Lord Byron Complete Works – World’s Best Collection E-Book

Lord Byron

• Herausgeber: Imagination Books
• Kategorie: Poesie und Drama
• Sprache: Englisch
• Veröffentlichungsjahr: 2018

Seitenzahl: 3397

Beschreibung

Lord Byron Complete Works Ultimate Collection
This is the world's best Byron collection, including the most complete set of Byron's works available plus many free bonus materials.
Lord Byron
Byron was an English poet and a leading figure in the Romantic Movement. He is still regarded as one of the all-time greatest British poets; and he remains widely read and extremely influential
The Most Complete Collection Available
In this irresistible collection you get a full set of Byron's work, All his poetry, All his longer pieces, All his rarities and All his legendary works. Plus a bonus Biography.
Works Included:
Poetry
Including:
Poems On Various Occasions
Hours Of Idleness
Poems Of The Separation
Fugitive Pieces
Hebrew Melodies
Including poems such as:
A Woman's Hair
On The Death Of Mr. Fox
She Walks In Beauty
The Wild Gazelle
Sun Of The Sleepless!
The Destruction Of Sennacherib
Love And Gold
Stanzas For Music
The Siege Of Corinth
“By The Waters Of Babylon.”
The Prisoner Of Chillon
The Dream
Darkness
Prometheus
Don Juan
English Bards And Scotch Reviewers
Longer Works
Including:
The Curse Of Minerva
The Waltz
Childe Harold's Pilgrimage
The Giaour
The Bride Of Abydos
The Corsair
Manfred
Ravenna
Sardanapalus
The Deformed Transformed
Your Free Special Bonuses
Also included in this collection is the following:

The Life Of Lord Byron – a biography detailing Byron's intriguing and fascinating life
Historical Context and Literary Context Notes - Detailed explanations of the Regency Era and Romanticism, written specially for this collection
Get This Collection Right Now
This is the best Lord Byron collection you can get, so get it now and start enjoying and being inspired by his world like never before.

Leseprobe

Table of Contents

Lord Byron Complete Works

HISTORICAL CONTEXT: THE REGENCY PERIOD

LITERARY CONTEXT: ROMANTICISM AND THE ROMANTIC MOVEMENT

POEMS ON VARIOUS OCCASIONS

TO M. S. G.

STANZAS TO A LADY, WITH THE POEMS OF CAMOËNS.

TO M. S. G.

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.

LINES. ADDRESSED TO THE REV. J. T. BECHER, ON HIS ADVISING THE AUTHOR TO MIX MORE WITH SOCIETY.

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.

HOURS OF IDLENESS

TO GEORGE, EARL DELAWARR.

DAMÆTAS.

TO MARION.

OSCAR OF ALVA.

TRANSLATION FROM ANACREON.

FROM ANACREON.

THE EPISODE OF NISUS AND EURYALUS.

LACHIN Y GAIR.

TO ROMANCE.

THE DEATH OF CALMAR AND ORLA.

TO EDWARD NOEL LONG, ESQ.

TO A LADY.

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.

EARLY POEMS FROM VARIOUS SOURCES

LINES WRITTEN BENEATH AN ELM IN THE CHURCHYARD OF HARROW.

FRAGMENT.

REMEMBRANCE.

TO A LADY WHO PRESENTED THE AUTHOR WITH THE VELVET BAND WHICH BOUND HER TRESSES.

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.

THE ADIEU.

TO——

ON THE EYES OF MISS A——H——

TO A VAIN LADY.

TO ANNE.

EGOTISM. A LETTER TO J. T. BECHER.

TO ANNE.

TO THE AUTHOR OF A SONNET

ON FINDING A FAN.

TO AN OAK AT NEWSTEAD.

ON REVISITING HARROW.

TO MY SON.

QUERIES TO CASUISTS.

SONG. BREEZE OF THE NIGHT

TO HARRIET.

THERE WAS A TIME, I NEED NOT NAME.

AND WILT THOU WEEP WHEN I AM LOW?

EPISTLE TO A YOUNG NOBLEMAN IN LOVE.

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.

TO A LADY, ON BEING ASKED MY REASON FOR QUITTING ENGLAND IN THE SPRING.

FILL THE GOBLET AGAIN. A SONG.

STANZAS TO A LADY, ON LEAVING ENGLAND.

ON LEAVING NEWSTEAD ABBEY.

TO E—-

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

TO D—-

TO CAROLINE.

TO EMMA.

FRAGMENTS OF SCHOOL EXERCISES: FROM THE "PROMETHEUS VINCTUS" OF AESCHYLUS,

LINES WRITTEN IN "LETTERS OF AN ITALIAN NUN AND AN ENGLISH GENTLEMAN, BY J. J. ROUSSEAU; FOUNDED ON FACTS."

ANSWER TO THE FOREGOING, ADDRESSED TO MISS——.

ON A CHANGE OF MASTERS AT A GREAT PUBLIC SCHOOL.

EPITAPH ON A BELOVED FRIEND.

ADRIAN'S ADDRESS TO HIS SOUL WHEN DYING.

A FRAGMENT.

TO CAROLINE.

TO CAROLINE.

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

THOUGHTS SUGGESTED BY A COLLEGE EXAMINATION.

TO MARY, ON RECEIVING HER PICTURE.

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.

TO WOMAN.

AN OCCASIONAL PROLOGUE, DELIVERED BY THE AUTHOR PREVIOUS TO THE PERFORMANCE OF "THE WHEEL OF FORTUNE" AT A PRIVATE THEATRE.

THE TEAR.

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

GRANTA. A MEDLEY.

TO THE SIGHING STREPHON.

THE CORNELIAN.

TO M——

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.

ENGLISH BARDS, AND SCOTCH REVIEWERS; A SATIRE.

PREFACE

ENGLISH BARDS AND SCOTCH REVIEWERS.

INTRODUCTION TO ENGLISH BARDS, AND SCOTCH REVIEWERS.

ENGLISH BARDS AND SCOTCH REVIEWERS.

HINTS FROM HORACE

INTRODUCTION TO HINTS FROM HORACE

HINTS FROM HORACE

THE CURSE OF MINERVA

INTRODUCTION TO THE CURSE OF MINERVA

THE CURSE OF MINERVA.

INTRODUCTION TO 'THE WALTZ'

THE WALTZ

THE WALTZ: AN APOSTROPHIC HYMN.

THE WALTZ

CHILDE HAROLD'S PILGRIMAGE - A ROMAUNT.

PREFACE TO THE FIRST AND SECOND CANTOS.

ADDITION TO THE PREFACE.

INTRODUCTION TO THE FIRST AND SECOND CANTOS OF CHILDE HAROLD.

CANTO THE FIRST.

TO IANTHE.

CANTO THE FIRST.

CHILDE HAROLD'S GOOD NIGHT.

TO INEZ.

CANTO THE SECOND

CANTO THE THIRD.

INTRODUCTION TO THE THIRD CANTO.

NOTE ON MSS. OF THE THIRD CANTO.

CANTO THE THIRD.

CANTO THE FOURTH.

INTRODUCTION TO THE FOURTH CANTO.

DEDICATION

CANTO THE FOURTH

THE OCCASIONAL PIECES (POEMS 1809-1813; POEMS 1814-1816)

INTRODUCTION TO THE OCCASIONAL PIECES (POEMS 1809-1813; POEMS 1814-1816).

POEMS 1809-1813.

THE GIRL OF CADIZ.

LINES WRITTEN IN AN ALBUM, AT MALTA.

TO FLORENCE.

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.

FRAGMENT FROM THE "MONK OF ATHOS."

