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• W40169096 abstract "Writing from Ouchy on 17 September 1816, five months after leaving England on tide of his wife's desertion, and two weeks after dispatching to his publisher third canto of Childe Harold's Pilgrimage, Lord Byron ends a letter to his half-sister Augusta Leigh with this warm declaration: I shall never find any one like you - nor you (vain as it may seem) like me. We are just formed to pass our lives together, and therefore - we - at least I - am by a crowd of circumstances removed from only being who could ever have loved me, or whom I can unmixedly feel attached to. Had you been a Nun - and I a Monk - that we might have talked through a grate instead of across sea - no matter - my voice and my heart are ever thine - (1) Earlier portions of letter cite wretchedness, mental torture, and destruction of poet at Lady hand and oppose her to more compatible Augusta, herself implicated in breakup of London household. Disclaiming vengefulness, poet nevertheless foresees recoil upon her own head of his wife's conduct toward him. And as a balancing counter to charge that She has . . . separated me from my child - & from you, Byron invites Augusta to join him for a spring tour, only to identify his dependent and self-absorbed brother-in-law as the great obstacle to any such scheme of recreation or relaxation for his sister. Regretting Augusta's marriage and his own, Byron concludes letter with a profession subverted by monastic hypothesis quoted above: Augusta uniquely qualifies as his object of unmixed emotion, but between them he figuratively erects a barrier as evocative of imprisonment as of conventual discipline, and, perhaps guiltily, exposes a retroactive wish for chaste association. At least twice in this letter Byron reaches out affectionately to his sister and withdraws from her, declares her proximity desirable and imagines it impeded. And although claiming a constitutional fitness to live with her, he returns for love Augusta is capable of extending him not reciprocal love but a cooler if avowedly unalloyed attachment. One might assume that subtle checks against expression and enactment of stronger passion respond to social abuse he and his sister sustained as suspicions of their sexual intimacy sizzled through London salons in days just before his embarkation. But rhythms of advance and retreat, of affective approach and withdrawal in letter typify both relational history and his textualized alliances.(2) Paradigmatic of affiliations sought and denied, established and ruptured in his canon, they prove peculiarly compelling in Childe Harold's Pilgrimage 3 for immediacy of their autobiographical provenance. Jerome J. McGann calls Canto 3 of Pilgrimage Byron's personal self-examination and a public justification... [his] expressed attempt to come to terms with collapse of his marriage and public response to that event in England.(3) I will argue that poem graphically inscribes separation - rewrites The Separation - along with an anxiety about relationship and its absence that structures approach to re-engagement with an audience from whom he felt and feared alienating betrayal through a process attributable and analogous to Lady abandonment of him. Mapped across Canto 3, dissociative trope defines impact of his wife's estrangement on creative consciousness, and shapes a radical relational indeterminateness registered in valedictory occasions intrinsic to pilgrimage but here framed by farewells to poet's daughter, Augusta Ada. Embedded in Harold's alternating impulses toward separateness and connection lie own mixed feelings about biological and textual products of his authorship. Such associational ambivalence particularly informs his closural protocol, where he uses child to facilitate reception of Childe by readers courted and critiqued, and to negotiate severance from both text and daughter. …" @default.
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• W40169096 date "1994-09-22" @default.
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• W40169096 title "Talking through the Grate: Interdict and Mediation in Byron's 'Pilgrimage,' Canto 3" @default.
• W40169096 hasPublicationYear "1994" @default.
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