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Percy Bysshe Shelley (1792–1822)

Author of The Complete Poems of Percy Bysshe Shelley

525+ Works 7,989 Members 73 Reviews 53 Favorited

About the Author

Born in Field Place, near Horsham in Sussex, Shelley was educated at Syon House Academy and Eton, where he acquired the sobriquet "Mad Shelley" for his independent spirit. While at Eton he published Zastrozzi (1810), a Gothic novel. Expelled from Oxford because he refused to retract his atheistic show more beliefs, Shelley quarreled with his wealthy father and was banished from home. Shelley married impulsively and then abandoned his young wife to run off to Italy with the 16-year-old Mary Wollstonecraft Godwin (the daughter of the radical feminist and the anarchist philosopher, who was eventually to write Frankenstein). While in Italy, Shelley became close friends with Byron, and the two became objects of endless, notorious rumor. Shelley's personal character was revered by almost everyone who knew him. Extremely generous toward others, frugal with himself, he strove tirelessly for the betterment of humanity. Prometheus Unbound (1820), a lyrical drama in four acts, calls for the regeneration of society through love and for the destruction of all repressive institutions. The Cenci (1819), a verse drama based on real events, is one of the few plays from the romantic period still produced. Shelley's lyrics are marvelously varied and rich in sound and rhythm. Wordsworth regarded him as the best artist among living poets.Adonais (1821), written to honor the memory of John Keats, is one of the supreme elegies in English.The Triumph of Life, which was left incomplete at his death, has been hailed by T. S. Eliot as the nearest approach in English to Dante (see Vol. 2). The "Ode to the West Wind" and "To a Skylark" are anthologized everywhere. Shelley's early death by drowning ended his career just as it was coming into full flower. A revolutionary in his art and life, Shelley is considered by many to be an inspired polemicist and poetic genius. As one of his contemporaries wrote in Etonian (1821), "He is one of the many whom we cannot read without wonder, or without pain. . . ." (Bowker Author Biography) show less
Image credit: Wikimedia Commons

