How did Byron become Byron? In Lord Byron at Harrow School: Speaking Out, Talking Back, Acting Up, Bowing Out, Paul Elledge locates one origin of the poets personae in the dramatic recitations young Byron performed at Harrow School. This is theMoreHow did Byron become Byron?
In Lord Byron at Harrow School: Speaking Out, Talking Back, Acting Up, Bowing Out, Paul Elledge locates one origin of the poets personae in the dramatic recitations young Byron performed at Harrow School. This is the first book-length scholarly examination of the four critically formative years of Byrons public school experience, 1801 to 1805, when Harrow enjoyed high subscription and fame under Dr. Joseph Drury, headmaster. Finding its genesis in the boys intrepid appearance on three Speech Day programs, the book argues that Byrons early performances addressed anxieties, conflicts, rivalries, and ambitions that were instrumental in shaping the poets character, career, and verse.Elledge carefully examines the historical and biographical contexts to Byrons Harrow performances, showing their relevance to Byrons 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.
Byrons performances in the characters of King Latinus from the Aeneid, Zanga the Moor from Edward Youngs 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 Byrons introduction to theatricality at Harrow School prepared him to make a confident and spectacular debut on Europes cultural stage.His selection of texts for declaiming—the discourse of two kings and a show-stealing, scene-chewing villain—participates in a larger pattern of deliberate self-fashioning that began at least as early as Byrons Harrow years and evolved into the elaborate mode and vogue of self-representation that partially, with his hefty patronage, helped to define the era.
To discern his initial experiments with identity formation, to watch his auditions, his inaugural performances of Byron—in the provincial run, so to speak, before his London premiere—to track the emergence of these constructs from a confluence of wondrous adolescent energies is to understand anew why and how enduringly certain events and relationships wrote themselves into the text that Byron famously became.—from the Prologue