Byron and the Baroque

A result of this book is: If we accept the Baroque, and seventeenth-century literature and culture, as sources of Byron's literary dialogue with cultural tradition, we may cease to perceive the writer as an author suspended between two mutually exclusive interpretational systems, either as the liberal satirist or as the grandiose gothic seducer.

Byron's mannerist digressive style and his 'theatricality' are a method of literary and cultural discourse based on the concepts of irony, paradox and reflectivity that were practised in seventeenth-century literature and culture. This results in the discursive split in the poetic language, which prefers to speak about the heavenly and the divine by reference to deformity and monstrosity. It is marked in a Romantic manner by the presence of the lyrical persona with a deep consciousness of previous literary texts based on the philosophy of this type of discourse, in which voices are echoed against each other. If we accept the Baroque, and seventeenth-century literature and culture, as sources of Byron's literary dialogue with cultural tradition, we may cease to perceive the writer as an author suspended between two mutually exclusive interpretational systems, either as the liberal satirist or as the grandiose gothic seducer.

Autorentext

Miroslawa Modrzewska is a lecturer in the University of Gdansk Institute of English. She has published extensively on Romantic writers (Robert Burns, Walter Scott, Juliusz Slowacki) and is currently working on Burns' reception in Poland. She is the author of the Polish section of a volume on European Romanticism.

Inhalt
Contents: George Gordon Byron and the Baroque The Romantic canon Seventeenth-century literature and Romanticism Mannerism and neo-baroque in nineteenth-century literature Discursive use of poetic language The Romantic grotesque Theatricality and dissociational literary discourse.