Pub Date : 2018-09-01DOI: 10.3366/edinburgh/9781474439411.003.0008
M. O'neill
Despite intensive critical work on Byron’s Hebrew Melodies, they tend to be marginalised in Byron’s work. While there is a great deal of art in Byron’s lyrics, they often have an effect of a flash of inspiration. The essay (re-)examines the lyric art and imaginative force of poems frequently marginalised in accounts of Byron’s poetic career, involving comparisons with the lyricism of other poets, including Wordsworth, Shelley and Moore. Moore’s relations with Ireland are evident, Byron’s with Jewish suffering are less so, except that in his act of virtuosic empathy he can summon up Biblical cadences and imply an obscure, but deep link between apparently remote subject matter and private feeling.
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Pub Date : 2018-09-01DOI: 10.3366/edinburgh/9781474439411.003.0015
J. Shears
Signing off his letters always involved a type of lingering for Byron and an opportunity of reflecting on the just-completed letter. The voice comes from the same man, and yet simultaneously from somewhere else.In the light of these speculations, this essay intends to examine a range of Byron’s postscripts from correspondence written throughout his life in order to explore the various ways in which they ironically subvert, superintend, supplement, gloss or reinscribe the construction of his character in the main body of his letters. Examples of marginalised inscription are treated as a type of paratext that – unlike the marginalia in the poems – has never been considered at any length and, rather like Derrida’s supplement, bespeaks a dual addition to and subtraction from the composing self.
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Pub Date : 2018-09-01DOI: 10.3366/edinburgh/9781474439411.003.0010
Josefina Tuominen-Pope
This is a case study of the intricate conflict at the margins of genius and celebrity and the intersection of high and low culture in the Romantic period. The main focus is on accounts of Byron and his relationship with fame and genius in literary periodicals, most prominently Blackwood’s Edinburgh Magazine and the London Magazine during the period of 1818 to 1824. The main argument of the essay is that the vast amount of attention awarded to the concept of genius, combined with the heightened sense of nationalism in this period, caused critics to view genius as a national property wasted by Byron in his search for celebrity
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Pub Date : 2018-09-01DOI: 10.3366/edinburgh/9781474439411.003.0003
R. Haekel
Byron has always been considered to belong to the canon of Romantic literature, but the place he occupies in the canon has been a special and recently a marginalised one. Byron’s phenomenal success and his special position within literary history is mainly the result of what is called the medial construction of “Byron”. The melancholic Byronic hero of the earlier works together with the narrative voice lead to rhetorical constructions of “Byron” that easily cross authorial and medial boundaries and turn into the Byronic vampire in Polidori’s novella, in the theatre and in the opera. In this reading of Childe Harold’s Pilgrimage, Byron is shown as the construct of medial and public perception.
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Pub Date : 2018-08-01DOI: 10.3366/edinburgh/9781474439411.003.0012
T. Mole
The essay argues that throughout his writing life Byron was fascinated by the margin of life: the moment of death. For Byron and his heroes, looking squarely at other people’s deaths is understood to signify and promote a kind of moral fortitude. Byron’s verse, however, often elides the moment of death, offering no description of it, but offering instead an aposiopesis – a rhetorical break that allows the moment of death to disappear into the texture of the verse. The essay investigates how Byron operates at the margins of life and also at the margins of language, suggesting that those margins become central to his poetry.
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