Subscribe: by Email | in Reader
Showing posts with label Poet: George Gordon Lord Byron. Show all posts
Showing posts with label Poet: George Gordon Lord Byron. Show all posts

Don Juan: Canto I (excerpt) -- George Gordon, Lord Byron

       
(Poem #1852) Don Juan: Canto I (excerpt)
 Most epic poets plunge 'in medias res'
 (Horace makes this the heroic turnpike road),
 And then your hero tells, whene'er you please,
 What went before- by way of episode,
 While seated after dinner at his ease,
 Beside his mistress in some soft abode,
 Palace, or garden, paradise, or cavern,
 Which serves the happy couple for a tavern.

 That is the usual method, but not mine-
 My way is to begin with the beginning;
 The regularity of my design
 Forbids all wandering as the worst of sinning,
 And therefore I shall open with a line
 (Although it cost me half an hour in spinning)
 Narrating somewhat of Don Juan's father,
 And also of his mother, if you'd rather.
-- George Gordon, Lord Byron
I love Byron's work, both his exquisitely crafted short poems and the longer
epics like the superbly readable "Don Juan". I've just noticed that I have
yet to post an excerpt from the latter, so here's a delightfully irreverent,
tongue-in-cheek bit from the first canto.

This is one of my favourite forms of "parodic" verse, where the poet is, on
the face of it, mocking his own work as he is writing it, but on closer
examination is actually sending up the entire genre (in this case, epic
poetry). Chaucer had some nice examples of this (I speculate, with neither
proof nor knowledge, that later poets were influenced by him), and Byron
himself indulged in the practice on several occasions.

One of the things I love about Byron is how effortless he can make the
writing of perfectly polished verse seem, and that facility definitely shows
up here. Furthermore, you can read the lines and picture the enjoyment -
and, even more, the *fun* he doubtless derived from writing them.

Here's the immediately following "opening" he alludes to:

  'T is pity learned virgins ever wed
      With persons of no sort of education,
  Or gentlemen, who, though well born and bred,
      Grow tired of scientific conversation:
  I don't choose to say much upon this head,
      I 'm a plain man, and in a single station,
  But-- Oh! ye lords of ladies intellectual,
  Inform us truly, have they not hen-peck'd you all?

Not, sadly, one of his best efforts, despite the half-hour it cost him, but
I guess that's the way it goes :). Though, more seriously, while it is very
easy to pick on specific passages of Don Juan, that isn't really the point -
taken as a whole, it's a wonderful work, and well worth a read-through.

(Okay, I can't resist quoting the next verse too, since for sheer delicious
silliness it's one of my favourite bits from the first canto:

  It was upon a day, a summer's day;--
      Summer's indeed a very dangerous season,
  And so is spring about the end of May;
      The sun, no doubt, is the prevailing reason;
  But whatsoe'er the cause is, one may say,
      And stand convicted of more truth than treason,
  That there are months which nature grows more merry in,--
  March has its hares, and May must have its heroine.
)

martin

[Links]

Wikipedia on Byron:
  http://en.wikipedia.org/wiki/George_Gordon_Byron,_6th_Baron_Byron

A complete and annotated text of Don Juan:
  http://www.geocities.com/Athens/Delphi/7086/donjuan.htm

From Beppo -- George Gordon, Lord Byron

       
(Poem #1601) From Beppo
     L.

 But to my tale of Laura, --- for I find
 Digression is a sin, that by degrees
 Becomes exceeding tedious to my mind,
 And, therefore, may the reader too displease ---
 The gentle reader, who may wax unkind,
 And caring little for the author's ease,
 Insist on knowing what he means, a hard
 And hapless situation for a bard.

     LI.

 Oh that I had the art of easy writing
 What should be easy reading! could I scale
 Parnassus, where the Muses sit inditing
 Those pretty poems never known to fail,
 How quickly would I print (the world delighting)
 A Grecian, Syrian, or Assyrian tale;
 And sell you, mix'd with western sentimentalism,
 Some samples of the finest Orientalism!

     LII.

 But I am but a nameless sort of person,
 (A broken Dandy lately on my travels)
 And take for rhyme, to hook my rambling verse on,
 The first that Walker's Lexicon unravels,
 And when I can't find that, I put a worse on,
 Not caring as I ought for critics' cavils;
 I've half a mind to tumble down to prose,
 But verse is more in fashion --- so here goes.
-- George Gordon, Lord Byron
A reader recently complained (and quite rightly) that the Minstrels pendulum
had swung too far in the direction of modern poetry, to the detriment of the
tried and true. In the ensuing, and interesting exchange of email, it turned
out that what he missed was poetry about "traditionally poetic" subjects,
and that he was not too fond of what he felt was a modern tendency to
poetize the mundane and trivial - I'm not too sure I *agree* with him, but I
can definitely see his point. However, my thoughts ran in a different
direction, and I realised that we've been running fewer poems where much of
the delight lay in the verse itself. It is this imbalance that today's
poem addresses.

