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This book examines the relationship between Lord Byron's life and work, and the Regency culture of scandal.
The Oxford Handbook of Lord Byron offers the latest in critical thinking about the poet that defined the Romantic era across Europe and beyond. The volume presents forty-four groundbreaking essays that enable readers to assess Lord Byron's central position in Romantic traditions and his profound and far-reaching influence on British, European, and world culture. The chapters are organized into five sections-'Works', 'Biographical Contexts', 'Literary and Cultural Contexts', 'Afterlives', and 'Reading Byron Now'-that guide readers through the most important issues and frameworks for interpreting Byron. 'Works' presents original readings of Byron's key works and many of his lesser-known ones, giving space to extensive studies of his great epic, Don Juan, and the poem that brought him fame, Childe Harold's Pilgrimage. 'Biographical Contexts' invites readers to consider Byron's life through key themes and patterns. 'Literary and Cultural Contexts' sets out the most important intellectual traditions from which Byron's work emerged and in which it developed. 'Afterlives' shows readers the extent of Byron's influence on literature, art, music, and politics in Europe and beyond. 'Reading Byron Now' advances the critical agendas that are shaping Byron Studies today. The Handbook tackles key themes associated with Byron including the Byronic Hero, cosmopolitanism, liberalism, sexuality, mobility, scepticism, the Gothic, celebrity culture, and much more. For new readers of Byron, the volume provides an excellent grounding in his life and work, and for specialists, it opens up exciting new approaches to an icon of Romantic literature.
'Brand's meticulous research brings to life the colourful characters of the Georgian era's most notorious families with all the verve and skill of the era's finest novelists ... A powdered and pomaded, sordid and silk-swathed adventure' Hallie Rubenhold
Why do so many people care so much about celebrities? Who decides who gets to be a star? What are the privileges and pleasures of fandom? Do celebrities ever deserve the outsized attention they receive? In this fascinating and deeply researched book, Sharon Marcus challenges everything you thought you knew about our obsession with fame. Icons are not merely famous for being famous; the media alone cannot make or break stars; fans are not simply passive dupes. Instead, journalists, the public, and celebrities themselves all compete, passionately and expertly, to shape the stories we tell about celebrities and fans. The result: a high-stakes drama as endless as it is unpredictable. Drawing on scrapbooks, personal diaries, and vintage fan mail, Marcus traces celebrity culture back to its nineteenth-century roots, when people the world over found themselves captivated by celebrity chefs, bad-boy poets, and actors such as the "divine" Sarah Bernhardt (1844-1923), as famous in her day as the Beatles in theirs. Known in her youth for sleeping in a coffin, hailed in maturity as a woman of genius, Bernhardt became a global superstar thanks to savvy engagement with her era's most innovative media and technologies: the popular press, commercial photography, and speedy new forms of travel. Whether you love celebrity culture or hate it, The Drama of Celebrity will change how you think about one of the most important phenomena of modern times.
What did Wordsworth wear, and where did he walk? Who was Byron’s new mistress, and how did his marriage fare? Answers—sometimes accurate, sometimes not—were tantalizingly at the ready in the Romantic era, when confessional poetry, romans à clef, personal essays, and gossip columns offered readers exceptional access to well-known authors. But at what point did familiarity become overfamiliarity? Widely recognized as a social virtue, familiarity—a feeling of emotional closeness or comforting predictability—could also be dangerous, vulgar, or boring. In The Limits of Familiarity, Eckert persuasively argues that such concerns shaped literary production in the Romantic period. Bringing together reception studies, celebrity studies, and literary history to reveal how anxieties about familiarity shaped both Romanticism and conceptions of authorship, this book encourages us to reflect in our own fraught historical moment on the distinction between telling all and telling all too much.
When did celebrity culture begin? In the Regency period, when people hungered for news of the illegitimate actress who became a duchess and the richest woman in England; and the hard-drinking Regency buck who horse-whipped anyone who criticised his terrible novels.
