It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Byron
)]
[407] {634} The tradition is attached to the story of Eloisa, that when
her body was lowered into the grave of Abelard (who had been buried
twenty years), he opened his arms to receive her.
[The story is told by Bayle, who quotes from a manuscript chronicle of
Tours, preserved in the notes of Andreas Quercetanus, affixed to the
_Historia Calamitatum Abaelardi_: "Eadem defuncta ad tumulam apertum
depertata, maritus ejus qui multis diebus ante eam defunctus fuerat,
elevatis brachiis eam recepit, et ita earn amplexatus brachia sua
strinxit. "--See Petri Abelardi _Opera_, Paris, 1616, ii. 1195. ]
[ft] {636} _Too late it might be still at least to die_. --[MS. D.
erased. ]
[fu] {637} _The crag as droop a bird without her young_. --[MS. D.
erased. ]
[408] In Thibault's account of Frederick the Second of Prussia, there is
a singular relation of a young Frenchman, who with his mistress appeared
to be of some rank. He enlisted and deserted at Schweidnitz; and after a
desperate resistance was retaken, having killed an officer, who
attempted to seize him after he was wounded, by the discharge of his
musket loaded with a _button_ of his uniform. Some circumstances on his
court-martial raised a great interest amongst his judges, who wished to
discover his real situation in life, which he offered to disclose, but
to the king only, to whom he requested permission to write. This was
refused, and Frederic was filled with the greatest indignation, from
baffled curiosity or some other motive, when he understood that his
request had been denied. [_Mes Souvenirs de vingt ans de sejour a
Berlin, ou Frederic Le Grand, etc. _, Paris, 1804, iv. 145-150. ]
[fv] _He tore a silver vest_----. --[MS. D. erased. ]
[fw] {639} _Their hollow shrine_----. --[MS. D. erased. ]
[fx]
_As only a yet infant_----. --[MS. D. ]
{_As only an infantine World_----.
{_As only a yet unweaned World_----. --[Alternative readings. MS. D. ]
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? Project Gutenberg's The Works of Lord Byron, Vol. 7. , by George Gordon Byron
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
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with this eBook or online at www. gutenberg. org
Title: The Works of Lord Byron, Vol. 7.
Poetry
Author: George Gordon Byron
Release Date: December 20, 2008 [EBook #27577]
Language: English
Character set encoding: UTF-8
*** START OF THIS PROJECT GUTENBERG EBOOK THE WORKS OF LORD BYRON, VOL. 7. ***
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TRANSCRIBER'S NOTE:
This file contains Unicode (UTF-8) characters to represent accented
characters that are not in the basic Latin-1 set. There are also phrases
and sentences in Greek, Cyrillic, and Hebrew which are shown as Unicode
characters followed by an English transliteration, for example: ? ? ? ? ?
? ? ? ? ? ? ? [Cyrillic: lorda Bairona]. All these characters should display
properly using a Type-1 or TrueType font distributed by a major software
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shown here using a carat, for example L^n (abbreviation of London),
Esq^re^ or Hon^ble^. In the section entitled NOTES, the original work
showed how lines of text were hand-edited, including words or phrases
that were deleted by striking a line through them. These are shown
thus: (-stricken text-).
The Works
OF
LORD BYRON
A NEW, REVISED AND ENLARGED EDITION
WITH ILLUSTRATIONS.
Poetry. Vol. VII.
EDITED BY
ERNEST HARTLEY COLERIDGE, M. A. ,
HON. F. R. S. L.
LONDON:
JOHN MURRAY, ALBEMARLE STREET.
NEW YORK: CHARLES SCRIBNER'S SONS.
1904.
PREFACE TO THE SEVENTH VOLUME.
Of the seventy-three "Epigrams and Jeux d'Esprit," which are printed at
the commencement of this volume, forty-five were included in Murray's
one-volume edition of 1837, eighteen have been collected from various
publications, and ten are printed and published for the first time.
