597:
1859:
311:
229:
29:
492:. At first published anonymously, it was even taken to be by Byron himself in one contemporary review. While it was written in a similar rhetorical style, her poem used a slightly longer 10-line stanza terminating in an alexandrine. This too deplored the land's Turkish enslavement and mourned its decline, although pausing to admire the occasion in the past when "woman mingled with your warrior band" (stanza 50) in resisting invasion. Where the author diverged to take direct issue with Byron was on the controversy over the
711:
2493:
933:(1835) was still another landscape carrying an epigraph, this time from the subject's appearance in Canto III, stanzas 61–3. It had captured the painter's imagination on his first visit there in 1817 and he had made studies of the place many times since then. Though the painter might first have been drawn to the spot on account of Byron's poem, what he made of it came from close personal acquaintance over the intervening years.
181:
uplifted by the beauty of its past in a country now enslaved by the Turks. 'Canto III' finds him on the battlefield of
Waterloo, from which he journeys up the Rhine and crosses into Switzerland, enchanted by the beauty of the scenery and its historic associations. In 'Canto IV' Harold starts from Venice on a journey through Italy, lamenting the vanished heroic and artistic past, and the subject status of its various regions.
1769:
893:
1728:
689:, 1831). "It is hardly too much to say that Lord Byron could exhibit only one man – a man proud, moody, cynical, with defiance on his brow, and misery in his heart; a scorner of his kind, implacable in revenge, yet capable of deep and strong affection…It is curious to observe the tendency which the dialogue of Lord Byron always has, to lose its character of dialogue and to become soliloquy."
707:
their poison dews upon mankind. We wither from our youth; we gasp with unslaked thirst for unattainable good; lured from the first to the last by phantoms – love, fame, ambition, avarice – all idle, and all ill – one meteor of many names, that vanishes in the smoke of death." Almost every word is transcribed from two of the canto's stanzas, 124 and 126.
428:
life of us, discover how the piece is more connected, by assigning the sentiments which it conveys to a fictitious personage, who takes no part in any of the scenes described, who achieves no deeds, and who, in short, has no one province to perform, than it would have been had Lord Byron spoken in his own person, and been the "hero of his own tale".
779:. There were twenty of those "other poems", for the most part arising out of Byron's tour. These supplemented the three lyrics already mentioned that were incorporated into Cantos I and II. Five of the supplementary songs were set by composers, mostly during the course of the 19th century and sometimes in translated versions. "On Parting" (
880:(Geneva bells), returns to the Lac Leman sequence of stanzas in the poem and provides another dissonance. The two lines quoted from stanza 72 fit the serene tone of the music, but only by ignoring the rejection of "human cities" two lines later. In the case of both Berlioz's and Liszt's pieces, their association with
435:
that prefaced Canto IV: "With regard to the conduct of the last canto, there will be found less of the pilgrim than in any of the preceding, and that little slightly, if at all, separated from the author speaking in his own person. The fact is, that I had become weary of drawing a line which everyone
616:
responded to his interment with a generous elegy in the six stanzas of "Childe Harold's Last
Pilgrimage" (1826). These were written in the same form as Byron's poem and, forgiving the bitter insults that had passed between them in the course of a public controversy, now paid a magnanimous tribute to
277:
The universe is a kind of book of which one has read only the first page when one has seen only one's own country. I have leafed through a large enough number, which I have found equally bad. This examination was not at all fruitless for me. I hated my country. All the impertinences of the different
706:
Canto IV. The poet's misanthropic and despairing announcement there sums up the 'heroic' point of view: "I have no hope for myself or for others. Our life is a false nature; it is not in the harmony of things; it is an all-blasting upas whose root is earth, and whose leaves are the skies which rain
427:
came to the similar conclusion that Childe Harold "appears to be nothing but the dull, inanimate, instrument for conveying his poetical creator's sentiments to the public. Lord Byron avows the intent of this hero's introduction to be the "giving some connection to the piece"; but we cannot, for the
419:
that "the hero, notwithstanding the affected antiquity of the style in some parts, is a modern man of fashion and fortune, worn out and satiated with the pursuits of dissipation, and although there is a caution against it in the preface, you cannot for your soul avoid concluding that the author, as
180:
The youthful Harold, cloyed with the pleasures of the world and reckless of life, wanders about Europe, making his feelings and ideas the subjects of the poem. In 'Canto I' he is in Spain and
Portugal, where he recounts the savagery of their invasion by the French. In 'Canto II' he moves to Greece,
655:
had started to compose his own "Child Harold" in 1841, during the years of his madness, sometimes identifying himself as Byron, sometimes as a bigamist
Byronic hero. Its intricate narrative stanzas are interspersed with many more lyrics than had been Byron's poem, often on the subject of Clare's
1772:
221:, Jane Elizabeth Scott. Throughout the poem, Byron, in character of Childe Harold, regretted his wasted early youth, hence re-evaluating his life choices and re-designing himself through going on the pilgrimage, during which he lamented various historical events including the
732:(1825–32), where the poem's protagonist is compared several times to Childe Harold. Onegin shares the hero's melancholy that cannot be pleased (1.38) and his dreaminess (4.44); but perhaps his mixture of behaviours are only so many masks, and in this respect he is likened to
357:
Lyrics in a different form occasionally punctuate these stanzas: the farewell to
England following Canto I's stanza 13 and later the address "To Inez" following stanza 84; and in Canto II the war song that follows stanza 72. Then in Canto III there is the greeting from
548:. There the Byronic outcast of the title poem relates a catalogue of sins through thirty pages of irregular couplets, wound up by a call to last minute repentance. By 1820 the habit of imitation had crossed to the US, where five Spenserian stanzas dependent on the
167:
who falls into melancholic reverie as he contemplates scenes of natural beauty. Its autobiographical subjectivity was widely influential, not only in literature but in the arts of music and painting as well, and was a powerful ingredient in
European
923:(1818), which was accompanied by Byron's descriptive lines from Canto III, stanza 28. For this, the poet had visited the battlefield in 1815 and Turner in 1817. Then in 1832 he exhibited a painting referencing Byron's poem in its title,
856:(composed during the 1830s) were accompanied by epigraphs from Canto III of Byron's poem, but while the quotations fit the emotional tone of the music, they are sometimes contextually different. Thus Liszt's second piece,
656:
youthful love for Mary Joyce. But, though "more sustained in thought than anything else he ever attempted", it was written piecemeal and the fragments were never unified or published until midway through the 20th century.
