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In other words, the dialectic constituting the reading experience is itself a (cognitive) performance space, and as such presupposes a performance context.
Understanding the poem more fully, then, involves a textual analysis that is coupled with a study of the poems performance contexts.
For example, Sir Thomas Noon Talfourd noted a particular occasion sometime between 18: one morning to Lord Byron, in his lordship's house in Piccadilly, when I happened to be in another room.
I remember the other's coming away from him, highly struck with his poem, and saying how wonderfully he talked.
We cannot know if the poem initially had textual supplements; but the 1810 autographed Crew Manuscript contains a short explanatory endnote, and the published 1816 manuscript begins with an elaborate preface.If we analyze the subtitle and preface as metalinguistic keys to the poem's interpretive and performative context, we will discover that the poem is not about imaginative redemption or Romantic irony.