The Complete Poetry of Percy Bysshe Shelley, Volume 1

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Donald H. Reiman, Neil Fraistat
JHU Press, Dec 14, 1999 - Literary Criticism - 544 pages
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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

-- Jack Stillinger, University of Illinois at Urbana-Champaign
  

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Contents

VI
3
VII
7
IX
9
X
11
XI
13
XII
14
XIII
15
XIV
16
LIII
144
LIV
145
LVI
147
LVII
149
LVIII
189
LIX
235
LX
261
LXI
281

XV
17
XVI
18
XVII
19
XVIII
20
XIX
21
XX
22
XXI
28
XXII
30
XXIII
37
XXIV
41
XXV
89
XXVI
92
XXVII
93
XXVIII
95
XXIX
99
XXX
100
XXXI
101
XXXII
102
XXXIII
105
XXXIV
109
XXXV
110
XXXVI
111
XXXVIII
114
XXXIX
115
XL
116
XLI
119
XLII
123
XLIII
128
XLIV
131
XLV
135
XLVI
136
XLVII
138
XLIX
139
LI
140
LII
142
LXII
295
LXIII
331
LXIV
333
LXV
335
LXVI
355
LXVII
375
LXVIII
387
LXIX
403
LXX
411
LXXI
429
LXXII
433
LXXIII
435
LXXV
437
LXXVI
438
LXXVII
441
LXXVIII
442
LXXIX
443
LXXX
444
LXXXI
448
LXXXII
451
LXXXIII
452
LXXXIV
453
LXXXVI
455
LXXXVII
456
LXXXIX
457
XC
458
XCI
466
XCII
469
XCV
478
XCVI
480
XCVII
482
XCVIII
487
XCIX
491
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About the author (1999)

Donald H. Reiman is the co-editor of Shelley and his Circle, a catalogue edition of relevant manuscripts in the Carl H. Pforzheimer Collection at the New York Public Library, and an adjunct professor of English at the University of Delaware. Neil Fraistat is a professor of English at the University of Maryland. He is a founder and general editor of the "Romantic Circles" website, published by the University of Maryland.

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