Series

Works by Percy Bysshe Shelley

The Complete Poems of Percy Bysshe Shelley (1927) 763 copies, 8 reviews
The Poetical Works of Percy Bysshe Shelley (1973) 400 copies, 3 reviews
Poems of Byron, Keats, and Shelley (1967) 345 copies, 2 reviews
Complete Poems of Keats and Shelley (1978) — Author — 344 copies, 1 review
Prometheus Unbound (1820) 202 copies, 5 reviews
Poems of Percy Bysshe Shelley (1968) 143 copies, 1 review
The Romantic Poets (Word Cloud Classics) (2005) — Author — 142 copies
The Cenci, a tragedy in five acts (1819) 115 copies, 3 reviews
Ozymandias [poem] (1818) 100 copies, 1 review
Selected Poems of Byron, Keats & Shelley (1967) — Contributor — 100 copies
Selected Poems (1966) 98 copies
Zastrozzi and St. Irvyne (1986) 73 copies, 1 review
Zastrozzi (1810) 73 copies, 2 reviews
Collected Poems (2008) 64 copies
THE ROMANTIC POETS: An Anthology (1987) — Contributor — 59 copies
The Poetry of Percy Shelley (2018) 50 copies
The Works of P. B. Shelley (2013) 49 copies
Adonais (1984) 47 copies, 4 reviews
The Poems of P.B. Shelley (1974) 39 copies
Shelley (1966) 37 copies
Poesie (1994) 35 copies
Percy Bysshe Shelley (1965) 25 copies, 1 review
Shelley: Poetical Works (1904) 24 copies
St. Irvyne; or, The Rosicrucian (1810) 22 copies, 1 review
Poems and Lyrics (1950) 21 copies
To a Skylark and Other Poems (1996) 21 copies, 1 review
The Mask of Anarchy (1973) 20 copies
The sensitive plant (2007) 19 copies, 1 review
Queen Mab (1990) 19 copies, 2 reviews
Ode to the West Wind (1820) 18 copies
Shelley: Poems 17 copies
Poems (Endymion series) (1979) 12 copies
Selected Poems (Classics S) (1954) 12 copies
Epipsychidion (1821) 11 copies
The Revolt Of Islam (1818) 11 copies, 1 review
Fantasmagoriana {Byron, et al.} (1998) — Contributor — 10 copies
Essays and Letters (1977) 10 copies
The Witch of Atlas (2008) 9 copies, 1 review
Love's Philosophy (First Poems) (1992) 8 copies, 1 review
Hellas - A Lyrical Drama (1975) 8 copies
Alastor Or The Spirit Of Solitude (1995) 8 copies, 1 review
The Daemon of the World (2009) 7 copies
S.T. Irvine O El Rosacruz (2002) 7 copies, 1 review
Opere (1995) 6 copies
Peter Bell the Third (2004) 6 copies, 1 review
LYRICS AND SHORTER POEMS (1907) 5 copies
To a Skylark [poem] (1820) 4 copies, 1 review
The Banquet of Plato (1887) 4 copies
Saggio sul diavolo (2013) 4 copies
La difesa della poesia (2008) 4 copies
Poemas de convivencia (2019) 4 copies
Great Poets : Shelley (2008) 4 copies, 1 review
Shelley versei (1992) 4 copies
Percy Bysshe Shelley (1998) 4 copies
Prometeo slegato (1997) 4 copies
Dichtungen (2018) — Author — 3 copies
Selected Poems (Classics) (1954) 3 copies
Poetry of Shelley (1996) 3 copies
Shelley's critical prose (1967) 2 copies
Julian And Maddalo A Conversation (2004) 2 copies, 1 review
Opere poetiche (2018) 2 copies
Poems 2 copies
The Triumph of Life (2015) 2 copies
Poems 2 copies
Poems of Keats & Shelley (1820) 2 copies
Poesia 2 copies
Luuletusi 2 copies
Selected Lyrics 2 copies
Poemes (1970) 2 copies
Ensayos Escogidos (2013) 2 copies, 1 review
The Reader's Shelley (1942) 2 copies
Poems of Shelly 2 copies
England in 1819 {poem} 2 copies, 1 review
Shelley's Works 2 copies
Selected works (2000) 2 copies
Lyrika 2 copies
El triunfo de la vida (2022) 2 copies
Zastrozzi 1 copy
Poems 1 copy
Lirika 1 copy
Kraliçe Mab 1 copy
Azade Prometheus (2024) 1 copy
Minor Poems (2010) 1 copy
Poetical Works (2025) 1 copy
Shelly 1 copy
Selections from Poems (2003) 1 copy
With a Guitar, to Jane (1832) 1 copy
Prose Works (2017) 1 copy
Poetical Works (1910) 1 copy
Poems of 1 copy
Shelley and Keats (1925) 1 copy
The Poems of Shelley (1961) 1 copy
A Máscara da Anarquia (2008) 1 copy
Asia (1820) 1 copy
The Assassins (2011) 1 copy
Poems. 1 copy
Early Poems (1888) 1 copy
Flowers of Fancy (1891) 1 copy
O triunfo da vida (2001) 1 copy
Shelley: A Selection (1956) 1 copy
Shelley's Adonais (1903) 1 copy
The Very Best of Percy Bysshe Shelley (2011) 1 copy, 1 review
Seçme Şiirler (2020) 1 copy
Shelley - A Selection (2009) 1 copy
POESIE (1900) 1 copy
In difesa della poesia (2019) 1 copy
Valik lüürikat (1998) 1 copy
The Poet's Day by Day (2016) 1 copy
Love Poems Of Shelley (2015) 1 copy

