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This two-volume set presents and contextualizes major manuscripts
in the Carl H. Pforzheimer Collection of Shelley and His Circle,
now at the New York Public Library. These final volumes of Shelley
and His Circle include a retrospective centered on the young
Shelley, featuring unpublished letters from 1809-1810, a memorandum
book he kept at Eton, his libelous verse-letter about his parents,
and other manuscripts predating his Italian exile. This backward
glance also includes the only known exchange between Mary
Wollstonecraft and Catharine Macaulay, Godwin's first letter to
Malthus, and a partial draft of Mary Shelley's Proserpine, emended
by her husband. The chronology of the Italian period begins in July
1820 with the press copy of Byron's verse drama Marino Faliero and
continues through December, a period of political ferment when the
letters of Leigh Hunt, the Shelleys, Byron, and Countess Teresa
Guiccoli reflect preoccupation with Queen Caroline's "trial" for
adultery in Britain and brewing revolutions in Italy. Other
highlights are two important eyewitness accounts: a young British
officer's reminiscences of Shelley in 1814 and Henry Reveley's
testimony about the Shelley Circle. Four substantial essays along
with detailed commentaries provide context for the 100 manuscripts.
Volumes VII and VIII not only carry the chronological catalogue of
relevant manuscripts into July 1820, but they also contain an
important retrospective of recently acquired Shelley and Byron
letters and literary manuscripts from their summer together in
Switzerland in 1816 through the end of 1819. (Some eighty-five
percent of the manuscripts appearing in these volumes were not
known to exist when Volumes V-VI of Shelley and His Circle went to
press.) Among these are Shelley's long letter to Peacock describing
his first acquaintance with Byron and their trip together around
Lake Geneva (hitherto published as two separate letters); the
press-copy manuscripts of Byron's Beppo and Shelley's "Athanase: A
Fragment"; letters of Henry Brougham and Madame de Stael that
comment on Byron in Switzerland; numerous letters by Byron's
Venetian mistresses; and letters charting the growth of Byron's
attachment to Teresa Guiccioli. In volume VIII, the materials of
1820 include E. J. Trelawny's account and commonplace book of
1820-1822; letters by Keats and others mentioning him; hitherto
established letters from Peacock and others relevant to Shelley's
debt to a Bath upholstery firm; Shelley's annotations in copies of
Godwin's Political Justice and Spinoza's Traclatus
Theologico-Politicus; three newly discovered letters of Shelley to
his Florentine banker, as well as other important letters by
Shelley, Godwin, and Leigh Hunt; and a web of correspondence
between Teresa Guiccioli and Byron while they carried on their
affair from different apartments in the Palazzo Guiccioli. These
primary materials, all meticulously transcribed (those in Italian
and Latin also accompanied by full translations) are complemented
by detailed commentaries on events, people, ideas, and problems
reused by the manuscripts, as well as by the following major
essays: "Shelley as Athanase" by Donald H. Reiman; "Countesses and
Cobblers' Wives: Byron's Venetian Mistresses" by Doucet Devin
Fischer; "Mixed Company: Byron's Beppo and the Italian Medley" by
Jerome J. McGann; "Countess Guiccioli's Byron" by Doucet Devin
Fischer; "Trelawny's Lost Years" by William St. Clair; and "Shelley
and the Upholsterers of Bath" by Donald H. Reiman.
Publishing, Editing, and Reception is a collection of twelve essays
honoring Professor Donald H. Reiman, who moved to the University of
Delaware in 1992. The essays, written by friends, students, and
collaborators, reflect the scholarly interests that defined
Reiman's long career. Mirroring the focus of Reiman's work during
his years at Carl H. Pforzheimer Library in New York and as lead
editor of Shelley and his Circle, 1773-1822 (Harvard University
Press), the essays in this collection explore authors such as Mary
Shelley, William Hazlitt, Lord Byron and Percy Bysshe Shelley;
moreover, they confirm the continuing influence of Reiman's
writings in the fields of editing and British Romanticism. Ranging
from topics such as Byron's relationship with his publisher John
Murray and the reading practices in the Shelley circle to Rudyard
Kipling's response to Shelley's politics, these essays draw on a
dazzling variety of published and manuscript sources while engaging
directly with many of Reiman's most influential theories and
arguments.
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