I know of few poets with Byron's easy facility for perfectly metrical and
rhyming verse - the likes of Kipling and Gilbert, perhaps, but their verse
looks more impressive than effortless. Byron definitely tends towards the
effortless side, and that effortlessness (or the illusion thereof) extends
itself to the reading. His extended works like Don Juan and Beppo need
no conscious shift to a "poetry reading" mode; they flow along as easily and
as entertainingly as the most straightforward of prose, but with the added
bonuses of rhyme and metre.

On top of that, I loved the self-referential aspect of today's excerpt -
reminiscent, perhaps, of Chaucer's Franklin, who assured his audience that

  I never studied rhetoric, that's certain;
  That which I say, it must be bare and plain.
  I never slept on Mount Parnassus, no,
  Nor studied Marcus Tullius Cicero.

but far more polished and entertaining. And I laughed out loud at the
'punchline' - the timing and delivery were just perfect.

martin

The Dream -- George Gordon, Lord Byron

       
(Poem #1252) The Dream
 I

 Our life is twofold; Sleep hath its own world,
 A boundary between the things misnamed
 Death and existence: Sleep hath its own world,
 And a wide realm of wild reality,
 And dreams in their development have breath,
 And tears, and tortures, and the touch of joy;
 They leave a weight upon our waking thoughts,
 They take a weight from off waking toils,
 They do divide our being; they become
 A portion of ourselves as of our time,
 And look like heralds of eternity;
 They pass like spirits of the past - they speak
 Like sibyls of the future; they have power -
 The tyranny of pleasure and of pain;
 They make us what we were not - what they will,
 And shake us with the vision that's gone by,
 The dread of vanished shadows - Are they so?
 Is not the past all shadow? - What are they?
 Creations of the mind? - The mind can make
 Substances, and people planets of its own
 With beings brighter than have been, and give
 A breath to forms which can outlive all flesh.
 I would recall a vision which I dreamed
 Perchance in sleep - for in itself a thought,
 A slumbering thought, is capable of years,
 And curdles a long life into one hour.

 II

 I saw two beings in the hues of youth
 Standing upon a hill, a gentle hill,
 Green and of mild declivity, the last
 As 'twere the cape of a long ridge of such,
 Save that there was no sea to lave its base,
 But a most living landscape, and the wave
 Of woods and corn-fields, and the abodes of men
 Scattered at intervals, and wreathing smoke
 Arising from such rustic roofs: the hill
 Was crowned with a peculiar diadem
 Of trees, in circular array, so fixed,
 Not by the sport of nature, but of man:
 These two, a maiden and a youth, were there
 Gazing - the one on all that was beneath
 Fair as herself - but the boy gazed on her;
 And both were young, and one was beautiful:
 And both were young - yet not alike in youth.
 As the sweet moon on the horizon's verge,
 The maid was on the eve of womanhood;
 The boy had fewer summers, but his heart
 Had far outgrown his years, and to his eye
 There was but one beloved face on earth,
 And that was shining on him; he had looked
 Upon it till it could not pass away;
 He had no breath, no being, but in hers:
 She was his voice; he did not speak to her,
 But trembled on her words; she was his sight,
 For his eye followed hers, and saw with hers,
 Which coloured all his objects; - he had ceased
 To live within himself: she was his life,
 The ocean to the river of his thoughts,
 Which terminated all; upon a tone,
 A touch of hers, his blood would ebb and flow,
 And his cheek change tempestuously - his heart
 Unknowing of its cause of agony.
 But she in these fond feelings had no share:
 Her sighs were not for him; to her he was
 Even as a brother - but no more; 'twas much,
 For brotherless she was, save in the name
 Her infant friendship had bestowed on him;
 Herself the solitary scion left
 Of a time-honoured race. - It was a name
 Which pleased him, and yet pleased him not - and why?
 Time taught him a deep answer - when she loved
 Another; even now she loved another,
 And on the summit of that hill she stood
 Looking afar if yet her lover's steed
 Kept pace with her expectancy, and flew.

