Mad, bad Lord Byron: poet, rake - and indexer?

2021 ◽  
Vol 39 (3) ◽  
pp. 283-292
Author(s):  
Hazel K. Bell
Keyword(s):  
Lord Byron ◽  
English Poet

Was the English poet Lord Byron an indexer? Hazel Bell examines the index in the 1926 edition of The poetical works of Lord Byron, which is written in a provocative style that reinforces the opinions expressed in the notes that accompany Byron’s poetry. Sadly, the indexer is not named. Whether or not it was written by the poet himself, it is a fascinating index that has sadly been omitted from a later edition.

Lord Byron and Count Alborghetti

PMLA ◽  
1949 ◽  
Vol 64 (5) ◽  
pp. 976-1007 ◽  
Author(s):  
Leslie A. Marchand
Keyword(s):  
Lord Byron ◽  
English Poet ◽  
To Come ◽  
First Time

When Byron entered Ravenna for the first time on June 10, 1819, roiling up to the Porta Sisi in his heavy Napoleonic carriage, he was weary from the long journey across the flat Romagna plain and distraught by conflicting emotions concerning his liaison with the young Countess Teresa Guiccioli.1 Only a short while out of a convent and married to a man three times her age, she was highly impressionable and her emotions had been quickly engaged by the handsome and diffident English poet whom she had met at a conversazione in Venice in April. Indeed Byron and the Countess had arranged their affair so well that not only was the sixty-year-old husband cuckolded, but, much more surprising to Byron, he and Teresa had formed a sincere mutual attachment. Now that Count Guiccioli, reputed to be the wealthiest man in the Romagna, had carried his wife back to his palace in Ravenna, Byron, reflecting on this new love that had come so suddenly, found it a little disconcerting. Having had his emotions involved so often where his mind could not give full assent, he could not at first adjust himself to the idea—though he felt it deeply enough—that this affair was different. So that when Teresa wrote that she was ill and urgently requested him to come, he hesitated and delayed, not so much from fear of a stiletto in his back (though he dramatized that possibility in his letters to his friends—-and it was a real one so far as he knew) as from reluctance to subside into a regular cavalier servente. Writing to Hob-house on May 17, 1819, he said:

scholarly journals TWO HUNDRED FACES OF A VAMPIRE: LORD RUTHVEN’S INFLUENCE ON VAMPIRE CULTURE

Abusões ◽  
2019 ◽  
Vol 9 (9) ◽  
Author(s):  
Francisco Javier Sánchez-Verdejo Pérez ◽  
Alexander Meireles da Silva
Keyword(s):  
Social Norms ◽  
Human Nature ◽  
Short Story ◽  
Lord Byron ◽  
Human Beings ◽  
Cultural Impact ◽  
High Culture ◽  
Male And Female ◽  
English Poet ◽  
Lord Ruthven

Being born in the same monstruous night that witnessed the rise of Frankenstein monster, the vampire Lord Ruthven celebrates in 2019 two hundred years influencing vampire culture. As it happens in literature, John William Polidori’s creature spread his curse through the centuries creating attractive, aristocrat, sexually ambiguous and immoral male and female vampires. From Victorian penny dreadfuls, novellas and novels such as Varney, the Vampire, Carmilla and Dracula, to present novel as Interview with the Vampire, the short story “The Vampyre” established the character who walk among human beings as a predator who chooses his prey. Ruthven was directly shaped on Lord Byron personality and, similar to the famous English poet, was an elegant figure of high culture and refined manners who hid a wild, libertine, profoundly narcissist nature and irascible behaviour, traits that paradoxically became Byron and his literary counterpart, delightfully fascinating beings. Reflecting the Romantic esthetic of its time, Polidori’s short story instituted the vampire as a rebel beyond bourgeois social norms. Lord Ruthven was an undead and, threfore, was not bound to the concepts that rule the living ones. In this way, the vampire appeal to humanity hidden desires related to the anguish of death, to the perspective of the transcendence and to the fear of the consequences of this act abandoning human nature. These elements help understanding the cultural impact John William Polidori’s creation keep on exercising two hundred years after 1819 through “The Vampyre”. 

scholarly journals FREEDOM OF INDIVIDUALITY AND COUNTRY’S INDEPENDENCE IN BYRON AND CHULPON'S WORKS

2020 ◽  
pp. 34-41
Keyword(s):  
English Literature ◽  
Lord Byron ◽  
Individual Freedom ◽  
Political Liberty ◽  
Political Activities ◽  
English Poet ◽  
The Individual

The article deals with the analysis of English poet Byron and Uzbek author Chulpon’s works and the theme of freedom described in them. The terms “freedom of individuality and “country’s independence” have been analyzed in both poets' works thoroughly. Romanticism is associated with the prominent figure of English literature – George Gordon Noel Lord Byron. Byron’s early political activities were more the result of propinquity and propriety than of any deep-felt enthusiasms. As Byron’s interest in political liberty refers both to personal and in abstract aspects, so his interest in social liberty concerns both individual and general relationships. So the works as “Song for the Luddites”, “Thou art not false, but thou art fickle” and some Cantoe’s of the poem “Childe Harold's Pilgrimage” have been analyzed in the article showing the individual freedom and country’s independence in them.

