By Byron, George Gordon Byron; Modrzewska, Miroslawa; Byron, George Gordon Byron
Byron’s mannerist digressive kind and his ‘theatricality’ are a mode of literary and cultural discourse in line with the recommendations of irony, paradox and reflectivity that have been practised in seventeenth-century literature and tradition. This ends up in the discursive cut up within the poetic language, which prefers to discuss the heavenly and the divine by means of connection with deformity and monstrosity. it's marked in a Romantic demeanour by means of the presence of the lyrical character with a deep realization of past literary texts in keeping with the philosophy of this sort of discourse, within which voices are echoed opposed to one another. If we settle for the Baroque, and seventeenth-century literature and tradition, as resources of Byron’s literary discussion with cultural culture, we could stop to understand the author as an writer suspended among jointly particular interpretational structures, both because the liberal satirist or because the grandiose gothic seducer
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Extra info for Byron and the Baroque
Thomas about the number of evil spirits on a pin head. Cf. ’ (cit. W. Stechow, 114; qtd. in Danniels, 54) 36 Byron and the Baroque principle of apophasis (paralepsis): information contrary to the argument is provided parenthetically (‘burning aged women’ is an ‘act of inurbanity’, but burning ‘bitches, who create/Mischief in families’ is not). ’ In the midst of his digression (stanza 9), Byron undermines the sense of all learning and writing with his alliterative adnomination and reification: ‘but pages/ Might be filled up, as vainly as before,/ With the sad usage of all sorts of sages’, in which the wise men become like withered leaves of Salvia officinalis.
It is only in Byron’s later poetry that the role of the speaking ‘I’ diversifies, taking in those of a poet-traveller, a political writer and a cunning seducer. g. theatrum mundi) becomes conspicuous because of the grotesque and mock-heroic humour. This particularly concerns the Italian narrative poems, such as The Vision of Judgement, Beppo, and Don Juan, in which the reader finds a joyous, beautiful and spectacular 32 Byron and the Baroque urban world (Venice in Beppo, and Seville in Don Juan, cf.
Why, when all perish, why must I remain? The Waters rise: Men fly in every direction; many are overtaken by the waves; the Chorus of Mortals disperses in search of safety up the Mountains; Japhet remains upon a rock, while the Ark floats towards him in the distance. If there is any plane of reference with an established set of values ascribed to protagonists and their loci, it is purely literary or dramatic intertextuality. Despite the Romantic individualisation of the main character, all of Byron’s protagonists resemble characters known from previous Biblical, mythological or literary texts: Manfred is a recognizably ‘Faustian’ figure and therefore also resembles Orpheus and Prometheus; Lucifer, ‘Angel of the Lord’ in Cain, although taken from the Book of Genesis; is also Theatre of Death: Byron’s Eschatological Discourse 49 similar to Milton’s Satan from Paradise Lost.
Byron and the Baroque by Byron, George Gordon Byron; Modrzewska, Miroslawa; Byron, George Gordon Byron