Some Poems

Fare Thee Well

Fare Thee Well

Fare thee well! and if for ever,
Still for ever, fare thee well:
Even though unforgiving, never
'Gainst thee shall my heart rebel.


Would that breast were bared before thee
Where thy head so oft hath lain.
While that placid sleep came o'er thee
Which thou ne'er canst know again;


Would that breast, by thee glanced over,
Every inmost thought could show!
Then thou wouldst at last discover
'Twas not well to spurn it so.


Though the world for this commend theeThough
it smile upon the blow,
Even its praises must offend thee,
Founded on another's woe:


Though my many faults defaced me,
Could no other arm be found,
Than the one which once embraced me,
To inflict a cureless wound?


Yet, oh yet, thyself deceive not;
Love may sink by slow decay,
But by sudden wrench, believe not
Hearts can thus be torn away:


Still thine own its life retaineth,
Still must mine, though bleeding, beat;
And the undying thought which paineth
Is that
we no more may meet.


These are words of deeper sorrow
Than the wail above the dead;
Both shall live, but every morrow
Wake us from a widow'd bed.


And when thou wouldst solace gather,
When our child's first accents flow,
Wilt thou teach her to say 'Father!'
Though his care she must forego?


When her little hands shall press thee,
When her lip to thine is press'd
Think of him whose prayer shall bless thee,
Think of him thy love had bless'd!


Should her lineaments resemble
Those thou never more may'st see,



Then thy heart will softly tremble
With a pulse yet true to me.


All my faults perchance thou knowest,
All my madness none can know;
All my hopes where'er thou goest,
Wither, yet with thee they go.


Every feeling hath been shaken;
Pride, which not a world could bow,
Bows to theeby
thee forsaken,
Even my soul forsakes me now:


But 'tis doneall
words are idleWords
from me are vainer still;
But the thoughts we cannot bridle
Force their way without the will.


Fare thee well! thus disunited,
Torn from every nearer tie
Sear 'd in heart, and lone, and blighted,
More than this I scarce can die.

Lara

Lara


LARA. [1]

CANTO THE FIRST.

I.
The Serfs are glad through Lara's wide domain, [2]
And slavery half forgets her feudal chain;
He, their unhoped, but unforgotten lord —
The long selfexiled
chieftain is restored:
There be bright faces in the busy hall,
Bowls on the board, and banners on the wall;
Far chequering o'er the pictured window, plays
The unwonted fagots' hospitable blaze;
And gay retainers gather round the hearth,
With tongues all loudness, and with eyes all mirth.


II.
The chief of Lara is return'd again:
And why had Lara cross'd the bounding main?
Left by his sire, too young such loss to know,
Lord of himself; — that heritage of woe,
That fearful empire which the human breast
But holds to rob the heart within of rest! —
With none to check, and few to point in time
The thousand paths that slope the way to crime;
Then, when he most required commandment, then
Had Lara's daring boyhood govern'd men.
It skills not, boots not, step by step to trace
His youth through all the mazes of its race;
Short was the course his restlessness had run,
But long enough to leave him half undone.


III.
And Lara left in youth his fatherland;
But from the hour he waved his parting hand
Each trace wax'd fainter of his course, till all
Had nearly ceased his memory to recall.
His sire was dust, his vassals could declare,
'Twas all they knew, that Lara was not there;
Nor sent, nor came he, till conjecture grew
Cold in the many, anxious in the few.
His hall scarce echoes with his wonted name,
His portrait darkens in its fading frame,
Another chief consoled his destined bride,
The young forgot him, and the old had died;
"Yet doth he live!" exclaims the impatient heir,
And sighs for sables which he must not wear.
A hundred scutcheons deck with gloomy grace
The Laras' last and longest dwellingplace;



But one is absent from the mouldering file,
That now were welcome to that Gothic pile.

IV.
He comes at last in sudden loneliness,
And whence they know not, why they need not guess;
They more might marvel, when the greeting's o'er,
Not that he came, but came not long before:
No train is his beyond a single page,
Of foreign aspect, and of tender age.
Years had roll'd on, and fast they speed away
To those that wander as to those that stay;
But lack of tidings from another clime
Had lent a flagging wing to weary Time.
They see, they recognise, yet almost deem
The present dubious, or the past a dream.


He lives, nor yet is past his manhood's prime,
Though sear'd by toil, and something touch'd by time;
His faults, whate'er they were, if scarce forgot,
Might be untaught him by his varied lot;
Nor good nor ill of late were known, his name
Might yet uphold his patrimonial fame.
His soul in youth was haughty, but his sins
No more than pleasure from the stripling wins;
And such, if not yet harden'd in their course,
Might be redeem'd, nor ask a long remorse.


V.
And they indeed were changed — 'tis quickly seen,
Whate'er he be, 'twas not what he had been:
That brow in furrow'd lines had fix'd at last,
And spake of passions, but of passion past;
The pride, but not the fire, of early days,
Coldness of mien, and carelessness of praise;
A high demeanour, and a glance that took
Their thoughts from others by a single look;
And that sarcastic levity of tongue,
The stinging of a heart the world hath stung,
That darts in seeming playfulness around,
And makes those feel that will not own the wound:
All these seem'd his, and something more beneath
Than glance could well reveal, or accent breathe.
Ambition, glory, love, the common aim
That some can conquer, and that all would claim,
Within his breast appear'd no more to strive,
Yet seem'd as lately they had been alive;
And some deep feeling it were vain to trace
At moments lighten'd o'er his livid face.



VI.
Not much he loved long question of the past,
Nor told of wondrous wilds, and deserts vast,
In those far lands where he had wander'd lone,
And — as himself would have it seem — unknown:
Yet these in vain his eye could scarcely scan,
Nor glean experience from his fellowman;
But what he had beheld he shunn'd to show,
As hardly worth a stranger's care to know;
If still more prying such inquiry grew,
His brow fell darker, and his words more few.


VII.
Not unrejoiced to see him once again,
Warm was his welcome to the haunts of men;
Born of high lineage, link'd in high command,
He mingled with the magnates of his land;
Join'd the carousals of the great and gay,
And saw them smile or sigh their hours away;
But still he only saw, and did not share
The common pleasure or the general care;
He did not follow what they all pursued,
With hope still baffled, still to be renew'd;
Nor shadowy honour, nor substantial gain,
Nor beauty's preference, and the rival's pain:
Around him some mysterious circle thrown
Repell'd approach, and showed him still alone;
Upon his eye sate something of reproof,
That kept at least frivolity aloof;
And things more timid that beheld him near,
In silence gazed, or whisper'd mutual fear;
And they the wiser, friendlier few confess'd
They deem'd him better than his air express'd.


VIII.
'Twas strange — in youth all action and all life,
Burning for pleasure, not averse from strife;
Woman — the field — the ocean — all that gave
Promise of gladness, peril of a grave,
In turn he tried — he ransack'd all below,
And found his recompence in joy or woe,
No tame, trite medium; for his feelings sought
In that intenseness an escape from thought:
The tempest of his heart in scorn had gazed
On that the feebler elements hath raised;
The rapture of his heart had look'd on high,
And ask'd if greater dwelt beyond the sky:
Chain'd to excess, the slave of each extreme,
How woke he from the wildness of that dream?



Alas! he told not — but he did awake
To curse the wither'd heart that would not break.


IX.
Books, for his volume heretofore was Man,
With eye more curious he appear'd to scan,
And oft, in sudden mood, for many a day
From all communion he would start away:
And then, his rarely call'd attendants said,
Through night's long hours would sound his hurried tread
O'er the dark gallery, where his fathers frown'd
In rude but antique portraiture around.
They heard, but whisper'd — "that must not be known —
The sound of words less earthly than his own.
Yes, they who chose might smile, but some had seen
They scarce knew what, but more than should have been.
Why gazed he so upon the ghastly head
Which hands profane had gather'd from the dead,
That still beside his open'd volume lay,
As if to startle all save him away?
Why slept he not when others were at rest?
Why heard no music, and received no guest?
All was not well, they deem'd — but where the wrong?
Some knew perchance — but 'twere a tale too long;
And such besides were too discreetly wise,
To more than hint their knowledge in surmise;
But if they would — they could" — around the board,
Thus Lara's vassals prattled of their lord.


X.
It was the night — and Lara's glassy stream
The stars are studding, each with imaged beam:
So calm, the waters scarcely seem to stray,
And yet they glide like happiness away;
Reflecting far and fairylike
from high
The immortal lights that live along the sky:
Its banks are fringed with many a goodly tree,
And flowers the fairest that may feast the bee;
Such in her chaplet infant Dian wove,
And Innocence would offer to her love.
These deck the shore; the waves their channel make
In windings bright and mazy like the snake.
All was so still, so soft in earth and air,
You scarce would start to meet a spirit there;
Secure that nought of evil could delight
To walk in such a scene, on such a night!
It was a moment only for the good:
So Lara deem'd, nor longer there he stood,
But turn'd in silence to his castlegate;
Such scene his soul no more could contemplate.



Such scene reminded him of other days,
Of skies more cloudless, moons of purer blaze,
Of nights more soft and frequent, hearts that now —
No — no — the storm may beat upon his brow,
Unfelt — unsparing — but a night like this,
A night of beauty mock'd such breast as his.


XI.
He turn'd within his solitary hall,
And his high shadow shot along the wall;
There were the painted forms of other times,
'Twas all they left of virtues or of crimes,
Save vague tradition; and the gloomy vaults
That hid their dust, their foibles, and their faults;
And half a column of the pompous page,
That speeds the specious tale from age to age:
When history's pen its praise or blame supplies,
And lies like truth, and still most truly lies.
He wandering mused, and as the moonbeam shone
Through the dim lattice o'er the floor of stone,
And the high fretted roof, and saints, that there
O'er Gothic windows knelt in pictured prayer,
Reflected in fantastic figures grew,
Like life, but not like mortal life, to view;
His bristling locks of sable, brow of gloom,
And the wide waving of his shaken plume,
Glanced like a spectre's attributes, and gave
His aspect all that terror gives the grave.


XII.
'Twas midnight — all was slumber; the lone light
Dimm'd in the lamp, as loth to break the night.
Hark! there be murmurs heard in Lara's hall —
A sound — voice — a shriek — a fearful call!
A long, loud shriek — and silence — did they hear
That frantic echo burst the sleeping ear?
They heard and rose, and tremulously brave
Rush where the sound invoked their aid to save;
They come with halflit
tapers in their hands,
And snatch'd in startled haste unbelted brands.


XIII.
Cold as the marble where his length was laid,
Pale as the beam that o'er his features play'd,
Was Lara stretch'd; his halfdrawn
sabre near,
Dropp'd it should seem in more than nature's fear;
Yet he was firm, or had been firm till now,
And still defiance knit his gather'd brow;
Though mix'd with terror, senseless as he lay,



There lived upon his lip the wish to slay;
Some halfform'd
threat in utterance there had died,
Some imprecation of despairing pride;
His eye was almost seal'd, but not forsook
Even in its trance the gladiator's look,
That oft awake his aspect could disclose,
And now was fix'd in horrible repose.
They raise him — bear him: hush! he breathes, he speaks!
The swarthy blush recolours in his cheeks,
His lip resumes its red, his eye, though dim,
Rolls wide and wild, each slowly quivering limb
Recalls its function, but his words are strung
In terms that seem not of his native tongue;
Distinct but strange, enough they understand
To deem them accents of another land,
And such they were, and meant to meet an ear
That hears him not — alas! that cannot hear!


XIV.
His page approach'd, and he alone appear'd
To know the import of the words they heard;
And by the changes of his cheek and brow
They were not such as Lara should avow,
Nor he interpret, yet with less surprise
Than those around their chieftain's state he eyes,
But Lara's prostrate form he bent beside,
And in that tongue which seem'd his own replied,
And Lara heeds those tones that gently seem
To soothe away the horrors of his dream;
If dream it were, that thus could overthrow
A breast that needed not ideal woe.


XV.
Whate'er his frenzy dream'd or eye beheld,
If yet remember'd ne'er to be reveal'd,
Rests at his heart: the custom'd morning came,
And breathed new vigour in his shaking frame;
And solace sought he none from priest nor leech,
And soon the same in movement and in speech
As heretofore he fill'd the passing hours,
Nor less he smiles, nor more his forehead lours
Than these were wont; and if the coming night
Appear'd less welcome now to Lara's sight,
He to his marvelling vassals shew'd it not,
Whose shuddering proved their fear was less forgot.
In trembling pairs (alone they dared not) crawl
The astonish'd slaves, and shun the fated hall;
The waving banner, and the clapping door;
The rustling tapestry, and the echoing floor;
The long dim shadows of surrounding trees,



The flapping bat, the night song of the breeze;
Aught they behold or hear their thought appals
As evening saddens o'er the dark gray walls.

XVI.
Vain thought! that hour of ne'er unravell'd gloom
Came not again, or Lara could assume
A seeming of forgetfulness that made
His vassals more amazed nor less afraid —
Had memory vanish'd then with sense restored?
Since word, nor look, nor gesture of their lord
Betray'd a feeling that recall'd to these
That fever'd moment of his mind's disease.
Was it a dream? was his the voice that spoke
Those strange wild accents; his the cry that broke
Their slumber? his the oppress'd o'erlabour'd
heart
That ceased to beat, the look that made them start?
Could he who thus had suffer'd, so forget
When such as saw that suffering shudder yet?
Or did that silence prove his memory fix'd
Too deep for words, indelible, unmix'd
In that corroding secresy which gnaws
The heart to shew the effect, but not the cause?
Not so in him; his breast had buried both,
Nor common gazers could discern the growth
Of thoughts that mortal lips must leave half told;
They choke the feeble words that would unfold.