 III

 A change came o'er the spirit of my dream.
 There was an ancient mansion, and before
 Its walls there was a steed caparisoned:
 Within an antique Oratory stood
 The Boy of whom I spake; - he was alone,
 And pale, and pacing to and fro: anon
 He sate him down, and seized a pen, and traced
 Words which I could not guess of; then he leaned
 His bowed head on his hands and shook, as 'twere
 With a convulsion - then rose again,
 And with his teeth and quivering hands did tear
 What he had written, but he shed no tears.
 And he did calm himself, and fix his brow
 Into a kind of quiet: as he paused,
 The Lady of his love re-entered there;
 She was serene and smiling then, and yet
 She knew she was by him beloved; she knew -
 For quickly comes such knowledge - that his heart
 Was darkened with her shadow, and she saw
 That he was wretched, but she saw not all.
 He rose, and with a cold and gentle grasp
 He took her hand; a moment o'er his face
 A tablet of unutterable thoughts
 Was traced, and then it faded, as it came;
 He dropped the hand he held, and with slow steps
 Retired, but not as bidding her adieu,
 For they did part with mutual smiles; he passed
 From out the massy gate of that old Hall,
 And mounting on his steed he went his way;
 And ne'er repassed that hoary threshold more.

 IV

 A change came o'er the spirit of my dream.
 The Boy was sprung to manhood: in the wilds
 Of fiery climes he made himself a home,
 And his Soul drank their sunbeams; he was girt
 With strange and dusky aspects; he was not
 Himself like what he had been; on the sea
 And on the shore he was a wanderer;
 There was a mass of many images
 Crowded like waves upon me, but he was
 A part of all; and in the last he lay
 Reposing from the noontide sultriness,
 Couched among fallen columns, in the shade
 Of ruined walls that had survived the names
 Of those who reared them; by his sleeping side
 Stood camels grazing, and some goodly steeds
 Were fastened near a fountain; and a man,
 Glad in a flowing garb, did watch the while,
 While many of his tribe slumbered around:
 And they were canopied by the blue sky,
 So cloudless, clear, and purely beautiful,
 That God alone was to be seen in heaven.

 V

 A change came o'er the spirit of my dream.
 The Lady of his love was wed with One
 Who did not love her better: in her home,
 A thousand leagues from his, - her native home,
 She dwelt, begirt with growing Infancy,
 Daughters and sons of Beauty, - but behold!
 Upon her face there was a tint of grief,
 The settled shadow of an inward strife,
 And an unquiet drooping of the eye,
 As if its lid were charged with unshed tears.
 What could her grief be? - she had all she loved,
 And he who had so loved her was not there
 To trouble with bad hopes, or evil wish,
 Or ill-repressed affliction, her pure thoughts.
 What could her grief be? - she had loved him not,
 Nor given him cause to deem himself beloved,
 Nor could he be a part of that which preyed
 Upon her mind - a spectre of the past.

 VI

 A change came o'er the spirit of my dream.
 The Wanderer was returned. - I saw him stand
 Before an altar - with a gentle bride;
 Her face was fair, but was not that which made
 The Starlight of his Boyhood; - as he stood
 Even at the altar, o'er his brow there came
 The selfsame aspect and the quivering shock
 That in the antique Oratory shook
 His bosom in its solitude; and then -
 As in that hour - a moment o'er his face
 The tablet of unutterable thoughts
 Was traced - and then it faded as it came,
 And he stood calm and quiet, and he spoke
 The fitting vows, but heard not his own words,
 And all things reeled around him; he could see
 Not that which was, nor that which should have been -
 But the old mansion, and the accustomed hall,
 And the remembered chambers, and the place,
 The day, the hour, the sunshine, and the shade,
 All things pertaining to that place and hour,
 And her who was his destiny, came back
 And thrust themselves between him and the light;
 What business had they there at such a time?

 VII

 A change came o'er the spirit of my dream.
 The Lady of his love; - Oh! she was changed,
 As by the sickness of the soul; her mind
 Had wandered from its dwelling, and her eyes,
 They had not their own lustre, but the look
 Which is not of the earth; she was become
 The queen of a fantastic realm; her thoughts
 Were combinations of disjointed things;
 And forms impalpable and unperceived
 Of others' sight familiar were to hers.
 And this the world calls frenzy; but the wise
 Have a far deeper madness, and the glance
 Of melancholy is a fearful gift;
 What is it but the telescope of truth?
 Which strips the distance of its fantasies,
 And brings life near in utter nakedness,
 Making the cold reality too real!

 VIII

 A change came o'er the spirit of my dream.
 The Wanderer was alone as heretofore,
 The beings which surrounded him were gone,
 Or were at war with him; he was a mark
 For blight and desolation, compassed round
 With Hatred and Contention; Pain was mixed
 In all which was served up to him, until,
 Like to the Pontic monarch of old days,
 He fed on poisons, and they had no power,
 But were a kind of nutriment; he lived
 Through that which had been death to many men,
 And made him friends of mountains; with the stars
 And the quick Spirit of the Universe
 He held his dialogues: and they did teach
 To him the magic of their mysteries;
 To him the book of Night was opened wide,
 And voices from the deep abyss revealed
 A marvel and a secret. - Be it so.

