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Byromania pp 154-165 | Cite as

Undead Byron

  • Tom Holland

Abstract

It is rare for dead poets to rise from their graves, and leave the ossuary of academe. The great playwrights of the past still stalk the public stage; and certain novelists are now reaching an audience wider than ever before, thanks to the resurrectionists of the BBC and Hollywood. But what, compared to the afterlife of Jane Austen in the modern mass media, are those of her contemporaries, the Romantic poets? Faint and feeble, it might seem — for there are few quadrilles and tight breeches to be found in The Prelude.

Keywords

Romantic Poet Public Stage Hedonistic View Childhood Passion Personal Dislike 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    Bram Stoker, Dracula (Ware, 1993), p. 23.Google Scholar
  2. 5.
    Mary Shelley, Frankenstein (Bungay, 1985), p. 59.Google Scholar
  3. 8.
    Quoted by the gloriously shady vampire ‘expert’ Montague Summers, in his book The Vampire in Europe (London, 1929), p. 162.Google Scholar
  4. 9.
    Thomas Moore, Letters and Journals of Lord Byron: with Notices of His Life (London, 1830), Vol. 1, p. 254.Google Scholar
  5. 10.
    Quoted in Leslie Marchand’s Byron: a Portrait (Chatham, 1970), p. 89.Google Scholar
  6. 11.
    Friedrich Nietzsche, Beyond Good and Evil, trans. R. J. Hollingdale (Bungay, 1990), p. 68.Google Scholar
  7. 15.
    Quoted by Malcolm Elwin in Lord Byron’s Wife (London, 1962), p. 346.Google Scholar

Copyright information

© Palgrave Macmillan, a division of Macmillan Publishers Limited 1999

Authors and Affiliations

  • Tom Holland

There are no affiliations available

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