'absolute' emotion, one which, in human terms, could not humanly progress; and so the poem ends with a kind of oblivion, physical and spiritual, in the lover, as if he had reached, in his final circle of experience, an unsustainable pitch.
conversations.from: human
conversations.value: Give me another paragraph.
conversations.from: assistant
conversations.value: The shorter lyrics want reading, not expounding; and even the stateliest of them (longer, but still lyrical), 'Adonais', is self-explanatory. It has been criticized as cold; 'monumental' is the favourite adjective. But was writing on a subject for which he felt a deep, but not an intimate, sympathy, and there is all the difference between the loss of a valued but slightly known contemporary – which is what Keats was to him – and the death of a close friend. Technically perhaps the most flawless of his poems, 'Adonais' is, for what it sets out to be – not, that is, a personal outburst but an elegy, somewhat in the tradition of 'Lycidas' (in which Milton, too, was not mourning the death of a close friend) – entirely successful, and – I at any rate find – among the most moving of his poems, as well as the most beautiful.
conversations.from: human
conversations.value: Swap the first and the last sentence.
conversations.from: assistant
conversations.value: Technically perhaps the most flawless of his poems, 'Adonais' is, for what it sets out to be – not, that is, a personal outburst but an elegy, somewhat in the tradition of 'Lycidas' (in which Milton, too, was not mourning the death of a close friend) – entirely successful, and – I at any rate find – among the most moving of his poems, as well as the most beautiful. It has been criticized as cold; 'monumental' is the favourite adjective. But was writing on a subject for which he felt a deep, but not an intimate, sympathy, and there is all the difference between the loss of a valued but slightly known contemporary – which is what Keats was to him – and the death of a close friend.The shorter lyrics want reading, not expounding; and even the stateliest of them (longer, but still lyrical), 'Adonais', is self-explanatory.
conversations.from: human
conversations.value: Give me the last five paragraphs.
conversations.from: assistant
conversations.value: And in the 'Ode to the West Wind' he becomes 'tameless and swift and proud'. But this is portraiture, and static. For a record of 's spiritual development there is 'Epipsychidion', where, with an intensity he never equalled, even in the shorter lyrics, he described the progress of his search for the ideal, and his whole conception of love. Whatever he felt for the literal woman to whom the poem is addressed, Emilia Viviani (and it is ironical that soon after it was written she was bothering him for money: 'so much', said Mary, with understandable tartness, 'for Percy's platonics'), she was the excuse for an 'absolute' emotion, one which, in human terms, could not humanly progress; and so the poem ends with a kind of oblivion, physical and spiritual, in the lover, as if he had reached, in his final circle of experience, an unsustainable pitch.
  The shorter lyrics want reading, not expounding; and even the stateliest of them (longer, but still lyrical), 'Adonais', is self-explanatory. It has been criticized as cold; 'monumental' is the favourite adjective. But was writing on a subject for which he felt a deep, but not an intimate, sympathy, and there is all the difference between the loss of a valued but slightly known contemporary – which is what Keats was to him – and the death of a close friend. Technically perhaps the most flawless of his poems, 'Adonais' is, for what it sets out to be – not, that is, a personal outburst but an elegy, somewhat in the tradition of 'Lycidas' (in which Milton, too, was not mourning the death of a close friend) – entirely successful, and – I at any rate find – among the most moving of his poems, as well as the most beautiful.
  As 'Adonais' superbly shows, varied, in mood as in style; and it is a pity to look on the world conjured by the imagery of, say, his best-known lyric, 'Swiftly walk over the western wave, Spirit of Night', as the only one in which he could live imaginatively. There is the crisp, brilliantly visual imagery that conjures a wholly Mediterranean climate, of the 'Lines Written among the Euganean Hills' the charming, modest world of quite pedestrian pleasures in the 'Letter to Maria Gisbome'; the tender almost-sophistication of his final poems to Jane Williams, in which he has grown more to sprite than to lover, and finds the position of Ariel preferable to that of a more conventional Ferdinand; the long horror of 'The Cenci', and the (for ) curiously restrained beauty at the end; the fiery lightness of 'The Cloud'; the for once effective indignation in that flaming sonnet on England in 1819 that starts 'An old, mad, blind, despised, and dying king'.
  In July leaves for the Continent with Mary Woll-stonecraft Godwin, daughter of William Godwin, accompanied by Jane (Claire) Claremont.
  In this edition the poems are printed in the order in which they were written, as far as it is known.