 IX

 My dream is past; it had no further change.
 It was of a strange order, that the doom
 Of these two creatures should be thus traced out
 Almost like a reality - the one
 To end in madness - both in misery
-- George Gordon, Lord Byron
This is not one of my favourite Byron poems; it tackles a fairly lofty
topic, but the result does not really do justice to Byron's (considerable)
poetic talent. Nevertheless, it does have a certain haunting quality, which
made it stick somewhere in the recesses of my mind, surfacing again when
Suresh introduced his dream theme.

I believe that haunting quality lies in ever-widening scope of the poem. As
we trace the expanding histories of the "two beings", it's clear what Byron
was trying to capture - that mysterious disortion of time that can appear to
"curdle a long life into an hour". The poem also addresses the surreal,
shifting realities of a dreamscape - explicitly so, in fact, Byron
introducing every new scene with the repeated "a change came o'er the spirit
of my dream". The entire dream sequence is further bracketed by the first
and last stanzas, which go into even more explicit musings on the nature of
dreams and reality, and the unspoken question of how involved the reader
should be in the fate of the characters.

Nonetheless, despite the common ground it provides, I must return to my
earlier conclusion - this is not a very good poem. Indeed, if I may be
forgiven a moment of pure subjectivity, it totally failed to engage me.
While there were several nice lines and passages, the overall effect was dry
and lifeless, the entire poem seeming nothing more than a vehicle for Byron
to talk at the reader, and a thinly disguised one at that.  The sense I get
is that *Byron* was more interested in musing on the strangenesses of the
dream than in the dream itself, and that disinterest conveys itself to the
reader, lending the poem an academic flavour that does little for it.

martin

p.s. My favourite part of the poem? That'd be the line "and both were young,
and one was beautiful", a line that made me think "ah, now *there's* the
Byron I know and love".

p.p.s The first poem I thought of when Suresh proposed the theme was the
already-run "Dream of Eugene Aram", Poem #720. Well worth a reread.

Untitled (Epitaph for Lord Castlereagh) -- George Gordon, Lord Byron

Guest poem sent in by Suresh Ramasubramanian
(Poem #1123) Untitled (Epitaph for Lord Castlereagh)
 Posterity will ne'er survey
 A nobler scene than this.
 Here lie the bones of Castlereagh.
 Stop traveller, and piss.
-- George Gordon, Lord Byron
I was reminded of this when I saw it in a usenet post by my good friend
Shakib Otaqui.

Byron sounds off about one of the most unpopular and reviled politicians
of his era - a man who was forced to resign and spent the last fifteen
years of his life a mental wreck before he committed suicide by cutting
himself with a penknife.

If you want to rest in peace, never piss off a poet, is all I can say
about the poem.

Profile of Lord Castlereagh -
[broken link] http://proni.nics.gov.uk/records/private/castlere.htm

Castlereagh also had to face the wrath of Shelley, who wrote "The Mask
of Anarchy", blaming the massacre at St.Peters Fields on Lord
Castlereagh and his fellow minister Lord Sidmouth.

That is almost biblical, and (I think) compares Castlereagh and Sidmouth
to an evil version of the four horsemen of the apocalypse.

However, it is, unfortunately, a bit too long for minstrels, weighing in
at a whole 91 stanzas (plus a couple more, given different manuscripts /
editions of this grand poem).

Anyway, it is available online at
[broken link] http://www.english.upenn.edu/~jlynch/FrankenDemo/PShelley/anarchy.html

        srs

[Martin adds: The last line seems like a parody of Wordsworth's "Stop here,
or gently pass", from 'The Solitary Reaper'. Byron's sarcasm is a touch
heavy-handed, but, as always, a fun read - he certainly has a much better
ear than the oft-reviled (at least here on Minstrels <g>) Shelley, whose
'Mask of Anarchy' made me wince with the sheer dysphony and clumsiness of
the verse. I mean, the man rhymed "Italy" with "sea"! In the first two
lines, no less!! Sorry, I'll stop now (:]

The Destruction of Sennacherib -- George Gordon, Lord Byron

Continuing the Bertie Wooster theme...
(Poem #718) The Destruction of Sennacherib
   The Assyrian came down like the wolf on the fold,
 And his cohorts were gleaming in purple and gold;
 And the sheen of their spears was like stars on the sea,
 When the blue wave rolls nightly on deep Galilee.

