This reminds me of Wilde's mask quote.

So far, both Dorian and Lord Henry have a form of influence over others. Will it be found out later on that Basil too has a share in this power? Or is Basil really the only person effected by these men?

Schumann was a very famous piano player and composer of his time period, but he was also known for his marriage troubles. Is this a possible allusion to Wilde's life?

I personally really like this, and think there is some humor as well as some truth in it, in regard to all artists.

This quote makes me think of almost like a love triangle because Basil loves Dorian, Dorian seems to love Lord Henry, and the Lord Henry is close friends with Basil and it makes me think of this photo.

I wonder if this was after the dispute over Wilde's image, in which case, I think it's clear where he stood on the matter of the ownership of his portrait.

throwback to the discussion about the value of beauty being that it is fleeting, and if you take that away, it loses its value

When he says 'judge by appearance' I think he means what you see people do, not just what they look like. The unseen then would be a judgement made about someone that is not founded. I think he's saying this under the assumption that there is more than one kind of beauty, (I'm not sure if I'm making any sense, but I don't think Lord Henry is speaking only of what an individual looks like when referencing beauty)

I feel that there may be a theme surrounding identity throughout the novel.

I like this description of his love interest as it contributes well to the overall love aspect tying in with the social status of the people Dorian interacts with.

This ties in to Dorian's views on one's personal conduct as well as how people are expected to interact with one another in our society regardless of wealth and social status.

I think this is an interesting view on how people choose friends and enemies. I believe that this is foreshadowing the personalities and characteristics of the other characters in this story.

I believe that this is Wilde's way of expressing who he wishes he could be as well as that ideal self-image that he strives for. However I think by seeking an idealized self this could come back to haunt him later on.

Dorian reminds me a lot of Lord Bryon's boy Possy. Could he have modeled Dorian after him as a way to let out what he really thought of Possy and his relation ship?

This is actually the same as how Bosie was toward Wilde, on a childish whim he'd be so rude and careless while Wilde was so blindly devoted to him.

I just really like this and it's so relevant to the hypocrisy seen today, where if we do something wrong it's excusable, but if another does the same thing they will be subject to criticism.

This was about where I was pretty sure there was a connection between Basil's feelings toward Gray and Wilde's feelings toward Bosie. Both used the other as inspiration for their art (conscious or otherwise) and both older admire the youth and potential in the younger. It is even suggested that there are times Gray is harsh or unkind to Basil, as Bosie was to Wilde.

Discussion game passage

Discussion game passage

3) How will I grade your annotations?

The Wilde text will be open for notations starting [fill in blank]. The book has thirteen chapters. Each of you are required to make one annotation per chapter; you may do more! (These posts will be part of your overall grade for the online discussion forums.) Two other small rules to encourage liveliness: at least once, you must reply to someone else’s annotation; at least once, you must annotate with an image!

2) How to annotate?

Start by thinking of annotations (your commentary in the margins of the text) as existing on a spectrum! I will illustrate with a fancy diagram:

INF__INT

At the left end of the spectrum, purely INFormational; at the right, entirely INTerpretive. “INF” have to do with providing facts or context that aid in reading the text; “INT” have to do with the question of what the text means. Potentially, a single annotation could do both these things… Like a claim, an annotation can seem either too obvious (we know where London is) or too obscure (a response that seems unlinked to the text). These marks the ends of the spectrum: your annotations should be somewhere in between.

Please note: Gifford has provided 155 footnotes for the text. If you choose to annotate a passage that is footnoted, you are telling your readers “this footnote is controversial/inadequate/intriguing”—you are supplementing that footnotes. And this can be interesting: so if one of the footnotes you check surprises you, you should feel free comment and tell the rest of us why!

If your annotation is research-based, leave a link/ links in your comments / anotations; you can also provide an image. An image alone, at the right moment, might be an effective annotation!

