Shelley and the dramatic form

Abstract

This thesis on 'Shelley and the Dramatic Form' has been divided into an introduction, eight chapters and a conclusion. The introduction justifies the theme of the thesis by discussion of the comparative neglect of Shelley's dramas from the point of view of form. The first chapter deals with Shelley's interest in the living theatre with reference to performances in both England and Italy. The second reveals Shelley actually at work on the dramatic compositions of his wife Mary and his friend E.E. Williams. The third chapter shows the reciprocal dramatic influence of Byron and Shelley from the time of their first meeting in Geneva in 1816 to Shelley's death in 1822.The succeeding chapters analyse the dramatic form of Shelley's dramas in chronological order: Prometheus Unbound in Chapter IV, The Cenci in Chapter V, Oedipus Tyrannus in Chapter VI, Hellas in Chapter VII, Charles I in Chapter VIII. Prometheus Unbound and Hellas have been examined primarily from the point of view of dramatic form but a further treatment has been accorded to The Cenci. The thesis concludes with a brief assessment of Shelley's ability as a dramatist.