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One of the most racy, entertaining, and valuable contemporary accounts of Byron, Medwin's Conversations created a furor among Byron’s many friends and enemies, especially those who appear in it. In the notes to this edition, Professor Lovell has assembled in the appropriate place comments on and corrections of Medwin’s account by Lady Byron, John Cam Hobhouse, E.J. Trelawny, Sir Charles Napier, John Murray, John Galt, William Harness, Robert Southey, Lady Caroline Lamb, Leigh Hunt, Mary Shelley, Sir Walter Scott, Countess Teresa Guiccioli William Fletcher, and others. The result is a continuing dialogue as one. witness debates with another. The text is based upon Medwin’s own copy of the third London edition of 1824, heavily annotated by the author. Originally published in 1966. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Cain has been ranked as one of the two best dramatic poems written in England in the nineteenth century. Because of its religious heterodoxy, which veiled a political iconoclasm, and also because of Byron’s notoriety, Cain stirred up a storm among Tories and clergymen “from Kentish town to Pisa.” From 1821 to 1830 more was printed about its eighteen hundred alarming lines than about the twenty thousand of Don Juan. One solemn Frenchman even translated the work in order to supply his countrymen with a text that he could then rewrite and confute. After the initial controversy, readers began to regard Cain not merely as revolutionary propaganda but as a fictional portrait of common youthful experience: a sequence of aspiration, discontent, uncertainty, confusion, misunderstood isolation, fear, frustration, anger, and finally a rash, inevitable, but futile revolt that led to a future of hopeless regret. Truman Guy Steffan here presents a text, arrived at by collation of the first and several later editions with the original manuscript (presently in the Stark Collection of the Miriam Lutcher Stark Library at the Harry Ransom Center, the University of Texas at Austin). The first eight essays, which comprise Part I, cover a number of literary topics: Byron’s defense of his purposes in Cain and the relevance of his dramatic theory to the poem; the characterization that is an ideological confrontation, a revelation of personal conflict, as well as a rendering of individuals who have an existence independent of the author; the principles that controlled Byron’s absorption and expansion of biblical materials; the integration of the imagery with the dramatic substance; the incongruities of the language; the metrical heterodoxy; and a description of the manuscript and of Byron’s insertions. Part II contains the text of Cain, accompanied by notes on the variants, the manuscript cancellations and additions, certain linguistic details, and the scansion of some unusual verses. Then follow annotations on allusions, sources, and analogues, and on a few passages of the play that have elicited unusual conflict over interpretation. Part III provides a history of Cain criticism, from the opinions of Byron’s social and literary circle and of the major periodicals and pamphlets to the more complicated contribution of the twentieth century. This important work stands not only as a valuable addition to Byron scholarship but also as an illuminating record of the changing critical and cultural attitudes from the early nineteenth century to the 1960s. Steffan has done a remarkable job in bringing together and synthesizing an enormous body of material.
Byron and Hobby-O is about the relationship between Byron and his supposed best friend, John Cam Hobhouse. It is the first full-length biographical study of Hobhouse in over fifty years, and is much franker and more intimate than anything preceding. It shows how, while the two men were initially collaborators and rivals, Byron rapidly outstretched Hobhouse in poetry, while Hobhouse, in the longer term, outstretched Byron in politics. It shows how long acquaintance with the elusive and chameleonic Byron turned Hobhouse into a canter and humbug of the kind Byron hated, and concludes with an account of the first English invasion of Afghanistan, which Hobhouse initiated. The book is based in part on long study of Hobhouse’s diary, much of which Peter Cochran has edited.