In a marginal note of 1807, Coleridge writes: ‘who shall dare say of yon river, such & such a wave came from such a fountain? What Scholar […] shall say—Such a conviction, such a moral feeling, I received from St John/ such & such from Seneca, or Epictetus?’1 An essay of the kind presented here – which pursues how elements of form and style in Byron’s verse manifest in British poetry since the 1940s – contends with a similar issue. Cultural currents flow mixedly in poetry, and to discover a ‘Byronic’ characteristic in modern verse may not be to prove direct readerly influence. That is why, in part, I refer to inflection – which preserves a certain agnosticism – as the more accommodating term for the Byronic traces I have recognised: those observable variations in the practice of poetry that, however obliquely, respond in some way to Byron’s own. That response may involve a deliberate engagement with Byron’s work (and often does), but it may also be more implicit: a response to the less obvious but nonetheless palpable effects that Byron’s poetry has had on the possibilities of language and poetry, as they have been perceived since the mid-twentieth century. These inflections reveal the latent presence of Byron’s poetics the way iron filings reveal the presence of a magnetic field.