Antithetical Minds: Eliot’s Byron and Byron’s Burns

Jake Phipps

doi:10.3828/bj.2021.4

Antithetical Minds: Eliot’s Byron and Byron’s Burns

The Byron Journal ◽

10.3828/bj.2021.4 ◽

2021 ◽

Vol 49 (1) ◽

pp. 15-28

Author(s):

Jake Phipps

Keyword(s):

Don Juan ◽

Byronic Hero

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 important source for the techniques of digression and self-conscious performance found in Don Juan, as well as for Byron’s conception of the Byronic Hero, where, again, ‘Tam O’Shanter’, and The Jolly Beggars, are particularly illuminating.

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Rewriting the Faust Myth within Romantic Dualism of Existence in Byrons Manfred and Cain

BORDER CROSSING ◽

10.33182/bc.v8i1.587 ◽

2018 ◽

Vol 8 (1) ◽

pp. 200-219

Author(s):

Petru Golban ◽

Patricia Denisa Dita

Keyword(s):

English Literature ◽

Don Juan ◽

Dramatic Works ◽

Common Features ◽

Literary Expression ◽

Romantic Hero ◽

Byronic Hero ◽

The Common ◽

The Many ◽

Distinct Features

Among the myths revived and rewritten by the romantics Prometheus, Orpheus, Psyche, Apollo, and so on the myth of Faust would provide one of the most congenial ways of textualization of the romantic rise of individualism, in general, and of some of its individual thematic perspectives, such as dualism of existence, escapism, and rebelliousness, in particular. George Gordon, Lord Byrons impressive literary masterpieces, the lyrical plays Manfred and Cain are among those works that contributed to the rise of the romantic hero in English literature by building up one of its particular as well as most interesting versions, which is known as the Byronic hero. Solitary, inadaptable, arrogant, misfit, escapist or rebellious, whatever would be the common features of the many characters that are labelled as Byronic hero, they still reveal certain distinct features and perform various deeds that allow them to be regarded as particular hypostases of the Byronic hero, among which Childe Harold, Manfred, Don Juan, Cain, and others. Among these, Manfred and Cain are at once hypostases of the Byronic hero and Faustian figures making possible the reconstruction of the Faust myth within the new attitudes and the thematic complexity of the Romantic Movement. In this respect, the present study embarks on a critical endeavour to disclose and compare the ways in which the two dramatic works revive and reshape the myth, and make it a vehicle for both romantic and, as we will see, anti-romantic literary expression.

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ALTERATION IN EXILE

Nineteenth-Century Literature ◽

10.1525/ncl.2003.58.3.291 ◽

2003 ◽

Vol 58 (3) ◽

pp. 291-325 ◽

Cited By ~ 1

Author(s):

M. PHILLIPSON

Keyword(s):

Don Juan ◽

Late Work ◽

Wild Horse ◽

Conversational Style ◽

Byronic Hero

Critics generally note a big shift in Lord Byron's style: the potently gloomy Eastern Tales, showcasing the magnetically alienated Byronic Hero, give way to a sharply contrasting style, that of the conversational Don Juan (1819-24). Accounts of Byron's career tend to treat this alteration as sudden or whimsical. In fact, it is intrinsically tied to exile, a connection illustrated by the verse-romance Mazeppa (1819), in many ways the forerunner of the contemporaneously begun Don Juan. Mazeppa is Byron's most elaborate-even systematic-depiction of exile; its hero, tied onto a wild horse and sent off into the wilderness, learns to endure amid dramatically changed circumstances. As its hero describes his travails, Mazeppa yokes together a number of entities forced to interact, uneasy pairings that include horse/water, man/horse, past/present, history/romance, and narrator/auditor. Dialogic interchange thus shapes Byron's portrayal of exile; the conversational style he developed in Italy underscores M. M. Bakhtin's emphasis on interaction across boundaries. Byron's investment in alteration helps us to frame his seemingly dismissive treatment of some contemporaries, particularly the Laker poets. As Mazeppa particularly demonstrates in its elaborate echoing of Samuel Taylor Coleridge's The Rime of the Ancient Mariner (1798, revised 1817), Byron's denouncement of what he called the "wrong revolutionary poetical system" was not repudiation so much as interchange, from the vantage of exile. Unlike the Rime, Mazeppa envisions narrative as subject to unpredictable recontextualization, a submission that marks exiled poet and distanced reader as the most important dialogic pairing in Byron's late work.