   Like the leaves of the forest when Summer is green,
 That host with their banners at sunset were seen:
 Like the leaves of the forest when Autumn hath blown,
 That host on the morrow lay withered and strown.

   For the Angel of Death spread his wings on the blast,
 And breathed in the face of the foe as he passed;
 And the eyes of the sleepers waxed deadly and chill,
 And their hearts but once heaved, and for ever grew still!

   And there lay the steed with his nostril all wide,
 But through it there rolled not the breath of his pride;
 And the foam of his gasping lay white on the turf,
 And cold as the spray of the rock-beating surf.

   And there lay the rider distorted and pale,
 With the dew on his brow, and the rust on his mail:
 And the tents were all silent, the banners alone,
 The lances unlifted, the trumpet unblown.

   And the widows of Ashur are loud in their wail,
 And the idols are broke in the temple of Baal;
 And the might of the Gentile, unsmote by the sword,
 Hath melted like snow in the glance of the Lord!
-- George Gordon, Lord Byron
           (Pub. 1815)

One of Byron's more memorable poems - it's little wonder Bertie liked
quoting it. From its stirring rhythms to its vivid imagery, with neither a
syllable out of place in the former nor a word in the latter, the poem cries
out to be recited, memorised and quoted at random passersby.

However, after its magnificent opening, the poem lacks a certain something -
excitement, perhaps, or dramatic tension; it has the feel of a painting
rather than a narrative. To see what I mean, compare passages from Horatius,
which has not just the rhythms and images, but the *atmosphere* of a battle.
This difference may well be deliberate, for after all the destruction of
Sennacherib was not via battle; rather

     The might of the Gentile, unsmote by the sword
     Hath melted like snow in the glance of the Lord

Nonetheless, it robs the poem of a certain appeal, and may explain why the
beginning and ending are far better known than the poem itself.

Notes:

Sennacherib is pronounced senak'rib

Here's a summary of the Biblical account on which Byron's poem is based:

  His own account of this invasion, as given in the Assyrian annals, is in
  these words: "Because Hezekiah, king of Judah, would not submit to my
  yoke, I came up against him, and by force of arms and by the might of my
  power I took forty-six of his strong fenced cities; and of the smaller
  towns which were scattered about, I took and plundered a countless number.

  ...

  Hezekiah was not disposed to become an Assyrian feudatory. He accordingly
  at once sought help from Egypt. Sennacherib, hearing of this, marched a
  second time into Palestine. Sennacherib sent envoys to try to persuade
  Hezekiah to surrender, but in vain. He next sent a threatening letter,
  which Hezekiah carried into the temple and spread before the Lord. Isaiah
  again brought an encouraging message to the pious king. "In that night"
  the angel of the Lord went forth and smote the camp of the Assyrians. In
  the morning, "behold, they were all dead corpses." The Assyrian army was
  annihilated.

  This great disaster is not, as was to be expected, taken notice of in the
  Assyrian annals

        -- http://www.htmlbible.com/kjv30/easton/east3273.htm
          (somewhat elided - go read the whole thing)

The last line is noteworthy - the official Assyrian history indeed makes no
mention of the defeat...

  In 701 a rebellion, backed by Egypt, though probably instigated by
  Merodach-Baladan (2 Kings 20:12-18; Isaiah 39:1-7), broke out in
  Palestine. Sennacherib reacted firmly, supporting loyal vassals and taking
  the rebel cities, except for Jerusalem, which, though besieged, was spared
  on payment of a heavy indemnity (2 Kings 18:13-19:36; Isa. 36:1-37:37).
  The biblical narrative has been interpreted as implying two campaigns
  against Jerusalem, but this receives no support from Assyrian sources

        -- EB

Links:

  Sennacherib:
    http://www.htmlbible.com/kjv30/easton/east3273.htm
    http://www.britannica.com/bcom/eb/article/5/0,5716,,00.html

  Byron:
    Biography at poem #169
    Other poems:
      Poem #510 There is a pleasure in the pathless woods
      Poem #62  So We'll Go No More a-Roving
      Poem #547 The Isles of Greece

Theme:

  As before, if you find the relevant passages from Wodehouse where
  Sennacherib is quoted, do send them in.

-martin

The Isles of Greece -- George Gordon, Lord Byron

Guest poem sent in by Suresh Ramasubramanian

Hi all ...

One of my favorites this time - oddly enough, by Byron, who I'm normally
not all that keen on.

Enjoy yourself ...
(Poem #547) The Isles of Greece
 The isles of Greece! the isles of Greece!
 Where burning Sappho loved and sung,
 Where grew the arts of war and peace, --
 Where Delos rose and Phoebus sprung!
 Eternal summer gilds them yet,
 But all, except their sun, is set.

