Timothy Webb

Stimulated by new editions of Shelley's writings and the evidence of notebooks, the editors have assembled an outstanding group of international Shelley scholars to work through the implications of recent advances in scholarship. With particular attention to texts that have been neglected or underestimated, the contributors consider many important aspects of Shelley's prolific and remarkably diverse output, including the verse letter, plays, prose essays, satire, pamphlets, political verse, romance, prefaces, translations from the Greek, prose style, artistic representations, fragments and early writings. Revaluations of Shelley's youthful works, often criticized for their over-exuberance, pay dividends as they reveal Shelley's early maturation as a writer and also shed light on his later achievement. Taken as a whole, the collection makes evident that Shelley's reputation has been based largely on surprisingly imperfect and incomplete edited publications, driven by Victorian taste and culture. A writer very different from the one we thought we knew emerges from these essays, which are sure to inspire more reappraisals of Shelley's work.

New editions and facsimiles of Percy Bysshe Shelley's works are changing the landscape of Shelley studies by making complete compositions and fragments that have received only limited critical attention readily available to scholars. Building on the work begun in Weinberg and Webb's 2009 volume, The Unfamiliar Shelley, The Neglected Shelley sheds light on the breadth and depth of Shelley's oeuvre, including the poet's earliest work, written when he was not yet twenty and was experimenting with gothic romances, and other striking forms of literary expression, such as two collections of provocative verse. There are discussions of Shelley's collaboration with Mary Shelley in the composition of Frankenstein, and his skill as a translator of Greek poetry and drama, reflecting his urgent concern with Greek culture. His contributions to prose are the focus of essays on his letters, the subversive notes to Queen Mab, and his complex engagement with Jewish culture. Shelley's considerable corpus of fragments is well-represented in contributions on the later narrative fiction, 'Athanase'/'Prince Athanase', and the significant group of unfinished poems, including 'Mazenghi', 'Fiordispina', 'Ginevra' and 'The Boat on the Serchio', that treat Italian topics. Finally, there are explorations of subtle though neglected or underestimated works such as Rosalind and Helen, The Sensitive-Plant, and the verse-drama Hellas. The Neglected Shelley shows that even the poet's apparently slighter works are important in their own right and are richly instructive as expressions of Shelley's developing art of composition and the diverse interests he pursued throughout his career.

New editions and facsimiles of Percy Bysshe Shelley's works are changing the landscape of Shelley studies by making complete compositions and fragments that have received only limited critical attention readily available to scholars. Building on the work begun in Weinberg and Webb's 2009 volume, The Unfamiliar Shelley, The Neglected Shelley sheds light on the breadth and depth of Shelley's oeuvre, including the poet's earliest work, written when he was not yet twenty and was experimenting with gothic romances, and other striking forms of literary expression, such as two collections of provocative verse. There are discussions of Shelley's collaboration with Mary Shelley in the composition of Frankenstein, and his skill as a translator of Greek poetry and drama, reflecting his urgent concern with Greek culture. His contributions to prose are the focus of essays on his letters, the subversive notes to Queen Mab, and his complex engagement with Jewish culture. Shelley's considerable corpus of fragments is well-represented in contributions on the later narrative fiction, 'Athanase'/'Prince Athanase', and the significant group of unfinished poems, including 'Mazenghi', 'Fiordispina', 'Ginevra' and 'The Boat on the Serchio', that treat Italian topics. Finally, there are explorations of subtle though neglected or underestimated works such as Rosalind and Helen, The Sensitive-Plant, and the verse-drama Hellas. The Neglected Shelley shows that even the poet's apparently slighter works are important in their own right and are richly instructive as expressions of Shelley's developing art of composition and the diverse interests he pursued throughout his career.

Types and styles of personal ornamentation are here used as a key resource in the study of the culture of northern England during the Roman period, with questions of diversity, Romanisation, ethnicity and gender at the forefront of the research. Using existing data Timothy Webb maps the distrbution of different types of ornament, looking at variation across rural, urban and villa assemblages as well as military sites. He finds that despite considerable diversity, a distinct northern culture can be discerned, but one that is recognisably part of the wider Roman world.

Stimulated by new editions of Shelley's writings and the evidence of notebooks, the editors have assembled an outstanding group of international Shelley scholars to work through the implications of recent advances in scholarship. With particular attention to texts that have been neglected or underestimated, the contributors consider many important aspects of Shelley's prolific and remarkably diverse output, including the verse letter, plays, prose essays, satire, pamphlets, political verse, romance, prefaces, translations from the Greek, prose style, artistic representations, fragments and early writings. Revaluations of Shelley's youthful works, often criticized for their over-exuberance, pay dividends as they reveal Shelley's early maturation as a writer and also shed light on his later achievement. Taken as a whole, the collection makes evident that Shelley's reputation has been based largely on surprisingly imperfect and incomplete edited publications, driven by Victorian taste and culture. A writer very different from the one we thought we knew emerges from these essays, which are sure to inspire more reappraisals of Shelley's work.