Skip directly to:Main content Main navigation

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)

collapse section

I.

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

collapse section

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.

collapse section

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.

collapse section

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.

collapse section

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.

collapse section

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.

collapse section

ENGLISH BARDS, AND SCOTCH REVIEWERS; BY LORD BYRON.

HINTS FROM HORACE:

THE CURSE OF MINERVA.

collapse section

THE WALTZ: By Horace Hornem, Esq.

To THE PUBLISHER.

collapse section

II.

collapse section

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.

collapse section

III.

collapse section

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.

collapse section

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.

collapse section

THE BRIDE OF ABYDOS.

collapse section

1.

CANTO THE FIRST.

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

2.

CANTO THE SECOND.

collapse section

collapse section

1.

CANTO THE FIRST.

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

collapse section

2.

CANTO THE SECOND.

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIII.

XIV.

XV.

XVI.

collapse section

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.

collapse section

collapse section

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.

collapse section

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.

collapse section

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.

collapse section

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.

collapse section

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.

collapse section

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

XVIII.

XIX.

XX.

collapse section

POEMS OF THE SEPARATION.

FARE THEE WELL.

STANZAS TO AUGUSTA.

collapse section

IV.

THE PRISONER OF CHILLON.

collapse section

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,

collapse section

collapse section

I.

I.

II.

collapse section

II.

I.

II.

III.

IV.

collapse section

III.

I.

II.

III.

IV.

THE LAMENT OF TASSO.

collapse section

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.

collapse section

MARINO FALIERO,

DRAMATIS PERSONÆ.

collapse section

I.

I.

II.

collapse section

II.

I.

II.

collapse section

III.

I.

II.

collapse section

IV.

I.

II.

collapse section

V.

I.

II.

III.

IV.

collapse section

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.

collapse section

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.

collapse section

[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.

collapse section

1.

ECLOGUE THE FIRST.

2.

ECLOGUE THE SECOND.

collapse section

V.

collapse section

DRAMATIS PERSONÆ.

collapse section

I.

I.

II.

collapse section

II.

I.

collapse section

III.

I.

collapse section

IV.

I.

collapse section

V.

I.

collapse section

THE TWO FOSCARI:

DRAMATIS PERSONÆ.

collapse section

I.

I.

collapse section

II.

I.

collapse section

III.

I.

collapse section

IV.

I.

collapse section

V.

I.

collapse section

DRAMATIS PERSONÆ.

collapse section

I.

I.

collapse section

II.

I.

II.

collapse section

III.

I.

collapse section

HEAVEN AND EARTH;

DRAMATIS PERSONÆ.

collapse section

I.

I.

II.

III.

collapse section

DRAMATIS PERSONÆ.

collapse section

I.

I.

collapse section

II.

I.

II.

collapse section

III.

I.

II.

III.

IV.

collapse section

IV.

I.

collapse section

V.

I.

II.

collapse section

collapse section

I.

I.

II.

collapse section

THE DEFORMED TRANSFORMED:

collapse section

I.

I.

II.

collapse section

II.

I.

II.

III.

collapse section

III.

I.

III.

FRAGMENT OF THE THIRD PART OF THE DEFORMED TRANSFORMED.

collapse section

THE AGE OF BRONZE;

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

XVIII.

collapse section

collapse section

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.

collapse section

7.

collapse section

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.

collapse section

Collapse All | Expand All expand section

XIII.

She gazed in wonder, “Can he calmly sleep,
While other eyes his fall or ravage weep?
And mine in restlessness are wandering here—
What sudden spell hath made this man so dear?
True—'tis to him my life, and more, I owe,
And me and mine he spared from worse than woe:
'Tis late to think—but soft—his slumber breaks—
How heavily he sighs!—he starts—awakes!”
He raised his head, and dazzled with the light,
His eye seemed dubious if it saw aright:
He moved his hand—the grating of his chain
Too harshly told him that he lived again.
“What is that form? if not a shape of air,
Methinks, my jailor's face shows wondrous fair!”

265

“Pirate! thou know'st me not, but I am one,
Grateful for deeds thou hast too rarely done;
Look on me—and remember her, thy hand
Snatched from the flames, and thy more fearful band.
I come through darkness—and I scarce know why—
Yet not to hurt—I would not see thee die.”

“If so, kind lady! thine the only eye
That would not here in that gay hope delight:
Theirs is the chance—and let them use their right.
But still I thank their courtesy or thine,
That would confess me at so fair a shrine!”

Strange though it seem—yet with extremest grief
Is linked a mirth—it doth not bring relief—
That playfulness of Sorrow ne'er beguiles,
And smiles in bitterness—but still it smiles;
And sometimes with the wisest and the best,
Till even the scaffold echoes with their jest!
Yet not the joy to which it seems akin—
It may deceive all hearts, save that within.
Whate'er it was that flashed on Conrad, now
A laughing wildness half unbent his brow:
And these his accents had a sound of mirth,
As if the last he could enjoy on earth;
Yet 'gainst his nature—for through that short life,
Few thoughts had he to spare from gloom and strife.

In Sir Thomas More, for instance, on the scaffold, and Anne Boleyn, in the Tower, when, grasping her neck, she remarked, that it “was too slender to trouble the headsman much.” During one part of the French Revolution, it became a fashion to leave some “mot” as a legacy; and the quantity of facetious last words spoken during that period would form a melancholy jest-book of a considerable size.