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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:35:26 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:35:26 -0700 |
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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Works of Lord Byron, Vol. 7. + Poetry + +Author: George Gordon Byron + +Release Date: December 20, 2008 [EBook #27577] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE WORKS OF LORD BYRON, VOL. 7. *** + + + + +Produced by Jonathan Ingram, David Cortesi, and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + + +<hr style="width: 65%;" /> + +<div id="titlepage"> +<h1 style="letter-spacing:2px;"> +The Works<br /> +<span style="font-size:x-small">OF</span><br /> +<span style="font-size:larger;letter-spacing:4px;">LORD BYRON</span><br /> +</h1> +<h3 style="font-size:smaller;margin-top:70px;"> +A NEW, REVISED AND ENLARGED EDITION<br /> +WITH ILLUSTRATIONS. +</h3> +<h1 style="letter-spacing:3px;margin-top:70px;"> + Poetry. Vol. VII. +</h1> +<h3 style="line-height:1.75em;"> +<span style="font-size:x-small">EDITED BY</span><br /> +ERNEST HARTLEY COLERIDGE, M.A.,<br /> +<span style="font-size:x-small">HON. F.R.S.L.</span> +</h3> +<h4 style="letter-spacing:2px;line-height:1.75em;margin-top:70px;"> +LONDON:<br /> +<span style="font-size:larger;">JOHN MURRAY, ALBEMARLE STREET.</span><br /> +NEW YORK: CHARLES SCRIBNER'S SONS. +</h4> +<h5>1904.</h5> + +</div> + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_v" id="Page_v">[v]</a></span></p> +<h2><a name="PREFACE" id="PREFACE"></a> +PREFACE TO<br />THE SEVENTH VOLUME. +</h2> +<div class="center"><img src="images/decoration.png" alt="typographical flourish" title="typographical flourish" /></div> + + +<p> +Of the seventy-three "Epigrams and Jeux d'Esprit," which are printed at +the commencement of this volume, forty-five were included in Murray's +one-volume edition of 1837, eighteen have been collected from various +publications, and ten are printed and published for the first time.</p> + +<p>The "Devil's Drive," which appears in Moore's +<i>Letters and Journals</i>, and in the sixth volume of the Collected +Edition of 1831 as an "Unfinished Fragment" +of ninety-seven lines, is now printed and published for +the first time in its entirety (248 lines), from a MS. in +the possession of the Earl of Ilchester. "A Farewell +Petition to J. C. H. Esq.;" "My Boy Hobbie O;" +"[Love and Death];" and "Last Words on Greece," +are reprinted from the first volume of <i>Murray's Magazine</i> +(1887).</p> + +<p><span class='pagenum'><a name="Page_vi" id="Page_vi">[vi]</a></span> +A few imperfect and worthless poems remain in MS.; +but with these and one or two other unimportant exceptions, +the present edition of the Poetical Works may +be regarded as complete.</p> + +<p>In compiling a "Bibliography of the successive Editions +and Translations of Lord Byron's Poetical Works," I have +endeavoured, in the first instance, to give a full and +particular account of the collected editions and separate +issues of the poems and dramas which were open to +my inspection; and, secondly, to extract from general +bibliographies, catalogues of public and private libraries, +and other sources bibliographical records of editions +which I have been unable to examine, and were known +to me only at second-hand. It will be observed that +the <i>title-pages</i> of editions which have passed through my +hands are aligned; the <i>titles</i> of all other editions are +italicized.</p> + +<p>I cannot pretend that this assortment of bibliographical +entries is even approximately exhaustive; but +as "a sample" of a bibliography it will, I trust, with +all its imperfections, be of service to the student of +literature, if not to the amateur or bibliophile. With +regard to nomenclature and other technicalities, my aim +has been to put the necessary information as clearly +and as concisely as possible, rather than to comply +with the requirements of this or that formula. But +the path of the bibliographer is beset with difficulties. +"Al Sirat's arch"—"the bridge of breadth narrower +<span class='pagenum'><a name="Page_vii" id="Page_vii">[vii]</a></span> +than the thread of a famished spider, and sharper than +the edge of a sword" (see <i>The Giaour</i>, line 483, note 1)— +affords an easier and a safer foothold.</p> + +<p>To the general reader a bibliography says little or +nothing; but, in one respect, a bibliography of Byron +is of popular import. It affords scientific proof of an +almost unexampled fame, of a far-reaching and still +potent influence. Teuton and Latin and Slav have taken +Byron to themselves, and have made him their own. +No other English poet except Shakespeare has been so +widely read and so frequently translated. Of <i>Manfred</i> +I reckon one Bohemian translation, two Danish, two +Dutch, three French, nine German, three Hungarian, +three Italian, two Polish, one Romaic, one Roumanian, +four Russian, and three Spanish translations, and, in +all probability, there are others which have escaped my +net. The question, the inevitable question, arises—What +was, what is, the secret of Byron's Continental +vogue? and why has his fame gone out into all lands? +Why did Goethe enshrine him, in the second part of +<i>Faust</i>, "as the representative of the modern +era ... undoubtedly to be regarded as the greatest genius of +our century?" (<i>Conversations of Goethe</i>, 1874, p. 265).</p> + +<p>It is said, and with truth, that Byron's revolutionary +politics commended him to oppressed nationalities and +their sympathizers; that he was against "the +tramplers"—Castlereagh, and the Duke of Wellington, and the +Holy Alliance; that he stood for liberty. Another point +in his favour was his freedom from cant, his indifference +<span class='pagenum'><a name="Page_viii" id="Page_viii">[viii]</a></span> +to the pieties and proprieties of the Britannic Muse; +that he had the courage of his opinions. Doubtless in +a time of trouble he was welcomed as the champion of +revolt, but deeper reasons must be sought for an almost +exclusive preference for the works of one poet and a +comparative indifference to the works of his rivals and +contemporaries. He fulfilled another, perhaps a greater +ideal. An Englishman turns to poetry for the expression +in beautiful words of his happier and better feelings, +and he is not contented unless poetry tends to make +him happier or better—happier because better than he +would be otherwise. His favourite poems are psalms, +or at least metrical paraphrases, of life. Men of other +nations are less concerned about their feelings and their +souls. They regard the poet as the creator, the inventor, +the maker <i>par excellence</i>, and he who can imagine or +make the greatest <i>eidolon</i> is the greatest poet. <i>Childe +Harold</i> and <i>The Corsair</i>, <i>Mazeppa</i> and <i>Manfred, +Cain</i> and <i>Sardanapalus</i> were new creations, new types, forms +more real than living man, which appealed to their +artistic sense, and led their imaginations captive. "It +is a mark," says Goethe (<i>Aus meinem Leben: Dichtung +und Wahreit</i>, 1876, iii. 125), "of true poetry, that, as a +secular gospel, it knows how to free us from the earthly +burdens which press upon us, by inward serenity, by +outward charm.... The most lively, as well as the +gravest works have the same end—to moderate both pleasure +and pain through a happy mental representation." +<span class='pagenum'><a name="Page_ix" id="Page_ix">[ix]</a></span> +It is passion translated into action, the pageantry of +history, the transfiguration into visible lineaments of +living moods and breathing thoughts which are the notes +of this "secular gospel," and for one class of minds +work out a secular redemption.</p> + +<p>It was not only the questionable belief that he was +on the side of the people, or his ethical and theological +audacities, or his prolonged Continental exile, which won +for Byron a greater name abroad than he has retained +at home; but the character of his poetry. "The English +may think of Byron as they please" (<i>Conversations of +Goethe</i>, 1874, p. 171), "but this is certain, that they can +show no poet who is to be compared to him. He +is different from all the others, and, for the most part, +greater." The English may think of him as they please! +and for them, or some of them, there is "a better +oenomel," a <i>vinum Dæmonum</i>, which Byron has not in +his gift. The evidence of a world-wide fame will not +endear a poet to a people and a generation who care +less for the matter than the manner of verse, or who +<i>believe</i> in poetry as the symbol or "<i>credo</i>" of the +imagination or the spirit; but it should arrest attention and invite +inquiry. A bibliography is a dull epilogue to a poet's +works, but it speaks with authority, and it speaks last. +<i>Finis coronat opus!