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Though rarely discussed in such terms, 'Ozymandias' represents a monumental moment in the so-called Shelley-Byron 'debate' or 'conversation.' Noting the failure of source studies to account convincingly for the origins of the facial features of Ozymandias, this paper argues that the pharaoh's 'frown, / And wrinkled lip, and sneer of cold command' are suspiciously Byronic, evoking the physiognomy of the Byronic hero and of Byron himself as portrayed in the widely circulated portrait of 1814-15 by George Henry Harlow. In other words, this paper argues that Ozymandias is a portrait - or rather a word-bust - of that early-nineteenth-century literary colossus known as 'Byron.' By depicting that colossus decapitated and in ruins, Shelley, who felt dwarfed by the genius and celebrity of Byron, prophesies the day when the sun would finally set on the literary empire of the poet whom he despaired of rivaling. Long a routine stop on the grand tour of British Romantic literature, 'Ozymandias' now asks to be revisited as a de casibus poem - i.e. a poem 'on the falls' of the mighty - that does not merely warn despots about the vanity of their pride and ambition but that also lectures Lord Byron on the vanity of his literary celebrity. [ABSTRACT FROM AUTHOR]

The article offers criticism on the 1817 poem "The Lament of Tasso" by George Byron, focusing on the role of the biography of 16th-century Italian poet Torquato Tasso in English literature. The author discusses biographies of Tasso by authors including Henry Layng and Giovan Battista Manso and focuses on the depiction of Tasso's imprisonment and madness in Byron's poem and in works by other authors such as Henrietta Prescott and Percy Bysshe Shelley.

The article offers criticism on the 1818 poem "The Revolt of Islam," by Percy Bysshe Shelley, previously titled "Laon and Cythna; or, The Revolution of the Golden City: A Vision of the Nineteenth Century." The author suggests that Shelley used chemistry theories from scientists Sir Humphry Davy and Adam Walker in composing the poem and discusses metamorphosis in the poem, focusing on the characters of Laon and Cythna.

The article offers criticism on the poem "Ode to Psyche," by John Keats. The author discusses secularism and criticism of Christianity in Keats's work and analyzes the work in relation to the idea of the "genealogy of the secular." Specific topics include the idea of orthodoxy in the poem, the idea of Cockney classicism, and Keats's poem "The Fall of Hyperion." Also discussed are botanical, classical Greek, and natural historical themes in the poem.

The article presents criticism of the poems "Endymion" and "Sleep and Poetry" by the Romantic poet John Keats. The author discusses the event of beginning in Keats's poetry in relation to politics. Topics addressed include Romantic poets' lack of interest in politics, the idea of beginning writing poetry in Keats's poetry, and political aspects of Keats's poems.

A literary criticism of the poems "Hyperion" and "The Fall of Hyperion," by the Romantic poet John Keats, is presented. The article discusses themes of "looking" and "seeing" in the poems as related to the philosophy of Georg Wilhelm Friedrich Hegel and Gilles Deleuze. Other topics include the Romantic poet George Byron, post-Napoleonic war thinking and the defeat of Waterloo in Keats's poetry, Keats's political beliefs, and image and dream in Keats's poems.

The article presents criticism of the poem "Endymion," by the Romantic poet John Keats. The author discusses political aspects of Keats's poetry and explores themes of beauty and aesthetic politics in Keats's poetry. The author uses passages from "Endymion" relating to aesthetics and beauty and compares Keats to the poet William Wordsworth.

The article presents a poetry criticism of the poem "Don Juan" by George Gordon, Lord Byron. It notes that within the poem Byron takes on the persona of the Italian Improvvisatore tradition, which cultivates the impression of spontaneity and absence of hard work in writing poetry. The article points out, however, that rhyming in English is more difficult than in Italian and that although it seems carefree, Byron could not have managed rhyming for pages on end without working at it.

The article discusses an 1816 poem by an unnamed prisoner of London's King's Bench Prison entitled "An elegy in the King's Bench Prison. In Imitation of Gray's Elegy in a Church Yard" that draws inspiration from the 1751 Thomas Gray work "Elegy Written in Country Churchyard." The author analyzes the content of the poem, which includes description of the London prison's poor appearance and conditions, the ethics of the prison marshal regarding liquor sales, and the lack of reforms to the prison.