407:(good-for-nothing). If such stylistic artificiality was meant to create a distance between hero and author, it failed – protest though Byron might in the preface that his protagonist was purely fictitious. No sooner had
253:
Published on March 3, 1812, the first run of 500 quarto copies sold out in three days. There were ten editions of the work within three years. The first two cantos in John Murray's edition were illustrated by
134:", it describes the travels and reflections of a young man disillusioned with a life of pleasure and revelry and looking for distraction in foreign lands. In a wider sense, it is an expression of the
757:
as
Romantic types "submerged in self-pity for imaginary distresses" for whom "five minutes' genuine toothache would reveal romantic sorrows for the nonsense they were". Equally, the bluff hero of
628:(Paris, 1825). Despite the poet's assertion of the originality of his 'Fifth Canto', a contemporary English review found it often dependent on Byron's works. Its English translation by J. W. Lake,
636:, had actually been on the way to join Byron in Greece in 1823 but a shipwreck robbed him of the opportunity to join the cause. He too recorded a pilgrimage from Paris into Switzerland in
544:(London, 1817). It was prefaced by 21 Spenserian stanzas in the Byronic manner, followed by many more sections in couplets. This was followed in 1818 by the anonymous collection
278:
peoples among whom I have lived have reconciled me to her. If I had not drawn any other benefit from my travels than that, I would regret neither the expense nor the fatigue.
2231:
2215:
2148:
802:. It was also set by some twelve other composers as well as in German and Danish translations. And in addition to the songs, just two Spenserian stanzas from the
250:
in 1812 and brought both the poem and its author to immediate and unexpected public attention. Byron later wrote, "I awoke one morning and found myself famous".
884:
is an indication of how they are to be interpreted, in that all three works are subjective and autobiographical. The music, however, is independent of the text.
1060:
736:
as well as to Childe Harold (8.8). Tatiana too ponders whether Onegin's guises make him "a
Muscovite in Harold's dress, a modish second-hand edition" (7.24).
2100:
1912:
1278:
2156:
2085:
246:
Despite Byron's initial hesitation that the first two cantos of the poem revealed too much of himself, they were published "at the urging of friends" by
1485:
872:, is signalled by the transition of mood at the end of Byron's following stanza 97; and the peaceful beginning of stanza 98 accompanies the succeeding
189:
The poem contains elements thought to be autobiographical, as Byron generated some of the storyline from experience gained during his travels through
273:, in the original French. Translated into English, the quote emphasizes how the travels have resulted in a greater appreciation of his own country:
1109:
1359:
2223:
1233:
1732:
596:
2527:
917:'s landscape illustrations to Byron (1832), which also included views from the poem. One of Turner's earlier paintings was of the carnage on
798:, was set as early as 1814, but with the wording "My native shore adieu", and was apparently incorporated into the long-established opera
258:, a well-known painter and illustrator who was then commissioned to paint portraits of Byron. In 1816 Byron published a third canto of
860:(By Lake Wallenstadt), with its evocation of rippling water, is accompanied by Byron's description of the still reflective surface of
1319:
868:(Storm), comes with Byron's equating of meteorological and emotional weathers from canto 96. The change of tone in the sixth piece,
477:
Byron was so amused by the book that he wrote to his publisher, "Tell the author I forgive him, were he twenty times our satirist".
897:
1392:
1036:
2552:
925:
640:, published in 1825 under the pseudonym D. J. C. Verfèle. In the following year Aristide Tarry published the pamphlet-length
1805:
1425:
431:
In the face of unanimous scepticism, Byron gave up the pretence and finally admitted in the letter to his fellow-traveller
1873:
370:
For the long poem he was envisaging, Byron chose not only the
Spenserian stanza but also the archaising dialect in which
1537:
950:(1833–6), in reference to which he quoted the lines on the rise of cultures through civilisation to barbarism, from the
839:
has pointed out in his analysis of the work that "there is no trace in
Berlioz's music of any of the famous passages of
632:, was published from Paris in 1826. Another in heroic couplets followed from London in 1827. Another French enthusiast,
2005:
1917:
1635:
569:
432:
1619:
1252:
496:, championing instead their removal to a land that can still cherish their inspiration. To Byron's assertion that
2542:
1891:
1657:
1574:
1019:
270:
831:, making of the solo for viola at its start "a sort of melancholic reverie in the manner of Byron's Childe Harold" (
2312:
945:
919:
1195:
2288:
2183:
1673:
1600:
975:
247:
1858:
2532:
2462:
1304:
1221:
1122:
913:
the subject of several paintings. Turner was among those commissioned to provide drawings to be engraved for
310:
1387:
929:(1832), accompanied by lines reflecting on the passing of imperial might from Canto IV, stanza 26. Turner's
1646:
2537:
2266:
2053:
1978:
1290:
767:(1945) dismissed Byron's poem as "bombast and fustian" while flipping through its pages for inspiration.
359:
28:
1740:
864:(stanza 68). Between the next few quotations there is greater congruence, however. Liszt's fifth piece,
1907:
2398:
1529:
852:
609:
412:
262:, and in 1818 a fourth. Eventually these were added to the previous cantos to form a composite work.
