Chapter I: Preface: To the Third Volume

The present volume contains the six metrical tales which were composed within the years 1812 and 1815, the _Hebrew Melodies_, and the minor poems of 1809-1816. With the exception of the first fifteen poems (1809-1811)--_Chansons de Voyage_, as they might be called--the volume as a whole was produced on English soil. Beginning with the _Giaour_; which followed in the wake of _Childe Harold_ and shared its triumph, and ending with the ill-omened _Domestic Pieces_, or _Poems of the Separation_, the poems which Byron wrote in his own country synchronize with his popularity as a poet by the acclaim and suffrages of his own countrymen. His greatest work, by which his lasting fame has been established, and by which his relative merits as a great poet will be judged in the future, was yet to come; but the work which made his name, which is stamped with his sign-manual, and which has come to be regarded as distinctively and characteristically Byronic, preceded maturity and achievement.

No poet of his own or other times, not Walter Scott, not Tennyson, not Mr. Kipling, was ever in his own lifetime so widely, so amazingly popular. Thousands of copies of the "Tales"--of the _Bride of Abydos_, of the _Corsair_, of _Lara_--were sold in a day, and edition followed edition month in and month out. Everywhere men talked about the "noble author"--in the capitals of Europe, in literary circles in the United States, in the East Indies. He was "the glass of fashion ... the observ'd of all observers," the swayer of sentiment, the master and creator of popular emotion. No other English poet before or since has divided men's attention with generals and sea-captains and statesmen, has attracted and fascinated and overcome the world so entirely and potently as Lord Byron.

It was _Childe Harold_, the unfinished, immature _Childe Harold_, and the Turkish and other "Tales," which raised this sudden and deafening storm of applause when the century was young, and now, at its close (I refer, of course, to the Tales, not to Byron's poetry as a whole, which, in spite of the critics, has held and still holds its own), are ignored if not forgotten, passed over if not despised--which but few know thoroughly, and "very few" are found to admire or to love. _Ubi lapsus, quid feci?_ might the questioning spirit of the author exclaim with regard to his "Harrys and Larrys, Pilgrims and Pirates," who once held the field, and now seem to have gone under in the struggle for poetical existence!

To what, then, may we attribute the passing away of interest and enthusiasm? To the caprice of fashion, to an insistence on a more faultless _technique_, to a nicer taste in ethical sentiment, to a preference for a subtler treatment of loftier themes? More certainly, and more particularly, I think, to the blurring of outline and the blotting out of detail due to lapse of time and the shifting of the intellectual standpoint.

However much the charm of novelty and the contagion of enthusiasm may have contributed to the success of the Turkish and other Tales, it is in the last degree improbable that our grandfathers and great-grandfathers were enamoured, not of a reality, but of an illusion born of ignorance or of vulgar bewilderment. They were carried away because they breathed the same atmosphere as the singer; and being undistracted by ethical, or grammatical, or metrical offences, they not only read these poems with avidity, but understood enough of what they read to be touched by their vitality, to realize their verisimilitude.

_Tout comprendre c'est tout pardonner._ Nay, more, the knowledge, the comprehension of essential greatness in art, in nature, or in man is not to know that there is aught to forgive. But that sufficing knowledge which the reader of average intelligence brings with him for the comprehension and appreciation of contemporary literature has to be bought at the price of close attention and patient study when the subject-matter of a poem and the modes and movements of the poet's consciousness are alike unfamiliar.

Criticism, however subtle, however suggestive, however luminous, will not bridge over the gap between the past and the present, will not supply the sufficing knowledge. It is delightful and interesting and, in a measure, instructive to know what great poets of his own time and of ours have thought of Byron, how he "strikes" them; but unless we are ourselves saturated with his thought and style, unless we learn to breathe his atmosphere by reading the books which he read, picturing to ourselves the scenes which he saw,--unless we aspire to his ideals and suffer his limitations, we are in no way entitled to judge his poems, whether they be good or bad.

