Lord Byron at Harrow School: Speaking Out, Talking Back, Acting Up, Bowing Out

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How did Byron become "Byron"? In Lord Byron at Harrow School: Speaking Out, Talking Back, Acting Up, Bowing Out, Paul Elledge locates one origin of the poet's personae in the dramatic recitations young Byron performed at Harrow School. This is the first book-length scholarly examination of the four critically formative years of Byron's public school experience, 1801 to 1805, when Harrow enjoyed high subscription and fame under Dr. Joseph Drury, headmaster. Finding its genesis in the boy's intrepid appearance on ...

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Baltimore 2000 Hard cover 2000. Corr. 2nd Printing ed. New. Sewn binding. Cloth over boards. 256 p. Contains: Halftones, black & white.

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Overview

How did Byron become "Byron"? In Lord Byron at Harrow School: Speaking Out, Talking Back, Acting Up, Bowing Out, Paul Elledge locates one origin of the poet's personae in the dramatic recitations young Byron performed at Harrow School. This is the first book-length scholarly examination of the four critically formative years of Byron's public school experience, 1801 to 1805, when Harrow enjoyed high subscription and fame under Dr. Joseph Drury, headmaster. Finding its genesis in the boy's intrepid appearance on three Speech Day programs, the book argues that Byron's early performances addressed anxieties, conflicts, rivalries, and ambitions that were instrumental in shaping the poet's character, career, and verse.

Elledge carefully examines the historical and biographical contexts to Byron's Harrow performances, showing their relevance to Byron's physical and psychic landscapes at the time—his connections to his mother and half-sister, his headmasters and tutors, his Harrow intimates and rivals, his lameness, his London theatrical spectatorship. Byron's performances in the characters of King Latinus from the Aeneid, Zanga the Moor from Edward Young's The Revenge, and King Lear provide an opportunity to examine his early experiments with self-presentation: as Elledge argues, these performances are "auditions or trials of performative and autotherapeutic strategies, subsequently refined and polished in the mature verse." Throughout, Elledge reads the boy for the sake of reading the poet; he shows how young Byron's introduction to theatricality at Harrow School prepared him to make a confident and spectacular debut on Europe's cultural stage.

"His selection of texts for declaiming—the discourse of two kings and a show-stealing, scene-chewing villain—participates in a larger pattern of deliberate self-fashioning that began at least as early as Byron's Harrow years and evolved into the elaborate mode and vogue of self-representation that partially, with his hefty patronage, helped to define the era. To discern his initial experiments with identity formation, to watch his auditions, his inaugural performances of "Byron"—in the provincial run, so to speak, before his London premiere—to track the emergence of these constructs from a confluence of wondrous adolescent energies is to understand anew why and how enduringly certain events and relationships wrote themselves into the text that Byron famously became."—from the Prologue

Johns Hopkins University Press

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Editorial Reviews

Byron Journal
One of the best of the many partial biographies that Byron has received... Thanks to Elledge's psychobiographical probing, not only the troubled youth but the mature poet comes better into focus.

— John Clubbe

European Romantic Review
Lord Byron at Harrow School is fine work. Elledge gives a valuable, detailed picture of Byron.

— Paul Douglass

Notes and Queries
[A] witty and learned study of Byron's schooldays... Elledge's sensitive textual analysis of Byron's self-dramatization in his earliest letters is particularly impressive, and will hopefully inspire others to follow in his footsteps by examining the performative aspect of the correspondence of his adult years.

— Caroline Franklin

Studies in Romanticism
A work that gives us new insight into Byron's youth and its relation to his later poetry.

— Andrea Henderson

Byron Journal - John Clubbe
One of the best of the many partial biographies that Byron has received... Thanks to Elledge's psychobiographical probing, not only the troubled youth but the mature poet comes better into focus.
European Romantic Review - Paul Douglass
Lord Byron at Harrow School is fine work. Elledge gives a valuable, detailed picture of Byron.
Notes and Queries - Caroline Franklin
[A] witty and learned study of Byron's schooldays... Elledge's sensitive textual analysis of Byron's self-dramatization in his earliest letters is particularly impressive, and will hopefully inspire others to follow in his footsteps by examining the performative aspect of the correspondence of his adult years.
Studies in Romanticism - Andrea Henderson
A work that gives us new insight into Byron's youth and its relation to his later poetry.
Booknews
Elledge (English, Vanderbilt University) locates one origin of Byron's personae in the dramatic recitations young Byron performed at Harrow School, in this examination of the four critically formative years of Byron's public school experience. Suggests that Byron's early performances addressed anxieties, conflicts, and ambitions that were instrumental in shaping the poet's character, career, and verse. Examines the historical and biographical contexts to Byron's Harrow performances, and shows how they prepared him to make a spectacular debut on Europe's cultural stage. Annotation c. Book News, Inc., Portland, OR (booknews.com)
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Product Details

  • ISBN-13: 9780801863431
  • Publisher: Johns Hopkins University Press
  • Publication date: 5/28/2000
  • Pages: 256
  • Product dimensions: 5.50 (w) x 8.50 (h) x 0.80 (d)

Meet the Author

Paul Elledge is a professor of English and Associate Dean of the College of Arts and Science at Vanderbilt University. He is the author of Byron and the Dynamics of Metaphor.

Johns Hopkins University Press

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