1469:
2547:
1838:
1798:
1559:
944:
in this case and is typically an imaginative reinterpretation. So too was his series of paintings
633:
2199:
2069:
559:
But the Childe was to be found applying himself to other activities than travel. The 62 pages of
1095:
2140:
2077:
1938:
1848:
1244:
754:
739:
But however much that pose may have been appreciated in the first half of the 19th century, by
228:
2366:
2297:
2132:
1958:
1184:
749:
621:
376:
was written, possibly following the example of Spenser's 18th-century imitators. Thus in the
232:
202:
201:
between 1809 and 1811. The "Ianthe" of the dedication was the term of endearment he used for
2430:
1973:
1963:
1518:
1507:
958:(painted at about the same time and now lost) was accompanied by lines from the same poem.
784:
733:
613:
210:
1548:
8:
2522:
2517:
2496:
2454:
2330:
2281:
2191:
2029:
1791:
693:
574:
2390:
2382:
2374:
2342:
2337:
1927:
1684:
1103:
1089:
620:
There was also a crop of French imitations on this occasion, of which the foremost was
537:
450:
722:
Once Byron's poem had launched the heroic prototype, it went on to be an influence on
1997:
1761:
1596:
1015:
876:(Eclogue). After this sequence drawn from three contiguous stanzas, the final piece,
787:
and some 25 other composers; the song "Maid of Athens, ere we part" had a setting by
723:
593:
and its anonymous youthful author has since been identified as Edward Dacres Baynes.
448:
had scarcely been published before its world-weary hero was satirised in the popular
372:
314:
296:
292:
194:
139:
1042:
2259:
1922:
1897:
1746:
1453:
823:
810:
in 1979 and a German translation of stanza 85 by Robert von Hornstein (1833–1890).
794:
The song "Adieu! Adieu! my native shore", which appeared in the first canto of the
715:
589:(London 1819), displays much the same sentiments. The poem is set in the Classical
2273:
2116:
2093:
2061:
1700:
1592:
Symphonies and Other Orchestral Works: Selections from Essays in Musical Analysis
1590:
1532:"The opera has no other connection with Byron's work" according to the catalogue
1496:
1441:
1409:
1375:
1330:
1263:
1210:
1168:
1153:
1138:
967:
902:
698:
578:
560:
255:
107:
420:
he gives an account of his own travels, is also doing so in his own character."
2446:
2438:
2124:
1843:
914:
818:
788:
758:
710:
565:
Childe Harold's Monitor, or Lines occasioned by the last canto of Childe Harold
485:
416:
222:
143:
123:
60:
2511:
2478:
2422:
2414:
2252:
1932:
1902:
1885:
763:
728:
678:
493:
265:
Byron chose for the epigraph for the 1812 edition title page a passage from
2406:
2358:
2304:
2108:
2045:
1968:
1953:
1948:
1943:
1879:
1833:
1586:
836:
807:
740:
674:
533:
408:
304:
164:
909:
J. M. W. Turner was an admirer of Byron's poetry and made scenes from the
806:
s Canto III have had musical settings: stanza 72 by the American composer
567:(London 1818), are given over to literary satire in the manner of Byron's
503: Thy walls defaced, thy mouldering shrines removed,
163:
The poem was widely imitated. It contributed to the cult of the wandering
2207:
2037:
1828:
937:
847:
744:
300:
218:
169:
153:
135:
131:
2021:
1814:
1085:
833:
une sorte de rêveur mélancolique dans le genre du Child-Harold de Byron
652:
590:
582:
552:
s Canto II were published under the title "Childe Harold in Boetia" in
198:
157:
138:
and disillusionment felt by a generation weary of the wars of the post-
127:
42:
1422:
The Burning of Byron's Memoirs: New and Unpublished Essays and Papers
940:
also went to Byron for the subject of one painting, though it was to
861:
461:
enquires "Lord B" in the Spenserian stanza employed by the original:
1756:
507: To guard those relics ne'er to be restored,
1778:
505: By British hands, which it had best behoved
456:
190:
642:
Childe-Harold aux ruines de Rome: imitation du poème de Lord Byron
2175:
1343:
Jules Lefèvre-Deumier (1797–1857) et le mythe romantique du genie
828:
488:, which was dependent for its subject on the second canto of the
342: Destruction cowers to mark what deeds are done;
892:
1727:
827:(1834), he wished to draw on memories of his wanderings in the
813:
There were also two European Romantic composers who referenced
775:
The first two cantos of the poem were launched under the title
743:
the reaction to the hero's attitudes had veered to scepticism.
148:
130:. The poem was published between 1812 and 1818. Dedicated to "
1783:
344: For on this morn three potent Nations meet,
336: And eye that scorcheth all it glares upon,—
334: With death-shot glowing in his fiery hands,
332: His blood-red tresses deep'ning in the sun,
288:
573:. Written in heroic couplets, it champions the style of the
546:
Childe Harold's Pilgrimage to the Dead Sea (and other poems)
338: Restless it rolls, now fix'd, and now anon
217:
Harley, was the second daughter of 5th Earl of Oxford and
692:
The type was caricatured as the melancholy Mr Cypress in
480:
He was not as forgiving of the next tribute to his work,
346:
To shed before his Shrine the blood he deems most sweet.
1370:
Eric Robinson and Geoffrey Summerfield, introduction to
1094:(Cambridge ed.). Boston: Houghton Mifflin. p.
330: Lo! where the Giant on the mountain stands,
777:
Childe Harold's Pilgrimage: A Romaunt, and other poems
702:, published in 1818, following the appearance of the
501: Dull is the eye that will not weep to see
340: Flashing afar,—and at his iron feet
528:
Over the years, others wrote works dependent on the
1034:
850:'s transcriptions of Swiss natural scenery in his
517:And who may grieve that, rescued from their hands,
2463:"The Haunting of Villa Diodati" (2020 TV episode)
644:, which was sold in aid of the Greek combatants.
2509:
1595:. London: Oxford University Press. p. 171.
1181:Rejected Addresses: Or The New Theatrum Poetarum
1057:The Cambridge Bibliography of English Literature
587:Childe Harold in the Shades: An Infernal Romaunt
2120:(1819–1824; incomplete upon Byron's 1824 death)
1534:Musical Settings of British Romantic Literature
156:title for a young man who was a candidate for
1799:
1749:(scanned books original editions illustrated)
523:Claim homage still to thee from every heart?
