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Journal articles on the topic 'Byron'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Gurley, D. Gantt. "The Concept of Byrony." Konturen 7 (August 23, 2015): 14. http://dx.doi.org/10.5399/uo/konturen.7.0.3658.

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“The Concept of Byrony” examines Kierkegaard’s lyrical relation to Lord Byron. As an alternative to models of German influence, this paper discusses Kierkegaard’s quotations of Byron’s poetry and allusions to the poet himself. The paper establishes a poetical relationship between the two writers in terms of irony and metaphor. Kierkegaard’s sense of irony is creative but not unique; its roots can be located in earlier writings of the Danish Golden Age. Of particular importance is the development of irony in the works of Johan Ludvig Heiberg and the young writers that surrounded him, including

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2

Davis, G. "Bloodsucking Byron." Essays in Romanticism 12, no. 1 (2004): 7–38. http://dx.doi.org/10.3828/eir.12.1.1.

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3

Hope, Alan, and John Whithouse. "HMS Byron." Byron Journal 22 (January 1994): 91–92. http://dx.doi.org/10.3828/bj.1994.11.

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4

Allen, Stephen. "Byron Redivivus." Byron Journal 50, no. 1 (2022): 59–64. http://dx.doi.org/10.3828/bj.2022.8.

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Despite no known recent provenance, an engraved copper printing plate of a Byron portrait has been established to be of considerable significance. Proofs from the plate are held by the National Portrait Gallery and the British Museum. New impressions were made for our purposes. The plate was commissioned by Lieutenant Colonel Leicester Stanhope, who accompanied Byron’s body back to England, and was engraved after a miniature painting, which itself has notable associations with Byron.

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5

Rössner, Stephan. "Lord Byron." Obesity Reviews 14, no. 3 (2013): 263–64. http://dx.doi.org/10.1111/obr.12001.

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6

Williams, E. "Byron Evans." Heart 63, no. 6 (1990): 374. http://dx.doi.org/10.1136/hrt.63.6.374.

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7

Santangelo, Byron. "Byron Santangelo." Journal of the African Literature Association 12, no. 2 (2018): 213–14. http://dx.doi.org/10.1080/21674736.2018.1510598.

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8

De Peyer, Janine. "Byron-Beguiled." Psychoanalytic Perspectives 14, no. 2 (2017): 254–57. http://dx.doi.org/10.1080/1551806x.2017.1304127.

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9

Troubetzkoy, Wladimir. "Chateaubriand, Byron." Cahiers Textuels 6, no. 1 (1990): 67–79. https://doi.org/10.3406/textu.1990.2104.

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10

Paterson-Morgan, Emily. "Reading Byron; Byron and the Poetics of Adversity." European Romantic Review 35, no. 3 (2024): 609–14. http://dx.doi.org/10.1080/10509585.2024.2381366.

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11

Callaghan, Madeleine. "Byron as Others." Byron Journal 52, no. 1 (2024): 65–80. http://dx.doi.org/10.3828/bj.2024.8.

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This article argues that sympathy is the radical heart of Byron’s poetry. For sympathy, possible via the imagination for David Hume and Adam Smith, allows Byron to be someone else as far as that is possible, withal Smith’s caveats. This article posits that Byron’s potential doubles are not poor caricatures that see the Romantic poet throwing his voice. Instead, Byron creates performances that explore and exploit the limits of sympathy. Such limits co-exist with potential. And for Byron, sympathy is not an unmitigated good. Through sympathy, we might ignore our professed values or extend our sy

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12

Quinnell, James. "“To steel the heart against itself”: The Influence of Byron on Emily Brontë." Romanticism on the Net, no. 74-75 (2020): 1–44. https://doi.org/10.7202/1117982ar.

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I argue that the influence of Byron on Emily Brontë’s poetry is far more nuanced than is sometimes recognised in scholarly discussion. Consideration of the ways in which Byron shaped Emily Brontë as a writer is often in thrall to notions of the byronic. Thus, Byron becomes a way of accounting for Emily’s supposed preference for the outsider and privileging of intense emotional states. Through focussing on Childe Harold’s Pilgrimage, particularly the third canto, I argue that Byron is present in Emily Brontë’s moments of emotional restraint. Far from being, to use Andrew Elfenbein’s phrase, “an

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13

Marchionni, Francesco. "Performing the Promethean Self in Childe Harold’s Pilgrimage III–IV and Cain." Essays in Romanticism 31, no. 2 (2024): 133–50. http://dx.doi.org/10.3828/eir.2024.31.2.4.