This biographical entry is relatively recent, contains an extend ed bibliography, and offers a different emphasis than does the biopic Wilde In annotations, I want you to locate moments where you think the interpretive, argumentative aspect of Edward's essay is most evident. Where do you see signs of his particular "take" on Wilde? (We can then discuss the implications of this take: if responding to a comment, please take that approach)

The author is saying that no matter how someone views Bryon he is seen as a celebrity. A key term here is celebrity. The paragraph quotes Clubbe and mentions Bryon's works.

Annotate a paragraph from the reading you’ve chosen (Ward or Throsby’s article). Set your annotations to private: this is an individual assignment. I’ll ask you all to reset them to public in class on Tuesday.

1. Highlight and paraphrase what you consider to be the major claim of the paragraph.

2. Highlight keyterms (these will be either terms that the article repeats or otherwise foregrounds, or terms that you recognize from readings/discussion thus far in the course). These terms don’t need to be nouns; verbs are also possible candidates! If you think a keyterm is “Academic English”, indicate that fact in the text of your annotations.

3. What sources does the paragraph cite in relation to the keyterms it deploys? Picking a verb for each source, characterize the relation of that source to the author’s argument. (Eg. "Ward applies Gabler's idea of the "discourse of celebrity" to the case of Byron.") Attach your annotation to the name of the cited author(s).

The quotation I used for your essay #1 prompt contains one of Ward’s claims, one piece of his thesis:

The problem in Byron’s case is that interest in his life, largely prompted by his celebrity, has at times threatened to overwhelm his “real achievement” as a poet. (65)

You’ll see that the words “real achievement” are quoted from Neal Gabler in fuller form earlier in this same paragraph.

It’s important for us to notice that Ward’s own perspective, even when it appears relatively clearly, is interwoven with the perspectives of other writers. Trying to skim this essay and pick out “what it says” (what Ward says) is not an easy task.

Can you find, and annotate, phrases/sentences where Ward comes forward in his own voice? If we assemble those pieces, we can put Ward’s main claim, his thesis, together–and then we can think about why the essay is organized the way that it is!

Here's Ward's claim: some say (C & S) that it's "inappropriate" for recent biographers to treat Byron like a "media-generated celebrity". But Ward never QUITE comes out and agrees until the final sentence of the paragraph.

I think the author is mad about these comparisons even though they are very accurate.

I believe that the author is, understandably, angry that his work was burned.

I think this is something that happens with a lot of celebrities and I think the author is saying as fans we do this to celebrities even though we shouldn't.

The author seems to be mad that people saw Bryon this way.

The verb i am picking out of this quotation is "shine". In relation to the key words "textual responses", this quote from Byron illustrates that he was aware and was excited about the amount of attention, in the physical form of letters, his work was getting.

Academic English. Boudoirs could be replaces with bedrooms.

Key words. Related to the Byronic hero, which we have talked about numerous times by now.

Academic English. Alternative wording: through he flirtation of his poems.

I view "textual responses" as keywords to the paragraph as well as academic english. This could have been written as "written responses" or "letters or response".

I believe that this sentence is the main claim of the paragraph. The claim is stating that Byron was captivated by his readers responses to his work. He was aware of his fame, and worked with his fame to maintain his popularity.

I believe this to be the major claim of the excerpt. I believe Throsby's intentions to clarify and define a separate view behind the motives of Byron's poetry.

-Key terms in this would be "expression of concerns and desires" and the "'star' theory". -I would say the reference to the star theory is Academic English, but Throsby goes on to explain it well enough that it's easily understood. -Throsby explores Dyer's star theory in relation to Byron's creation and employment of the 'byronic hero' and his use of it in his work to create a recognizable persona.

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Flirt is also a key word that is used a lot.

This is a strong claim that basically states that this is going to be about the response of byron's audience but also how he flirted with girls through his writing. This is the thesis.

keyterm

Personalities/Personality is definitely a key term that is used a lot and has a lot to do with the thesis because of how Byron's personality shines through his reading.

keyterm

Here the author uses Richard Dyer's Stars as a source and the keyterm here is celebrity.

This is the major claim of the paragraph. The persona Byron created in his writing is connected to Byron himself in the minds of his readers and the softness that underlies even his evil deeds draws women to him with the idea they can help.