The "Devil's Drive," which appears in Moore's _Letters and Journals_,
and in the sixth volume of the Collected Edition of 1831 as an
"Unfinished Fragment" of ninety-seven lines, is now printed and
published for the first time in its entirety (248 lines), from a MS. in
the possession of the Earl of Ilchester. "A Farewell Petition to J. C. H.
Esq. ;" "My Boy Hobbie O;" "[Love and Death];" and "Last Words on
Greece," are reprinted from the first volume of _Murray's Magazine_
(1887).
A few imperfect and worthless poems remain in MS. ; but with these and
one or two other unimportant exceptions, the present edition of the
Poetical Works may be regarded as complete.
In compiling a "Bibliography of the successive Editions and Translations
of Lord Byron's Poetical Works," I have endeavoured, in the first
instance, to give a full and particular account of the collected
editions and separate issues of the poems and dramas which were open to
my inspection; and, secondly, to extract from general bibliographies,
catalogues of public and private libraries, and other sources
bibliographical records of editions which I have been unable to examine,
and were known to me only at second-hand. It will be observed that the
_title-pages_ of editions which have passed through my hands are
aligned; the _titles_ of all other editions are italicized.
I cannot pretend that this assortment of bibliographical entries is even
approximately exhaustive; but as "a sample" of a bibliography it will, I
trust, with all its imperfections, be of service to the student of
literature, if not to the amateur or bibliophile. With regard to
nomenclature and other technicalities, my aim has been to put the
necessary information as clearly and as concisely as possible, rather
than to comply with the requirements of this or that formula. But the
path of the bibliographer is beset with difficulties. "Al Sirat's
arch"--"the bridge of breadth narrower than the thread of a famished
spider, and sharper than the edge of a sword" (see _The Giaour_, line
483, _note_ I)--affords an easier and a safer foothold.
To the general reader a bibliography says little or nothing; but, in one
respect, a bibliography of Byron is of popular import. It affords
scientific proof of an almost unexampled fame, of a far-reaching and
still potent influence. Teuton and Latin and Slav have taken Byron to
themselves, and have made him their own. No other English poet except
Shakespeare has been so widely read and so frequently translated. Of
_Manfred_ I reckon one Bohemian translation, two Danish, two Dutch,
three French, nine German, three Hungarian, three Italian, two Polish,
one Romaic, one Roumanian, four Russian, and three Spanish translations,
and, in all probability, there are others which have escaped my net. The
question, the inevitable question, arises--What was, what is, the secret
of Byron's Continental vogue? and why has his fame gone out into all
lands? Why did Goethe enshrine him, in the second part of _Faust_, "as
the representative of the modern era . . . undoubtedly to be regarded as
the greatest genius of our century? " (_Conversations of Goethe_, 1874,
p. 265).
It is said, and with truth, that Byron's revolutionary politics
commended him to oppressed nationalities and their sympathizers; that he
was against "the tramplers"--Castlereagh, and the Duke of Wellington,
and the Holy Alliance; that he stood for liberty. Another point in his
favour was his freedom from cant, his indifference to the pieties and
proprieties of the Britannic Muse; that he had the courage of his
opinions. Doubtless in a time of trouble he was welcomed as the champion
of revolt, but deeper reasons must be sought for an almost exclusive
preference for the works of one poet and a comparative indifference to
the works of his rivals and contemporaries. He fulfilled another,
perhaps a greater ideal. An Englishman turns to poetry for the
expression in beautiful words of his happier and better feelings, and he
is not contented unless poetry tends to make him happier or
better--happier because better than he would be otherwise. His favourite
poems are psalms, or at least metrical paraphrases, of life. Men of
other nations are less concerned about their feelings and their souls.