352:Canto the First, Stanza XXXIX (lines 423–431)
1695:Elizabeth Mankin Kornhauser, Tim Barringer,
1108:: CS1 maint: multiple names: authors list (
1035:Spengler-Axiopoulos, Barbara (1 July 2006),
821:recorded in his memoires that, in composing
651:lay unacknowledged for more than a century.
630:The Last Canto of Childe Harold's Pilgrimage
472:The restless soul is driven to ramble home.
466:Sated with home, of wife and children tired,
677:. His antinomian character is summed up in
638:Les PĂ©lerinages d'un Childe Harold Parisien
470:Sated abroad, all seen, yet nought admired;
468:The restless soul is driven abroad to roam;
1806:
1792:
411:read the work than he was commenting in a
303:(a twelve syllable iambic line), with the
27:
1697:Thomas Cole's Journey: Atlantic Crossings
1009:
791:as well as others in German and Italian.
521:Thy relics, Athens! borne to other lands,
1670:Ehrenbreitstein: A Painting Outside Time
987:
891:
709:
673:embodied the example of the self-exiled
595:
309:
227:
1356:L'évolution du romantisme: l'année 1826
626:Le Dernier Chant du PĂ©lerinage d'Harold
602:Le dernier chant du pèlerinage d'Harold
519:Spoilers of excellence and foes of art,
365:
267:Le Cosmopolite, ou, le Citoyen du Monde
2510:
1393:Norton Anthology of English Literature
1316:The Monthly Review or Literary Journal
600:Title page of Alphonse de Lamartine's
33:1st edition title page, published 1812
16:1812–1818 narrative poem by Lord Byron
1787:
1585:
1374:, Manchester University Press, 1964,
1084:
993:
781:The kiss, dear maid, thy lip has left
612:initiated a new round of imitations.
119:Childe Harold's Pilgrimage: A Romaunt
2528:John Murray (publishing house) books
1699:, Metropolitan Museum of Art, 2018,
753:(1941), bracketed Childe Harold and
436:seemed determined not to perceive."
146:eras. The title comes from the term
1438:Key Concepts in Romantic Literature
1289:Ian Macdonald, "A Love of Poetry",
664:
13:
2006:English Bards and Scotch Reviewers
1406:Essays, Critical and Miscellaneous
1358:, Slatkine Reprints, Geneva 1986,
926:Childe Harold's Pilgrimage - Italy
570:English Bards and Scotch Reviewers
14:
2564:
1720:
1482:Nelson's Navy in Fiction and Film
271:Louis-Charles Fougeret de Monbron
2492:
2491:
1857:
1767:
1726:
1041:(in German), NZZ, archived from
97:Childe Harold's Pilgrimage
1705:
1689:
1678:
1662:
1651:
1640:
1624:
1609:
1579:
1564:
1553:
1542:
1523:
1512:
1501:
1490:
1474:
1458:
1447:
1430:
1414:
1398:
1380:
1364:
1348:
1335:
1324:
1309:
1298:
1283:
1268:
1257:
1238:
1226:
1215:
1200:
1189:
1173:
1158:
1152:, Vol. 42 (May – August 1818),
714:Eugene Onegin as Byronic hero,
532:to a greater or lesser degree.
2289:The Destruction of Sennacherib
1813:
1454:Charles Johnston's translation
1143:
1127:
1116:
1078:
1075:. London: Penguin Books, 1996.
1065:
1050:
1028:
1003:
976:Romantic literature in English
817:in their programmatic works.
536:celebrated the victory at the
383:s first three stanzas we find
1:
2313:So, we'll go no more a roving
1372:The Later Poems of John Clare
1251:, Columbia University, 1905,
1249:Byron and Byronism in America
981:
954:Canto IV, stanza 108. Cole's
903:Joseph Mallord William Turner
439:
318:
2553:Literature about pilgrimages
1345:, Université d'Uppsala, 1987
1014:, John Murray, p. 139,
882:Childe's Harold's Pilgrimage
659:
282:
7:
2267:Maid of Athens, ere we part
1777:public domain audiobook at
1685:Yale University Art Gallery
1440:, Palgrave Macmillan 2010,
1436:Jane Moore, John Strachan:
1424:, Cambridge Scholars 2015,
1341:Maria Walecka-Garbalińska,
1091:The Complete Poetical Works
961:
887:
783:), for example, was set by
387:(as past tense of the verb
205:, about 11 years old when
22:Childe Harold's Pilgrimage
10:
2569:
2014:Childe Harold's Pilgrimage
1774:Childe Harold's Pilgrimage
1757:Childe Harold's Pilgrimage
1742:Childe Harold's Pilgrimage
1733:Childe Harold's pilgrimage
1571:MĂ©moires de Hector Berlioz
1086:Byron, George Gordon, Lord
898:Childe Harold's Pilgrimage
815:Childe Harold's Pilgrimage
683:Moore's Life of Lord Byron
671:Childe Harold's Pilgrimage
649:Childe Harold's Pilgrimage
446:Childe Harold's Pilgrimage
423:In the public sphere, the
323:Childe Harold's Pilgrimage
184:
175:
2487:
2471:
2368:The Bride of Frankenstein
2351:
2322:
2242:
2167:
1987:
1874:Anne Isabella, Lady Byron
1866:
1855:
1821:
1038:Der skeptische Kosmopolit
1010:MacCarthy, Fiona (2002),
617:the manner of his dying.