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In Childe Harold’s Pilgrimage III–IV and Cain , Byron, as Nietzsche remarks, outlines an “übermenschlich” sense of Promethean identity in his confrontation of the tragedy of poetry. The travel narrative of Harold, the tragic history of Venice, and Cain’s pursuit of divine status each fictionalize a visionary mode in which Byron illustrates a fragmentary identity tortured by poetic achievement. The series of moral riddles on knowledge, poetry, and truth that Byron navigates in these poems move from the artistic sphere of his career to an existential discourse on whether Byron the Promethean poe

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14

Phipps, Jake. "Antithetical Minds: Eliot’s Byron and Byron’s Burns." Byron Journal 49, no. 1 (2021): 15–28. http://dx.doi.org/10.3828/bj.2021.4.

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This article examines the influence which Robert Burns had on Lord Byron’s poetry and his creation of the Byronic Hero, while also viewing T.S. Eliot’s 1937 essay on Byron as a significant piece of Byron criticism - useful not just for its insights on Byron, but for the affinities it reveals between Byron and Burns, and in turn, what it reveals about some of Eliot’s own critical and poetic practices. Eliot ranked Byron as second only to Chaucer in terms of ‘readability’, and praised him for his gifts as a tale-teller and his art of digression. I argue that Burns’s poem ‘Tam O’Shanter’ was an i

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15

Davis, William. "“Another Tyrtaeus”: Byron and the Rhetoric of Philhellenism." Essays in Romanticism: Volume 28, Issue 1 28, no. 1 (2021): 3–24. http://dx.doi.org/10.3828/eir.2021.28.1.3.

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This essay investigates the philhellenist strategy of labelling Byron “another Tyrtaeus” in support of the Greek uprising against the Ottoman Empire that began in 1821. Beginning with a political speech delivered in Louisiana in 1824, I examine several examples of Byron-as-Tyrtaeus, including poems in both German and French. I argue that depicting Byron as the avatar of the Spartan poet functions to support the notion that modern Greeks are directly connected to their glorious past and therefore deserving of Western aid. If Byron is another Tyrtaeus, it follows that modern Greece is another He

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16

Evans, Marsha Manns. "‘No, I am not through with Byron’: Leslie Marchand on the Significance of the International Byron Society." Byron Journal 53, no. 1 (2025): 57–68. https://doi.org/10.3828/bj.2025.7.

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Leslie A. Marchand once remarked that ‘the happiest thing for the spread of Byron’s reputation has been the Byron Society’. This essay draws upon a host of unpublished materials by Byron’s biographer and editor, including his Memoirs which were written late in his long life. The Memoirs, together with articles, papers, and letters, demonstrate Marchand’s staunch belief that the Byron Society should take the leading role in creating and sustaining interest in the poet well into the twenty-first century. Examined collectively, the Marchand papers provide insight into the Byron Society’s history,

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17

Shishkova, Irina. "Merezhkovsky on Byron." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 81, no. 3 (2022): 18. http://dx.doi.org/10.31857/s160578800020754-5.

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In the essays of Dmitry Merezhkovsky, the name of Lord Byron is often mentioned on a par with world classics. For the Russian writer, the English poet became an “eternal companion” who had a profound influence on his work. The article examines the image of Byron, depicted in bright strokes in the books “Eternal Companions”, “L. Tolstoy and Dostoevsky”, “It was and will be: Diary: 1910–1914”. Merezhkovsky was interested in Byron as a type of artist, a great master of words, a poet of the future. Merezhkovsky managed to analyze in detail the life and work of Byron, paying attention to such probl

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18

Merrick, Paul W. "“Christ’s mighty shrine above His martyr’s tomb”: Byron and Liszt’s Journey to Rome." Studia Musicologica 55, no. 1-2 (2014): 17–26. http://dx.doi.org/10.1556/6.2014.55.1-2.2.

