Poems List

Francisca

Francisca


Francisca walks in the shadow of night,
But it is not to gaze on the heavenly light But
if she sits in her garden bower,
'Tis not for the sake of its blowing flower.
She listens but
not for the nightingale Though
her ear expects as soft a tale.
There winds a step through the foliage thick,
And her cheek grows pale, and her heart beats quick.
There whispers a voice thro' the rustling leaves;
A moment more and they shall meet '
Tis past her
lover's at her feet.
505

Farewell To The Muse

Farewell To The Muse

Thou Power! who hast ruled me through Infancy's days,
Young offspring of Fancy, 'tis time we should part;
Then rise on the gale this the last of my lays,
The coldest effusion which springs from my heart.


This bosom, responsive to rapture no more,
Shall hush thy wild notes, nor implore thee to sing;
The feelings of childhood, which taught thee to soar,
Are wafted far distant on Apathy's wing.


Though simple the themes of my rude flowing Lyre,
Yet even these themes are departed for ever;
No more beam the eyes which my dream could inspire,
My visions are flown, to return, alas, never!


When drain'd is the nectar which gladdens the bowl,
How vain is the effort delight to prolong!
When cold is the beauty which dwelt in my soul,
What magic of Fancy can lengthen my song?


Can the lips sing of Love in the desert alone,
Of kisses and smiles which they now must resign?
Or dwell with delight on the hours that are flown?
Ah, no! for those hours can no longer be mine.


Can they speak of the friends that I lived but to love?
Ah, surely Affection ennobles the strain!
But how can my numbers in sympathy move,
When I scarcely can hope to behold them again?


Can I sing of the deeds which my Fathers have done,
And raise my loud harp to the fame of my Sires?
For glories like theirs, oh, how faint is my tone!
For Heroes' exploits how unequal my fires!


Untouch'd, then, my Lyre shall reply to the blast'
Tis hush'd; and my feeble endeavors are o'er;
And those who have heard it will pardon the past,
When they know that its murmurs shall vibrate no more.


And soon shall its wild erring notes be forgot,
Since early affection and love is o'ercast:
Oh! blest had my Fate been, and happy my lot,
Had the first strain of love been the dearest, the last.


Farewell, my young Muse! since we now can ne'er meet;
If our songs have been languid, they surely are few:
Let us hope that the present at least will be sweetThe
presentwhich
seals our eternal Adieu.
490

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.
519

Epitaph On John Adams, Of Southwell - A Carrier, Who Died Of Drunkenness

Epitaph On John Adams, Of Southwell - A Carrier, Who Died Of Drunkenness

JOHN ADAMS lies here, of the parish of Southwell,
A Carrier who carried his can to his mouth well:
He carried so much, and he carried so fast,
He could carry no more‑so was carried at last;
For, the liquor he drank, being too much for one,
He could not carry off,so
he's now carrion.
474

Epitaph For William Pitt

Epitaph For William Pitt

With death doom'd to grapple,
Beneath this cold slab, he
Who lied in the Chapel
Now lies in the Abbey.
454

Epistle To Augusta

Epistle To Augusta

I.
My sister! my sweet sister! if a name
Dearer and purer were, it should be thine;
Mountains and seas divide us, but I claim
No tears, but tenderness to answer mine:
Go where I will, to me thou art the sameA
loved regret which I would not resign,
There yet are two things in my destiny,
A
world to roam through, and a home with thee.
II.
The first were nothinghad
I still the last,
It were the haven of my happiness;
But other claims and other ties thou hast,
And mine is not the wish to make them less.
A strange doom is thy father's son's, and past
Recalling, as it lies beyond redress;
Reversed for him our grandsire's fate of yore,
He had no rest at sea, nor I on shore.
III.
If my inheritance of storms hath been
In other elements, and on the rocks
Of perils, overlook'd or unforeseen,
I have sustain'd my share of worldly shocks,
The fault was mine; nor do I seek to screen
My errors with defensive paradox;
I have been cunning in mine overthrow,
The careful pilot of my proper woe.
IV.
Mine were my faults, and mine be their reward.
My whole life was a contest, since the day
That gave me being, gave me that which marr'd
The gift,a
fate, or will, that walk'd astray;
And I at times have found the struggle hard,
And thought of shaking off my bonds of clay:
But now I fain would for a time survive,
If but to see what next can well arrive.
V.
Kingdoms and empires in my little day
I have outlived, and yet I am not old;
And when I look on this, the petty spray
Of my own years of trouble, which have roll'd
Like a wild bay of breakers, melts away
SomethingI
know not whatdoes
still uphold
A spirit of slight patience; not in vain,
Even for its own sake, do we purchase pain.
VI.
Perhaps the workings of defiance stir

Within me or
perhaps a cold despair,
Brought on when ills habitually recur,
Perhaps a kinder clime, or purer air,
(For even to this may change of soul refer,
And with light armour we may learn to bear,)
Have taught me a strange quiet, which was not
The chief companion of a calmer lot.


