Contents include the following: Letters from John Thomas Claridge to Byron (1808-1811); A letter from James De Bathe to Byron (1808); Letters from Charles Drummond to Byron (1805); Letters from Charles David Gordon to Byron (1805-1808); Letters from William Harness to Byron (1808-1814); Letters from Edward Noel Long to Byron (1808-1809); A letter from Edward B. Long, Noel Long's father, on the event of Noel's death (1809); A letter from Byron to Edward Noel Long (1808) Copies, undated, of letters from Byron to Edward Noel Long (1806-1809); Letters from John Herman Merivale to Byron (1815)
Includes letters from William Peel to Byron and others from John Wingfield to Byron, with a transcript, undated, of a letter, 1806, of Byron to Wingfield. Also, letters of the Drury family of Harrow School to various correspondents: (1) 1808-1815, Henry Drury to Byron, with and one, 1832, to John Murray II; (2) 1803-1811, Joseph Drury to Byron; (3) List of Vicarial fees at Harrow, with a note, 1822, from Henry Drury, possibly in connection with the burial of Allegra Byron; (4) 1803, letter to Dr Drury stating Byron's desire to change his tutor.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The first book-length scholarly examination of the four critically formative years of Byron's public school experience, 1801-1805 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 poet's 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 Byron's public school experience, 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. "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 Byron's 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