Associated Works

Frankenstein (1818) — Contributor, some editions — 50,775 copies, 812 reviews
The Symposium (0360) — Translator, some editions — 7,544 copies, 83 reviews
One Hundred and One Famous Poems (1916) — Contributor, some editions — 2,314 copies, 21 reviews
Ape and Essence (1948) — Contributor, some editions — 1,479 copies, 20 reviews
The Making of a Poem: A Norton Anthology of Poetic Forms (2000) — Contributor — 1,464 copies, 9 reviews
The Best Poems of the English Language: From Chaucer Through Robert Frost (2004) — Contributor — 1,243 copies, 3 reviews
Literature: An Introduction to Fiction, Poetry, and Drama (1995) — Contributor, some editions — 1,011 copies, 7 reviews
The Nation's Favourite Poems (1996) — some editions — 687 copies, 8 reviews
English Romantic Poetry: An Anthology (1996) — Contributor — 659 copies, 4 reviews
The Best Loved Poems of Jacqueline Kennedy-Onassis (2001) — Contributor — 619 copies, 11 reviews
English Poetry, Volume II: From Collins to Fitzgerald (1910) — Contributor — 577 copies, 1 review
A Treasury of the World's Best Loved Poems (1961) — Contributor — 570 copies, 4 reviews
English Essays: From Sir Philip Sidney to Macaulay (1969) — Contributor — 570 copies, 2 reviews
The Illustrated Treasury of Children's Literature, Volumes 1-2 (1955) — Contributor — 521 copies, 4 reviews
World Poetry: An Anthology of Verse from Antiquity to Our Time (1998) — Contributor — 496 copies, 2 reviews
The Rag and Bone Shop of the Heart: A Poetry Anthology (1992) — Contributor — 439 copies, 4 reviews
Critical Theory Since Plato (1971) — Contributor, some editions — 435 copies, 1 review
Literature: The Human Experience (2006) — Contributor — 367 copies
The Norton Anthology of English Literature, 4th Edition, Volume 2 (1979) — Contributor — 269 copies, 1 review
Criticism: Major Statements (1964) — Contributor — 234 copies
Ion (0380) — Translator, some editions — 221 copies, 3 reviews
Atheism: A Reader (2000) — Contributor — 195 copies, 3 reviews
Best Remembered Poems (1992) — Contributor — 182 copies, 4 reviews
The Faber Book of Beasts (1997) — Contributor — 168 copies, 1 review
A Literary Christmas: An Anthology (2013) — Contributor — 160 copies, 5 reviews
The Book of Love (1998) — Contributor — 151 copies
The Standard Book of British and American Verse (1932) — Contributor — 130 copies, 1 review
Poems to See By: A Comic Artist Interprets Great Poetry (2020) — Contributor — 130 copies, 33 reviews
Byron's Poetry and Prose [Norton Critical Edition] (2009) — Contributor — 109 copies, 1 review
Major British Writers, Volumes I and II (1959) — Contributor — 97 copies, 1 review
The Everyman Anthology of Poetry for Children (1994) — Contributor — 78 copies
An Introduction to Poetry (1968) — Contributor — 72 copies, 1 review
Modern English Readings (1942) — Contributor — 60 copies
The Portable Romantic Reader (1957) — Contributor — 56 copies
Demi's Secret Garden (1993) — Contributor — 54 copies, 1 review
Poetry of Witness: The Tradition in English, 1500-2001 (2014) — Contributor — 52 copies, 1 review
The Faber Book of Gardens (2007) — Contributor — 51 copies, 2 reviews
The English Romantics: Major Poetry and Critical Theory (1978) — Contributor — 47 copies, 1 review
The Essential Poetry Collection (2020) — Contributor, some editions — 45 copies
Gothic [1986 film] (1986) — Original story — 40 copies
Poetas románticos ingleses (1989) 35 copies, 1 review
Fairy Poems (Everyman's Library Pocket Poets Series) (2023) — Contributor — 34 copies
The Lakeland Poets: An Illustrated Collection (1991) — Contributor — 32 copies
Bright Poems for Dark Days: An Anthology for Hope (2021) — Contributor — 30 copies
Five Great English Romantic Poets (Dover Thrift Editions) (1993) — some editions — 27 copies
Masters of British Literature, Volume B (2007) — Contributor — 22 copies
The Favourite Wonder Book (1938) — Contributor — 17 copies
Great Writers and Poets in Ten Volumes (2007) — Author — 15 copies
Sunlight on the River: Poems About Paintings, Paintings About Poems (2015) — Contributor — 11 copies, 2 reviews
Englische Essays aus drei Jahrhunderten (1973) — Contributor — 9 copies
Men and Women: The Poetry of Love (1970) — Contributor — 9 copies
The Poetry of Snowdonia (1989) — Contributor — 8 copies
Suspense: A Treasury for Young Adults (1966) — Contributor — 6 copies
19. Jahrhundert 1. Romantik (1983) — Contributor — 5 copies
Europa. Analysen und Visionen der Romantiker. (1982) — Contributor — 4 copies
La poesía inglesa románticos y victorianos — Contributor — 4 copies, 1 review
English Romantic Poetry (1996) — Contributor — 2 copies
New Philosopher #23: Being Human (2019) — Contributor — 2 copies
The River Reader: Introduction to Literature (2010) — Contributor — 1 copy

