Titlebook: Byron and the Eye of Appetite; Mark Storey Book 1986 Mark Storey 1986 eye.literature.poetics.poetry

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,The ‘Eye of Appetite’,t in fascination. Even if we might want to challenge the evaluative implications of Keats’s verdict here, he is, as usual, being more perceptive than he might realise. In fastening on Byron’s concern with what he sees, he does, of course, hope to diminish him; and posterity might well have been glad

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,‘A Whirling Gulf of Phantasy and Flame’: Childe Harold (i),him without it. Certainly Keats, for all his adolescent embarrassment about it, felt the exposure provided by . was necessary, as though in finally wrenching himself free from it he was announcing his obligations and directions. Byron in his more breezy way threw his poem at the public, and was as p

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,‘The Fitting Medium of Desire’: Childe Harold (ii),ut there is more to be said on the role of passion in the overall design of the poem. As I have already suggested, the poem turns on Harold’s restlessness, on his desire for escape, which in turn mirrors the poet’s anxieties. Such yearning for self-abnegation has thematic and stylistic implications,

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,‘Due Bounds’ and ‘Due Precision’: Don Juan (i),m: on the one hand there is the innocent Dudù, with her less-than-innocent dreams as she shares a bed with Juan; on the other is the lustful Gulbeyaz, with her own thoughts about this new arrival. Byron plays off the one relationship against the other, and the canto as a whole depends for its effect

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