</i></p> + +<p>I must be permitted to renew my thanks to Mr. G. F. +Barwick, <i>Superintendent of the Reading Room</i>, Mr. Cyril +Davenport, and other officials of the British Museum, of +<span class='pagenum'><a name="Page_x" id="Page_x">[x]</a></span> +all grades and classes, for their generous and courteous +assistance in the preparation and completion of the +Bibliography. The consultation of many hundreds of +volumes of one author, and the permission to retain a +vast number in daily use, have entailed exceptional +labour on a section of the staff. I have every reason +to be grateful.</p> + +<p>I am indebted to Mr. A. W. Pollard, of the British +Museum, for advice and direction with regard to bibliographical +formulas; to Mr. G. L. Calderon, late of the +staff, for the collection and transcription of the title-pages +of Polish, Russian, and Servian translations; and to Mr. +R. Nisbet Bain for the supervision and correction of +the proofs of Slavonic titles.</p> + +<p>To Mr. W. P. Courtney, the author of <i>Bibliotheca +Cornubiensis</i>, I owe many valuable hints and suggestions, +and the opportunity of consulting some important +works of reference.</p> + +<p>I have elsewhere acknowledged the valuable information +with regard to certain rare editions and pamphlets +which I have received from Mr. H. Buxton Forman, C.B.</p> + +<p>My especial thanks for laborious researches undertaken +on my behalf, and for information not otherwise +attainable, are due to M. J. E. Aynard, of Lyons; Signor +F. Bianco; Professor Max von Förster, of Wurtzburg; +Professor Lajos Gurnesovitz, of Buda Pest; Dr. Holzhausen, +of Bonn; Mr. Leonard Mackall, of Berlin; Miss +Peacock; Miss K. Schlesinger; M. Voynich, of Soho +<span class='pagenum'><a name="Page_xi" id="Page_xi">[xi]</a></span> +Square; Mr. Theodore Bartholomew, of the University +Library of Cambridge; Mr. T. D. Stewart, of the +Croydon Public Library; and the Librarians of Trinity +College, Cambridge, and University College, St. Andrews.</p> + +<p>I have also to thank, for special and generous assistance, +Mr. J. P. Anderson, late of the British Museum, +the author of the "Bibliography of Byron's Works" +attached to the Life of Lord Byron by the Hon. Roden +Noel (1890); Miss Grace Reed, of Philadelphia, for +bibliographical entries of early American editions; and +Professor Vladimir Hrabar, of the University of Dorpat, +for the collection and transcription of numerous Russian +translations of Byron's Works.</p> + +<p>To Messrs. Clowes, the printers of these volumes, and +to their reader, Mr. F. T. Peachey, I am greatly indebted +for the transcription of Slavonic titles included in the +Summary of the Bibliography, and for interesting and +useful information during the progress of the work.</p> + +<p>In conclusion, I must once more express my acknowment +of the industry and literary ability of my friend +Mr. F. E. Taylor, of Chertsey, who has read the proofs +of this and the six preceding volumes.</p> + +<p>The Index is the work of Mr. C. Eastlake Smith.</p> + +<p class="center">ERNEST HARTLEY COLERIDGE.</p> + +<p><i>November</i>, 1903. +</p> +<p><span class='pagenum'><a name="Page_xii" id="Page_xii">[xii]</a></span> +</p> + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_xiii" id="Page_xiii">[xiii]</a></span> +</p> +<h2><a name="CONTENTS" id="CONTENTS"></a> +CONTENTS OF VOL. VII. +</h2> +<div class="center"><img src="images/decoration.png" alt="typographical flourish" title="typographical flourish" /></div> + + +<ul class="TOC"> + +<li>Preface to Vol. VII. of the Poems. <span class="ralign"><a href="#Page_v">v</a></span></li> + +<li style="text-align:center;margin:1em auto 0.5em auto;"><span class="smcap"> +Jeux d'Esprit and Minor Poems</span>, 1798-1824.</li> + +<li>Epigram on an Old Lady who had some Curious Notions respecting the Soul. First published, <i>Letters and Journals</i>, 1830, i. 28. <span class="ralign"><a href="#Page_1">1</a></span></li> + +<li>Epitaph on John Adams, of Southwell. First published, <i>Letters and Journals</i>, 1830, i. 106. <span class="ralign"><a href="#Page_1">1</a></span></li> + +<li>A Version of Ossian's Address to the Sun. First published, <i>Atlantic Monthly</i>, December, 1898. <span class="ralign"><a href="#Page_2">2</a></span></li> + +<li>Lines to Mr. Hodgson. Written on board the Lisbon Packet. First published, <i>Letters and Journals</i>, 1830, i. 230-232. <span class="ralign"><a href="#Page_4">4</a></span></li> + +<li>[To Dives. A Fragment.] First published, <i>Lord Byron's Works</i>, 1833, xvii. 241. <span class="ralign"><a href="#Page_7">7</a></span></li> + +<li>Farewell Petition to J. C. H., Esq<sup>re</sup>. First published, <i>Murray's Magazine</i>, 1887, vol. i. pp. 290, 291. <span class="ralign"><a href="#Page_7">7</a></span></li> + +<li>Translation of the Nurse's Dole in the <i>Medea</i> of Euripides. First published, <i>Letters and Journals</i>, 1830, i. 227. <span class="ralign"><a href="#Page_10">10</a></span></li> + +<li>My Epitaph. First published, <i>Letters and Journals</i>, 1830, i. 240. <span class="ralign"><a href="#Page_10">10</a></span></li> + +<li>Substitute for an Epitaph. First published, <i>Lord Byron's Works</i>, 1832, ix. 4. <span class="ralign"><a href="#Page_11">11</a></span></li> + +<li>Epitaph for Joseph Blacket, late Poet and Shoemaker. First published, <i>Lord Byron's Works</i>, 1832, ix. 10. <span class="ralign"><a href="#Page_11">11</a></span></li> + +<li>On Moore's Last Operatic Farce, or Farcical Opera. First published, <i>Letters and Journals</i>, 1830, i. 295 (<i>note</i>). <span class="ralign"><a href="#Page_12">12</a></span></li> + +<li>[S. M. Dallas.] First published, <i>Life, Writings, Opinions, etc.</i>, 1825, ii. 192. <span class="ralign"><a href="#Page_12">12</a></span></li> +</ul> +<p><span class='pagenum'><a name="Page_xiv" id="Page_xiv">[xiv]</a></span></p> +<ul class="TOC"> +<li>An Ode to the Framers of the Frame Bill. First published, <i>Morning Chronicle</i>, March 2, 1812. <span class="ralign"><a href="#Page_13">13</a></span></li> + +<li>To the Honorable Mr. George Lamb. First published, <i>The Two Duchesses</i>, by Vere Foster, 1898, p. 374. <span class="ralign"><a href="#Page_15">15</a></span></li> + +<li>[La Revanche.] <i>MS.M</i>. <span class="ralign"><a href="#Page_15">15</a></span></li> + +<li>To Thomas Moore. Written the Evening before his Visit to Mr. Leigh Hunt in Horsemonger Lane Gaol, May 19, 1813. First published, <i>Letters and Journals</i>, 1830, i. 401. <span class="ralign"><a href="#Page_16">16</a></span></li> + +<li>On Lord Thurlow's Poems. First published, <i>Letters and Journals</i>, 1830, i. 396. <span class="ralign"><a href="#Page_17">17</a></span></li> + +<li>To Lord Thurlow. First published, <i>Letters and Journals</i>, 1830, i. 397. <span class="ralign"><a href="#Page_19">19</a></span></li> + +<li>The Devil's Drive. First published (stanzas 1-5, 8, 10-12, 17, 18), <i>Letters and Journals</i>, 1830, i. 471-474; and (stanzas 6, 7, 9, 13-16, 19-27) from a MS. in the possession of the Earl of Ilchester. <span class="ralign"><a href="#Page_21">21</a></span></li> + +<li>Windsor Poetics. First published, <i>Poetical Works</i>, Paris, 1819, vi. 125. <span class="ralign"><a href="#Page_35">35</a></span></li> + +<li>[Another Version.] On a Royal Visit to the Vaults. From an autograph MS. in the possession of the Hon. Mrs. Norbury, now for the first time printed. <span class="ralign"><a href="#Page_36">36</a></span></li> + +<li>Ich Dien. From an autograph MS. in the possession of Mr. A. H. Hallam Murray, now for the first time printed. <span class="ralign"><a href="#Page_36">36</a></span></li> + +<li>Condolatory Address, To Sarah Countess of Jersey. First published, <i>The Champion</i>, July 31, 1814. <span class="ralign"><a href="#Page_37">37</a></span></li> + +<li>Fragment