The so-called ‘second generation’ Romantics—usually consisting of, at its base, three of the ‘big six’ male poets (Shelley, Byron, and Keats)— are said to have at least two things in common. First, they were all born around the time of the outbreak of the French Revolution; and second, P. M. S. Dawson reminds us, they were all “consistently liberal in their politics and can be seen as supporters of the Revolution, if with qualifications” (58). Write a paper in which you test the strength of this insight through an examination of Byron’s Manfred, a closet drama that is often read largely in autobiographical terms. What are the politics and/or political implications of Byron’s play, and/or of Byronism more generally? What, if anything, is the relationship between Byronism and the reform movement? Does Byronism authorize a liberal political agenda, or does its politics retreat from the public to the personal?

 

 

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