Well-known as a poet, cultural critic, and novelist, William Gilmore Simms’s undertaking of an edited volume of Shakespearean apocrypha seems, at first, odd and atypical.  Yet, throughout his long career, Simms displayed a real interest in the theatre, attempting, often unsuccessfully, to write and stage plays.  His correspondence also shows a recurring concern with the opinions and evaluations of the great Shakespearean actor Edwin Forrest, for whom Simms wrote several dramas, none of which were ever staged.[1]  Taking into account the author’s deep and abiding interest ...

            Donna Florida is a narrative poem dealing with Ponce de Leon's exploits in what would later become Spanish Florida.  Before full publication in 1843, portions of the poem appeared in The Boston Monthly in 1841 and in the February-May 1843 issues of the Magnolia.[1]  Simms more than likely paid for the publication of this work in book form himself, with the volume being issued in 1843 by Burges and James in Charleston, SC.[2] Simms described the work as not “published, but presented for private distribution.”[3]  Indeed, according to a 29 June 1843 letter that Simms sent ...

           One of the most important works in Simms’s development as a writer, Martin Faber has a long and intriguing publication history.  Originally published as a novella by J. & J. Harper of New York in 1833, it was revised and expanded for re-publication, alongside nine other short stories and a poem, as Martin Faber, the Story of a Criminal, and Other Tales, issued by Harper & Brothers in 1837.[1]  Simms biographer John Caldwell Guilds notes the significance of Martin Faber for the author, as its writing and Simms’s hopes for it, seemed to seriously alter his life in his late ...

           The Damsel of Darien was published in two volumes in 1839.  Simms first mentioned the story to James Lawson in a 2 September 1838 letter, revealing that he “wrote during the first part of the summer some 150 pages of a new novel & there it sticks.”[1]  Simms informed Lawson in January of 1839 that Damsel would be published with Lea & Blanchard of Philadelphia, who would pay $1000 for a first edition of 3,000 copies; in the meantime, Simms was busy revising the “numerous errors of history & geography” committed while composing the first volume of the story.[2]  ...

            Believing it “necessary to the public man, as to the pupil,” Simms undertook The History of South Carolina explicitly for the education of the state’s young people, so as to tell them the vibrant history of the state and the distinguished accomplishments of her leaders.[1]  There is evidence to suggest that Simms was particularly motivated to write such a history in order to provide an historical account of South Carolina and notable South Carolinians, to his eldest child Augusta, who was attending boarding school in Massachusetts in the late 1830s.[2]  Simms seemingly ...

            Believing it “necessary to the public man, as to the pupil,” Simms undertook The History of South Carolina explicitly for the education of the state’s young people, so as to tell them the vibrant history of the state and the distinguished accomplishments of her leaders.[1]  There is evidence to suggest that Simms was particularly motivated to write such a history in order to provide an historical account of South Carolina and notable South Carolinians, to his eldest child Augusta, who was attending boarding school in Massachusetts in the late 1830s.[2]  Simms seemingly ...

            Believing it “necessary to the public man, as to the pupil,” Simms undertook The History of South Carolina explicitly for the education of the state’s young people, so as to tell them the vibrant history of the state and the distinguished accomplishments of her leaders.[1]  There is evidence to suggest that Simms was particularly motivated to write such a history in order to provide an historical account of South Carolina and notable South Carolinians, to his eldest child Augusta, who was attending boarding school in Massachusetts in the late 1830s.[2]  Simms seemingly ...

           For Simms, it was in a time “when chivalry was at its lowest condition in Christian Europe,” that the Chevalier Bayard provided the world, “the happiest illustration, in a single great example, of its ancient pride and character,” and “the most admirable model to the generous ambition of the young that we find in all the pages of history.”[1]  Simms wrote The Life of Chevalier Bayard, a biography of the late-medieval French knight, to serve as an archetype of virtue for Americans.  In 1845, Simms had written two articles on Bayard for Southern and Western[2], and ...

            William Gilmore Simms delivered his lecture The Social Principle: The True Source of National Permanence to the Erosophic Society[1] at the University of Alabama on 13 December 1842 during the occasion of his receiving an honorary LL.D. degree from that university.[2]  An important text in Simms studies, this oration marks “Simms’s single most extensive published exposition of his social philosophy.”[3]  He took as the genesis for his talk what he perceived as the fundamentally changed nature of the environs of western Alabama from his previous visit to the area, ...

            The Vision of Cortes, Cain, and Other Poems, Simms's fourth separate publication, was issued in the summer of 1829.  Like his three previous works, it is a volume of poetry.  Comprised primarily of the three long poems “The Vision of Cortes,” “Cain,” and “Ashley River,” the volume also contains a number of shorter works, some of which had been previously published in other venues.  The subject matter of the volume ranges widely, moving from the title poem, which recalls in verse the 1518 expedition of Hernán Cortés into Mexico, to an ode to South Carolina’s ...

          Part of the Wiley and Putnam’s highly influential Library of American Books, Simms’s two-volume Views and Reviews in American Literature, History and Fiction, shows the author theorizing the “American” aspects of American literature, as well as the relationship between America’s history and its imaginative writing.  In this, we can see Simms presenting and promoting the cultural agenda of the “Young America” movement, whose members included Melville, Poe, and Hawthorne.  Views and Reviews is thus a central text in understanding the struggle for defining American literature ...