of an Epistle to Thomas Moore. First published, <i>Letters and Journals</i>, 1830, i. 561, 562 (<i>note</i>). <span class="ralign"><a href="#Page_39">39</a></span></li> + +<li>Answer to——'s Professions of Affection. <i>MS</i>. <span class="ralign"><a href="#Page_40">40</a></span></li> + +<li>On Napoleon's Escape from Elba. First published, <i>Letters and Journals</i>, 1830, i. 611. <span class="ralign"><a href="#Page_41">41</a></span></li> + +<li>Endorsement to the Deed of Separation, in the April of 1816. First published, <i>Poetical Works</i>, 1831, vi. 454. <span class="ralign"><a href="#Page_41">41</a></span></li> + +<li>[To George Anson Byron (?).] First published, <i>Nicnac</i>, March 25, 1823. <span class="ralign"><a href="#Page_41">41</a></span></li> + +<li>Song for the Luddites. First published, <i>Letters and Journals</i>, 1830, ii. 58. <span class="ralign"><a href="#Page_42">42</a></span></li> + +<li>To Thomas Moore ("What are you doing now?"). First published, <i>Letters and Journals</i>, 1830, ii. 58, 59. <span class="ralign"><a href="#Page_23">23</a></span></li> + +<li>To Mr. Murray ("To hook the Reader," etc.). First published, <i>Letters and Journals</i>, 1830, ii. 91. <span class="ralign"><a href="#Page_44">44</a></span></li> + +<li>Versicles. First published, <i>Letters and Journals</i>, 1830, ii. 87. <span class="ralign"><a href="#Page_45">45</a></span></li> +</ul><p><span class='pagenum'><a name="Page_xv" id="Page_xv">[xv]</a></span></p><ul class="TOC"> +<li>Quem Deus vult perdere prius dementat. First published, <i>Letters</i>, 1900, iv. 93. <span class="ralign"><a href="#Page_45">45</a></span></li> + +<li>To Thomas Moore ("My boat is on the shore"). First published, <i>Waltz</i>, London, 1821, p. 29. <span class="ralign"><a href="#Page_46">46</a></span></li> + +<li>Epistle from Mr. Murray to Dr. Polidori. First published, <i>Letters and Journals</i>, 1830, ii. 139-141. <span class="ralign"><a href="#Page_47">47</a></span></li> + +<li>Epistle to Mr. Murray. First published (stanzas 1, 2, 4, 7-9), <i>Letters and Journals</i>, 1830, ii. 156, 157; and (stanzas 3, 5, 6, 10, 11) <i>Letters</i>, 1900, iv. 191-193. <span class="ralign"><a href="#Page_51">51</a></span></li> + +<li>On the Birth of John William Rizzo Hoppner. First published, <i>Letters and Journals</i>, 1830, ii. 134. <span class="ralign"><a href="#Page_54">54</a></span></li> + +<li>[E Nihilo Nihil; or, An Epigram Bewitched.] <i>MS.M</i>. <span class="ralign"><a href="#Page_55">55</a></span></li> + +<li>To Mr. Murray. First published, <i>Letters and Journals</i>, 1830, ii. 171. <span class="ralign"><a href="#Page_56">56</a></span></li> + +<li>Ballad. To the Tune of "Sally in our Alley." <i>MS.M</i>. <span class="ralign"><a href="#Page_58">58</a></span></li> + +<li>Another Simple Ballat. <i>MS.M</i>. <span class="ralign"><a href="#Page_61">61</a></span></li> + +<li>Epigram. From the French of Rulhiéres. First published, <i>Letters and Journals</i>, 1830, ii. 235. <span class="ralign"><a href="#Page_62">62</a></span></li> + +<li>Epilogue. First published, <i>Philadelphia Record</i>, December 28, 1891. <span class="ralign"><a href="#Page_63">63</a></span></li> + +<li>On my Wedding-Day. First published, <i>Letters and Journals</i>, 1830, ii. 294. <span class="ralign"><a href="#Page_64">64</a></span></li> + +<li>Epitaph for William Pitt. First published, <i>Letters and Journals</i>, 1830, ii. 295. <span class="ralign"><a href="#Page_64">64</a></span></li> + +<li>Epigram ("In digging up your bones, Tom Paine"). First published, <i>Letters and Journals</i>, 1830, ii. 295. <span class="ralign"><a href="#Page_65">65</a></span></li> + +<li>Epitaph ("Posterity will ne'er survey"). First published, <i>Lord Byron's Works</i>, 1833, xvii. 246. <span class="ralign"><a href="#Page_65">65</a></span></li> + +<li>Epigram ("The world is a bundle of hay"). First published, <i>Letters and Journals</i>, 1830, ii. 494. <span class="ralign"><a href="#Page_65">65</a></span></li> + +<li>My Boy Hobbie O. First published, <i>Murray's Magazine</i>, March, 1887, vol. i. pp. 292, 293. <span class="ralign"><a href="#Page_66">66</a></span></li> + +<li>Lines, Addressed by Lord Byron to Mr. Hobhouse on his Election for Westminster. First published, <i>Miscellaneous Poems</i>, 1824. <span class="ralign"><a href="#Page_69">69</a></span></li> + +<li>A Volume of Nonsense. First published, <i>Letters</i>, 1900, v. 83.<span class="ralign"><a href="#Page_70">70</a></span></li> + +<li>Stanzas. First published, <i>Letters and Journals</i>, 1830, ii. 377. <span class="ralign"><a href="#Page_70">70</a></span></li> + +<li>To Penelope. First published, Medwin's <i>Conversations</i>, 1824 p. 106. <span class="ralign"><a href="#Page_71">71</a></span></li> + +<li>The Charity Ball. First published, <i>Letters and Journals</i>, 1830, ii. 540. <span class="ralign"><a href="#Page_71">71</a></span></li> +</ul><p><span class='pagenum'><a name="Page_xvi" id="Page_xvi">[xvi]</a></span></p><ul class="TOC"> +<li>Epigram, On the Braziers' Address, etc. First published, <i>Letters and Journals</i>, 1830, ii. 442. <span class="ralign"><a href="#Page_72">72</a></span></li> + +<li>On my Thirty-third Birthday. First published, <i>Letters and Journals</i>, 1830, ii. 414. <span class="ralign"><a href="#Page_73">73</a></span></li> + +<li>Martial, Lib. I. Epig. I. First published, <i>Lord Byron's Works</i>, 1833, xvii. 245. <span class="ralign"><a href="#Page_74">74</a></span></li> + +<li>Bowles and Campbell. First published, <i>The Liberal</i>, 1823, No. II. p. 398. <span class="ralign"><a href="#Page_74">74</a></span></li> + +<li>Elegy. First published, Medwin's <i>Conversations</i>, 1824, p. 121. <span class="ralign"><a href="#Page_75">75</a></span></li> + +<li>John Keats. First published, <i>Letters and Journals</i>, 1830, ii. 506. <span class="ralign"><a href="#Page_76">76</a></span></li> + +<li>From the French ("Ægle, beauty and poet," etc.). First published, <i>The Liberal</i>, 1823, No. II. p. 396. <span class="ralign"><a href="#Page_76">76</a></span></li> + +<li>To Mr. Murray ("For Orford," etc.). First published, <i>Letters and Journals</i>, 1830, ii. 517. <span class="ralign"><a href="#Page_76">76</a></span></li> + +<li>[Napoleon's Snuff-box.] First published, <i>Conversations of Lord Byron</i>, 1824, p. 235. <span class="ralign"><a href="#Page_77">77</a></span></li> + +<li>The New Vicar of Bray. First published, <i>Works</i> (Galignani), 1831, p. 116. <span class="ralign"><a href="#Page_78">78</a></span></li> + +<li>Lucietta. A Fragment. <i>MS.M</i>. <span class="ralign"><a href="#Page_81">81</a></span></li> + +<li>Epigrams. First published, <i>The Liberal</i>, No. I. October 18, 1822, p. 164. <span class="ralign"><a href="#Page_81">81</a></span></li> + +<li>The Conquest. First published, <i>Lord Byron's Works</i>, 1833, xvii. 246. <span class="ralign"><a href="#Page_82">82</a></span></li> + +<li>Impromptu ("Beneath Blessington's eyes"). First published, <i>Letters and Journals</i>, 1830, ii. 635. <span class="ralign"><a href="#Page_82">82</a></span></li> + +<li>Journal in Cephalonia. First published, <i>Letters</i>, 1901, vi. 238.<span class="ralign"><a href="#Page_83">83</a></span></li> + +<li>Song to the Suliotes. <i>MS.M</i>. <span class="ralign"><a href="#Page_83">83</a></span></li> + +<li>[Love and Death.] First published, <i>Murray's Magazine</i>, February, 1887, vol. i. pp. 145, 146. <span class="ralign"><a href="#Page_84">84</a></span></li> + +<li>Last Words on Greece. First published, <i>Murray's Magazine</i>, February, 1887, vol. i. p. 146. <span class="ralign"><a href="#Page_85">85</a></span></li> + +<li>On this Day I complete my Thirty-sixth Year. First published, <i>Morning Chronicle</i>, October 29, 1824. <span class="ralign"><a href="#Page_86">86</a></span></li> + +<li style="text-align:center;margin:1em auto 0.5em auto;"><span class="smcap">A Bibliography Of The Successive Editions And Translations Of Lord Byron's <i>poetical Works</i></span>. <span class="ralign"><a href="#Page_89">89</a></span></li> + +<li><span class="smcap">Notes</span>—</li> + +<li>Note (1).—On Genuine and Spurious Issues of <i>English Bards, and Scotch Reviewers</i>. <span class="ralign"><a href="#Page_305">305</a></span></li> + +<li>Note (2).