They regard the poet as the creator, the inventor, the maker _par
excellence_, and he who can imagine or make the greatest _eidolon_ is
the greatest poet. _Childe Harold_ and _The Corsair_, _Mazeppa_ and
_Manfred, Cain_ and _Sardanapalus_ were new creations, new types, forms
more real than living man, which appealed to their artistic sense, and
led their imaginations captive. "It is a mark," says Goethe (_Aus meinem
Leben: Dichtung und Wahreit_, 1876, iii. 125), "of true poetry, that, as
a secular gospel, it knows how to free us from the earthly burdens which
press upon us, by inward serenity, by outward charm. . . . The most lively,
as well as the gravest works have the same end--to moderate both
pleasure and pain through a happy mental representation. " It is passion
translated into action, the pageantry of history, the transfiguration
into visible lineaments of living moods and breathing thoughts which are
the notes of this "secular gospel," and for one class of minds work out
a secular redemption.
It was not only the questionable belief that he was on the side of the
people, or his ethical and theological audacities, or his prolonged
Continental exile, which won for Byron a greater name abroad than he has
retained at home; but the character of his poetry. "The English may
think of Byron as they please" (_Conversations of Goethe_, 1874, p.
171), "but this is certain, that they can show no poet who is to be
compared to him. He is different from all the others, and, for the most
part, greater. " The English may think of him as they please! and for
them, or some of them, there is "a better oenomel," a _vinum Daemonum_,
which Byron has not in his gift. The evidence of a world-wide fame will
not endear a poet to a people and a generation who care less for the
matter than the manner of verse, or who _believe_ in poetry as the
symbol or "_credo_" of the imagination or the spirit; but it should
arrest attention and invite inquiry. A bibliography is a dull epilogue
to a poet's works, but it speaks with authority, and it speaks last.
_Finis coronat opus! _
I must be permitted to renew my thanks to Mr. G. F. Barwick,
_Superintendent of the Reading Room_, Mr. Cyril Davenport, and other
officials of the British Museum, of all grades and classes, for their
generous and courteous assistance in the preparation and completion of
the Bibliography. The consultation of many hundreds of volumes of one
author, and the permission to retain a vast number in daily use, have
entailed exceptional labour on a section of the staff. I have every
reason to be grateful.
I am indebted to Mr. A. W. Pollard, of the British Museum, for advice and
direction with regard to bibliographical formulas; to Mr. G. L. Calderon,
late of the staff, for the collection and transcription of the
title-pages of Polish, Russian, and Servian translations; and to Mr. R.
Nisbet Bain for the supervision and correction of the proofs of Slavonic
titles.
To Mr. W. P. Courtney, the author of _Bibliotheca Cornubiensis_, I owe
many valuable hints and suggestions, and the opportunity of consulting
some important works of reference.
I have elsewhere acknowledged the valuable information with regard to
certain rare editions and pamphlets which I have received from Mr. H.
Buxton Forman, C. B.
My especial thanks for laborious researches undertaken on my behalf, and
for information not otherwise attainable, are due to M. J. E. Aynard, of
Lyons; Signor F. Bianco; Professor Max von Forster, of Wurtzburg;
Professor Lajos Gurnesovitz, of Buda Pest; Dr. Holzhausen, of Bonn; Mr.
Leonard Mackall, of Berlin; Miss Peacock; Miss K. Schlesinger; M.
Voynich, of Soho Square; Mr. Theodore Bartholomew, of the University
Library of Cambridge; Mr. T. D. Stewart, of the Croydon Public Library;
and the Librarians of Trinity College, Cambridge, and University
College, St. Andrews.
I have also to thank, for special and generous assistance, Mr. J. P.
Anderson, late of the British Museum, the author of the "Bibliography of
Byron's Works" attached to the Life of Lord Byron by the Hon. Roden Noel
(1890); Miss Grace Reed, of Philadelphia, for bibliographical entries of
early American editions; and Professor Vladimir Hrabar, of the
University of Dorpat, for the collection and transcription of numerous
Russian translations of Byron's Works.
To Messrs. Clowes, the printers of these volumes, and to their reader,
Mr. F. T. Peachey, I am greatly indebted for the transcription of
Slavonic titles included in the Summary of the Bibliography, and for
interesting and useful information during the progress of the work.
