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University of Virginia Library

The works of Lord Byron

A new, revised and enlarged edition, with illustrations. Edited by Ernest Hartley Coleridge and R. E. Prothero

Byron, George Gordon Byron (1788-1824)

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I.

Vol. I. HOURS OF IDLENESS AND OTHER EARLY POEMS.

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Fugitive Pieces.

ON LEAVING NEWSTEAD ABBEY.

ON THE DEATH OF A YOUNG LADY, COUSIN TO THE AUTHOR, AND VERY DEAR TO HIM.

FRAGMENTS OF SCHOOL EXERCISES: FROM THE “PROMETHEUS VINCTUS” OF ÆSCHYLUS.

ON A CHANGE OF MASTERS AT A GREAT PUBLIC SCHOOL.

EPITAPH ON A BELOVED FRIEND.

ADRIAN'S ADDRESS TO HIS SOUL WHEN DYING.

ON A DISTANT VIEW OF THE VILLAGE AND SCHOOL OF HARROW ON THE HILL, 1806.

THOUGHTS SUGGESTED BY A COLLEGE EXAMINATION.

ON THE DEATH OF MR. FOX

TO A LADY WHO PRESENTED TO THE AUTHOR A LOCK OF HAIR BRAIDED WITH HIS OWN, AND APPOINTED A NIGHT IN DECEMBER TO MEET HIM IN THE GARDEN.

TO A BEAUTIFUL QUAKER.

AN OCCASIONAL PROLOGUE,

REPLY TO SOME VERSES OF J. M. B. PIGOT, ESQ., ON THE CRUELTY OF HIS MISTRESS.

GRANTA. A MEDLEY.

TO THE SIGHING STREPHON.

LINES ADDRESSED TO A YOUNG LADY.

TRANSLATION FROM CATULLUS.

TRANSLATION OF THE EPITAPH ON VIRGIL AND TIBULLUS, BY DOMITIUS MARSUS.

IMITATION OF TIBULLUS.

TRANSLATION FROM CATULLUS.

IMITATED FROM CATULLUS.

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Poems on Various Occasions.

STANZAS TO A LADY, WITH THE POEMS OF CAMOËNS.

TRANSLATION FROM HORACE.

THE FIRST KISS OF LOVE.

CHILDISH RECOLLECTIONS.

ANSWER TO A BEAUTIFUL POEM, WRITTEN BY MONTGOMERY, AUTHOR OF “THE WANDERER OF SWITZERLAND,” ETC., ENTITLED “THE COMMON LOT.”

LOVE'S LAST ADIEU.

ANSWER TO SOME ELEGANT VERSES SENT BY A FRIEND TO THE AUTHOR, COMPLAINING THAT ONE OF HIS DESCRIPTIONS WAS RATHER TOO WARMLY DRAWN.

ELEGY ON NEWSTEAD ABBEY.

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Hours of Idleness.

TO GEORGE, EARL DELAWARR.

TRANSLATION FROM ANACREON.

THE EPISODE OF NISUS AND EURYALUS.

TRANSLATION FROM THE “MEDEA” OF EURIPIDES [Ll. 627–660].

THE DEATH OF CALMAR AND ORLA.

TO EDWARD NOEL LONG, ESQ.

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Poems Original and Translated.

WHEN I ROVED A YOUNG HIGHLANDER.

TO THE DUKE OF DORSET.

TO THE EARL OF CLARE.

I WOULD I WERE A CARELESS CHILD.

LINES WRITTEN BENEATH AN ELM IN THE CHURCHYARD OF HARROW.

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Early poems from Various Sources.

TO A KNOT OF UNGENEROUS CRITICS.

SOLILOQUY OF A BARD IN THE COUNTRY.

L'AMITIÉ EST L'AMOUR SANS AILES.

THE PRAYER OF NATURE.

TRANSLATION FROM ANACREON.

[OSSIAN'S ADDRESS TO THE SUN IN “CARTHON.”]

[PIGNUS AMORIS.]

[A WOMAN'S HAIR.]

STANZAS TO JESSY.

ON THE EYES OF MISS A--- H---

TO A VAIN LADY.

EGOTISM. A LETTER TO J. T. BECHER.

TO THE AUTHOR OF A SONNET

ON FINDING A FAN.

FAREWELL TO THE MUSE.

TO AN OAK AT NEWSTEAD.

ON REVISITING HARROW.

