摘要
Byron＇s literary fortune in China starts with the debut of ＂The Isles of Greece＂ in the opening of the twentieth century. Even though such reading proves to be deliberate misreading, no serious effort has been made so far to explore the contextual ambiguities of the poem with particular regard to the identity of the singer. In this paper, I intend to take three steps to discuss how the identity of the singer varies with the context and how his shifting identity affects the meaning of the lyric. As a rich locus of historicity, ＂The Isles of Greece,＂ together with its preamble and its concluding notes, may project up multiple layers of a romantic cosmos ; and its reading in China is a typical example of ＂culture in action. ＂