LINES WRITTEN BENEATH A PICTURE.

TRANSLATION OF THE FAMOUS GREEK WAR SONG,

TRANSLATION OF THE ROMAIC SONG,

ON PARTING.

FAREWELL TO MALTA.

NEWSTEAD ABBEY.

EPISTLE TO A FRIEND,

TO THYRZA.

AWAY, AWAY, YE NOTES OF WOE!

ONE STRUGGLE MORE, AND I AM FREE.

EUTHANASIA.

AND THOU ART DEAD, AS YOUNG AND FAIR.

LINES TO A LADY WEEPING.ABCDk]

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!

TO TIME.

TRANSLATION OF A ROMAIC LOVE SONG.

THOU ART NOT FALSE, BUT THOU ART FICKLE.

ON BEING ASKED WHAT WAS THE "ORIGIN OF LOVE."ABCDw]

ON THE QUOTATION,

REMEMBER HIM, WHOM PASSION'S POWER.

IMPROMPTU, IN REPLY TO A FRIEND.

SONNET. TO GENEVRA.

SONNET. TO GENEVRA.

FROM THE PORTUGUESE.

THE GIAOUR: A FRAGMENT OF A TURKISH TALE.

INTRODUCTION TO THE GIAOUR

BIBLIOGRAPHICAL NOTE ON THE GIAOUR

DEDICATION

THE GIAOUR.

THE BRIDE OF ABYDOS. A TURKISH TALE.

INTRODUCTION TO THE BRIDE OF ABYDOS.

DEDICATION

CANTO THE FIRST.

CANTO THE SECOND

THE CORSAIR: A TALE.

INTRODUCTION TO THE CORSAIR.

BIBLIOGRAPHICAL NOTE ON THE CORSAIR.

TO THOMAS MOORE, ESQ.

CANTO THE FIRST.

CANTO THE SECOND.

CANTO THE THIRD.

ODE TO NAPOLEON BUONAPARTE.

INTRODUCTION TO THE ODE TO NAPOLEON BUONAPARTE.

ODE TO NAPOLEON BUONAPARTE.

INTRODUCTION TO LARA

LARA: A TALE

CANTO THE FIRST.

CANTO THE SECOND.

INTRODUCTION TO HEBREW MELODIES

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.

SAUL.

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!

DEEM'ST IT TO BE.

HEROD'S LAMENT FOR MARIAMNE.

JERUSALEM BY TITUS.

DOWN AND WEPT.

"BY THE WATERS OF BABYLON."

THE DESTRUCTION OF SENNACHERIB.

A SPIRIT PASSED BEFORE ME.

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 [FRAGMENT].

TO BELSHAZZAR.

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.

THE SIEGE OF CORINTH

INTRODUCTION TO THE SIEGE OF CORINTH.

DEDICATION

THE SIEGE OF CORINTH

PARISINA

INTRODUCTION TO PARISINA.

DEDICATION

PARISINA.

POEMS OF THE SEPARATION

INTRODUCTION TO POEMS OF THE SEPARATION.

FARE THEE WELL.

A SKETCH.

STANZAS TO AUGUSTA.

THE PRISONER OF CHILLON

INTRODUCTION TO THE PRISONER OF CHILLON.

SONNET ON CHILLON

THE PRISONER OF CHILLON

THE DREAM

POEMS OF JULY-SEPTEMBER, 1816

INTRODUCTION TO THE DREAM

THE DREAM

DARKNESS.

CHURCHILL'S GRAVE, A FACT LITERALLY RENDERED.

PROMETHEUS.

A FRAGMENT.

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.

INTRODUCTION TO MONODY ON THE DEATH OF THE RIGHT HON. R. B. SHERIDAN.

SPOKEN AT DRURY-LANE THEATRE, LONDON.

MANFRED: DRAMATIC POEM.

INTRODUCTION TO MANFRED

ACT 1.

ACT II.

ACT III.

THE LAMENT OF TASSO.

INTRODUCTION TO THE LAMENT OF TASSO.

THE LAMENT OF TASSO.

BEPPO: A VENETIAN STORY.

INTRODUCTION TO BEPPO

BEPPO.

ODE ON VENICE

ODE ON VENICE

MAZEPPA.

INTRODUCTION TO MAZEPPA

MAZEPPA

THE PROPHECY OF DANTE.

INTRODUCTION TO THE PROPHECY OF DANTE.

DEDICATION.

PREFACE

CANTO THE FIRST.

CANTO THE SECOND.

CANTO THE THIRD.

CANTO THE FOURTH.

THE MORGANTE MAGGIORE OF PULCI.

INTRODUCTION TO THE MORGANTE MAGGIORE.

CANTO THE FIRST.

FRANCESCA OF RIMINI.

INTRODUCTION TO FRANCESCA OF RIMINI.

CANTO THE FIFTH.

MARINO FALIERO

INTRODUCTION TO MARINO FALIERO.

PREFACE.

ACT I.

ACT II.

ACT III.

ACT IV.

ACT V.

APPENDIX.

Note A.

NOTE B.

NOTE C.

THE VISION OF JUDGMENT. BY QUEVEDO REDIVIVUS.

INTRODUCTION TO THE VISION OF JUDGMENT.

PREFACE

THE VISION OF JUDGMENT.

POEMS 1816-1823.

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

SONETTO DI VITTORELLI.

TRANSLATION FROM VITTORELLI.

ON THE BUST OF HELEN BY CANOVA.

VENICE. A FRAGMENT.

SO WE'LL GO NO MORE A-ROVING.

[LORD BYRON'S VERSES ON SAM ROGERS.]

THE DUEL.

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.

STANZAS.

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——

TO THE COUNTESS OF BLESSINGTON.

ARISTOMENES

THE BLUES: A LITERARY ECLOGUE.

INTRODUCTION TO THE BLUES.

A LITERARY ECLOGUE.

ECLOGUE THE FIRST.

ECLOGUE THE SECOND.

SARDANAPALUS: A TRAGEDY.

INTRODUCTION TO SARDANAPALUS

SARDANAPALUS.

PREFACE

SARDANAPALUS.

ACT I.

ACT II.

ACT III.

ACT IV.

ACT V.

THE TWO FOSCARI: AN HISTORICAL TRAGEDY.

INTRODUCTION TO THE TWO FOSCARI

THE TWO FOSCARI.

ACT I.

ACT II.

ACT III.

ACT IV.

ACT V.

CAIN: A MYSTERY.

INTRODUCTION TO CAIN.

DEDICATION

PREFACE

CAIN: A MYSTERY.

ACT I.

ACT II.

ACT III.

HEAVEN AND EARTH; A MYSTERY.

INTRODUCTION TO HEAVEN AND EARTH.

HEAVEN AND EARTH.

PART I.

WERNER; OR, THE INHERITANCE: A TRAGEDY.

INTRODUCTION TO WERNER.

Note to the Introduction to Werner.

DEDICATION

PREFACE

ACT I.

ACT II.

ACT III.

ACT IV.

ACT V.

THE DEFORMED TRANSFORMED: A DRAMA.

INTRODUCTION TO THE DEFORMED TRANSFORMED.

THE DEFORMED TRANSFORMED:

PART I.

PART II.

PART III.

FRAGMENT OF THE THIRD PART OF THE DEFORMED TRANSFORMED.

THE AGE OF BRONZE; OR, CARMEN SECULARE ET ANNUS HAUD MIRABILIS

INTRODUCTION TO THE AGE OF BRONZE.

THE AGE OF BRONZE.

THE ISLAND; OR, CHRISTIAN AND HIS COMRADES.