In conclusion, I must once more express my acknowment of the industry
and literary ability of my friend Mr. F.
[407] {634} The tradition is attached to the story of Eloisa, that when
her body was lowered into the grave of Abelard (who had been buried
twenty years), he opened his arms to receive her.
[The story is told by Bayle, who quotes from a manuscript chronicle of
Tours, preserved in the notes of Andreas Quercetanus, affixed to the
_Historia Calamitatum Abaelardi_: "Eadem defuncta ad tumulam apertum
depertata, maritus ejus qui multis diebus ante eam defunctus fuerat,
elevatis brachiis eam recepit, et ita earn amplexatus brachia sua
strinxit. "--See Petri Abelardi _Opera_, Paris, 1616, ii. 1195. ]
[ft] {636} _Too late it might be still at least to die_. --[MS. D.
erased. ]
[fu] {637} _The crag as droop a bird without her young_. --[MS. D.
erased. ]
[408] In Thibault's account of Frederick the Second of Prussia, there is
a singular relation of a young Frenchman, who with his mistress appeared
to be of some rank. He enlisted and deserted at Schweidnitz; and after a
desperate resistance was retaken, having killed an officer, who
attempted to seize him after he was wounded, by the discharge of his
musket loaded with a _button_ of his uniform. Some circumstances on his
court-martial raised a great interest amongst his judges, who wished to
discover his real situation in life, which he offered to disclose, but
to the king only, to whom he requested permission to write. This was
refused, and Frederic was filled with the greatest indignation, from
baffled curiosity or some other motive, when he understood that his
request had been denied. [_Mes Souvenirs de vingt ans de sejour a
Berlin, ou Frederic Le Grand, etc. _, Paris, 1804, iv. 145-150. ]
[fv] _He tore a silver vest_----. --[MS. D. erased. ]
[fw] {639} _Their hollow shrine_----. --[MS. D. erased. ]
[fx]
_As only a yet infant_----. --[MS. D. ]
{_As only an infantine World_----.
{_As only a yet unweaned World_----. --[Alternative readings. MS. D. ]
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? Project Gutenberg's The Works of Lord Byron, Vol. 7. , by George Gordon Byron
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Title: The Works of Lord Byron, Vol. 7.
Poetry
Author: George Gordon Byron
Release Date: December 20, 2008 [EBook #27577]
Language: English
Character set encoding: UTF-8
*** START OF THIS PROJECT GUTENBERG EBOOK THE WORKS OF LORD BYRON, VOL. 7. ***
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TRANSCRIBER'S NOTE:
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characters that are not in the basic Latin-1 set. There are also phrases
and sentences in Greek, Cyrillic, and Hebrew which are shown as Unicode
characters followed by an English transliteration, for example: ? ? ? ? ?
? ? ? ? ? ? ? [Cyrillic: lorda Bairona]. All these characters should display
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shown here using a carat, for example L^n (abbreviation of London),
Esq^re^ or Hon^ble^. In the section entitled NOTES, the original work
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that were deleted by striking a line through them. These are shown
thus: (-stricken text-).
The Works
OF
LORD BYRON
A NEW, REVISED AND ENLARGED EDITION
WITH ILLUSTRATIONS.
Poetry. Vol. VII.
EDITED BY
ERNEST HARTLEY COLERIDGE, M. A. ,
HON. F. R. S. L.
LONDON:
JOHN MURRAY, ALBEMARLE STREET.
NEW YORK: CHARLES SCRIBNER'S SONS.
1904.
PREFACE TO THE SEVENTH VOLUME.
Of the seventy-three "Epigrams and Jeux d'Esprit," which are printed at
the commencement of this volume, forty-five were included in Murray's
one-volume edition of 1837, eighteen have been collected from various
publications, and ten are printed and published for the first time.
