Journal articles: 'Childe Harold's pilgrimage'

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Kuzmic, Tatiana. "Childe Harold's Pilgrimage in the Balkans." Comparative Critical Studies 4, no. 1 (February 2007): 51–65. http://dx.doi.org/10.3366/ccs.2007.4.1.51.

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Diana, Casey. "Byron's Blunder in Childe Harold's Pilgrimage." Byron Journal 30 (January 2002): 93–94. http://dx.doi.org/10.3828/bj.2002.10.

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Webb, Timothy. "Childe Harold's Pilgrimage: Annotating the Second Canto." Byron Journal 41, no. 2 (January 2013): 127–44. http://dx.doi.org/10.3828/bj.2013.18.

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Kostadinova, Vitana. "Byronic Ambivalence in Childe Harold's Pilgrimage IV." Byron Journal 35, no. 1 (June 2007): 11–18. http://dx.doi.org/10.3828/bj.35.1.3.

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Beatty, Bernard. "Childe Harold's Pilgrimage Cantos I and II in 1812." Byron Journal 41, no. 2 (January 2013): 101–14. http://dx.doi.org/10.3828/bj.2013.16.

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Whissell, Cynthia. "Poet Interrupted: Differences in the Emotionality and Imagery of Byron's Poetry Associated with His Turbulent Mid-Career Years in England." Psychological Reports 107, no. 1 (August 2010): 321–28. http://dx.doi.org/10.2466/10.21.28.pr0.107.4.321-328.

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The Dictionary of Affect in Language was employed to compare two parts of Byron's Childe Harold's Pilgrimage, written before and after an interruption of several turbulent years in England. The post-interruption part of the poem employed fewer extreme emotional words and more abstract words than the pre-interruption part. In a second analysis, poems written during the interruption and poems written before and after Childe Harold were examined, along with it, in terms of emotion, imagery, and linguistic richness. Two variables—year and an interruption dummy coded as 1 for publications between 1812.5 and 1816.17—predicted observed differences accurately. Byron's poetry became linguistically richer, more abstract, and less passionate across time, and it was emotionally more negative and linguistically simpler during the turbulent years. Differences between the two parts of Childe Harold were best explained on the basis of time-dependent growth curves rather than the interruption.

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Marandi, Seyed Mohammad, and Hossein Pirnajmuddin. "Childe Harold's Journey to the East and “Authenticity”." International Letters of Social and Humanistic Sciences 12 (October 2013): 14–27. http://dx.doi.org/10.18052/www.scipress.com/ilshs.12.14.

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This essay deals with the notion of orientalist discourse in Lord Byron‟s Childe Harold's Pilgrimage. Concentrating on the dialectical attitudes towards the „Orient‟ in Byron‟s poem the writers try to show, through a contrapuntal textual analysis, how signs emerge of a somewhat stereotypical and often monolithic Orient. It is argued that the work‟s claim on the authenticity of the representations of the East is a subtle textual strategy. This seems to be true despite the existence of seemingly more favourable views towards „Orientals‟, especially in the footnotes, compared to Turkish Tales. Central to the study is the idea that similar discursive practices also seem to influence most of Byron‟s critics, which include contemporary scholars who have conducted numerous forms of textual analysis through differing theoretical approaches.

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Coole, Julia. "‘Who shall now lead?’ The Politics of Paratexts in Childe Harold's Pilgrimage, Cantos I–II." Romanticism 24, no. 2 (July 2018): 148–57. http://dx.doi.org/10.3366/rom.2018.0368.

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Until Childe Harold's Pilgrimage (1812–18), Byron was on the edge of fame. He broke this barrier through his European Tour (1809–11) which provided inspiration for the famous poem. Whilst extending social boundaries, through his meeting with Ali Pasha, Byron expanded the itinerary of the traditional ‘Grand Tour’ to include land, like Albania, previously unmarked by British boots. Byron mirrors his pioneering travel practices in his fiction. On the edges of Childe Harold are footnotes that cover anthropological, topographical, and autobiographical ground, advancing cultural understanding of areas either neglected or misrepresented by previous writers. I argue that, through revisions of these footnotes, Byron sought to dispel and correct myths relating to obscure European nations, perpetuated by ‘irresponsible’ accounts of previous travellers and in doing so strove to educate his readership on the benefits of informed, reasoned debates, built on empirical knowledge. This article establishes a link between Byron's poetry and politics to assess how far his demand for objectivity in literature bled into his political ambitions.

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Maalouf, May. "Male Postpartum Preface: Cervantes and Lord Byron’s Prefaces to Don Quixote and Childe Harold’s Pilgrimage." Hawliyat 17 (July 11, 2018): 11–32. http://dx.doi.org/10.31377/haw.v17i0.65.

