Ravenna

  • Martyn Corbett

Abstract

Although the idea of writing a tragedy on the downfall of the fourteenth-century Doge, Marino Faliero, came to Byron in February 1817, whilst he was still writing Manfred, it was not until he settled in Ravenna, nearly three years afterwards, that the tragedy was written.

Keywords

Clay Foam Flare Manes Smoke 

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Notes

  1. 1.
    See Iris Origo, The Last Attachment (London, 1949) Ch.2 passim. A very detailed and lively account of the early months of his relationship with Teresa Guiccioli in Ravenna.Google Scholar
  2. 9.
    J.W. von Goethe, Conversations with Eckermann, trans. John Oxenford (London, 1930) p.357.Google Scholar
  3. 10.
    B. Dobrée, Byron’s Dramas (Nottingham, 1962) p.16.Google Scholar
  4. 11.
    Jerome J. McGann, Fiery Dust (Chicago, 1968) p.207.Google Scholar
  5. 12.
    See John Julius Norwich, A History of Venice (London, 1983) for a good modern account of these events.Google Scholar
  6. 13.
    John P. Farrell, Revolution as Tragedy: The Dilemma of the Moderate from Scott to Arnold (Ithaca, NY 1980) p. 152.Google Scholar
  7. 17.
    G.W. Spence, ‘The Moral Ambiguity of Marino Faliero’, AUMLA, May 1974, pp.6–16 at p.7.Google Scholar
  8. 18.
    Philippe Darù, Histoire de la Republique de Venise (Paris, 1821) Tom. 1, p.638.Google Scholar
  9. 19.
    Edward D.H. Johnson, ‘A Political Interpretation of Marino Faliero’, MLQ, 1942, pp.417–25 at p.423.Google Scholar
  10. 27.
    Peter J. Manning, Byron and His Fictions (Detroit, 1978) p.115.Google Scholar
  11. 28.
    Thomas Medwin, Conversations of Lord Byron, ed. Ernest J. Lovell, Jr (Princeton, 1966) p. 120.Google Scholar
  12. 18.
    Paulino M. Lim Jnr. The Style of Lord Byron’s Plays (Salzburg, 1973) p.131.Google Scholar
  13. 31.
    See Arthur D. Kahn, ‘Seneca and Sardanapalus: Byron, the Don Quixote of Neo-classicism’, SP, 66, LXVI, July 1969, pp.654–71. Kahn’s views need treating with some reserve.Google Scholar
  14. 36.
    Cf. John Dryden All for Love, III i. See also M.G. Cooke, ‘The Restoration Ethos in Byron’s Classical Plays’, PMLA, 79, i, 1964, pp. 569–78.CrossRefGoogle Scholar
  15. 48.
    William Mitford, A History of Greece, 10 vols (London, 1820).Google Scholar
  16. 49.
    E.g. Guy Brett, Eugene Delacroix (London, 1965) p.7.Google Scholar
  17. 50.
    C. Leech, Tragedy (London, 1969) p.40.CrossRefGoogle Scholar
  18. 3.
    Viz. Elledge, Farrell, Rutherford. Also William H. Marshall, The Struc- ture of Byron’s Major Poems (Philadelphia, 1960).Google Scholar
  19. 11.
    See Samuel Smiles, A Publisher and His Friends, ed. Thomas Mackay, 2 vols (London, 1891) for an account of Gifford’s reactions; vol.1, p.412.Google Scholar
  20. 15.
    H.D.F. Kitto, Form and Meaning in Drama and an Essay on ‘Hamlet’ (London, 1956) p.89.Google Scholar
  21. 2.
    Truman Guy Steffan, Lord Byron’s Cain’: Twelve Essays and a Text (Austin, Texas, 1968).Google Scholar
  22. 19.
    John D. Jump, Byron (1972) p. 166.Google Scholar
  23. 20.
    See Wolf Z. Hirst, ‘Byron’s Lapse into Orthodoxy: An Unorthodox Reading of Cain’, KSJ, XXXIX, 1980.Google Scholar
  24. 33.
    Edward Wayne Marjarum, Byron as Skeptic and Believer (New York, 1926) p.13.Google Scholar

Copyright information

© Martyn Corbett 1988

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  • Martyn Corbett

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