Byron's metrical "Tales" come before us in the guise of light reading, and may be "easily criticized" as melo-dramatic--the heroines conventional puppets, the heroes reduplicated reflections of the author's personality, the Oriental "properties" loosely arranged, and somewhat stage-worn. A thorough and sympathetic study of these once extravagantly lauded and now belittled poems will not, perhaps, reverse the deliberate judgment of later generations, but it will display them for what they are, bold and rapid and yet exact presentations of the "gorgeous East," vivid and fresh from the hand of the great artist who conceived them out of the abundance of memory and observation, and wrought them into shape with the "pen of a ready writer." They will be once more recognized as works of genius, an integral portion of our literary inheritance, which has its proper value, and will repay a more assiduous and a finer husbandry.

I have once more to acknowledge the generous assistance of the officials of the British Museum, and, more especially, of Mr. A. G. Ellis, of the Oriental Printed Books and MSS. Department, who has afforded me invaluable instruction in the compilation of the notes to the _Giaour_ and _Bride of Abydos_.

I have also to thank Mr. R. L. Binyon, of the Department of Prints and Drawings, for advice and assistance in the selection of illustrations.

I desire to express my cordial thanks to the Registrar of the Copyright Office, Stationers' Hall; to Professor Jannaris, of the University of St. Andrews; to Miss E. Dawes, M.A., D.L., of Heathfield Lodge, Weybridge; to my cousin, Miss Edith Coleridge, of Goodrest, Torquay; and to my friend, Mr. Frank E. Taylor, of Chertsey, for information kindly supplied during the progress of the work.

For many of the "parallel passages" from the works of other poets, which are to be found in the notes, I am indebted to a series of articles by A. A. Watts, in the _Literary Gazette,_ February and March, 1821; and to the notes to the late Professor E. Kolbing's _Siege of Corinth._

On behalf of the publisher, I beg to acknowledge the kindness of Lord Glenesk, and of Sir Theodore Martin, K.C.B., who have permitted the examination and collation of MSS. of the _Siege of Corinth_ and of the "Thyrza" poems, in their possession.

The original of the miniature of H.R.H. the Princess Charlotte of Wales (see p. 44) is in the Library of Windsor Castle. It has been reproduced for this volume by the gracious permission of Her Majesty the Queen.

ERNEST HARTLEY COLERIDGE.

_April_ 18, 1900.

CONTENTS OF VOL. III.

Preface to Vol. III. of the Poems v

Introduction to _Occasional Pieces_ (_Poems_ 1809-1813; _Poems_ 1814-1816) xix

Poems 1809-1813.

The Girl of Cadiz. First published in _Works of Lord Byron, 1832_, viii. 56 1

Lines written in an Album, at Malta. First published, _Childe Harold_, 1812 (4to) 4

To Florence. First published, _Childe Harold_, 1812 (4to) 5

Stanzas composed during a Thunderstorm. First published, _Childe Harold_, 1812 (4to) 7

Stanzas written in passing the Ambracian Gulf. First published, _Childe Harold_, 1812 (4to) 11

The Spell is broke, the Charm is flown! First published, _Childe Harold_, 1812 (4to) 12

Written after swimming from Sestos to Abydos. First published, _Childe Harold_, 1812 (4to) 13

Lines in the Travellers' Book at Orchomenus. First published, _Travels in Italy, Greece, etc._, by H. W. Williams, 1820, ii. 290 15

Maid of Athens, ere we part. First published, _Childe Harold_, 1812 (4to) 15

Fragment from the "Monk of Athos." First published, _Life of Lord Byron_, by the Hon. Roden Noel, 1890, pp. 206, 207 18

Lines written beneath a Picture. First published, _Childe Harold_, 1812 (4to) 19

Translation of the famous Greek War Song, [Greek: Deu~te pi~des, k.t.l.] First published, _Childe Harold_, 1812 (4to) 20

Translation of the Romaic Song, [Greek: Mne/pô mes' to\ peribo/li, k.t.l.] First published, _Childe Harold_, 1812 (4to) 22

