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University of Pennsylvania Press, ±°), pp. ±“.
µ Brewer, My Leigh Hunt Library, p. ±.
µ BLJ, , pp. ; µ.
° Ibid., pp. µ·; ·; ; ±±“±·.
± Letter to Byron of  October ±±: MS., John Murray Archive.
 BL Add. Ms. ·µ,  r, Westminster Election ±± Minutes of Proceedings.
 MS., John Murray Archive. See BLJ, ©, p. ±·.
 MS., John Murray Archive.
µ Graham, Byron™s Bulldog, pp. ·; ,
 Ibid., pp. ·“·.
· Ibid., pp. “·.
 BLJ, ©©, p. .
 BLJ, ©, p. ·µ.
·° BLJ, , p. ±±.
·± BL Add. Ms. µµ, ±° v.
· BLJ, , p. ±±·.
· See ll. “ and Don Juan ©©. . Byron™s use of couplets in verse paragraphs is
closest to Pope™s technique in The Dunciad. After the second verse paragraph
which contains several instances of run-on couplets, instances of enjambe-
ment occur infrequently. There is however, an increasing tendency to use
feminine para-rhymes as the poem progresses: faltering foe / ¬‚ake of snow
(ll. ±·“); laws are pure / no manure (ll. ·°“±); milk and honey /ready
money (ll. ·“), culminating in harm in / ˜Carmen™ (ll. ··“°).
· Lecture ©© on Architecture,  November ±µ (Ruskin, Works, ©©, pp. µµ“).
·µ Reuben A. Brower, Alexander Pope: The Poetry of Allusion (Oxford University
Press, ±µ; repr. ±), p. µ.
· For further discussion of this topic, see Michael Scrivener, ˜“Zion Alone is
Forbidden”: Historicizing Anti-Semitism in Byron™s The Age of Bronze™, Keats-
Shelley Journal  (±), ·µ“±±.
·· Nina Diakonova, ˜The Age of Bronze and the Traditions of Classicism™, Keats-
Shelley Journal ± (±), “µ; p. µ.
Notes to pages ±“± 
· For readings of Pope which focus on his lack of Hegelian resolution, see
David Fairer, ˜Pope, Blake, Heraclitus and Oppositional Thinking™ in Fairer
(ed.), Pope. New Contexts, pp. ±“; Hunter, ˜Form as Meaning™, pp. ±·“.
· See Bernard Beatty™s discussion in ˜Continuities and Discontinuities of Lan-
guage and Voice in Dryden, Pope, and Byron™, in Rutherford, Byron: Augustan
and Romantic, pp. ±±·“µ; p. ±±.
° In this respect I disagree with Diakonova™s argument that the allusions of the
poem are deployed so that concrete events may be ˜generalized, sublimated
and, as it were, eternalized™, see ˜The Age of Bronze and the Traditions of
Classicism™, p. µ.
± See Weinbrot, Alexander Pope, p. ; Brower, Alexander Pope: The Poetry of
Allusion, p. µ; Geoffrey Tillotson, On the Poetry of Pope (Oxford: Clarendon
Press, ±µ°), p. ±µ.
 Paul M. Curtis, ˜The Mystery of Distance: Berkeley and Byron™, Keats-Shelley
Journal ± (±), µ“·µ; p. ·.
 See Shelley™s letter to Byron about the Pope controversy,  May ±±: ˜I
certainly do not think Pope, or any writer, a ¬t model for any succeeding
writer; if he, or they should be determined to be so, it would all come to
a question as to under what forms mediocrity should perpetually reproduce
itself ™ (The Complete Works of Shelley, (eds.) Roger Ingpen and Walter E. Peck,
±° vols. (London: Ernest Benn, ±µ), , pp. µ“).
 ll. . Woodring notes suggestively that ˜the couplets rock in antithesis only
when ¬tted to indifferent virtues in the subject™ (Woodring, Politics in English
Romantic Poetry, p. ).
µ Canning had crossed swords with Hobhouse as described in Chapter Five,
but in ± Kinnaird approved of his foreign policy.
 Coleridge, Biographia Literaria, ©, p. °.
· BLJ, , pp. ; ±±°.
 Elizabeth Barrett to Miss Mitford, (ed.) Betty Miller (London: John Murray,
±µ), p. ±.
 CPW, , p. · notes the in¬‚uence of Thomas Love Peacock™s novels on
Don Juan, and it is likely that Byron was also aware of Peacock™s image of
the age of brass for contemporary poetry. Cowper™s blank verse is seen to
usher in the age of brass by divesting verse of the ˜exquisite polish™ it had
with the silver age of Dryden, Pope, Goldsmith, Collins and Gray (Pea-
cock™s Four Ages of Poetry, (ed.) H.F.B. Brett-Smith (Oxford: Blackwell, ±·),
p. ±).
° This idea has been explored in relation to colonisation and maternity in
Catherine Addison, ˜“Elysian and Effeminate”: Byron™s The Island as a Re-
visionary Text™, SEL µ (±µ), ·“·°. James McKusick has argued that
the different male heroes are evidence of a ˜schizophrenic™ form of stylis-
tics and politics which he claims as a utopian ˜opening of English poetry to
cultural diversity™ (˜The Politics of Language in Byron™s The Island™, ELH µ
(±), “µ; (pp. ±; µ). Carl Woodring only considers the three male
 Notes to pages ±“±
heroes and sees the poem as part of Byron™s quest for ˜a respectable cause™
(Politics in English Romantic Poetry, p. ).
± For Pope™s division between misogynist wit and sympathy for particular
female friends, see Valerie Rumbold, Women™s Place in Pope™s World (Cambridge
University Press, ±), p. .
 Jerome McGann reads The Island as the achievement of paradise in the
present moment. This emphasis on an economy of love is, however, subor-
dinated to the birth of the (male) hero: ˜ By choosing love before everything
else, a man is born into a life that has value and meaning, and until he makes
that choice he remains unborn™ (Fiery Dust, p. ±).
 RR, B: ©, pp. ±; ±·; ±.
 Graham, Byron™s Bulldog, p. µ.
µ The anxious scanning of the horizon for a sail recalls and then revises The
Corsair ±, l. µ° and , l. .
 RR, B: ©, p. ±.
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