Abstract
It is conventional to take Byron as a veritable Janus of the romantic period, looking toward the classicism of the past even while facing away from it as an authentic figure of his time. The classical Byron himself is seen under two aspects, satirical and dramatic, and these are distinguished from each other on the following grounds: Byron's classical satires, such as English Bards, are traced back to Pope, but his classical dramas, such as Sardanapalus, are supposed to reflect Greek, French, or Italian antecedents; and the classical satires belong essentially to Byron's earlier career, the classical dramas to his later career. This paper focuses on the peculiar classicism of Byron's drama, the classicism of his maturer work, and that which, as far as his total work is concerned, he most stoutly defended.
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