Byron and the Ruins of Paradise. Robert F. GlecknerByron and the Dynamics of Metaphor. W. Paul ElledgeA Concordance to Byron's "Don Juan". Charles W. Hagelman, Jr. , Robert J. BarnesLady Blessington's "Conversations of Lord Byron". Ernest J. Lovell, Jr.

1969 ◽  
Vol 67 (2) ◽  
pp. 203-207
Author(s):  
Jerome J. McGann
Keyword(s):  
Lord Byron ◽  
Don Juan

scholarly journals The East in the Western Perception: Orientalism in some selected Poems of Lord Byron

2021 ◽  
Vol 5 (3) ◽  
pp. 17-26
Author(s):  
Afaf Ahmed Hasan Al-Saidi
Keyword(s):  
Negative Attitude ◽  
Lord Byron ◽  
Edward Said ◽  
Don Juan ◽  
The World ◽  
The Subject ◽  
The Right ◽  
Negative Impression ◽  
Literary Phenomenon

Orientalism as a literary phenomenon has been recently focused on by different writers all over the world. Many of those who write about Orientalism have not the same understanding, and the divergences are reproduced due to different attitudes toward Orientalism. From various studies concerning Orientalism, there are apparent tributaries confronting the understanding of the concept of Orientalism from different perspectives. Edward Said is one of those who, according to what many Western and Eastern writers say, represent the negative attitude towards Orientalism, and tries only to make it appear ugly and offensive. Many writers, Arabs and non-Arabs, take, more or less, the same approach Said used towards the subject of Orientalism. Others have, to some extent, tried to give excuses for the writers, especially the Romantics, for the negative impression their writings reflected on the readers when going through what is supposed to be Oriental works. Nigel Leask, Sari Makdisi, Emily Haddad, Martin Bright, Tripta Wahi and Naji Oueijan are the significant writers of this group. British orientalists did not use the right approach to look or write about the East. What irritates Said is that these orientalists did not pay attention to find any possibility by which they could bridge the gap between the European and Asiatic parts of the world. This paper tries to trace and to define Lord Byron’s type of Orientalism in some of his oriental works and his chief work Don Juan.

A Pirate or Anything

2016 ◽  
Author(s):  
Talissa J. Ford
Keyword(s):  
Lord Byron ◽  
Don Juan ◽  
Power Structures ◽  
Failure Function ◽  
Spatial Imagination ◽  
The Military

This chapter explores pirates, and pirate colonies, as imagined by Lord Byron and William Hone. The fictional pirates of these texts, like the pirates of A General History, are deeply implicated in the power structures that historical pirates tended to operate outside of: Byron’s and Hone’s pirates are tied to the nation, to the military, to religion, and to a sense of territory more generally. Reading The Corsair and The Bride of Abydos with the perspective of Hone and Don Juan in mind, this chapter argues that depictions of this particular kind of piratical failure function as a diagnosis of the imperial forces that threaten utopian imaginations, while Don Juan proposes a kind of spatial imagination that escapes rather than reinforces imperialism.

Lord Byron: "Don Juan"

1974 ◽  
Vol 34 (3) ◽  
pp. 136
Author(s):  
Charles W. Hagelman ◽  
T. G. Steffan ◽  
E. Steffan ◽  
W. W. Pratt ◽  
Lord Byron
Keyword(s):  
Lord Byron ◽  
Don Juan

Lord Byron and Lady Byron

2017 ◽  
Author(s):  
William H. Galperin
Keyword(s):  
Lord Byron ◽  
Don Juan ◽  
Missed Opportunities ◽  
The World ◽  
Everyday World ◽  
History Of

An overlooked aspect of Lord Byron’s short unhappy marriage to Annabella Milbanke remains the “singular,” everyday world of relation that marriage represented for him, both beforehand, when marriage was an abstraction performed in correspondence with Milbanke, and afterwards, when the Byron marriage and the world it figured was literally a history of missed opportunities that the poet recaptured and reinscribed in Don Juan. The finite, epistolary conversation that constituted the Byron courtship was more than a trial run at marriage, particularly as the opposite of what Byron disparagingly called “love.” It proved a stay against a future that, on the relational front and in Byron’s contemporaneous Eastern Tales, was devoid of either hope or possibility. Here, in the sway of anticipatory nostalgia, marriage day after day would be suddenly fathomable and as valuable as the monetary fortune Byron also sought, but as a history of missed opportunities.