VII.
I feel almost at times as I have felt
In happy childhood; trees, and flowers, and brooks,
Which do remember me of where I dwelt
Ere my young mind was sacrificed to books,
Come as of yore upon me, and can melt
My heart with recognition of their looks;
And even at moments I could think I see
Some living thing to lovebut
none like thee.
VIII.
Here are the Alpine landscapes which create
A fund for contemplation;to
admire
Is a brief feeling of a trivial date;
But something worthier do such scenes inspire:
Here to be lonely is not desolate'
For much I view which I could most desire,
And, above all, a lake I can behold
Lovelier, not dearer, than our own of old.
IX.
Oh that thou wert but with me! but
I grow
The fool of my own wishes, and forget
The solitude which I have vaunted so
Has lost its praise in this but one regret;
There may be others which I less may show
I am not of the plaintive mood, and yet
I feel an ebb in my philosophy,
And the tide rising in my alter'd eye.
X.
I did remind thee of our own dear Lake,
By the old Hall which may be mine no more.
Leman's is fair; but think not I forsake
The sweet remembrance of a dearer shore:
Sad havoc Time must with my memory make,
Ere that or thou can fade these eyes before;
Though, like all things which I have loved they are
Resign 'd For ever, or divided far.
XI.
The world is all before me; I but ask
Of Nature that with which she will comply
It is but in her summer's sun to bask,

To mingle with the quiet of her sky,
To see her gentle face without a mask,
And never gaze on it with apathy.
She was my early friend, and now shall be
My sister till
I look again on thee.


XII.
I can reduce all feelings but this one;
And that I would not; for at length I see
Such scenes as those wherein my life begun.
The earliest even
the only paths for me Had
I but sooner learnt the crowd to shun,
I had been better than I now can be;
The passions which have torn me would have slept;
I had not suffer'd, and thou hadst not wept.
XIII.
With false Ambition what had I to do?
Little with Love, and least of all with Fame;
And yet they came unsought, and with me grew,
And made me all which they can make a
name.
Yet this was not the end I did pursue;
Surely I once beheld a nobler aim.
But all is over I
am one the more
To baffled millions which have gone before.
XIV.
And for the future, this world's future may
From me demand but little of my care;
I have outlived myself by many a day;
Having survived so many things that were;
My years have been no slumber, but the prey
Of ceaseless vigils; for I had the share
Of life which might have fill'd a century,
Before its fourth in time had pass'd me by.
XV.
And for the remnant which may be to come
I am content; and for the past I feel
Not thankless,for
within the crowded sum
Of struggles, happiness at times would steal,
And for the present, I would not benumb
My feelings further. Nor
shall I conceal
That with all this I still can look around,
And worship Nature with a thought profound.
XVI.
For thee, my own sweet sister, in thy heart
I know myself secure, as thou in mine;
We were and are I
am, even as thou art
Beings who ne'er each other can resign;
It is the same, together or apart,

From life's commencement to its slow decline
We are entwinedlet
death come slow or fast,
The tie which bound the first endures the last!
542

Epitaph

Epitaph


Posterity will ne'er survey
A nobler grave than this:
Here lie the bones of Castlereagh:
Stop, traveler
449

Epistle From Mr. Murray To Dr. Polidori

Epistle From Mr. Murray To Dr. Polidori

Dear Doctor, I have read your play,
Which is a good one in its way,Purges
the eyes and moves the bowels,
And drenches handkerchiefs like towels
With tears, that, in a flux of grief,
Afford hysterical relief
To shatter'd nerves and quicken'd pulses,
Which your catastrophe convulses.