Tagged

Common Knowledge

Canonical name
Shelley, Percy Bysshe
Legal name
Shelley, Percy Bysshe
Birthdate
1792-08-04
Date of death
1822-07-08
Gender
male
Education
Sion House School, Brentford, Middlesex, England, UK
Eton College
University of Oxford (University College)
Occupations
poet
essayist
Relationships
Shelley, Mary (wife)
Wurdemann, Audrey (great-great-granddaughter)
Hunt, Leigh (friend)
Wollstonecraft, Mary (mother-in-law)
Godwin, William (father-in-law)
Byron, Lord (friend) (show all 7)
Clairmont, Claire (sister-in-law)
Short biography
Percy Bysshe Shelley was born near Horsham, Sussex, England to an aristocratic family. The eldest of six siblings, he was the heir to his grandfather’s considerable estates and his father's seat in Parliament. He attended Syon House Academy and Eton College (where he was miserable) before a brief spell at Oxford University. His first publication was Zastrozzi (1810), a Gothic novel. With his sister Elizabeth, he published Original Poetry by Victor and Cazire. A pamphlet that he wrote and circulated on "The Necessity of Atheism" resulted in his expulsion from Oxford. At age 19, he eloped to Scotland with 16-year-old Harriet Westbrook. Estranged from his father, he went to live in the Lake District of England and in Ireland. Two years later he published his first long serious work, Queen Mab: A Philosophical Poem. His friendship with the philosopher William Godwin in London led to meeting and falling in love with Mary Wollstonecraft Godwin, his daughter. In 1814, Shelley and Mary eloped to Europe, but they returned after six weeks for lack of funds. They married in 1816 after Harriet Shelley was found drowned, an apparent suicide. Early in 1818, he and Mary left England forever. During the remaining four years of his life, he produced all his major works, including Prometheus Unbound (1820). Today he is considered one of the finest lyric poets in the English language. The Shelleys traveled and lived in various Italian cities and were part of a circle of Romantic poets and writers including Lord Byron and Leigh Hunt. In 1822, less than a month before his 30th birthday, Shelley was drowned in a storm while trying to sail his schooner from Livorno (Leghorn) to La Spezia, Italy. He was cremated and his ashes buried in the Protestant Cemetery in Rome.
Cause of death
drowning
Nationality
UK
Birthplace
Horsham, Sussex, England, UK
Places of residence
Field Place, Sussex, England, UK
Oxford, Oxfordshire, England, UK
Casa Magni, Bay of Spezia, Italy
Villa Diodati, Lake Geneva, Switzerland
Place of death
Lerici, Sardinia, Italy
Burial location
Protestant Cemetery, Rome, Italy
Map Location
England, UK

Members

Discussions

Prometheus Bound/Unbound-LEC or Heritage in George Macy devotees (November 2023)

Reviews

89 reviews
The literary equivalent of a trainwreck: horrifying to watch, yet you cannot tear your eyes away. The editor tries to make a case that Shelley was ripping off the fashion for Gothic for a get-rich-quick-scheme, but I don't buy it. That is no excuse for such preposterous language, it is likely to put you off Gothic and the Romantics for ever.
ETC
½
This Norton Critical Edition combines several of Shelley’s poems, both long and short, three of Shelley’s essential essays (“On Love,” “On Life,” and “A Defence of Poetry”), and fifteen critical essays that aid in understanding. It was the perfect book to help me understand this Romantic poet.

I found I had to revise my picture of the romantic poet as one merely gushing emotion, despite Shelley’s habit of idealizing a series of sixteen-year-old girls like any lovelorn show more adolescent, with the difference that his language and technical poetic skill are far superior. Beyond that, I learned that he was well-informed on philosophy, science, and other topics. He was politically engaged.

As for the language, I was grateful for the notes, which elucidate his idiosyncratic vocabulary (“pinion” for “wing”), as well as his frequent references to mythology.

While some of his shorter lyrics (“such Ode to Freedom,” “To a Skylark,” and “Ode to the West Wind”) are excellent, I learned that Shelley’s strength was mastery of the long form, which makes him difficult to anthologize. The best of them, such as “Adonais” and the poem left unfinished at his death with the ironic title “Triumph of Life,” are impressive achievements. “Hellas,” on the other hand, was difficult for me. “Queen Mab,” perhaps not on the same level, contains a wonderful description of the universe, anticipating the photos sent back from the James Webb telescope and a memorable passage of how greed drives out truth.

Although a full appreciation of Shelley requires careful reading of entire poems, I was often struck by perfectly crafted couplets, such as the one that opens “Ode to Heaven”: “Palace-roof of cloudless nights/Paradise of golden lights.”

