Abstract

This essay briefly considers Byron’s general relationship with Catholicism and then examines in greater detail his two very different accounts of confession in The Giaour and Parisina. The Giaour’s approach to confession is secular, while Parisina’s more religious take on confession sees it as a key that unlocks the dynamic of the Byronic Hero. The essay argues that these aspects of the poems illumine both the genesis of the Byronic Hero and the change in Byron’s poetry from 1816 onwards.

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