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The purpose of this paper is to attend to the preface as an important element in understanding the symbiotic relationship between author and text, especially when a male author assumes the female power of procreation. In the prefaces to Don Quixote Part I and II and Childe Harold's Pilgrimage, Cervantes and Lord Byron, respectively, identify their main heroes as their 'child of the imagination/brain '. Nevertheless, in many instances we encounter moments of anxiety manifested in a dialectic of engagement and disengagement, owning and disowning, of denying and defending theirfictional personages. To Cervantes, Don Quixote is "child of his brain", the son, and yet hes also the stepson, who eventually ends up no more than a brave knight; to Byron, as well, Childe Harold was initially called Childe Burun, but later on is referred to as just a "fictitious character" from whom Byron tried to disengage throughout the poem. This equivocal and dialectical discourse ofembracement and abandonment could be better understood by extending the birthing metaphor to encompass postpartum anxiety. In the prefaces, both Cervantes and Byron Platonic male spiritual pregnancy is combined with the female physical and psychological symptoms of giving birth and its qftermath. Thus, the preface becomes a birth certificate not only legitimizing the hero, but also problematizing the parental relationship between father/author and son/text or hem, for it involves more than the ontological history Of the hem or the text.

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Hopps, Gavin. "'Eden's Door': The Porous Worlds of Don Juan and Childe Harold's Pilgrimage." Byron Journal 37, no. 2 (December 2009): 109–20. http://dx.doi.org/10.1353/byr.0.0068.

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Elledge, Paul. "Chasms in Connections: Byron Ending (in) Childe Harold's Pilgrimage 1 and 2." ELH 62, no. 1 (1995): 121–48. http://dx.doi.org/10.1353/elh.1995.0006.

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Cantor, Paul A. "The Politics of the Epic: Wordsworth, Byron, and the Romantic Redefinition of Heroism." Review of Politics 69, no. 3 (June 2007): 375–401. http://dx.doi.org/10.1017/s0034670507000733.

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Traditionally, the epic focused on the heroic deeds of great public figures, but the Romantics remade the genre into something more personal, making the poet himself the hero of their epics. The Romantic disillusionment with politics, flowing from the failure of the French Revolution, lies behind their revaluation of heroism. The turn to nature, which the Romantics present as immediate, turns out to be mediated by their political experience. Wordsworth's The Prelude and Byron's Childe Harold's Pilgrimage are good examples of the Romantic transformation of the epic and provide a case study in the relation of politics and literature, specifically the politics of literary form.

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Mason, N. "Building Brand Byron: Early-Nineteenth-Century Advertising and the Marketing of Childe Harold's Pilgrimage." Modern Language Quarterly 63, no. 4 (December 1, 2002): 411–40. http://dx.doi.org/10.1215/00267929-63-4-411.

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Csengei, Ildiko. "‘The Fever of Vain Longing’: Emotions of War in Byron's Childe Harold's Pilgrimage, Canto III." Romanticism 24, no. 1 (April 2018): 86–98. http://dx.doi.org/10.3366/rom.2018.0356.

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This essay deals with Byron's visit to the field of Waterloo as described in Childe Harold's Pilgrimage, Canto III. I will suggest that the Canto sees the transformation of the Byronic hero into the man of feeling. Byron re-configures this eighteenth-century character type in a way that his personal grief becomes inseparable from collective feeling and national concerns. The deployment of the man of feeling becomes for Byron a political statement: an aid for the articulation of his disappointment in post-Waterloo European politics and a longing for lost Revolutionary ideals. Through the analysis of the Canto's main organising tropes I will be arguing that Byron's ambivalent perspective on the outcome of Waterloo is the reason for the restless oscillation of conflicting forces in the poem. The essay will re-read Stanza 33's broken mirror simile in the context of eighteenth-century notions of sensibility and sympathy.

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Earle, Bo. "Byronic Measures: Enacting Lordship in Childe Harold's Pilgrimage and Marino Faliero." ELH 75, no. 1 (2008): 1–26. http://dx.doi.org/10.1353/elh.2008.0009.

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O'Neill, Michael. "‘Without a Sigh He Left’: Byron's Poetry of Departure in Childe Harold's Pilgrimage, Cantos I and II." Byron Journal 41, no. 2 (January 2013): 115–26. http://dx.doi.org/10.3828/bj.2013.17.

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WOOTTON, SARAH. "The Changing Faces of the Byronic Hero in Middlemarch and North and South." Romanticism 14, no. 1 (April 2008): 25–35. http://dx.doi.org/10.3366/e1354991x0800007x.

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Almost two hundred years after the publication of the first two cantos of Childe Harold's Pilgrimage, the Byronic hero remains, as Andrew Elfenbein argues, an ‘unprecedented cultural phenomenon’.1 This essay is not concerned with the more direct descendants of the Byronic hero (Rochester and Heathcliff, for example); rather, I shall be focusing on the less immediately obvious, and in some respects more complex, reincarnations of the Byronic hero in two nineteenth-century novels, George Eliot's Middlemarch and Elizabeth Gaskell's North and South. Establishing previously neglected connections between these authors and the figure of the Byronic hero not only opens new avenues of debate in relation to these novels, but also permits a reassessment of the extent and significance of Byron's influence in the Victorian period. The following questions will be addressed: first, why does a Byronic presence feature so prominently in the work of nineteenth-century women writers; second, what is distinctive about Eliot and Gaskell's respective treatments of this figure; and, third, how is the Byronic hero subsequently reinvented, and to what effect, in modern screen adaptations of their work?

