nd. By the mid-20th cent. his reputation as a poet had been eclipsed by growing critical recognition of his talents as a wit and satirist (Eisler 16).
             Byron's poetry covers a wide range. In English Bards and Scotch Reviewers and in The Vision of Judgment (1822) he wrote 18th-century satire. He also created the Byronic hero, who appears consummately in the Faustian tragedy Manfred (1817)-a mysterious, lonely, defiant figure whose past hides some great crime. Cain (1821) raised a storm of abuse for its skeptical attitude toward religion. The verse tale Beppo is in the ottava rima (eight-line stanzas in iambic pentameter) that Byron later used for his acknowledged masterpiece Don Juan (1819-24), an epic-satire combining Byron's art as a storyteller, his lyricism, his cynicism, and his detestation of convention (Eisler 25).
             T.S. Eliot said, ¡°Of Byron one can say, as of no other English poet of his eminence, that he added nothing to the language, that he discovered nothing in the sounds, and developed nothing in the meaning, of individual words. I cannot think of any other poet of his distinction who might so easily have been an accomplished foreigner writing in Engl
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