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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 s

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19

CALZADA, SARA MEDINA. "Byron’s Spanish Afterlives: Emilio Castelar’s Vida de Lord Byron." Byron Journal: Volume 49, Issue 2 49, no. 2 (2021): 125–34. http://dx.doi.org/10.3828/bj.2021.16.

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This article examines Emilio Castelar’s Vida de Lord Byron (1873), the first Spanish biography of Byron. Borrowing most information from Moore’s and, especially, Lescure’s biographies of the poet, Castelar provides an apologetic and over-romantic portrait of Byron, in which he tries to reconstruct his private life and inner self, depicting him as a tragic hero who, despite his excesses, should be recognised as a universal genius. Castelar’s biography, which became an immediate success, illustrates the keen interest that Byron still aroused in Spain in the late nineteenth century and it deserve

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20

Minta, S. "Review: Byron and Romanticism * Jerome McGann: Byron and Romanticism." Cambridge Quarterly 32, no. 4 (2003): 389–95. http://dx.doi.org/10.1093/camqtly/32.4.389.

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21

Oksenchuk, Vera Nikolaevna. "A comparative analysis of the ballads of V.A. Zhukovsky, J.G. Byron and V.M. Hugo." Филология: научные исследования, no. 9 (September 2024): 84–93. http://dx.doi.org/10.7256/2454-0749.2024.9.71595.

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The object of this study is the ballads of V.A. Zhukovsky, J. Byron and V.M. Hugo. The purpose of the work: to conduct a comparative analysis of "Lyudmila" by V.A. Zhukovsky, "The Bride of Abydos" by J. Byron and "The Bride of the Timpani Player" by V.M. Hugo. The material basis of the study was the work of the following authors: R.S. Buurma, B.M. Gasparov, Z.N. Bakalova, A.S. Bakalova. The article examines the role of epigraphs in ballads; analyzes how fantastic images are reflected in the ballads of V.A. Zhukovsky, J. Byron and V.M. Hugo; the difference between the poetic dimensions of works

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22

Whitney, Julian S. "Planetary Crisis: Consumption and Resource Management in Byron’s ‘Darkness’." Byron Journal 50, no. 1 (2022): 35–48. http://dx.doi.org/10.3828/bj.2022.6.

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This essay argues that Lord Byron uses multiple images of consumption in ‘Darkness’ to engage in a broader conversation about the merits of conservation and resource management. I suggest that Byron offers a critique of consumption that identifies how waste and excess are direct products of humanity’s self-indulgent gluttony. In his poem, Byron admonishes reckless overeating by insinuating that it leads, inevitably, to the planet’s destruction due to a lack of natural resources. Byron suggests that humanity’s extinction will come not from an outside or unearthly force but rather from the greed

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23

Byrd, M. Lynn. "Bad Books/Bad Blood: Feminism, Eugenics, and Culture in Harriet Beecher Stowe's Lady Byron Vindicated." Prospects 23 (October 1998): 147–69. http://dx.doi.org/10.1017/s036123330000630x.

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In September 1869, Harriet Beecher Stowe published “The True Story of Lady Byron's Life” in the Atlantic Monthly and Macmillan's Magazine. Public outcry was so great that less than a year later she published Lady Byron Vindicated: A History of the Byron Controversy, From Its Beginning in 1816 to the Present Time. This was a four-hundred-page volume that defended not only Lady Byron but also Mrs. Stowe. The book only fanned the flames of rebuke and debate. From 1869 to 1870, at least forty-one review articles of Stowe's work were published, including a response by Mark Twain. In the same time p

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24

Cooke, Michael. "Hawthorne and Byron." Byron Journal 13 (January 1985): 22–35. http://dx.doi.org/10.3828/bj.1985.2.

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25

Bassnett, Susan. "Byron and Translation." Byron Journal 14 (January 1986): 22–32. http://dx.doi.org/10.3828/bj.1986.3.

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26

Harregar, Robert. "Byron and Cricket." Byron Journal 14 (January 1986): 57–58. http://dx.doi.org/10.3828/bj.1986.9.

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27

Cochran, Peter. "Byron and Margutte." Byron Journal 21 (January 1993): 80–86. http://dx.doi.org/10.3828/bj.1993.6.