One of the challenges for me in coming to terms with Shelley, aside from his shabby treatment of the women he loved, is his congenital hatred of authority, culminating in his rejection of God. In “Prometheus Unbound,” he imagines that Jupiter (transparent for Yahweh) could be toppled from his throne, after which the Promethean spirit would spread to all mankind. No more sovereign, no more slave. Of course, we live in a world that has long since toppled God, but the human condition is no better for it.

To understand Shelley, I try to imagine where his picture of God comes from. It starts with his defiance of his father, compounded by his experiences in authoritarian, often cruel schools of the time, all justified by an appeal to a sovereign God at the top of the pyramid.
I also found it interesting that many of his visions of the world as it could be reminded me of Isaiah and other Hebrew prophets. For all his rejection of God, he had read his Bible well, and scriptural allusions abound.

Of the essays, I enjoyed Abrams on “Prometheus Unbound,” Chayes on “Ode to the West Wind,” and Matthews on Shelley’s Lyrics. Carlos Baker showed me that Shelley’s play, “The Cenci,” might be better than I thought it was when I read it. Finally, there is an annotated bibliography, which I always think is helpful.

If you don’t already own this, you should be aware that a second edition was published in 2002, incorporating the results of ongoing efforts to establish authoritative texts and a new selection of criticism. For that reason, I’ve withheld a fifth star from this edition.
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I thought I had first read this in 2007, and I remembered not understanding or appreciating it. As I read it this time, I became quickly sure that I hadn't finished it the first time through. I was ready this time. The same thing happened with Prometheus Unbound that happened with The Revolt of Islam (also by Shelley): I tried reading it once, gave it up as no good, and came back to it later to find I had been completely wrong. Shelley is quickly becoming one of my favorite poets.
So there are a lot of ways to look at Shelley's Prometheus Unbound: as a continuation of Aeschylus's Prometheus Bound, as its own closet drama, or as a framework for Shelley to write poetry on nature and classical mythology. Unfortunately, in my opinion Prometheus Unbound fails no matter which of the three ways you look at it, and I'm actually left scratching my head at how badly Shelley messed up considering that he was handed such an interesting subject on a silver platter.

Aeschylus's show more Prometheus Bound is a work with amazing potential, the only surviving play in a trilogy that functions as a fascinating introduction to the Prometheus myth. Both Prometheus and Zeus are established as characters with depth, and their conflict is both nuanced and dramatic. It's impossible to say whether the potential of Prometheus Bound was fulfilled by Aeschylus's later plays, but I know for certain that said potential wasn't realized by Shelley. Instead of the fully developed characters of Prometheus Bound Shelley takes Prometheus and makes him a one-dimensional martyr, reassigning the pride that was evident in the Aeschylus version of Prometheus to Zeus. Shelley's Prometheus has no flaws of any consequence, instead he's just a name that undergoes unjust suffering and whose eventual release heralds a new age of peace and prosperity. He's the prophesied chosen one, a role which apparently Shelley doesn't think requires any further characterization. Zeus is also far less interesting here than in Prometheus Bound, as Shelley has made Zeus into a pure tyrant, with no reference to his recent rise to power and subsequent shift in behavior that made him an interesting character when crafted by Aeschylus, despite the fact that Zeus never appeared onstage in Prometheus Bound. Even minor characters like Mercury are made less compelling by Shelley than the ancient source material he had to draw inspiration from. While Prometheus Bound was the beginning of what promised to be a play of both emotional and potentially moral complexity, Shelley's play is one of black-and-white morality and one-dimensional characters. Compared to Prometheus Bound, Prometheus Unbound is banal and unimpressive.

Looking at Prometheus Unbound independent of Prometheus Unbound it still fails to excite. Shelley wrote this as a closet drama, meaning it was not intended to actually be performed, and I have to say that's an excellent decision because I can't imagine any way to stage and perform this play that wouldn't be mind-numbingly boring. All the flat characters only communicate through page long speeches, the actual action of the play occurs solely in the first act and the first few pages of the third, and the fourth act is so superfluous that Shelley didn't even originally include it as part of the play but instead tacked it on later. The ancient tragedians knew how to get to the point, and even more contemporary playwrights to Shelley like Shakespeare knew the art of merging their exquisite language with dramatic and compelling plots. There is no evidence in Prometheus Unbound that Shelley possessed that ability, and the story of Prometheus isn't one that precludes dramatic tension by any means. Shelley's four act play rambles on, brushing the key events out of the way as quickly as possible so as to fit in more passages of Earth and Asia and the Moon and other "characters" either despairing over the fate of Prometheus and the current state of the world, or in the second half of the play praising the changes that have occurred and the new state of things. Jupiter (Zeus) literally appears for all of three pages. The Moon gets more lines than Jupiter does. In sum Prometheus Unbound, even if you aren't comparing it to other plays, is a poorly structured work that fails to be at all compelling, instead continually going off on tangents and focusing on minor occurrences while giving very little attention to major ones.