QUERIES TO CASUISTS.

THERE WAS A TIME, I NEED NOT NAME.

AND WILT THOU WEEP WHEN I AM LOW?

REMIND ME NOT, REMIND ME NOT.

TO A YOUTHFUL FRIEND.

LINES INSCRIBED UPON A CUP FORMED FROM A SKULL.

WELL! THOU ART HAPPY.

INSCRIPTION ON THE MONUMENT OF A NEWFOUNDLAND DOG.

FILL THE GOBLET AGAIN.

STANZAS TO A LADY, ON LEAVING ENGLAND.

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ENGLISH BARDS, AND SCOTCH REVIEWERS; BY LORD BYRON.

HINTS FROM HORACE:

THE CURSE OF MINERVA.

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THE WALTZ: By Horace Hornem, Esq.

To THE PUBLISHER.

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II.

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CHILDE HAROLD'S PILGRIMAGE.

Preface [To the first and second cantos.]

I.

CANTO THE FIRST.

2.

CANTO THE SECOND.

3.

CANTO THE THIRD.

4.

CANTO THE FOURTH.

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III.

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POEMS 1809–1813.

THE GIRL OF CADIZ.

LINES WRITTEN IN AN ALBUM, AT MALTA.

STANZAS COMPOSED DURING A THUNDERSTORM.

STANZAS WRITTEN IN PASSING THE AMBRACIAN GULF.

THE SPELL IS BROKE, THE CHARM IS FLOWN!

WRITTEN AFTER SWIMMING FROM SESTOS TO ABYDOS.

LINES IN THE TRAVELLERS' BOOK AT ORCHOMENUS.

MAID OF ATHENS, ERE WE PART.

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FRAGMENT FROM THE “MONK OF ATHOS.”

1.

2.

3.

LINES WRITTEN BENEATH A PICTURE.

TRANSLATION OF THE FAMOUS GREEK WAR SONG, “Δευτε παιδες των Ελληνων.”

TRANSLATION OF THE ROMAIC SONG, “Μπενω μεσ' το περιβολι, Ωραιοτατη Χαηδη,” κ.τ.λ.

FAREWELL TO MALTA.

NEWSTEAD ABBEY.

EPISTLE TO A FRIEND,

AWAY, AWAY, YE NOTES OF WOE!

ONE STRUGGLE MORE, AND I AM FREE.

AND THOU ART DEAD, AS YOUNG AND FAIR.

LINES TO A LADY WEEPING.

IF SOMETIMES IN THE HAUNTS OF MEN.

ON A CORNELIAN HEART WHICH WAS BROKEN.

THE CHAIN I GAVE.

LINES WRITTEN ON A BLANK LEAF OF THE PLEASURES OF MEMORY.

ADDRESS, SPOKEN AT THE OPENING OF DRURY-LANE THEATRE, SATURDAY, OCTOBER 10, 1812.

PARENTHETICAL ADDRESS.

VERSES FOUND IN A SUMMER-HOUSE AT HALES-OWEN.

REMEMBER THEE! REMEMBER THEE!

TRANSLATION OF A ROMAIC LOVE SONG.

THOU ART NOT FALSE, BUT THOU ART FICKLE.

ON BEING ASKED WHAT WAS THE “ORIGIN OF LOVE.”

ON THE QUOTATION, “And my true faith can alter never, Though thou art gone perhaps for ever.”

REMEMBER HIM, WHOM PASSION'S POWER.

IMPROMPTU, IN REPLY TO A FRIEND.

FROM THE PORTUGUESE.

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THE BRIDE OF ABYDOS.

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1.

CANTO THE FIRST.

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

2.

CANTO THE SECOND.

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1.

CANTO THE FIRST.

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

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2.

CANTO THE SECOND.

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

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3.

CANTO THE THIRD.

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

XVIII.

XIX.

XX.

XXI.

XXII.

XXIII.

XXIV.

ODE TO NAPOLEON BUONAPARTE.

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1.

CANTO THE FIRST.

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

XVIII.

XIX.

XX.

XXI.

XXII.

XXIII.

XXIV.

XXV.

XXVI.

XXVII.

XXVIII.

XXIX.

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2.

CANTO THE SECOND.

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

XVIII.

XIX.

XX.

XXI.

XXII.

XXIII.

XXIV.

XXV.

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HEBREW MELODIES.

SHE WALKS IN BEAUTY.