XVII.
In him inexplicably mix'd appear'd
Much to be loved and hated, sought and fear'd;
Opinion varying o'er his hidden lot,
In praise or railing ne'er his name forgot;
His silence form'd a theme for others' prate —
They guess'd — they gazed — they fain would know his fate.
What had he been? what was he, thus unknown,
Who walk'd their world, his lineage only known?
A hater of his kind? yet some would say,
With them he could seem gay amidst the gay;
But own'd that smile, if oft observed and near,
Waned in its mirth and wither'd to a sneer;
That smile might reach his lip, but pass'd not by,
None e'er could trace its laughter to his eye:
Yet there was softness too in his regard,
At times, a heart as not by nature hard,
But once perceived, his spirit seem'd to chide
Such weakness, as unworthy of its pride,
And steel'd itself, as scorning to redeem
One doubt from others' half withheld esteem;
In selfinflicted
penance of a breast



Which tenderness might once have wrung from rest;
In vigilance of grief that would compel
The soul to hate for having loved too well.


XVIII.
There was in him a vital scorn of all:
As if the worst had fall'n which could befall,
He stood a stranger in this breathing world,
An erring spirit from another hurled;
A thing of dark imaginings, that shaped
By choice the perils he by chance escaped;
But 'scaped in vain, for in their memory yet
His mind would half exult and half regret:
With more capacity for love than earth
Bestows on most of mortal mould and birth,
His early dreams of good outstripp'd the truth,
And troubled manhood follow'd baffled youth;
With thought of years in phantom chase misspent,
And wasted powers for better purpose lent;
And fiery passions that had pour'd their wrath
In hurried desolation o'er his path,
And left the better feelings all at strife
In wild reflection o'er his stormy life;
But haughty still, and loth himself to blame,
He call'd on Nature's self to share the shame,
And charged all faults upon the fleshly form
She gave to clog the soul, and feast the worm;
'Till he at last confounded good and ill,
And half mistook for fate the acts of will:
Too high for common selfishness, he could
At times resign his own for others' good,
But not in pity, not because he ought,
But in some strange perversity of thought,
That sway'd him onward with a secret pride
To do what few or none would do beside;
And this same impulse would, in tempting time,
Mislead his spirit equally to crime;
So much he soar'd beyond, or sunk beneath
The men with whom he felt condemn'd to breathe,
And long'd by good or ill to separate
Himself from all who shared his mortal state;
His mind abhorring this had fix'd her throne
Far from the world, in regions of her own;
Thus coldly passing all that pass'd below,
His blood in temperate seeming now would flow:
Ah! happier if it ne'er with guilt had glow'd,
But ever in that icy smoothness flow'd:
'Tis true, with other men their path he walk'd,
And like the rest in seeming did and talk'd,
Nor outraged Reason's rules by flaw nor start,
His madness was not of the head, but heart;



And rarely wander'd in his speech, or drew
His thoughts so forth as to offend the view.

XIX.
With all that chilling mystery of mien,
And seeming gladness to remain unseen,
He had (if 'twere not nature's boon) an art
Of fixing memory on another's heart:
It was not love, perchance — nor hate — nor aught
That words can image to express the thought;
But they who saw him did not see in vain,
And once beheld, would ask of him again:
And those to whom he spake remember'd well,
And on the words, however light, would dwell.
None knew nor how, nor why, but he entwined
Himself perforce around the hearer's mind;
There he was stamp'd, in liking, or in hate,
If greeted once; however brief the date
That friendship, pity, or aversion knew,
Still there within the inmost thought he grew.
You could not penetrate his soul, but found
Despite your wonder, to your own he wound.
His presence haunted still; and from the breast
He forced an allunwilling
interest;
Vain was the struggle in that mental net,
His spirit seem'd to dare you to forget!


XX.
There is a festival, where knights and dames,
And aught that wealth or lofty lineage claims,
Appear — a highborn
and a welcomed guest
To Otho's hall came Lara with the rest.
The long carousal shakes the illumined hall,
Well speeds alike the banquet and the ball;
And the gay dance of bounding Beauty's train
Links grace and harmony in happiest chain:
Blest are the early hearts and gentle hands
That mingle there in well according bands;
It is a sight the careful brow might smooth,
And make Age smile, and dream itself to youth,
And Youth forget such hour was pass'd on earth,
So springs the exulting bosom to that mirth!


XXI.
And Lara gazed on these sedately glad,
His brow belied him if his soul was sad,
And his glance follow'd fast each fluttering fair,
Whose steps of lightness woke no echo there:
He lean'd against the lofty pillar nigh



With folded arms and long attentive eye,
Nor mark'd a glance so sternly fix'd on his,
Ill brook'd high Lara scrutiny like this:
At length he caught it, 'tis a face unknown,
But seems as searching his, and his alone;
Prying and dark, a stranger's by his mien,
Who still till now had gazed on him unseen;
At length encountering meets the mutual gaze
Of keen inquiry, and of mute amaze;
On Lara's glance emotion gathering grew,
As if distrusting that the stranger threw;
Along the stranger's aspect fix'd and stern
Flash'd more than thence the vulgar eye could learn.


XXII.
"'Tis he!" the stranger cried, and those that heard
Reecho'd
fast and far the whisper'd word.
"'Tis he!" — "'Tis who?" they question far and near,
Till louder accents rang on Lara's ear;
So widely spread, few bosoms well could brook
The general marvel, or that single look;
But Lara stirr'd not, changed not, the surprise
That sprung at first to his arrested eyes
Seem'd now subsided, neither sunk nor raised
Glanced his eye round, though still the stranger gazed;
And drawing nigh, exclaim'd, with haughty sneer,
"'Tis he! — how came he thence? — what doth he here?"


XXIII.
It were too much for Lara to pass by
Such question, so repeated fierce and high;
With look collected, but with accent cold,
More mildly firm than petulantly bold,
He turn'd, and met the inquisitorial tone —
"My name is Lara! — when thine own is known,
Doubt not my fitting answer to requite
The unlook'd for courtesy of such a knight.
'Tis Lara! — further wouldst thou mark or ask?
I shun no question, and I wear no mask."
"Thou shunn'st no question! Ponder — is there none
Thy heart must answer, though thine ear would shun?
And deem'st thou me unknown too? Gaze again!
At least thy memory was not given in vain.
Oh! never canst thou cancel half her debt,
Eternity forbids thee to forget."
With slow and searching glance upon his face
Grew Lara's eyes, but nothing there could trace
They knew, or chose to know — with dubious look
He deign'd no answer, but his head he shook,
And half contemptuous turn'd to pass away;



But the stern stranger motion'd him to stay.
"A word! — I charge thee stay, and answer here
To one, who, wert thou noble, were thy peer,
But as thou wast and art — nay, frown not, lord,
If false, 'tis easy to disprove the word —
But as thou wast and art, on thee looks down,
Distrusts thy smiles, but shakes not at thy frown.
Art thou not he? whose deeds — "


"Whate'er I be,
Words wild as these, accusers like to thee,
I list no further; those with whom they weigh
May hear the rest, nor venture to gainsay
The wondrous tale no doubt thy tongue can tell,
Which thus begins courteously and well.
Let Otho cherish here his polish'd guest,
To him my thanks and thoughts shall be express'd."
And here their wondering host hath interposed —
"Whate'er there be between you undisclosed,
This is no time nor fitting place to mar
The mirthful meeting with a wordy war.
If thou, Sir Ezzelin, hast ought to show
Which it befits Count Lara's ear to know,
Tomorrow,
here, or elsewhere, as may best
Beseem your mutual judgment, speak the rest;
I pledge myself for thee, as not unknown,
Though, like Count Lara, now return'd alone
From other lands, almost a stranger grown;
And if from Lara's blood and gentle birth
I augur right of courage and of worth,
He will not that untainted line belie,
Nor aught that knighthood may accord deny."
"Tomorrow
be it," Ezzelin replied,
"And here our several worth and truth be tried:
I gage my life, my falchion to attest
My words, so may I mingle with the blest!"

What answers Lara? to its centre shrunk
His soul, in deep abstraction sudden sunk;
The words of many, and the eyes of all
That there were gather'd, seem'd on him to fall;
But his were silent, his appear'd to stray
In far forgetfulness away — away —
Alas! that heedlessness of all around
Bespoke remembrance only too profound.


XXIV.
"Tomorrow!
— ay, tomorrow!"
— further word
Than those repeated none from Lara heard;
Upon his brow no outward passion spoke,
From his large eye no flashing anger broke;



Yet there was something fix'd in that low tone
Which shew'd resolve, determined, though unknown.
He seized his cloak — his head he slightly bow'd,
And passing Ezzelin he left the crowd;
And as he pass'd him, smiling met the frown
With which that chieftain's brow would bear him down:
It was nor smile of mirth, nor struggling pride
That curbs to scorn the wrath it cannot hide;
But that of one in his own heart secure
Of all that he would do, or could endure.
Could this mean peace? the calmness of the good?
Or guilt grown old in desperate hardihood?
Alas! too like in confidence are each
For man to trust to mortal look or speech;
From deeds, and deeds alone, may he discern
Truths which it wrings the unpractised heart to learn.


XXV.
And Lara call'd his page, and went his way —
Well could that stripling word or sign obey:
His only follower from those climes afar
Where the soul glows beneath a brighter star;
For Lara left the shore from whence he sprung,
In duty patient, and sedate though young;
Silent as him he served, his fate appears
Above his station, and beyond his years.
Though not unknown the tongue of Lara's land,
In such from him he rarely heard command;
But fleet his step, and clear his tones would come,
When Lara's lip breathed forth the words of home:
Those accents, as his native mountains dear,
Awake their absent echoes in his ear,
Friends', kindreds', parents', wonted voice recall,
Now lost, abjured, for one — his friend, his all:
For him earth now disclosed no other guide;
What marvel then he rarely left his side?


XXVI.
Light was his form, and darkly delicate
That brow whereon his native sun had sate,
But had not marr'd, though in his beams he grew,
The cheek where oft the unbidden blush shone through;
Yet not such blush as mounts when health would show
All the heart's hue in that delighted glow;
But 'twas a hectic tint of secret care
That for a burning moment fever'd there;
And the wild sparkle of his eye seem'd caught
From high, and lighten'd with electric thought,
Though its black orb those long low lashes' fringe
Had temper'd with a melancholy tinge;



Yet less of sorrow than of pride was there,
Or, if 'twere grief, a grief that none should share:
And pleased not him the sports that please his age,
The tricks of youth, the frolics of the page;
For hours on Lara he would fix his glance,
As allforgotten
in that watchful trance;
And from his chief withdrawn, he wander'd lone,
Brief were his answers, and his questions none;
His walk the wood, his sport some foreign book;
His restingplace
the bank that curbs the brook;
He seem'd, like him he served, to live apart
From all that lures the eye, and fills the heart;
To know no brotherhood; and take from earth
No gift beyond that bitter boon — our birth.


XXVII.
If aught he loved, 'twas Lara; but was shown
His faith in reverence and in deeds alone;
In mute attention; and his care, which guess'd
Each wish, fulfill'd it ere the tongue express'd.
Still there was haughtiness in all he did,
A spirit deep that brook'd not to be chid;
His zeal, though more than that of servile hands,
In act alone obeys, his air commands;
As if 'twas Lara's less than his desire
That thus he served, but surely not for hire.
Slight were the tasks enjoin'd him by his lord,
To hold the stirrup, or to bear the sword;
To tune his lute, or, if he will'd it more,
On tomes of other times and tongues to pore;
But ne'er to mingle with the menial train,
To whom he shew'd not deference nor disdain,
But that wellworn
reserve which proved he knew
No sympathy with that familiar crew:
His soul, whate'er his station or his stem,
Could bow to Lara, not descend to them.
Of higher birth he seem'd, and better days,
Nor mark of vulgar toil that hand betrays,
So femininely white it might bespeak
Another sex, when match'd with that smooth cheek,
But for his garb, and something in his gaze,
More wild and high than woman's eye betrays;
A latent fierceness that far more became
His fiery climate than his tender frame:
True, in his words it broke not from his breast,
But from his aspect might be more than guess'd.
Kaled his name, though rumour said he bore
Another ere he left his mountain shore;
For sometimes he would hear, however nigh,
That name repeated loud without reply,
As unfamiliar, or, if roused again,



Start to the sound, as but remember'd then;
Unless 'twas Lara's wonted voice that spake,
For then, ear, eyes, and heart would all awake.

XXVIII.
He had look'd down upon the festive hall,
And mark'd that sudden strife so mark'd of all;
And when the crowd around and near him told
Their wonder at the calmness of the bold,
Their marvel how the highborn
Lara bore
Such insult from a stranger, doubly sore,
The colour of young Kaled went and came,
The lip of ashes, and the cheek of flame;
And o'er his brow the dampening heartdrops
threw
The sickening iciness of that cold dew
That rises as the busy bosom sinks
With heavy thoughts from which reflection shrinks.
Yes — there be things which we must dream and dare
And execute ere thought be half aware:
Whate'er might Kaled's be, it was enow
To seal his lip, but agonise his brow.
He gazed on Ezzelin till Lara cast
That sidelong smile upon on the knight he pass'd;
When Kaled saw that smile his visage fell,
As if on something recognised right well;
His memory read in such a meaning more
Than Lara's aspect unto others wore.
Forward he sprung — a moment, both were gone,
And all within that hall seem'd left alone;
Each had so fix'd his eye on Lara's mien,
All had so mix'd their feelings with that scene,
That when his long dark shadow through the porch
No more relieves the glare of yon high torch,
Each pulse beats quicker, and all bosoms seem
To bound as doubting from too black a dream,
Such as we know is false, yet dread in sooth,
Because the worst is ever nearest truth.
And they are gone — but Ezzelin is there,
With thoughtful visage and imperious air;
But long remain'd not; ere an hour expired
He waved his hand to Otho, and retired.