—Correspondence between the First Edition as numbered and the Present Issue as numbered. <span class="ralign"><a href="#Page_307">307</a></span></li> +</ul><p><span class='pagenum'><a name="Page_xvii" id="Page_xvii">[xvii]</a></span></p><ul class="TOC"> +<li>Note (3).—The Annotated Copies of the Fourth Edition of 1811 <span class="ralign"><a href="#Page_310">310</a></span></li> + +<li><span class="smcap">Appendix to Bibliography</span> <span class="ralign"><a href="#Page_314">314</a></span></li> + +<li><span class="smcap">Contents of Bibliography</span> <span class="ralign"><a href="#Page_317">317</a></span></li> + +<li><span class="smcap">Summary of Bibliography</span> <span class="ralign"><a href="#Page_319">319</a></span></li> + +<li><span class="smcap">Index</span> <span class="ralign"><a href="#Page_349">349</a></span></li> + +<li><span class="smcap">Index to First Lines</span> <span class="ralign"><a href="#Page_449">449</a></span></li> + +</ul> + +<hr style="width: 65%;" /> + +<h2><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a> +LIST OF ILLUSTRATIONS +</h2> +<div class="center"><img src="images/decoration.png" alt="typographical flourish" title="typographical flourish" /></div> + +<ul class="TOC"> + +<li>1. <span class="smcap">Mrs. Birdmere's House, Southwell</span><span class="ralign"><a href="#Illus_Birdmeres">2</a></span></li> + +<li>2. <span class="smcap">Annesley Hall</span><span class="ralign"><a href="#Illus_Annesley_Hall">38</a></span></li> + +<li>3. <span class="smcap">Diadem Hill (Annesley Park), where Lord Byron parted from Mary Chaworth</span><span class="ralign"><a href="#Illus_Diadem_Hill">304</a></span></li> + +<li>4. <span class="smcap">The Prison Called Tasso's Cell, in the Hospital of Sant'Anna, at Ferrara</span><span class="ralign"><a href="#Illus_Tassos_Cell">348</a></span></li> + +</ul> + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></p> + +<h2><a name="POEMS" id="POEMS"></a> +JEUX D'ESPRIT AND<br /> +MINOR POEMS, 1798-1824. +</h2> +<div class="center"><img src="images/decoration.png" alt="typographical flourish" title="typographical flourish" /></div> + +<h3>EPIGRAM ON AN OLD LADY WHO HAD +SOME CURIOUS NOTIONS RESPECTING THE SOUL.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">In</span> Nottingham county there lives at Swan Green,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a><br /></span> +<span class="i0">As curst an old Lady as ever was seen;<br /></span> +<span class="i0">And when she does die, which I hope will be soon,<br /></span> +<span class="i0">She firmly believes she will go to the Moon!<br /></span> +</div> +</div> + +<p class="published">1798.<br /> +[First published, <i>Letters and Journals</i>, 1830, i. 28.] </p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> <a name="Note_001" id="Note_001"></a>"Swan Green" should be "Swine Green." It lay about a +quarter of a mile to the east of St. James's Lane, where Byron lodged +in 1799, at the house of a Mr. Gill. The name appears in a directory +of 1799, but by 1815 it had been expunged or changed <i>euphoniæ +gratiâ</i>. (See <i>A New Plan of the Town of Nottingham</i>, ... 1744.) +</p><p> +Moore took down "these rhymes" from the lips of Byron's nurse, +May Gray, who regarded them as a first essay in the direction of +poetry. He questioned their originality.</p></div> +</div> + +<h3>EPITAPH ON JOHN ADAMS, OF SOUTHWELL,<br /> +<span style="font-size:75%;">A CARRIER, WHO DIED OF DRUNKENNESS.</span></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">John Adams</span> lies here, of the parish of Southwell,<br /></span> +<span class="i0">A <i>Carrier</i> who <i>carried</i> his can to his mouth well;<span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span><br /></span> +<span class="i0">He carried so much and he carried so fast,<br /></span> +<span class="i0">He could carry no more—so was carried at last;<br /></span> +<span class="i0">For the liquor he drank being too much for one,<br /></span> +<span class="i0">He could not <i>carry</i> off;—so he's now <i>carri-on</i>.<br /></span> +</div> +</div> + +<p class="published"> + <i>September</i>, 1807.<br /> +[First published, <i>Letters and Journals</i>, 1830, i. 106.] +</p> + +<hr style="width: 65%;" /> + + +<div class="center"> +<a name="Illus_Birdmeres" id="Illus_Birdmeres"/> +<img src="images/birdmeres.png" alt="Mrs. Birdmere's House, Southwell" title="Mrs. Birdmere's House, Southwell"/><p class="center">Mrs. Birdmere's House, Southwell</p></div> + +<hr style="width: 65%;" /> + + +<h3>A VERSION OF OSSIAN'S ADDRESS<br /> +TO THE SUN.<br /> +<span style="font-size:75%;">FROM THE POEM "CARTHON."</span></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">O thou</span>! who rollest in yon azure field,<br /></span> +<span class="i0">Round as the orb of my forefather's shield,<br /></span> +<span class="i0">Whence are thy beams? From what eternal store<br /></span> +<span class="i0">Dost thou, O Sun! thy vast effulgence pour?<br /></span> +<span class="i0">In awful grandeur, when thou movest on high,<br /></span> +<span class="i0">The stars start back and hide them in the sky;<br /></span> +<span class="i0">The pale Moon sickens in thy brightening blaze,<br /></span> +<span class="i0">And in the western wave avoids thy gaze.<br /></span> +<span class="i0">Alone thou shinest forth—for who can rise<br /></span> +<span class="i0">Companion of thy splendour in the skies!<br /></span> +<span class="i0">The mountain oaks are seen to fall away—<br /></span> +<span class="i0">Mountains themselves by length of years decay—<br /></span> +<span class="i0">With ebbs and flows is the rough Ocean tost;<br /></span> +<span class="i0">In heaven the Moon is for a season lost,<br /></span> +<span class="i0">But thou, amidst the fullness of thy joy,<br /></span> +<span class="i0">The same art ever, blazing in the sky!<br /></span> +<span class="i0">When tempests wrap the world from pole to pole,<br /></span> +<span class="i0">When vivid lightnings flash and thunders roll,<br /></span> +<span class="i0">Thou far above their utmost fury borne,<br /></span> +<span class="i0">Look'st forth in beauty, laughing them to scorn.<br /></span> +<span class="i0">But vainly now on me thy beauties blaze—<br /></span> +<span class="i0">Ossian no longer can enraptured gaze!<span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span><br /></span> +<span class="i0">Whether at morn, in lucid lustre gay,<br /></span> +<span class="i0">On eastern clouds thy yellow tresses play,<br /></span> +<span class="i0">Or else at eve, in radiant glory drest,<br /></span> +<span class="i0">Thou tremblest at the portals of the west,<br /></span> +<span class="i0">I see no more! But thou mayest fail at length,<br /></span> +<span class="i0">Like Ossian lose thy beauty and thy strength,<br /></span> +<span class="i0">Like him—but for a season—in thy sphere<br /></span> +<span class="i0">To shine with splendour, then to disappear!<br /></span> +<span class="i0">Thy years shall have an end, and thou no more<br /></span> +<span class="i0">Bright through the world enlivening radiance pour,<br /></span> +<span class="i0">But sleep within thy clouds, and fail to rise,<br /></span> +<span class="i0">Heedless when Morning calls thee to the skies!<br /></span> +<span class="i0">Then now exult, O Sun! and gaily shine,<br /></span> +<span class="i0">While Youth and Strength and Beauty all are thine.<br /></span> +<span class="i0">For Age is dark, unlovely, as the light<br /></span> +<span class="i0">Shed by the Moon when clouds deform the night,<br /></span> +<span class="i0">Glimmering uncertain as they hurry past.<br /></span> +<span class="i0">Loud o'er the plain is heard the northern blast,<br /></span> +<span class="i0">Mists shroud the hills, and 'neath the growing gloom,<br /></span> +<span class="i0">The weary traveller shrinks and sighs for home.<br /></span> +</div> +</div> + +<p class="published"> + 1806.