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Shelley's mainstream following did not develop until a generation after his death, unlike Lord Byron, who was popular among all classes during his lifetime despite his radical views. For decades after his death, Shelley was mainly appreciated by only the major Victorian poets, the pre-Raphaelites, the socialists and the labour movement. One reason for this was the extreme discomfort with Shelley's political radicalism which led popular anthologists to confine Shelley's reputation to the relatively sanitised "magazine" pieces such as "Ozymandias" or "Lines to an Indian Air".

He was admired by C. S. Lewis,[47] Karl Marx, Robert Browning, Henry Stephens Salt, Gregory Corso, George Bernard Shaw, Bertrand Russell, Isadora Duncan,[3] Upton Sinclair,[48] Gabriele d'Annunzio, Aleister Crowley and W. B. Yeats.[49] Samuel Barber, Sergei Rachmaninoff, Roger Quilter, Howard Skempton, John Vanderslice and Ralph Vaughan Williams composed music based on his poems.

Critics such as Matthew Arnold endeavoured to rewrite Shelley's legacy to make him seem a lyricist and a dilettante who had no serious intellectual position and whose longer poems were not worth study. Matthew Arnold famously described Shelley as a "beautiful and ineffectual angel". This position contrasted strongly with the judgement of the previous generation who knew Shelley as a sceptic and radical.

Many of Shelley's works remained unpublished or little known after his death, with longer pieces such as A Philosophical View of Reform existing only in manuscript till the 1920s. This contributed to the Victorian idea of him as a minor lyricist. With the inception of formal literary studies in the early twentieth century and the slow rediscovery and re-evaluation of his oeuvre by scholars such as Kenneth Neill Cameron, Donald H. Reiman and Harold Bloom, the modern idea of Shelley could not be more different.

Paul Foot, in his Red Shelley, has documented the pivotal role Shelley's works – especially Queen Mab — have played in the genesis of British radicalism. Although Shelley's works were banned from respectable Victorian households, his political writings were pirated by men such as Richard Carlile who regularly went to jail for printing "seditious and blasphemous libel" (i.e. material proscribed by the government), and these cheap pirate editions reached hundreds of activists and workers throughout the nineteenth century.[50]

In other countries such as India, Shelley's works both in the original and in translation have influenced poets such as Rabindranath Tagore[51] and Jibanananda Das. A pirated copy of Prometheus Unbound dated 1835 is said to have been seized in that year by customs at Bombay.

The 1970s and 1980s Thames Television sitcom Shelley made many references to the poet.

Paul Johnson, in his book Intellectuals,[52] describes Shelley in a chapter titled "Shelley or the Heartlessness of Ideas ". In the book Johnson describes Shelley as an amoral person, who by borrowing money which he did not intend to return, and by seducing young innocent women who fell for him, destroyed the lives of everybody with whom he had interacted, including his own.

In 2005 the University of Delaware Press published an extensive two-volume biography by James Bieri. In 2008 the Johns Hopkins University Press published Bieri's 856-page one-volume biography, Percy Bysshe Shelley: A Biography.

The rediscovery in mid-2006 of Shelley's long-lost "Poetical Essay on the Existing State of Things", as noted above and in footnote 6 below, has not been followed up by the work's being published or being made generally available on the internet or anywhere else.

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