Donald H. Reiman – författare

Each selection has been thoroughly reedited, and the order of the poems has been rearranged in light of redating or other reconsiderations. All headnotes are new or updated, and many footnotes have been added, replaced, or revised."Criticism" reflects the recent renaissance in Shelley studies, the greatest renaissance since 1870-92. All twenty-three essays are new to the Second Edition; among them are the work of Harold Bloom, Stuart Curran, Annette Wheeler Cafarelli, Michael Ferber, James Chandler, and Susan J. Wolfson.A Chronology, an updated Selected Bibliography, and an Index of Titles and First Lines are included.

An essential collection of writings penned by the most celebrated figures of the Romantic era, presented in an authoritative two-volume set.Volumes V and VI of Shelley and His Circle illuminate a pivotal phase of Shelley’s personal and artistic evolution. Spanning late 1816 through 1819, the manuscripts, letters, and journals included here illustrate Shelley’s emerging poetic maturity, as well as his developing friendships with Leigh Hunt and John Keats.These volumes chronicle the writing of The Revolt of Islam, Shelley’s epic on the lessons of the French Revolution; the poet’s journey to Italy; the deaths of his and Mary’s two children; and his literary annus mirabilis in 1819. During this year, he wrote Prometheus Unbound, The Cenci, and A Philosophical View of Reform, which is here presented in a corrected text. The sequence closes in late December 1819 with a series of letters that signal Shelley’s growing isolation from his English cadre.Among the 175 fully transcribed manuscripts in this set are eighty-two penned by Shelley, and many others by William Godwin, Hunt, and Lord Byron. Also included are significant early letters by Edward John Trelawny, in addition to letters and journals of Keats, Thomas Love Peacock, Mary Shelley, Claire Clairmont, Thomas Jefferson Hogg, and Edward E. Williams. An appendix featuring eleven early letters and poems by Byron completes this revelatory set.

An essential collection of writings penned by the most celebrated figures of the Romantic era, presented in an authoritative two-volume set.Volumes VII and VIII of Shelley and His Circle present a wide-ranging collection of Shelley and Lord Byron’s letters, notes, and manuscripts composed during their summer in Switzerland and their Italian periods—with a spotlight on their correspondence between 1816 and 1819. While Italy proved fertile ground for Byron’s literary output, the isolated Shelley found himself far from peers who had nurtured his talents in England.Included are Shelley’s long letter to Thomas Love Peacock, describing his first acquaintance with Byron and their trip together around Lake Geneva, the press-copy manuscripts of Byron’s Beppo and Shelley’s “Athanase: A Fragment,” Shelley’s annotations in copies of William Godwin’s Political Justice and Spinoza’s Tractatus Theologico-Politicus, and significant correspondence between Shelley, Godwin, and Leigh Hunt. Also included are dozens of letters chronicling Byron’s romance with the Italian countess Teresa Guiccioli, as they carried on an affair from different apartments in the Palazzo Guiccioli.Through meticulously transcribed primary sources (including full translations of those in Italian and Latin) and fascinating reproductions of authentic letters, these volumes shed light on the highs and lows of Shelley and Byron’s sojourn across the Continent.

An essential collection of writings penned by the most celebrated figures of the Romantic era, presented in an authoritative two-volume set.Volumes IX and X of Shelley and His Circle offer insights into both Shelley’s youth and his later Italian exile, painting an especially vivid picture of the political and personal crises that dominated his life in the critical year of 1820.Volume IX features a retrospective on the young Shelley, bringing together his unpublished early letters from 1809–1810, a memorandum book that he kept at Eton, a libelous verse-letter about his parents, and other works predating his Italian exile. This backward glance also includes the only known exchange between Mary Wollstonecraft and Catharine Macaulay, William Godwin’s first letter to Malthus, and a partial draft of Mary Shelley’s Proserpine, complete with edits made by her husband.Volume X chronicles Shelley’s Italian residence from July through December 1820. In this period of political unrest, the letters of Leigh Hunt, the Shelleys, Lord Byron, and Countess Teresa Guiccioli reflect preoccupation with Queen Caroline’s “trial” for adultery in Britain and with brewing revolutions in Italy. Other highlights include the press copy of Byron’s verse drama Marino Faliero, a young British officer’s reminiscences of Shelley in 1814, and the young architect Henry Reveley’s testimony about the Circle. Together, the materials illuminate the Circle’s impassioned engagement with the political discourse of the times.

A milestone in literary scholarship, the publication of the Johns Hopkins edition of The Complete Poetry of Percy Bysshe Shelley makes available for the first time critically edited clear texts of all poems and translations that Shelley published or circulated among friends, as well as diplomatic texts of his significant incomplete poetic drafts and fragments. Edited upon historical principles by Donald H. Reiman and Neil Fraistat, the multi volume edition will offer more poems and fragments than any previous collective edition, arranged in the order of their first circulation. These texts are followed by the most extensive collations hitherto available and detailed commentaries that describe their contextual origins and subsequent reception. Rejected passages of released poems appear as supplements to those poems, while other poetic drafts that Shelley rejected or left incomplete at his death will be grouped according to either their publication histories or the notebooks in which they survive.Volume One includes Shelley's first four works containing poetry (all prepared for publication before his expulsion from Oxford), as well as "The Devil's Walk" (circulated in August 1812), and a series of short poems that he sent to friends between 1809 and 1814, including a bawdy satire on his parents and "Oh wretched mortal," a poem never before published. An appendix discusses poems lost or erroneously attributed to the young Shelley. "These early poems are important not only biographically but also aesthetically, for they provide detailed evidence of how Shelley went about learning his craft as a poet, and the differences between their tone and that of his mature short poetry index a radical change in his self-image...The poems in Volume I, then, demonstrate Shelley's capacity to write verse in a range of stylistic registers. This early verse, even in its most abandoned forays into Sensibility, the Gothic, political satire, and vulgarity-perhaps especially in these most apparently idiosyncratic gestures-provides telling access to its own cultural moment, as well as to Shelley's art and thought in general."-from the Editorial Overview

Writing to his publisher in 1813, Shelley expressed the hope that two of his major works "should form one volume"; nearly two centuries later, the second volume of the Johns Hopkins edition of The Complete Poetry fulfills that wish for the first time. This volume collects two important pieces: Queen Mab and The Esdaile Notebook. Privately issued in 1813, Queen Mab was perhaps Shelley's most intellectually ambitious work, articulating his views of science, politics, history, religion, society, and individual human relations. Subtitled A Philosophical Poem: With Notes, it became his most influential-and pirated-poem during much of the nineteenth century, a favorite among reformers and radicals. The Esdaile Notebook, a cycle of fifty-eight early poems, exhibits an astonishing range of verse forms. Unpublished until 1964, this sequence is vital in understanding how the poet mastered his craft. As in the acclaimed first volume, these works have been critically edited by Donald H. Reiman and Neil Fraistat. The poems are presented as Shelley intended, with textual variants included in footnotes.Following the poems are extensive discussions of the circumstances of their composition and the influences they reflect; their publication or circulation by other means; their reception at the time of publication and in the decades since; their re-publication, both authorized and unauthorized; and their place in Shelley's intellectual and aesthetic development.