By E. Eisner
Whereas artistically bold poets of the period are usually characterised as who prefer a long-lasting destiny repute to modern recognition, this booklet finds refined, strategic and interested engagement with new modes of popularity was once crucial to the experiments with literary type of poets equivalent to Byron, Keats, Shelley and Barrett Browning.
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Extra resources for Nineteenth-Century Poetry and Literary Celebrity
Example text
The phenomenon of Byron is not the sole engine transforming literary culture, of course, and this phenomenon itself is, as I have argued, the product of a literary and market system involving many individuals, not just the poet himself. But post-Byron, writers must come to grips with a literary field in which celebrity matters in new ways. On the one hand, reader-writer relationships are sensationalized and more powerfully and perhaps more dangerously eroticized, and Byron makes clear what kind of popularity it is possible for a poet to achieve.
13 This “postmodernist” subjectivity involves, I would argue, a typically Romantic confusion among real persons, literary characters, theatrical characters, and commodities, all of which could present, to the reader or viewer, forms of subjectivity that might call up virtually identical affective response. Robinson plays on this not to withdraw the self from the reader by disguising it as staged character, but to induce an emotional response: she asks her reader to sympathize and to purchase, to feel and to buy.
The inability of the poem to master the iterability of its rhetoric of intimate feeling does not pose a crisis for Byronic performance, but rather points to what might be seen as its enabling condition. That is, it is the performative dimension of the utterance of feeling—the way Byron’s lyric performance strives to call up the feeling it describes—that allows Byron in any instance of performance both to enact “real” emotion and to revise his relationship to the emotion he claims to have felt. Byron’s lyric performances stage Byronic personality itself as a dialectic between the flexibility of the performing persona—which can be picked up, dropped or revised at will—and the irrevocability of the “real life” gaps that are said to generate the feeling being performed: the relationship between the narrator and the character of Childe Harold acts out this dialectic, and so does the relationship between the “I” of the poem and the actual events of Byron’s life.