<br /> +[First published, <i>Atlantic Monthly</i>, December, 1898. +<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a>] +</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> <a name="Note_003" id="Note_003"></a>[I am indebted to the courtesy of Mr. Pierre De La Rose for +sending me a copy of the foregoing <i>Version of Ossian's Address to +the Sun</i>, which was "Privately printed at the Press of Oliver B. +Graves, Cambridge, Massachusetts, June the Tenth, MDCCCXCVIII.," +and was reprinted in the <i>Atlantic Monthly</i> in December, 1898. +A prefatory note entitled, "From Lord Byron's Notes," is prefixed to +the Version: "In Lord Byron's copy of <i>The Poems of Ossian</i> +(printed by Dewick and Clarke, London, 1806), which, since 1874, +has been in the possession of the Library of Harvard University as +part of the Sumner Bequest. The notes which follow appear in +Byron's hand." (For the <i>Notes</i>, see the <i>Atlantic Monthly</i>, +1898, vol. lxxxii. pp. 810-814.) +</p><p> +It is strange that Byron should have made two versions (for +another "version" from the Newstead MSS., see <i>Poetical Works</i>, +1898, i. 229-231) of the "Address to the Sun," which forms the +conclusion of "Carthon;" but the Harvard version appears to be +genuine. It is to be noted that Byron appended to the earlier +version eighteen lines of his own composition, by way of moral or +application.]</p></div> +</div> + +<p><span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span></p> +<h3>LINES TO MR. HODGSON.<br /> +<span style="font-size:75%">WRITTEN ON BOARD THE LISBON PACKET.</span></h3> + +<div class="poem"> +<p>1.</p> + +<div class="stanza"> +<span class="i0"><span class="smcap">Huzza</span>! Hodgson<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a>, we are going,<br /></span> +<span class="i2">Our embargo's off at last;<br /></span> +<span class="i0">Favourable breezes blowing<br /></span> +<span class="i2">Bend the canvas o'er the mast.<br /></span> +<span class="i0">From aloft the signal's streaming,<br /></span> +<span class="i2">Hark! the farewell gun is fired;<br /></span> +<span class="i0">Women screeching, tars blaspheming,<br /></span> +<span class="i2">Tell us that our time's expired.<br /></span> +<span class="i4">Here's a rascal<br /></span> +<span class="i4">Come to task all,<br /></span> +<span class="i2">Prying from the Custom-house;<br /></span> +<span class="i4">Trunks unpacking<br /></span> +<span class="i4">Cases cracking,<br /></span> +<span class="i2">Not a corner for a mouse<br /></span> +<span class="i0">Scapes unsearched amid the racket,<br /></span> +<span class="i0">Ere we sail on board the Packet.<br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">Now our boatmen quit their mooring,<br /></span> +<span class="i2">And all hands must ply the oar;<br /></span> +<span class="i0">Baggage from the quay is lowering,<br /></span> +<span class="i2">We're impatient, push from shore.<br /></span> +<span class="i0">"Have a care! that case holds liquor—<br /></span> +<span class="i2">Stop the boat—I'm sick—oh Lord!"<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span><br /></span> +<span class="i0">"Sick, Ma'am, damme, you'll be sicker,<br /></span> +<span class="i2">Ere you've been an hour on board."<br /></span> +<span class="i4">Thus are screaming<br /></span> +<span class="i4">Men and women,<br /></span> +<span class="i2">Gemmen, ladies, servants, Jacks;<br /></span> +<span class="i4">Here entangling,<br /></span> +<span class="i4">All are wrangling,<br /></span> +<span class="i2">Stuck together close as wax.—<br /></span> +<span class="i0">Such the general noise and racket,<br /></span> +<span class="i0">Ere we reach the Lisbon Packet.<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">Now we've reached her, lo! the Captain,<br /></span> +<span class="i2">Gallant Kidd,<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> commands the crew;<br /></span> +<span class="i0">Passengers their berths are clapt in,<br /></span> +<span class="i2">Some to grumble, some to spew.<br /></span> +<span class="i0">"Hey day! call you that a cabin?<br /></span> +<span class="i2">Why't is hardly three feet square!<br /></span> +<span class="i0">Not enough to stow Queen Mab in—<br /></span> +<span class="i2">Who the deuce can harbour there?"<br /></span> +<span class="i4">"Who, sir? plenty—<br /></span> +<span class="i4">Nobles twenty<br /></span> +<span class="i2">Did at once my vessel fill."—<br /></span> +<span class="i4">"Did they? Jesus,<br /></span> +<span class="i4">How you squeeze us!<br /></span> +<span class="i2">Would to God they did so still!<br /></span> +<span class="i0">Then I'd 'scape the heat and racket<br /></span> +<span class="i0">Of the good ship, Lisbon Packet."<br /></span> +</div> +<p><span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span></p> + +<p>4.</p> + +<div class="stanza"> +<span class="i0">Fletcher! Murray! Bob!<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> where are you?<br /></span> +<span class="i2">Stretched along the deck like logs—<br /></span> +<span class="i0">Bear a hand, you jolly tar, you!<br /></span> +<span class="i2">Here's a rope's end for the dogs.<br /></span> +<span class="i0">Hobhouse muttering fearful curses,<br /></span> +<span class="i2">As the hatchway down he rolls,<br /></span> +<span class="i0">Now his breakfast, now his verses,<br /></span> +<span class="i2">Vomits forth—and damns our souls.<br /></span> +<span class="i4">"Here's a stanza<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a><br /></span> +<span class="i4">On Braganza—<br /></span> +<span class="i2">Help!"—"A couplet?"—"No, a cup<br /></span> +<span class="i4">Of warm water—"<br /></span> +<span class="i4">"What's the matter?"<br /></span> +<span class="i2">"Zounds! my liver's coming up;<br /></span> +<span class="i0">I shall not survive the racket<br /></span> +<span class="i0">Of this brutal Lisbon Packet."<br /></span> +</div> + +<p>5.</p> + +<div class="stanza"> +<span class="i0">Now at length we're off for Turkey,<br /></span> +<span class="i2">Lord knows when we shall come back!<br /></span> +<span class="i0">Breezes foul and tempests murky<br /></span> +<span class="i2">May unship us in a crack.<br /></span> +<span class="i0">But, since Life at most a jest is,<br /></span> +<span class="i2">As philosophers allow,<br /></span> +<span class="i0">Still to laugh by far the best is,<br /></span> +<span class="i2">Then laugh on—as I do now.<br /></span> +<span class="i4">Laugh at all things,<br /></span> +<span class="i4">Great and small things,<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span><br /></span> +<span class="i2">Sick or well, at sea or shore;<br /></span> +<span class="i4">While we're quaffing,<br /></span> +<span class="i4">Let's have laughing—<br /></span> +<span class="i2">Who the devil cares for more?—<br /></span> +<span class="i0">Some good wine! and who would lack it,<br /></span> +<span class="i0">Ev'n on board the Lisbon Packet?<br /></span> +</div> +</div> +<p class="published"> + Falmouth Roads, <i>June</i> 30, 1809.<br /> +[First published, <i>Letters and Journals</i>, 1830, i. 230-232.] +</p> + + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"> +<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> <a name="Note_004" id="Note_004"></a>[For Francis Hodgson (1781-1852), see <i>Letters</i>, +1898, i. 195, note 1.]</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> <a name="Note_005" id="Note_005"></a>[Compare Peter Pindar's <i>Ode to a Margate Hoy</i>— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">"Go, beauteous Hoy, in safety ev'ry inch!<br /></span> +<span class="i0">That storm should wreck thee, gracious Heav'n forbid!<br /></span> +<span class="i0">Whether commanded by brave Captain Finch<br /></span> +<span class="i0">Or equally tremendous Captain Kidd."]<br /></span> +</div> +</div> +</div> + +<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> <a name="Note_006" id="Note_006"></a>[Murray was "Joe" Murray, an ancient retainer of the "Wicked +Lord." Bob was Robert Rushton, the "little page" of "Childe +Harold's Good Night." (See <i>Poetical Works</i>, 1899, ii. 26, +note 1.)]</p></div> + +<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> [For "the stanza," addressed to the "Princely offspring of +Braganza," published in the <i>Morning Post</i>, December 30, 1807, see +<i>English Bards, etc.</i>, line 142, note 1, +<i>Poetical Works</i>, 1898, i. 308, 309.]</p></div> + +</div> + + +<h3>[TO DIVES.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> A FRAGMENT.]</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Unhappy</span> Dives! in an evil hour<br /></span> +<span class="i1">'Gainst Nature's voice seduced to deeds accurst!