XXIX.
The crowd are gone, the revellers at rest;
The courteous host, and allapproving
guest,
Again to that accustom'd couch must creep
Where joy subsides, and sorrow sighs to sleep,
And man, o'erlabour'd with his being's strife,
Shrinks to that sweet forgetfulness of life:
There lie love's feverish hope. and cunning's guile,



Hate's working brain and lull'd ambition's wile;
O'er each vain eye oblivion's pinions wave,
And quench'd existence crouches in a grave.
What better name may slumber's bed become?
Night's sepulchre, the universal home,
Where weakness, strength, vice, virtue, sunk supine,
Alike in naked helplessness recline;
Glad for awhile to heave unconscious breath,
Yet wake to wrestle with the dread of death,
And shun, though day but dawn on ills increased,
That sleep, the loveliest, since it dreams the least.


______

CANTO THE SECOND.

I.
Night wanes — the vapours round the mountains curl'd,
Melt into morn, and Light awakes the world.
Man has another day to swell the past,
And lead him near to little, but his last;
But mighty Nature bounds as from her birth,
The sun is in the heavens, and life on earth;
Flowers in the valley, splendour in the beam,
Health on the gale, and freshness in the stream.
Immortal man! behold her glories shine,
And cry, exulting inly, "They are thine!"
Gaze on, while yet thy gladden'd eye may see,
A morrow comes when they are not for thee;
And grieve what may above thy senseless bier,
Nor earth nor sky will yield a single tear;
Nor cloud shall gather more, nor leaf shall fall,
Nor gale breathe forth one sigh for thee, for all;
But creeping things shall revel in their spoil,
And fit thy clay to fertilise the soil.


II.
'Tis morn — 'tis noon — assembled in the hall,
The gather'd chieftains come to Otho's call:
'Tis now the promised hour, that must proclaim
The life or death of Lara's future fame;
When Ezzelin his charge may here unfold,
And whatsoe'er the tale, it must be told.
His faith was pledged, and Lara's promise given,
To meet it in the eye of man and Heaven.
Why comes he not? Such truths to be divulged,
Methinks the accuser's rest is long indulged.


III.

The hour is past, and Lara too is there,
With selfconfiding,
coldly patient air;
Why comes not Ezzelin? The hour is past,
And murmurs rise, and Otho's brow's o'ercast,
"I know my friend! his faith I cannot fear,
If yet he be on earth, expect him here;
The roof that held him in the valley stands
Between my own and noble Lara's lands;
My halls from such a guest had honour gain'd,
Nor had Sir Ezzelin his host disdain'd,
But that some previous proof forbade his stay,
And urged him to prepare against today;
The word I pledge for his I pledge again,
Or will myself redeem his knighthood's stain."


He ceased — and Lara answer'd, "I am here
To lend at thy demand a listening ear,
To tales of evil from a stranger's tongue,
Whose words already might my heart have wrung,
But that I deem'd him scarcely less than mad,
Or, at the worst, a foe ignobly bad.
I know him not — but me it seems he knew
In lands where — but I must not trifle too:
Produce this babbler — or redeem the pledge;
Here in thy hold, and with thy falchion's edge."


Proud Otho on the instant, reddening, threw
His glove on earth, and forth his sabre flew.
"The last alternative befits me best,
And thus I answer for mine absent guest."


With cheek unchanging from its sallow gloom,
However near his own or other's tomb;
With hand, whose almost careless coolness spoke
Its grasp wellused
to deal the sabrestroke;
With eye, though calm, determined not to spare,
Did Lara too his willing weapon bare.
In vain the circling chieftains round them closed,
For Otho's frenzy would not be opposed;
And from his lip those words of insult fell —
His sword is good who can maintain them well.


IV.
Short was the conflict; furious, blindly rash,
Vain Otho gave his bosom to the gash:
He bled, and fell; but not with deadly wound,
Stretch'd by a dextrous sleight along the ground.
"Demand thy life!" He answer'd not: and then
From that red floor he ne'er had risen again,
For Lara's brow upon the moment grew
Almost to blackness in its demon hue;



And fiercer shook his angry falchion now
Than when his foe's was levell'd at his brow;
Then all was stern collectedness and art,
Now rose the unleaven'd hatred of his heart;
So little sparing to the foe he fell'd,
That when the approaching crowd his arm withheld
He almost turn'd the thirsty point on those
Who thus for mercy dared to interpose;
But to a moment's thought that purpose bent;
Yet look'd he on him still with eye intent,
As if he loathed the ineffectual strife
That left a foe, howe'er o'erthrown, with life;
As if to search how far the wound he gave
Had sent its victim onward to his grave.


V.
They raised the bleeding Otho, and the Leech
Forbade all present question, sign, and speech;
The others met within a neighbouring hall,
And he, incensed and heedless of them all,
The cause and conqueror in this sudden fray,
In haughty silence slowly strode away;
He back'd his steed, his homeward path he took,
Nor cast on Otho's tower a single look.


VI.
But where was he? that meteor of a night,
Who menaced but to disappear with light.
Where was this Ezzelin? who came and went
To leave no other trace of his intent.
He left the dome of Otho long ere morn,
In darkness, yet so well the path was worn
He could not miss it: near his dwelling lay;
But there he was not, and with coming day
Came fast inquiry, which unfolded nought
Except the absence of the chief it sought.
A chamber tenantless, a steed at rest,
His host alarm'd, his murmuring squires distress'd:
Their search extends along, around the path,
In dread to met the marks of prowlers' wrath:
But none are there, and not a brake hath borne
Nor gout of blood, nor shred of mantle torn;
Nor fall nor struggle hath defaced the grass,
Which still retains a mark where murder was;
Nor dabbling fingers left to tell the tale,
The bitter print of each convulsive nail,
When agonised hands that cease to guard,
Wound in that pang the smoothness of the sward.
Some such had been, if here a life was reft,
But these were not; and doubting hope is left;



And strange suspicion, whispering Lara's name,
Now daily mutters o'er his blacken'd fame;
Then sudden silent when his form appear'd,
Awaits the absence of the thing it fear'd;
Again its wonted wondering to renew,
And dye conjecture with a darker hue.


VII.
Days roll along, and Otho's wounds are heal'd,
But not his pride; and hate no more conceal'd:
He was a man of power, and Lara's foe,
The friend of all who sought to work him woe,
And from his country's justice now demands
Account of Ezzelin at Lara's hands.
Who else than Lara could have cause to fear
His presence? who had made him disappear,
If not the man on whom his menaced charge
Had sate too deeply were he left at large?
The general rumour ignorantly loud,
The mystery dearest to the curious crowd;
The seeming friendlessness of him who strove
To win no confidence, and wake no love;
The sweeping fierceness which his soul betray'd,
The skill with which he wielded his keen blade;
Where had his arm unwarlike caught that art?
Where had that fierceness grown upon his heart?
For it was not the blind capricious rage
A word can kindle and a word assuage;
But the deep working of a soul unmix'd
With aught of pity where its wrath had fix'd;
Such as long power and overgorged success
Concentrates into all that's merciless:
These, link'd with that desire which ever sways
Mankind, the rather to condemn than praise,
'Gainst Lara gathering raised at length a storm,
Such as himself might fear, and foes would form,
And he must answer for the absent head
Of one that haunts him still, alive or dead.


VIII.
Within that land was many a malcontent,
Who cursed the tyranny to which he bent;
That soil full many a wringing despot saw,
Who work'd his wantonness in form of law;
Long war without and frequent broil within
Had made a path for blood and giant sin,
That waited but a signal to begin
New havoc, such as civil discord blends,
Which knows no neuter, owns but foes or friends;
Fix'd in his feudal fortress each was lord,



In word and deed obey'd, in soul abhorr'd.
Thus Lara had inherited his lands,
And with them pining hearts and sluggish hands;
But that long absence from his native clime
Had left him stainless of oppression's crime,
And now, diverted by his milder sway,
All dread by slow degrees had worn away;
The menials felt their usual awe alone,
But more for him than them that fear was grown;
They deem'd him now unhappy, though at first
Their evil judgment augur'd of the worst,
And each long restless night, and silent mood,
Was traced to sickness, fed by solitude:
And though his lonely habits threw of late
Gloom o'er his chamber, cheerful was his gate;
For thence the wretched ne'er unsoothed withdrew,
For them, at least, his soul compassion knew.
Cold to the great, contemptuous to the high,
The humble pass'd not his unheeding eye;
Much he would speak not, but beneath his roof
They found asylum oft, and ne'er reproof.
And they who watch'd might mark that, day by day,
Some new retainers gather'd to his sway;
But most of late, since Ezzelin was lost,
He play'd the courteous lord and bounteous host:
Perchance his strife with Otho made him dread
Some snare prepared for his obnoxious head;
Whate'er his view, his favour more obtains
With these, the people, than his fellow thanes.
If this were policy, so far 'twas sound,
The million judged but of him as they found;
From him by sterner chiefs to exile driven
They but required a shelter, and 'twas given.
By him no peasant mourn'd his rifled cot,
And scarce the serf could murmur o'er his lot;
With him old avarice found its hoard secure,
With him contempt forbore to mock the poor;
Youth present cheer and promised recompense
Detain'd, till all too late to part from thence:
To hate he offer'd, with the coming change,
The deep reversion of delay'd revenge;
To love, long baffled by the unequal match,
The wellwon
charms success was sure to snatch.
All now was ripe, he waits but to proclaim
That slavery nothing which was still a name.
The moment came, the hour when Otho thought
Secure at last the vengeance which he sought
His summons found the destined criminal
Begirt by thousands in his swarming hall,
Fresh from their feudal fetters newly riven,
Defying earth, and confident of heaven.
That morning he had freed the soilbound
slaves



Who dig no land for tyrants but their graves!
Such is their cry — some watchword for the fight
Must vindicate the wrong, and warp the right;
Religion — freedom — vengeance — what you will,
A word's enough to raise mankind to kill;
Some factious phrase by cunning caught and spread,
That guilt may reign, and wolves and worms be fed!


IX.
Throughout that clime the feudal chiefs had gain'd
Such sway, their infant monarch hardly reign'd;
Now was the hour for faction's rebel growth,
The serfs contemn'd the one, and hated both:
They waited but a leader, and they found
One to their cause inseparably bound;
By circumstance compell'd to plunge again,
In selfdefence,
amidst the strife of men.
Cut off by some mysterious fate from those
Whom birth and nature meant not for his foes,
Had Lara from that night, to him accurst,
Prepared to meet, but not alone, the worst:
Some reason urged, whate'er it was, to shun
Inquiry into deeds at distance done;
By mingling with his own the cause of all,
E'en if he fail'd, he still delay'd his fall.
The sullen calm that long his bosom kept,
The storm that once had spent itself and slept,
Roused by events that seem'd foredoom'd to urge
His gloomy fortunes to their utmost verge,
Burst forth, and made him all he once had been,
And is again; he only changed the scene.
Light care had he for life, and less for fame,
But not less fitted for the desperate game:
He deem'd himself mark'd out for others' hate,
And mock'd at ruin, so they shared his fate.
What cared he for the freedom of the crowd?
He raised the humble but to bend the proud.
He had hoped quiet in his sullen lair,
But man and destiny beset him there:
Inured to hunters, he was found at bay;
And they must kill, they cannot snare the prey.
Stern, unambitious, silent he had been
Henceforth a calm spectator of life's scene;
But dragg'd again upon the arena, stood
A leader not unequal to the feud;
In voice — mien — gesture — savage nature spoke,
And from his eye the gladiator broke.


X.
What boots the oftrepeated
tale of strife,


The feast of vultures, and the waste of life?
The varying fortune of each separate field,
The fierce that vanquish, and the faint that yield?
The smoking ruin, and the crumbled wall?
In this the struggle was the same with all;
Save that distemper'd passions lent their force
In bitterness that banish'd all remorse.
None sued, for Mercy know her cry was vain,
The captive died upon the battleslain:
In either cause, one rage alone possess'd
The empire of the alternate victor's breast;
And they that smote for freedom or for sway,
Deem'd few were slain, while more remain'd to slay.
It was too late to check the wasting brand,
And Desolation reap'd the famish'd land;
The torch was lighted, and the flame was spread,
And Carnage smiled upon her daily bread.


XI.
Fresh with the nerve the newborn
impulse strung,
The first success to Lara's numbers clung:
But that vain victory hath ruin'd all;
They form no longer to their leader's call:
In blind confusion on the foe they press,
And think to snatch is to secure success.
The lust of booty, and the thirst of hate,
Lure on the broken brigands to their fate:
In vain he doth whate'er a chief may do,
To check the headlong fury of that crew,
In vain their stubborn ardour he would tame,
The hand that kindles cannot quench the flame.
The wary foe alone hath turn'd their mood,
And shewn their rashness to that erring brood:
The feign'd retreat, the nightly ambuscade,
The daily harass, and the fight delay'd,
The long privation of the hoped supply,
The tentless rest beneath the humid sky,
The stubborn wall that mocks the leaguer's art,
And palls the patience of his baffled heart,
Of these they had not deem'd: the battleday
They could encounter as a veteran may;
But more preferr'd the fury of the strife,
And present death, to hourly suffering life:
And famine wrings, and fever sweeps away
His numbers melting fast from their array;
Intemperate triumph fades to discontent,
And Lara's soul alone seems still unbent:
But few remain to aid his voice and hand,
And thousands dwindled to a scanty band:
Desperate, though few, the last and best remain'd
To mourn the discipline they late disdain'd.



One hope survives, the frontier is not far,
And thence they may escape from native war;
And bear within them to the neighbouring state
An exile's sorrows, or an outlaw's hate:
Hard is the task their fatherland to quit,
But harder still to perish or submit.