The "Devil's Drive," which appears in Moore's _Letters and Journals_,
and in the sixth volume of the Collected Edition of 1831 as an
"Unfinished Fragment" of ninety-seven lines, is now printed and
published for the first time in its entirety (248 lines), from a MS. in
the possession of the Earl of Ilchester. "A Farewell Petition to J. C. H.
Esq. ;" "My Boy Hobbie O;" "[Love and Death];" and "Last Words on
Greece," are reprinted from the first volume of _Murray's Magazine_
(1887).
A few imperfect and worthless poems remain in MS. ; but with these and
one or two other unimportant exceptions, the present edition of the
Poetical Works may be regarded as complete.
In compiling a "Bibliography of the successive Editions and Translations
of Lord Byron's Poetical Works," I have endeavoured, in the first
instance, to give a full and particular account of the collected
editions and separate issues of the poems and dramas which were open to
my inspection; and, secondly, to extract from general bibliographies,
catalogues of public and private libraries, and other sources
bibliographical records of editions which I have been unable to examine,
and were known to me only at second-hand. It will be observed that the
_title-pages_ of editions which have passed through my hands are
aligned; the _titles_ of all other editions are italicized.
I cannot pretend that this assortment of bibliographical entries is even
approximately exhaustive; but as "a sample" of a bibliography it will, I
trust, with all its imperfections, be of service to the student of
literature, if not to the amateur or bibliophile. With regard to
nomenclature and other technicalities, my aim has been to put the
necessary information as clearly and as concisely as possible, rather
than to comply with the requirements of this or that formula. But the
path of the bibliographer is beset with difficulties. "Al Sirat's
arch"--"the bridge of breadth narrower than the thread of a famished
spider, and sharper than the edge of a sword" (see _The Giaour_, line
483, _note_ I)--affords an easier and a safer foothold.
To the general reader a bibliography says little or nothing; but, in one
respect, a bibliography of Byron is of popular import. It affords
scientific proof of an almost unexampled fame, of a far-reaching and
still potent influence. Teuton and Latin and Slav have taken Byron to
themselves, and have made him their own. No other English poet except
Shakespeare has been so widely read and so frequently translated. Of
_Manfred_ I reckon one Bohemian translation, two Danish, two Dutch,
three French, nine German, three Hungarian, three Italian, two Polish,
one Romaic, one Roumanian, four Russian, and three Spanish translations,
and, in all probability, there are others which have escaped my net. The
question, the inevitable question, arises--What was, what is, the secret
of Byron's Continental vogue? and why has his fame gone out into all
lands? Why did Goethe enshrine him, in the second part of _Faust_, "as
the representative of the modern era . . . undoubtedly to be regarded as
the greatest genius of our century? " (_Conversations of Goethe_, 1874,
p. 265).
It is said, and with truth, that Byron's revolutionary politics
commended him to oppressed nationalities and their sympathizers; that he
was against "the tramplers"--Castlereagh, and the Duke of Wellington,
and the Holy Alliance; that he stood for liberty. Another point in his
favour was his freedom from cant, his indifference to the pieties and
proprieties of the Britannic Muse; that he had the courage of his
opinions. Doubtless in a time of trouble he was welcomed as the champion
of revolt, but deeper reasons must be sought for an almost exclusive
preference for the works of one poet and a comparative indifference to
the works of his rivals and contemporaries. He fulfilled another,
perhaps a greater ideal. An Englishman turns to poetry for the
expression in beautiful words of his happier and better feelings, and he
is not contented unless poetry tends to make him happier or
better--happier because better than he would be otherwise. His favourite
poems are psalms, or at least metrical paraphrases, of life. Men of
other nations are less concerned about their feelings and their souls.