Key term: The basis of the special relationship between Byron and his readers that made him more than an ordinary poet and turned his readers into fans. The emotional connection Byron's readers feel to him transforms him into one of the characters of his novels and bestows upon him a personality that his fans can connect to.

Main theme: There is evidence that Byron's fans thought they had a personal connection to him.

Key term: Byron's brooding element that aids him in forming such emotional poetry and is at the basis of so much of his character. Throsby equates Byron's melancholy with his Rebel character stating that together, these draw women to him with the idea that they can help.

Main theme: Many of Byron's fans feel that they would be able to impact him in a real way because they think that they know him through his writing. Key Term: Byron made many mistakes and discrepancies in England, and this added to his fame, yet many women were willing to forgive his faults because they believe they saw in his writing a desire for reform. The idea of reform permeated Byron's celebrity interactions because many people saw him as living in sin and put it upon themselves to change that.

Main theme: the Rebel persona that Byron creates for himself, whether true or not, is what draws this female attention.

Key term: A persona that attracts interest by not conforming. Dyer defines Byron's celebrity persona with "the Rebel" character type.

Keyterm: The celebrity that Byron created that was his personality in public and that showed throughout his writings. Throsby connects the Byronic persona to Byron's social successes.

adds to the claim that she had other motives besides actually meeting Byron.

repeated term

ties into one of the overall arguments of the selection in that the writer is arguing that some of these women who wrote to Byron about their fantasies with him weren't meant to be literal, but more about imitation and projection.

the claim is that Echo doesn't actually want to meet with Byron, but just wants to be able to fantasize about it.

repeated terms

key term

Echo's letter is the evidence for the paragraph. It exemplifies one of Byron's letters that is more interested in an imagined fantasy than an actual encounter with Byron, which the author argues many of the mystery letter writers were more interested in.

I know we were supposed to look for the thesis, but I thought this would be the conclusive statement, as it seemed to answer or further elaborate on the initial claim made at the beginning.

I just thought this was interesting and it reminded me a lot of Anne Byron's portrayal in the BBC Biopic

I know I've passed up the thesis, but I thought this was vital to Thorsby's claim, as it gives an explanation as to why the readers get so attached to Byron, as well as a strategy Byron may have used to build this relationship with his readers.

Annotate a paragraph from the reading you’ve chosen (Ward or Throsby’s article). Set your annotations to private: this is an individual assignment. I’ll ask you all to reset them to public in class on Tuesday.

1. Highlight and paraphrase what you consider to be the major claim of the paragraph.

2. Highlight keyterms (these will be either terms that the article repeats or otherwise foregrounds, or terms that you recognize from readings/discussion thus far in the course). These terms don’t need to be nouns; verbs are also possible candidates! If you think a keyterm is “Academic English”, indicate that fact in the text of your annotations.

3. What sources does the paragraph cite in relation to the keyterms it deploys? Picking a verb for each source, characterize the relation of that source to the author’s argument. (Eg. "Ward applies Gabler's idea of the "discourse of celebrity" to the case of Byron.") Attach your annotation to the name of the cited author(s).

I suspect you’ll find this essay somewhat easier to read than Ward's, for various reasons. She favors shorter sentences; she uses the "I" more frequently; finally, she writes using more of what I will call "metacommentary": statements that tell the reader what the argument has done/is doing/will do.

How far into the essay do we have to go to locate Thorsby's thesis?

Byron tends to uses the word soul a lot in his poems and this could be due to the tarnished soul he believes he has.

What is he trying to imply here. the use of this oxymoron makes me think its important

This could may be something that annabelle may have read that would've prompted her to think of Byron as better than he sees himself.

this could possibly reflect byron. he always considered himself a bad person and was never confident in his writing.

this is interesting because betrayal in the form of a smile doesn't seem like it could hold a lot of weight but it definitely can.

He is probably the biggest critic of himself and is really afraid to show the world his work and dedicate it to someone in case they disapprove.