THE HARP THE MONARCH MINSTREL SWEPT.

IF THAT HIGH WORLD.

THE WILD GAZELLE.

OH! WEEP FOR THOSE.

ON JORDAN'S BANKS.

JEPHTHA'S DAUGHTER.

OH! SNATCHED AWAY IN BEAUTY'S BLOOM.

MY SOUL IS DARK.

I SAW THEE WEEP.

THY DAYS ARE DONE.

SONG OF SAUL BEFORE HIS LAST BATTLE.

“ALL IS VANITY, SAITH THE PREACHER.”

WHEN COLDNESS WRAPS THIS SUFFERING CLAY.

VISION OF BELSHAZZAR.

SUN OF THE SLEEPLESS!

WERE MY BOSOM AS FALSE AS THOU DEEM'ST IT TO BE.

HEROD'S LAMENT FOR MARIAMNE.

ON THE DAY OF THE DESTRUCTION OF JERUSALEM BY TITUS.

BY THE RIVERS OF BABYLON WE SAT DOWN AND WEPT.

“BY THE WATERS OF BABYLON.”

THE DESTRUCTION OF SENNACHERIB.

A SPIRIT PASSED BEFORE ME.

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POEMS 1814–1816.

FAREWELL! IF EVER FONDEST PRAYER.

WHEN WE TWO PARTED.

[LOVE AND GOLD.]

STANZAS FOR MUSIC.

ADDRESS INTENDED TO BE RECITED AT THE CALEDONIAN MEETING.

ELEGIAC STANZAS ON THE DEATH OF SIR PETER PARKER, BART.

JULIAN [A FRAGMENT].

STANZAS FOR MUSIC.

ON THE DEATH OF THE DUKE OF DORSET.

STANZAS FOR MUSIC.

NAPOLEON'S FAREWELL.

FROM THE FRENCH.

ODE FROM THE FRENCH.

STANZAS FOR MUSIC.

ON THE STAR OF “THE LEGION OF HONOUR.”

STANZAS FOR MUSIC.

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THE SIEGE OF CORINTH.

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

XVIII.

XIX.

XX.

XXI.

XXII.

XXIII.

XXIV.

XXV.

XXVI.

XXVII.

XXVIII.

XXIX.

XXX.

XXXI.

XXXII.

XXXIII.

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I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

XVIII.

XIX.

XX.

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POEMS OF THE SEPARATION.

FARE THEE WELL.

STANZAS TO AUGUSTA.

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IV.

THE PRISONER OF CHILLON.

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POEMS OF JULY—SEPTEMBER, 1816.

CHURCHILL'S GRAVE,

SONNET TO LAKE LEMAN.

STANZAS TO AUGUSTA.

EPISTLE TO AUGUSTA.

LINES ON HEARING THAT LADY BYRON WAS ILL.

MONODY ON THE DEATH OF THE RIGHT HON. R. B. SHERIDAN,

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I.

I.

II.

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II.

I.

II.

III.

IV.

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III.

I.

II.

III.

IV.

THE LAMENT OF TASSO.

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I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

XVIII.

XIX.

XX.

THE PROPHECY OF DANTE.

THE MORGANTE MAGGIORE

FRANCESCA OF RIMINI.

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MARINO FALIERO,

DRAMATIS PERSONÆ.

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I.

I.

II.

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II.

I.

II.

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III.

I.

II.

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IV.

I.

II.

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V.

I.

II.

III.

IV.

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THE VISION OF JUDGMENT.

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

XVIII.

XIX.

XX.

XXI.

XXII.

XXIII.

XXIV.

XXV.

XXVI.

XXVII.

XXVIII.

XXIX.

XXX.

XXXI.

XXXII.

XXXIII.

XXXIV.

XXXV.

XXXVI.

XXXVII.

XXXVIII.

XXXIX.

XL.

XLI.

XLII.

XLIII.

XLIV.

XLV.

XLVI.

XLVII.

XLVIII.

XLIX.

L.

LI.

LII.

LIII.

LIV.

LV.

LVI.

LVII.

LVIII.

LIX.

LX.

LXI.

LXII.

LXIII.

LXIV.

LXV.

LXVI.

LXVII.

LXVIII.

LXIX.

LXX.

LXXI.

LXXII.

LXXIII.

LXXIV.

LXXV.

LXXVI.

LXXVII.

LXXVIII.

LXXIX.

LXXX.

LXXXI.

