Shelley's Visions of Death

Acknowledgements
A Note on Editions
Contents
Abbreviations
1 ‘While Yet a Boy I Sought for Ghosts’: Contexts
	From Gothic Fancy to the Threshold of Maturity
	The Classics, Christianity, and the De-Christianising Context
	Shelley’s Visions of Death: An Overview
	Notes
2 ‘Rending the Veil of Mortal Frailty’: Queen Mab (1813)
	Infinite vs Finite, Soul vs Body
	Necessity
	Lucretius and the ‘Great Principle’
	Notes
3 ‘Who Lifteth the Veil of What Is to Come?’: Alastor (1816)
	A ‘Treacherous Likeness’ on the Water: ‘Alastor’
	Suggestion and Countersuggestion Again: ‘The Pale, the Cold, and the Moony Smile’
	‘Here Could I Hope’: ‘A Summer-Evening Churchyard’
	Notes
4 ‘And Is This Death?’: ‘Seeing’ the Unseen, and Visionary Experimentation (1816–20)
	Dramatising Death and Afterdeath: Laon and Cythna
	A Treacherous Likeness on the Sand: ‘Ozymandias’
	‘Ashes and Sparks’: ‘Ode to the West Wind’
	‘Obscured’ Vision and ‘Weird’ Play: ‘The Sensitive-Plant’ and ‘The Witch of Atlas’
	Notes
5 ‘Where the Eternal Are’: Adonais (1821)
	‘He Will Awake No More’: The Lamentation Phase
	‘Nought We Know, Dies’: The Optimistic Interlude
	‘He Will Awake No More’: The Lamentation Phase Resumed
	‘Mourn Not For Adonais’: The Relief Phase
	‘Imperishable Change’: Echoes of 1813
	Notes
6 Shadows and Dreams: Conclusions
	Notes
Bibliography
Index