A letter of dedication / dedicatory epistle is an old literary tradition. It implies a patronage relationship between author and patron: the former pays graceful compliments to the latter. The reality behind such letters varies widely; Moore was a decade older and Byron's first biographer (& present at the letter-burning!)

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Class evidence excercise

This represents the way one might feel when something changes. The world around you becomes unfamiliar and you can feel out of place. I imagine this is how he feels.

Is this similar to the idea of being hurt after a good relationship ends?

I think the repetitive use of yet represents his conflicting mind. He is trying to understand something.

Just like a pond covered by thin ice, the hardest of hearts are still thawed underneath an icy exterior.

Byron could be referring to the English society at the time. It was politically correct to keep personal business/mistakes/dark desires hidden from public knowledge..

In reference to his personal life, Byron could be talking about his "sinful" behavior. He saw himself as evil, and without being able to be changed.

He is feeling the pressure of possibly not having a name that lives on and he wants to be remembered for his achievements.

Here he again discredits himself by saying he is an "intruder"

He is really discrediting himself and his work here

in class exercise

In class exercise.

in class exercise

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In class exercise.

This is good evidence for our paper because it states that his poetry and his personality is what made him important

In the era of social media and Google, I suspect that this passage will have a very modern ring to some of your ears!

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possible citation (ft. byronic hero?)

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in class exercise

in class exercise

in class exercise

This idea of forgetfulness can refer back to this same point that was made in A Fragment when Byron talks about his legacy being remembered or forgotten. Here the idea of forgetfulness is seen as a positive attribute.

This could parallel Byron's life in the way that his accomplishments, or lack thereof, followed behind him and may have covered up various parts of his life that he wanted to forget.

See the "courseblog" entry for discussion of this poem and the events surrounding it.

I’ll cite two brief summaries of the events of early 1816. (Note that we already have biopic and Britannica versions...)

1. W. Paul Elledge (1986):

Following the birth of Augusta Ada on 10 December 1815, relations between Byron and his wife continued the rapid deterioration notable from early November when normal anxiety over the approaching confinement was exacerbated by a bailiff’s occupation of the house. Byron appears to have vented a good deal of rage and frustration over financial pressures in occasional verbal abuse of his wife, some of it hinting at his amorous relations elsewhere and at plans for a foreign excursion without her. Bewildered and apprehensive,she cultivated a suspicion that he was mentally deranged (possibly a murderer) and delayed a scheduled visit to her parents’ home in the hope of securing medical verification of it. On 15 January 1816 she left Piccadilly Terrace for Kirkby,but wrote Byron admonishingly and yet with good will that evening, in route. By private messenger on Friday, 2 February, after the letter had been intercepted and returned by a well-meaning Augusta the previous Monday, Byron received notification from his father-in-law that separation arrangements were underway. After weeks of distressed appeals and stubborn resistance on his part, coolly determined letters but often distraught behavior on his wife’s, and feverish consultations among their associates-during which time Byron’s mood ranged from initial astonishment through an agitation and depression that led Augusta to fear his suicide, finally to an exhausted and nearly despairing exasperation rendering him particularly susceptible to the importunities of Claire Clairmont- the preliminary Separation Agreement was signed on 17 March. The next day Byron wrote “”Fare Thee Well”” but held it for forty-eight hours before posting it along with a brief note to his wife. Two days later, Hobhouse found him in good spirits, eager to embark for foreign shores. On Byron’s instructions,””Fare Thee Well”” was first printed for private circulation on 8 April, and then without authorization was reproduced with “”A Sketch”” on 14 April in the Champion newspaper. Amidst the scandalized public outcry, directed almost entirely against “”A Sketch,”” Byron fled to Dover on the 23rd, the day after signing the final separation agreement, and thence to the continent on the 25th.