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Barton, Anna. "Byron, Barrett Browning and the Organization of Light." Romanticism 22, no. 3 (October 2016): 289–98. http://dx.doi.org/10.3366/rom.2016.0290.

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Feminist readings of Casa Guidi Windows frequently invoke Canto IV of Childe Harold's Pilgrimage as a significant intertext for Barrett Browning, identifying in Barrett's Italy a direct retort to Byron's representation of the Italian nation as a languishing female body, which returns to it the potential agency inherent in the republican body politic. But Barrett's Italy not only challenges Byron's account of Italy as the feminine victim of masculine history, it also negotiates the obliterating glare of Byronic light. Responding to recent interpretations of the poem's windows as apertures that compromise the division between public masculine and private feminine space, this article explores the ways Casa Guidi, both the poem and the home that it describes, represent a liberal architectonics that is as concerned with resisting as it is with celebrating the subliming forces of indifferent nature and international politics. One of the ways in which that resistance is performed is via the poet's negotiation of Italian light, natural, divine and artistic, a negotiation through which Barrett describes a post-Romantic feminine poetics that realigns poetic form and the domestic, and suggests both as spaces through which light may break.

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Park, Kyunghee. "Childe Harolde Pilgrilmage: From Pilgrimage to Nomadism." Journal of East-West Comparative Literature 39 (March 31, 2017): 103–24. http://dx.doi.org/10.29324/jewcl.2017.03.39.103.

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Maver, Igor. "An Australian Poet in Italy: A.D. Hope’s Byronic View of Latter-day Italy." Acta Neophilologica 50, no. 1-2 (November 13, 2017): 57–68. http://dx.doi.org/10.4312/an.50.1-2.57-68.

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The article examines the classicism of the poet A.D. Hope, especially in relation to his fascination with the work of Lord Byron, notably Childe Harold’s Pilgrimage and its sections set in Italy in Rome. Hope’s insistence on the European source of Australian literature in the classical antiquity found expression in several of his poems in direct intertextual references to Byron’s work.

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Jie-Ae Yu. "Nature and Harold’s Pursuit of Stoical Forbearance in Byron’s Childe Harold’s Pilgrimage Ⅲ." New Korean Journal of English Lnaguage & Literature 50, no. 1 (February 2008): 175–92. http://dx.doi.org/10.25151/nkje.2008.50.1.010.

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Westwood, Daniel. "‘Living in shattered guise’: Doubling in Childe Harold’s Pilgrimage Canto III." Byron Journal 44, no. 2 (December 2016): 125–38. http://dx.doi.org/10.3828/bj.2016.18.

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Soonyook Choi. "A Study on Toson's Verses Compared with Byron' 『Childe Harold’s Pilgrimage』." Journal of the society of Japanese Language and Literature, Japanology ll, no. 57 (May 2012): 251–72. http://dx.doi.org/10.21792/trijpn.2012..57.013.

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Prawer, Siegbert S. "CHILDE HAROLD’S JEWISH PILGRIMAGE: BYRON MEETS YIDDISH POETRY IN EXPRESSIONIST BERLIN, 1920–1923." Oxford German Studies 41, no. 1 (April 2012): 1–14. http://dx.doi.org/10.1179/0078719112z.0000000001.

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Sandy, Mark. "“The Colossal Fabric’s Form”: Remodelling Memory, History, and Forgetting in Byron’s Poetic Recollections of Ruins." Articles, no. 51 (October 31, 2008): 0. http://dx.doi.org/10.7202/019258ar.

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Abstract This essay reads Byron’s personal and historical reflections in Manfred and Childe Harold’s Pilgrimage through Nietzsche’s meditations on memory and forgetting in Untimely Meditations. These poetic recollections are explored as moments of wilful erasure. Central to Nietzsche’s thoughts “On the Use and Disadvantages of History for Life” is how single moments are forgotten only to be unwillingly recalled at some future present historical moment. Byron’s desire to forget biography and history, paradoxically, produces a capacity to remember. Byron’s meditations on historical ruins become his own imaginative reflections on both the impulse to, and impossibility of, recovering historical and personal origins or securing an authorial posthumous reputation.

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Sandy, Mark. "‘I Have Thought / Too Long and Darkly’: Writing and Reading Modes of Being in Byron." Byron Journal 48, no. 2 (December 1, 2020): 133–44. http://dx.doi.org/10.3828/bj.2020.19.