INTRODUCTION TO THE ISLAND

THE ISLAND

CANTO THE FIRST.

CANTO THE SECOND.

CANTO THE THIRD.

CANTO THE FOURTH.

DON JUAN

INTRODUCTION TO DON JUAN

FRAGMENT ON THE BACK OF THE MS. OF CANTO I.

DEDICATION.

CANTO THE FIRST.

CANTO THE SECOND.

CANTO THE THIRD.

CANTO THE FOURTH.

CANTO THE FIFTH.

PREFACE TO CANTOS VI., VII., AND VIII.

CANTO THE SIXTH.

CANTO THE SEVENTH.

CANTO THE EIGHTH.

CANTO THE NINTH.

CANTO THE TENTH.

CANTO THE ELEVENTH.

CANTO THE TWELFTH.

CANTO THE THIRTEENTH.

CANTO THE FOURTEENTH.

CANTO THE FIFTEENTH.

CANTO THE SIXTEENTH.

CANTO THE SEVENTEENTH.

THE LIFE OF LORD BYRON

CHAPTER I

CHAPTER II

CHAPTER III

CHAPTER IV

CHAPTER V

CHAPTER VI

CHAPTER VII

CHAPTER VIII

CHAPTER IX

CHAPTER X

CHAPTER XI

CHAPTER XII

CHAPTER XIII

CHAPTER XIV

CHAPTER XV

CHAPTER XVI

CHAPTER XVII

CHAPTER XVIII

CHAPTER XIX

CHAPTER XX

CHAPTER XXI

CHAPTER XXII

CHAPTER XXIII

CHAPTER XXIV

CHAPTER XXV

CHAPTER XXVI

CHAPTER XXVII

CHAPTER XXVIII

CHAPTER XXIX

CHAPTER XXX

CHAPTER XXXI

CHAPTER XXXII

CHAPTER XXXIII

CHAPTER XXXIV

CHAPTER XXXV

CHAPTER XXXVI

CHAPTER XXXVII

CHAPTER XXXVIII

CHAPTER XXXIX

CHAPTER XL

CHAPTER XLI

CHAPTER XLII

CHAPTER XLIII

CHAPTER XLIV

CHAPTER XLV

CHAPTER XLVI

CHAPTER XLVII

CHAPTER XLVIII

CHAPTER XLIX

LORD BYRON COMPLETE WORKS - World’s Best COLLECTION

 

Copyright - Byron Complete Works - World’s Best Collection Original Publication Dates Poems and Works of Lord Byron – circa 1824 The Life Of Lord Byron - John Galt - 1830 First Imagination Books edition published 2018 Copyright © 2018 by Darryl Marks and Infinite Eternity Entertainment LLC All Rights Reserved. "HISTORICAL CONTEXT: THE REGENCY ERA” , “LITERARY CONTEXT: ROMANTICISIM” By Darryl Marks Copyright © 2018 by Darryl Marks and Infinite Eternity Entertainment LLC All Rights Reserved

HISTORICAL CONTEXT: THE REGENCY PERIOD

The Regency Period

Byron wrote within what is known as the Regency Era. This Regency Era or Regency Period can refer to various stretches of time, although the formal Regency lasted from 1811–1820. This period began in 1810 when George III was taken seriously ill. Due to fits of madness he was declared incapable of ruling because of his mental incapacity. In 1788 there had been a Regency Act that had been created because of George’s fits of madness. This act made it possible for his son, the Prince Regent, to rule as head of the country. In 1810, when George III’s madness became untenable, the act was formally passed, making George III’s son Regent and head of state. The Regency Period itself lasted until George III’s death in 1820 when the Regent officially became King George IV and was able to rule in his own right.

In 1837, Victoria became Queen, heralding the beginning of the Victorian Era.

It is easy to see why various different time periods can be classed as the Regency period. For certain historians, the period from 1795 to 1837 (which includes the latter part of the reign of George III and the reigns of his sons George IV and William IV) is sometimes regarded as the Regency era.

The Prince Regent Himself

George Augustus Frederick, Prince of Wales, was 48 when he was appointed Prince Regent to his father, King George III. Notable for his extravagant lifestyle, the Regent was heavy drinker and compulsive gambler, who was gifted with charming manners, and musical ability in the form of singing and the cello.

The Regent though, was considered untrustworthy, hated his father George III, and this led him down several wayward paths: he colluded and allied himself with the Whig opposition in Parliament; he illegally and secretly married Maria Fitzherbert in 1785; he also married Princess Caroline of Brunswick, in 1795, despite hating her as well.

The Characteristics of the Regency

Regardless of time period used the Regency period is characterized by distinctive trends in British architecture, literature, fashions, politics, and culture.

Some of the basic characteristics of the period include:

Like the Regent himself, is characterized by freedom and extravagance compared with the ascetic lifestyle of his father George III.

Society was also considerably stratified, and there was a large class divide between the rich, opulence of the higher classes (sometimes bordering on debauchery) and the dingy, darker side of the lower classes.

There may have been rich, sumptuous, glamorous elements to life in higher class Regency society, but there was also the less affluent areas of London, where thievery, womanizing, gambling, and constant drinking was rampant.

Poverty was addressed only marginally and the betterment of society was far from the minds of the ruling class.

In fact, the formation of the Regency after George III saw the end of a pious, reserved society, and gave birth of a frivolous, ostentatious one. This was influenced by the Regent himself, who was kept removed from politics and military exploits and only channeled his energies into the pursuit of pleasure (also partly as his sole form of rebellion against what he saw as disapproval and censure in the form of his father).

Saul David in his biography of George IV describes the Regency “in its widest sense (1800-1830)” as a “devil-may-care period of low morals and high fashion”.

This societal gap was even exploited in the popular media and literature: One of the driving forces in the changes in the world at that time was the industrial revolution and its effects. Steam printing allowed a massively improved method to produce printed materials, and this gave rise to wildly popular fashionable novels about the rich and aristocratic. Publishers secretly hinted at the specific identity of these individuals in the books in order to drive sales. The gap in the hierarchy of society was so great that those of the upper classes were viewed by those below as wondrous and fantastical (like a fiction or living legend).

Such novels and literature from this period is still popular today, as is the period novel itself.

Society

One of the main draw-cards for the Regency’s popularity is its elegance and achievements in the fine arts and architecture. Although this was an era where war was waged (such as with Napoleon), the Regency was also a period of great refinement and cultural achievement. This shaped and molded the whole societal structure of Britain as a whole.

The Regency is popular mostly because of the so-called ‘Feel of the Regency’ period, associated with such period romances, glamorous elegance and etiquette, extravagant follies, and melodramatic emotions; filled with balls and duels, unrequited love, and romantic liaisons.

In terms of the prevailing literature movement of the time, it was the Romantic Movement that was well-established by the time the Regency started. Rich in literature, poetry and prose, it was the time of the Romantic poets like Wordsworth, Byron, Coleridge and Shelley and the Romantic novelist, Sir Walter Scott.

Romanticism was a revolt against the aristocratic, social, and political norms of the Enlightenment period (and its rationalistic attitude) which preceded it. Romanticism stressed emotion as a source of literary experience, placing new emphasis on such emotions as anxiety, horror, and the feeling when observing nature. All of these themes are evident in the best-known classic Regency works.

Of course the works of Jane Austen are inextricably linked to the Regency, and her works have become known as archetypal Regency romances. It was a decade of particular etiquette and fashions with traits that include a highly developed sense of social standing for the characters, emphasis on "manners" and class issues, and the emergence of modern social thought amongst the upper classes of England.