LXXXII.

LXXXIII.

LXXXIV.

LXXXV.

LXXXVI.

LXXXVII.

LXXXVIII.

LXXXIX.

XC.

XCI.

XCII.

XCIII.

XCIV.

XCV.

XCVI.

XCVII.

XCVIII.

XCIX.

C.

CI.

CII.

CIII.

CIV.

CV.

CVI.

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POEMS 1816–1823.

A VERY MOURNFUL BALLAD ON THE SIEGE AND CONQUEST OF ALHAMA.

TRANSLATION FROM VITTORELLI.

ON THE BUST OF HELEN BY CANOVA.

VENICE. A FRAGMENT.

SO WE'LL GO NO MORE A-ROVING.

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[LORD BYRON'S VERSES ON SAM ROGERS.]

STANZAS TO THE PO.

SONNET ON THE NUPTIALS OF THE MARQUIS ANTONIO CAVALLI WITH THE COUNTESS CLELIA RASPONI OF RAVENNA.

SONNET TO THE PRINCE REGENT.

ODE TO A LADY WHOSE LOVER WAS KILLED BY A BALL, WHICH AT THE SAME TIME SHIVERED A PORTRAIT NEXT HIS HEART.

THE IRISH AVATAR.

STANZAS WRITTEN ON THE ROAD BETWEEN FLORENCE AND PISA.

STANZAS TO A HINDOO AIR.

TO THE COUNTESS OF BLESSINGTON.

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1.

ECLOGUE THE FIRST.

2.

ECLOGUE THE SECOND.

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V.

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DRAMATIS PERSONÆ.

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I.

I.

II.

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II.

I.

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III.

I.

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IV.

I.

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V.

I.

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THE TWO FOSCARI:

DRAMATIS PERSONÆ.

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I.

I.

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II.

I.

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III.

I.

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IV.

I.

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V.

I.

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DRAMATIS PERSONÆ.

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I.

I.

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II.

I.

II.

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III.

I.

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HEAVEN AND EARTH;

DRAMATIS PERSONÆ.

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I.

I.

II.

III.

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DRAMATIS PERSONÆ.

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I.

I.

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II.

I.

II.

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III.

I.

II.

III.

IV.

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IV.

I.

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V.

I.

II.

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I.

I.

II.

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THE DEFORMED TRANSFORMED:

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I.

I.

II.

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II.

I.

II.

III.

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III.

I.

III.

FRAGMENT OF THE THIRD PART OF THE DEFORMED TRANSFORMED.

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THE AGE OF BRONZE;

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

XVIII.

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1.

CANTO THE FIRST.

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

2.

CANTO THE SECOND.

3.

CANTO THE THIRD.

4.

CANTO THE FOURTH.

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7.

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JEUX D'ESPRIT AND MINOR POEMS, 1798–1824.

EPIGRAM ON AN OLD LADY WHO HAD SOME CURIOUS NOTIONS RESPECTING THE SOUL.

EPITAPH ON JOHN ADAMS, OF SOUTHWELL,

A VERSION OF OSSIAN'S ADDRESS TO THE SUN.

LINES TO MR. HODGSON.

[TO DIVES. A FRAGMENT.]

FAREWELL PETITION TO J. C. H., ESQRE.

TRANSLATION OF THE NURSE'S DOLE IN THE MEDEA OF EURIPIDES.

SUBSTITUTE FOR AN EPITAPH.

EPITAPH FOR JOSEPH BLACKET, LATE POET AND SHOEMAKER.

ON MOORE'S LAST OPERATIC FARCE, OR FARCICAL OPERA.

[R. C. DALLAS.]

AN ODE TO THE FRAMERS OF THE FRAME BILL.

TO THE HONBLE. MRS. GEORGE LAMB.

TO THOMAS MOORE.

ON LORD THURLOW'S POEMS.

TO LORD THURLOW.

THE DEVIL'S DRIVE.

WINDSOR POETICS.

[Another Version.] ON A ROYAL VISIT TO THE VAULTS.

CONDOLATORY ADDRESS

FRAGMENT OF AN EPISTLE TO THOMAS MOORE.

ANSWER TO ---'S PROFESSIONS OF AFFECTION.

ON NAPOLEON'S ESCAPE FROM ELBA.

ENDORSEMENT TO THE DEED OF SEPARATION, IN THE APRIL OF 1816.

[TO GEORGE ANSON BYRON (?)]

