Lord Byron was a larger-than-life figure whose literary talents and ability to capture the mood of his generation made him a leading voice among the Romantic poets

Lord Byron was a larger-than-life figure whose literary talents and ability to capture the mood of his generation made him a leading voice among the Romantic poets. This quiz combo will help you understand Byron's reputation for challenging social conventions and 19th century morality, as well as how his life and poetry inspired a literary archetype known as a Byronic Hero.

Complete the following sentences:

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  Byron's major poems …
  
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  Byron's famous affairs and relationships …
  
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  Characteristics of a Byronic Hero
  
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  Byron's political activities …
  
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  Byron's use of satire …
  

Answers

1- Childe Harold's Pilgrimage'. ...

1-'When We Two Parted'. ...

2-'She Walks in Beauty'. ...

3-'So, we'll go no more a-roving'. .

4-THE DESTRUCTION OF SENNACHERIB

5- MAZEPPA

6-THE GIAOUR

7-THE CORSAIR

8-DARKNESS

2-Mary Chaworth,Annabella Milbanke, Lady Caroline Lamb,Lady Oxford, Lady Frances Webster and also, very probably, with his married half-sister, Augusta Leigh.Annabella Milbanke,with Marianna Segati, his landlord’s wife and Margarita Cogni, wife of a Venetian baker.

3-Byronic heroes tend to be characterized as being:

Intelligent.

Cunning.

Ruthless.

Arrogant.

Depressive.

Violent.

Self-aware.

Emotionally and intellectually tortured.

4-Byron first took his seat in the House of Lords 13 March 1809[130] but left London on 11 June 1809 for the Continent.[131] Byron's association with the Holland House Whigs provided him with a discourse of liberty rooted in the Glorious Revolution of 1688.[132] A strong advocate of social reform, he received particular praise as one of the few Parliamentary defenders of the Luddites: specifically, he was against a death penalty for Luddite "frame breakers" in Nottinghamshire, who destroyed textile machines that were putting them out of work. His first speech before the Lords, on 27 February 1812, was loaded with sarcastic references to the "benefits" of automation, which he saw as producing inferior material as well as putting people out of work, and concluded the proposed law was only missing two things to be effective: "Twelve Butchers for a Jury and a Jeffries for a Judge!". Byron's speech was officially recorded and printed in Hansard.[133] He said later that he "spoke very violent sentences with a sort of modest impudence" and thought he came across as "a bit theatrical".[134] The full text of the speech, which he had previously written out, was presented to Dallas in manuscript form and he quotes it in his work.[135]

Two months later, in conjunction with the other Whigs, Byron made another impassioned speech before the House of Lords in support of Catholic emancipation.[132][136] Byron expressed opposition to the established religion because it was unfair to people of other faiths.[137]These experiences inspired Byron to write political poems such as Song for the Luddites (1816) and The Landlords' Interest, Canto XIV of The Age of Bronze.[138] Examples of poems in which he attacked his political opponents include Wellington: The Best of the Cut-Throats (1819) and The Intellectual Eunuch Castlereagh (1818).[139

5-Between March and June 1811 as he travelled in Greece and Malta, Byron wrote a fragmentaryimitation in heroic couplets of the first lines of Horace’s Satire 1.4. The imitation was never completed, but survives in holograph fair copy on a single leaf bound up with the second corrected manuscript of Hints from Horace, which Byron was working on in May and June of the same year.1 Frederick Beaty is unusual in noting the interest of this poem as an early statement of Byron’s concept of the English satiric tradition, and suggests in particular that it ‘raises a tantalising question about Byron’s relationship to Charles Churchill’.3 He identifies what is still an overlooked facet of Byron’s identity as a satirist: just what role did Churchill play in the early years of Byron’s development?Byron’s criticisms here contain a note of admiration as well as censure, because they allow Churchill to speak for h

himself even as he is being spoken forByron was not alone in using Horace’s Satire 1.4 as a framework for measuring his poetry against the achievements and faults of an influential predecessor. There are notable instances during the preceding century of poets adapting both Satires 1.4 and 1.10 with a similar purpose in mind. Byron would have been familiar, for instance, with Pope’s appropriation of the Lucilius-Horace relationship in his Fourth Satire of Dr. John Donne (1733), in which the selection of an epigraph from Horace’s Satire 1.10 on the subject of Lucilius’ rough versification directs the reader to think about Pope’s qualified admiration for Donne’s poetry in parallel with Horace’s qualified admiration for Lucilius’ satire