XII.
It is resolved — they march — consenting Night
Guides with her star their dim and torchless flight;
Already they perceive its tranquil beam
Sleep on the surface of the barrier stream;
Already they descry — Is yon the bank?
Away! 'tis lined with many a hostile rank.
Return or fly! — What glitters in the rear?
'Tis Otho's banner — the pursuer's spear!
Are those the shepherds' fires upon the height?
Alas! they blaze too widely for the flight:
Cut off from hope, and compass'd in the toil,
Less blood, perchance, hath bought a richer spoil!


XIII.
A moment's pause — 'tis but to breathe their band
Or shall they onward press, or here withstand?
It matters little — if they charge the foes
Who by their borderstream
their march oppose,
Some few, perchance, may break and pass the line,
However link'd to baffle such design.
"The charge be ours! to wait for their assault
Were fate well worthy of a coward's halt."
Forth flies each sabre, rein'd is every steed,
And the next word shall scarce outstrip the deed:
In the next tone of Lara's gathering breath
How many shall but hear the voice of death!


XIV.
His blade is bared — in him there is an air
As deep, but far too tranquil for despair;
A something of indifference more than then
Becomes the bravest, if they feel for men.
He turn'd his eye on Kaled, ever near,
And still too faithful to betray one fear;
Perchance 'twas but the moon's dim twilight threw
Along his aspect an unwonted hue
Of mournful paleness, whose deep tint express'd
The truth, and not the terror of his breast.
This Lara mark'd, and laid his hand on his:
It trembled not in such an hour as this;
His lip was silent, scarcely beat his heart,



His eye alone proclaim'd —

"We will not part!
Thy band may perish, or thy friends may flee,
Farewell to life, but not adieu to thee!"

The word hath pass'd his lips, and onward driven,
Pours the link'd band through ranks asunder riven;
Well has each steed obey'd the armed heel,
And flash the scimitars, and rings the steel;
Outnumber'd, not outbraved, they still oppose
Despair to daring, and a front to foes;
And blood is mingled with the dashing stream,
Which runs all redly till the morning beam.


XV.
Commanding, aiding, animating all,
Where foe appear'd to press, or friend to fall,
Cheers Lara's voice, and waves or strikes his steel,
Inspiring hope himself had ceased to feel.
None fled, for well they knew that flight were vain,
But those that waver turn to smite again,
While yet they find the firmest of the foe
Recoil before their leader's look and blow;
Now girt with numbers, now almost alone,
He foils their ranks, or reunites his own;
Himself he spared not — once they seem'd to fly —
Now was the time, he waved his hand on high,
And shook — Why sudden droops that plumed crest?
The shaft is sped — the arrow's in his breast!
That fatal gesture left the unguarded side,
And Death hath stricken down yon arm of pride.
The word of triumph fainted from his tongue;
That hand, so raised, how droopingly it hung!
But yet the sword instinctively retains,
Though from its fellow shrink the falling reins;
These Kaled snatches: dizzy with the blow,
And senseless bending o'er his saddlebow
Perceives not Lara that his anxious page
Beguiles his charger from the combat's rage:
Meantime his followers charge and charge again;
Too mix'd the slayers now to heed the slain!


XVI.
Day glimmers on the dying and the dead,
The cloven cuirass, and the helmless head;
The warhorse
masterless is on the earth,
And that last gasp hath burst his bloody girth:
And near, yet quivering with what life remain'd,
The heel that urged him, and the hand that rein'd:
And some too near that rolling torrent lie,



Whose waters mock the lip of those that die;
That panting thirst which scorches in the breath
Of those that die the soldier's fiery death,
In vain impels the burning mouth to crave
One drop — the last — to cool it for the grave;
With feeble and convulsive effort swept
Their limbs along the crimson'd turf have crept:
The faint remains of life such struggles waste,
But yet they reach the stream, and bend to taste:
They feel its freshness, and almost partake —
Why pause? — No further thirst have they to slake —
It is unquench'd, and yet they feel it not —
It was an agony — but now forgot!


XVII.
Beneath a lime, remoter from the scene,
Where but for him that strife had never been,
A breathing but devoted warrior lay:
'Twas Lara bleeding fast from life away.
His follower once, and now his only guide,
Kneels Kaled watchful o'er his welling side,
And with his scarf would stanch the tides that rush
With each convulsion in a blacker gush;
And then, as his faint breathing waxes low,
In feebler, not less fatal tricklings flow:
He scarce can speak, but motions him 'tis vain,
And merely adds another throb to pain.
He clasps the hand that pang which would assuage,
And sadly smiles his thanks to that dark page,
Who nothing fears, nor feels, nor heeds, nor sees,
Save that damp brow which rests upon his knees;
Save that pale aspect, where the eye, though dim,
Held all the light that shone on earth for him.


XVIII.
The foe arrives, who long had search'd the field,
Their triumph nought till Lara too should yield;
They would remove him, but they see 'twere vain,
And he regards them with a calm disdain,
That rose to reconcile him with his fate,
And that escape to death from living hate:
And Otho comes, and leaping from his steed,
Looks on the bleeding foe that made him bleed,
And questions of his state; he answers not,
Scarce glances on him as on one forgot,
And turns to Kaled: — each remaining word,
They understood not, if distinctly heard;
His dying tones are in that other tongue,
To which some strange remembrance wildly clung.
They spake of other scenes, but what — is known



To Kaled, whom their meaning reach'd alone;
And he replied, though faintly, to their sound,
While gazed the rest in dumb amazement round:
They seem'd even then — that twain — unto the last
To half forget the present in the past;
To share between themselves some separate fate,
Whose darkness none beside should penetrate.


XIX.
Their words though faint were many — from the tone
Their import those who heard could judge alone;
From this, you might have deem'd young Kaled's death
More near than Lara's by his voice and breath,
So sad, so deep, and hesitating broke
The accents his scarcemoving
pale lips spoke;
But Lara's voice, though low, at first was clear
And calm, till murmuring death gasp'd hoarsely near:
But from his visage little could we guess,
So unrepentant, dark, and passionless,
Save that when struggling nearer to his last,
Upon that page his eye was kindly cast;
And once, as Kaled's answering accents ceased,
Rose Lara's hand, and pointed to the East:
Whether (as then the breaking sun from high
Roll'd back the clouds) the morrow caught his eye,
Or that 'twas chance, or some remember'd scene
That raised his arm to point where such had been,
Scarce Kaled seem'd to know, but turn'd away,
As if his heart abhorr'd that coming day,
And shrunk his glance before that morning light
To look on Lara's brow — where all grew night.
Yet sense seem'd left, though better were its loss;
For when one near display'd the absolving cross,
And proffer'd to his touch the holy bead,
Of which his parting soul might own the need,
He look'd upon it with an eye profane,
And smiled — Heaven pardon! if 'twere with disdain;
And Kaled, though he spoke not, nor withdrew
From Lara's face his fix'd despairing view,
With brow repulsive, and with gesture swift,
Flung back the hand which held the sacred gift,
As if such but disturb'd the expiring man,
Nor seem'd to know his life but then began,
The life immortal infinite, secure,
To all for whom that cross hath made it sure!


XX.
But gasping heaved the breath that Lara drew,
And dull the film along his dim eye grew;
His limbs stretch'd fluttering, and his head droop'd o'er



The weak yet still untiring knee that bore:
He press'd the hand he held upon his heart —
It beats no more, but Kaled will not part
With the cold grasp, but feels, and feels in vain,
For that faint throb which answers not again.
"It beats!" — Away, thou dreamer! he is gone —
It once was Lara which thou look'st upon.


XXI.
He gazed, as if not yet had pass'd away
The haughty spirit of that humble clay;
And those around have roused him from his trance,
But cannot tear from thence his fixed glance;
And when in raising him from where he bore
Within his arms the form that felt no more,
He saw the head his breast would still sustain,
Roll down like earth to earth upon the plain;
He did not dash himself thereby, nor tear
The glossy tendrils of his raven hair,
But strove to stand and gaze, but reel'd and fell,
Scarce breathing more than that he loved so well.
Than that he lov'd! Oh! never yet beneath
The breast of man such trusty love may breathe!
That trying moment hath at once reveal'd
The secret long and yet but half conceal'd;
In baring to revive that lifeless breast,
Its grief seem'd ended, but the sex confess'd;
And life return'd, and Kaled felt no shame —
What now to her was Womanhood or Fame?


XXII.
And Lara sleeps not where his fathers sleep,
But where he died his grave was dug as deep;
Nor is his mortal slumber less profound,
Though priest nor bless'd, nor marble deck'd the mound;
And he was mourn'd by one whose quiet grief,
Less loud, outlasts a people's for their chief.
Vain was all question ask'd her of the past,
And vain e'en menace — silent to the last;
She told nor whence nor why she left behind
Her all for one who seem'd but little kind.
Why did she love him? Curious fool! — be still —
Is human love the growth of human will?
To her he might be gentleness; the stern
Have deeper thoughts than your dull eyes discern,
And when they love, your smilers guess not how
Beats the strong heart, though less the lips avow.
They were not common links that form'd the chain
That bound to Lara Kaled's heart and brain;
But that wild tale she brook'd not to unfold,



And seal'd is now each lip that could have told.

XXIII.
They laid him in the earth, and on his breast,
Besides the wound that sent his soul to rest,
They found the scattered dints of many a scar
Which were not planted there in recent war:
Where'er had pass'd his summer years of life,
It seems they vanish'd in a land of strife;
But all unknown his glory or his guilt,
These only told that somewhere blood was spilt.
And Ezzelin, who might have spoke the past,
Return'd no more — that night appear'd his last.


XXIV.
Upon that night (a peasant's is the tale)
A Serf that cross'd the intervening vale,
When Cynthia's light almost gave way to morn,
And nearly veil'd in mist her waning horn;
A Serf, that rose betimes to thread the wood,
And hew the bough that bought his children's food,
Pass'd by the river that divides the plain
Of Otho's lands and Lara's broad domain:
He heard a tramp — a horse and horseman broke
From out the wood — before him was a cloak
Wrapt round some burthen at his saddlebow,
Bent was his head, and hidden was his brow.
Roused by the sudden sight at such a time,
And some foreboding that it might be crime,
Himself unheeded watch'd the stranger's course,
Who reach'd the river, bounded from his horse,
And lifting thence the burthen which he bore,
Heaved up the bank, and dash'd it from the shore, [3]
Then paused, and look'd, and turn'd, and seem'd to watch,
And still another hurried glance would snatch,
And follow with his step the stream that flow'd,
As if even yet too much its surface show'd:
At once he started, stoop'd, around him strewn
The winter floods had scatter'd heaps of stone;
Of these the heaviest thence he gather'd there,
And slung them with a more than common care.
Meantime the Serf had crept to where unseen
Himself might safely mark what this might mean.
He caught a glimpse, as of a floating breast,
And something glitter'd starlike on the vest,
But ere he well could mark the buoyant trunk,
A massy fragment smote it, and it sunk:
It rose again, but indistinct to view,
And left the waters of a purple hue,
Then deeply disappear'd: the horseman gazed



Till ebb'd the latest eddy it had raised;
Then turning, vaulted on his pawing steed,
And instant spurr'd him into panting speed.
His face was mask'd — the features of the dead,
If dead it were, escaped the observer's dread;
But if in sooth a star its bosom bore,
Such is the badge that knighthood ever wore,
And such 'tis known Sir Ezzelin had worn
Upon the night that led to such a morn.
If thus he perish'd, Heaven receive his soul!
His undiscover'd limbs to ocean roll;
And charity upon the hope would dwell
It was not Lara's hand by which he fell.


XXV.
And Kaled — Lara — Ezzelin, are gone,
Alike without their monumental stone!
The first, all efforts vainly strove to wean
From lingering where her chieftain's blood had been.
Grief had so tamed a spirit once too proud,
Her tears were few, her wailing never loud;
But furious would you tear her from the spot
Where yet she scarce believed that he was not,
Her eye shot forth with all the living fire
That haunts the tigress in her whelpless ire;
But left to waste her weary moments there,
She talk'd all idly unto shapes of air,
Such as the busy brain of Sorrow paints,
And woos to listen to her fond complaints;
And she would sit beneath the very tree,
Where lay his drooping head upon her knee;
And in that posture where she saw him fall,
His words, his looks, his dying grasp recall;
And she had shorn, but saved her raven hair,
And oft would snatch it from her bosom there,
And fold and press it gently to the ground,
As if she stanch'd anew some phantom's wound.
Herself would question, and for him reply;
Then rising, start, and beckon him to fly
From some imagined spectre in pursuit;
Then seat her down upon some linden's root,
And hide her visage with her meagre hand,
Or trace strange characters along the sand. —
This could not last — she lies by him she loved;
Her tale untold — her truth too dearly proved.


Byron's Notes.


