Byron and the Limits of FictionBernard G. Beatty, Vincent Newey Liverpool University Press, 1988 - 291 sider This collection of new articles aims to answer the fundamental questions of Byron's attitude to fiction and to the limits inherent in this art form and in life itself. The book's purpose, as well as celebrating the bicentennial of Byron's birth, has been to assemble a collection of scholarly and informed articles round a particular theme. In this work the theme (given in the title) arises in two ways; first, Byron himself was passionately concerned with the nature and status of fiction and yet often sceptical of its importance. Secondly, it is a major topic of current literary criticism which is increasingly preoccupied with fictions as completely autonomous structures. Byron's poetry should be seen as a version of these concerns but also as one of the earliest deliberate challenges to them. All of Byron's major poems, together with his forays into prose fiction, are considered in this volume. Contributors pursue their own approaches but a particular emphasis of the volume as a whole is the strange immediacy of Byron's poetry, which seems to arise from both the self-consciousness of his undertaking and from his fidelity to what is rather than what is merely known or stated. The method of most contributors is to address these important topics, but substantiate their arguments by detailed reading of texts. |
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Side 71
... called digression because it is a kind of enormously extended version of the way reflection happened in the tales . When Wordsworth , after the adventure with the boat in Prelude I , follows with the address ' Wisdom and Spirit of the ...
... called digression because it is a kind of enormously extended version of the way reflection happened in the tales . When Wordsworth , after the adventure with the boat in Prelude I , follows with the address ' Wisdom and Spirit of the ...
Side 131
... called it a " Persian Tale " [ it was in fact called an “ Oriental Romance ” ] . Say a " Poem " , or " Romance " , but not “ Tale ” . I am very sorry that I called some of my own things " Tales " , because I think that they are ...
... called it a " Persian Tale " [ it was in fact called an “ Oriental Romance ” ] . Say a " Poem " , or " Romance " , but not “ Tale ” . I am very sorry that I called some of my own things " Tales " , because I think that they are ...
Side 253
... called and mis - called Melancholy- you must have seen how falsely frequently . ' ' No - B- ( she answered ) it is not so — at heart you are the most melancholy of mankind , and often when apparently gayest . ' ( LJ , IX , 38 ) Most ...
... called and mis - called Melancholy- you must have seen how falsely frequently . ' ' No - B- ( she answered ) it is not so — at heart you are the most melancholy of mankind , and often when apparently gayest . ' ( LJ , IX , 38 ) Most ...
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Fictions Limit and Edens Door BERNARD BEATTY I | 1 |
Lyric Presence in Byron from the Tales to | 39 |
The Orientalism of Byrons Giaour MARILYN | 78 |
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action allowed apparent Aurora become begins Byron Cain called Canto character Childe Harold Christian claims close consciousness course critics death deep Don Juan effect example existence experience eyes fact fall feeling fiction figure finally follows Giaour give given hand heart hero human imagination interest Island kind knowledge language Lara later leave less limits live London look lyric Manfred meaning mind moment moral move narrative nature never offer once pain past perhaps play poem poet poetic poetry possible present punishment question reader reading reference reflection relation Romantic satire seems seen sense separate Shelley shift simply space spirit stanza story suggest tale tell things thought truth turn verse voice whole Wordsworth writing