Pub Date : 2018-09-01DOI: 10.3366/edinburgh/9781474439411.003.0013
Drummond Bone
The essay uses the women of the English Cantos of Don Juan to tease out the debate on Byron’s position on the margins of Romanticism relative to Neo-Classical or Romantic expectations. The essay also raises the question whether Byron’s Romanticism is ironised out of existence and whether his Neo-Classicism is as straightforward a return to Popean satire as it might on occasion seem. The three main female characters, Adeline, Aurora and Fitz-Fulke help the reader to focus on these questions, since the whole tissue of the English Cantos returns to them time and again and underlines the fact that the experience of reading Don Juan is often paradoxically elegiac, for all its humour and sense of the energy of life.
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Pub Date : 2018-09-01DOI: 10.3366/edinburgh/9781474439411.003.0004
Rolf P. Lessenich
In accordance with David Hume’s sceptical philosophy of identity, Byron is considered to be a chameleon and a typical border crosser of his age. Commuting between the progressivist Augustan Neoclassicism of the old school and Romanticism of the new heretical school, Byron shows his indebtedness to the Classical Tradition and endorses the artistry of formal Augustan verse-making, schooled on Horace, Dryden, and Pope. In this respect, Byron belongs to a coterie of famous code switchers between Classicism and Romanticism who wavered in their political allegiance between liberalism and conservatism and consequently eluded neat classifications.
{"title":"Byron and Romantic Period Neoclassicism","authors":"Rolf P. Lessenich","doi":"10.3366/edinburgh/9781474439411.003.0004","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474439411.003.0004","url":null,"abstract":"In accordance with David Hume’s sceptical philosophy of identity, Byron is considered to be a chameleon and a typical border crosser of his age. Commuting between the progressivist Augustan Neoclassicism of the old school and Romanticism of the new heretical school, Byron shows his indebtedness to the Classical Tradition and endorses the artistry of formal Augustan verse-making, schooled on Horace, Dryden, and Pope. In this respect, Byron belongs to a coterie of famous code switchers between Classicism and Romanticism who wavered in their political allegiance between liberalism and conservatism and consequently eluded neat classifications.","PeriodicalId":119326,"journal":{"name":"Byron and Marginality","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132925684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-01DOI: 10.3366/edinburgh/9781474439411.003.0009
A. Camilleri
This essay considers Romance as a genre not only etymologically related to the literary epoch of Romanticism, but as forming a locus for Romantic interconnectedness. The central contention is that through his writing of and correspondence about the Romantic genre, Byron’s position as a writer central to the Romantic impulse can be ascertained. This essay seeks neither to fully equate Byron’s verse Romances with those of Coleridge, Scott or Moore, instead it tries to more fully articulate the centrality of Byron’s place as a writer of Romance within the Romantic canon than has been previously recognised. The essay is based on the premise that Byron’s poetry evidences the practice of genre hybridisation that was familiar to him through his readings of Goethe and A.W. Schlegel.
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Pub Date : 2018-09-01DOI: 10.3366/edinburgh/9781474439411.003.0007
Jonathan Gross
Byron’s most significant marginalia concerning his Eastern reading and relationship with other authors occurs in Isaac D’Israeli’s The Literary Character of Men of Genius. Originally published as an essay in 1795, D’Israeli’s book was read by Byron more than once. Drawing on recent work on literary celebrity culture, the essay argues that D’Israeli’s Literary Character helped to form Byron’s ideas about literary authorship, fame, and literary authority. Not only did D’Israeli show Byron how to think and act as a professional author, as a translator of Leila and Mejnoun, he also profoundly influenced Byron’s The Bride of Abydos. The exchange between D’Israeli and Byron, mediated by John Murray, shows how D’Israeli served as a kind of literary forefather to Byron.
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Pub Date : 2018-09-01DOI: 10.3366/edinburgh/9781474439411.003.0001
N. Lennartz
Abstract and Keywords to be supplied.