They regard the poet as the creator, the inventor, the maker _par
excellence_, and he who can imagine or make the greatest _eidolon_ is
the greatest poet. _Childe Harold_ and _The Corsair_, _Mazeppa_ and
_Manfred, Cain_ and _Sardanapalus_ were new creations, new types, forms
more real than living man, which appealed to their artistic sense, and
led their imaginations captive. "It is a mark," says Goethe (_Aus meinem
Leben: Dichtung und Wahreit_, 1876, iii. 125), "of true poetry, that, as
a secular gospel, it knows how to free us from the earthly burdens which
press upon us, by inward serenity, by outward charm. . . . The most lively,
as well as the gravest works have the same end--to moderate both
pleasure and pain through a happy mental representation. " It is passion
translated into action, the pageantry of history, the transfiguration
into visible lineaments of living moods and breathing thoughts which are
the notes of this "secular gospel," and for one class of minds work out
a secular redemption.
It was not only the questionable belief that he was on the side of the
people, or his ethical and theological audacities, or his prolonged
Continental exile, which won for Byron a greater name abroad than he has
retained at home; but the character of his poetry. "The English may
think of Byron as they please" (_Conversations of Goethe_, 1874, p.
171), "but this is certain, that they can show no poet who is to be
compared to him. He is different from all the others, and, for the most
part, greater. " The English may think of him as they please! and for
them, or some of them, there is "a better oenomel," a _vinum Daemonum_,
which Byron has not in his gift. The evidence of a world-wide fame will
not endear a poet to a people and a generation who care less for the
matter than the manner of verse, or who _believe_ in poetry as the
symbol or "_credo_" of the imagination or the spirit; but it should
arrest attention and invite inquiry. A bibliography is a dull epilogue
to a poet's works, but it speaks with authority, and it speaks last.
_Finis coronat opus! _
I must be permitted to renew my thanks to Mr. G. F. Barwick,
_Superintendent of the Reading Room_, Mr. Cyril Davenport, and other
officials of the British Museum, of all grades and classes, for their
generous and courteous assistance in the preparation and completion of
the Bibliography. The consultation of many hundreds of volumes of one
author, and the permission to retain a vast number in daily use, have
entailed exceptional labour on a section of the staff. I have every
reason to be grateful.
I am indebted to Mr. A. W. Pollard, of the British Museum, for advice and
direction with regard to bibliographical formulas; to Mr. G. L. Calderon,
late of the staff, for the collection and transcription of the
title-pages of Polish, Russian, and Servian translations; and to Mr. R.
Nisbet Bain for the supervision and correction of the proofs of Slavonic
titles.
To Mr. W. P. Courtney, the author of _Bibliotheca Cornubiensis_, I owe
many valuable hints and suggestions, and the opportunity of consulting
some important works of reference.
I have elsewhere acknowledged the valuable information with regard to
certain rare editions and pamphlets which I have received from Mr. H.
Buxton Forman, C. B.
My especial thanks for laborious researches undertaken on my behalf, and
for information not otherwise attainable, are due to M. J. E. Aynard, of
Lyons; Signor F. Bianco; Professor Max von Forster, of Wurtzburg;
Professor Lajos Gurnesovitz, of Buda Pest; Dr. Holzhausen, of Bonn; Mr.
Leonard Mackall, of Berlin; Miss Peacock; Miss K. Schlesinger; M.
Voynich, of Soho Square; Mr. Theodore Bartholomew, of the University
Library of Cambridge; Mr. T. D. Stewart, of the Croydon Public Library;
and the Librarians of Trinity College, Cambridge, and University
College, St. Andrews.
I have also to thank, for special and generous assistance, Mr. J. P.
Anderson, late of the British Museum, the author of the "Bibliography of
Byron's Works" attached to the Life of Lord Byron by the Hon. Roden Noel
(1890); Miss Grace Reed, of Philadelphia, for bibliographical entries of
early American editions; and Professor Vladimir Hrabar, of the
University of Dorpat, for the collection and transcription of numerous
Russian translations of Byron's Works.
To Messrs. Clowes, the printers of these volumes, and to their reader,
Mr. F. T. Peachey, I am greatly indebted for the transcription of
Slavonic titles included in the Summary of the Bibliography, and for
interesting and useful information during the progress of the work.
In conclusion, I must once more express my acknowment of the industry
and literary ability of my friend Mr. F.
