‘The Fever of Vain Longing’: Emotions of War in Byron's Childe Harold's Pilgrimage, Canto III. Csengei, I. Romanticism, 24(1):86–98, 2018. Number: 1![‘The Fever of Vain Longing’: Emotions of War in Byron's Childe Harold's Pilgrimage, Canto III [link]](https://bibbase.org/img/filetypes/link.svg "link")
Paper doi abstract bibtex This essay deals with Byron's visit to the field of Waterloo as described in Childe Harold's Pilgrimage, Canto III. I will suggest that the Canto sees the transformation of the Byronic hero into the man of feeling. Byron re-configures this eighteenth-century character type in a way that his personal grief becomes inseparable from collective feeling and national concerns. The deployment of the man of feeling becomes for Byron a political statement: an aid for the articulation of his disappointment in post-Waterloo European politics and a longing for lost Revolutionary ideals. Through the analysis of the Canto's main organising tropes I will be arguing that Byron's ambivalent perspective on the outcome of Waterloo is the reason for the restless oscillation of conflicting forces in the poem. The essay will re-read Stanza 33's broken mirror simile in the context of eighteenth-century notions of sensibility and sympathy.; This essay deals with Byron's visit to the field of Waterloo as described in Childe Harold's Pilgrimage, Canto III. I will suggest that the Canto sees the transformation of the Byronic hero into the man of feeling. Byron re-configures this eighteenth-century character type in a way that his personal grief becomes inseparable from collective feeling and national concerns. The deployment of the man of feeling becomes for Byron a political statement: an aid for the articulation of his disappointment in post-Waterloo European politics and a longing for lost Revolutionary ideals. Through the analysis of the Canto's main organising tropes I will be arguing that Byron's ambivalent perspective on the outcome of Waterloo is the reason for the restless oscillation of conflicting forces in the poem. The essay will re-read Stanza 33's broken mirror simile in the context of eighteenth-century notions of sensibility and sympathy.
@article{csengei_fever_2018,
title = {‘{The} {Fever} of {Vain} {Longing}’: {Emotions} of {War} in {Byron}'s {Childe} {Harold}'s {Pilgrimage}, {Canto} {III}},
volume = {24},
url = {https://doi-org.proxy.lib.fsu.edu/10.3366/rom.2018.0356},
doi = {10.3366/rom.2018.0356},
abstract = {This essay deals with Byron's visit to the field of Waterloo as described in Childe Harold's Pilgrimage, Canto III. I will suggest that the Canto sees the transformation of the Byronic hero into the man of feeling. Byron re-configures this eighteenth-century character type in a way that his personal grief becomes inseparable from collective feeling and national concerns. The deployment of the man of feeling becomes for Byron a political statement: an aid for the articulation of his disappointment in post-Waterloo European politics and a longing for lost Revolutionary ideals. Through the analysis of the Canto's main organising tropes I will be arguing that Byron's ambivalent perspective on the outcome of Waterloo is the reason for the restless oscillation of conflicting forces in the poem. The essay will re-read Stanza 33's broken mirror simile in the context of eighteenth-century notions of sensibility and sympathy.; This essay deals with Byron's visit to the field of Waterloo as described in Childe Harold's Pilgrimage, Canto III. I will suggest that the Canto sees the transformation of the Byronic hero into the man of feeling. Byron re-configures this eighteenth-century character type in a way that his personal grief becomes inseparable from collective feeling and national concerns. The deployment of the man of feeling becomes for Byron a political statement: an aid for the articulation of his disappointment in post-Waterloo European politics and a longing for lost Revolutionary ideals. Through the analysis of the Canto's main organising tropes I will be arguing that Byron's ambivalent perspective on the outcome of Waterloo is the reason for the restless oscillation of conflicting forces in the poem. The essay will re-read Stanza 33's broken mirror simile in the context of eighteenth-century notions of sensibility and sympathy.},
number = {1},
journal = {Romanticism},
author = {Csengei, Ildiko},
year = {2018},
note = {Number: 1},
pages = {86--98},
}
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