In the British Regency, a marriage based on love was rarely an option for most women and instead, securing a steady and sufficient income was the first consideration for both the woman and her family.

This led to the Regency period yielding o many examples of both novel and poetry that echoed literary romance: it gave many the opportunity to live through the work's heroine, who generally married someone she loved deeply.

Mary Shelley's Frankenstein was published in 1818, also falling within the Regency era. It also was part of the Romantics era and many consider it to be the single piece of British literature that best reflects the interests and concerns of the time - fascination with and fear of the science and technological advances of the times, while dredging up the emotions of horror and terror.

Major writers of classic Regency fiction

Jane Austen (1775–1817)

Maria Edgeworth (1768–1849)

Susan Ferrier (1782–1854)

ETA Hoffman (1776–1822)

Sir Walter Scott (1771–1832)

Mary Shelley (1797–1851)

Percy Bysshe Shelley (1792–1822)

Johann David Wyss (1743–1818)

Major writers of modern Regency fiction

Mary Balogh (born 1944)

Jo Beverley (born 1947)

Susan Carroll (born 1952)

Loretta Chase (born 1949)

Lecia Cornwall

Georgette Heyer (1902–1974)

Mary Jo Putney

Events of the Regency Era

1811

George Augustus Frederick, Prince of Wales, begins his nine-year tenure as regent and became known as The Prince Regent.

1812

Prime Minister Spencer Perceval assassinated in the House of Commons.

The British were victorious over French armies at the Battle of Salamanca).

Gas company (Gas Light and Coke Company) founded. Charles Dickens, English writer and social critic of the Victorian era, was born on 7 February 1812.

1813

Pride and Prejudice by Jane Austen was published.

William Hedley's Puffing Billy – which was an early steam locomotive - runs on smooth rails.

1814

Invasion of France by allies led to the Treaty of Paris, ended one of the Napoleonic Wars.

Napoleon abdicates and is exiled to Elba.

Gas lighting introduced in London streets.

1815

Napoleon I of France defeated by the Seventh Coalition at the Battle of Waterloo.

Napoleon now exiled to St. Helena.

1816

Income tax abolished.

A "year without a summer" followed a volcanic eruption in Indonesia.

Mary Shelley wrote Frankenstein.

1817

Antonin Carême created a spectacular feast for the Prince Regent at the Royal Pavilion in Brighton.

The death of Princess Charlotte (the Prince Regent's daughter) from complications of childbirth changed obstetrical practices.

1818

Queen Charlotte died at Kew. Manchester cotton spinners went on strike. Frankenstein published.

Emily Brontë born.

1819

Ivanhoe by Walter Scott was published.

Sir Stamford Raffles, a British administrator, founded Singapore. First steam-propelled vessel (the SS Savannah) crossed the Atlantic and arrived in Liverpool from Savannah, Georgia.

1820

Death of George III and accession of The Prince Regent as George IV.

Historical Context of the Regency

Periods in English History

Prehistoric Britainuntil c. 43

Roman Britainc. 43–410

Anglo-Saxonc. 500–1066

Norman1066–1154

Plantagenet1154–1485

Tudor1485–1603

Elizabethan1558–1603

Stuart1603–1714

Jacobean1603–1625

Caroline1625–1649

(Interregnum)1649–1660

Restoration1660–1714

Georgian1714–1837

Regency1811–1820

Victorian1837–1901

Edwardian1901–1914

First World War1914–1918

Interwar Britain1918–1939

Second World War1939–1945

LITERARY CONTEXT: ROMANTICISM AND THE ROMANTIC MOVEMENT

Romanticism and the Romantic Movement

Byron belongs to a period of time in arts and literature known as the Romantic Era. His work echoes many of the ideals of this Romantic movement. To fully appreciate his work, it can be useful to understand this time in literary history.

The Romantic era was caused by a variety of factors.

Firstly, it was largely a reaction to the Age of Enlightenment, a period of time defined by strict rules, intellectualism, as well as aristocratic social and political norms.

Romanticism was also partly a reaction to the Industrial Revolution and modernity, as well as the scientific rationalization of nature.

Historical Context

Romanticism, as an artistic, literary, musical and intellectual movement, began in Europe toward the end of the 18th century. Because of Romanticism beginning in slightly different time periods in various different countries (ranging from Scotland, Great Britain, to France, Germany and beyond), it is a matter of debate exactly when the movement began.

There are even scholars who identify the French Revolution, which began in 1789, as being another ‘source’ of the inspiration that led to the Era, with its rejection of the rules and class structures of the preceding era.

Despite this debate, it is generally accepted that the Romantic Era began in the late 18th Century and reached its peak in the approximate period from 1800 to 1850.

The period of time that preceded Romanticism is known as the Age of Enlightenment, which was characterized by the concepts of Rationalism and Classicism.

Enlightenment was ruled by concepts of rationality, of sciences, mathematics and numbers. By strict rules in regard to literature and the arts. Enlightenment also rejected many elements of the past, such as the Middle Ages and Medieval periods.

Its main focus was on intellectualism, on essentially endeavoring to define the concept of life according to intellect and reason.

Romanticism, Romantic Literature and Romantic Poetry was a direct reaction against this intellectualism and reason.

Instead of the rationality and the rules that Enlightenment held, Romanticism focused on human experience as defined by emotion.

From a poetry point of view, Romantic Poetry was a reaction against the set standards and conventions of eighteenth century poetry and neoclassic poetry. As explained by William J. Long, “The Romantic Movement was marked, and is always marked, by a strong reaction and protest against the bondage of rule and custom which in science and theology as well as literature, generally tend to fetter the free human spirit.”

Besides from the French Revolution as being cited as an influence in the beginning of the movement, some of the other main factors that gave rise to the era can be traced back to the German “Sturm und Drang” movement. Meaning "Storm and Drive" or "Storm and Urge" or "Storm and Stress", this was as a proto-Romantic movement between the 1760s and 1780s in German literature and music.

It emphasized individual subjectivity, extreme emotional states, free expression, all of which were in direct opposition to the objectivity and rule-based rationalism imposed by the Enlightenment. The period takes it’s named from Friedrich Maximilian Klinger's play Sturm und Drang, which was first performed in 1777.

Another German influence came in the form of Johann Wolfgang von Goethe. In 1774, Goethe wrote the novel “The Sorrows of Young Werther” and its protagonist struck a strong chord with young men throughout Europe - he was a young, passionate sensitive artist wand many young men in Germany sought to emulate him.

In English literature, the key figures of the Romantic movement are considered to be the group of poets including William Wordsworth, Samuel Taylor Coleridge, John Keats, Lord Byron, Percy Bysshe Shelley, and the much older William Blake, followed later by the isolated figure of John Clare. In Scotland, Robert Burns became a leading figure in the Romantic Movement and influenced many other writers all across Europe (even becoming the people’s poet of Russia).

In England, it was the 1798 publication of Lyrical Ballads (from Wordsworth and Coleridge) that is said to have started the movement officially.

The poems of Lyrical Ballads intentionally re-imagined the way poetry should sound. As Wordsworth put it: "By fitting to metrical arrangement a selection of the real language of men…"

In other words, Wordsworth wanted to show the true emotions men and women felt and find a way to construct poetry and art that evoked that emotion, and moved people emotionally.

As he said: “I have said before that poetry is the spontaneous overflow of powerful feelings: it takes its origin in emotion recollected in tranquility: the emotion is contemplated till, by a species of reaction, the tranquility gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind…”

The Romantic movement spread across Europe and even found it influenced artists in America, such as Longfellow.