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Byron’s treatment of subjective modes of being are characterised by a poetic mobility that permits competing and contradictory perspectives of the self to coalesce. Starting with Michael O’Neill’s sense of fixity and fluidity as a marker of Byronic identity, this article examines Byron’s darker poetics of madness that permit a glimpse into the destructive and transformative elements of selfhood. In Childe Harold’s Pilgrimage and Beppo, Venice emerges as the imaginative site of Byron’s self-aware artistry and psychodrama of self. Elsewhere Byron’s poetics of selfhood are read as inextricably bound to deliberate self-conscious acts of writing and reading that both dread and delight in the fictionality of self, memory, and history.1

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Jie-ae, Yu,. "Cantos III-IV of Byron’s Childe Harold’s Pilgrimage: Unfurling Bereavement, Tribulation, and Spiritual Awakening." Literature and Religion 23, no. 1 (March 31, 2018): 151–72. http://dx.doi.org/10.14376/lar.2018.23.1.151.

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Dedovic-Atilla, Elma. "Byron’s and Shelley’s Revolutionary Ideas in Literature." English Studies at NBU 3, no. 1 (May 31, 2017): 27–48. http://dx.doi.org/10.33919/esnbu.17.1.2.

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The paper explores the revolutionary spirit of literary works of two Romantic poets: George Gordon Byron and Percy Bysshe Shelley. In the period of conservative early 19th century English society that held high regard for propriety, tradition, decorum, conventions and institutionalized religion, the two poets’ multi-layered rebellious and subversive writing and thinking instigated public uproar and elitist outrage, threatening to undermine traditional concepts and practices. Acting as precursors to new era notions and liberties, their opuses present literary voices of protest against 19th century social, religious, moral and literary conventions. Their revolutionary and non-conformist methods and ideas are discussed and analyzed in this paper through three works of theirs: Byron’s The Vision of Judgement and Childe Harold’s Pilgrimage and Shelley’s Prometheus Unbound.

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Poghosyan, Ofelya, and Varduhi Ghumashyan. "“Byronic” Phraseological Units and Their Equivalents in the Armenian Translation." Armenian Folia Anglistika 14, no. 1-2 (18) (October 15, 2018): 95–108. http://dx.doi.org/10.46991/afa/2018.14.1-2.095.

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The article highlights one of the most typical features of G.G. Byron’s individual style, particularly, the use of a great variety of phraseological units in his works. The basic layer of Byron’s literary vocabulary includes phraseological units derived from the Bible and Greek mythology. The present article focuses on the problem of translatability of the so-called “Byronic” phraseological units in his narrative poem Childe Harold’s Pilgrimage. It is an acknowledged fact that Byron’s works are translated into numerous languages and the Armenian translations have their special place among them. The eminent Armenian writer H.Tumanyan succeeded in finding the best equivalents of “Byronic” phraseological units that not only sound convincing, truthful and colourful, but also very often enrich both the source and the target languages.

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Shears, Jonathon. "“In One We Shall Be Slower”." Christianity & Literature 66, no. 2 (March 2017): 193–212. http://dx.doi.org/10.1177/0148333116645609.

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While Byron is a poet often associated with feelings of resentment and anger, he is usually marginalized when it comes to the topic of forgiveness in the Romantic period. If forgiveness is debated in Byron then it is usually dominated by the suspicion that surrounds the “forgiveness-curse” in the Coliseum stanzas of Childe Harold’s Pilgrimage Canto IV. This article proposes that we have too quickly dismissed this proclamation as insincere and that it is in fact a biblically orthodox utterance which, once reread in such terms, allows us to see forgiveness as a much wider theme in Byron’s verse than has previously been thought. The essay argues that a more clearly defined Christian ethical framework needs to be constructed to enable readers to understand Byron’s representations of forgiveness.

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LIULKA, V., and N. TARASOVA. "GENRE PECULIARITIES OF LORD BYRON’S CHILDE HAROLD’S PILGRIMAGE AND A. PUSHKIN’S EUGENE ONEGIN: COMPARATIVE ASPECT." Philological Studies, no. 30 (December 21, 2019): 45–49. http://dx.doi.org/10.33989/2524-2490.2019.30.188739.

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Ghumashyan, Varduhi. "The Impact of Metaphor on G.G. Byron’s Linguopoetic Thinking." Armenian Folia Anglistika 16, no. 1 (21) (April 15, 2020): 90–97. http://dx.doi.org/10.46991/afa/2020.16.1.090.

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The issue touched upon in this article refers to the extraordinary use of innumerable metaphors in one of the greatest works by George Gordon Byron – Childe Harold’s Pilgrimage. Among literary devices it is especially metaphor that is peculiar to Byron’s linguopoetic thinking. The linguostylistic and linguopoetic methods of analysis help to bring out metaphor as an important device for Byron. Through metaphors he portrays his heroes, their feelings and thoughts and makes the reader feel his powerful flight of imagination. The author does not convince the reader to make the resulting points, but he makes him/her indirectly judge the heroes and understand situations. Thus, Byron’s metaphors are the result of his linguopoetic thinking. They give a certain charm and musical perception through plain words and word-combinations, and serve as a bridge between physics and poetics across temporal and spatial scale.

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Kim, Joey S. "Byron’s Cosmopolitan “East”." Essays in Romanticism 27, no. 2 (October 1, 2020): 167–85. http://dx.doi.org/10.3828/eir.2020.27.2.6.

