
Contents
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Byron’s Historical Imagination and Ossianism: England and Scotland in Hours of Idleness Byron’s Historical Imagination and Ossianism: England and Scotland in Hours of Idleness
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Subverting Nationalist Imaginary? Greece in Childe Harold and The Giaour Subverting Nationalist Imaginary? Greece in Childe Harold and The Giaour
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‘A Mixed Regret and Veneration’: Byron’s ‘National Identity’? ‘A Mixed Regret and Veneration’: Byron’s ‘National Identity’?
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An Epilogue: Byron and the ‘Politics’ of Nationalism An Epilogue: Byron and the ‘Politics’ of Nationalism
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Suggested Reading Suggested Reading
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38 Byron and Nationalism
Get accessMartin Procházka is Professor of English, American, and Comparative Literature at the Faculty of Arts, Charles University, Prague. He is the author of Romanticism and Personality (1996), Transversals (2008), and Ruins in the New World (2012), a co-author of Romanticism and Romanticisms (2005), an editor of eighteen collaborative books including Renaissance Shakespeare: Shakespeare Renaissances (2014), and the founding editor of the academic journal Litteraria Pragensia. He is a member of the Advisory Board of the International Association of Byron Societies, Visiting Professor at the University of Porto, and Honorary Visiting Professor at the University of Kent.
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Published:22 October 2024
Cite
Abstract
Byron’s poetry, drama, and thought differ widely from the ideologies of ethnic or ethnocultural nationalism that emerged during his lifetime and culminated before the mid-nineteenth century. In spite of this, Byron’s work was appropriated by a number of nationalist movements in nineteenth-century Europe. This contradiction is traced to the paradoxical relationship between poetry and politics in his life and work. This chapter focuses first on the contrasting representations of Scotland and England in Byron’s early poems in Hours of Idleness. The second part analyses the representations of Greece in Canto II of Childe Harold’s Pilgrimage and The Giaour, demonstrating how they subvert Greek nationalist imagery. The third part discusses the dilemma of Byron’s ‘national identity’ as presented in Canto X of Don Juan (1823), which incorporated a satirical image of contemporary Britain. The chapter’s epilogue presents an example of the nationalist reception of Byron in the nineteenth-century Czech emancipation movement, showing how the image of the poet as an alien intruder in the Czech national community connects local ethnocentric nationalism with its other far more violent and extreme manifestations.
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