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Byron and Marginality$
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Norbert Lennartz

Print publication date: 2018

Print ISBN-13: 9781474439411

Published to Edinburgh Scholarship Online: May 2021

DOI: 10.3366/edinburgh/9781474439411.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 27 October 2021

Byron and Romantic Period Neoclassicism

Byron and Romantic Period Neoclassicism

Chapter:
(p.57) Chapter 4 Byron and Romantic Period Neoclassicism
Source:
Byron and Marginality
Author(s):

Rolf Lessenich

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474439411.003.0004

In accordance with David Hume’s sceptical philosophy of identity, Byron is considered to be a chameleon and a typical border crosser of his age. Commuting between the progressivist Augustan Neoclassicism of the old school and Romanticism of the new heretical school, Byron shows his indebtedness to the Classical Tradition and endorses the artistry of formal Augustan verse-making, schooled on Horace, Dryden, and Pope. In this respect, Byron belongs to a coterie of famous code switchers between Classicism and Romanticism who wavered in their political allegiance between liberalism and conservatism and consequently eluded neat classifications.

Keywords:   Byron and the Classical Tradition, (Neo-)Classicism, Chameleon poet, Romantic disillusionism, Augustan Age, Conservatism

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