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28

Nicholson, Andrew. "Byron and Ovid." Byron Journal 27 (January 1999): 76–81. http://dx.doi.org/10.3828/bj.1999.7.

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29

Shaw, Philip. "Wordsworth or Byron?" Byron Journal 31 (January 2003): 38–50. http://dx.doi.org/10.3828/bj.2003.5.

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30

Beatty, Bernard. "Byron at Home." Byron Journal 43, no. 1 (2015): 15–28. http://dx.doi.org/10.3828/bj.2015.4.

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31

Paterson-Morgan, Emily. "Three Byron Concerts." Byron Journal 47, no. 1 (2019): 73–78. http://dx.doi.org/10.3828/bj.2019.14.

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32

Beckett, John. "Byron and Rochdale." Byron Journal 33, no. 1 (2005): 13–24. http://dx.doi.org/10.3828/bj.33.1.2.

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33

Paley, Morton D., and Frederick L. Beaty. "Byron the Satirist." Studies in Romanticism 26, no. 4 (1987): 598. http://dx.doi.org/10.2307/25600684.

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34

Ridenour, George M. "The Spanish Byron." Studies in Romanticism 30, no. 2 (1991): 213. http://dx.doi.org/10.2307/25600892.

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35

Marshall, Burke. "Byron White, Lawyer." Yale Law Journal 112, no. 5 (2003): 987. http://dx.doi.org/10.2307/3657512.

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36

Lipman, Samuel. "'Lord Byron' Undone." Grand Street 5, no. 3 (1986): 180. http://dx.doi.org/10.2307/25006882.

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37

Burroughs, Catherine, Martyn Corbett, and Anne K. Mellor. "Byron and Tragedy." Theatre Journal 41, no. 2 (1989): 251. http://dx.doi.org/10.2307/3207872.

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38

Smith, Mike. "Byron in Baghdad." Iowa Review 38, no. 1 (2008): 64–73. http://dx.doi.org/10.17077/0021-065x.6412.

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39

Hirsch, B. A. "Byron the Satirist." Modern Language Quarterly 47, no. 4 (1986): 443–46. http://dx.doi.org/10.1215/00267929-47-4-443.

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40

Fleming, Anne. "Byron and Montaigne." Byron Journal 37, no. 1 (2009): 33–41. http://dx.doi.org/10.1353/byr.0.0002.

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41

Ekaterina Obuchova. "Australian Byron Society." Byron Journal 37, no. 1 (2009): 95–96. http://dx.doi.org/10.1353/byr.0.0039.

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42

Olivier Feignier. "French Byron Society." Byron Journal 37, no. 1 (2009): 96. http://dx.doi.org/10.1353/byr.0.0040.

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43

Innes Merabishvili. "Georgian Byron Society." Byron Journal 37, no. 1 (2009): 96–98. http://dx.doi.org/10.1353/byr.0.0041.

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44

Pat McCormack. "Irish Byron Society." Byron Journal 37, no. 1 (2009): 98–99. http://dx.doi.org/10.1353/byr.0.0042.

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45

Naji Oueijan. "Lebanese Byron Society." Byron Journal 37, no. 1 (2009): 99. http://dx.doi.org/10.1353/byr.0.0043.

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46

Eric de Ree. "Netherlands Byron Society." Byron Journal 37, no. 1 (2009): 99–100. http://dx.doi.org/10.1353/byr.0.0044.

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47

Geoffrey Bond. "Scottish Byron Society." Byron Journal 37, no. 1 (2009): 101–3. http://dx.doi.org/10.1353/byr.0.0046.

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48

Hayes, Jervis. "John Byron Scroope." Australian Veterinary Journal 88, no. 11 (2010): 419. http://dx.doi.org/10.1111/j.1751-0813.2010.00639.x.

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49

Pinion, E. B. "Byron andWuthering Heights." Brontë Society Transactions 21, no. 5 (1995): 195–201. http://dx.doi.org/10.1179/030977695796439150.

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50

Goldweber, David E. "Byron and Gifford." Keats-Shelley Review 12, no. 1 (1998): 105–30. http://dx.doi.org/10.1179/ksr.1998.12.1.105.

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