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30 pages 1 hour read

Percy Bysshe Shelley

The Triumph of Life

Fiction | Poem | Adult | Published in 1824

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Literary Devices

Form and Meter

The Triumph of Life is written in terza rima, which has three line stanzas (called tercets) and an interlocking rhyme scheme. This form was first used by Dante in his Divine Comedy and used by Petrarch in his Trionfi (Triumphs). Both of these poets influence Shelley, especially in his use of form. Shelley uses terza rima in “Ode to the West Wind,” as well as in The Triumph of Life. The pattern of rhyme in terza rima is ABA BCB CDC, etc., and it connects the tercets. In the first two stanzas, the rhyme words are task/mask, forth/Earth/birth, and the rhyme of snow continues on into the third tercet.

At the end of the first section, there is a four-line stanza with the rhyme scheme ABAB, and the final stanza of two lines was not finished before Shelley died. Some editors do not break up the tercets into stanzas, but the structure remains. The meter of Dante’s work can be contrasted with Shelley’s poem. While Dante’s Italian lines are 11 syllables long, Shelley’s English lines are 10 syllables long. He generally follows iambic pentameter, which has a pattern of unstressed syllables followed by stressed syllables.

Allegory

Another literary device in The Triumph of Life is allegory. An allegory is a symbolic representation, often of a virtue or vice. Shelley’s “caves” (Line 272) allude to the Cave of Mammon in Edmund Spenser’s Faerie Queene. Spenser’s long poem from the English Renaissance is famous for its allegories. Spenser’s characters represent virtues such as holiness, temperance, and chastity. Shelley, from the English Romantic era, is interested in the process of creating allegories and subverts the traditional use of them to tell a simple moral lesson. Shelley scholar Eric Schulze argues that the poet not only traces the formation of the allegory of life, but also “mounts an allegory against allegory in an attempt to reclaim whatever authority he can for the visionary imagination” (Schulze, Eric. “Allegory Against Allegory: ‘The Triumph of Life.’JSTOR, 1988). Shelley prefers the visionary over the allegorical.

Similes

Shelley uses a large number of similes, or direct comparisons, in The Triumph of Life. For instance, the movement of the crowd circling around the chariot of life is compared to the clouds around the moon: “[O]thers made / Circles around it like the clouds that swim / Round the high moon in a bright sea of air” (Lines 453-55). The movements of the dancers are also described with a moth simile. The young dancers “glow / Like moths by light attracted and repelled, / Oft to new bright destruction come and go” (Lines 152-54). These kinds of direct comparisons help the reader see the wild dance of the processional. Similes not only help convey physical action, they also help describe psychological actions. When Rousseau drinks from the crystal glass that contains a drug of forgetting, he says his “brain became as sand” (Lines 405). This simile continues with the sand erasing the tracks of some animals in the desert. This develops the imagery of an internal state of forgetfulness. These are just a few examples—Shelley uses many similes throughout the poem. Similes and other comparisons are a way to describe actions and thoughts that are difficult to represent in another way.

Alliteration

In addition to the end rhymes of terza rima, Shelley connects the beginnings of words with alliteration. This is the repetition of the first letter in several different words. One of many examples of this can be seen in Lines 41-42: “As in that trance of wondrous thought I lay / This was the tenour of my waking dream.” Here, the letter “t” appears at the beginning of six words. The repetition of “t” emphasizes the main idea in this section: a trance. Another example is in Lines 363-65: “did bend her / Head under the dark boughs, till like a willow / Her fair hair swept the bosom of the stream.” Here, the letter “h” is repeated four times, emphasizing the hair of the “shape all light” (Line 352).

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