1. Susan Wolfson (2010),:

In a match that seemed absurd to all, Lord Byron and heiress Miss Milbank wed on 2 January 1815. Daughter Ada was born in December, and within a month, a little month, on 15 January 1816, Lady Byron packed her up and left for her parents’ home. Early in February Lady Byron’s father sent Byron a letter notifying him of her wish for a separation. Byron was stung; rumors and gossipbubbled and boiled, the press got involved in mid-April...”Fare thee well!” [began as] some lines of poetry that Byron sent to his “Dearest Bell” in late March or early April (BLJ5: 51-52), just after the draft Separation Agreement, before the finalization five weeks later. “I had a copy of Verses from his Lordship yesterday-very tender and so he talks of me to Every one,” Bell wrote to her mother (Elwin 448). Intimacy notwithstanding, copies were legion. Byron showed his friend Moore the lines (“the tears, as he said, falling fast over the paper as he wrote”), then sent either this paper, blotted, or a fresh copy off to Murray, who quickly shared it (Byron knew he would) with Gifford, Rogers, Canning, Frere, and many others, even Caroline Lamb. Byron then asked Murray to print it up, along with a nasty “Sketch” on Lady Byron’s Maid. Murray relished this last piece, cheering for the general male-clubbing. “It is tremendously exquisite,” he wrote to Byron on 1 April; “the most astringent dose that was ever presented to female Character” (L 159). Byron’s private label debuted a week later, on April 8, for distribution to fifty close friends. The network quickly went wide. Old nemesis Henry Brougham poached a copy, dashing it over to the Champion’s editor John Scott, who featured the two poems in the 14 April Sunday paper, elaborated with attacks on Byron’s character. A feeding frenzy ensued, piracies erupted, and within days everyone from Wordsworth to Stael had weighed in...The whole world interacted. Shops filled with cartoons and caricatures; pamphlets volleyed parodies, gossip, poems cast in the voice of Lady Byron (in a range of tones), spuriously attributed to her or the Lord, and so forth.

I think he is saying that Bryon should not be considered a celebrity.

He seems go disagree with who we consider celebrities.

He sounds very sarcastic.

Ward is saying that if it had not been for Bryon then no one would know who Murray was and this would have likely caused murray fear of loosing his writer so he probably had to go though a lot of hurtles to keep Bryon.

Could Bryon be talking about how is writing makes other's feel and think?

Could this be Bryon's way of talking about his feelings for his sister?

This is a confusing statement because he is talking about love for the earth which is usually lumped with the people of earth but he is also talking about the mortal mould which is very fragile and almost insignificant.

This would show that the poems are not the same person because the other man was feared and it did not mention him seeming gay amidst the gay.

How can someone be unhoped but unforgotten? Are they saying he is a demon or the devil?

This makes me think of the phrase "is it better to be feared and loathed or better to be loved and afraid". I can't remember where I heard this but it is a great question.

Could he be representing himself in this poem by saying he may not seem cursed but he is?

I understand that it is important to have imagery but Bryon said in the letter said "an author should not think himself better than his characters" so why would he create an unattractive character? Did he see himself as unattractive or is he being hypocritical?

While he may have written a lot he is acting very argent and rude to someone who he just called his friend.

If he believes that this is not possible then why would he not have told his friend before he had left to go to Turkey? And why would he believe that it is not possible to describe?

If these men are opposites then how could the be the same men? Could Bryon have meant they are a pair in a different way?

See my page note for annotation guidelines!

The two short selections I provide, from Cochrane’s editions of “The Corsair” and “Lara” (1814), consist of portraits of the hero(es) of each of these tales.

These poems are two of Byron’s “Turkish Tales,” all written in the aftermath of the massive success of Childe Harold. As did CHP, they draw upon Byron’s experiences in the Mediterranean. Many readers saw them as following in the line of that poem (perhaps as revisions of material originally intended for CHP before Byron had suspended it). I’ll cite Cochran:

Nothing like the “Turkish Tales” had ever been seen. Their convincing Oriental colours, the wildness of their characters, and the violent events portrayed – or supposedly portrayed – in their plots, made them a phenomenon. As soon as the cessation of war in 1815 permitted, they were translated into French; and within ten years, most were available either in that lingua franca, in continental English-language editions, or in other languages. Between them, they and [Sir Walter] Scott’s Waverley Novels transformed European literature, painting, and music. Never before or since had or has English literature been so influential with such speed. Shakespeare took much longer to percolate through.