These failings are why I believe Prometheus Unbound should really be considered a framework for Shelley's poetry instead of as a drama of any sort, closet or otherwise. Seriously, even if Shelley was a complete fool he probably could have written a play with better structure than this if crafting an interesting play was his goal. Instead, if his intention was to use the classical framework established by Aeschylus as a jumping off point for his poetry, then the structure of the play and the characters he chose to focus on makes far more sense. Unfortunately, while more understandable, Prometheus Unbound isn't very good when considered as a poetry framework either. Shelley can write great poetry, no question, the go-to example that almost everyone is familiar with being Ozymandias, and other efforts by Shelley (some included with Prometheus Unbound when it was first published) are also impressive. In Prometheus Unbound there is little of Shelley's best on display when it comes to poetry. For every character's speech that works well as a poem there are a dozen that seem mediocre poetry at best- and I'm probably being generous, as most lines don't even seem to meet the threshold of poetry but merely read as prolix prose. Additionally, reading over a hundred pages of Shelley's second tier poems stapled together isn't the format to appreciate his poetic talents. Especially when the fourth act rolls around and the story has already been completely resolved, the poetic dialogue of the various characters is distinctly underwhelming, more tedious than anything else. There is good Shelley poetry out there, but Prometheus Unbound does not showcase his best work, largely giving us overwritten and unimpressive speeches instead .

Shelley set out to not only complete Aeschylus's play, but to surpass it. Instead, he stripped Prometheus Bound of all its most interesting elements and wrote a bland play that serves more as a funnel for some of Shelley's more mediocre poetry than it does a compelling drama. Where Aeschylus wrote complex characters Shelley gives us mere archetypes of the martyr and the tyrant, not that they even receive much attention. Instead Shelley has the play focus on different nature entities talking amongst themselves, or praising the new dawn brought about by the overthrow of Jupiter, all in the form of some of Shelley's most lackluster poetry (for the most part indistinguishable from too-flowery prose). Based on statements he made to his wife before his death Shelley was actually happy with how Prometheus Unbound turned out. For my part, I can't imagine how Shelley could believe for one second that this mess of a closet drama belonged alongside the works of the great tragedians of antiquity.
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Associated Authors

Donald H. Reiman Editor, Contributor
John Keats Author
Neil Fraistat Editor, Contributor
Thomas Hutchinson Editor., Editor
Vincent Price Narrator
Mary Shelley Contributor
H. Buxton Forman Editor, Introduction
Harold Bloom Editor, Contributor
Kenneth Neill Cameron Editor, Contributor
M. H. Abrams Contributor
Earl R. Wasserman Contributor
G. M. Matthews Contributor
Carlos Baker Contributor, Editor
Nancy Moore Goslee Contributor
Forest Pyle Contributor
Michael Scrivener Contributor
Michael O'neil Contributor
Kelvin Everest Contributor
Michael Ferber Contributor
Susan J. Wolfson Contributor
Timothy Webb Contributor
Jerrold E. Hogle Contributor
Stuart Curran Contributor
Alan Bewell Contributor
James Chandler Contributor
Hugh Roberts Contributor
William Keach Contributor
Carl Woodring Contributor
C. E. Pulos Contributor
Irene H. Chayes Contributor
Ross Woodman Contributor
Charles H. Vivian Contributor
Evan K. Gibson Contributor
D. J. Hughes Contributor
Richard Holmes Editor, Introduction
Simon Brett Cover designer
Paul Foot Editor
Amelia Curran Cover artist
Johan Jansen Composer, Translator
Adolf Strodtmann Translator
Adriana Goedhart Illustrator
Gerlof Janzen Introduction, Translator
Mary W. Shelley Introduction
Dirck van Baburen Cover artist
Cian Duffy Editor
Carl Gustav Carus Cover artist
Alfred Forman Introduction
Rex Warner Translator
Vincent van Gogh Cover artist
D. Spanjaard Translator

Statistics

Works
525
Also by
78
Members
7,989
Popularity
#3,033
Rating
3.9
Reviews
73
ISBNs
548
Languages
15
Favorited
53

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