By Tom Mole (auth.)
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Extra info for Byron’s Romantic Celebrity: Industrial Culture and the Hermeneutic of Intimacy
After the committee stage, the House hears a report of what happened at that stage, for the benefit of those Lords who did not attend. This usually takes place some weeks later except for bills that are felt to be urgent. For the Frame Bill it happened the very next day, Tuesday, when Lord Walsingham reported amendments to the Bill. Byron scholars have described this stage incorrectly. Both D. N. Raymond in The Political Career of Lord Byron and, following her, Jerome McGann in his commentary to Byron's Complete Poetical Works write that the offence of framebreaking was reduced from a felony to a misdemeanour.?
On the following day the Bill was due to be raised 'An Ode to the Framers of the Frame Bill' 35 in the House again, and put into committee. Lauderdale and Rosslyn would enter their protest against it, as Byron may well have known. He wanted the poem's stinging satire to be ringing in their Lordships' ears as they debated. The ode satirically celebrates the achievement of the Lord Chancellor, Lord Eldon, and the Home Secretary, Richard Ryder, in coming up with such a solution to the problem of the troublesome weavers.
But although she will not lament the loss of her lover in verse, her sorrow will apparently make itself visible on her body: Yes, in silence, proud silence, I'll muse o'er his worth, Though reflection shall steal the faint Rose from my cheek, Though my eye's faded lustre its poison shall speak, And my heart-bursting sighs bend my frame to the earth! (29-32) While suggesting that her sorrow lies too deep for words, the speaker invites us to read it in her cheek, her eyes and her sighs. Using a strategy similar to Byron's (see Chapter 4), Robinson constructs a speaker who's associated with herself, hints at a hidden pain and suggests that readers can understand that pain by gazing at her, at the same time as she was being represented in frontispieces and portraits.