Had Lord Byron read Utopia

Moreana ◽  
1976 ◽  
Vol 13 (Number 49) (1) ◽  
pp. 49-50
Author(s):  
F. De Mello Moser
Keyword(s):  
Lord Byron

“Christ’s mighty shrine above His martyr’s tomb”: Byron and Liszt’s Journey to Rome

2014 ◽  
Vol 55 (1-2) ◽  
pp. 17-26
Author(s):  
Paul W. Merrick
Keyword(s):  
Literary Works ◽  
The Real ◽  
English Poet ◽  
Byronic Hero ◽  
Public Enemy ◽  
The Face ◽  
Narrative Poem ◽  
Positive Force

The influence of Byron on Liszt was enormous, as is generally acknowledged. In particular the First Book of the Années de pèlerinage shows the poet’s influence in its choice of Byron epigraphs in English for four of the set of nine pieces. In his years of travel as a virtuoso pianist Liszt often referred to “mon byronisme.” The work by Byron that most affected Liszt is the long narrative poem Childe Harold’s Pilgrimage which was translated into many languages, including French. The word “pèlerinage” that replaced “voyageur” is a Byronic identity in Liszt’s thinking. The Byronic hero as Liszt saw him and imitated him in for example Mazeppa and Tasso is a figure who represented a positive force, suffering and perhaps a revolutionary, but definitely not a public enemy. Liszt’s life, viewed as a musical pilgrimage, led of course to Rome. Is it possible that Byron even influenced him in this direction? In this paper I try to give a portrait of the real Byron that hides behind the poseur of his literary works, and suggest that what drew Liszt to the English poet was precisely the man whom he sensed behind the artistic mask. Byron was not musical, but he was religious — as emerges from his life and his letters, a life which caused scandal to his English contemporaries. But today we can see that part of the youthful genius of the rebel Byron was his boldness in the face of hypocrisy and compromise — his heroism was simply to be true. In this we can see a parallel with the Liszt who left the piano and composed Christus. What look like incompatibilities are simply the connection between action and contemplation — between the journey and the goal. Byron, in fact, can help us follow the ligne intérieure which Liszt talked about in the 1830s.

Lord Byron. Lyrical poetry translated by Georgy Shengeli

2019 ◽  
pp. 284-289
Author(s):  
L. V. Egorova
Keyword(s):  
Lord Byron ◽  
Lyrical Poetry

The book features Byron’s early poems Hours of Idleness, hitherto unpublished in Russian, as well as selected poems from 1809–1811 and 1816, and Hebrew Melodies. The book is relevant within the context of Byron’s legacy and Shengeli’s work. It is since the late 1980s that Shengeli’s previously unpublished poems have appeared in press, and we are on a path to better understanding the scope of his achievements. The book opens with Vladislav Rezvy’s excellent introduction to Shengeli’s life and work. Despite the article’s many merits, it still fails to discuss one important topic: Shengeli’s perception of Byron, the ‘comprehensive assimilation of the ideas, imagery, style and poetic techniques’ as described by A. Veselovsky in his time.

The History of Missed Opportunities

2017 ◽  
Author(s):  
William H. Galperin
Keyword(s):  
Eighteenth Century ◽  
William Wordsworth ◽  
Jane Austen ◽  
Lord Byron ◽  
Missed Opportunities ◽  
Romantic Period ◽  
The Everyday ◽  
Everyday World ◽  
History Of ◽  
Multiple Levels

This study is about the emergence of the everyday as both a concept and a material event and about the practices of retrospection in which it came to awareness in the romantic period in “histories” of the missed, the unappreciated, the overlooked. Prior to this moment everyday life was both unchanging and paradoxically unpredictable. By the late eighteenth century, however, as life became more predictable and change on a technological and political scale more rapid, the present came into unprecedented focus, yielding a world answerable to neither precedent nor futurity. This alternative world soon appears in literature of the period: in the double takes by which the poet William Wordsworth disencumbers history of memory in demonstrating what subjective or “poetic” experience typically overlooks; in Jane Austen, whose practice of revision returns her to a milieu that time and progress have erased and that reemerges, by previous documentation, as something different. It is observable in Lord Byron, thanks to the “history” to which marriage and domesticity are consigned not only in the wake of his separation from Lady Byron but during their earlier epistolary courtship, where the conjugal present came to consciousness (and prestige) as foredoomed but an opportunity nonetheless. The everyday world that history focalizes in the romantic period and the conceptual void it exposes in so doing remains a recovery on multiple levels: the present is both “a retrospect of what might have been” (Austen) and a “sense,” as Wordsworth put it, “of something ever more about to be.”

Madness Writing Poetry/ Poetry Writing Madness

2017 ◽  
Author(s):  
James Whitehead
Keyword(s):  
William Wordsworth ◽  
Samuel Taylor Coleridge ◽  
English Literature ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
William Blake ◽  
Lord Byron ◽  
The Public ◽  
John Clare ◽  
Romantic Poetry

The final chapter returns to the scene of Romantic poetry, looking at poetry by William Blake, William Wordsworth, Samuel Taylor Coleridge, John Keats, Lord Byron, Percy Bysshe Shelley, and John Clare. It reads these Romantic texts as poised articulations of the idea of poetic madness, and discusses generally how these writers contributed to, or interwove with their own lives and works, new and rediscovered mythologies of madness, sometimes anticipating or resisting the public images created by journalism, criticism, or biography, previously described. Finally, the Romantic mad poet is considered in relation to criticism and the canonical role of Romanticism in English literature.

The Complete Poetical Works, IV, V. Lord Byron and Jerome J. McGann.

1987 ◽  
Vol 18 (4) ◽  
pp. 175-178
Author(s):  
Frederick L. Beaty
Keyword(s):  
Lord Byron
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