提供的摘要和关键词。
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Pub Date : 2018-09-01DOI: 10.3366/edinburgh/9781474439411.003.0011
C. Franklin
Byron’s splenetic wit looks right back to Burton’s Anatomy of Melancholy as well as forward to the refusal of all orthodoxies that made André Breton and the Surrealists in the 20th century. Suicide became one of the main preoccupations of a coterie devoted to the revivification of the Gothic. Byron’s letters were saturated with references to suicide, comic and tragic. This essay is the first devoted entirely to Byron’s representations of suicide. Taking a historicist approach and one alert to gender the essay makes it clear that suicide was particularly relevant to the era when Byron was writing, when reform of the laws criminalising self-slaughter was being discussed in Parliament.
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Pub Date : 2018-09-01DOI: 10.3366/edinburgh/9781474439411.003.0014
R. Lansdown
Byron has always been regarded as the possessor of a tin ear when it came to art. But once he took up residence on the Continent in 1816 he could hardly avoid paintings, especially when fellow-travellers like John Polidori, John Cam Hobbhouse and Stendhal insisted on showing him the galleries full of Flemish art in Belgium or Italian old masters in Milan, Venice, Florence and Rome.The essay works out what exactly he saw in all these places, and comments on what he had to say. In particular, it draws together an ‘Italian composite’ of feminine portraits, and ponders the question whether it is style or subject that we respond to in painting.
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Pub Date : 2018-09-01DOI: 10.3366/edinburgh/9781474439411.003.0006
S. Minta
Greece, in Byron’s work and life, seems so central, so symbolically tied to ideas of freedom and commitment, that it is easy to forget how marginal Greece was in the Europe of Byron’s time. Byron’s East is an anomalous composite, framed by four elements: the imperial force of the Ottoman Empire, the framing structure of classical Greece, a loosely defined Albanian presence operating both within the limits of the Ottoman Empire, but in some ways resistant to it, and what can be described as ‘modern Greece’. In reconstructing this network of Turkish/European oppositional attitudes, we can see with greater clarity how Byron approached his Giaour and to what extent Byron’s difficulties in escaping from the traditional representation of classical Greece are only partially resolved in Childe Harold.
{"title":"At the Margins of Europe: Byron’s East Revisited and The Giaour","authors":"S. Minta","doi":"10.3366/edinburgh/9781474439411.003.0006","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474439411.003.0006","url":null,"abstract":"Greece, in Byron’s work and life, seems so central, so symbolically tied to ideas of freedom and commitment, that it is easy to forget how marginal Greece was in the Europe of Byron’s time. Byron’s East is an anomalous composite, framed by four elements: the imperial force of the Ottoman Empire, the framing structure of classical Greece, a loosely defined Albanian presence operating both within the limits of the Ottoman Empire, but in some ways resistant to it, and what can be described as ‘modern Greece’. In reconstructing this network of Turkish/European oppositional attitudes, we can see with greater clarity how Byron approached his Giaour and to what extent Byron’s difficulties in escaping from the traditional representation of classical Greece are only partially resolved in Childe Harold.","PeriodicalId":119326,"journal":{"name":"Byron and Marginality","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125807797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-01DOI: 10.3366/edinburgh/9781474439411.003.0005
Friederike Wolfrum
A strong belief in the countercultural agency of literary texts is one of the defining features of Romanticism, as evidenced in concepts ranging from the Wordsworthian ‘High Argument’ to Percy B. Shelley’s claim that “[p]oets are the unacknowledged legislators of the world”. Byron inhabits a unique position among his contemporaries: hearkening back to Whig ideals of restoration and looking forward to a more sceptical, less ideological world view. An analysis of his working relationship with Leigh Hunt and critique of Hunt’s use of ‘System’ amply demonstrates that Byron’s involvement in Romantic counterculture is characterised by techniques that are less involved in the vehement promotion of social change, but move in an equilibrium between agency and epistemology.
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Pub Date : 2018-09-01DOI: 10.3366/edinburgh/9781474439411.003.0002
N. Halmi
The ageing Goethe was fascinated with Byron whom he called the greatest poetic talent. Though suspicious of Byron’s Philhellenism, Goethe found in Byron an openness to encounter non-English cultures, an attentiveness to national histories and in interest in the relationship of the individual to social life. Byron’s self-contextualising, self-historicising narrative poems constitute a parallel to Goethe’s own literary campaigns for cross-cultural engagement in the 1810s and 1820s and, despite Byron’s alienation from England, offer hope for the prospects of what Goethe was to call “world literature”.
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