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This essay examines the first four of Lord Byron’s Eastern Tales, crafted in the immediate success of Childe Harold’s Pilgrimage. I argue that these tales constitute an example of Byron’s cosmopolitanism forged directly by his early-career aesthetic and Orientalist inventions. I challenge any fixed notion of Byron’s identifying traits of cosmopolitanism and trace his creation of a textualized and simulated “East.” This “East” is depicted in terms of Byron’s competing personal, aesthetic, and cultural impulses. These impulses culminate in his fourth tale, Lara, and the myth of the cosmopolitan figure for which Byron’s heroic subjectivity became known. By expanding the poet’s subjectivity beyond clear cultural and geographical borders, these tales also raise the question of literary scale and the limits and boundaries of poetic form and content—how to adequately represent the individual poetic subject during an era of shifting global and cosmopolitan relations.

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Marchionni, Francesco. "‘And Making Death a Victory’: Scepticism and Personal Conflict in Childe Harold’s Pilgrimage I–II and ‘Prometheus’." Byron Journal 48, no. 1 (June 2020): 45–56. http://dx.doi.org/10.3828/bj.2020.6.

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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 (June 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 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.

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Karam, Savo. "The Political Dimension of Byron’s “An Ode to the Framers of the Frame Bill”." International Letters of Social and Humanistic Sciences 41 (September 2014): 157–64. http://dx.doi.org/10.18052/www.scipress.com/ilshs.41.157.

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Byron‘s major poems, such as Childe Harold’s Pilgrimage, Don Juan, and others, are unmistakably flavored with political satire. It is therefore puzzling that a number of literary critics, with the exception of Malcolm Kelsall, Michael Foot, and Tom Mole, have avoided commenting in any significant manner on the political dimension of Byron‘s ―An Ode to the Framers of the Frame Bill,‖ a poem which is emphatically responsible for identifying him as a vibrant, political poet. In his ode, Byron demonstrates his capacity to fuse his political notions with a poetic sensitivity extending beyond rhyming verses. In this respect, the purpose of this paper is to position Byron‘s ode in its appropriate historical and literary frame, to examine its political affiliations, and to highlight the role Byron plays in displaying a synthesis between politics and poetics, a role cautiously avoided by other Romantic poets. Malcolm Kelsall claims in Byron’s Politics that Byron‘s poetry had essentially made no substantial political impact (50). Similarly, Michael Foot in The Politics of Paradise contends that Byron‘s political fervor ―existed independently of his poetry‖ (Qtd. in Coe para. 9). I differ with both and tend to agree with Tom Mole‘s assessment that Byron‘s ―An Ode to the Framers of the Frame Bill‖ is principally responsible for exhibiting him as a poet of an unmistakable political disposition.

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Coletes Blanco, Agustín. "A young lord passes judgment: National characters in the letters, poems and other writings of Byron’s Mediterranean tour (1809-11)." Revista Alicantina de Estudios Ingleses, no. 27 (November 15, 2014): 25. http://dx.doi.org/10.14198/raei.2014.27.02.

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On July 2nd, 1809, Lord Byron and his Cambridge friend John C. Hobhouse embarked on their peculiar Grand Tour. With most of Continental Europe in the hands of Napoleon, Byron and Hobhouse’s destination was Constantinople, the capital of a powerful Ottoman Empire which still controlled much of Eastern Europe, North Africa and the Middle East. The travellers took a year to reach the Porte. Previous stages in their journey included Portugal, Spain, Gibraltar, Malta, Albania and Greece. Unlike Hobhouse, Byron was never to publish a travelogue based on his Mediterranean and Levantine experience. However, throughout his tour he did write many letters and occasional poems, not meant for publication, in which he repeatedly passes judgment on the Portuguese, the Spaniards, the Greeks, the Albanians and the Turks as national characters –and also on fellow countrymen abroad. In this paper, young Byron’s judgments on said national characters, as manifested in his letters and poems home, are located, grouped together and analysed, for the first time in the literature, in a comprehensive way –thus bringing into question a number of commonly-held misconceptions on the issue. Byron’s own Childe Harold’s Pilgrimage (the poem and its notes which, published soon after his Mediterranean experience, famously won him instant recognition in Britain) and Hobhouse’s Journey to Albania and unpublished diary are, in the light of this essay, used as paratexts that enrich the analysis with added, sometimes diverging perspectives. In the light of such corpus, the essay closes with a classification, an explanation and a summary of the consequences of young Byron’s Mediterranean judgments.

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Pop Zarieva, Natalija. "“THE ROSE SULTANA OF THE NIGHTINGALE” ORIENTAL IMAGES, CHARACTERS AND SETTING IN BYRON’S THE GIOAUR." Knowledge International Journal 28, no. 7 (December 10, 2018): 2289–94. http://dx.doi.org/10.35120/kij28072289n.