 The Scian and the Teian muse,
 The hero's harp, the lover's lute,
 Have found the fame your shores refuse;
 Their place of birth alone is mute
 To sounds which echo further west
 Than your sires' "Islands of the Blest."

 The mountains look on Marathon --
 And Marathon looks on the sea;
 And musing there an hour alone,
 I dream'd that Greece might yet be free
 For, standing on the Persians' grave,
 I could not deem myself a slave.

 A king sat on the rocky brow
 Which looks on sea-born Salamis;
 And ships, by thousands, lay below,
 And men in nations; -- all were his!
 He counted them at break of day --
 And when the sun set, where were they?

 And where are they? and where art thou,
 My country? On thy voiceless shore
 The heroic lay is tuneless now --
 The heroic bosom beats no more!
 And must thy lyre, so long divine,
 Degenerate into hands like mine?

 'Tis something, in the dearth of fame,
 Though link'd among a fetter'd race,
 To feel at least a patriot's shame,
 Even as I sing, suffuse my face;
 For what is left the poet here?
 For Greeks a blush -- for Greece a tear.

 Must we but weep o'er days more blest?
 Must we but blush? -- Our fathers bled.
 Earth! render back from out thy breast
 A remnant of our Spartan dead!
 Of the three hundred grant but three,
 To make a new Thermopylae.

 What, silent still, and silent all?
 Ah! no; the voices of the dead
 Sound like a distant torrent's fall,
 And answer, "Let one living head,
 But one arise, -- we come, we come!"
 'Tis but the living who are dumb.

 In vain -- in vain: strike other chords;
 Fill high the cup of Samian wine!
 Leave battles to the Turkish hordes,
 And shed the blood of Scio's vine!
 Hark! rising to the ignoble call --
 How answers each bold bacchanal!

 You have the Pyrrhic dance as yet,
 Where is the Pyrrhic phalanx gone?
 Of two such lessons, why forget
 The nobler and the manlier one?
 You have the letters Cadmus gave --
 Think ye he meant them for a slave?

 Fill high the bowl with Samian wine!
 We will not think of themes like these!
 It made Anacreon's song divine;
 He served -- but served Polycrates --
 A tyrant; but our masters then
 Were still, at least, our countrymen.

 The tyrant of the Chersonese
 Was freedom's best and bravest friend;
 That tyrant was Miltiades!
 Oh! that the present hour would lend
 Another despot of the kind!
 Such chains as his were sure to bind.

 Fill high the bowl with Samian wine!
 On Suli's rock, and Parga's shore,
 Exists the remnant of a line
 Such as the Doric mothers bore;
 And there, perhaps, some seed is sown,
 The Heracleidan blood might own.

 Trust not for freedom to the Franks --
 They have a king who buys and sells:
 In native swords and native ranks,
 The only hope of courage dwells:
 But Turkish force and Latin fraud
 Would break your shield, however broad.

 Fill high the bowl with Samian wine!
 Our virgins dance beneath the shade --
 I see their glorious black eyes shine;
 But, gazing on each glowing maid,
 My own the burning tear-drop laves,
 To think such breasts must suckle slaves.

 Place me on Sunium's marble steep --
 Where nothing, save the waves and I,
 May hear our mutual murmurs sweep:
 There, swan-like, let me sing and die;
 A land of slaves shall ne'er be mine --
 Dash down yon cup of Samian wine!
-- George Gordon, Lord Byron
I was introduced to this poem in a rather weird way - I was reading Alistair
MacLean's 'Santorini', in which a clasically educated nerd called Lt.Denholm
quotes from it.  I just _had_ to dig the poem out - and it was worth it, I
must say ;)

One of my favorite bits of Byron - and a bit of Ancient Greece 101 ;)  A
wonderful paean to ancient Greece (or more specifically, the isles of greece
<g>) - an impassioned outpouring which tries to inspire his contemporary
Greeks to rise and fight the Turks, and to remember the lost glory and
bravery of their ancestors.

Compare this to, say, 'My country, in thy days of glory past, a beauteous
halo encircled thy brow ....' by Michael Madhusudhan Dutt.

I think Brewers and a few other books on Greek history would supply the
historical allusions ... I'll give a few anyway.

Sappho - Greek poetess who lived on the island of Lesbos - and whose tastes
give us the word 'Lesbian'.

Phoebus - Greek poet + scribe + slave

Anacreon - Greek poet noted for songs in praise of love and wine

... lots more of art ;)  now for war ...  lots of allusions - the Trojan
war, Thermopylae - where 300 spartans (plus a few thousand auxilaries from
nearby greek cities) routed a huge persian army - but died fighting.

