Byron invites these negotiations himself by creating poetic personae that escape intellectual closure with the help of a «deliberate and dialogical disrupter of language and philosophical system» (Larry H. Peer), or by poetic personae that are «portraits of himself, quite as much as being portraits of another historic person» (John Clubbe), Napoleon for one. Always convinced of the superiority of his own (lacrimonious) poetry over Byron’s, Edgar Allan Poe for another, tried to outscore Byron also in ratiocination when he took to tale-writing. Byron’s philosophical practices became the camouflaged protagonist and essential subject matter of his first short story «The Bargain Lost» and continued to feature in most of his later, litigious tales, through «William Wilson», «The Fall of the House of Usher» and beyond.
Frankfurt/M., Berlin, Bern, Bruxelles, New York, Oxford, Wien, 2002. 245 pp., 10 fig.
Contents: Larry H. Peer: The Strategy of Byronic Confession Revisited – Jeffery Vail: Writing and Reading Thomas Moore’s Biography
of Byron – Katrina Bachinger: Performing Byronic Philosophemes: The Theater of Metaphysical Volte-Face in Edgar Allan
Poe’s «The Bargain Lost» – Christine Kenyon Jones: Writing and Rewriting Byron’s Lameness – John Clubbe: Napoleon’s Last Campaign
and the Origins of Don Juan – Naji B. Oueijan: Byron’s Notions of the American Revolution – Akiko Yamada: Two Landscapes
from Manfred - A Process of Byron’s Healing – Jonathan Gross: Lady Melbourne to Lord Byron: Dangerous Liaison or Epistolary
Guide? – Peter Cochran: O Did I Ever No I Never – Michael Rees: Lord Byron’s Life in Italy by Teresa Guiccioli
– Frank Erik Pointner: Childe Hector in Italy: Berlioz’ Symphony and Byron’s Poem – Carol White: Macaulay, Gender Mutability
and the Importance of Being Byron – George P. Mutch: The Poetic Mirror: James Hogg and Lord Byron – Ramona M. Ralston/Sidney
L. Sondergard: Screaming Lord Byron: The Poet as Film Icon.