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Introduction Notes Introduction 1. Elizabeth Barrett Browning, Stanzas on the Death of Lord Byron, ll. 29–30, 34, in Aurora Leigh and Other Poems, ed. by John Robert Glorney Bolton and Julia Bolton Holloway (London: Penguin, 1995). Subsequent line references will be given in the text. 2. Letitia Landon (L.E.L.), The Portrait of Lord Byron at Newstead Abbey, ll. 13–21, in Fisher’s Drawing Room Scrap-Book (London: Fisher, Son, & Co., 1840), pp. 11–14. 3. A similar cocktail of controversy surrounds James Bond (on screen and on the page) as surrounds Byron and his legacy. Most recently, Daniel Craig has played the eponymous spy as a case-hardened hit man in a series of ‘grittier’ Bond films, including Casino Royale (2006), Quantum of Solace (2008), and Skyfall (2012). The latter film begins with the self-imposed exile of 007 and ends with the return to his ancestral seat, the site of childhood trauma, to face his deformed nemesis. 4. Of this defining moment, Byron famously proclaimed, ‘I awoke one morn- ing and found myself famous’. Byron’s celebrity has been the subject of recent studies, including Ghislaine McDayter, Byromania and the Birth of Celebrity Culture (Albany, NY: State University of New York Press, 2009), and Tom Mole, Byron’s Romantic Celebrity: Industrial Culture and the Hermeneutic of Intimacy (Basingstoke: Palgrave, 2007). 5. Andrew Elfenbein, Byron and the Victorians (Cambridge: Cambridge UP, 1995), p. 8. 6. Twilight is a series of four vampire fantasy novels, written by Stephenie Meyer, and published between 2005 and 2008. Film versions of the novels, The Twilight Saga, were released between 2008 and 2012. The Fifty Shades trilogy, written by E. L. James, was published in 2011–12, with a film ver- sion of the first novel released in 2015. The Byronic hero is not only evident in contemporary fan fiction. A Byronic subtext emerges in J. M. Coetzee’s Disgrace (1999), the Booker Prize winning novel about racial politics in South Africa, for instance. See Jonathan Gross, ‘“I have a penchant for black”: Race and Orphic Dismemberment in Byron’s The Deformed Transformed and J. M. Coetzee’s Disgrace’, in Byron and the Politics of Freedom and Terror, ed. by Matthew J. A. Green and Piya Pal-Lapinski (Basingstoke: Palgrave, 2011), pp. 167–81. 7. Cited in Deborah Kaplan, ‘Mass Marketing Jane Austen: Men, Women, and Courtship in Two Film Adaptations’, in Jane Austen in Hollywood, ed. by Linda Troost and Sayre Greenfield, 2nd edn (Lexington, KY: University Press of Kentucky, 2001), pp. 177–87 (p. 176). 8. Of Barbara Cartland, the ‘literary magpie’, Roger Sales states: ‘although her heroes may well have tinges of Byron about them, they also resemble other heroes from a wide range of other texts’. The heroes of popular romance often lack the self-scrutiny and wit of Byron’s protagonists and their more 183 184 Notes memorable literary offspring. See Sales, ‘The Loathsome Lord and the Disdainful Dame: Byron, Cartland and the Regency Romantic’, in Byromania: Portraits of the Artist in Nineteenth- and Twentieth-Century Culture, ed. by Frances Wilson (Basingstoke: Macmillan, 1999), pp. 166–83 (p. 179). 9. Drawn from Milton’s Satan and distilled through the Gothic villain and the Marquis de Sade, Byron realised the rebel ‘type’ and made ‘vampirism’ fashionable. See Mario Praz, The Romantic Agony, 2nd edn, trans. by Angus Davidson (Oxford: Oxford UP, 1951), p. 77. 10. The Diary of Virginia Woolf, ed. by Anne Olivier Bell with Andrew McNellie, 5 vols (London: Hogarth Press, 1977–84), III, p. 288; The Essays of Virginia Woolf, ed. by Andrew McNellie, 4 vols (London: Hogarth Press, 1986–94), III, p. 482. For a more extensive discussion of Woolf’s literary regard for Byron and Byronism, see Julia Briggs, ‘Reading People, Reading Texts: “Byron and Mr Briggs”’, in Reading Virginia Woolf (Edinburgh: Edinburgh UP, 2006), pp. 63–79. 11. Frances Wilson, ‘Introduction: Byron, Byronism and Byromaniacs’, in Byromania, pp. 1–23 (pp. 1, 2). 12. Peter L. Thorslev Jr., The Byronic Hero: Types and Prototypes (Minneapolis, MN: University of Minnesota Press, 1962), p. 3. 13. See Mario Praz, The Hero in Eclipse in Victorian Fiction, trans. by Angus Davidson (London, New York, and Toronto: Oxford UP, 1956). 14. Thomas Babington Macaulay mistakenly predicted the demise of ‘that magi- cal potency which once belonged to the name of Byron’, in his review of Thomas Moore’s Letters and Journals of Lord Byron: With Notices of his Life for the Edinburgh Review in June 1831. Over 30 years later, in November 1864, Walter Bagehot opined that ‘the cause of his momentary fashion is the cause also of his lasting oblivion’. Both Macaulay and Bagehot are cited in Byron: The Critical Heritage, ed. by Andrew Rutherford (London: Routledge, 1970), pp. 295–316, pp. 365–7 (pp. 316, 365). Rutherford presents a selection of the ongoing debates about Byron’s poetry and the fashion for Byronism that extended throughout the nineteenth century. In addition, Samuel Chew’s invaluable study charts the peaks and troughs of Byron’s posthumous reputation and is a testament to the poet’s undimmed presence in the cen- tury following his death. The book includes a 54 page bibliographic list of Byroniana. See Samuel C. Chew, Byron in England: His Fame and After-Fame (London: John Murray, 1924). 