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Byron, mise en scène. “Self”-Dramatization and the Fiction of Authenticity
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Journal Article
Byron, mise en scène. “Self”-Dramatization and the Fiction of Authenticity
2024
Overview
Various attempts at Romantic self-fashioning can be shown to be characteristically paradoxical or downright antinomic. But in the case of Lord Byron, this is taken a step further, because his discursive self-assembly oversteps the confines of the text and now happens in the public sphere, with his readership as a sparring partner. Focussing mainly on Childe Harold’s Pilgrimage and Don Juan, this article explores how, once this process has been externalized in such a way, it is also performative to a degree that differs in kind from earlier attempts which remain solely within the framework of a written text. Of what nature can a subject be that is not the starting point, but, at best, the trajectory of a joint serial production? Arguing that in the case of Byron we are no longer in any position to compare a textual construct to or with an extra-textual original, because the “original” itself is so conspicuously a fabrication, this article critiques simplistically empirical cross-checks of fictional texts against “reality,” of persona against “Byron himself.” Byron’s performance is read as an invitation not so much to question the reality status of fiction than to open our eyes to the fictionality of reality; moreover, it reveals the fiction of authenticity, as it discloses public role playing as the true identity of the subject in the age of media reproducibility.
Publisher
Klincksieck,Éditions Klincksieck
Subject