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It is surprising that Romanticism, a literary movement generally associated with nature, emotions and imagination, had close connection with imperialism, through its most distinguished cultural characteristic - Orientalism. Most of the major Romantic poets found in the Orient not just a noteworthy point of reference for various cultural or political backgrounds, but an important backdrop in the realization of their literary careers. However, most of the writers of this period had never visited the East. Hence, their attitudes towards it differ from Lord Byron’s, who not only embarked on the Grand Tour, among other countries to Albania, Greece and Turkey, early in his career, but also eternalized the theme of escapism in some of his greatest poetry like Childe Harold’s Pilgrimage and Don Juan. The exotic East offered Byron the basis for the aesthetic achievement in his Oriental Tales: The Giaour, Lara, The Corsair, The Siege of Corinth and The Bride of Abydos, but also his play Sardanapalus. The main interest of this paper, however, is the study of Oriental elements in Byron’s first Oriental tale - The Gioaur. I have come to realize that Byron emerges as distinct from and rises above his contemporaries in the treatment of the Orient with regard to the broad range, accurate portrayal and his creative empathy. One of the purposes of this paper would be to acknowledge this uncommon responsiveness to the Orient and to enlighten Byron's use of Oriental allusions. The poem represents an artistic mixture of Eastern and Western elements. This paper will focus on the depiction of the East in images, settings, characters and themes, and explore the way the poet skillfully incorporates a Western hero in an Eastern setting and increases the overall impression by the poem’s various narrators. Byron was the first author who allowed an Oriental character to relay a story from his Islamic point of view. This makes Byron different from his contemporaries; he does not throttle the Oriental voice. The voice of the Muslim narrator emphasizes the Oriental character of the poem as his references and viewpoints bestow a specific Oriental colour. In the depiction of the two main male characters, Byron has skillfully employed the effect of doubling which excludes the position of the Giaour as superior over his Oriental rival. Just as Hassan does not feel any remorse for the death of Leila, so does the Giaour’s regret not stem in the immorality of his deeds or social transgressions. He is endowed with the same weaknesses and vices as Hassan. Artistically threading together, a diversity of Oriental details, such as natural and animal imagery, creatively incorporating picturesque similes and allusions, Byron has managed to fashion a faithful Oriental story.

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"FREEDOM OF INDIVIDUALITY AND COUNTRY’S INDEPENDENCE IN BYRON AND CHULPON'S WORKS." Philology matters, March 25, 2020, 34–41. http://dx.doi.org/10.36078/987654414.

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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.

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Hodaj, Elonora. "PROFILES OF ALBANIANHOOD IN THE FOCUS OF BRITISH ROMANTIC LENSES." Folia linguistica et litteraria, December 25, 2018, 183–94. http://dx.doi.org/10.31902/fll.25.2018.10.

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Due to various political, social and economic reasons, unfortunately, Albanian culture, literature and history at large, have long been traced and written by foreigners rather than Albanians. Although often labeled as a "mute" people who cannot express themselves because of the disappearance of historical sources, for the sake of truth, there has always been a considerable collective memory among Albanian people which has quite frequently been used by prominent writers and albanologists. The prototype of the romantic poet, Lord Byron, and British albanologist, Edith Durham, are probably the two main credentials in their efforts to serve as spokespersons of the Albanian life in the early nineteenth and early twentieth century in the eyes of the civilized world. The purpose of this paper is to present profiles of Albanianhood as recorded in the British romantic diary of Durham’s “The burden of the Balkans” held during her first lengthy expedition, on horseback and on foot, through the wilds of southern and central Albania and the long poem by Lord Byron “Childe Harold's Pilgrimage”- Canto II. What brings these two names together despite the century-long span of their literary creativity seems to be the fact that their life ideology was led by the cult of individual freedom and at the same time by the romantic conviction that it is not acceptable, not even in the nature of things that the world remain immobile. The perception of the Albanian world according to these two perspectives has many converging points that do nothing but reinforce the truthfulness of both accounts although made in two very different genres of literary writing. The featuring of these compliances as well as graphic and photographical illustrations of the issues referred to remain within the scope of the present paper.

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Bernhard Jackson, Emily A. "The Harold of a New Age: Childe Harold I and II and Byron’s Rejection of Canonical Knowledge." Romanticism on the Net, no. 43 (September 20, 2006). http://dx.doi.org/10.7202/013594ar.

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Abstract The first two cantos of Childe Harold’s Pilgrimage remain the least frequently discussed of Byron’s major works. This article asserts that these unjustly neglected cantos are, in fact, central to any understanding of Byron’s larger oeuvre. They offer the first example of what will become a persistent leitmotif in all of his future works: an engagement with the question of how knowledge is produced, and how trustworthy knowledge claims truly are. Childe Harold I & II show Byron examining, and rejecting, conventional Georgian ideas about understanding and its formation -- particularly ideas about the connection between vision and knowledge. In their place, Byron suggests that the link between seeing and knowing is unreliable at best, and posits a version of knowledge itself as fluid, unstable, and undetermined in any objective sense. Harold’s first two cantos are thus a presage of Byronic things to come, for they are a first step down a path that will lead Byron to a complete repudiation of the notion of stable, reliable knowledge eight years later, in Don Juan.