<br /></span> +<span class="i1">Once Fortune's minion now thou feel'st her power;<br /></span> +<span class="i1">Wrath's vial on thy lofty head hath burst.<br /></span> +<span class="i1">In Wit, in Genius, as in Wealth the first,<br /></span> +<span class="i1">How wondrous bright thy blooming morn arose!<br /></span> +<span class="i1">But thou wert smitten with th' unhallowed thirst<br /></span> +<span class="i1">Of Crime unnamed, and thy sad noon must close<br /></span> +<span class="i0">In scorn and solitude unsought the worst of woes.<br /></span> +</div> +</div> + +<p class="published"> + 1809.<br /> +[First published, <i>Lord Byron's Works</i>, 1833, xvii. 241.] +</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> <a name="Note_007" id="Note_007"></a>[Dives was William Beckford. See <i>Childe Harold</i>, +Canto I. stanza xxii. line 6, <i>Poetical Works</i>, 1899, ii. 37, +note 1.]</p></div> +</div> + +<h3>FAREWELL PETITION TO R. C. H., ESQ<span style="font-size:75%;"><sup>RE</sup></span>.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">O thou</span> yclep'd by vulgar sons of Men<br /></span> +<span class="i0">Cam Hobhouse!<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> but by wags Byzantian Ben!<br /></span> +<span class="i0">Twin sacred titles, which combined appear<br /></span> +<span class="i0">To grace thy volume's front, and gild its rear,<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span><br /></span> +<span class="i0">Since now thou put'st thyself and work to Sea<br /></span> +<span class="i0">And leav'st all Greece to <i>Fletcher</i><a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> and to me,<br /></span> +<span class="i0">Oh, hear my single muse our sorrows tell,<br /></span> +<span class="i0"><i>One</i> song for <i>self</i> and Fletcher quite as well—<br /></span> +</div> +<div class="stanza"> +<span class="i0">First to the <i>Castle</i> of that man of woes<br /></span> +<span class="i0">Dispatch the letter which <i>I must</i> enclose,<br /></span> +<span class="i0">And when his lone Penelope shall say<br /></span> +<span class="i0"><i>Why, where</i>, and <i>wherefore</i> doth my William stay?<br /></span> +<span class="i0">Spare not to move her pity, or her pride—<br /></span> +<span class="i0">By all that Hero suffered, or defied;<br /></span> +<span class="i0">The <i>chicken's toughness</i>, and the <i>lack</i> of <i>ale</i><br /></span> +<span class="i0">The <i>stoney mountain</i> and the <i>miry vale</i><br /></span> +<span class="i0">The <i>Garlick</i> steams, which <i>half</i> his meals enrich,<br /></span> +<span class="i0">The <i>impending vermin</i>, and the threatened <i>Itch</i>,<br /></span> +<span class="i0">That <i>ever breaking</i> Bed, beyond repair!<br /></span> +<span class="i0">The hat too <i>old</i>, the coat too <i>cold</i> to wear,<br /></span> +<span class="i0">The Hunger, <i>which repulsed from Sally's door</i><br /></span> +<span class="i0">Pursues her grumbling half from shore to shore,<br /></span> +<span class="i0">Be these the themes to greet his faithful Rib<br /></span> +<span class="i0">So may thy pen be smooth, thy tongue be glib!<br /></span> +</div> +<div class="stanza"> +<span class="i0">This duty done, let me in turn demand<br /></span> +<span class="i0">Some friendly office in my native land,<br /></span> +<span class="i0">Yet let me ponder well, before I ask,<br /></span> +<span class="i0">And set thee swearing at the tedious task.<br /></span> +</div> +<div class="stanza"> +<span class="i0">First the Miscellany!<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a>—to Southwell town<br /></span> +<span class="i0"><i>Per coach</i> for Mrs. <i>Pigot</i> frank it down,<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span><br /></span> +<span class="i0">So may'st them prosper in the paths of Sale,<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a><br /></span> +<span class="i0">And Longman smirk and critics cease to rail.<br /></span> +</div> +<div class="stanza"> +<span class="i0">All hail to Matthews!<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> wash his reverend feet,<br /></span> +<span class="i0">And in my name the man of Method greet,—<br /></span> +<span class="i0">Tell him, my Guide, Philosopher, and Friend,<br /></span> +<span class="i0">Who cannot love me, and who will not mend,<br /></span> +<span class="i0">Tell him, that not in vain I shall assay<br /></span> +<span class="i0">To tread and trace our "old Horatian way,"<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a><br /></span> +<span class="i0">And be (with prose supply my dearth of rhymes)<br /></span> +<span class="i0">What better men have been in better times.<br /></span> +</div> +<div class="stanza"> +<span class="i0">Here let me cease, for why should I prolong<br /></span> +<span class="i0">My notes, and vex a <i>Singer</i> with a <i>Song</i>?<br /></span> +<span class="i0">Oh thou with pen perpetual in thy fist!<br /></span> +<span class="i0">Dubbed for thy sins a stark Miscellanist,<br /></span> +<span class="i0">So pleased the printer's orders to perform<br /></span> +<span class="i0">For Messrs. <i>Longman</i>, <i>Hurst</i> and <i>Rees</i> and <i>Orme</i>.<br /></span> +<span class="i0">Go—Get thee hence to Paternoster Row,<br /></span> +<span class="i0">Thy patrons wave a duodecimo!<br /></span> +<span class="i0">(Best form for <i>letters</i> from a distant land,<br /></span> +<span class="i0">It fits the pocket, nor fatigues the hand.)<br /></span> +<span class="i0">Then go, once more the joyous work commence<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a><br /></span> +<span class="i0">With stores of anecdote, and grains of sense,<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span><br /></span> +<span class="i0">Oh may Mammas relent, and Sires forgive!<br /></span> +<span class="i0">And scribbling Sons grow dutiful and live!<br /></span> +</div> +</div> + +<p class="published"> + Constantinople, <i>June</i> 7<sup><i>th</i></sup>, 1810.<br /> +[First published, <i>Murray's Magazine</i>, 1887, vol. i. pp. 290, 291.] +</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> [For John Cam Hobhouse (1786-1869), afterwards Lord +Broughton de Gyfford, see <i>Letters</i>, 1898, i. 163, note i.]</p></div> + +<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> <a name="Note_008" id="Note_008"></a>[Fletcher was an indifferent traveller, and sighed for +"a' the comforts of the saut-market." See Byron's letters to his mother, +November 12, 1809, June 28, 1810.—<i>Letters</i>, 1898, i. 256, 281.]</p></div> + +<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> [Hobhouse's Miscellany (otherwise known as the <i>Miss-sell-any</i>) +was published in 1809, under the title of <i>Imitations and Translations +from The Ancient and Modern Classics</i>. Byron contributed nine +original poems. The volume was not a success. "It foundered ... +in the Gulph of Lethe."—Letter to H. Drury, July 17, 1811, <i>Letters</i>, +1898, i. 319.]</p></div> + +<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> +<a name="Note_009" id="Note_009"></a>[The word "Sale" may have a double meaning. There may +be an allusion to George Sale, the Orientalist, and translator of the +Koran.]</p></div> + +<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> +["In Matthews I have lost my 'guide, philosopher, and +friend.'"—Letter to R. C. Dallas, September 7, 1811, <i>Letters</i>, 1898, +ii. 25. (For Charles Skinner Matthews, see <i>Letters</i>, 1898, i. 150, +note 3.)]</p></div> + +<div class="footnote"> +<p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> +[Compare— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">"In short, the maxim for the amorous tribe is<br /></span> +<span class="i0">Horatian, 'Medio tu tutissimus ibis.'"<br /></span> +</div> +</div> +<p> +<i>Don Juan</i>, Canto V. stanza xvii. lines 8, 9. +The "doctrine" is Horatian, but the words occur in Ovid, +<i>Metam.</i>, lib. ii. line 137.—<i>Poetical Works</i>, +1902, vi. 273, note 2.]</p></div> + +<div class="footnote"> +<p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> +[Hobhouse's <i>Journey through Albania and other Provinces of +Turkey</i>, 4<sup>to</sup>, was published by James Cawthorn, in 1813.]</p></div> +</div> + + +<h3>TRANSLATION OF THE NURSE'S DOLE IN +THE <i>MEDEA</i> OF EURIPIDES.