610:Greek War of Independence
295:, which consist of eight
126:in four parts written by
102:
92:
84:
76:
66:
56:
48:
38:
26:
2543:Fiction about pilgrimage
2232:The Deformed Transformed
1618:, Greenwood Press 2002,
1354:Christian A. E. Jensen,
1179:James and Horace Smith,
1135:Life of Sir Walter Scott
998:, Baylor UP, p. 163
770:
444:The first two cantos of
2070:The Prisoner of Chillon
1165:The Works of Lord Byron
1150:The Anti-Jacobin Review
395:(once upon a time) and
2141:The Vision of Judgment
1935:(maternal half-sister)
1849:Timeline of Lord Byron
1245:William Ellery Leonard
1234:Google Books, pp. 6–36
1133:John Gibson Lockhart,
1012:Byron: Life and Legend
956:The Fountain of Egeria
906:
719:
605:
581:, particularly of the
526:
510:
475:
355:
325:
299:lines followed by one
280:
243:
223:Iberian Peninsular War
2133:The Prophecy of Dante
1959:John William Polidori
1892:John "Mad Jack" Byron
1712:Thomas Cole's Journey
1466:The Screwtape Letters
1408:, Philadelphia 1846,
996:Cultivating Picturacy
994:Heffernan, James AW,
920:The Field of Waterloo
895:
878:Les cloches de Genève
858:Au lac de Wallenstadt
750:The Screwtape Letters
713:
647:A later imitation of
634:Jules Lefèvre-Deumier
622:Alphonse de Lamartine
608:Byron's death in the
599:
577:against the emergent
542:Paris in 1815: A Poem
514:
498:
482:Modern Greece: A Poem
463:
362:following stanza 55.
327:
313:
275:
233:Lady Charlotte Harley
231:
209:was first published.
203:Lady Charlotte Harley
2533:Poetry by Lord Byron
2432:Rowing with the Wind
2054:The Siege of Corinth
1974:Edward John Trelawny
1964:Percy Bysshe Shelley
1735:at Wikimedia Commons
1388:article on the topic
1277:, Volume 11 (1819),
947:The Course of Empire
853:Années de pèlerinage
800:The Maid of the Mill
785:Ludwig van Beethoven
734:Melmoth the Wanderer
718:'s 1909 illustration
614:William Lisle Bowles
366:The fictive narrator
211:Lady Charlotte Bacon
2331:Fragment of a Novel
2282:She Walks in Beauty
2101:The Lament of Tasso
2030:The Bride of Abydos
1616:The Liszt Companion
1484:, McFarland, 2009,
1294:, 13 September 2014
694:Thomas Love Peacock
669:The protagonist of
425:Anti-Jacobin Review
235:, the dedicatee of
23:
2538:Works about travel
2400:Lady Caroline Lamb
2376:The Bad Lord Byron
1979:Michael C. Burgess
1928:Lady Caroline Lamb
1908:Contessa Guiccioli
1275:The British Critic
907:
720:
606:
538:Battle of Waterloo
451:Rejected Addresses
326:
293:Spenserian stanzas
244:
21:
2505:
2504:
2149:The Age of Bronze
1998:Hours of Idleness
1918:John Cam Hobhouse
1762:Project Gutenberg
1731:Media related to
1318:, vol.108, 1825,
870:Vallée d'Obermann
835:). Nevertheless,
724:Alexander Pushkin
373:The Faerie Queene
297:iambic pentameter
115:
114:
77:Publication place
2560:
2495:
2494:
2260:Epitaph to a Dog
2216:Heaven and Earth
1923:Douglas Kinnaird
1898:Claire Clairmont
1861:
1808:
1801:
1794:
1785:
1784:
1771:
1770:
1764:
1747:Internet Archive
1730:
1715:
1709:
1703:
1693:
1687:
1682:
1676:
1666:
1660:
1655:
1649:
1644:
1638:
1628:
1622:
1613:
1607:
1606:
1583:
1577:
1568:
1562:
1557:
1551:
1546:
1540:
1527:
1521:
1516:
1510:
1505:
1499:
1494:
1488:
1478:
1472:
1462:
1456:
1451:
1445:
1434:
1428:
1418:
1412:
1402:
1396:
1384:
1378:
1368:
1362:
1352:
1346:
1339:
1333:
1328:
1322:
1313:
1307:
1302:
1296:
1292:Guyana Chronicle
1287:
1281:
1272:
1266:
1261:
1255:
1242:
1236:
1230:
1224:
1219:
1213:
1204:
1198:
1193:
1187:
1177:
1171:
1162:
1156:
1147:
1141:
1131:
1125:
1120:
1114:
1113:
1107:
1099:
1082:
1076:
1069:
1063:
1054:
1048:
1046:
1045:on 18 March 2012
1032:
1026:
1024:
1007:
1001:
999:
991:
824:Harold en Italie
716:Dmitry Kardovsky
687:Edinburgh Review
665:The Byronic hero
512:she had replied
382:
353:
321:1825 edition of
320:
287:The poem's four
103:Followed by
93:Preceded by
68:Publication date
31:
24:
20:
2568:
2567:
2563:
2562:
2561:
2559:
2558:
2557:
2548:Narrative poems
2508:
2507:
2506:
2501:
2483:
2467:
2347:
2318:
2274:Hebrew Melodies
2244:
2238:
2200:The Two Foscari
2163:
1989:
1983:
1862:
1853:
1829:Barony of Byron
1817:
1812:
1768:
1754:
1723:
1718:
1710:
1706:
1694:
1690:
