He is also a Romantic paradox: a leader of the era’s poetic revolution, he named Alexander Pope as his master; a worshiper of the ideal, he never lost touch with reality; a deist and freethinker, he retained from his youth a Calvinist sense of original sin; a peer of the realm, he championed liberty in his works and deeds, giving money, time, energy, and finally his life to the Greek war of independence.
His faceted personality found expression in satire, verse narrative, ode, lyric, speculative drama, historical tragedy, confessional poetry, dramatic monologue, seriocomic epic, and voluminous correspondence, written in Spenserian stanzas, heroic couplets, blank verse, terza rima, ottava rima, and vigorous prose.
Years later he told Thomas Medwin that all his "fables about the celestial nature of women" originated from "the perfection" his imagination created in Mary Chaworth.
Early in 1804 he began an intimate correspondence with his half sister, Augusta, five years his senior.
The profligate captain squandered his wife’s inheritance, was absent for the birth of his only son, and eventually decamped for France, an exile from English creditors, where he died in 1791 at thirty-six, the mortal age for both the poet and his daughter Ada.
Besides renewing acquaintances, he formed an enduring friendship with John Cam Hobhouse—his beloved "Hobby." Inclined to liberalism in politics, Byron joined Hobhouse in the Cambridge Whig Club.The new poems in this first public volume of his poetry are little more than schoolboy translations from the classics and imitations of such pre-Romantics as Thomas Gray, Thomas Chatterton, Robert Burns, and James Macpherson’s Ossian, and of contemporaries including Walter Scott and Thomas Moore.