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Francis Cohen, Don Juan, and Casti

Romanticism ◽

10.3366/rom.1998.4.1.120 ◽

1998 ◽

Vol 4 (1) ◽

pp. 120-124

Author(s):

PETER COCHRAN

Keyword(s):

Don Juan

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“Christ’s mighty shrine above His martyr’s tomb”: Byron and Liszt’s Journey to Rome

Studia Musicologica ◽

10.1556/6.2014.55.1-2.2 ◽

2014 ◽

Vol 55 (1-2) ◽

pp. 17-26

Author(s):

Paul W. Merrick

Keyword(s):

Literary Works ◽

The Real ◽

English Poet ◽

Byronic Hero ◽

Public Enemy ◽

The Face ◽

Narrative Poem ◽

Positive Force

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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As dúvidas de Kierkegaard: ou sobre o legado pedagógico do romantismo alemão

Trilhas Filosóficas ◽

10.25244/tf.v11i1.3041 ◽

2018 ◽

Vol 11 (1) ◽

pp. 223-238

Author(s):

Jean Vargas

Keyword(s):

Nineteenth Century ◽

Soren Kierkegaard ◽

German Idealism ◽

Sao Paulo ◽

Harvard University ◽

German Romanticism ◽

São Paulo ◽

Don Juan ◽

Cambridge University ◽

Belo Horizonte

Resumo: O artigo leva em conta a recepção de Kierkegaard sobre o modo como os românticos lidam com o conhecimento e argumenta que o dinamarquês tem algo a dizer sobre temáticas de educação que estão hoje na ordem do dia. O artigo mostra ainda como Kierkegaard lida com temas transdisciplinares e em que medida a herança romântica, em contraposição ao legado iluminista, o ajuda a conceber sua reflexão pedagógica e existencial.Palavras-chave: Kierkegaard. Educação. Romantismo alemão. Pedagogia. Dúvida Abstract: The article takes into account Kierkegaard's reception of how the romantics deal with knowledge and argues that the Danish has something to say about education issues that are today the order of the day. The article also shows how Kierkegaard deals with transdisciplinary themes and to what extent the romantic heritage, in contrast to the enlightened legacy, helps him to conceive his pedagogical and existential reflection. Keywords: Kierkegaard. Education. German romanticism. Pedagogy. Doubt. REFERÊNCIASBEISER, Frederick. German Idealism: The Struggle against subjectivism 1781-1801. Londres: Harvard University Press, 2002.BERLIN, Isaiah. As raízes do romantismo. São Paulo: Três Estrelas, 2015.GRAMMONT, Guiomar de. Don Juan, Fausto e o Judeu Errante em Kierkeggard. Petrópolis: Catedral das Letras, 2003.KIERKEGAARD, Søren. Johannes Clímacus ou é preciso duvidar de tudo. São Paulo: Martins Fontes, 2003.KIERKEGAARD, Søren. Ponto de vista explicativo da minha obra de escritor: uma comunicação direta, relatório à História. Tradução de João Gama. Lisboa: Edições 70, 2002._______. Ou-ou: um fragmento de vida. Volume I. Tradução de Elisabete M. de Sousa. Lisboa: Relógios’d’água, 2013a._______. Pós-escrito conclusivo não científico às Migalhas filosóficas: coletânea mímico-patético-dialética, contribuição existencial, por Johannes Climacus. Tradução de Álvaro L. M, Valls. Petrópolis: Vozes, 2013. v.1._______. Temor e Tremor. Tradução de Maria José Marinho. São Paulo: Abril cultural, 1974. (Os pensadores).LÖWITH, Karl. De Hegel à Nietzsche. Tradução de Rémi Laureillard, Paris: Gallimard, 1969.PATTINSON, George. Kierkegaard, Religion and the Nineteenth-Century Crisis of Culture. Cambridge : Cambridge University Press, 2004.SAFRANSKI, Rudiger. Romantismo: uma questão alemã. Tradução de Rita Rios. São Paulo: Estação Liberdade, 2010.VALLS, Álvaro; MARTINS, Jasson. (Org.). Kierkegaard no nosso tempo. São Leopoldo: Nova Harmonia, 2010.VARGAS, Jean. Kierkegaard entre a existência e o niilismo. Puc Minas: Sapere Aude, Belo Horizonte, v.6–n.12, Jul./Dez.2015, p. 657-671.VARGAS, Jean. Indivíduo e multidão: uma reflexão sobre o lugar da ética no pensamento de Søren Kierkegaard. UFMG: Outramargem, Belo Horizonte, V. - n., 2 Semestre 2014, p. 99-109.

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Un intricato processo ad Atene: Eufileto uccide Eratostene, seduttore della moglie (Lysias, Or. I: De Eratosthenis caede apologia)

Vox Patrum ◽

10.31743/vp.4489 ◽

2011 ◽

Vol 56 ◽

pp. 449-464

Author(s):

Orazio Antonio Bologna

Keyword(s):

Fifth Century ◽

Don Juan ◽

Young Wife

In Athens in the late and early fifth century B.C. Eratosthenes, a well-known real Don Juan was killed. He sets his eyes on a young wife and seduces her, she is the wife of Euphiletus, a modest farmer, who spent a lot of time in countryside, away from his wife. Euphiletus, after the birth of his (first) son, places full faith in his wife. Having been informed about the affair, he catches her in adultery and, in front of some witnesses, kills Eratosthenes. The victim’s relatives hold a trial against the murderer, who before the Court gives a brilliant oration, written by Lysia one of the greatest orators of Athens.

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