Byron and the best of poets / by Nicholas Gayle.

Print version record.

Acknowledgements; Introduction; A Note on the Texts; Abbreviations; Chapter I; 1. Bastard pelicans and a God; 2. "One truth is clear ... "; 3. A maudlin prince; 4. The Christianity of poetry; 5. "I take him on his strong ground ... "; 6. Citizens and strangers; Chapter II; 1. A butterfly on the wheel; 2. Antitheses; 3. Enjambment; 4. Caesurae and rhythm; 5. The narrator at work; 6. Becoming inconsequential; 7. Pitholeon and Raucocanti speak; Chapter III; 1. Eloisa and her shadow; 2. The solitary star; 3. "For thee, my own sweet sister"; 4. "My breast has been all weakness"; Chapter IV

1. Taxonomy2. Tears and partings; 3. In a real pet; 4. Metamorphosis; 5. Coquettes and prudes; Chapter V; 1. Centipedes in saffron mail; 2. Variegated tulips; 3. Blue wits; 4. Frolic jades; 5. Vulgar tempests; Chapter VI; 1. Doppelgänger; 2. The poetry of attrition; 3. "Atticus" and "Villainton"; 4. The 'thing of Silk" and the "Intellectual Eunuch"; Chapter VII; 1. Alien corn; 2. Sequestered scenes; 3. Redemption; Chapter VIII; 1. The two Horaces; 2. Serving in place of a whetstone; 3. "Above the reach of vulgar song"; 4. Coda: difficile est proprie communia dicere; Epilogue; 1. Aristomenes

2. EnvoiNotes; Glossary; Bibliography; Index

Byron was a man of many passions, always fiercely held and defended, but his intense devotion to the poetry of Alexander Pope seemed to characterise a man standing a little to the left of the Romantic universe. While Pope largely left a taste of dust in the mouths of the Romantics, Byron continued to defend the "little Queen Anne's man" in letters and in print as if he were arguing for the reputation of a lover; so much so that we are left to wonder, what kind of impression did the greatest poet of the eighteenth century leave upon the work of the seminal poet of the nineteenth? How far and in.

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