Byron’s Don Juan is one of the greatest poems in the English language. Byron’s friends initially agreed that ‘it will be impossible to publish this’. Byron prevailed, however, and the first two cantos were issued anonymously after much editorial revision. Even in its revised form, Don Juan was perceived as a radical attack on establishment values; the poem has remained a beacon for freedom of speech and retains its power to shock. Since it was published in 1819–24, all printed editions of the poem have used the text prepared by Byron’s publishers, John Murray and John Hunt. This is the first new text of the poem to be printed in two hundred years. The Longman edition is based on a comprehensive line-by-line analysis of the manuscripts, so the text of the poem follows Byron’s own voice, pace and pauses, rather than the grammatical punctuation and more cautious word choice inserted by his nineteenth-century editors. The Longman Don Juan has been annotated afresh, allowing readers to see where Byron left open the choice of words or rhymes, and demonstrating the extraordinary breadth and depth of his literary allusions, topical and cultural references, and socially coded jokes. Textual annotation includes reception history, extensive bibliographies and a detailed chronology, situating Don Juan in the literary, scientific, dramatic, political, musical and social life of the early nineteenth century. A detailed index to the poem and annotation provides an unparalleled resource for students and scholars.
In this first full-length study of Byron's masterpiece in over thirty years, Richard Cronin boldly presents Don Juan as the epic poem of its age. Impressively illuminating the whole literary nineteenth century through a single work, he asks what kind of epic can be said to represent an era more readily defined by newspapers and magazines than by competitors such as Wordsworth's Excursion or Southey's Joan of Arc arose. Delving into questions of form and choice of hero, he also explores the controversies that informed the poem's reception, its contemporary interactions, and its influence on later nineteenth-century literature. Don Juan, he argues, is the epic poem demanded by an age of cant and dissembling, when people's feelings and the world they lived in had become disconnected. In it, he finds a powerful defence of liberal thinking at a time when that kind of thinking was under threat.
An exploration of Stoicism’s central role in British and American writing of the Romantic period Stoic philosophers and Romantic writers might seem to have nothing in common: the ancient Stoics championed the elimination of emotion, and Romantic writers made a bold new case for expression, adopting “powerful feeling” as the bedrock of poetry. Stoic Romanticism and the Ethics of Emotion refutes this notion by demonstrating that Romantic-era writers devoted a surprising amount of attention to Stoicism and its dispassionate mandate. Jacob Risinger explores the subterranean but vital life of Stoic philosophy in British and American Romanticism, from William Wordsworth to Ralph Waldo Emerson. He shows that the Romantic era—the period most polemically invested in emotion as art’s mainspring—was also captivated by the Stoic idea that aesthetic and ethical judgment demanded the transcendence of emotion. Risinger argues that Stoicism was a central preoccupation in a world destabilized by the French Revolution. Creating a space for the skeptical evaluation of feeling and affect, Stoicism became the subject of poetic reflection, ethical inquiry, and political debate. Risinger examines Wordsworth’s affinity with William Godwin’s evolving philosophy, Samuel Taylor Coleridge’s attempt to embed Stoic reflection within the lyric itself, Lord Byron’s depiction of Stoicism at the level of character, visions of a Stoic future in novels by Mary Shelley and Sarah Scott, and the Stoic foundations of Emerson’s arguments for self-reliance and social reform. Stoic Romanticism and the Ethics of Emotion illustrates how the austerity of ancient philosophy was not inimical to Romantic creativity, but vital to its realization.
In the second decade of the nineteenth century, the British press began a campaign of critical abuse against Leigh Hunt, caricaturing the radical journalist as an upstart "Cockney" author whose literary talents were as disreputable as his politics. Lord Byron, on the other hand, was revered as a peer and a poetical genius who, the conservative press argued, would never befriend and collaborate with a writer like Hunt. Yet Byron did just that. Byron, Hunt, and the Politics of Literary Engagement is the first full-length study of the friendship and literary relationship of two of the most important second-generation Romantic authors. Challenging long-held critical attitudes, this study shows that Byron and Hunt engaged in a creative and meaningful dialogue at each major stage in their careers, from their earliest published volumes of juvenile poetry and verse satire to their most celebrated contributions to Romantic literature: The Story of Rimini and Don Juan. Drawing upon newly recovered letters and unpublished manuscript material, this book illuminates the surprisingly durable and artistically significant friendship of Lord Byron and Leigh Hunt.