Annotation guidelines: we're going to focus on literary analysis AND the analysis of argument. As you read, look at how Byron, in his prefatory prose, discusses the relationship between his protagonists and himself. Then consider how the poetic portraits match, or fail to match, Byron's critical position. Does he really mean what he says in his prose; is the poetry good evidence for these claims; are there any particularly revealing moments?

(I've provided Cochran's 3-page "Bibliography" simply so you could see how these texts circulated)

It was a heroic act to publish poems involving the deep topics that Byron wrote about. At this point in time it was sort of tabooed to talk about one's struggles.

I can't tell if, in saying this, Byron is genuinely only intending on publishing his work this once, or if he's doing that thing where he publicly talks himself down, expecting people to think he's humble, and be kinder toward him or encourage him in return.

When I first read this, it reminded me of the controversial "you'd be prettier if you smiled" compliment. Most women I think revert to being defensive when told that, but I don't think Byron intended it to be rude.

I like how this shows despite the compliments Byron has given until now was not with the intent to flatter Marion, but as genuine advice. He says his heart is "unskilled to cozen," or can't mislead her, and he means and believes what he's saying to her.

It is a pity that he saw himself as incapable of producing anything creative or original. But while the perception of a creator is understandable (that it is difficult to create something that does not share anything in common with the works of someone else), this is still no excuse not to try. It sounds like Byron gave up before even trying.

He did not believe that Byron's rhymes were without musicality, but rather, without soul. He saw his poems as empty works that did not convey any true emotions.

However that is very much a vague critique. It is up to the reader to perceive the 'thought' contained in a poem, just like it is up to the reader to perceive the complexity behind Joyce's Ulysses. Brougham was only after Byron's discrediting.

Is he openly admitting his promiscuity?

This man was really offended by Byron's excessive pride.

Somewhat stereotypical topic of women being mysterious to men yet object of their admiration.

Are there any second intentions to Byron's poem? Or is he just using her as an inspiration to write, and nothing else?

Understandably, Byron was scared about having all of his inner most thoughts and feelings available for everyone to read and critique.

Bryon's poems "want" to be remember by their words and meanings alone, not as the brilliant works of Byron.

He is claiming that she has to act happy but what could have made her so unhappy? Did he say or do something to her? Because for him to be saying something like this to her he must have seen her happy before.

I think this is an interesting because a lot of poems from this time when they talked about women they just talked about their beauty; but he is saying you are pretty but your hatred is making you ugly.

I think that this claim is very different for this time because it used to be that your family was who you are, but he is bringing in a new way of thinking by saying "No my family will not define me". (sorry my computer is acting weird and is not showing that I highlighted the whole line 8)

I do not like this claim. I realize that in this time young ambition was bad but I do not think it would be criminal.

While in this time poetry was more mature, it was also usually written by old men. So while his ideals may be "childish" to the older generation they would not be considered childish to his generation.

While I do agree that the poems were an act of bravado (and different from other poetry that I have read from that time period (it is a lot more out there and obvious what he was saying compared to others) he did not seem very insecure to me; he actually seemed really arrogant.

I'm not how true this statement is because usually both poetry and music create mixed feelings and they are not all good feelings.

Byron seems very self-deprecating in this prologue and seems to see poetry as more of a distraction from living than anything very important. I wonder if this view of poetry and his poetic ability changed after his rise to fame, or if he was constantly doubting his skill even with all the confirmation.

See my "page note" for annotating guidelines--& remember our class tag: p2r2017 (you can go back and add it with the "edit" pencil if you forget!)

Hours of Idleness was Byron’s debut publication. Our text has a short introduction by Cochrane, Byron’s own “Preface” and the review of the volume, by Henry Brougham, published the next year in the Edinburgh Review. I've included only two poems, as a way of capturing two sides of Byron's early relationship to traditional poetic forms.

This selection gives a much larger context for “A Fragment”; it lets you see what a young poet was “supposed to” sound like at the beginning of the 19th century, and, via Brougham, also gives you a counter-argument against that perspective.

