Based upon the London edition of 1834, this text uses a copy annotated, underlined, and marginally marked by Byron's last mistress, Countess Teresa Guiccioli. Originally published in 1969. 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.

The Description for this book, Lady Blessington's Conversations of Lord Byron, will be forthcoming.

Byron was—to echo Wordsworth—half-perceived and half-created. He would have affirmed Jean Baudrillard's observation that "to seduce is to die to reality and reconstitute oneself as illusion." But among the readers he seduced, in person and in poetry, were women possessed of vivid imaginations who collaborated with him in fashioning his legend. Accused of "treating women harshly," Byron acknowledged: "It may be so—but I have been their martyr. My whole life has been sacrificed to them and by them." Those whom he spell bound often returned the favor in their own writings tried to remake his public image to reflect their own. Through writings both well known and generally unknown, James Soderholm examines the poet's relationship with five women: Elizabeth Pigot, Caroline Lamb, Annabella Milbanke, Teresa Guiccioli, and Marguerite Blessington. These women participated in Byron's life and literary career and the manipulation of images that is the Byron legend. Soderholm argues against the sentimental depictions of biographers who would preserve Byron's romantic aura by diminishing the contributions of these women to his social, sexual, and literary identity. By restoring the contexts in which literary works charm or bedevil particular readers, the author shows the consequences of Byron's poetic seductions during and after his life.

Byron’s Don Juan is one of the greatest poems in the English language. Byron’s friends initially agreed that ‘it will be impossible to publish this’. Byron prevailed, however, and the first two cantos were issued anonymously after much editorial revision. Even in its revised form, Don Juan was perceived as a radical attack on establishment values; the poem has remained a beacon for freedom of speech and retains its power to shock. Since it was published in 1819–24, all printed editions of the poem have used the text prepared by Byron’s publishers, John Murray and John Hunt. This is the first new text of the poem to be printed in two hundred years. The Longman edition is based on a comprehensive line-by-line analysis of the manuscripts, so the text of the poem follows Byron’s own voice, pace and pauses, rather than the grammatical punctuation and more cautious word choice inserted by his nineteenth-century editors. The Longman Don Juan has been annotated afresh, allowing readers to see where Byron left open the choice of words or rhymes, and demonstrating the extraordinary breadth and depth of his literary allusions, topical and cultural references, and socially coded jokes. Textual annotation includes reception history, extensive bibliographies and a detailed chronology, situating Don Juan in the literary, scientific, dramatic, political, musical and social life of the early nineteenth century. A detailed index to the poem and annotation provides an unparalleled resource for students and scholars.