On Parting. First published, _Childe Harold_, 1812 (4to) 23

Farewell to Malta. First published, _Poems on his Domestic Circumstances_, by W. Hone (Sixth Edition, 1816) 24

Newstead Abbey. First published, _Memoir_ of Rev. F. Hodgson, 1878, i. 187 27

Epistle to a Friend, in answer to some Lines exhorting the Author to be Cheerful, and to "banish Care." First published, _Letters and Journals_, 1830, i. 301 28

To Thyrza ["Without a stone," etc.]. First published, _Childe Harold_, 1812 (4to) 30

Stanzas ["Away, away," etc.]. First published, _Childe Harold_, 1812 (4to) 35

Stanzas ["One struggle more," etc.]. First published, _Childe Harold_, 1812 (4to) 36

Euthanasia. First published, _Childe Harold_, 1812 (Second Edition) 39

Stanzas ["And thou art dead," etc.]. First published, _Childe Harold_, 1812 (Second Edition) 41

Lines to a Lady weeping. First published, _Morning Chronicle_, March 7, 1812 45

Stanzas ["If sometimes," etc.]. First published, _Childe Harold_, 1812 (Second Edition) 46

On a Cornelian Heart which was broken. First published, _Childe Harold_, 1812 (Second Edition) 48

The Chain I gave was Fair to view. From the Turkish. First published, _Corsair_, 1814 (Second Edition) 49

Lines written on a Blank Leaf of _The Pleasures of Memory_. First published, _Poems_, 1816 50

Address, spoken at the Opening of Drury-Lane Theatre, Saturday, October 10, 1812. First published, _Morning Chronicle_, October 12, 1812 51

Parenthetical Address. By Dr. Plagiary. First published, _Morning Chronicle_, October 23, 1812 55

Verses found in a Summer-house at Hales-Owen. First published, _Works of Lord Byron_, 1832, xvii. 244 59

Remember thee! Remember thee! First published, _Conversations of Lord Byron_, 1824, p. 330 59

To Time. First published, _Childe Harold_, 1814 (Seventh Edition) 60

Translation of a Romaic Love Song. First published, _Childe Harold_, 1814 (Seventh Edition) 62

Stanzas ["Thou art not false," etc.]. First published, _Childe Harold_, 1814 (Seventh Edition) 64

On being asked what was the "Origin of Love." First published, _Childe Harold_, 1814 (Seventh Edition) 65

On the Quotation, "And my true faith," etc. _MS. M._ 65

Stanzas ["Remember him," etc.]. First published, _Childe Harold_, 1814 (Seventh Edition) 69

Impromptu, in Reply to a Friend. First published, _Childe Harold_, 1814 (Seventh Edition) 67

Sonnet. To Genevra ["Thine eyes' blue tenderness," etc.]. First published, _Corsair_, 1814 (Second Edition) 70

Sonnet. To Genevra ["Thy cheek is pale with thought," etc.]. First published, _Corsair_, 1814 (Second Edition) 71

From the Portuguese ["Tu mi chamas"]. First published, _Childe Harold_, 1814 (Seventh Edition). "Another Version." First published, 1831 71

The Giaour: A Fragment of a Turkish Tale.

Introduction to _The Giaour_ 75

Bibliographical Note on _The Giaour_ 78

Dedication 81

Advertisement 83

_The Giaour_ 85

The Bride of Abydos. A Turkish Tale.

Introduction to _The Bride of Abydos_ 149

Note to the MSS. of _The Bride of Abydos_ 151

Dedication 155

_The Bride of Abydos_. Canto the First 157

Canto the Second 178

Note to _The Bride of Abydos_ 211

The Corsair: A Tale.

Introduction to _The Corsair_ 217

Bibliographical Note on _The Corsair_ 220

Dedication 223

_The Corsair_. Canto the First 227

Canto the Second 249

Canto the Third 270

Introduction to the _Ode to Napoleon Buonaparte_ 303

_Ode to Napoleon Buonaparte_ 305

Lara: A Tale.

