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Lord Byron at Harrow School : speaking out, talking back, acting up, bowing out

Author: Paul Elledge
Publisher: Baltimore : Johns Hopkins University Press, ©2000.
Edition/Format:   Book : Biography : EnglishView all editions and formats
Database:WorldCat
Summary:
"In Lord Byron at Harrow School: Speaking Out, Talking Back, Acting Up, Bowing Out, Paul Elledge locates one origin of the poet's personae in the dramatic recitations young Byron performed at Harrow School 1801 to 1805, when Harrow enjoyed high subscription and fame under Dr. Joseph Drury, headmaster. Finding its genesis in the boy's intrepid appearance on three Speech Day programs, the book argues that Byron's
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Genre/Form: Biography
Named Person: George Gordon Byron Byron, Baron; George Gordon Byron Byron, Baron; George Gordon Byron Byron, Baron; George Gordon Byron Byron
Material Type: Biography
Document Type: Book
All Authors / Contributors: Paul Elledge
ISBN: 0801863430 9780801863431
OCLC Number: 42476736
Description: xiii, 221 p. : ill. ; 24 cm.
Contents: Tutor and Tenant --
Virgilian King: 5 July 1804 --
First Interval --
William Henry West Betty --
Villain: 6 June 1805 --
Second Interval --
Shakespearean King: 4 July 1805 --
Epilogue: "The Sixth of June".
Responsibility: Paul Elledge.
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Abstract:

"In Lord Byron at Harrow School: Speaking Out, Talking Back, Acting Up, Bowing Out, Paul Elledge locates one origin of the poet's personae in the dramatic recitations young Byron performed at Harrow School 1801 to 1805, when Harrow enjoyed high subscription and fame under Dr. Joseph Drury, headmaster. Finding its genesis in the boy's intrepid appearance on three Speech Day programs, the book argues that Byron's early performances addressed anxieties, conflicts, rivalries, and ambitions that were instrumental in shaping the poet's character, career, and verse.".

"Elledge carefully examines the historical and biographical contexts to Byron's Harrow performances, showing their relevance to Byron's physical and psychic landscapes at the time - his connections to his mother and half-sister, his headmasters and tutors, his Harrow intimates and rivals, his lameness, his London theatrical spectatorship.

Byron's performances in the characters of King Latinus from the Aeneid, Zanga the Moor from Edward Young's The Revenge, and King Lear provide an opportunity to examine his early experiments with self-presentation: as Elledge argues, these performances are "auditions or trials of performative and autotherapeutic strategies, subsequently refined and polished in the mature verse." Throughout, Elledge reads the boy for the sake of reading the poet; he shows how young Byron's introduction to theatricality at Harrow School prepared him to make a confident and spectacular debut on Europe's cultural stage."--BOOK JACKET.

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