Etymology

Although common usage of the word Romantic has attached concepts such as love, romance and passion, the word in context of the Romantic Era and Romanticism is derived from different sources and has different connotations.

Essentially, the word is derived from the root word "Roman", which is found in various European languages, such as "romance" and "Romanesque".

In earlier periods, Romantic or romantique, as an adjective could be used to describe praise for natural phenomena such as views and sunsets. In other words, it wasn’t only used for the idea of Romance between people within a relationship.

Elements of Romanticism

Emotion

As explained, Romanticism was a direct Counter-Enlightenment movement and its focus was on the filtering of natural emotion through the human mind in order to create meaning. Whereas Enlightenment focused on Rationality, Romanticism focused on Emotion.

Although the concept may seem natural to us now, this was not so in the period of Enlightenment - strict rules and a focus of Objectivity, made poetry and literature of that period very different.

It was the Romantic movement itself that gave rise to the concept of using emotion in art, of trying to evoke and emulate true human emotional experience in words.

At the time, this was seen as difficult and the movement was revolutionary for its ability to convey that true emotion.

Because of this, the poets and writers themselves often wrote down much of their own emotion in their work, and so much of romantic poetry invited the reader to identify the protagonists with the poets themselves.

The emotions it emphasized were vast, ranging from love to intense emotions such as apprehension, horror and terror, and awe.

Imagination

Belief in the importance of the imagination is a distinctive feature of romantic poets such as John Keats, Samuel Taylor Coleridge and P. B. Shelley.

This was unlike the neoclassical poets who put greater importance on a set of rules that dictated what a work should look like.

Indeed, for Wordsworth and Blake, as well as Victor Hugo and Alessandro Manzoni, they saw imagination is a spiritual force. They also believed that literature, especially poetry, could improve the world.

Samuel Taylor Coleridge and others believed there were natural laws the imagination would unconsciously follow through artistic inspiration if left alone. So it was an essential part of Romanticism that the content of art had to come from the imagination of the artist, with as little interference as possible from "artificial" rules dictating what a work should consist of. The influence of these models from other works was considered to impede the creator's own imagination.

The concept of the genius/artist who was able to produce his own original work through this process of creation from nothingness, is key to Romanticism, and to be derivative was the worst sin. This idea is often called "romantic originality.”

Rejection of Satire

Predominately, Romanticism tended to regard satire as something unworthy of serious attention.

The work of the Romantics was intended to be about true emotion and satire detracted from this.

Spontaneity

Being spontaneous and not following strict rules was highly admired by the Romantic artists. An example of this was an impromptu musical recital, what might be called a ‘jam session’ today.

Instead of a tightly set out set of rule based structure of music, with its required crescendos and codas, it was more important to the Romantics to be spontaneous and to see what happened in the music.

Nature poetry

For most of the Romantics, love for nature was another important feature of romantic poetry, as well a source of inspiration. Their connection to external nature and places, and a belief in pantheism, was paramount.

Wordsworth considered nature as a living thing, teacher, god and everything, as expressed in his epic poem The Prelude.

Keats and Shelley were also nature poets, who also believed that nature is a living thing and there is a union between nature and man.

Coleridge differs from other romantic poets of his age, in that he has a realistic perspective on nature. Coleridge believed that joy does not come from external nature, but from the reaction an individual has to that nature based on their own feelings at the time.

Still, nature was very important to many Romantics of the time. The cliché of the poet sitting under a tree, alone in a meadow, comes from this Romantic period.

Isolation of the Poet

Love of nature and that idea of the Poet alone also ties into the idea of a poet’s isolation.

In order to create this wholly original piece of art, it was generally emphasized that the artists should be alone, working on his own.

This was in contrast to the usually very social art of the Enlightenment.

Melancholy

Melancholy and sadness occupied a prominent place in romantic poetry, and served as an important source of inspiration for the Romantic poets. Again, this emotion was in contrast to the Objectivity of Enlightenment.

Medievalism, Hellenism and Exoticism

Romantic poetry was attracted to nostalgia, in particular the Middle Ages, the heroes and tales of the Medieval period, and the classical Greek writings. They were also attracted to exotic, remote and obscure places, which is shown in much of their writing.

Supernaturalism

Although not essential to all Romantics, many of the romantic poets used supernatural elements in their poetry. Samuel Taylor Coleridge is the leading romantic poet in this regard, and "Kubla Khan" is full of supernatural elements. Romantic writers in literature often used Supernatural elements, such as Edgar Allen Poe. This supernatural element often gave the work an even more intense emotional content.

Subjectivity

Romantic poetry is the poetry of sentiments, emotions and imagination, as opposed to the objectivity of neoclassical poetry. Neoclassical poets avoided describing their personal emotions in their poetry, but the Romantics often placed themselves into the poem emotionally.

Nationalism

Although much of English Romanticism was not nationalistic, in other parts of Europe, for example Germany, there was a great deal of nationalism in the Romantic works. Even writers such as Robert Burns (who is known as the Poet Laureate of Scotland) evoked a certain sense of national pride in their writing.

End of Romanticism

The end of the Romantic era is marked in some areas by a new style…Realism. Some scholars see this new movement as another reaction against the previous era – in other words, Realism was the reaction against Romanticism.

This Realism movement was led by France, with Balzac and Flaubert in literature and Courbet in painting. It affected literature, especially the novel and drama, painting, and even music, through Verismo opera.

The reasons for this are also complicated but it was partly because the Early Romantic visionary optimism and belief that the world was in the process of great change and improvement had largely vanished, especially in northern Europe.

As a result, art became more conventionally political as its creators engaged polemically with the world.

Legacy

Many of the Romantics ideas about nature, individuality, purpose of art, above all the pre-eminent importance of originality, remained important for later generations, and often underlie modern views.

We accept those concepts as in inherent part of the art and literature we see every day, but we should remember that it was these writers that actually created those concepts in art.

POEMS ON VARIOUS OCCASIONS

TO M. S. G.

1.

Whene'er I view those lips of thine,

Their hue invites my fervent kiss;

Yet, I forego that bliss divine,

Alas! it were—unhallow'd bliss.

2.

Whene'er I dream of that pure breast,

How could I dwell upon its snows!

Yet, is the daring wish represt,

For that,—would banish its repose.

3.

A glance from thy soul-searching eye

Can raise with hope, depress with fear;

Yet, I conceal my love,—and why?

I would not force a painful tear.

4.

I ne'er have told my love, yet thou

Hast seen my ardent flame too well;

And shall I plead my passion now,

To make thy bosom's heaven a hell?

5.

No! for thou never canst be mine,

United by the priest's decree:

By any ties but those divine,

Mine, my belov'd, thou ne'er shalt be.

6.

Then let the secret fire consume,

Let it consume, thou shalt not know:

With joy I court a certain doom,

Rather than spread its guilty glow.

7.

I will not ease my tortur'd heart,

By driving dove-ey'd peace from thine;

Rather than such a sting impart,

Each thought presumptuous I resign.

8.

Yes! yield those lips, for which I'd brave

More than I here shall dare to tell;

Thy innocence and mine to save,—

I bid thee now a last farewell.

9.

Yes! yield that breast, to seek despair

And hope no more thy soft embrace;

Which to obtain, my soul would dare,

All, all reproach, but thy disgrace.

10.

At least from guilt shall thou be free,

No matron shall thy shame reprove;

Though cureless pangs may prey on me,

No martyr shall thou be to love.

STANZAS TO A LADY, WITH THE POEMS OF CAMOËNS.

1.

