Titlebook: Byron and the Eye of Appetite; Mark Storey Book 1986 Mark Storey 1986 eye.literature.poetics.poetry

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https://doi.org/10.1007/978-3-030-84013-6e than mere opportunism lies behind this long string of narrative poems, stretching from . through later efforts such as . and . to . and . (this last interrupted the composition of . Clearly, Byron was fascinated by the possibilities of narrative verse, even if . and . both, in their very different

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https://doi.org/10.1007/978-3-030-84013-6him without it. Certainly Keats, for all his adolescent embarrassment about it, felt the exposure provided by . was necessary, as though in finally wrenching himself free from it he was announcing his obligations and directions. Byron in his more breezy way threw his poem at the public, and was as p

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Edmund G. C. King,Monika Smialkowskaut there is more to be said on the role of passion in the overall design of the poem. As I have already suggested, the poem turns on Harold’s restlessness, on his desire for escape, which in turn mirrors the poet’s anxieties. Such yearning for self-abnegation has thematic and stylistic implications,

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