By Frances Wilson

This choice of essays by means of major Byronists explores the advance of the parable of Byron and the Byronic from the poet's self-representations to his a variety of appearances in 19th- and twentieth-century literature and in drama, movie and portraiture. Byromania (as Annabella Milbanke named the frenzied response to Byron's poetry and character) seems to be on the phenomena of Byronism via numerous severe views, and it's designed to attract either an instructional and a well-liked readership alike.

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9 It may well be that his last well-known poem, 'On this day I complete my thirty-sixth year' is something of an attempt to write (and live, or more precisely die) his way out from under the weight of the Don Juan myth. Teresa Guiccioli's brother Pietro Gamba describes the circumstances of the occasional verse this way: 'January 22. -This morning Lord Byron came from his bedroom into the apartment where Colonel Stanhope and some friends were assembled, and said with a smile, "You were complaining the other day, that I never write any poetry now: - this is my birthday, and I have just finished something, which, I think, is better that what I usually write" '.

9. 10. 11. 12. George Eliot, Middlemarch (Harmondsworth: Penguin, 1965), p. 256 Edward Bulwer Lytton, England and the English (London: Bentley, 1833), vol ii. p, 94. George Eliot, Felix Holt, The Radical (Oxford: The World's Classics, 1980), p. 352. , p. 59. , p. 219. Jane Austen, Persuasion (London: Vrrago, 1989) p. 100. Thomas Love Peacock, Nightmare Abbey/Crotchet Castle (Harmondsworth: Penguin, 1969), p. 69. Henry P. Brougham, unsigned review of Hours of Idleness, Edinburgh Review, January 1808, in Andrew Rutherford, ed.

Stoppard' s Byron is absent throughout, but his life is the focus of admiration, desire and debate; Arcadia thus seems at first to reinforce the Byronic legend where Blood and Introduction: Byron, Byronism and Byromaniacs 19 Ice and Bloody Poetry had debunked it. But Huber argues that Byron's biography and myth function for Stoppard as a 'unifying metaphor for the variety of paradigms alluded to in the play', and the myth of Byron is 'taken to a higher level of abstraction' which is in keeping with the other themes of "lit-math-hort-arch" with which Stoppard is concerned.

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