This votive pledge of fond esteem,

Perhaps, dear girl! for me thou'lt prize;

It sings of Love's enchanting dream,

A theme we never can despise.

2.

Who blames it but the envious fool,

The old and disappointed maid?

Or pupil of the prudish school,

In single sorrow doom'd to fade?

3.

Then read, dear Girl! with feeling read,

For thou wilt ne'er be one of those;

To thee, in vain, I shall not plead

In pity for the Poet's woes.

4.

He was, in sooth, a genuine Bard;

His was no faint, fictitious flame:

Like his, may Love be thy reward,

But not thy hapless fate the same.

TO M. S. G.

1.

When I dream that you love me, you'll surely forgive;

Extend not your anger to sleep;

For in visions alone your affection can live,—

I rise, and it leaves me to weep.

2.

Then, Morpheus! envelop my faculties fast,

Shed o'er me your languor benign;

Should the dream of to-night but resemble the last,

What rapture celestial is mine!

3.

They tell us that slumber, the sister of death,

Mortality's emblem is given;

To fate how I long to resign my frail breath,

If this be a foretaste of Heaven!

4.

Ah! frown not, sweet Lady, unbend your soft brow,

Nor deem me too happy in this;

If I sin in my dream, I atone for it now,

Thus doom'd, but to gaze upon bliss.

5.

Though in visions, sweet Lady, perhaps you may smile,

Oh! think not my penance deficient!

When dreams of your presence my slumbers beguile,

To awake, will be torture sufficient.

TRANSLATION FROM HORACE.

Justum et tenacem propositi virum.

HOR. 'Odes', iii. 3. I.

1.

The man of firm and noble soul

No factious clamours can controul;

No threat'ning tyrant's darkling brow

Can swerve him from his just intent:

Gales the warring waves which plough,

By Auster on the billows spent,

To curb the Adriatic main,

Would awe his fix'd determined mind in vain.

2.

Aye, and the red right arm of Jove,

Hurtling his lightnings from above,

With all his terrors there unfurl'd,

He would, unmov'd, unaw'd, behold;

The flames of an expiring world,

Again in crashing chaos roll'd,

In vast promiscuous ruin hurl'd,

Might light his glorious funeral pile:

Still dauntless 'midst the wreck of earth he'd smile.

THE FIRST KISS OF LOVE.

Greek:

Ha barbitos de chordais

Er_ota mounon aechei.

ANACREON ['Ode' 1].

1.

Away with your fictions of flimsy romance,

Those tissues of falsehood which Folly has wove;

Give me the mild beam of the soul-breathing glance,

Or the rapture which dwells on the first kiss of love.

2.

Ye rhymers, whose bosoms with fantasy glow,

Whose pastoral passions are made for the grove;

From what blest inspiration your sonnets would flow,

Could you ever have tasted the first kiss of love.

3.

If Apollo should e'er his assistance refuse,

Or the Nine be dispos'd from your service to rove,

Invoke them no more, bid adieu to the Muse,

And try the effect, of the first kiss of love.

4.

I hate you, ye cold compositions of art,

Though prudes may condemn me, and bigots reprove;

I court the effusions that spring from the heart,

Which throbs, with delight, to the first kiss of love.

5.

Your shepherds, your flocks, those fantastical themes,

Perhaps may amuse, yet they never can move:

Arcadia displays but a region of dreams;

What are visions like these, to the first kiss of love?

6.

Oh! cease to affirm that man, since his birth,

From Adam, till now, has with wretchedness strove;

Some portion of Paradise still is on earth,

And Eden revives, in the first kiss of love.

7.

When age chills the blood, when our pleasures are past—

For years fleet away with the wings of the dove—

The dearest remembrance will still be the last,

Our sweetest memorial, the first kiss of love.

December 23, 1806.

CHILDISH RECOLLECTIONS.

"I cannot but remember such things were,

And were most dear to me."

'Macbeth'

["That were most precious to me."

'Macbeth', act iv, sc. 3.]

When slow Disease, with all her host of Pains,

Chills the warm tide, which flows along the veins;

When Health, affrighted, spreads her rosy wing,

And flies with every changing gale of spring;

Not to the aching frame alone confin'd,

Unyielding pangs assail the drooping mind:

What grisly forms, the spectre-train of woe,

Bid shuddering Nature shrink beneath the blow,

With Resignation wage relentless strife,

While Hope retires appall'd, and clings to life. 10

Yet less the pang when, through the tedious hour,

Remembrance sheds around her genial power,

Calls back the vanish'd days to rapture given,

When Love was bliss, and Beauty form'd our heaven;

Or, dear to youth, pourtrays each childish scene,

Those fairy bowers, where all in turn have been.

As when, through clouds that pour the summer storm,

The orb of day unveils his distant form,

Gilds with faint beams the crystal dews of rain

And dimly twinkles o'er the watery plain; 20

Thus, while the future dark and cheerless gleams,

The Sun of Memory, glowing through my dreams,

Though sunk the radiance of his former blaze,

To scenes far distant points his paler rays,

Still rules my senses with unbounded sway,

The past confounding with the present day.

Oft does my heart indulge the rising thought,

Which still recurs, unlook'd for and unsought;

My soul to Fancy's fond suggestion yields,

And roams romantic o'er her airy fields. 30

Scenes of my youth, develop'd, crowd to view,

To which I long have bade a last adieu!

Seats of delight, inspiring youthful themes;

Friends lost to me, for aye, except in dreams;

Some, who in marble prematurely sleep,

Whose forms I now remember, but to weep;

Some, who yet urge the same scholastic course

Of early science, future fame the source;

Who, still contending in the studious race,

In quick rotation, fill the senior place! 40

These, with a thousand visions, now unite,

To dazzle, though they please, my aching sight.

IDA! blest spot, where Science holds her reign,

How joyous, once, I join'd thy youthful train!

Bright, in idea, gleams thy lofty spire,

Again, I mingle with thy playful quire;

Our tricks of mischief, every childish game,

Unchang'd by time or distance, seem the same;

Through winding paths, along the glade I trace

The social smile of every welcome face; 50

My wonted haunts, my scenes of joy or woe,

Each early boyish friend, or youthful foe,

Our feuds dissolv'd, but not my friendship past,—

I bless the former, and forgive the last.

Hours of my youth! when, nurtur'd in my breast,

To Love a stranger, Friendship made me blest,—

Friendship, the dear peculiar bond of youth,

When every artless bosom throbs with truth;

Untaught by worldly wisdom how to feign,

And check each impulse with prudential rein; 60

When, all we feel, our honest souls disclose,

In love to friends, in open hate to foes;

No varnish'd tales the lips of youth repeat,

No dear-bought knowledge purchased by deceit;

Hypocrisy, the gift of lengthen'd years,

Matured by age, the garb of Prudence wears:

When, now, the Boy is ripen'd into Man,

His careful Sire chalks forth some wary plan;

Instructs his Son from Candour's path to shrink,

Smoothly to speak, and cautiously to think; 70

Still to assent, and never to deny—

A patron's praise can well reward the lie:

And who, when Fortune's warning voice is heard,

Would lose his opening prospects for a word?

Although, against that word, his heart rebel,

And Truth, indignant, all his bosom swell.

Away with themes like this! not mine the task,

From flattering friends to tear the hateful mask;

Let keener bards delight in Satire's sting,

My Fancy soars not on Detraction's wing: 80

Once, and but once, she aim'd a deadly blow,

To hurl Defiance on a secret Foe;

But when that foe, from feeling or from shame,

The cause unknown, yet still to me the same,

Warn'd by some friendly hint, perchance, retir'd,

With this submission all her rage expired.