--
Suresh Ramasubramanian

There is a pleasure in the pathless woods -- George Gordon, Lord Byron

       
(Poem #510) There is a pleasure in the pathless woods
 There is a pleasure in the pathless woods,
 There is a rapture on the lonely shore,
 There is society, where none intrudes,
 By the deep sea, and music in its roar:
 I love not man the less, but Nature more,
 From these our interviews, in which I steal
 From all I may be, or have been before,
 To mingle with the Universe, and feel
 What I can ne'er express, yet cannot all conceal.
-- George Gordon, Lord Byron
     (from Childe Harold, Canto iv, Verse 178)

Another very common poetic theme - the desire for wild, lonely places seems
to strike a responsive chord in most people, whether as a renunciation of
society (and its attendant sensory overload), a wish to be 'closer to
nature' or a sense of beauty that city streets and people do not satisfy.
Or perhaps it is an extension of (or even a cause of) the wanderlust that
pervades poems like yesterday's 'Golden Road to Samarkand' and Stevenson's
'Vagabond'.

One of the problems I usually have with Byron is that his verse tends to
sound glib - one of the things that tempered my admiration of his admittedly
brilliant Don Juan. Thankfully, today's poem avoids that, being
unobtrusively crafted while maintaining the quiet solemnity that the subject
matter calls for.

Construction:

Spenserian stanzas. Here's what the Cambridge History of English and
American Literature has to say:

   In his letter to Moore, prefixed to The Corsair, Byron confesses that the
   Spenserian stanza is the measure most after his own heart, though it is
   well to remember that when he wrote these words he had not essayed the
   ottava rima. Disfigured as the stanzas of Childe Harold often are by
   jarring discords, it must be confessed that this ambitious measure
   assumed, in Byron's hands, remarkable vigour, while its elaborately knit
   structure saved him from the slipshod movement which is all too common in
   his blank verse. Yet, this vigour is purchased at a heavy price. Rarely
   in Byron do we meet with the stately, if slow-moving, magnificence with
   which Spenser has invested the verse of his own creation; the effect
   produced on our ears by the music of The Faerie Queene is that of a
   symphony of many strings, whereas, in Childe Harold, we listen to a
   trumpetcall, clear and resonant, but wanting the subtle cadence and rich
   vowel-harmonies of the Elizabethan master.

        -- http://www.bartleby.com/222/0209.html

On Childe Harold:

There's a nice essay on the significance of Childe Harold at Bartleby (from
which the above note on the construction is quoted):
http://www.bartleby.com/222/0209.html

Some quotes:
   The surprising success of the first two cantos of Childe Harold on their
   first appearance in 1812 was in no small measure due to the originality
   of the design, and to Byron's extension of the horizon of romance.
   [...]
   There was much that appealed to the jaded tastes of English society
   under the regency in the conception of Childe Harold as `Pleasure's
   palled victim,' seeking distraction from disappointed love and Comus
   revelry in travel abroad; but, placed amid scenes which quiver with an
   intensity of light and colour, Childe Harold remains from first to last
   an unreal, shadowy form. He is thrust into the picture as fitfully as the
   Spenserian archaisms are thrust into the text, and, when, in the last
   canto, he disappears altogether, we are scarcely conscious of his
   absence.

Random associations:

"Light breaks where no sun shines" - Dylan Thomas
"I could not love thee, dear, so much/ Loved I not honour more" - Lovelace,
'To Lucasta'

Links:

We've run a couple of Byron's poems in the past: see poem #169 for a
biography and [broken link] http://www.cs.rice.edu/~ssiyer/minstrels/index_poet.html for
the rest of the poems.

The Childe Harold essay (once again): http://www.bartleby.com/222/0209.html

Today's poem evoked far too many others to list them all, but worth
rereading are: poem #1, poem #2
[if only to note the oblique similarity between the first two poems we ran]
poem #113, poem #309

-martin

She Walks in Beauty -- George Gordon, Lord Byron

       
(Poem #169) She Walks in Beauty
  She walks in beauty like the night
  Of cloudless climes and starry skies,
  And all that's best of dark and bright
  Meet in her aspect and her eyes;
  Thus mellowed to the tender light
  Which heaven to gaudy day denies.

  One ray the more, one shade the less
  Had half impaired the nameless grace
  Which waves in every raven tress
  Or softly lightens o'er her face,
  Where thoughts serenely sweet express
  How pure, how dear their dwelling place.

