; but with these and
one or two other unimportant exceptions, the present edition of the
Poetical Works may be regarded as complete.
one or two other unimportant exceptions, the present edition of the
Poetical Works may be regarded as complete.
Byron
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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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? ? ? ? ? ? ? [Cyrillic: lorda Bairona]. All these characters should display
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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. E. Taylor, of Chertsey, who has
read the proofs of this and the six preceding volumes.
The Index is the work of Mr. C. Eastlake Smith.
ERNEST HARTLEY COLERIDGE.
November, 1903.
CONTENTS OF VOL. VII.
Preface to Vol. VII. of the Poems. _v_
JEUX D'ESPRIT AND MINOR POEMS, 1798-1824.
Epigram on an Old Lady who had some Curious Notions respecting the 1
Soul. First published, _Letters and Journals_, 1830, i. 28.
Epitaph on John Adams, of Southwell. First published, _Letters and 1
Journals_, 1830, i. 106.
A Version of Ossian's Address to the Sun. First published, 2
_Atlantic Monthly_, December, 1898.
Lines to Mr. Hodgson. Written on board the Lisbon Packet. First 4
published, _Letters and Journals_, 1830, i. 230-232.
[To Dives. A Fragment. ] First published, _Lord Byron's Works_, 7
1833, xvii. 241.
Farewell Petition to J. C. H. , Esq^re. ^ First published, _Murray's 7
Magazine_, 1887, vol. i. pp. 290, 291.
Translation of the Nurse's Dole in the _Medea_ of Euripides. First 10
published, _Letters and Journals_, 1830, i. 227.
My Epitaph. First published, _Letters and Journals_, 1830, i. 240. 10
Substitute for an Epitaph. First published, _Lord Byron's Works_, 11
1832, ix. 4.
Epitaph for Joseph Blacket, late Poet and Shoemaker. First 11
published, _Lord Byron's Works_, 1832, ix. 10.
On Moore's Last Operatic Farce, or Farcical Opera. First published, 12
_Letters and Journals_, 1830, i. 295 (_note_).
[R. C. Dallas. ] First published, _Life, Writings, Opinions, etc. _, 12
1825, ii. 192.
An Ode to the Framers of the Frame Bill. First published, _Morning 13
Chronicle_, March 2, 1812.
To the Honorable Mr. George Lamb. First published, _The Two 15
Duchesses_, by Vere Foster, 1898, p. 374.
[La Revanche. ] _MS. M_. 15
To Thomas Moore. Written the Evening before his Visit to Mr. Leigh 16
Hunt in Horsemonger Lane Gaol, May 19, 1813. First published,
_Letters and Journals_, 1830, i. 401.
On Lord Thurlow's Poems. First published, _Letters and Journals_, 17
1830, i. 396.
To Lord Thurlow. First published, _Letters and Journals_, 1830, i. 19
397.
The Devil's Drive. First published (stanzas 1-5, 8, 10-12, 17, 18), 21
_Letters and Journals_, 1830, i. 471-474; and (stanzas 6, 7, 9,
13-16, 19-27) from a MS. in the possession of the Earl of
Ilchester.
Windsor Poetics. First published, _Poetical Works_, Paris, 1819, 35
vi. 125.
[Another Version. ] On a Royal Visit to the Vaults. From an 36
autograph MS. in the possession of the Hon. Mrs. Norbury, now for
the first time printed.
Ich Dien. From an autograph MS. in the possession of Mr. A. H. 36
Hallam Murray, now for the first time printed.
Condolatory Address, To Sarah Countess of Jersey. First published, 37
_The Champion_, July 31, 1814.
Fragment of an Epistle to Thomas Moore. First published, _Letters 39
and Journals_, 1830, i. 561, 562 (_note_).
Answer to----'s Professions of Affection. _MS_. 40
On Napoleon's Escape from Elba.
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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
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*** START OF THIS PROJECT GUTENBERG EBOOK THE WORKS OF LORD BYRON, VOL. 7. ***
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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. E. Taylor, of Chertsey, who has
read the proofs of this and the six preceding volumes.
The Index is the work of Mr. C. Eastlake Smith.
ERNEST HARTLEY COLERIDGE.
November, 1903.
CONTENTS OF VOL. VII.
Preface to Vol. VII. of the Poems. _v_
JEUX D'ESPRIT AND MINOR POEMS, 1798-1824.
Epigram on an Old Lady who had some Curious Notions respecting the 1
Soul. First published, _Letters and Journals_, 1830, i. 28.
Epitaph on John Adams, of Southwell. First published, _Letters and 1
Journals_, 1830, i. 106.
A Version of Ossian's Address to the Sun. First published, 2
_Atlantic Monthly_, December, 1898.
Lines to Mr. Hodgson. Written on board the Lisbon Packet. First 4
published, _Letters and Journals_, 1830, i. 230-232.
[To Dives. A Fragment. ] First published, _Lord Byron's Works_, 7
1833, xvii. 241.
Farewell Petition to J. C. H. , Esq^re. ^ First published, _Murray's 7
Magazine_, 1887, vol. i. pp. 290, 291.
Translation of the Nurse's Dole in the _Medea_ of Euripides. First 10
published, _Letters and Journals_, 1830, i. 227.
My Epitaph. First published, _Letters and Journals_, 1830, i. 240. 10
Substitute for an Epitaph. First published, _Lord Byron's Works_, 11
1832, ix. 4.
Epitaph for Joseph Blacket, late Poet and Shoemaker. First 11
published, _Lord Byron's Works_, 1832, ix. 10.
On Moore's Last Operatic Farce, or Farcical Opera. First published, 12
_Letters and Journals_, 1830, i. 295 (_note_).
[R. C. Dallas. ] First published, _Life, Writings, Opinions, etc. _, 12
1825, ii. 192.
An Ode to the Framers of the Frame Bill. First published, _Morning 13
Chronicle_, March 2, 1812.
To the Honorable Mr. George Lamb. First published, _The Two 15
Duchesses_, by Vere Foster, 1898, p. 374.
[La Revanche. ] _MS. M_. 15
To Thomas Moore. Written the Evening before his Visit to Mr. Leigh 16
Hunt in Horsemonger Lane Gaol, May 19, 1813. First published,
_Letters and Journals_, 1830, i. 401.
On Lord Thurlow's Poems. First published, _Letters and Journals_, 17
1830, i. 396.
To Lord Thurlow. First published, _Letters and Journals_, 1830, i. 19
397.
The Devil's Drive. First published (stanzas 1-5, 8, 10-12, 17, 18), 21
_Letters and Journals_, 1830, i. 471-474; and (stanzas 6, 7, 9,
13-16, 19-27) from a MS. in the possession of the Earl of
Ilchester.
Windsor Poetics. First published, _Poetical Works_, Paris, 1819, 35
vi. 125.
[Another Version. ] On a Royal Visit to the Vaults. From an 36
autograph MS. in the possession of the Hon. Mrs. Norbury, now for
the first time printed.
Ich Dien. From an autograph MS. in the possession of Mr. A. H. 36
Hallam Murray, now for the first time printed.
Condolatory Address, To Sarah Countess of Jersey. First published, 37
_The Champion_, July 31, 1814.
Fragment of an Epistle to Thomas Moore. First published, _Letters 39
and Journals_, 1830, i. 561, 562 (_note_).
Answer to----'s Professions of Affection. _MS_. 40
On Napoleon's Escape from Elba.
