George Gordon sixth Baron Byron

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Standard Name: Byron, George Gordon,,, sixth Baron
Used Form: Lord Byron

Connections

Connections Sort descending Author name Excerpt
Textual Production Caroline Norton
CN published The Undying One, and Other Poems, with epigraphs taken from Byron (again, this time from Childe Harold) and La Fontaine .
Athenæum. J. Lection.
137 (1830): 353
Textual Production Marguerite Gardiner Countess of Blessington
Conversations of Lord Byron with the Countess of Blessington appeared in volume form.
Blessington, Marguerite Gardiner, Countess of. “Introduction”. Conversations of Lord Byron, edited by Ernest J., Jr Lovell, Princeton University Press, 1969, pp. 3-114.
3
Feldman, Paula R., editor. British Women Poets of the Romantic Era. John Hopkins University Press, 1997.
149
Textual Production Percy Bysshe Shelley
PBS published his long poem Queen Mab, following quickly on Byron 's The Giaour.
Granniss, Ruth S. A Descriptive Catalogue. The Grolier Club, 1923.
28-9
Textual Production Medora Gordon Byron
Miss Byron, author of the English-woman (who was much later labelled as MGB ), published a second novel, Hours of Affluence, and Days of Indigence.
The title might bear some allusion to Byron 's...
Textual Production Caroline Norton
She had begun writing the title poem (pages 3-77 when printed) while at boarding school. She dedicated the volume to Lord Holland and quoted Byron on the title page.
Chedzoy, Alan. A Scandalous Woman: The Story of Caroline Norton. Allison and Busby, 1995.
63-4
Textual Production George Eliot
Many early extant letters of GE 's date from her unhappy, adolescent, Evangelical period, and have a tone of self-righteousness and censoriousness of others and of herself which is not pleasant to modern readers. In...
Textual Production Medora Gordon Byron
It was published by Minerva in three volumes, with mention of the two previous novels published as a Modern Antique, and an &c. suggesting a larger output. The title-page bears an aphorism, Love is...
Textual Production Catherine Gore
As a girl Catherine Moody (later CG ) was called The Poetess by her friends. Two juvenile poems (one a final canto to Byron 's Childe Harold, the other entitled The Graves of the...
Textual Production Margaret Croker
MC published, with her name and a quotation from Byron , A Tribute to the Memory of Sir Samuel Romilly.
Romilly, a reforming lawyer, killed himself after his wife's death.
Croker, Margaret. A Tribute to the Memory of Sir Samuel Romilly. John Souter, 1818.
title-page
Textual Production Harriet Beecher Stowe
HBS defended the role taken by Lady Byron in her marriage to the poet , which seeks to modify if not to explode prevailing female stereotypes, in Lady Byron Vindicated.
Hedrick, Joan. Harriet Beecher Stowe: A Life. Oxford University Press, 1994.
368
Adams, John R. Harriet Beecher Stowe. Twayne, 1989.
88
Textual Production Marguerite Gardiner Countess of Blessington
When she approached the New Monthly Magazine as a prospective contributor, assistant editor S. C. Hall rejected the topics she proposed, and suggested that she should write on Byron . She based her work on...
Textual Production Jane Loudon
The title-page bears a couplet from Byron 's Don Juan: 'Tis pleasant sure to see one's name in print, / A book's a book, although there's nothing in't.
Textual Production Katharine Tynan
KT established in her novel She Walks in Beauty (whose title comes from a lyric by Byron ) a plot line she would repeatedly use in later novels.
Fallon, Ann Connerton. Katharine Tynan. Twayne, 1979.
142
Textual Production Marguerite Gardiner Countess of Blessington
It is a point of debate among scholars whether Blessington saw and used the memoirs of himself which Byron wrote but later burned.
Blessington, Marguerite Gardiner, Countess of. “Introduction”. Conversations of Lord Byron, edited by Ernest J., Jr Lovell, Princeton University Press, 1969, pp. 3-114.
7
Later editions include those of 1893 and 1969 (the former mangles...
Textual Production Sarah Stickney Ellis
In her preface to the poem she outlines theories of poetry, taking much the same approach towards it that she had towards fiction: that verse, like prose, would benefit from attention to simple, everyday life...

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