SONG FOR THE LUDDITES.

TO THOMAS MOORE.

QUEM DEUS VULT PERDERE PRIUS DEMENTAT.

TO THOMAS MOORE.

EPISTLE FROM MR. MURRAY TO DR. POLIDORI.

EPISTLE TO MR. MURRAY.

ON THE BIRTH OF JOHN WILLIAM RIZZO HOPPNER.

[E NIHILO NIHIL;

BALLAD. TO THE TUNE OF “SALLEY IN OUR ALLEY.”

ANOTHER SIMPLE BALLAT.

EPIGRAM. FROM THE FRENCH OF RULHIERES.

ON MY WEDDING-DAY.

EPITAPH FOR WILLIAM PITT.

MY BOY HOBBIE O.

LINES ADDRESSED BY LORD BYRON TO MR. HOBHOUSE ON HIS ELECTION FOR WESTMINSTER.

A VOLUME OF NONSENSE.

THE CHARITY BALL.

EPIGRAM ON THE BRAZIERS' ADDRESS TO BE PRESENTED IN ARMOUR BY THE COMPANY TO QUEEN CAROLINE.

ON MY THIRTY-THIRD BIRTHDAY.

MARTIAL, Lib. I. Epig. I.

BOWLES AND CAMPBELL.

FROM THE FRENCH.

[NAPOLEON'S SNUFF-BOX.]

THE NEW VICAR OF BRAY.

LUCIETTA. A FRAGMENT.

JOURNAL IN CEPHALONIA.

SONG TO THE SULIOTES.

[LOVE AND DEATH.]

LAST WORDS ON GREECE.

ON THIS DAY I COMPLETE MY THIRTY-SIXTH YEAR.

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IX.

Unlike the heroes of each ancient race,
Demons in act, but Gods at least in face,
In Conrad's form seems little to admire,
Though his dark eyebrow shades a glance of fire:
Robust but not Herculean—to the sight
No giant frame sets forth his common height;
Yet, in the whole, who paused to look again,
Saw more than marks the crowd of vulgar men;
They gaze and marvel how—and still confess
That thus it is, but why they cannot guess.
Sun-burnt his cheek, his forehead high and pale
The sable curls in wild profusion veil;
And oft perforce his rising lip reveals
The haughtier thought it curbs, but scarce conceals.
Though smooth his voice, and calm his general mien,
Still seems there something he would not have seen:
His features' deepening lines and varying hue
At times attracted, yet perplexed the view,
As if within that murkiness of mind
Worked feelings fearful, and yet undefined;
Such might it be—that none could truly tell—
Too close inquiry his stern glance would quell.
There breathe but few whose aspect might defy
The full encounter of his searching eye;
He had the skill, when Cunning's gaze would seek

235

To probe his heart and watch his changing cheek,
At once the observer's purpose to espy,
And on himself roll back his scrutiny,
Lest he to Conrad rather should betray
Some secret thought, than drag that Chief's to day.
There was a laughing Devil in his sneer,
That raised emotions both of rage and fear;
And where his frown of hatred darkly fell,
Hope withering fled—and Mercy sighed farewell!

That Conrad is a character not altogether out of nature, I shall attempt to prove by some historical coincidences which I have met with since writing The Corsair.

“Eccelin, prisonnier,” dit Rolandini, “s'enfermoit dans un silence menacant; il fixoit sur la terre son visage féroce, et ne donnoit point d'essor à sa profonde indignation. De toutes partes cependant les soldats et les peuples accouroient; ils vouloient voir cet homme, jadis si puissant ... et la joie universelle éclatoit de toutes partes. ... Eccelino étoit d'une petite taille; mais tout l'aspect de sa personne, tous ses mouvemens, indiquoient un soldat. Son langage étoit amer, son déportement superbe, et par son seul regard, il faisoit trembler les plus hardis.”—Simonde de Sismondi, Histoire des Républiques Italiennes du Moyen Age, 1809, iii. 219.

Again, “Gizericus ... staturâ mediocris, et equi casu claudicans, animo profundus, sermone ratus, luxuriæ contemptor, irâ turbidus, habendi cupidus, ad sollicitandas gentes providentissimus,” etc., etc.—Jornandes, De Getarum Origine (“De Rebus Geticis”), cap. 33, ed. 1597, p. 92.

I beg leave to quote those gloomy realities to keep in countenance my Giaour and Corsair.