I like your moral and machinery;
Your plot, too, has such scope for scenery:
Your dialogue is apt and smart:
The play's concoction full of art;
Your hero raves, your heroine cries,
All stab, and everybody dies.
In short, your tragedy would be
The very thing to hear and see:
And for a piece of publication,
If I decline on this occasion,
It is not that I am not sensible
To merits in themselves ostensible,
But and
I grieve to speak itplays
Are drugs mere
drugs, sirnowadays.
I had a heavy loss by 'Manual'Too
lucky if it prove not annual,And
Sotheby, with his 'Orestes,'
(Which, by the by, the author's best is),
Has lain so very long on hand,
That I despair of all demand.
I've advertised, but see my books,
Or only watch my shopman's looks;Still
Ivan, Ina, and such lumber,
My backshop
glut, my shelves encumber.


There's Byron too, who once did better,
Has sent me, folded in a letter,
A sort ofit's
no more a drama
Than Darnley, Ivan, or Kehama:
So alter'd since last year his pen is,
I think he's lost his wits at Venice.
In short, sir, what with one and t'other,
I dare not venture on another.
I write in haste; excuse each blunder;
The coaches through the street so thunder!
My room's so fullwe've
Gifford here
Reading MS., with Hookham Frere
Pronouncing on the nouns and particles
Of some of our forthcoming Articles.


The QuarterlyAh,
sir, if you
Had but the genius to review!A
smart critique upon St. Helena,



Or if you only would but tell in a
Short compass whatbut
to resume:
As I was saying, sir, the roomThe
room's so full of wits and bards,
Crabbes, Campbells, Crokers, Freres, and Wards,
And others, neither bards nor wits:
My humble tenement admits
All persons in the dress of gent,
From Mr. Hammond to Dog Dent.


A party dines with me today,
All clever men, who make their way;
Crabbe, Malcolm, Hamilton, and Chantrey
Are all partakers of my pantry.
They're at this moment in discussion
On poor De Staël's late dissolution.
Her book, they say, was in advancePray
Heaven, she tell the truth of France!
Thus run our time and tongues away;
But, to return, sir, to your play:
Sorry, sir, but I cannot deal,
Unless 'twere acted by O'Neill;
My hands so full, my head so busy,
I'm almost dead, and always dizzy;
And so, with endless truth and hurry,
Dear Doctor, I am yours
JOHN MURRAY.
385

Epigram: The World Is A Bundle Of Hay

Epigram: The World Is A Bundle Of Hay

The world is a bundle of hay,
Mankind are the asses who pull;
Each tugs it a different way,
And the greatest of all is John Bull.
336

Epigram

Epigram


In digging up your bones, Tom Paine,
Will. Cobbett has done well:
You visit him on earth again,
He'll visit you in hell.
455

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Identification and basic context

Lord Byron, whose full name was George Gordon Byron, later Noel Byron, 6th Baron Byron, is widely recognized as one of the most prominent figures of the Romantic era in English literature. He was born into the British aristocracy, inheriting the title of Baron Byron. His nationality was British, and he wrote exclusively in English. The historical context in which he lived was one of significant social, political, and literary upheaval, including the aftermath of the French Revolution and the Napoleonic Wars, and the flourishing of Romanticism.

Childhood and education

Byron's childhood was marked by hardship. His mother, Catherine Gordon, was left with little money and raised him in Aberdeen, Scotland. His father, Captain John Byron, a notorious womanizer, abandoned them when George was three years old. This early separation and his mother's often harsh treatment left a profound impact on him. He was educated at Aberdeen Grammar School and then attended Trinity College, Cambridge. Despite his aristocratic background, his family's financial struggles meant he often felt like an outsider. His early readings included classical literature, the Bible, and the works of contemporary poets, which, along with his volatile home life, shaped his early sensibilities.

Literary trajectory

Byron's literary career began in earnest during his Cambridge years. His first collection of poems, 'Hours of Idleness', published in 1807, was met with harsh criticism, notably from 'The Edinburgh Review', which spurred him to respond with his satire 'English Bards and Scotch Reviewers' (1809). His first major success came with the publication of the opening cantos of 'Childe Harold's Pilgrimage' in 1812, which propelled him to instant fame. This was followed by a series of highly successful narrative poems, often drawing on historical or exotic settings, such as 'The Giaour' (1813), 'The Bride of Abydos' (1813), 'The Corsair' (1814), and 'Lara' (1814). His dramatic works, including 'Manfred' (1817) and 'Cain' (1821), explored profound philosophical and theological questions. His epic poem 'Don Juan' (begun in 1819), a satirical masterpiece, showcased his wit, irony, and expansive vision. Byron also contributed to various literary periodicals and anthologies, and his letters and journals provide significant insights into his life and thought.