1. The reader of "Lara" may probably regard it as a sequel to a poem that recently
appeared: whether the cast of the hero's character, the turn of his adventures, and the
general outline and colouring of the story, may not encourage such a supposition, shall
be left to his determination. [The poem is "The Corsair."]
2. The reader is advised that the name only of Lara being Spanish, and no
circumstance of local or national description fixing the scene or hero of the poem to
any country or age, the word "Serf," which could not be correctly applied to the lower
classes in Spain, who were never vassals of the soil, has nevertheless been employed
to designate the followers of our fictitious chieftain.
3. The event in this section was suggested by the description of the death, or rather
burial, of the Duke of Gandia. The most interesting and particular account of it is given
by Burchard, and is in substance as follows: — "On the eighth day of June, the Cardinal
of Valenza and the Duke of Gandia, sons of the Pope, supped with their mother,
Vanozza, near the church of S. Pietro ad vincula; several other persons being present
at the entertainment. A late hour approaching, and the cardinal having reminded his
brother, that it was time to return to the apostolic palace, they mounted their horses or
mules, with only a few attendants, and proceeded together as far as the palace of
Cardinal Ascanio Sforza, when the duke informed the cardinal that, before he returned
home, he had to pay a visit of pleasure. Dismissing therefore all his attendants,
excepting his staffiero, or footman, and a person in a mask, who had paid him a visit
whilst at supper, and who, during the space of a month, or thereabouts, previous to
this time, had called upon him almost daily at the apostolic palace, he took this person
behind him on his mule, and proceeded to the street of the Jews, where he quitted his
servant, directing him to remain there until a certain hour; when, if he did not return,
he might repair to the palace. The duke then seated the person in the mask behind
him, and rode, I know not whither; but in that night he was assassinated, and thrown
into the river. The servant, after having been dismissed, was also assaulted and
mortally wounded; and although he was attended with great care, yet such was his
situation that he could give no intelligible account of what had befallen his master. In
the morning, the duke not having returned to the palace, his servants began to be
alarmed; and one of them informed the pontiff of the evening excursion of his sons,
and that the duke had not yet made his appearance. This gave the pope no small
anxiety; but he conjectured that the duke had been attracted by some courtesan to
pass the night with her, and, not choosing to quit the house in open day, waited till the
following evening to return home. When, however, the evening arrived, and he found
himself disappointed in his expectations, he became deeply afflicted, and began to
make inquiries from different persons, whom he ordered to attend him for that
purpose. Amongst these was a man named Giorgio Schiavoni, who, having discharged
some timber from a bark in the river, had remained on board the vessel to watch it;
and being interrogated whether he had seen any one thrown into the river on the night
preceding, he replied, that he saw two men on foot, who came down the street, and
looked diligently about, to observe whether any person was passing. That seeing no
one, they returned, and a short time later two others came, and looked around in the
same manner as the former: no person still appearing, they gave a sign to their
companions, when a man came, mounted on a white horse, having behind him a dead
body, the head and arms of which hung on one side, and the feet on the other side of
the horse; the two persons on foot supporting the body to prevent its falling. They thus
proceeded towards that part where the filth of the city is usually discharged into the
river, and turning the horse, with his tail towards the water, the two persons took the
dead body by the arms and feet, and with all their strength flung it into the river. The

person on horseback then asked if they had thrown it in; to which they replied, 'Signor,
si' (Yes, Sir). He then looked towards the river, and seeing a mantle floating in the
stream, he inquired what it was that appeared black, to which they answered, it was a
mantle; and one of them throw stones upon it, in consequence of which it sunk. The
attendants of the pontiff then inquired from Giorgio why he had not revealed this to the
governor of the city; to which he replied, that he had seen in his time a hundred dead
bodies thrown into the river at the same place, without any inquiry being made
respecting them; and that he had not, therefore, considered it as a matter of any
importance. The fishermen and seamen were then collected. and ordered to search the
river, where on the following evening, they found the body of the duke, with his habit
entire, and thirty ducats in his purse. He was pierced with nine wounds, one of which
was in his throat, the others in his hand, body, and limbs. No sooner was the pontiff
informed of the death of his son, and that he had been thrown, like filth, into the river,
than, giving way to his grief, he shut himself up in a chamber, and wept bitterly. The
Cardinal of Segovia, and other attendants on the pope, went to the door, and after
many hours spent in persuasions and exhortations, prevailed upon him to admit them.
From the evening of Wednesday till the following Saturday the pope took no food; nor
did he sleep from Thursday morning till the same hour on the ensuing day. At length,
however, giving way to the entreaties of his attendants, he began to restrain his
sorrow, and to consider the injury which his own health might sustain by the further
indulgence of his grief." — Roscoe's Leo the Tenth, vol. i. p. 265.

The Prayer Of Nature

The Prayer Of Nature

Father of Light! great God of Heaven!
Hear'st thou the accents of despair?
Can guilt like man's be e'er forgiven?
Can vice atone for crimes by prayer?


Father of Light, on thee I call!
Thou seest my soul is dark within;
Thou who canst'mark the sparrow's fall,
Avert from me the death of sin.


No shrine I seek, to sects unknown;
Oh, point to me the path of truth!
Thy dread omnipotence I own;
Spare, yet amend, the faults of youth.


Let bigots rear a gloomy fane,
Let superstitition hail the pile,
Let priests, to spread their sable reign,
With tales of mystic rites beguile.


Shall man confine his Maker's sway
To Gothic domes of mouldering stone?
Thy temple is the face of the day;
Earth, ocean, heaven, thy boundless throne.


Shall man condemn his race to hell,
Unless they bend in pompous form?
Tell us that all, of one who fell,
Must perish in the mingling storm?


Shall each pretend to reach the skies,
Yet doom his brother to expire,
Whose soul a different hope supplies,
Or doctrines less severe inspire?


Shall these, by creeds they can't expound,
Prepare a fancied bliss or woe?
Shall reptiles, grovelling on the ground,
Their great Creator's purpose know?


Shall those, who live for self alone,
Whose years float on in a daily crime Shall
they by Faith for guilt atone,
And live beyond the bounds of Time?


Father! no prophet's laws I seek,Thy
laws in Nature's works appear;I
own myself corrupt and weak,
Yet will I pray, for thou wilt hear!


Thou, who canst guide the wandering star
Through trackness realms of other's space;



Who calm'st the elemental war,
Whose hand from pole to pole I trace.


Thou, who in wisdom placed me here,
Who, when thou wilt, canst take me hence,
Ah! whilst I tread this earthly sphere,
Extend to me thy wide defence.


To Thee, my God, to thee I call!
Whatever weal or woe betide,
By thy command I rise or fall,
In thy protection I confide.


If, when this dust to dust's restored,
My soul shall float on airy wing,
How shall thy glorious name adored
Inspire her feedle voice to sing!


But, if this fleeting spirit share
With clay the gaves eternal bed,
While life yet throbs I raise my prayer,
Though doom'd no more to quit the dead.


To Thee I breathe my humble strain;
Grateful for all thy mercies past,
And hope, my God, to thee again
This erring life may fly at last.


