Byron and Marginality by Norbert Lennartz

Author:Norbert Lennartz
Language: eng
Format: epub
Publisher: Edinburgh University Press

Notes

This essay grew out of a talk delivered at Seaham Hall on 25 October 2014 to a joint meeting of the Newstead Abbey Byron Society and the Irish Byron Society. I am grateful to Ken Purslow and Allan Gregory for inviting me to speak on this occasion and for suggesting I took Hebrew Melodies as my topic. For their kind and helpful attention to a draft of the essay, I am grateful to Dr Madeleine Callaghan and Dr Oliver Clarkson.

1. See Byron, A Selection of Hebrew Melodies; Heinzelman, ‘Politics, Memory, and the Lyric: Collaboration as Style in Byron’s Hebrew Melodies’, pp. 515–27; Spector, Byron and the Jews; essays by Peterfreund and Benis (both 2011) in: Sheila A. Spector (ed.), Romanticism / Judaica: A Convergence of Cultures; Mole, ‘The Handling of Hebrew Melodies’, pp. 18–33; Davies, ‘Jewish Tunes, or Hebrew Melodies: Byron and the Biblical Orient’, in: Byron and Orientalism. See also the typically witty notes in Peter Cochran’s invaluable online edition and discussions in Gross, Byron: The Erotic Liberal and Hoagwood, From Song to Print: Romantic Pseudo-Songs.

2. For a discussion of the interaction between Byron and Moore in relation to Hebrew Melodies see Vail, The Literary Relationship of Lord Byron and Thomas Moore, pp. 81–102.

3. Nathan, Fugitive Pieces and Reminiscences of Lord Byron, p. 24.

4. Benis, ‘Byron’s Hebrew Melodies and the Musical Nation’, p. 33.

5. Nathan, Fugitive Pieces, p. 25.

6. Quoted from Davies, ‘Jewish Tunes, or Hebrew Melodies’, p. 197.

7. Benis, ‘Byron’s Hebrew Melodies and the Musical Nation’, p. 36.

8. Ibid., p. 32.

9. Ibid., p. 40.

10. Shilstone, Byron and the Myth of Tradition, p. 112.

11. For compositional details of three poems (‘I Speak Not – I Trace Not – I Breathe Not’, ‘She Walks in Beauty’ and ‘Son of the Sleepless’) that ‘can definitely be assigned to the months immediately preceding Byron’s work on the Hebrew Melodies’, see Ashton, Byron’s Hebrew Melodies, pp. 22–3.

12. Nathan, Fugitive Pieces, p. 37.

13. McLane, Balladeering, Minstrelsy, and the Making of British Romantic Poetry, p. 184.

14. See Ashton, Byron’s Hebrew Melodies, p. 157.

15. Culler, ‘Lyric, History, and Genre’, pp. 63–77, at p. 66.

16. Quoted from Percy Bysshe Shelley: The Major Works.

17. Agamben, ‘The End of the Poem’, pp. 430–4, at p. 430.

18. Nathan, Fugitive Pieces, p. 35.

19. Wordsworth, ‘She dwelt among th’ untrodden ways’, ll. 5–6. The edition is taken from O’Neill and Mahoney, eds, Romantic Poetry: An Annotated Anthology. Wordsworth’s ‘Ode: Intimations of Immortality’ is taken from the same anthology.

20. Ibid., ll. 7–8.

21. Wordsworth, ‘Ode: Intimations of Immortality’, l. 200.

22. Ibid., l. 199.

23. McGann (CPW, vol. 3, p. 468) associates the first line of ‘The Harp the Monarch Minstrel Swept’ with the first line of the same poem by Moore.

24. Quoted from Moore, The Poetical Works of Thomas Moore.

25. Shelley, ‘When the Lamp Is Shattered’, Percy Bysshe Shelley, l. 4.

26. For further discussion, see Benis, ‘Byron’s Hebrew Melodies and the Musical Nation’, p. 32.

27. Peterfreund, ‘Enactments of Exile and Diaspora in English Romantic Literature’, in Romanticism / Judaica, p. 17. See also Vail, Lord Byron and Thomas Moore, p.

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