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Edson, Michael R. "Soil and Sublimity in Childe Harold’s Pilgrimage." Revue de l'Université de Moncton, December 6, 2006, 177–87. http://dx.doi.org/10.7202/014356ar.

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Résumé Cet article commence par une brève description des moyens par lesquels la terminologie et les conventions régissant la description de paysages sublimes informent le discours géologique de la fin du dix-huitième et du début du dix-neuvième siècle, tel qu’exemplifié par Theory of the Earth de James Hutton (1789) et Essays on the Theory of the Earth de Georges Cuvier (1813). Je ferai ensuite valoir que les réflexions de Byron sur l’érosion graduelle mais inévitable des empires et des cultures dans Childe Harold’s Pilgrimage et The Age of Bronze montrent une perspective (in)formée par la géologie, et que le sublime, dans ces poèmes, est produit par la rencontre avec les processus historiques et le temps géologique, qui sont vastes, auto-anéantissants et inimaginables. Dans ces poèmes, non seulement la description par Byron de l’être humain fait d’argile renvoie aux origines et au destin ultime de notre substance corporelle, elle associe l’humain (le culturel) à la strate érodée et soulevée par les forces naturelles et incontenables. Dans ces poèmes, les lieux physiques deviennent temporels; les ruines, souvent associées au pittoresque, deviennent sublimes. Elles ne sont pas de terrifiants symboles du transitoire culturel ou de l’insignifiance de l’être humain, mais plutôt des affleurements minéralisés et exposés temporairement dans lesquels le sujet percevant (le narrateur, puis le lecteur par la suite) peut lire le passage du temps et contempler l’éventualité horrifiante de sa propre désintégration et de sa mort.

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Hammock, Janet, and Robert Lapp. "Performing Byron: Alongside Liszt, Chopin, and Keats." Revue de l'Université de Moncton, December 11, 2006, 127–39. http://dx.doi.org/10.7202/014352ar.

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Résumé Que se produit-il quand Childe Harold’s Pilgrimage est présenté à voix haute ? Quels effets produit une juxtaposition des Années de pèlerinage de Liszt et des passages de Childe Harold qui l’ont inspiré ? Quelles caractéristiques partagent « l’Ode to a Nightingale » de Keats et la Nocturne op. 9 no 3 en si majeur de Chopin ? Voilà autant de questions que soulève un récital de poésie et de musique au piano par les professeurs Janet Hammock et Robert Lapp de l’Université Mount Allison. Hammock et Lapp collaborent depuis 2002, unis par un désir de partager leur expertise en musique et en littérature de l’ère romantique avec un public plus vaste. Le résultat : un répertoire formé de juxtapositions thématiques, dont deux qui seront présentées le 16 août 2005 : les pèlerinages parallèles de Byron et de Liszt, puis les « nocturnes » de Keats et de Chopin. Le récital sera suivi de réflexions sur les conséquences de cette collaboration interdisciplinaire, qu’il s’agisse de découvertes interprétatives faites au cours de la mémorisation ou du rôle du contexte de la représentation.

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Kostadinova, Vitana. "The Rise of the Sublime and the Fall of History." Revue de l'Université de Moncton, December 6, 2006, 189–202. http://dx.doi.org/10.7202/014357ar.

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Résumé Cet article explore l’engagement de Byron à l’endroit du sublime dans le chant 2 de Childe Harold’s Pilgrimage, contre l’arrière-plan de son traitement dans ses poèmes de l’histoire et de la correspondance entre l’expérience personnelle et les processus historiques. Sur le plan théorique, il prendra appui sur la discussion par Kant du sublime, selon qui nous jugeons quand nous évaluons les objets; le concept sera lié au relativisme esthétique et éthique introduit au dix-huitième siècle. L’argument sera centré sur les instances de parallélisme (produits par la métaphore et la comparaison) entre l’objet sublime et l’esprit de la personne qui le contemple.

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Esterhammer, Angela. "Improvisational Aesthetics: Byron, the Shelley Circle, and Tommaso Sgricci." Romanticism on the Net, no. 43 (September 20, 2006). http://dx.doi.org/10.7202/013592ar.

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Abstract The sensational Tommaso Sgricci (1789-1836), the most famous improvvisatore of his day, was known for theatrical performances in which he extemporized lyric poems as well as entire Classical dramas. His fame spread throughout Europe through periodical articles and reviews, and through the first-hand reports of English travellers who witnessed his performances in Italy. The Shelleys’ intense engagement with Sgricci during the winter of 1820-21 leaves its mark on important texts written during those years, including Mary’s Valperga and Percy’s Defence of Poetry. Byron encountered Sgricci both personally and professionally between 1816 and 1820; resonances between Sgricci’s distinctive performance genre and Byron’s later poetry are less direct, but more profound. The embodied responses to history in Canto IV of Childe Harold’s Pilgrimage bear comparison with Sgricci’s spontaneous dramas on Classical and historical themes, as does the “mobility” exemplified by the performer Lady Adeline Amundeville in the later cantos of Don Juan. Byron’s ability to “revivify” the past in these works may be illuminated by setting them alongside the practice of the improvvisatore, a figure who stands for the real-time, responsive, public process of crafting poetry out of contingent subject-matter, habitual sound-patterns, fragments of memory, and lively imagination.