December 29, 1806
George Gordon Lord Byron (22 January 1788 – 19 April 1824) George Gordon Byron, 6th Baron Byron, later George Gordon Noel, 6th Baron Byron, FRS , commonly known simply as Lord Byron, was a British poet and a leading figure in the Romantic movement. Among Byron's bestknown works are the brief poems She Walks in Beauty, When We Two Parted, and So, we'll go no more a roving, in addition to the narrative poems Childe Harold's Pilgrimage and Don Juan. He is regarded as one of the greatest British poets and remains widely read and influential. Byron was celebrated in life for aristocratic excesses including huge debts, numerous love affairs, rumours of a scandalous incestuous liaison with his halfsister, and selfimposed exile. He was famously described by Lady Caroline Lamb as "mad, bad and dangerous to know". It has been speculated that he suffered from bipolar I disorder, or manic depression. He travelled to fight against the Ottoman Empire in the Greek War of Independence, for which Greeks revere him as a national hero. He died at 36 years old from a fever contracted while in Missolonghi in Greece. Name Byron's names were changed throughout his life. He was the son of Captain John "Mad Jack" Byron and his second wife, the former Catherine Gordon (d. 1811), a descendant of Cardinal Beaton and heiress of the Gight estate in Aberdeenshire, Scotland. Byron's father had previously seduced the married Marchioness of Caermarthen and, after she divorced her husband the Earl, had married her. His treatment of her was described as "brutal and vicious", and she died after having given birth to two daughters, only one of which survived: Byron's halfsister, Augusta. Byron's paternal grandparents were ViceAdmiral The Hon. John "Foulweather Jack" Byron and Sophia Trevanion. Vice Admiral John Byron had circumnavigated the globe, and was the younger brother of the 5th Baron Byron, known as "the Wicked Lord". He was christened "George Gordon Byron" at St Marylebone Parish Church after his maternal grandfather, George Gordon of Gight, a descendant of James I of Scotland, who had committed suicide in 1779. In order to claim his second wife's estate in Scotland, Byron's father had taken the additional surname "Gordon", becoming "John Byron Gordon", and he was occasionally styled "John Byron Gordon of Gight". Byron himself used this surname for a time and was registered at school in Aberdeen as "George Byron Gordon". At the age of 10, he inherited the English Barony of Byron of Rochdale, becoming "Lord Byron", and eventually dropped the double www.PoemHunter.com - The World's Poetry Archive surname (though after this point his surname was secondary to his peerage). When Byron's motherinlaw, Judith Noel died in 1822, her will required that he change his surname to "Noel" in order to inherit half her estate, and so he obtained a Royal Warrant allowing him to "take and use the surname of Noel only". The Royal Warrant also allowed him to "subscribe the said surname of Noel before all titles of honour", and from that point he signed himself "Noel Byron" (the usual signature of a peer being merely the peerage, in this case simply "Byron"). It is speculated that this was so that his initals would read "N.B." mimicking those of his hero, Napoleon Bonaparte. He was also sometimes referred to as "Lord Noel Byron", as if "Noel" were part of his title, and likewise his wife was sometimes called "Lady Noel Byron". Lady Byron eventually succeeded to the Barony of Wentworth, becoming "Lady Wentworth". Early Life John Byron married his second wife for the same reason he married his first: her fortune. Byron's mother had to sell her land and title to pay her new husband's debts, and in the space of two years the large estate, worth some £23,500, had been squandered, leaving the former heiress with an annual income in trust of only £150. In a move to avoid his creditors, Catherine accompanied her profligate husband to France in 1786, but returned to England at the end of 1787 in order to give birth to her son on English soil. He was born on 22 January in lodgings on Holles Street in London. Catherine moved back to Aberdeenshire in 1790, where Byron spent his childhood. His father soon joined them in their lodgings in Queen Street, but the couple quickly separated. Catherine regularly experienced mood swings and bouts of melancholy, which could be partly explained by her husband's continuing to appear in order to borrow money from her. As a result, she fell even further into debt to support his demands. It was one of these importunate loans that allowed him to travel to Valenciennes, France, where he died in 1791. When Byron's greatuncle, the "wicked" Lord Byron, died on 21 May 1798, the 10yearold boy became the 6th Baron Byron of Rochdale and inherited the ancestral home, Newstead Abbey in Nottinghamshire. His mother proudly took him to England, but the Abbey was in an embarrassing state of disrepair and rather than live there, his mother decided to rent to Lord Grey de Ruthyn, among others, during his adolescence. Described as "a woman without judgment or selfcommand", Catherine either spoiled and indulged her son or aggravated him with her capricious stubbornness. Her drinking disgusted him, and he often mocked her for being short and corpulent, which made it difficult for her to catch him to discipline him. She once retaliated and, in a fit of temper, referred to him as "a lame brat". Birth Defect From birth, Byron suffered from a deformity of his right foot. Generally referred to as a "clubfoot", some modern medical experts maintain that it was a consequence of infantile paralysis (poliomyelitis), and others that it was a dysplasia, a failure of the bones to form properly. Whatever the cause, he was afflicted with a limp that caused him lifelong psychological and physical misery, aggravated by painful and pointless "medical treatment" in his childhood and the nagging suspicion that with proper care it might have been cured.He was extremely selfconscious about this from a young age, nicknaming himself le diable boiteux (French for "the limping devil", after the nickname given to Asmodeus by AlainRené Lesage in his 1707 novel of the same name). Although he often wore specially made shoes in an attempt to hide the deformed foot, he refused to wear any type of brace that might improve the limp. Scottish novelist John Galt felt his oversensitivity to the "innocent fault in his foot was unmanly and excessive" because the limp was "not greatly www.PoemHunter.com - The World's Poetry Archive conspicuous." He first met Byron on a voyage to Sardinia and didn't realise he had any deficiency for several days, and still could not tell at first if the lameness was a temporary injury or not. But by the time he met Byron he was an adult and had worked to develop "a mode of walking across a room by which it was scarcely at all perceptible". The motion of the ship at sea may also have helped to create a favourable first impression and hide any deficiencies in his gait, but Galt's biography is also described as being "rather wellmeant than wellwritten", so Galt may be guilty of minimising a defect that was actually still noticeable. 'Anticipated life' and the poet's psyche "I am such a strange mélangé of good and evil that it would be difficult to describe me." As a boy, his character is described as a "mixture of affectionate sweetness and playfulness, by which it was impossible not to be attached", although he also exhibited "silent rages, moody sullenness and revenge" with a precocious bent for attachment and obsession. He described his first intense feelings at age eight for Mary Duff, his distant cousin: "How very odd that I should have been so devotedly fond of that girl, at an age when I could neither feel passion, nor know the meaning of the word and the effect! My mother used always to rally me about this childish amour, and at last, many years after, when I was sixteen, she told me one day, 'O Byron, I have had a letter from Edinburgh, and your old sweetheart, Mary Duff, is married to Mr C***.' And what was my answer? I really cannot explain or account for my feelings at that moment, but they nearly threw me into convulsions...How the deuce did all this occur so early? Where could it originate? I certainly had no sexual ideas for years afterwards; and yet my misery, my love for that girl were so violent, that I sometimes doubt if I have ever been really attached since. Be that as it may, hearing of her marriage several years after was like a thunderstroke – it nearly choked me—to the horror of my mother and the astonishment and almost incredulity of every body. And it is a phenomenon in my existence (for I was not eight years old) which has puzzled, and will puzzle me to the latest hour of it; and lately, I know not why, the recollection (not the attachment) has recurred as forcibly as ever...But, the more I reflect, the more I am bewildered to assign any cause for this precocity of affection." Byron also became attached to Margaret Parker, another distant cousin,. While his recollection of his love for Mary Duff is that he was ignorant of adult sexuality during this time, and was bewildered as to the source of the intensity of his feelings, he would later confess that: "My passions were developed very early – so early, that few would believe me – if I were to state the period – and the facts which accompanied it. Perhaps this was one of the reasons that caused the anticipated melancholy of my thoughts – having anticipated life." This is the only reference Byron himself makes to the event, and he is ambiguous as to how old he was when it occurred. After his death, his lawyer wrote to a mutual friend telling him a "singular fact" about Byron's life which was "scarcely fit for narration". But he disclosed it nonetheless, thinking it might explain Byron's sexual "propensities": "When nine years old at his mother's house a [F]ree Scotch girl [May, sometimes called Mary, Gray, one of his first caretakers] used to come to bed to him and play tricks with his person." Gray later used these sexual intimacies as leverage to ensure his silence if he were tempted to disclose the "low company" she kept during drinking binges. She was later dismissed, supposedly for beating Byron when he was 11. A few years later, while he was still a child, Lord Grey (unrelated to May Gray), a suitor of his mother's, also made sexual advances to him. Byron's personality has been characterised as exceptionally proud and sensitive, especially when it came to his deformity. And although Byron was a very selfcentered individual, it is probable that like most children, he would have www.PoemHunter.com - The World's Poetry Archive been deeply disturbed by these sexual advances. His extreme reaction to seeing his mother flirting outrageously with Lord Grey after the incident suggests this; he did not tell her of Grey's conduct toward him, he simply refused to speak to him again and ignored his mother's commands to be reconciled. Byron's proclivity for, and experimentation in, bisexuality may be a result of his being sexually imprinted by both genders at an early age. Leslie Marchand, one of Byron's biographers, controversially theorises that Lord Grey's advances prompted Byron's later sexual liaisons with young men at Harrow and Cambridge. Another biographer, Fiona MacCarthy, has posited that Byron's true sexual yearnings were for adolescent males. While he desired to be seen as sophisticated, uncaring and invincible, he actually cared deeply what people thought of him. He believed his tendency to melancholy and depression was inherited, and he wrote in 1821, "I am not sure that long life is desirable for one of my temper & constitutional depression of Spirits." He later earned a reputation as being extravagant, courageous, unconventional, eccentric, flamboyant and controversial.He was independent and given to extremes of temper; on at least one trip, his travelling companions were so puzzled by his mood swings they thought he was mentally ill. In spite of these difficulties and eccentricties, Byron was noted for the extreme loyalty he inspired among his friends. Education and Early Loves Byron received his early formal education at Aberdeen Grammar School, and in August 1799, entered the school of Dr. William Glennie, in Dulwich. Placed under the care of a Dr. Bailey, he was encouraged to exercise in moderation, but could not restrain himself from "violent" bouts in an attempt to overcompensate for his deformed foot. His mother interfered with his studies, often withdrawing him from school, with the result that he lacked discipline and his classical studies were neglected. In 1801 he was sent to Harrow, where he remained until July 1805. An undistinguished student and an unskilled cricketeer, he did represent the school during the very first Eton v Harrow cricket match at Lord's in 1805. His lack of moderation was not just restricted to physical exercise. Byron fell in love with Mary Chaworth, whom he met while at school, and she was the reason he refused to return to Harrow in September 1803. His mother wrote, "He has no indisposition that I know of but love, desperate love, the worst of all maladies in my opinion. In short, the boy is distractedly in love with Miss Chaworth." In Byron's later memoirs, "Mary Chaworth is portrayed as the first object of his adult sexual feelings." Byron finally returned in January 1804, to a more settled period which saw the formation of a circle of emotional involvements with other Harrow boys, which he recalled with great vividness: "My School friendships were with me passions (for I was always violent)." The most enduring of those was with John FitzGibbon, 2nd Earl of Clare — four years Byron's junior — whom he was to meet unexpectedly many years later in Italy (1821). His nostalgic poems about his Harrow friendships, Childish Recollections (1806), express a prescient "consciousness of sexual differences that may in the end make England untenable to him". "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." The following autumn he attended Trinity College, Cambridge., where he met and formed a close friendship with the younger John Edleston. About his "protégé" he wrote, "He has been my almost constant associate since October, 1805, when I entered Trinity College. His voice first attracted my www.PoemHunter.com - The World's Poetry Archive attention, his countenance fixed it, and his manners attached me to him for ever." In his memory Byron composed Thyrza, a series of elegies. In later years he described the affair as "a violent, though pure love and passion." This statement, however, needs to be read in the context of hardening public attitudes toward homosexuality in England, and the severe sanctions (including public hanging) against convicted or even suspected offenders. The liaison, on the other hand, may well have been 'pure' out of respect for Edleston's innocence, in contrast to the (probably) more sexually overt relations experienced at Harrow School.Also while at Cambridge he formed lifelong friendships with men such as John Cam Hobhouse and Francis Hodgson, a Fellow at King's College, with whom he corresponded on literary and other matters until the end of his life. Physical Appearance Byron's adult height was about 5 feet 11 inches (1.80 m), his weight fluctuating between 9.5 stone (133 lb; 60 kg) and 14 stone (200 lb; 89 kg). He was renowned for his personal beauty, which he enhanced by wearing curlpapers in his hair at night. He was athletic, being a competent boxer and horserider and an excellent swimmer. Byron and other writers, such as his friend Hobhouse, described his eating habits in detail. At the time he entered Cambridge, he went on a strict diet to control his weight. He also exercised a great deal, and at that time wore a great number of clothes to cause himself to perspire. For most of his life he was a vegetarian, and often lived for days on dry biscuits and white wine. Occasionally he would eat large helpings of meat and desserts, after which he would purge himself. Although he is described by Galt and others as having a predilection for "violent" exercise, Hobhouse makes the excuse that the pain in his deformed foot made physical activity difficult, and his weight problem was the result. Early Career While not at school or college, Byron lived with his mother at Burgage Manor in Southwell, Nottinghamshire, in some antagonism. While there, he cultivated friendships with Elizabeth Pigot and her brother, John, with whom he staged two plays for the entertainment of the community. During this time, with the help of Elizabeth Pigot, who copied many of his rough drafts, he was encouraged to write his first volumes of poetry. Fugitive Pieces was printed by Ridge of Newark, which contained poems written when Byron was only 14. However, it was promptly recalled and burned on the advice of his friend, the Reverend Thomas Beecher, on account of its more amorous verses, particularly the poem To Mary. Hours of Idleness, which collected many of the previous poems, along with more recent compositions, was the culminating book. The savage, anonymous criticism this received (now known to be the work of Henry Peter Brougham) in the Edinburgh Review prompted his first major satire, English Bards and Scotch Reviewers (1809). It was put into the hands of his relation R.C. Dallas requesting him to "...get it published without his name" Dallas gives a large series of changes and alterations, as well as the reasoning for some of them. He also states that Byron had originally intended to prefix an argument to this poem, and Dallas quotes it. Although the work was published anonymously, by April, Dallas is writing that "you are already pretty generally known to be the author." The work so upset some of his critics they challenged Byron to a duel; over time, in subsequent editions, it became a mark of prestige to be the target of Byron's pen. After his return from his travels, he again entrusted Dallas as his literary agent to publish his poem Childe Harold's Pilgrimage, which Byron thought of little account. The first two cantos of Childe Harold's Pilgrimage were published in 1812, and were received with acclaim. In his own words, "I awoke one morning and found myself famous". He followed up his success with the poem's last two cantos, as well as four equally celebrated Oriental Tales, The Giaour, The Bride of Abydos, The Corsair, and Lara, A Tale. About www.PoemHunter.com - The World's Poetry Archive the same time, he began his intimacy with his future biographer, Thomas Moore. Personal life First travels to the East Byron racked up numerous debts as a young man, due