By Alan Rawes (eds.)
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54–5. 2. Quotations from Coleridge’s poetry are taken from Coleridge: Poetical Works, ed. by Ernest Hartley Coleridge (Oxford: Oxford University Press, 1969). Line references are given after quotations in the text. 3. Paul Ricoeur, Time and Narrative, trans. by Kathleen McLaughlin and David Pellauer, 3 vols (Chicago and London: University of Chicago Press, 1984), I, p. 150. 4. Frederick Garber, Self, Text, and Romantic Irony: The Example of Byron (Princeton: Princeton University Press, 1988), p.
183–5, 192–3). 6. All quotations from Hamlet are taken from the Arden Shakespeare, 3rd series, ed. by Harold Jenkins (London: Methuen, 1982). Act, scene and line references follow quotations in the text. 7. ‘The full stretch of human sensibility’ is a phrase I have adapted from the Canadian poet Don Coles’ first novel, Doctor Bloom’s Story (Toronto: Alfred A. Knopf, 2004), p. 279, itself a study in narrative indirection. 8. On performatives see J. L. : Harvard University Press, 1967), as well as Derrida’s critique of Austin in his ‘Signature Event Context’ (Margins of Philosophy, trans.
Throughout, difference from previous epic models turns out to serve Byron’s advantage. The poem opens by alluding to Virgil’s Aeneid. Whereas Virgil begins by singing of arms and the man, Byron starts with a comic lack, which invites a compensating virtuosity: ‘I want a hero’, he says in the poem’s first line, before alighting on Don Juan, seemingly faute de mieux. The poet ‘can’t find any [brave men] in the present age / Fit for my poem (that is, for my new one), / So, as I said, I’ll take my friend Don Juan’ (I, st.