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Turchynova, Ganna, Lyudmila Pet’ko, and Valeria Grigoruk. "The Colosseum in the film «Roman Holiday» (1953)." Intellectual Archive 10, no. 3 (September 23, 2021). http://dx.doi.org/10.32370/ia_2021_09_10.

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This article is dedicated to the Colosseum and a classic movie filmed in Rome "Roman Holiday” (1953, USA). It was the first Hollywood film to be filmed and processed entirely in Italy. The great thing about Rome is that not much changes in the historic city centre. The story is about princess Ann (played by Audrey Hepburn) who comes to Rome and slips out one evening from the Embassy, and an American journalist (Gregory Peck). Joe takes Ann around Rome for a "Grand Day Out" and we have loads of views of Rome, both the famous monuments and the streets, squares, and bridges. So when Audrey Hepburn surveys the Colosseum, she’s really surveying the Colosseum. In the film "Roman Holiday", Princess Ann holds on tight as they race through the roads past the famous Colosseum. The stars riding a Vespa made an iconic movie poster for the film, during an important era for Italian filmmaking. The authors of the article offer an innovative approach to the formation of a professionally oriented foreign language learning environment by studying the filming locations of the masterpiece of world cinema "Roman Holiday" (1953, USA), on the example of the Colosseum. It is a typical example copied throughout the empire: a highly decorative exterior, seats set over a network of barrel vaults, and underground rooms below the arena floor to hide people, animals and props until they were needed in the spectacles of the"Theatre of Death". Remembered the greatest English historian of all time Bede, Lord Byron’s poem"Child Harold's Pilgrimage", gladiators.

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Bhattacharji, Shobhana. "The Prolix Sublime." Byronic Variations on the Sublime, December 6, 2006, 149–62. http://dx.doi.org/10.7202/014354ar.

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Résumé Prolixe : qui est trop long et verbeux (de prolixus « allongé », pro « en avant », liquidus « liquide »). Prolifique, fertile, fécond, abondant (de proles « descendance » et -fique). Byron était généreux avec ses mots. Il traduisait sa vie (plutôt qu’en faire la transcription) par des lettres, des journaux intimes et des vers; il enrobait ses vers de préfaces et de notes écrites en prose; il écrivait des critiques et des lettres aux éditeurs; il ne pouvait ni ne voulait-il terminer ses longs poèmes, disant qu’il y ajouterait peut-être quelque chose plus tard; il lui arrivait d’écrire sur un seul événement dans plus d’une demi-douzaine de lettres adressées à diverses personnes; il notait une idée dans son journal et l’étirait pour en faire une pièce de théâtre; son épouse, peu admiratrice, le traitait de monarque des mots; ceux qui le connaissaient se souviennent de l’infinie variété de ses conversations « sans réserves ». Il trouvait plaisir dans les mots et aimait les étirer dans toutes les directions : interrompant le flux de la narration dans Childe Harold’s Pilgrimage pour y insérer des méditations, faisant de longues digressions dans Don Juan, jouant sur les mots des autres, gonflant ses écrits de citations. Et pourtant, ses longs poèmes et sa prose abondante coulent à flots dans une profusion du langage. Il faut aussi se rappeler que Byron était un écrivain populaire. Les lecteurs de l’époque devaient donc apprécier son caractère prolixe, fécond. En 1909, A. C. Bradley faisait valoir que les poètes de l’époque de Wordsworth n’avaient pas le talent d’écrire de longs poèmes, et qu’ils ne faisaient qu’enfiler des paroles sur une ficelle de vers tout au plus ordinaires. À la manière de son époque, Bradley supposait que le goût des gens s’était amélioré avec le temps et que les Victoriens qui avaient succédé à Byron pouvaient apprécier la bonne poésie, contrairement à Byron et ses contemporains. Selon moi, l’écriture copieuse de Byron était délibérée, une sorte de principe de créativité. Un peu avant Bradley, J. A. Symonds affirmait qu’il nous fallait, pour juger de la grandeur d’un poète, une vaste quantité de mots et de poèmes de sa plume. Est-ce pourquoi Byron écrivait tant? Ou croyait-il, comme Burke, qu’une « idée claire, c’est . . . une autre façon de nommer une petite idée1 »? Associait-il au sublime une plénitude de mots? L’abondance de mots n’est pas toujours synonyme de longs poèmes, pas plus qu’il y a un seul point de vue critique sur le bien ou mal-fondé du non-minimalisme. Mais dans sa pratique de la profusion, Byron semble avoir absorbé quelques-unes des attitudes des poètes qui le précédaient immédiatement et anticipé sur celles des poètes de la fin du vingtième siècle.

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Journal articles on the topic 'Childe Harold's pilgrimage'

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