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Oh</span> how I wish that an embargo<br /></span> +<span class="i0">Had kept in port the good ship Argo!<br /></span> +<span class="i0">Who, still unlaunched from Grecian docks,<br /></span> +<span class="i0">Had never passed the Azure rocks;<br /></span> +<span class="i0">But now I fear her trip will be a<br /></span> +<span class="i0">Damn'd business for my Miss Medea, etc., etc.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a><br /></span> +</div> +</div> + +<p class="published"> + <i>June</i>, 1810.<br /> +[First published, <i>Letters and Journals</i>, 1830, i. 227.] +</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> +<a name="Note_010" id="Note_010"></a>["I am just come from an expedition through the Bosphorus +to the Black Sea and the Cyanean Symplegades, up which last I +scrambled with as great risk as ever the Argonauts escaped in their +hoy. You remember the beginning of the nurse's dole in the <i>Medea</i> +[lines 1-7], of which I beg you to take the following translation, +done on the summit;—[A 'damned business'] it very nearly was to +me; for, had not this sublime passage been in my head, I should +never have dreamed of ascending the said rocks, and bruising my +carcass in honour of the ancients."—Letter to Henry Drury, June +17, 1810, <i>Letters</i>, 1898, i. 276. +</p><p> +Euripides, <i>Medea</i>, lines 1-7—<br /> +<span title="Ei)/th' ô)/phel' A)rgou~s mê\ diapta/sthai ska/phos k.t.l."> +Εἴθ' ὤφελ' +Ἀργοῦς μὴ +διαπτάσθαι +σκάφος κ.τ.λ. +</span>] +</p></div> +</div> + +<h3>MY EPITAPH.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Youth</span>, Nature, and relenting Jove,<br /></span> +<span class="i0">To keep my lamp <i>in</i> strongly strove;<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span><br /></span> +<span class="i0">But Romanelli was so stout,<br /></span> +<span class="i0">He beat all three—and <i>blew</i> it <i>out</i>.<br /></span> +</div> +</div> + +<p class="published"> + <i>October</i>, 1810.<br /> +[First published, <i>Letters and Journals</i>, 1830, i. 240.] +</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> +["The English Consul ... forced a physician upon me, and +in three days vomited and glystered me to the last gasp. In this +state I made my epitaph—take it."—Letter to Hodgson, October 3, +1810, <i>Letters</i>, 1898, i. 298.]</p></div> +</div> + +<h3>SUBSTITUTE FOR AN EPITAPH.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Kind</span> Reader! take your choice to cry or laugh;<br /></span> +<span class="i0">Here <span class="smcap">Harold</span> lies—but where's his Epitaph?<br /></span> +<span class="i0">If such you seek, try Westminster, and view<br /></span> +<span class="i0">Ten thousand just as fit for him as you.<br /></span> +</div> +</div> + +<p class="published"> + Athens, 1810.<br /> +[First published, <i>Lord Byron's Works</i>, 1832, ix. 4.] +</p> + + +<h3>EPITAPH FOR JOSEPH BLACKET, LATE +POET AND SHOEMAKER.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Stranger</span>! behold, interred together,<br /></span> +<span class="i0">The <i>souls</i> of learning and of leather.<br /></span> +<span class="i0">Poor Joe is gone, but left his <i>all</i>:<br /></span> +<span class="i0">You'll find his relics in a <i>stall</i>.<br /></span> +<span class="i0">His works were neat, and often found<br /></span> +<span class="i0">Well stitched, and with <i>morocco</i> bound.<br /></span> +<span class="i0">Tread lightly—where the bard is laid—<br /></span> +<span class="i0">He cannot mend the shoe he made;<br /></span> +<span class="i0">Yet is he happy in his hole,<br /></span> +<span class="i0">With verse immortal as his <i>sole</i>.<br /></span> +<span class="i0">But still to business he held fast,<br /></span> +<span class="i0">And stuck to Phoebus to the <i>last</i>.<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span><br /></span> +<span class="i0">Then who shall say so good a fellow<br /></span> +<span class="i0">Was only "leather and prunella?"<br /></span> +<span class="i0">For character—he did not lack it;<br /></span> +<span class="i0">And if he did, 'twere shame to "Black-it."<br /></span> +</div> +</div> + +<p class="published"> + Malta, <i>May</i> 16, 1811.<br /> +[First published, <i>Lord Byron's Works</i>, 1832, ix. 10.] +</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> +<a name="Note_011" id="Note_011"></a>[For Joseph Blacket (1786-1810), see <i>Letters</i>, 1898, i. 314, +note 2; see, too, <i>Poetical Works</i>, 1898, i. 359, note 1, and 441-443, +note 2. The <i>Epitaph</i> is of doubtful authenticity.] +</p></div> +</div> + +<h3>ON MOORE'S LAST OPERATIC FARCE, OR FARCICAL OPERA.<a name="FNanchor_18_19" id="FNanchor_18_19"></a><a href="#Footnote_18_19" class="fnanchor">[18]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i2"><span class="smcap">Good</span> plays are scarce,<br /></span> +<span class="i2">So Moore writes <i>farce</i>:<br /></span> +<span class="i0">The poet's fame grows brittle<a name="FNanchor_I_18" id="FNanchor_I_18"></a><a href="#Footnote_I_18" class="fnanchor">[i]</a>—<br /></span> +<span class="i2">We knew before<br /></span> +<span class="i2">That <i>Little</i>'s Moore,<br /></span> +<span class="i0">But now't is Moore that's <i>little</i>.<br /></span> +</div> +</div> + +<p class="published"> + <i>September</i> 14, 1811.<br /> +[First published, <i>Letters and Journals</i>, 1830, i. 295 (note).] +</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"> +<p><a name="Footnote_I_18" id="Footnote_I_18"></a><a href="#FNanchor_I_18"><span class="label">[i]</span></a> <a name="Note_012" id="Note_012"></a><i>Is fame like his so brittle</i>?—[<i>MS</i>.] +</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_18_19" id="Footnote_18_19"></a><a href="#FNanchor_18_19"><span class="label">[18]</span></a> +["On a leaf of one of his paper books I find an epigram, written +at this time, which, though not perhaps particularly good, I consider +myself bound to insert."—Moore, <i>Life</i>, p. 137, note 1. The +reference is to Moore's <i>M.P.; or, The Blue Stocking</i>, which was +played for the first time at the Lyceum Theatre, September 9, 1811. +For Moore's <i>nom de plume</i>, "The late Thomas Little, Esq.," compare +Praed's <i>The Belle of the Ball-Room</i>— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">"If those bright lips had quoted Locke,<br /></span> +<span class="i0">I might have thought they murmured Little."]<br /></span> +</div> +</div> +</div> + +</div> + +<h3>[R. C. DALLAS.]<a name="FNanchor_19_20" id="FNanchor_19_20"></a><a href="#Footnote_19_20" class="fnanchor">[19]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Yes</span>! wisdom shines in all his mien,<br /></span> +<span class="i0">Which would so captivate, I ween,<br /></span> +<span class="i2">Wisdom's own goddess Pallas;<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span><br /></span> +<span class="i0">That she'd discard her fav'rite owl,<br /></span> +<span class="i0">And take for pet a brother fowl,<br /></span> +<span class="i2">Sagacious R. C. Dallas.<br /></span> +</div> +</div> + +<p class="published">[First published, <i>Life, Writings, Opinions, etc.</i>, 1825, ii. 192.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_19_20" id="Footnote_19_20"></a><a href="#FNanchor_19_20"><span class="label">[19]</span></a> ["A person observing that Mr. Dallas looked very wise on a +certain occasion, his Lordship is said to have broke out into the +following impromptu."—<i>Life, Writings, Times, and Opinions of +Lord Byron</i>, 1825, ii. 191.] +</p></div> +</div> + +<h3>AN +ODE<a name="FNanchor_20_21" id="FNanchor_20_21"></a><a href="#Footnote_20_21" class="fnanchor">[20]</a> +TO THE FRAMERS OF THE FRAME BILL.<a name="FNanchor_21_22" id="FNanchor_21_22"></a><a href="#Footnote_21_22" class="fnanchor">[21]</a> +</h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">Oh</span> well done Lord E—— n! and better done R——r!<a name="FNanchor_22_23" id="FNanchor_22_23"></a><a href="#Footnote_22_23" class="fnanchor">[22]</a><br /></span> +<span class="i2">Britannia must prosper with councils like yours;<br /></span> +<span class="i0">Hawkesbury, Harrowby, help you to guide her,<br /></span> +<span class="i2">Whose remedy only must <i>kill</i> ere it cures:<br /></span> +<span class="i0">Those villains; the Weavers, are all grown refractory,<br /></span> +<span class="i2">Asking some succour for Charity's sake—<br /></span> +<span class="i0">So hang them in clusters round each Manufactory,<br /></span> +<span class="i2">That will at once put an end to <i>mistake</i>.