1683:
1679:
1667:
1663:
1656:
1652:
1645:
1641:
1632:J. M. W. Turner
1629:
1625:
1614:
1610:
1603:
1584:
1580:
1569:
1565:
1558:
1554:
1547:
1543:
1528:
1524:
1517:
1513:
1506:
1502:
1495:
1491:
1479:
1475:
1463:
1459:
1452:
1448:
1435:
1431:
1420:Peter Cochran,
1419:
1415:
1404:Lord Macaulay,
1403:
1399:
1386:cf. ¶ 3 in the
1385:
1381:
1369:
1365:
1353:
1349:
1340:
1336:
1329:
1325:
1314:
1310:
1303:
1299:
1288:
1284:
1273:
1269:
1262:
1258:
1243:
1239:
1231:
1227:
1220:
1216:
1211:p.45, stanza 88
1209:, London 1817,
1205:
1201:
1194:
1190:
1178:
1174:
1163:
1159:
1148:
1144:
1132:
1128:
1121:
1117:
1101:
1100:
1083:
1079:
1070:
1066:
1055:
1051:
1033:
1029:
1022:
1008:
1004:
992:
988:
984:
964:
931:Ehrenbreitstein
890:
773:
699:Nightmare Abbey
667:
662:
561:Francis Hodgson
525:
522:
520:
518:
509:
506:
504:
502:
474:
471:
469:
467:
442:
380:
368:
354:
351:
348:
345:
343:
341:
339:
337:
335:
333:
331:
291:are written in
285:
256:Richard Westall
239:under the name
187:
178:
69:
34:
17:
12:
11:
5:
2566:
2556:
2555:
2550:
2545:
2540:
2535:
2530:
2525:
2520:
2503:
2502:
2500:
2499:
2488:
2485:
2484:
2482:
2481:
2475:
2473:
2469:
2468:
2466:
2465:
2460:
2452:
2444:
2440:Haunted Summer
2436:
2428:
2420:
2412:
2404:
2396:
2388:
2380:
2372:
2364:
2355:
2353:
2349:
2348:
2346:
2345:
2340:
2335:
2326:
2324:
2320:
2319:
2317:
2316:
2309:
2301:
2298:Fare Thee Well
2294:
2293:
2292:
2285:
2270:
2263:
2256:
2248:
2246:
2240:
2239:
2237:
2236:
2228:
2220:
2212:
2204:
2196:
2188:
2184:Marino Faliero
2180:
2171:
2169:
2165:
2164:
2162:
2161:
2153:
2145:
2137:
2129:
2121:
2113:
2105:
2097:
2090:
2082:
2074:
2066:
2058:
2050:
2042:
2034:
2026:
2018:
2010:
2002:
1993:
1991:
1985:
1984:
1982:
1981:
1976:
1971:
1966:
1961:
1956:
1951:
1946:
1941:
1936:
1930:
1925:
1920:
1915:
1910:
1905:
1900:
1895:
1889:
1883:
1877:
1870:
1868:
1864:
1863:
1856:
1854:
1852:
1851:
1846:
1844:Newstead Abbey
1841:
1836:
1831:
1825:
1823:
1819:
1818:
1811:
1810:
1803:
1796:
1788:
1782:
1781:
1765:
1752:
1750:
1737:
1736:
1722:
1721:External links
1719:
1717:
1716:
1704:
1688:
1677:
1668:Peter Aspden,
1661:
1650:
1639:
1630:Luke Hermann,
1623:
1608:
1601:
1578:
1573:, Paris 1896,
1563:
1552:
1541:
1522:
1511:
1500:
1489:
1473:
1457:
1446:
1429:
1413:
1397:
1379:
1363:
1347:
1334:
1323:
1308:
1297:
1282:
1267:
1256:
1237:
1225:
1214:
1199:
1188:
1172:
1157:
1142:
1126:
1115:
1077:
1073:Selected Poems
1064:
1061:Vol. 3, p. 192
1049:
1027:
1020:
1002:
985:
983:
980:
979:
978:
973:
963:
960:
915:William Finden
889:
886:
819:Hector Berlioz
789:Charles Gounod
772:
769:
759:C. S. Forester
666:
663:
661:
658:
579:Romantic style
575:Augustan poets
515:
499:
486:Felicia Hemans
464:
441:
438:
417:Joanna Baillie
413:private letter
367:
364:
349:
328:
284:
281:
186:
183:
177:
174:
124:narrative poem
113:
112:
104:
100:
99:
94:
90:
89:
86:
82:
81:
80:United Kingdom
78:
74:
73:
70:
67:
64:
63:
61:Narrative poem
58:
54:
53:
50:
46:
45:
40:
36:
35:
32:
15:
9:
6:
4:
3:
2:
2565:
2554:
2551:
2549:
2546:
2544:
2541:
2539:
2536:
2534:
2531:
2529:
2526:
2524:
2521:
2519:
2516:
2515:
2513:
2498:
2490:
2489:
2486:
2480:
2479:Villa Diodati
2477:
2476:
2474:
2470:
2464:
2461:
2459:
2457:
2453:
2451:
2449:
2445:
2443:
2441:
2437:
2435:
2433:
2429:
2427:
2425:
2421:
2419:
2417:
2416:Bloody Poetry
2413:
2411:
2409:
2405:
2403:
2401:
2397:
2395:
2393:
2389:
2387:
2385:
2381:
2379:
2377:
2373:
2371:
2369:
2365:
2363:
2361:
2357:
2356:
2354:
2350:
2344:
2341:
2339:
2336:
2333:
2332:
2328:
2327:
2325:
2321:
2314:
2310:
2307:
2306:
2302:
2299:
2295:
2290:
2286:
2283:
2279:
2278:
2276:
2275:
2271:
2268:
2264:
2261:
2257:
2254:
2253:Lachin y Gair
2250:
2249:
2247:
2241:
2234:
2233:
2229:
2226:
2225:
2221:
2218:
2217:
2213:
2210:
2209:
2205:
2202:
2201:
2197:
2194:
2193:
2189:
2186:
2185:
2181:
2178:
2177:
2173:
2172:
2170:
2166:
2159:
2158:
2154:
2151:
2150:
2146:
2143:
2142:
2138:
2135:
2134:
2130:
2127:
2126:
2122:
2119:
2118:
2114:
2111:
2110:
2106:
2103:
2102:
2098:
2095:
2091:
2088:
2087:
2083:
2080:
2079:
2075:
2072:
2071:
2067:
2064:
2063:
2059:
2056:
2055:
2051:
2048:
2047:
