Free Romantic Images Biography
Source(google.com.pk)Lord Byron (George Gordon)
The most flamboyant and notorious of the major Romantics, George Gordon, Lord Byron, was likewise the most fashionable poet of the day. He created an immensely popular Romantic hero—defiant, melancholy, haunted by secret guilt—for which, to many, he seemed the model. He is also a Romantic paradox: a leader of the era’s poetic revolution, he named Alexander Pope as his master; a worshiper of the ideal, he never lost touch with reality; a deist and freethinker, he retained from his youth a Calvinist sense of original sin; a peer of the realm, he championed liberty in his works and deeds, giving money, time, energy, and finally his life to the Greek war of independence. His faceted personality found expression in satire, verse narrative, ode, lyric, speculative drama, historical tragedy, confessional poetry, dramatic monologue, seriocomic epic, and voluminous correspondence, written in Spenserian stanzas, heroic couplets, blank verse, terza rima, ottava rima, and vigorous prose. In his dynamism, sexuality, self-revelation, and demands for freedom for oppressed people everywhere, Byron captivated the Western mind and heart as few writers have, stamping upon nineteenth-century letters, arts, politics, even clothing styles, his image and name as the embodiment of Romanticism.
George Gordon Noel Byron was born, with a clubbed right foot, in London on 22 January 1788, the son of Catherine Gordon of Gight, an impoverished Scots heiress, and Captain John ("Mad Jack") Byron, a fortune-hunting widower with a daughter, Augusta. The profligate captain squandered his wife’s inheritance, was absent for the birth of his only son, and eventually decamped for France, an exile from English creditors, where he died in 1791 at thirty-six, the mortal age for both the poet and his daughter Ada.
In the summer of 1789 Byron moved with his mother to Aberdeen. (His half sister had earlier been sent to her maternal grandmother.) Emotionally unstable, Catherine Byron raised her son in an atmosphere variously colored by her excessive tenderness, fierce temper, insensitivity, and pride. She was as likely to mock his lameness as to consult doctors about its correction. From his Presbyterian nurse Byron developed a lifelong love for the Bible and an abiding fascination with the Calvinist doctrines of innate evil and predestined salvation. Early schooling instilled a devotion to reading and especially a "grand passion" for history that informed much of his later writing.
With the death in 1798 of his great-uncle, the "Wicked" fifth Lord Byron, George became the sixth Baron Byron of Rochdale, heir to Newstead Abbey, the family seat in Nottinghamshire. He enjoyed the role of landed nobleman, proud of his coat of arms with its mermaid and chestnut horses surmounting the motto "Crede Byron" ("Trust Byron").
An "ebullition of passion" for his cousin Margaret Parker in 1800 inspired his "first dash into poetry." When she died two years later, he composed "On the Death of a Young Lady"; throughout his life poetic expression would serve him as a catharsis of strong emotion.
At Harrow (1801-1805), he excelled in oratory, wrote verse, and played sports, even cricket. (After a quack doctor subjected him to painful, futile treatments for his foot, London specialists prescribed a corrective boot, later fitted with a brace, which the patient often refused to wear.) He also formed the first of those passionate attachments with other, chiefly younger, boys that he would enjoy throughout his life; before reaching his teen years he had been sexually initiated by his maid. There can be little doubt that he had strong bisexual tendencies, though relationships with women seem generally, but not always, to have satisfied his emotional needs more fully.
In the summer of 1803 he fell so deeply in love with his distant cousin, the beautiful-and engaged-Mary Chaworth of Annesley Hall, that he interrupted his education for a term to be near her. His unrequited passion found expression in such poems as "Hills of Annesley" (written 1805), "The Adieu" (written 1807), "Stanzas to a Lady on Leaving England" (written 1809), and "The Dream" (written 1816). Years later he told Thomas Medwin that all his "fables about the celestial nature of women" originated from "the perfection" his imagination created in Mary Chaworth.
Early in 1804 he began an intimate correspondence with his half sister, Augusta, five years his senior. He asked that she consider him "not only as a Brother" but as her "warmest and most affectionate Friend." As he grew apart from his coarse, often violent, mother, he drew closer to Augusta.
Byron attended Trinity College, Cambridge, intermittently from October 1805 until July 1808, when he received an M.A. degree. During "the most romantic period of [his] life," he experienced a "violent, though pure, love and passion" for John Edleston, a choirboy at Trinity two years younger than he. Intellectual pursuits interested him less than such London diversions as fencing and boxing lessons, the theater, demimondes, and gambling. Living extravagantly, he began to amass the debts that would bedevil him for years. In Southwell, where his mother had moved in 1803, he prepared his verses for publication.
In November 1806 he distributed around Southwell his first book of poetry. Fugitive Pieces, printed at his expense and anonymously, collects the poems inspired by his early infatuations, friendships, and experiences at Harrow, Cambridge, and elsewhere. When his literary adviser, the Reverend John Thomas Becher, a local minister, objected to the frank eroticism of certain lines, Byron suppressed the volume. A revised and expurgated selection of verses appeared in January 1807 as Poems on Various Occasions, in an edition of one hundred copies, also printed privately and anonymously. An augmented collection, Hours of Idleness, "By George Gordon, Lord Byron, A Minor," was published in June. The new poems in this first public volume of his poetry are little more than schoolboy translations from the classics and imitations of such pre-Romantics as Thomas Gray, Thomas Chatterton, Robert Burns, and James Macpherson’s Ossian, and of contemporaries including Walter Scott and Thomas Moore. Missing were the original flashes of eroticism and satire that had enlivened poems in the private editions that were omitted from Hours of Idleness. The work has value for what it reveals about the youthful poet’s influences, interests, talent, and direction. In "On a Change of Masters at a Great Public School," he employs heroic couplets for satiric effect in the manner—if without the polish—of Alexander Pope, a model for Byron throughout his career. In obviously autobiographical poems Byron experiments with personae, compounded of his true self and of fictive elements, which both disclose and disguise him. Groups of verses on a single subject show his understanding of the effectiveness of multiple points of view. He continued to refine these techniques in works from Childe Harold’s Pilgrimage and the Oriental tales through the dramas to Don Juan.
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