From dreaded pangs that feeble Foe to save,

She hush'd her young resentment, and forgave.

Or, if my Muse a Pedant's portrait drew,

POMPOSUS' virtues are but known to few: 90

I never fear'd the young usurper's nod,

And he who wields must, sometimes, feel the rod.

If since on Granta's failings, known to all

Who share the converse of a college hall,

She sometimes trifled in a lighter strain,

'Tis past, and thus she will not sin again:

Soon must her early song for ever cease,

And, all may rail, when I shall rest in peace.

Here, first remember'd be the joyous band,

Who hail'd me chief, obedient to command; 100

Who join'd with me, in every boyish sport,

Their first adviser, and their last resort;

Nor shrunk beneath the upstart pedant's frown,

Or all the sable glories of his gown;

Who, thus, transplanted from his father's school,

Unfit to govern, ignorant of rule—

Succeeded him, whom all unite to praise,

The dear preceptor of my early days,

PROBUS, the pride of science, and the boast—

To IDA now, alas! for ever lost! 110

With him, for years, we search'd the classic page,

And fear'd the Master, though we lov'd the Sage:

Retir'd at last, his small yet peaceful seat

From learning's labour is the blest retreat.

POMPOSUS fills his magisterial chair;

POMPOSUS governs,—but, my Muse, forbear:

Contempt, in silence, be the pedant's lot,

His name and precepts be alike forgot;

No more his mention shall my verse degrade,—

To him my tribute is already paid. 120

High, through those elms with hoary branches crown'd

Fair IDA'S bower adorns the landscape round;

There Science, from her favour'd seat, surveys

The vale where rural Nature claims her praise;

To her awhile resigns her youthful train,

Who move in joy, and dance along the plain;

In scatter'd groups, each favour'd haunt pursue,

Repeat old pastimes, and discover new;

Flush'd with his rays, beneath the noontide Sun,

In rival bands, between the wickets run, 130

Drive o'er the sward the ball with active force,

Or chase with nimble feet its rapid course.

But these with slower steps direct their way,

Where Brent's cool waves in limpid currents stray,

While yonder few search out some green retreat,

And arbours shade them from the summer heat:

Others, again, a pert and lively crew,

Some rough and thoughtless stranger plac'd in view,

With frolic quaint their antic jests expose,

And tease the grumbling rustic as he goes; 140

Nor rest with this, but many a passing fray

Tradition treasures for a future day:

"'Twas here the gather'd swains for vengeance fought,

And here we earn'd the conquest dearly bought:

Here have we fled before superior might,

And here renew'd the wild tumultuous fight."

While thus our souls with early passions swell,

In lingering tones resounds the distant bell;

Th' allotted hour of daily sport is o'er,

And Learning beckons from her temple's door. 150

No splendid tablets grace her simple hall,

But ruder records fill the dusky wall:

There, deeply carv'd, behold! each Tyro's name

Secures its owner's academic fame;

Here mingling view the names of Sire and Son,

The one long grav'd, the other just begun:

These shall survive alike when Son and Sire,

Beneath one common stroke of fate expire;

Perhaps, their last memorial these alone,

Denied, in death, a monumental stone, 160

Whilst to the gale in mournful cadence wave

The sighing weeds, that hide their nameless grave.

And, here, my name, and many an early friend's,

Along the wall in lengthen'd line extends.

Though, still, our deeds amuse the youthful race,

Who tread our steps, and fill our former place,

Who young obeyed their lords in silent awe,

Whose nod commanded, and whose voice was law;

And now, in turn, possess the reins of power,

To rule, the little Tyrants of an hour; 170

Though sometimes, with the Tales of ancient day,

They pass the dreary Winter's eve away;

"And, thus, our former rulers stemm'd the tide,

And, thus, they dealt the combat, side by side;

Just in this place, the mouldering walls they scaled,

Nor bolts, nor bars, against their strength avail'd;

Here PROBUS came, the rising fray to quell,

And, here, he falter'd forth his last farewell;

And, here, one night abroad they dared to roam,

While bold POMPOSUS bravely staid at home;" 180

While thus they speak, the hour must soon arrive,

When names of these, like ours, alone survive:

Yet a few years, one general wreck will whelm

The faint remembrance of our fairy realm.

Dear honest race! though now we meet no more,

One last long look on what we were before—

Our first kind greetings, and our last adieu—

Drew tears from eyes unus'd to weep with you.

Through splendid circles, Fashion's gaudy world,

Where Folly's glaring standard waves unfurl'd, 190

I plung'd to drown in noise my fond regret,

And all I sought or hop'd was to forget:

Vain wish! if, chance, some well-remember'd face,

Some old companion of my early race,

Advanc'd to claim his friend with honest joy,

My eyes, my heart, proclaim'd me still a boy;

The glittering scene, the fluttering groups around,

Were quite forgotten when my friend was found;

The smiles of Beauty, (for, alas! I've known

What 'tis to bend before Love's mighty throne;) 200

The smiles of Beauty, though those smiles were dear,

Could hardly charm me, when that friend was near:

My thoughts bewilder'd in the fond surprise,

The woods of IDA danc'd before my eyes;

I saw the sprightly wand'rers pour along,

I saw, and join'd again the joyous throng;

Panting, again I trac'd her lofty grove,

And Friendship's feelings triumph'd over Love.

Yet, why should I alone with such delight

Retrace the circuit of my former flight? 210

Is there no cause beyond the common claim,

Endear'd to all in childhood's very name?

Ah! sure some stronger impulse vibrates here,

Which whispers friendship will be doubly dear

To one, who thus for kindred hearts must roam,

And seek abroad, the love denied at home.

Those hearts, dear IDA, have I found in thee,

A home, a world, a paradise to me.

Stern Death forbade my orphan youth to share

The tender guidance of a Father's care; 220

Can Rank, or e'en a Guardian's name supply

The love, which glistens in a Father's eye?

For this, can Wealth, or Title's sound atone,

Made, by a Parent's early loss, my own?

What Brother springs a Brother's love to seek?

What Sister's gentle kiss has prest my cheek?

For me, how dull the vacant moments rise,

To no fond bosom link'd by kindred ties!

Oft, in the progress of some fleeting dream,

Fraternal smiles, collected round me seem; 230

While still the visions to my heart are prest,

The voice of Love will murmur in my rest:

I hear—I wake—and in the sound rejoice!

I hear again,—but, ah! no Brother's voice.

A Hermit, 'midst of crowds, I fain must stray

Alone, though thousand pilgrims fill the way;

While these a thousand kindred wreaths entwine,

I cannot call one single blossom mine:

What then remains? in solitude to groan,

To mix in friendship, or to sigh alone? 240

Thus, must I cling to some endearing hand,

And none more dear, than IDA'S social band.

Alonzo! best and dearest of my friends,

Thy name ennobles him, who thus commends:

From this fond tribute thou canst gain no praise;

The praise is his, who now that tribute pays.

Oh! in the promise of thy early youth,

If Hope anticipate the words of Truth!

Some loftier bard shall sing thy glorious name,

To build his own, upon thy deathless fame: 250

Friend of my heart, and foremost of the list

Of those with whom I lived supremely blest;

Oft have we drain'd the font of ancient lore,

Though drinking deeply, thirsting still the more;

Yet, when Confinement's lingering hour was done,

Our sports, our studies, and our souls were one:

Together we impell'd the flying ball,

Together waited in our tutor's hall;

Together join'd in cricket's manly toil,

Or shar'd the produce of the river's spoil; 260

Or plunging from the green declining shore,

Our pliant limbs the buoyant billows bore:

In every element, unchang'd, the same,

All, all that brothers should be, but the name.

