Acknowledgments = page ⅸ
General analytical and historical introduction = 1
Part I
1. Milton and Byron = 19
2. Byron, mobility, and the poetics of historical ventriloquism = 36
3. 'My brain is feminine': Byron and the poetry of deception = 53
4. What difference do the circumstances of publication make to the interpretation of a literary work? = 77
5. Byron and the anonymous lyric = 93
6. Byron and 'the truth in masquerade' = 113
7. Private poetry, public deception = 141
8. Hero with a thousand faces: the rhetoric of Byronism = 160
9. Byron and the lyric of sensibility = 173
Part II
10. A point of reference = 205
11. History, herstory, theirstory, ourstory = 223
12. Literature, meaning, and the discontinuity of fact = 231
13. Rethinking romanticism = 236
14. An interview with Jerome McGann = 256
15. Poetry, 1780-1832 = 266
16. Byron and romanticism, a dialogue (Jerome McGann and the editor, James Soderholm) = 288
Subject index = 306
Author index = 309
General analytical and historical introduction = 1
Part I
1. Milton and Byron = 19
2. Byron, mobility, and the poetics of historical ventriloquism = 36
3. 'My brain is feminine': Byron and the poetry of deception = 53
4. What difference do the circumstances of publication make to the interpretation of a literary work? = 77
5. Byron and the anonymous lyric = 93
6. Byron and 'the truth in masquerade' = 113
7. Private poetry, public deception = 141
8. Hero with a thousand faces: the rhetoric of Byronism = 160
9. Byron and the lyric of sensibility = 173
Part II
10. A point of reference = 205
11. History, herstory, theirstory, ourstory = 223
12. Literature, meaning, and the discontinuity of fact = 231
13. Rethinking romanticism = 236
14. An interview with Jerome McGann = 256
15. Poetry, 1780-1832 = 266
16. Byron and romanticism, a dialogue (Jerome McGann and the editor, James Soderholm) = 288
Subject index = 306
Author index = 309