  And on that cheek and o'er that brow
  So soft, so calm yet eloquent,
  The smiles that win, the tints that glow
  But tell of days in goodness spent
  A mind at peace with all below,
  A heart whose love is innocent.
-- George Gordon, Lord Byron
Today's poem embodies both a lot of what I like, and a lot of what I dislike
about Byron. It starts off brilliantly; the first four lines are beautifully
phrased, and the opening couplet in particular has ingrained itself in the
collective consciousness, on a par with other famous openings like 'How do I
love thee? let me count the ways' and 'All the world's a stage'. Also in
evidence is the effortlessly perfect scansion that characterizes Byron's
work (see, especially, Don Juan[1], his undisputed masterpiece)

However, the latter two verses lose that quality of delicate beauty, and
degenerate into a somewhat lifeless portrayal of a somewhat insipid set of
traits. To be perfectly fair to Byron, it may just be that the poem has not
aged well, but phrases like 'how pure, how dear' tend to jar, and the whole
last verse has a 'pious' quality that borders on affectation.

[1] <http://www.geocities.com/~bblair/donjuan.htm>; dip into it at random to
get the feel of the verse

m.

Note:

  In 1815, Byron wrote a series of songs to be set to adaptations of
  traditional Jewish tunes by Isaac Nathan. She Walks in Beauty is the
  first of those songs.

  The woman described is the cousin of Byron's wife, Mrs. Robert John
  Wilmot. When Byron first saw her, she was wearing a black mourning gown
  with spangles.
        -- Bob Blair

Biography:

  Byron, George Gordon Byron, 6th Baron

   b. Jan. 22, 1788, London, Eng.
   d. April 19, 1824, Missolonghi, Greece

  byname LORD BYRON, English Romantic poet and satirist whose poetry and
  personality captured the imagination of Europe. Renowned as the "gloomy
  egoist" of his autobiographical poem Childe Harold's Pilgrimage (1812-18)
  in the 19th century, he is now more generally esteemed for the satiric
  realism of Don Juan (1819-24).

        -- EB

  Lord Byron (1788-1824), as his title would indicate, was born into an
  aristocratic English family; even so, he led the life of a vagabond; a
  "haughty and aristocratic genius" subject only to his own ruling passions.
  He was born with a malformation of one foot, which left him with a life
  long limp; he grew up, however, to be a dark, handsome man; the women
  liked Byron and he liked women; his sexual exploits are legend. Byron
  spent most of his adult life on the continent, making his first trip in
  1809 with his school chum, John Hobhouse. Hobhouse returned to England
  leaving Bryon to go on to Greece by himself. During this eastern trip
  Bryon wrote the first two cantos of "Childe Harold," which tells the story
  of his tour. On his return to England he arranged for its publication and
  it "took the town by storm; seven editions were sold in a month." Byron
  tried to settle down into a regular aristocratic life, even to the point
  of getting himself married (it lasted but a few months); but none of it
  worked very well for Byron. By 1821, Byron was permanently living in Italy
  where he is part of a romantic literary circle, a circle which includes
  the Hunts; the Shelleys; and, of course, Trelawney. Byron was to get
  himself caught up with the war between the Greeks and the Turks, and, in
  1824, Byron embarked for Greece. Shortly, thereafter, at the age of 36,
  though likely not seeing any action, Byron dies at Missolonghi, Greece.

        -- Blupete (<www.blupete.com>)

  There's an extensive Byron site at
    <[broken link] http://www.geocities.com/Athens/Forum/9194/byron/bycover.html>

So We'll Go No More a-Roving -- George Gordon, Lord Byron

       
(Poem #62) So We'll Go No More a-Roving
So we'll go no more a-roving
    So late into the night,
Though the heart be still as loving,
    And the moon be still as bright.

For the sword outwears its sheath,
    And the soul outwears the breast,
And the heart must pause to breathe,
    And love itself have rest.

Though the night was made for loving,
    And the day returns too soon,
Yet we'll go no more a-roving
    By the light of the moon.
-- George Gordon, Lord Byron
"Lord Byron is only great as a poet; as soon as he reflects, he is a
child." - Goethe.

I agree completely. Byron seems to be the distillation of all the
qualities which I dislike in the Romantic poets.

Having said that, I must add that this beautiful lyric is one of my
favourite vignettes. Again, it's a poem to which not much can be added
by way of commentary (funny, isn't it, how such poems tend to go
hand-in-hand with days on which I don't have time to write comments?)
Actually, I started writing some stuff, but I gave up because it wasn't
going too well, and also, to be frank, I don't like Byron enough to be
able to write about him. So I'll leave you with just the first line of
my (unfortunately) stillborn essay:

Written around the age of 30, after a tempestuous and highly
controversial youth, this shows Byron in a more pensive, melancholy
mood, far removed from his usual (somewhat wanton) sensuality.

That, I'm afraid, is all I wrote. Oh well, that's the way it crumbles,
cookiewise.

thomas.