2043:
2040:
2039:
2035:
2032:
2031:
2027:
2024:
2023:
2019:
2016:
2015:
2011:
2008:
2007:
2003:
2000:
1999:
1995:
1994:
1992:
1986:
1980:
1977:
1975:
1972:
1970:
1967:
1965:
1962:
1960:
1957:
1955:
1952:
1950:
1947:
1945:
1942:
1940:
1937:
1934:
1933:Augusta Leigh
1931:
1929:
1926:
1924:
1921:
1919:
1916:
1914:
1911:
1909:
1906:
1904:
1903:Nicolo Giraud
1901:
1899:
1896:
1893:
1890:
1887:
1886:Allegra Byron
1884:
1881:
1878:
1875:
1872:
1871:
1869:
1865:
1860:
1850:
1847:
1845:
1842:
1840:
1837:
1835:
1832:
1830:
1827:
1826:
1824:
1820:
1816:
1809:
1804:
1802:
1797:
1795:
1790:
1789:
1786:
1780:
1776:
1775:
1766:
1763:
1759:
1758:
1753:
1751:
1748:
1744:
1743:
1739:
1738:
1734:
1729:
1725:
1724:
1714:(2018), p.158
1713:
1708:
1702:
1698:
1692:
1686:
1681:
1675:
1671:
1665:
1659:
1654:
1648:
1643:
1637:
1633:
1627:
1621:
1617:
1612:
1604:
1598:
1594:
1593:
1588:
1587:Tovey, Donald
1582:
1576:
1572:
1567:
1561:
1556:
1550:
1545:
1539:
1535:
1531:
1526:
1520:
1515:
1509:
1504:
1498:
1493:
1487:
1483:
1480:Sue Parrill,
1477:
1471:
1467:
1464:C. S. Lewis,
1461:
1455:
1450:
1443:
1439:
1433:
1427:
1423:
1417:
1411:
1407:
1401:
1395:
1394:
1389:
1383:
1377:
1373:
1367:
1361:
1357:
1351:
1344:
1338:
1332:
1327:
1321:
1317:
1312:
1306:
1301:
1295:
1293:
1286:
1280:
1276:
1271:
1265:
1260:
1254:
1250:
1246:
1241:
1235:
1232:London 1818,
1229:
1223:
1218:
1212:
1208:
1207:Modern Greece
1203:
1197:
1192:
1186:
1182:
1176:
1170:
1166:
1161:
1155:
1151:
1146:
1140:
1136:
1130:
1124:
1119:
1111:
1105:
1097:
1093:
1092:
1087:
1081:
1074:
1068:
1062:
1058:
1053:
1044:
1040:
1039:
1031:
1023:
1021:0-7195-5621-X
1017:
1013:
1006:
997:
990:
986:
977:
974:
972:
970:
966:
965:
959:
957:
953:
949:
948:
943:
939:
936:The American
934:
932:
928:
927:
922:
921:
916:
912:
904:
900:
899:
894:
885:
883:
879:
875:
871:
867:
863:
859:
855:
854:
849:
844:
842:
841:Childe Harold
838:
834:
830:
826:
825:
820:
816:
811:
809:
805:
801:
797:
792:
790:
786:
782:
778:
768:
766:
765:
764:The Commodore
760:
756:
755:Young Werther
752:
751:
746:
742:
737:
735:
731:
730:
729:Eugene Onegin
725:
717:
712:
708:
705:
701:
700:
695:
690:
688:
684:
680:
679:Lord Macaulay
676:
672:
657:
654:
650:
645:
643:
639:
635:
631:
627:
623:
618:
615:
611:
603:
598:
594:
592:
588:
584:
580:
576:
572:
571:
566:
562:
557:
555:
551:
547:
543:
539:
535:
531:
524:
513:
508:
497:
495:
494:Elgin Marbles
491:
487:
483:
478:
473:
462:
460:
458:
453:
452:
447:
437:
434:
433:John Hobhouse
429:
426:
421:
418:
414:
410:
406:
402:
398:
394:
390:
386:
379:
375:
374:
363:
361:
347:
324:
316:
312:
308:
306:
302:
298:
294:
290:
279:
274:
272:
268:
263:
261:
260:Childe Harold
257:
251:
249:
242:
238:
237:Childe Harold
234:
230:
226:
224:
220:
216:
212:
208:
207:Childe Harold
204:
200:
196:
195:Mediterranean
192:
182:
173:
171:
166:
161:
159:
155:
151:
150:
145:
141:
140:Revolutionary
137:
133:
129:
125:
121:
120:
111:
109:
105:
101:
98:
95:
91:
87:
83:
79:
75:
71:
65:
62:
59:
55:
51:
47:
44:
41:
37:
30:
25:
19:
2456:Mary Shelley
2455:
2447:
2439:
2431:
2423:
2415:
2408:Childe Byron
2407:
2399:
2394:(1972 opera)
2391:
2383:
2375:
2367:
2359:
2329:
2305:Irish Avatar
2303:
2272:
2230:
2222:
2214:
2206:
2198:
2192:Sardanapalus
2190:
2182:
2174:
2155:
2147:
2139:
2131:
2123:
2115:
2107:
2099:
2084:
2076:
2068:
2060:
2052:
2046:Lara, A Tale
2044:
2036:
2028:
2020:
2013:
2012:
2004:
1996:
1969:Mary Shelley
1954:Walter Scott
1949:Isaac Nathan
1944:Thomas Moore
1939:Medora Leigh
1880:Ada Lovelace
1834:Byronic hero
1773:
1755:
1741:
1711:
1707:
1696:
1691:
1680:
1669:
1664:
1658:Tate Gallery
1653:
1647:Tate Gallery
1642:
1634:, OUP 2007,
1631:
1626:
1615:
1611:
1591:
1581:
1570:
1566:
1555:
1544:
1538:vol.1, p.490
1533:
1525:
1514:
1503:
1497:Google Books
1492:
1481:
1476:
1465:
1460:
1449:
1437:
1432:
1421:
1416:
1405:
1400:
1391:
1382:
1371:
1366:
1355:
1350:
1342:
1337:
1331:Google Books
1326:
1315:
1311:
1300:
1291:
1285:
1274:
1270:
1264:Google Books
1259:
1248:
1240:
1228:
1217:
1206:
1202:
1191:
1180:
1175:
1164:
1160:
1149:
1145:
1134:
1129:
1118:
1090:
1080:
1072:
1071:Lord Byron.
