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Byron's retelling of the Biblical tale of Cain's murder of his brother, Abel; Cain and Lucifer, here, are portrayed in a more positive light. The play is followed by Fabre d'Olivet's condemnation and argumentation against the theology espoused in Byron's play.
A major reinterpretation of Horace's famous literary manual For two millennia, the Ars Poetica (Art of Poetry), the 476-line literary treatise in verse with which Horace closed his career, has served as a paradigmatic manual for writers. Rarely has it been considered as a poem in its own right, or else it has been disparaged as a great poet's baffling outlier. Here, Jennifer Ferriss-Hill for the first time fully reintegrates the Ars Poetica into Horace's oeuvre, reading the poem as a coherent, complete, and exceptional literary artifact intimately linked with the larger themes pervading his work. Arguing that the poem can be interpreted as a manual on how to live masquerading as a handbook on poetry, Ferriss-Hill traces its key themes to show that they extend beyond poetry to encompass friendship, laughter, intergenerational relationships, and human endeavor. If the poem is read for how it expresses itself, moreover, it emerges as an exemplum of art in which judicious repetitions of words and ideas join disparate parts into a seamless whole that nevertheless lends itself to being remade upon every reading. Establishing the Ars Poetica as a logical evolution of Horace's work, this book promises to inspire a long overdue reconsideration of a hugely influential yet misunderstood poem.
Fiona MacCarthy makes a breakthrough in interpreting Byron's life and poetry drawing on John Murray's world-famous archive. She brings a fresh eye to his early years: his childhood in Scotland, embattled relations with his mother, the effect of his deformed foot on his development. She traces his early travels in the Mediterranean and the East, throwing light on his relationships with adolescent boys - a hidden subject in earlier biographies. While paying due attention to the compelling tragicomedy of Byron's marriage, his incestuous love for his half-sister Augusta and the clamorous attention of his female fans, she gives a new importance to his close male friendships, in particular that with his publisher John Murray. She tells the full story of their famous disagreement, ending as a rift between them as Byron's poetry became more recklessly controversial. Byron was a celebrity in his own lifetime, becoming a 'superstar' in 1812, after the publication of Childe Harold. The Byron legend grew to unprecedented proportions after his death in the Greek War of Independence at the age of thirty-six. The problem for a biographer is sifting the truth from the sentimental, the self-serving and the spurious. Fiona MacCarthy has overcome this to produce an immaculately researched biography, which is also her refreshing personal view.