Introduction to _Lara_ 319

_Lara._ Canto the First 323

Canto the Second 348

Hebrew Melodies.

Introduction to the _Hebrew Melodies_ 375

Advertisement 379

She walks in Beauty 318

The Harp the Monarch Minstrel swept 382

If that High World 383

The Wild Gazelle 384

Oh! weep for those 385

On Jordan's Banks 386

Jephtha's Daughter 387

Oh! snatched away in Beauty's Bloom 388

My Soul is Dark 389

I saw thee weep 390

Thy Days are done 391

Saul 392

Song of Saul before his Last Battle 393

"All is Vanity, saith the Preacher" 394

When Coldness wraps this Suffering Clay 395

Vision of Belshazzar 397

Sun of the Sleepless! 399

Were my Bosom as False as thou deem'st it to be 399

Herod's Lament for Mariamne 400

On the Day of the Destruction of Jerusalem by Titus 401

By the Rivers of Babylon we sat down and wept 402

"By the Waters of Babylon" 404

The Destruction of Sennacherib 404

A Spirit passed before me 406

Poems 1814-1816.

Farewell! if ever Fondest Prayer. First published, _Corsair_ (Second Edition, 1814) 409

When we Two parted. First published, _Poems_, 1816 410

[Love and Gold.] _MS. M._ 411

Stanzas for Music ["I speak not, I trace not," etc.]. First published, _Fugitive Pieces_, 1829 413

Address intended to be recited at the Caledonian Meeting. First published, _Letters and Journals_, 1830, i. 559 415

Elegiac Stanzas on the Death of Sir Peter Parker, Bart. First published, _Morning Chronicle_, October 7, 1814 417

Julian [a Fragment]. _MS. M._ 419

To Belshazzar. First published, 1831 421

Stanzas for Music ["There's not a joy," etc.]. First published, _Poems_, 1816 423

On the Death of the Duke of Dorset. _MS. M_ 425

Stanzas for Music ["Bright be the place of thy soul"]. First published, _Examiner_, June 4, 1815 426

Napoleon's Farewell. First published, _Examiner_, July 30, 1815 427

From the French ["Must thou go, my glorious Chief?"]. First published, _Poems_, 1816 428

Ode from the French ["We do not curse thee, Waterloo!"]. First published, _Morning Chronicle_, March 15, 1816 431

Stanzas for Music ["There be none of Beauty's daughters"]. First published, _Poems_, 1816 435

On the Star of "the Legion of Honour." First published, _Examiner_, April 7, 1816 436

Stanzas for Music ["They say that Hope is happiness"]. First published, _Fugitive Pieces_, 1829 438

The Siege of Corinth.

Introduction to _The Siege of Corinth_ 441

Dedication 445

Advertisement 447

Note on the MS. of _The Siege of Corinth_ 448

_The Siege of Corinth_ 449

Parisina.

Introduction to _Parisina_ 499

Dedication 501

Advertisement 503

_Parisina_ 505

Poems of the Separation.

Introduction to _Poems of the Separation_ 531

Fare Thee Well 537

A Sketch 540

Stanzas to Augusta 544

LIST OF ILLUSTRATIONS

1. Lord Byron in Albanian Dress, from a Portrait in Oils by T. Phillips, R.A., in the Possession of Mr. John Murray _Frontispiece_

2. H.R.H. the Princess Charlotte of Wales, from the Miniature in the Possession of H.M. the Queen, at Windsor Castle _to face p._ 44

3. Lady Wilmot Horton, from a Sketch by Sir Thomas Lawrence 380

4. Temple of Zeus Nemeus, from a Drawing by William Pars, A.R.A., in the British Museum 470

5. Samuel Taylor Coleridge, from a Portrait in Oils by T. Phillips, R.A., in the Possession of Mr. John Murray 472

6. The Hon. Mrs. Leigh, from a Sketch by Sir George Hayter, in the British Museum 544