1067:
1059:, CUP 1969,
1056:
1052:
1043:the original
1037:
1030:
1011:
1005:
995:
989:
968:
955:
952:Pilgrimage's
951:
946:
941:
935:
930:
924:
918:
910:
908:
896:
881:
877:
873:
869:
865:
857:
851:
845:
840:
837:Donald Tovey
832:
822:
814:
812:
808:Larry Austin
803:
799:
795:
793:
780:
776:
774:
762:
748:
741:World War II
738:
727:
721:
704:Pilgrimage's
703:
697:
691:
686:
682:
681:'s essay on
675:Byronic hero
670:
668:
648:
646:
641:
637:
629:
625:
619:
607:
601:
586:
568:
564:
558:
553:
549:
545:
541:
534:George Croly
529:
527:
516:
511:
500:
489:
481:
479:
476:
465:
455:
449:
445:
443:
430:
424:
422:
409:Walter Scott
404:
403:(named) and
400:
396:
392:
388:
384:
377:
371:
369:
356:
329:
322:
315:Frontispiece
305:rhyme scheme
286:
276:
266:
264:
259:
252:
245:
240:
236:
214:
206:
188:
179:
165:Byronic hero
162:
147:
118:
117:
116:
106:
96:
18:
2458:(2017 film)
2450:(1993 play)
2442:(1988 film)
2434:(1988 film)
2426:(1986 film)
2418:(1984 play)
2410:(1977 play)
2402:(1972 film)
2386:(1953 play)
2384:Camino Real
2378:(1949 film)
2370:(1935 film)
2362:(1908 play)
2038:The Corsair
2017:(1812–1818)
1913:Jane Harley
1470:Letter XIII
1410:pp.125, 126
1305:Spenserians
1222:Spenserians
1196:Spenserians
1169:vol.2, p.99
1139:vol.3, p.11
1123:Spenserians
938:Thomas Cole
848:Franz Liszt
846:Several of
804:Pilgrimage'
745:C. S. Lewis
550:Pilgrimage'
360:Drachenfels
307:ABABBCBCC.
301:alexandrine
269:(1753), by
248:John Murray
219:Lady Oxford
170:Romanticism
2523:1818 poems
2518:1818 books
2512:Categories
2392:Lord Byron
2352:Portrayals
2157:The Island
2086:Prometheus
2022:The Giaour
1888:(daughter)
1882:(daughter)
1839:Early life
1815:Lord Byron
1602:0486784525
1560:Lieder Net
1549:Lieder Net
1530:Lieder Net
1519:Lieder Net
1508:Lieder Net
982:References
911:Pilgrimage
796:Pilgrimage
653:John Clare
591:underworld
583:Lake Poets
554:The Galaxy
530:Pilgrimage
490:Pilgrimage
484:(1817) by
440:Imitations
378:Pilgrimage
199:Aegean Sea
158:knighthood
144:Napoleonic
136:melancholy
128:Lord Byron
122:is a long
43:Lord Byron
2078:The Dream
1674:Sotheby's
1390:from the
1320:pp.453–60
1104:cite book
862:Lac Leman
660:Influence
540:with his
454:of 1812.
283:Structure
88:128 pages
72:1812–1818
2497:Category
2315:" (1830)
2300:" (1816)
2269:" (1810)
2262:" (1808)
2255:" (1807)
2117:Don Juan
2096:" (1816)
2094:Darkness
2062:Parisina
1894:(father)
1779:LibriVox
1589:(1981).
1536:(1982),
1468:(1941),
1279:pp.83–87
1185:pp.16–17
1088:(1905).
969:Don Juan
962:See also
888:Painting
457:Cui Bono
350:—
191:Portugal
154:medieval
49:Language
2472:Related
2448:Arcadia
2343:Memoirs
2338:Letters
2277:(1815)
2243:Shorter
2176:Manfred
2125:Mazeppa
1636:pp.65–6
1620:pp.77–9
942:Manfred
874:Eglogue
829:Abruzzi
399:(not);
393:whilome
185:Origins
176:Summary
108:Mazeppa
52:English
2424:Gothic
2334:(1819)
2308:(1821)
2245:poetry
2235:(1822)
2227:(1822)
2224:Werner
2219:(1821)
2211:(1821)
2203:(1821)
2195:(1821)
2187:(1820)
2179:(1817)
2160:(1823)
2152:(1823)
2144:(1821)
2136:(1819)
2128:(1819)
2112:(1818)
2104:(1817)
2089:(1816)
2081:(1816)
2073:(1816)
2065:(1816)
2057:(1816)
2049:(1814)
2041:(1814)
2033:(1813)
2025:(1813)
2009:(1809)
2001:(1807)
1990:poetry
1988:Longer
1876:(wife)
1867:People
1822:Topics
1599:
1376:pp.1–8
1018:
971:(poem)
905:, 1823
604:, 1825
289:cantos
241:Ianthe
193:, the
149:childe
132:Ianthe
110:
39:Author
2360:Byron
2323:Prose
2168:Plays
2109:Beppo
1575:p.302
1442:p.225
1360:p.145
1154:p.344
866:Orage
771:Music
747:, in
405:losel
401:hight
389:might
381:'
317:to a
85:Pages
57:Genre
2208:Cain
1701:p.51
1597:ISBN
1486:p.79
1426:p.78
1253:p.31
1110:link
1016:ISBN
385:mote
197:and
152:, a
142:and
1760:at
1745:at
901:by
843:".
761:'s
726:'s
696:'s
624:'s
563:'s
415:to
391:);
215:née
2514::
1672:,
1247:,
1183:,
1167:,
1137:,
1106:}}
1102:{{
1096:10
585:.
556:.
397:ne
319:c.
225:.
213:,
172:.
160:.
2311:"
2296:"
2291:"
2287:"
2284:"
2280:"
2265:"
2258:"
2251:"
2092:"
1807:e
1800:t
1793:v
1605:.
1444:,
1112:)
1098:.
1047:.
1025:.
1000:.
685:(
459:?
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