to what his mother termed a "reckless disregard for money". She lived at Newstead during this time, in fear of her son's creditors. He had planned to spend early 1808 cruising with his cousin George Bettesworth, who was captain of the 32gun frigate HMS Tartar. Bettesworth's unfortunate death at the Battle of Alvøen in May 1808 made that impossible. From 1809 to 1811, Byron went on the Grand Tour, then customary for a young nobleman. The Napoleonic Wars forced him to avoid most of Europe, and he instead turned to the Mediterranean. Correspondence among his circle of Cambridge friends also suggests that a key motive was the hope of homosexual experience, and other theories saying that he was worried about a possible dalliance with the married Mary Chaworth, his former love (the subject of his poem from this time, "To a Lady: On Being Asked My Reason for Quitting England in the Spring"). Attraction to the Levant was probably a motive in itself; he had read about the Ottoman and Persian lands as a child, was attracted to Islam (especially Sufi mysticism), and later wrote, “With these countries, and events connected with them, all my really poetical feelings begin and end." He travelled from England over Portugal, Spain and the Mediterranean to Albania and spent time at the court of Ali Pasha of Ioannina, and in Athens. For most of the trip, he had a travelling companion in his friend John Cam Hobhouse. Many of these letters are referred to with details in Recollections of the Life of Lord Byron. Byron began his trip in Portugal from where he wrote a letter to his friend Mr. Hodgson in which he describes his mastery of the Portuguese language, consisting mainly of swearing and insults. Byron particularly enjoyed his stay in Sintra that is described in Childe Harold's Pilgrimage as "glorious Eden". From Lisbon he travelled overland to Seville, Jerez de la Frontera, Cadiz, Gibraltar and from there by sea on to Malta and Greece. While in Athens, Byron met Nicolò Giraud, who became quite close and taught him Italian. It was also presumed that the two had an intimate relationship involving a sexual affair. Byron sent Giraud to school at a monastery in Malta and bequeathed him a sizeable sum of seven thousand pounds sterling. The will, however, was later cancelled. In 1810 in Athens Byron wrote Maid of Athens, ere we part for a 12yearold girl, Teresa Makri [1798–1875], and reportedly offered £500 for her. The offer was not accepted. Byron made his way to Smyrna where he and Hobhouse cadged a ride to Constantinople on HMS Salsette. While Salsette was anchored awaiting Ottoman permission to dock at the city, on 3 May 1810 Byron and Lieutenant Ekenhead, of Salsette's marines, swam the Hellespont. Byron commemorated this feat in the second canto of Don Juan. He returned to England from Malta in June 1813 aboard HMS Volage. Affairs and Scandals In 1812, Byron embarked on a wellpublicised affair with the married Lady Caroline Lamb that shocked the British public. Byron eventually broke off the relationship and moved swiftly on to others (such as that with Lady Oxford), but Lamb never entirely recovered, pursuing him even after he tired of her. She was emotionally disturbed, and lost so much weight that Byron cruelly commented to her motherinlaw, his friend Lady Melbourne, that he was "haunted by a skeleton". She began to call on him at home, sometimes dressed in disguise as a page boy, at a time when such an act could ruin both of them socially. One day, during such a visit, she wrote on a book at www.PoemHunter.com - The World's Poetry Archive his desk, "Remember me!" As a retort, Byron wrote a poem entitled Remember Thee! Remember Thee! which concludes with the line "Thou false to him, thou fiend to me". As a child, Byron had seen little of his halfsister Augusta Leigh; in adulthood, he formed a close relationship with her that has been interpreted by some as incestuous, and by others as innocent. Augusta (who was married) gave birth on 15 April 1814 to her third daughter, Elizabeth Medora Leigh. Eventually Byron began to court Lady Caroline's cousin Anne Isabella Milbanke ("Annabella"), who refused his first proposal of marriage but later accepted him. Milbanke was a highly moral woman, intelligent and mathematically gifted; she was also an heiress. They married at Seaham Hall, County Durham, on 2 January 1815. The marriage proved unhappy. He treated her poorly. They had a daughter (Augusta Ada). On 16 January 1816, Lady Byron left him, taking Ada with her. On 21 April, Byron signed the Deed of Separation. Rumours of marital violence, adultery with actresses, incest with Augusta Leigh, and sodomy were circulated, assisted by a jealous Lady Caroline. In a letter, Augusta quoted him as saying: "Even to have such a thing said is utter destruction and ruin to a man from which he can never recover." Later Years After this breakup of his domestic life, Byron again left England, and, as it turned out, it was forever. He passed through Belgium and continued up the Rhine River. In the summer of 1816 he settled at the Villa Diodati by Lake Geneva, Switzerland, with his personal physician, the young, brilliant, and handsome John William Polidori. There Byron befriended the poet Percy Bysshe Shelley, and Shelley's future wife Mary Godwin. He was also joined by Mary's stepsister, Claire Clairmont, with whom he had had an affair in London. Kept indoors at the Villa Diodati by the "incessant rain" of "that wet, ungenial summer" over three days in June, the five turned to reading fantastical stories, including Fantasmagoriana, and then devising their own tales. Mary Shelley produced what would become Frankenstein, or The Modern Prometheus, and Polidori was inspired by a fragmentary story of Byron's, "Fragment of a Novel", to produce The Vampyre, the progenitor of the romantic vampire genre. Byron's story fragment was published as a postscript to Mazeppa; he also wrote the third canto of Childe Harold. Byron wintered in Venice, pausing his travels when he fell in love with Marianna Segati, in whose Venice house he was lodging, and who was soon replaced by 22yearold Margarita Cogni; both women were married. Cogni could not read or write, and she left her husband to move into Byron's Venice house. Their fighting often caused Byron to spend the night in his gondola; when he asked her to leave the house, she threw herself into the Venetian canal. In 1817, he journeyed to Rome. On returning to Venice, he wrote the fourth canto of Childe Harold. About the same time, he sold Newstead and published Manfred, Cain and The Deformed Transformed. The first five cantos of Don Juan were written between 1818 and 1820, during which period he made the acquaintance of the young Countess Guiccioli, who found her first love in Byron, who in turn asked her to elope with him. It was about this time that he received a visit from Thomas Moore, to whom he confided his autobiography or "life and adventures", which Moore, Hobhouse, and Byron's publisher, John Murray, burned in 1824, a month after Byron's death. Children Byron had a child, The Hon. Augusta Ada Byron ("Ada", later Countess of Lovelace), in 1815 with Annabella Byron, Lady Byron (née Anne Isabella Milbanke, or "Annabella"), later Lady Wentworth. Ada Lovelace, notable in her own right, collaborated with Charles Babbage on the analytical engine, a predecessor to modern computers. She is recognised as the world's first programmer. www.PoemHunter.com - The World's Poetry Archive He also had an illegitimate child in 1817, Clara Allegra Byron, with Claire Clairmont, stepsister of Mary Shelley and stepdaughter of Political Justice and Caleb Williams writer, William Godwin. Allegra is not entitled to the style "The Hon." as is usually given to the daughter of barons, since she was illegitimate. Born in Bath in 1817, Allegra lived with Byron for a few months in Venice; he refused to allow an Englishwoman caring for the girl to adopt her, and objected to her being raised in the Shelleys' household. He wished for her to be brought up Catholic and not marry an Englishman. He made arrangements for her to inherit 5,000 lira upon marriage, or when she reached the age of 21, provided she did not marry a native of Britain. However, the girl died aged five of a fever in Bagna Cavallo, Italy while Byron was in Pisa; he was deeply upset by the news. He had Allegra's body sent back to England to be buried at his old school, Harrow, because Protestants could not be buried in consecrated ground in Catholic countries. At one time he himself had wanted to be buried at Harrow. Byron was indifferent towards Allegra's mother, Claire Clairmont. Although it cannot be proved, some attest that Augusta Leigh's child, Elizabeth Medora Leigh, was fathered by Byron. It is thought that Lord Byron had a son by a maid he employed at Newstead named Lucy. A letter of his to John Hanson from Newstead Abbey, dated 17 January 1809, refers to the situation: "You will discharge my Cook, & Laundry Maid, the other two I shall retain to take care of the house, more especially as the youngest is pregnant (I need not tell you by whom) and I cannot have the girl on the parish." The letter may be found in many editions of Byron's letters, such as Marchand's 1982 Byron's Letters and Journals. The poem "To My Son" may be about this child; however, the dating gives difficulties; some editors attribute the poem to a date two years earlier than the letter. Political Career Byron first took his seat in the House of Lords 13 Mar 1809, but left London on 11 Jun 1809 for the Continent A strong advocate of social reform, he received particular praise as one of the few Parliamentary defenders of the Luddites: specifically, he was against a death penalty for Luddite "frame breakers" in Nottinghamshire, who destroyed textile machines that were putting them out of work. His first speech before the Lords was loaded with sarcastic references to the "benefits" of automation, which he saw as producing inferior material as well as putting people out of work. He said later that he "spoke very violent sentences with a sort of modest impudence", and thought he came across as "a bit theatrical". The full text of the speech, which he had previously written out, were presented to Dallas in manuscript form and he quotes it in his work. In another Parliamentary speech he expressed opposition to the established religion because it was unfair to people of other faiths. These experiences inspired Byron to write political poems such as Song for the Luddites (1816) and The Landlords' Interest, Canto XIV of The Age of Bronze. Examples of poems in which he attacked his political opponents include Wellington: The Best of the CutThroats (1819); and The Intellectual Eunuch Castlereagh (1818). Life Abroad Reasons for His Departure Ultimately, Byron resolved to escape the censure of British society (due to allegations of sodomy and incest) by living abroad, thereby freeing himself of the need to conceal his sexual interests (MacCarthy pp. 86, 314). Byron left England in 1816 and did not return for the last eight years of his life, even to bury his daughter. The Armenians in Venice www.PoemHunter.com - The World's Poetry Archive In 1816, Byron visited Saint Lazarus Island in Venice, where he acquainted himself with Armenian culture with the help of the abbots belonging to the Mechitarist Order. With the help of Father H. Avgerian, he learned the Armenian language, and attended many seminars about language and history. He wrote English Grammar and Armenian (Qerakanutyun angghiakan yev hayeren) in 1817, and Armenian Grammar and English (Qerakanutyun hayeren yev angghiakan) in 1819, where he included quotations from classical and modern Armenian. Byron also participated in the compilation of the English Armenian dictionary (Barraran angghieren yev hayeren, 1821) and wrote the preface in which he explained the relationship of the Armenians with and the oppression of the Turkish "pashas" and the Persian satraps, and their struggle of liberation. His two main translations are the Epistle of Paul to the Corinthians, two chapters of Movses Khorenatsi's History of Armenia and sections of Nerses of Lambron's Orations. His fascination was so great that he even considered a replacement of the Cain story of the Bible with that of the legend of Armenian patriarch Haik. He may be credited with the birth of Armenology and its propagation. His profound lyricism and ideological courage has inspired many Armenian poets, the likes of Ghevond Alishan, Smbat Shahaziz, Hovhannes Tumanyan, Ruben Vorberian and others. In Italy and Greece The Byron's cave in Portovenere, Italy, called in his honour, because in this place that drew inspiration and meditation for his literary works From 1821 to 1822, he finished Cantos 6–12 of Don Juan at Pisa, and in the same year he joined with Leigh Hunt and Percy Bysshe Shelley in starting a shortlived newspaper, The Liberal, in the first number of which appeared The Vision of Judgment. For the first time since his arrival in Italy, Byron found himself tempted to give dinner parties; his guests included the Shelleys, Edward Ellerker Williams, Thomas Medwin, John Taaffe, and Edward John Trelawney; and "never," as Shelley said, "did he display himself to more advantage than on these occasions; being at once polite and cordial, full of social hilarity and the most perfect good humour; never diverging into ungraceful merriment, and yet keeping up the spirit of liveliness throughout the evening." Shelley and Williams rented a house on the coast and had a schooner built. Byron decided to have his own yacht, and engaged Trelawny’s friend, Captain Daniel Roberts (Royal Navy officer), to design and construct the boat. Named the Bolivar, it was later sold to Charles John Gardiner, 1st Earl of Blessington, and Marguerite, Countess of Blessington when Byron left for Greece in 1823. Byron attended the funeral of Shelley, which was orchestrated by Trelawny after Williams and Shelley drowned in a boating accident on 8 July 1822. His last Italian home was Genoa, where he was still accompanied by the Countess Guiccioli, and the Blessingtons; providing the material for Lady Blessington’s work: Conversations with Lord Byron, an important text in the reception of Byron in the period immediately after his death. Byron was living in Genoa, when in 1823, while growing bored with his life there, he accepted overtures for his support from representatives of the movement for Greek independence from the Ottoman Empire. With the assistance of his banker and Captain Roberts, Byron chartered the Brig Hercules to take him to Greece. On 16 July, Byron left Genoa arriving at Kefalonia in the Ionian Islands on 4 August. His voyage is covered in detail in Sailing with Byron from Genoa to Cephalonia. There is a mystical coincidence in Byron’s chartering the Hercules. The vessel was launched only a few miles south of Seaham Hall, where in 1815 Byron married Annabella Milbanke. Between 1815 and 1823 the vessel was in service between England and Canada. Suddenly in 1823, the ship’s Captain decided to sail to Genoa and offer the Hercules for charter. After taking Byron to Greece, the ship returned to England, never again to www.PoemHunter.com - The World's Poetry Archive venture into the Mediterranean. "The Hercules was age 37 when on 21 September 1852, her life ended when she went aground near Hartlepool, only 25 miles south of Sunderland, where in 1815, her keel was laid; Byron’s keel was laid nine months before his official birth date, 22 January 1788; therefore in shipyears, he was age 37, when he died in Missolonghi." Byron spent £4000 of his own money to refit the Greek fleet, then sailed for Missolonghi in western Greece, arriving on 29 December, to join Alexandros Mavrokordatos, a Greek politician with military power. During this time, Byron pursued his Greek page, Lukas Chalandritsanos, but the affections went unrequited. When the famous Danish sculptor Thorvaldsen heard about Byron's heroics in Greece, he voluntarily resculpted his earlier bust of Byron in Greek marble. Death Mavrokordatos and Byron planned to attack the Turkishheld fortress of Lepanto, at the mouth of the Gulf of Corinth. Byron employed a firemaster to prepare artillery and took part of the rebel army under his own command, despite his lack of military experience, but before the expedition could sail, on 15 February 1824, he fell ill, and the usual remedy of bloodletting weakened him further. He made a partial recovery, but in early April he caught a violent cold which therapeutic bleeding, insisted on by his doctors, aggravated. It is suspected this treatment, carried out with unsterilised medical instrumentation, may have caused him to develop sepsis. He developed a violent fever, and died on 19 April. His physician at the time, Dutch Julius van Millingen, was unable to prevent his death. It has been said that had Byron lived and gone on to defeat the Ottomans, he might have been declared King of Greece. However, contemporary scholars have found such an outcome unlikely. Post mortem Alfred, Lord Tennyson would later recall the shocked reaction in Britain when word was received of Byron's death. The Greeks mourned Lord Byron deeply, and he became a hero. The national poet of Greece, Dionysios Solomos, wrote a poem about the unexpected loss, named To the Death of Lord Byron. ..... ("Vyron"), the Greek form of "Byron", continues in popularity as a masculine name in Greece, and a suburb of Athens is called Vyronas in his honour. Byron's body was embalmed, but the Greeks wanted some part of their hero to stay with them. According to some sources, his heart remained at Missolonghi. According to others, it was his lungs, which were placed in an urn that was later lost when the city was sacked. His other remains were sent to England for burial in Westminster Abbey, but the Abbey refused for reason of "questionable morality". Huge crowds viewed his body as he lay in state for two days in London. He is buried at the Church of St. Mary Magdalene in Hucknall, Nottinghamshire. At her request, Ada Lovelace, the child he never knew, was buried next to him. In later years, the Abbey allowed a duplicate of a marble slab given by the King of Greece, which is laid directly above Byron's grave. Byron's friends raised the sum of 1,000 pounds to commission a statue of the writer; Thorvaldsen offered to sculpt it for that amount. However, for ten years after the statue was completed in 1834, most British institutions turned it down, and it remained in storage. The statue was refused by the British Museum, St. Paul's Cathedral, Westminster Abbey and the National Gallery. Trinity College, Cambridge, finally