Lord Byron’s first drama Manfred was published in 1817. While the play proved a commercial success, it never made it to the stage. In 1820, however, Marino Faliero was published and began being performed at Drury Lane later that year. As Thomas L. Ashton points out, Byron’s play is severely edited. Therefore, like Coleridge’s Remorse, the scholarly critic has multiple objects of inquiry: the original version of the play, the staged production, and the text of that production.
But perhaps what is most interesting about the staging of Marino Faliero is Byron’s response. In 1821, Byron published a collection of dramas containing Sardanapalus, Cain, and The Two Foscari separately from his regular verse. Contemporary reviewer William Gifford and Victorian commentator Matthew Arnold see the collection as the poet’s attempt to distance his weak dramatic experimentations from the rest of his work. Yet the features of this volume demand more attention. The collection lacks the usual Byronic trappings; most notably there is no frontispiece of the poet himself. Also, in his 1821 review of Sardanapalus, John Gibson Lockhart asks why Byron and his publisher John Murray decided to release the new collection during the same week that John Constable released Pirate, the new Walter Scott novel. Byron fought Murray to have his three dramas published at the end of theater season, despite the fact that such a release date would make the collection a commercial rival with Britain’s other top selling writer.
What if one of the plays in Byron’s 1821 collection made it to the stage in the poet’s lifetime? What are the implications of staging a play that the author contends was not written for the playhouse? In other words, what happens when the play is remediated? Furthermore, what happens to our scholarly narratives if we foreground the medium of the playhouse? Does Byron’s position in the canon change (he has proven disruptive and does not appear in certain foundational works including Natural Supernaturalism)?
Wordsworth and Coleridge’s early dramatic efforts have received attention but what of other prominent writers who forayed, or attempted to, into the playhouse? What are we to make of the fact that William Godwin continued writing plays, only one of which was staged and only once, when he had found success as a political philosopher and novelist? How are we to read the fact the only work of Shelley’s that needed a second edition in his lifetime was The Cenci?