By Byron, George Gordon Byron; Modrzewska, Miroslawa; Byron, George Gordon Byron
Byron’s mannerist digressive type and his ‘theatricality’ are a mode of literary and cultural discourse in response to the suggestions 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 talk about the heavenly and the divine by way 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 awareness of prior literary texts in response to the philosophy of this sort of discourse, during 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 might stop to understand the author as an writer suspended among collectively 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
The reader’s feeling of ‘unsettling deformity’ is designed by the author and rests in the paradox of semantically opposite literary techniques: the purpose of fragmentariness and digressive composition is to imitate ‘authenticity’ of lyrical expression, and authorial references and allusions to established literary and pictorial conventions and texts (such as the baroque emblem of melancholy: the ‘ruin’) expose the artificiality of poetic creation, strengthened by the use of regular rhyme patterns.
For example, many authors have noticed Byron’s predilection for compositional and metaphorical counterpoise (antithesis and paradox), although they may not have associated it with the literary tradition of the seventeenth century. Nigel Wood, in his introduction to a book of critical essays on Don Juan (1993), speaks about the compositional and symbolic complexity of Byron’s masterpiece in his summary of Byronic studies: There is a further position that aims to account for the interpretative difficulty of the work by finding in it a series of complex symbols.
It is a trope, Egginton goes on to explain, which helps to create a notion of reality as split, fragmented, distorted, and therefore illusory, deceitful and ambiguous (Egginton 43-45), built 49 50 Cf. Alan Rawes’s ‘Byron’s Confessional Pilgrimage’ (Hopps and Stabler 121-136). Byron’s dramatic methods reveal what Warnke in his conclusions about Baroque drama calls ‘Baroque sensibility’: ‘Whatever similarities may exist between those centuries and our own, between the Baroque sensibility and the modern, it would be just to remark that, in general, the Baroque writers knew how to make art out of their agonies, lusts, frustrations, and doubts.