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Additional info for Percy Bysshe Shelley: Comprehensive Research and Study Guide (Bloom's Major Poets)
Nature (like Eostre’s transformed bunny thinking, it is still a bird) lays an Easter egg and hatches it, so to speak. ” These are the relevant citations from Shelley’s poem: Higher still and higher From the earth thou springest Like a cloud of fire; (6–8) Like an unbodied joy whose race is just begun. (15) From rainbow clouds there flow not Drops so bright to see As from thy presence showers a rain of melody. (33–35) . . thou scorner of the ground! (100) In “To a Skylark,” “ground” fades away to Ground, the ultimate Soul.
In Ozymandias, however, he is content with a limited objective, a straightforward piece of irony, and he succeeds completely. —Desmond King-Hele, Shelley: His Thought and Work (Cranbury, New Jersey: Associated University Presses, 1984): pp. 92–94. 32 Thematic Analysis of “To a Skylark” Written in late June 1820 and published in the Prometheus Unbound volume in the same year, “To a Skylark” is a lyric (a poem which is both musical and expressive in origin, and which focuses on the poet’s emotional responses to the world outside the self and his relationship to that world).
37 The tonal immediacy of “To a Sky-Lark,” as Shelley actually hears a ringing heavenly music, makes this saving conversion unavailable until the end, and forces him to confront the differential matrix and inherent contradiction of any vision of the One. —William A. Ulmer, “Some Hidden Want: Aspiration in ‘To a SkyLark,’” Studies in Romanticism 23, no. 2 (Summer 1984): pp. 245–48. PARKS C. HUNTER JR. ON THE UNIVERSAL IDEAS WITHIN CLASSICAL FORMS [Parks C. Hunter Jr. is the author of Textual Differences in the Drafts of Shelley’s “Una Favola” (1966).