Byron and the Limits of FictionBernard G. Beatty, Vincent Newey Liverpool University Press, 1988 - 291 頁 This collection of new articles aims to answer the fundamental questions of Byron's attitude to fiction and to the limits inherent in this art form and in life itself. The book's purpose, as well as celebrating the bicentennial of Byron's birth, has been to assemble a collection of scholarly and informed articles round a particular theme. In this work the theme (given in the title) arises in two ways; first, Byron himself was passionately concerned with the nature and status of fiction and yet often sceptical of its importance. Secondly, it is a major topic of current literary criticism which is increasingly preoccupied with fictions as completely autonomous structures. Byron's poetry should be seen as a version of these concerns but also as one of the earliest deliberate challenges to them. All of Byron's major poems, together with his forays into prose fiction, are considered in this volume. Contributors pursue their own approaches but a particular emphasis of the volume as a whole is the strange immediacy of Byron's poetry, which seems to arise from both the self-consciousness of his undertaking and from his fidelity to what is rather than what is merely known or stated. The method of most contributors is to address these important topics, but substantiate their arguments by detailed reading of texts. |
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第 141 頁
... once loved is dead . This is a vampire . His character is blasted for ever . '37 It was not until later in the century , however , that Le Fanu's ' Carmilla ' and Dracula could use the vampire story as a covert means of dramatizing ...
... once loved is dead . This is a vampire . His character is blasted for ever . '37 It was not until later in the century , however , that Le Fanu's ' Carmilla ' and Dracula could use the vampire story as a covert means of dramatizing ...
第 148 頁
... once more at the beginning of Canto III , but the effect of denial is apparent , too , in places where he refers to himself : Once more upon the waters ! yet once more ! And the waves bound beneath me as a steed That knows his rider ...
... once more at the beginning of Canto III , but the effect of denial is apparent , too , in places where he refers to himself : Once more upon the waters ! yet once more ! And the waves bound beneath me as a steed That knows his rider ...
第 200 頁
... Once more upon the waters ! yet once more ! And the waves bound beneath me as a steed That knows his rider . Welcome to their roar ! Swift be their guidance , wheresoe'er it lead ! Though the strain'd mast should quiver as a reed , 200 ...
... Once more upon the waters ! yet once more ! And the waves bound beneath me as a steed That knows his rider . Welcome to their roar ! Swift be their guidance , wheresoe'er it lead ! Though the strain'd mast should quiver as a reed , 200 ...
內容
Fictions Limit and Edens Door BERNARD BEATTY I | 1 |
Lyric Presence in Byron from the Tales to | 39 |
The Orientalism of Byrons Giaour MARILYN | 78 |
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action allowed apparent Aurora become begins Byron Cain called Canto character Childe Harold Christian claims close consciousness course critics death deep Don Juan effect example existence experience eyes fact fall feeling fiction figure finally follows Giaour give given hand heart hero human imagination interest Island kind knowledge language Lara later leave less limits live London look lyric Manfred meaning mind moment moral move narrative nature never offer once pain past perhaps play poem poet poetic poetry possible present punishment question reader reading reference reflection relation Romantic satire seems seen sense separate Shelley shift simply space spirit stanza story suggest tale tell things thought truth turn verse voice whole Wordsworth writing