from The American Heritage® Dictionary of the English Language, 4th Edition
- Shelley, Mary Wollstonecraft Godwin 1797-1851. British writer best known for the Gothic novel Frankenstein, or the Modern Prometheus (1818). She married Percy Bysshe Shelley in 1816.
- Shelley, Percy Bysshe 1792-1822. British romantic poet whose works include "To a Skylark” (1820), the lyric drama Prometheus Unbound (1820), and "Adonais” (1821), an elegy to John Keats.
- proper n. Percy Bysshe Shelley (1792-1822), a Romantic poet.
- proper n. A habitational surname.
- proper n. A male given name, transferred use of the surname, mostly before 1930.
- proper n. A female given name used since the 1930s, also explained as a variant of Shirley or Michelle.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. English writer who created Frankenstein's monster and married Percy Bysshe Shelley (1797-1851)
- n. Englishman and romantic poet (1792-1822)
Shelley may not have known Harriet personally at this time, but merely through the reports of his sisters, who were always talking about her, as reported in the _Shelley Memorials_.
Shelley was also afraid of death from elephantiasis, [Footnote: T.J. Hogg, _Life of Shelley_, p. 458.] but he keeps that affliction out of his verse.
In the last ten years -- more especially since 1844, when her son succeeded to the Shelley estates -- she had no need to write for money, and it is understood that she devoted the time to the composition of _Memoirs of Shelley_.
With B.ron's description of Chillon, compare that of Shelley, contained in a letter to Peacock, dated July 12, 1816 (_Prose Works of P.B. Shelley_, 1880, ii. 171, sq.).
Shelley, July 20, 1816, in Dowden's _Life of Shelley_, we read that
SHELLEY - Fire crews responded to a house fire in Shelley early Friday morning.
 For Blake and for Shelley, as well as, it may be added, for Hinton, chastity, as Todhunter remarks in his _Study of Shelley_, is "a type of submission to the actual, a renunciation of the infinite, and is therefore hated by them.
Variously deployed, patriotism in Shelley is a form of what he would come to call Love: a sympathetic identification with something besides our selves, something larger.
They are also symptoms, marks of social weakness and woe which Shelley is anxious to erase, representing the alienating power which seems in Shelley to emanate both from the despot and from despotic capital.