15. William D. Brewer, ‘Introduction’, in Contemporary Studies on Lord Byron, ed. by William D. Brewer (Lewiston, NY: Edwin Mellen Press, 2001), p. 3. 16. Atara Stein, The Byronic Hero in Film, Fiction, and Television (Carbondale, IL: Southern Illinois UP, 2004), p. 213. See, also, Stein, ‘Immortals and Vampires and Ghosts, Oh My!: Byronic Heroes in Popular Culture’, in Romanticism and Contemporary Culture, ed. by Laura Mandell and Michael Eberle-Sinatra. Special issue of Romantic Circles Praxis Series (February 2002), http://www. rc.umd.edu/praxis/contemporary/stein/stein.html, accessed 8 April 2002, 9pp. In addition, Karen McGuire considers the parallels between Byron’s celebrity and the late twentieth-century megastar, Michael Jackson, in ‘Byron Superstar: The Poet in Neverland’, Contemporary Studies on Lord Byron, pp. 141–59. Notes 185 17. Dickens’s complex regard for Byron is the subject of William R. Harvey, ‘Charles Dickens and the Byronic Hero’, Nineteenth-Century Fiction, 24:3 (1969), pp. 305–16, and Vincent Newey, ‘Rival Cultures: Charles Dickens and the Byronic Legacy’, in Romantic Echoes in the Victorian Era, ed. by Andrew Radford and Mark Sandy (Aldershot: Ashgate, 2008), pp. 67–83. Byronic Romanticism held a ‘deep fascination’ for Dickens, especially with regards to social and political satire, according to Newey (p. 68). Richard Lansdown also notes the prevalence of Byronic heroines in Dickens’s novels. See Lansdown, ‘The Byronic Hero and the Victorian Heroine’, Critical Review, 41 (2001), pp. 105–16. Deborah Lutz observes the ‘punishing’ treatment of Byron and Byronism in Anthony Trollope’s novels, The Eustace Diamonds and The Last Chronicle of Barset. See Lutz, ‘The Pirate Poet in the Nineteenth Century’, in Pirates and Mutineers of the Nineteenth Century: Swashbucklers and Swindlers, ed. by Grace Moore (Farnham: Ashgate, 2011), pp. 23–39 (p. 24). 18. Byron and the Victorians, p. 168. Elfenbein recognises that women readers and writers were part of the construction of Byronism, and discusses the Brontë siblings in his chapter on Emily Brontë. 19. Byron’s cultural reach (extending to art and music as well as literature) spread far and wide across Europe, from France and Spain to Greece and Romania, as is well documented in The Reception of Byron in Europe, ed. by Richard A. Cardwell, 2 vols (London: Thoemmes Continuum, 2004). For a discussion of Byron’s impact in the US, see Peter X. Accardo, ‘Byron in America to 1830’, Harvard Library Bulletin, 9:2 (1998), pp. 5–60, and William E. Leonard, Byron and Byronism in America (New York: Columbia UP, 1907). 20. ‘Few women figure in the history of Byron criticism’, according to Samuel Chew, in his otherwise excellent and entertaining study of Byron’s afterlives, published a century after the poet’s death (Byron in England, p. 319). 21. See, for instance, Fellow Romantics: Male and Female British Writers, 1790–1835, ed. by Beth Lau (Farnham: Ashgate, 2009), and Caroline Franklin, The Female Romantics: Nineteenth-Century Women Novelists and Byronism (New York and Abingdon: Routledge, 2013). 22. See Paul A. Cantor, ‘Mary Shelley and the Taming of the Byronic Hero: “Transformation” and The Deformed Transformed’, in The Other Mary Shelley: Beyond Frankenstein, ed. by Audrey A. Fisch, Anne K. Mellor, and Esther H. Schor (Oxford: Oxford UP, 1993), pp. 89–106, and Susan J. Wolfson, ‘Hemans and the Romance of Byron’, in Felicia Hemans: Reimagining Poetry in the Nineteenth Century, ed. by Nanora Sweet, Julie Melnyk, and Marlon B. Ross (Houndmills: Palgrave, 2001), pp. 155–80. For Cantor, Mary Shelley’s work typifies contemporary concerns over ‘the new Romantic premium on the self’ (p. 104). Shelley rehabilitates the Byronic hero in ‘Transformation’ (1831), her reimagining of Byron’s drama, The Deformed Transformed (1824). Franklin includes chapters on Mary Shelley and Lady Caroline Lamb in Female Romantics. 23. Letitia Landon (L.E.L.), ‘Stanzas, Written beneath the Portrait of Lord Byron, painted by Mr. West’, in The Literary Souvenir; or, Cabinet of Poetry and Romance, ed. by Alaric A. Watts (London: Longman et al., 1827), pp. 33–6 (l. 1). Susan Wolfson considers L.E.L. as a ‘Byronic she-artist’ who ‘doesn’t just channel Byronic lava but produces its pulse and flow for female veins’, 186 Notes in Romantic Interactions: Social Being & the Turns of Literary Action (Baltimore, MD: Johns Hopkins UP, 2010), pp.
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