Nor, yet, are you forgot, my jocund Boy!

DAVUS, the harbinger of childish joy;

For ever foremost in the ranks of fun,

The laughing herald of the harmless pun;

Yet, with a breast of such materials made,

Anxious to please, of pleasing half afraid; 270

Candid and liberal, with a heart of steel

In Danger's path, though not untaught to feel.

Still, I remember, in the factious strife,

The rustic's musket aim'd against my life:

High pois'd in air the massy weapon hung,

A cry of horror burst from every tongue:

Whilst I, in combat with another foe,

Fought on, unconscious of th' impending blow;

Your arm, brave Boy, arrested his career—

Forward you sprung, insensible to fear; 280

Disarm'd, and baffled by your conquering hand,

The grovelling Savage roll'd upon the sand:

An act like this, can simple thanks repay?

Or all the labours of a grateful lay?

Oh no! whene'er my breast forgets the deed,

That instant, DAVUS, it deserves to bleed.

LYCUS! on me thy claims are justly great:

Thy milder virtues could my Muse relate,

To thee, alone, unrivall'd, would belong

The feeble efforts of my lengthen'd song. 290

Well canst thou boast, to lead in senates fit,

A Spartan firmness, with Athenian wit:

Though yet, in embryo, these perfections shine,

LYCUS! thy father's fame will soon be thine.

Where Learning nurtures the superior mind,

What may we hope, from genius thus refin'd;

When Time, at length, matures thy growing years,

How wilt thou tower, above thy fellow peers!

Prudence and sense, a spirit bold and free,

With Honour's soul, united beam in thee. 300

Shall fair EURYALUS, pass by unsung?

From ancient lineage, not unworthy, sprung:

What, though one sad dissension bade us part,

That name is yet embalm'd within my heart,

Yet, at the mention, does that heart rebound,

And palpitate, responsive to the sound;

Envy dissolved our ties, and not our will:

We once were friends,—I'll think, we are so still.

A form unmatch'd in Nature's partial mould,

A heart untainted, we, in thee, behold: 310

Yet, not the Senate's thunder thou shall wield,

Nor seek for glory, in the tented field:

To minds of ruder texture, these be given—

Thy soul shall nearer soar its native heaven.

Haply, in polish'd courts might be thy seat,

But, that thy tongue could never forge deceit:

The courtier's supple bow, and sneering smile,

The flow of compliment, the slippery wile,

Would make that breast, with indignation, burn,

And, all the glittering snares, to tempt thee, spurn. 320

Domestic happiness will stamp thy fate;

Sacred to love, unclouded e'er by hate;

The world admire thee, and thy friends adore;—

Ambition's slave, alone, would toil for more.

Now last, but nearest, of the social band,

See honest, open, generous CLEON stand;

With scarce one speck, to cloud the pleasing scene,

No vice degrades that purest soul serene.

On the same day, our studious race begun,

On the same day, our studious race was run; 330

Thus, side by side, we pass'd our first career,

Thus, side by side, we strove for many a year:

At last, concluded our scholastic life,

We neither conquer'd in the classic strife:

As Speakers, each supports an equal name,

And crowds allow to both a partial fame:

To soothe a youthful Rival's early pride,

Though Cleon's candour would the palm divide,

Yet Candour's self compels me now to own,

Justice awards it to my Friend alone. 340

Oh! Friends regretted, Scenes for ever dear,

Remembrance hails you with her warmest tear!

Drooping, she bends o'er pensive Fancy's urn,

To trace the hours, which never can return;

Yet, with the retrospection loves to dwell,

And soothe the sorrows of her last farewell!

Yet greets the triumph of my boyish mind,

As infant laurels round my head were twin'd;

When PROBUS' praise repaid my lyric song,

Or plac'd me higher in the studious throng; 350

Or when my first harangue receiv'd applause,

His sage instruction the primeval cause,

What gratitude, to him, my soul possest,

While hope of dawning honours fill'd my breast!

For all my humble fame, to him alone,

The praise is due, who made that fame my own.

Oh! could I soar above these feeble lays,

These young effusions of my early days,

To him my Muse her noblest strain would give,

The song might perish, but the theme might live. 360

Yet, why for him the needless verse essay?

His honour'd name requires no vain display:

By every son of grateful IDA blest,

It finds an echo in each youthful breast;

A fame beyond the glories of the proud,

Or all the plaudits of the venal crowd.

IDA! not yet exhausted is the theme,

Nor clos'd the progress of my youthful dream.

How many a friend deserves the grateful strain!

What scenes of childhood still unsung remain! 370

Yet let me hush this echo of the past,

This parting song, the dearest and the last;

And brood in secret o'er those hours of joy,

To me a silent and a sweet employ,

While, future hope and fear alike unknown,

I think with pleasure on the past alone;

Yes, to the past alone, my heart confine,

And chase the phantom of what once was mine.

IDA! still o'er thy hills in joy preside,

And proudly steer through Time's eventful tide: 380

Still may thy blooming Sons thy name revere,

Smile in thy bower, but quit thee with a tear;—

That tear, perhaps, the fondest which will flow,

O'er their last scene of happiness below:

Tell me, ye hoary few, who glide along,

The feeble Veterans of some former throng,

Whose friends, like Autumn leaves by tempests whirl'd,

Are swept for ever from this busy world;

Revolve the fleeting moments of your youth,

While Care has yet withheld her venom'd tooth; 390

Say, if Remembrance days like these endears,

Beyond the rapture of succeeding years?

Say, can Ambition's fever'd dream bestow

So sweet a balm to soothe your hours of woe?

Can Treasures hoarded for some thankless Son,

Can Royal Smiles, or Wreaths by slaughter won,

Can Stars or Ermine, Man's maturer Toys,

(For glittering baubles are not left to Boys,)

Recall one scene so much belov'd to view,

As those where Youth her garland twin'd for you? 400

Ah, no! amid the gloomy calm of age

You turn with faltering hand life's varied page,

Peruse the record of your days on earth,

Unsullied only where it marks your birth;

Still, lingering, pause above each chequer'd leaf,

And blot with Tears the sable lines of Grief;

Where Passion o'er the theme her mantle threw,

Or weeping Virtue sigh'd a faint adieu;

But bless the scroll which fairer words adorn,

Trac'd by the rosy finger of the Morn; 410

When Friendship bow'd before the shrine of truth,

And Love, without his pinion, smil'd on Youth.

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

1.

Montgomery! true, the common lot

Of mortals lies in Lethe's wave;

Yet some shall never be forgot,

Some shall exist beyond the grave.

2.

"Unknown the region of his birth,"

The hero rolls the tide of war;

Yet not unknown his martial worth,

Which glares a meteor from afar.

3.

His joy or grief, his weal or woe,

Perchance may 'scape the page of fame;

Yet nations, now unborn, will know

The record of his deathless name.

4.

The Patriot's and the Poet's frame

Must share the common tomb of all:

Their glory will not sleep the same;

'That' will arise, though Empires fall.

5.

The lustre of a Beauty's eye

Assumes the ghastly stare of death;

The fair, the brave, the good must die,

And sink the yawning grave beneath.

6.

Once more, the speaking eye revives,

Still beaming through the lover's strain;

For Petrarch's Laura still survives:

She died, but ne'er will die again.

7.

The rolling seasons pass away,

And Time, untiring, waves his wing;

Whilst honour's laurels ne'er decay,

But bloom in fresh, unfading spring.

8.

All, all must sleep in grim repose,

Collected in the silent tomb;