More generally, these documents reveal that poetry around 1800 was already part of a "scene": there existed an ongoing, fast-paced, sometimes vitriolic conversation in the media about the poetry of the day!

In your annotations for this reading, I'd like you to focus on claims: those made by Lord B, in his poetry or in his prose; or those made by others. In particular, claims about poetry and the cultural role of "the Poet": but any other claims that you find of interest are also worthy of comment!

This quote supports Byron's portrayal in the movie, as he had a harder shell through the most of it, but around people he was close to (Augusta, and sometimes Hobhouse) he would be a bit more vulnerable, making him easier to sympathize with. This is again reflected in the movie when Byron first talks to Annabella (in part 1 at 23:40) she says she sees a sincerity in him, and believes in his good nature even if he does not.

I don't think the Britannica article and the Biopic present Byron in the same light. I think the two "texts" more or less present the same facts about Byron, but I believe that the Biopic presents Byron in a over characterized light. Or in other words, I believe the Biopic to be too dramatized.

They only really show this in the beginning of the movie in Greece and then don't really show any continuing relations with other men.

They briefly discuss this part of his life in the movie, but they don't really go into much detail about his involvement in the uprising or about his daughter being sent to him to be educated.

With this not being mentioned in the movie, were they simply trying to allude that this was false or were they trying to create his character in a way that they would be able to avoid the controversial discussions that this term often creates?

While the movie shows Byron very affected by this liaison, it also mentions that he had many such affairs while abroad- the difference being that now there are more obvious consequences to his actions. However, this doesn't seem to influence his future actions, except for an effort to keep some of his affairs more secret.

It the movie it would show him as being a happy "playboy" but then acting all gloomy out of nowhere. Could he have been acting to the point where he could not shake his gloom or could he have had something mentally wrong.

However this is very different from the end of the movie because it showed his body being cremated.

This is the same as the end of the movie.

This is different from the movie because the movie said she was trying to get her daughter back from him.

While in the movie his hair and turned long and gray he did not look that much older and he did not look fat. However these may be a difference in times because what we would view as fat now they may not have viewed as fat then

The movie did not mention that Claire went with them; in fact the movie made it sound like he took his daughter and left.

Lord Byron gives great imagery here of what it would feel like to just be and to not have and real purpose or meaning in life.

In the movie it did not mention him being bisexual. So did bisexual mean something different when this was written or could the movie have left it out?

Byron was able to be completely himself in Greece. Returning to London brought him back to reality. He was forced to face his debt. Byron was also pressured to conform to the social norms and rules.

I think that Byron was with so many women, because he wanted to be able to take control of both sex and women. These were things Byron lacked control over when he was being abused as a child.

She is also never mentioned in the movie yet plays a key role in the attempt at keeping the affair with his half sister a secret.

They imply that this happened but there isn't a strong emphasis on the death of his mother or how he feels about it.

She isn't mentioned in the movie but I feel like that would be important.

This short biographical encyclopedia essay is the counterpoint to the Byron movie; both are part of what I will call the “myth” of Lord Byron. Both are part of the conversation about him, his image, his reputation...

This essay is roughly twenty years old. Its author, Leslie Marchand, is also the author of the “standard” 3-volume biography of Byron (“standard” meaning accepted by most/many specialists as the best existing biography): he’s a renowned scholar. Of course, this doesn't mean he will have a "neutral" attitude towards Byron...

If possible, I want you to link your annotations to places in the text where this version and the BBC biopic version of Byron's life seem significantly different; or where the movie treats a particular moment in a manner you think worthy of commenting on.

You may also make general comments (do the two versions seem to “match”?), using the "Page Note" setting, if you have a point that does not naturally link to any specific text.

This is the first time we've used Hypothes.is, so part of what we're doing here is practicing with the interface. Be sure to "post to public" (either right away, or reset "only me" annotations after rereading/editing). Remember: you can reply to existing annotations!And please use our course tag (see below): you can add tags after the initial post by editing as well...

I've added instructions for your annotations as a "Page Note" (the page icon)