Creative Shipwrecks: Coleridge’s The Rime of the Ancient Mariner and Byron’s Don Juan

2007 ◽  
Author(s):  
L. Michelle Baker
Keyword(s):  
Literary Theory ◽  
William Wordsworth ◽  
Samuel Taylor Coleridge ◽  
Contemporary Literature ◽  
Lord Byron ◽  
Coherent System ◽  
Don Juan ◽  
Philosophical Work ◽  
William Hazlitt ◽  
As If

Abstract Contemporary discussions of English Romantic philosophers and their theories often include such names as William Wordsworth, Samuel Taylor Coleridge, William Hazlitt, Thomas DeQuincey, and Charles Lamb, but rarely do they treat of George Gordon, Lord Byron. While Byron’s reputation was not built upon complex philosophical explications of literary theory, the passion of his life did not preclude that of his mind. He has left us with no overtly philosophical work, and yet, many of the digressions in Don Juan are directed at the poets and philosophers of his time and some others seem to point us to a coherent system of thought about literature and how it works. Specifically, Juan’s voyage at sea contains several passages which parody Coleridge’s Rime of the Ancient Mariner. Some of these similarities have been explored, but are frequently treated as if Byron were simply creating a pastiche of contemporary literature. However, Coleridge had used the Rime to elucidate a portion of his understanding of how literature works. It seems possible that Byron is purposely answering Coleridge in the second canto of Don Juan. Thus, we may be able to use Byron’s natural imagery and poetic technique to piece together a philosophical statement from that most unphilosophical of Romantics, Lord Byron.

scholarly journals The Uncanny Aura of the Femme Fatale’s Icon in Byron’s DonJuan

2020 ◽  
Vol 2 (3) ◽  
pp. p25
Author(s):  
Savo Karam
Keyword(s):  
Victorian Literature ◽  
Literary Tradition ◽  
Lord Byron ◽  
Femme Fatale ◽  
Don Juan ◽  
Moral Dimension ◽  
Creative Imagination ◽  
The Uncanny ◽  
Romantic Poet ◽  
Critical Attention

The femme fatale trope, the incarnation of the artistic ideal of the writer’s creative imagination, is one of the most captivating female facades to haunt the Western literary tradition. Defined by her liminality, the femme fatale embraces an uncanny appearance that is terrifying but concurrently enthralling. Such oxymoronic combination defines her threatening and sublime representation which echoes Freud’s phenomenon of the uncanny that Lord Byron incarnates through his portrayal of the fatal woman motif. As a dark Romantic poet, Byron perceived beauty in the bizarre, unrestrained attitude of the fatal woman’s figure which shakes the rigid moral dimension of Victorian literature. What is intriguing about Byron’s depiction of his fatal woman is the supernatural, eerie power of her erotic appeal which she adroitly deploys to consume and haunt her victim’s imagination. Many researches tackled Byron’s contribution to the Gothic lore such as the initiation of the male vampire theme; other areas that were of interest to scholars depicted Byron’s homme fatal (the Byron seducer) trope. However, little critical attention pertaining to Byron’s femme fatale motif has been paid, and since his delineation of the femme fatale remains ambivalent and incomplete, this untouched area deserves substantial attention. Although Byron did not initiate the fatal woman figure, it is feasible to study how he conceives this archetype and the extent to which he incorporates Freud’s theory of the uncanny in his Gothic portrayal of two fatal females, Adeline and Catherine, in Don Juan.

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