placed the statue of Byron in its library. In 1969, 145 years after Byron's death, a memorial to him was finally placed in Westminster Abbey. The memorial had been lobbied for since 1907; The New York Times wrote, "People are beginning to ask whether this ignoring of Byron is not a thing of which England should be ashamed ... a bust or a tablet might be put in the Poets' Corner and England be relieved of ingratitude toward one of her really great sons." Robert Ripley had drawn a picture of Boatswain's grave with the caption "Lord Byron's dog has a magnificent tomb while Lord Byron himself has www.PoemHunter.com - The World's Poetry Archive none". This came as a shock to the English, particularly schoolchildren, who, Ripley said, raised funds of their own accord to provide the poet with a suitable memorial. On a very central area of Athens, Greece, outside the National Garden, is a statue depicting Greece in the form of a woman crowning Byron. The statue was made by the French HenriMichel Chapu and Alexandre Falguière. Upon his death, the barony passed to Byron's cousin George Anson Byron, a career naval officer. Poetic Works Byron wrote prolifically. In 1832 his publisher, John Murray, released the complete works in 14 duodecimo volumes, including a life by Thomas Moore. Subsequent editions were released in 17 volumes, first published a year later, in 1833. Although Byron falls chronologically into the period most commonly associated with Romantic poetry, much of his work looks back to the satiric tradition of Alexander Pope and John Dryden. Don Juan Byron's magnum opus, Don Juan, a poem spanning 17 cantos, ranks as one of the most important long poems published in England since John Milton's Paradise Lost. The masterpiece, often called the epic of its time, has roots deep in literary tradition and, although regarded by early Victorians as somewhat shocking, equally involves itself with its own contemporary world at all levels — social, political, literary and ideological. Byron published the first two cantos anonymously in 1819 after disputes with his regular publisher over the shocking nature of the poetry; by this time, he had been a famous poet for seven years, and when he selfpublished the beginning cantos, they were well received in some quarters. It was then released volume by volume through his regular publishing house. By 1822, cautious acceptance by the public had turned to outrage, and Byron's publisher refused to continue to publish the works. In Canto III of Don Juan, Byron expresses his detestation for poets such as William Wordsworth and Samuel Taylor Coleridge. Byronic hero The figure of the Byronic hero pervades much of his work, and Byron himself is considered to epitomise many of the characteristics of this literary figure. Scholars have traced the literary history of the Byronic hero from John Milton, and many authors and artists of the Romantic movement show Byron's influence during the 19th century and beyond, including Charlotte and Emily Brontë. The Byronic hero presents an idealised, but flawed character whose attributes include: great talent; great passion; a distaste for society and social institutions; a lack of respect for rank and privilege (although possessing both); being thwarted in love by social constraint or death; rebellion; exile; an unsavory secret past; arrogance; overconfidence or lack of foresight; and, ultimately, a selfdestructive manner. Finally, Stendahl's hero Julien Sorel in The Red and the Black seems to have been inspired by Don Juan. In Canto XI when Don Juan shoots the armed English robber, the robber falls to the ground and mistakes Don Juan for a "bloody Frenchman". Parthenon marbles Byron was a bitter opponent of Lord Elgin's removal of the Parthenon marbles from Greece, and "reacted with fury" when Elgin's agent gave him a tour of the Parthenon, during which he saw the missing friezes and metopes. He penned a poem, The Curse of Minerva, to denounce Elgin's actions. He enjoyed adventure, especially relating to the sea. www.PoemHunter.com - The World's Poetry Archive The first recorded notable example of open water swimming took place on 3 May 1810 when Lord Byron swam from Europe to Asia across the Hellespont Strait. This is often seen as the birth of the sport and pastime and to commemorate it, the event is recreated every year as an open water swimming event. Celebrity Byron is considered to be the first modernstyle celebrity. His image as the personification of the Byronic hero fascinated the public, and his wife Annabella coined the term "Byromania" to refer to the commotion surrounding him. His selfawareness and personal promotion are seen as a beginning to what would become the modern rock star; he would instruct artists painting portraits of him not to paint him with pen or book in hand, but as a "man of action." While Byron first welcomed fame, he later turned from it by going into voluntary exile from Britain. Fondness for animals Byron had a great love of animals, most notably for a Newfoundland dog named Boatswain. When the animal contracted rabies, Byron nursed him, albeit unsuccessfully, without any thought or fear of becoming bitten and infected. Although deep in debt at the time, Byron commissioned an impressive marble funerary monument for Boatswain at Newstead Abbey, larger than his own, and the only building work which he ever carried out on his estate. In his 1811 will, Byron requested that he be buried with him. The 26 verse poem, Epitaph to a Dog, has become one of his bestknown works, but a draft of an 1830 letter by Hobhouse shows him to be the author, and that Byron decided to use Hobhouse's lengthy epitaph instead of his own, which read: "To mark a friend's remains these stones arise/I never knew but one—and here he lies." Byron also kept a tame bear while he was a student at Trinity, out of resentment for rules forbidding pet dogs like his beloved Boatswain. There being no mention of bears in their statutes, the college authorities had no legal basis for complaining: Byron even suggested that he would apply for a college fellowship for the bear. During his lifetime, in addition to numerous dogs and horses, Byron kept a fox, four monkeys, a parrot, five cats, an eagle, a crow, a crocodile, a falcon, five peacocks, two guinea hens, an Egyptian crane, a badger, three geese, a heron and a goat with a broken leg. Except for the horses, they all resided indoors at his homes in England, Switzerland, Italy and Greece. Lasting Influence The refounding of the Byron Society in 1971 reflects the fascination that many people have for Byron and his work. This society has become very active, publishing an annual journal. Today 36 Byron Societies function throughout the world, and an International Conference takes place annually. Byron exercised a marked influence on Continental literature and art, and his reputation as a poet is higher in many European countries than in Britain or America, although not as high as in his time, when he was widely thought to be the greatest poet in the world. Byron has inspired works by Franz Liszt, Hector Berlioz, Pyotr Ilyich Tchaikovsky, and Giuseppe Verdi. Depictions in Fiction and Film Byron first appeared as a thinly disguised fictional character in his exlove Lady Caroline Lamb's book Glenarvon, published in 1816. The archetypal vampire character, notably Bram Stoker's Dracula, is based on Byron. The gothic ideal of a decadent, pale and aristocratic individual who enamors himself to whomever he meets, but who is perceived to have a dark www.PoemHunter.com - The World's Poetry Archive and dangerous innerself is a literary form derived from characteristations of Byron. The image of a vampire portrayed as an aristocrat was created by John Polidori, in "The Vampyre", during the summer of 1816 which he spent in the company of Byron. The titled Count Dracula is a reprise of this character. Byron was the subject of a 1908 play Byron by Alicia Ramsey and its 1922 film adaptation A Prince of Lovers in which he was played by Howard Gaye. Byron is the main character of the film Byron by the Greek film maker Nikos Koundouros. Byron's spirit is one of the title characters of the Ghosts of Albion books by Amber Benson and Christopher Golden. John Crowley's book Lord Byron's Novel: The Evening Land (2005) involves the rediscovery of a lost manuscript by Lord Byron, as does Frederic Prokosch's The Missolonghi Manuscript (1968). Byron appears as a character in Tim Powers's time travel/alternative history novels The Stress of Her Regard (1989) and The Anubis Gates (1983), Walter Jon Williams's fantasy novella Wall, Stone Craft (1994), and also in Susanna Clarke's alternative history Jonathan Strange & Mr Norrell (2004). Byron appears as an immortal, still living in modern times, in the television show Highlander: The Series in the fifth season episode The Modern Prometheus, living as a decadent rock star. Tom Holland, in his 1995 novel The Vampyre: Being the True Pilgrimage of George Gordon, Sixth Lord Byron, romantically describes how Lord Byron became a vampire during his first visit to Greece — a fictional transformation that explains much of his subsequent behaviour towards family and friends, and finds support in quotes from Byron poems and the diaries of John Cam Hobhouse. It is written as though Byron is retelling part of his life to his great greatgreatgreatgranddaughter. He describes travelling in Greece, Italy, Switzerland, meeting Percy Bysshe Shelley, Shelley's death, and many other events in life around that time. The Byron as vampire character returns in the 1996 sequel Supping with Panthers. Byron and Percy and Mary Shelley are portrayed in Roger Corman's final film Frankenstein Unbound, where the time traveller Dr. Buchanan (played by John Hurt) meets them as well as Victor von Frankenstein (played by Raúl Juliá). The Black Drama by Manly Wade Wellman, originally published in Weird Tales, involves the rediscovery and production of a lost play by Byron (from which Polidori's The Vampyre was plagiarised) by a man who purports to be a descendant of the poet. Tom Stoppard's play Arcadia revolves around a modern researcher's attempts to find out what made Byron leave the country, while Howard Brenton's play Bloody Poetry features Byron, in addition to Polidori, the Shelleys and Claire Clairmont. Television portrayals include a major 2003 BBC drama on Byron's life, an appearance in the 2006 BBC drama, Beau Brummell: This Charming Man, and minor appearances in Highlander: The Series (as well as the Shelleys), Blackadder the Third, episode 60 (Darkling) of Star Trek: Voyager, and was also parodied in the animated sketch series, Monkey Dust. He makes an appearance in the alternative history novel The Difference Engine by William Gibson and Bruce Sterling. In a Britain powered by the massive, steamdriven, mechanical computers invented by Charles Babbage, he is leader of the Industrial Radical Party, eventually becoming Prime Minister. The events featuring the Shelleys' and Byron's relationship at the house beside Lake Geneva in 1816 have been fictionalised in film at least three www.PoemHunter.com - The World's Poetry Archive times. A 1986 British production, Gothic, directed by Ken Russell, and starring Gabriel Byrne as Byron. A 1988 Spanish production, Rowing with the wind aka (Remando al viento), starring Hugh Grant as Byron. A 1988 U.S.A. production Haunted Summer. Adapted by Lewis John Carlino from the speculative novel by Anne Edwards, starring Philip Anglim as Lord Byron. The brief prologue to Bride of Frankenstein includes Gavin Gordon as Byron, begging Mary Shelley to tell the rest of her Frankenstein story. Novelist Benjamin Markovits produced a trilogy about the life of Byron. Imposture (2007) looked at the poet from the point of view of his friend and doctor, John Polidori. A Quiet Adjustment (2008), is an account of Byron's marriage that is more sympathetic to his wife, Annabella. Childish Loves(2011) is a reimagining of Byron's lost memoirs, dealing with questions about his childhood and sexual awakening. Byron is portrayed as an immortal in the book, Divine Fire, by Melanie Jackson. In the comic thriller, Edward Trencom's Nose by Giles Milton, several of Edward's ancestors are poisoned, along with Byron. In The Grim Adventures of Billy & Mandy episode "Ecto Cooler" (2005), the episode opens with a quote from Don Juan. Byron's ghost appears to instruct Billy on how to be cool. In the novel The History of Lucy's Love Life in Ten and a Half Chapters, Lucy Lyons uses a time machine to visit 1813 and meet her idol, Byron. Byron is depicted in Tennessee William's play Camino Real. Byron's life is the subject of the 2003 made for television movie Byron starring Jonny Lee Miller. Byron is depicted as the villain/antagonist in the novel Jane Bites Back written by Michael Thomas Ford, published by Ballantine Books, 2010. A novel based on the premise that Jane Austen (and Lord Byron) are Vampires living in the modern day literary world. The play A Year Without A Summer by Brad C. Hodson is about Byron, Polidori, the Shelleys, and Claire Clairmont and the famous summer of 1816 at the Villa Diodati. As opposed to other works dealing with the same period, the play is more a biopic dealing with Byron's divorce and exile from England, than with the Shelleys' lives. Lawrence Durrell wrote a poem called Byron as a lyrical soliloquy; it was first published in 1944. Susanna Roxman's Allegra in her 1996 collection Broken Angels (Dionysia Press, Edinburgh) is a poem about Byron's daughter by Claire Clairmont. In this text, Byron is referred to as "Papa". Dan Chapman's 2010 vampire novella The Postmodern Malady of Dr. Peter Hudson begins at the time of Lord Byron's death and uses biographical information about him in the construction of its title character. It also directly quotes some of his work. Stephanie Barron's series of Jane Austen Mysteries has Lord Byron a suspect of murder in the 2010 book, Jane and the Madness of Lord Byron. He appears in a parallel story line in the novel The Fire by Katherine Neville. www.PoemHunter.com - The World's Poetry Archive Byron is also a minor character in the ninth novel of L.A. Meyer's Bloody Jack series The Mark of the Golden Dragon. Musical settings of, or music inspired by, poems by Byron 1820 – William Crathern: My Boat is On the Shore (1820), a setting for voice and piano of words from the poem To Thomas More written by Byron in 1817 c. 1820–1860 – Carl Loewe: 24 songs 1833 – Gaetano Donizetti: Parisina, opera 1834 – Hector Berlioz: Harold en Italie, symphony in four movements for viola and orchestra 1835 – Gaetano Donizetti: Marino Faliero, opera 1844 – Hector Berlioz: Le Corsaire overture (possibly also inspired by James Fenimore Cooper's Red Rover as the original title is Le Corsaire Rouge) 1844 – Giuseppe Verdi: I due Foscari, opera in three acts 1848 – Giuseppe Verdi: Il corsaro, opera in three acts 1849 – Robert Schumann: Overture and incidental music to Manfred 1849–54 – Franz Liszt: Tasso, Lamento e trionfo, symphonic poem 1885 – Pyotr Ilyich Tchaikovsky: Manfred Symphony in B minor, Op. 58 1896 – Hugo Wolf: Vier Gedichte nach Heine, Shakespeare und Lord Byron for voice and piano: 3. Sonne der Schlummerlosen 4. Keine gleicht von allen Schönen 1916 – Pietro Mascagni: Parisina, opera in four acts 1934 – Germaine Tailleferre: Two Poems of Lord Byron (1. Sometimes in moments... 2. 'Tis Done I heard it in my dreams... for Voice and Piano (Tailleferre's only setting of English language texts) 1942 – Arnold Schoenberg: Ode to Napoleon for reciter, string quartet and piano mid 1970s: Arion Quinn: She Walks in Beauty 1984 – David Bowie: Music video for Blue Jean and short promotional video for Blue Jean, Jazzin' for Blue Jean features him playing a rock star named Screaming Lord Byron (cf. Screaming Lord Sutch). His attire for the rock star mimics that of Lord Byron's in the portrait by Thomas Phillips. 1997 – Solefald: When the Moon is on the Wave 2002 – Ariella Uliano: So We'll Go No More A'Roving 2002 – Warren Zevon: Lord Byron's Luggage 2004 – Leonard Cohen: No More ARoving 2005 – Cockfighter (band): Destruction 2006 – Kris Delmhorst: We'll Go No More ARoving 2006 – Cradle Of Filth: The Byronic Man featuring HIM's Ville Valo 2008 – ALPHA 60: The rock, the vulture, and the chain 2008 – Schiller (band) has a song called "Nacht" with Ben Becker on its album, Sehnsucht (Schiller album), which has video on Youtube. The lyrics are a shortened version of a poem in German called Die Seele that is attributed to Lord Byron. It appears to be a translation of the Byron poem, "When coldness wraps this suffering clay" from the collection, Hebrew Melodies. The Identity of the translator/author of Die Seele is unknown although the text may be from "Lord Byrons Werke In sechs Bänden" translated by Otto Gildemeister, 3rd Volume, Fifth Edition, Berlin 1903 (pages 134–135). 2011 – Agustí Charles: Lord Byron. Un estiu sense estiu. Opera en dos actes (Lord Byron. A summer without a summer. Opera in two actes). Libretto in Catalan by Marc Rosich, world premiere at Staatstheater Darmstadt, March 2011. Perth rock band Eleventh He Reaches London are named in reference to the eleventh canto of Don Juan, in which Don Juan arrives in London. Their debut album, The Good Fight for Harmony also featured a track entitled "What Would Don Juan Do?" Works: Hours of Idleness (1807) English Bards and Scotch Reviewers (1809) Childe Harold's Pilgrimage, Cantos I & II (1812) The Giaour (1813) The Bride of Abydos (1813) www.PoemHunter.com - The World's Poetry Archive The Corsair (1814) Lara, A Tale (1814) Hebrew Melodies (1815) The Siege of Corinth (1816) Parisina (1816) The Prisoner of Chillon (1816) The Dream (1816) Prometheus (1816) Darkness (1816) Manfred (1817) (text on Wikisource) The Lament of Tasso (1817) Beppo (1818) Childe Harold's Pilgrimage (1818) Don Juan (1819–1824; incomplete on Byron's death in 1824) Mazeppa (1819) The Prophecy of Dante (1819) Marino Faliero (1820) Sardanapalus (1821) The Two Foscari (1821) Cain (1821) The Vision of Judgment (1821) Heaven and Earth (1821) Werner (1822) The Age of Bronze (1823) The Island (1823) The Deformed Transformed (1824) Poems The First Kiss of Love (1806) Thoughts Suggested by a College Examination (1806) To a Beautiful Quaker (1807) The Cornelian (1807) Lines Addressed to a Young Lady (1807) Lachin y Garr (1807) Epitaph to a Dog (1808) Maid of Athens, ere we part (1810) She Walks in Beauty (1814) My Soul is Dark (1815) When We Two Parted (1817) Love's Last Adieu So, we'll go no more a roving (1830) www.PoemHunter.com - The World's Poetry Archive
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