Works, style, and literary characteristics

Byron's major works include 'Childe Harold's Pilgrimage', 'Don Juan', 'Manfred', 'Cain', and numerous shorter lyric poems and narrative tales. His dominant themes encompass love (often passionate and unrequited), freedom (personal and political), the struggle against fate, the sublime beauty of nature, heroism, the disillusionment of experience, and critiques of social and religious hypocrisy. Stylistically, Byron was known for his vivid imagery, powerful rhythm, and dramatic intensity. He employed a wide range of forms, from the Spenserian stanza in 'Childe Harold' to ottava rima in 'Don Juan', and experimented with blank verse and other metrical structures. His poetic voice is often marked by a compelling blend of romantic idealism, passionate emotion, sharp wit, and profound irony. His language is rich and evocative, employing striking metaphors and a commanding rhetorical power. Byron's work is often associated with Romanticism, but his cynicism and satirical edge also prefigure later literary developments.

Cultural and historical context

Byron lived through a period of immense change, influenced by the ideals of the French Revolution and the ensuing Napoleonic Wars. He was a prominent figure in the second generation of British Romantics, alongside poets like Shelley and Keats. His radical political views and bohemian lifestyle often placed him at odds with the conservative establishment of his time. His travels and experiences, particularly his involvement in the Greek War of Independence, where he became a national hero, deeply intertwined his life with the political currents of Europe. He was part of a vibrant literary circle, though his relationships with contemporaries like Wordsworth and Coleridge were complex, often marked by admiration and critical distance.

Personal life

Byron's personal life was as dramatic and turbulent as his poetry. His relationships were often intense and tumultuous, including a scandalous marriage to Annabella Milbanke, which ended in separation and fuelled much public speculation. He also had rumored relationships with both men and women. His close friendships with figures like Thomas Moore, his biographer, and Percy Bysshe Shelley were significant. Byron suffered from a club foot, a physical disability that he felt deeply and which may have contributed to his rebellious spirit and his fascination with heroic figures. His later years were defined by his expatriation from England and his commitment to the cause of Greek independence.

Recognition and reception

Byron achieved immense fame during his lifetime, becoming a European celebrity. His works were widely read and admired, and his persona captivated the public imagination. He was hailed as a literary genius and a romantic hero. However, his radicalism and personal scandals also led to significant criticism and public condemnation, particularly after his separation from his wife. Posthumously, his reputation has endured, solidified by his literary achievements and his heroic death. While his works have been subject to critical re-evaluation, his place in the canon of English literature is secure.

Influences and legacy

Byron was influenced by classical poets, Shakespeare, and contemporary Romantic writers. His own influence has been vast, extending across Europe and beyond. The concept of the "Byronic hero" – a brooding, passionate, and rebellious individual – became a significant archetype in literature and culture. He inspired countless writers, artists, and musicians, and his work has been translated into numerous languages. His engagement with themes of liberty and his personal sacrifice for the Greek cause left a lasting legacy.

Interpretation and critical analysis

Byron's work has been interpreted in various ways, often seen as a complex interplay between romantic idealism and cynical realism. Critics have explored the autobiographical elements in his poetry, the philosophical depth of his critiques of religion and society, and his mastery of satire. Debates have often centered on the sincerity of his emotions, the extent of his political engagement, and the relationship between his life and his art. His exploration of themes like freedom, fate, and the human condition continues to resonate.

Curiosities and lesser-known aspects

Byron was known for his eccentricities, including keeping a bear as a pet at Cambridge. He was also an accomplished swimmer and once swam the Hellespont. His diaries and letters reveal a man of great intellect, wit, and also considerable vanity and self-pity. He had a deep affection for his half-sister, Augusta Leigh, which fueled scandalous rumors. His habits included writing late into the night, often fueled by wine and opium.

Death and memory

Byron died in 1824 at the age of 36 from a fever in Missolonghi, Greece, while actively engaged in the Greek War of Independence. His death was mourned throughout Greece and widely in Europe, solidifying his heroic status. His body was returned to England, and he is buried in the parish church of Hucknall. His memory is preserved through his enduring literary works, his status as a national hero in Greece, and the ongoing fascination with his life and legend.