<a name="FNanchor_23_24" id="FNanchor_23_24"></a><a href="#Footnote_23_24" class="fnanchor">[23]</a><br /></span> +<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">The rascals, perhaps, may betake them to robbing,<br /></span> +<span class="i2">The dogs to be sure have got nothing to eat—<br /></span> +<span class="i0">So if we can hang them for breaking a bobbin,<br /></span> +<span class="i2">'T will save all the Government's money and meat:<br /></span> +<span class="i0">Men are more easily made than machinery—<br /></span> +<span class="i2">Stockings fetch better prices than lives—<br /></span> +<span class="i0">Gibbets on Sherwood will heighten the scenery,<br /></span> +<span class="i2">Shewing how Commerce, how Liberty thrives!<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">Justice is now in pursuit of the wretches,<br /></span> +<span class="i2">Grenadiers, Volunteers, Bow-street Police,<br /></span> +<span class="i0">Twenty-two Regiments, a score of Jack Ketches,<br /></span> +<span class="i2">Three of the Quorum and two of the Peace;<br /></span> +<span class="i0">Some Lords, to be sure, would have summoned the Judges,<br /></span> +<span class="i2">To take their opinion, but that they ne'er shall,<br /></span> +<span class="i0">For <span class="smcap">Liverpool</span> such a concession begrudges,<br /></span> +<span class="i2">So now they're condemned by <i>no Judges</i> at all.<br /></span> +</div> + +<p>4.</p> + +<div class="stanza"> +<span class="i0">Some folks for certain have thought it was shocking,<br /></span> +<span class="i2">When Famine appeals and when Poverty groans,<br /></span> +<span class="i0">That Life should be valued at less than a stocking,<br /></span> +<span class="i2">And breaking of frames lead to breaking of bones.<br /></span> +<span class="i0">If it should prove so, I trust, by this token,<br /></span> +<span class="i2">(And who will refuse to partake in the hope?)<br /></span> +<span class="i0">That the frames of the fools may be first to be <i>broken</i>,<br /></span> +<span class="i2">Who, when asked for a <i>remedy</i>, sent down a <i>rope</i>.<br /></span> +</div> +</div> + +<p class="published">[First published, <i>Morning Chronicle, Monday, March</i> 2, 1812.]</p> + +<p class="published">[See a <i>Political Ode by Lord Byron, hitherto unknown as +his production</i>, London, John Pearson, 46, Pall +Mall, 1880, 8º. See, too, Mr. Pearson's prefatory Note, pp. 5, etc.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"> +<p><a name="Footnote_20_21" id="Footnote_20_21"></a><a href="#FNanchor_20_21"><span class="label">[20]</span></a> <a name="Note_013" id="Note_013"></a> +["<span class="smcap">Lord Byron to Editor of the <i>Morning Chronicle</i></span>. +</p> +<p> +Sir,—I take the liberty of sending an alteration of the two last +lines of stanza 2<sup>d</sup>, which I wish to run as follows:— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">'Gibbets on Sherwood will <i>heighten</i> the scenery,<br /></span> +<span class="i0">Shewing how commerce, <i>how</i> liberty thrives.'<br /></span> +</div> +</div> +<p> +I wish you could insert it tomorrow for a particular reason; but I +feel much obliged by your inserting it at all. Of course do <i>not</i> put +my name to the thing—believe me, +</p> +<p> +<span style="margin-left:11em;">Your obliged</span><br /> +<span style="margin-left:9em;">and very obedient servant,</span><br /> +<span style="margin-left:20em;">BYRON.</span> +</p><p> +8, St. James's Street,<br /> +<span style="margin-left:3em;"><i>Sunday</i>, <i>March</i> 1, 1812."]</span> +</p></div> + +<div class="footnote"><p><a name="Footnote_21_22" id="Footnote_21_22"></a><a href="#FNanchor_21_22"><span class="label">[21]</span></a> [For Byron's maiden speech in the House of Lords, February +27, 1812, see <i>Letters</i>, 1898, ii. 424-430.]</p></div> + +<div class="footnote"><p><a name="Footnote_22_23" id="Footnote_22_23"></a><a href="#FNanchor_22_23"><span class="label">[22]</span></a> [Richard Ryder (1766-1832), second son of the first Baron +Harrowby, was Home Secretary, 1809-12.]</p></div> + +<div class="footnote"><p><a name="Footnote_23_24" id="Footnote_23_24"></a><a href="#FNanchor_23_24"><span class="label">[23]</span></a> Lord E., on Thursday night, said the riots at Nottingham +arose from a "<i>mistake</i>."</p></div> +</div> + +<p><span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span></p> +<h3>TO THE HON<span style="vertical-align:super; font-size:50%; letter-spacing:1px;">BLE</span> M<span style="vertical-align:super; font-size:50%; letter-spacing:1px;">RS</span> GEORGE LAMB.<a name="FNanchor_24_25" id="FNanchor_24_25"></a><a href="#Footnote_24_25" class="fnanchor">[24]</a></h3> + +<div class="poem"> +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">The</span> sacred song that on mine ear<br /></span> +<span class="i1">Yet vibrates from that voice of thine,<br /></span> +<span class="i0">I heard, before, from one so dear—<br /></span> +<span class="i1">'T is strange it still appears divine.<br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">But, oh! so sweet that <i>look</i> and <i>tone</i><br /></span> +<span class="i1">To her and thee alike is given;<br /></span> +<span class="i0">It seemed as if for me alone<br /></span> +<span class="i1">That <i>both</i> had been recalled from Heaven!<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">And though I never can redeem<br /></span> +<span class="i1">The vision thus endeared to me;<br /></span> +<span class="i0">I scarcely can regret my dream,<br /></span> +<span class="i1">When realised again by thee.<br /></span> +</div> +</div> + +<p class="published">1812.<br /> +[First published in <i>The Two Duchesses</i>, by Vere Foster, 1898, p. 374.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_24_25" id="Footnote_24_25"></a><a href="#FNanchor_24_25"><span class="label">[24]</span></a> <a name="Note_015" id="Note_015"></a>[Caroline Rosalie Adelaide St. Jules (1786-1862) married, in +1809, the Hon. George Lamb (see <i>English Bards, etc</i>., line 55, +<i>Poetical Works</i>, 1898, i. 300, note 1), fourth son of the first Viscount +Melbourne.]</p></div> +</div> + +<h3>[LA REVANCHE.]</h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">There</span> is no more for me to hope,<br /></span> +<span class="i2">There is no more for thee to fear;<br /></span> +<span class="i0">And, if I give my Sorrow scope,<br /></span> +<span class="i2">That Sorrow thou shalt never hear.<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span><br /></span> +<span class="i2">Why did I hold thy love so dear?<br /></span> +<span class="i2">Why shed for such a heart one tear?<br /></span> +<span class="i0">Let deep and dreary silence be<br /></span> +<span class="i0">My only memory of thee!<br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">When all are fled who flatter now,<br /></span> +<span class="i2">Save thoughts which will not flatter then;<br /></span> +<span class="i0">And thou recall'st the broken vow<br /></span> +<span class="i2">To him who must not love again—<br /></span> +<span class="i2">Each hour of now forgotten years<br /></span> +<span class="i2">Thou, then, shalt number with thy tears;<br /></span> +<span class="i0">And every drop of grief shall be<br /></span> +<span class="i0">A vain remembrancer of me!<br /></span> +</div> +</div> + +<p class="published">Undated, ?1812.<br /> +[From an autograph MS. in the possession of Mr. Murray, now for the first time printed.]</p> + + +<h3>TO THOMAS MOORE.<br /> +<span style="font-size:70%;">WRITTEN THE EVENING BEFORE HIS VISIT TO MR. LEIGH +HUNT IN HORSEMONGER LANE GAOL, MAY 19, 1813.</span></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Oh</span> you, who in all names can tickle the town,<br /></span> +<span class="i0">Anacreon, Tom Little, Tom Moore, or Tom Brown,—<a name="FNanchor_25_26" id="FNanchor_25_26"></a><a href="#Footnote_25_26" class="fnanchor">[25]</a><br /></span> +<span class="i0">For hang me if I know of which you may most brag,<br /></span> +<span class="i0">Your Quarto two-pounds, or your Two-penny Post Bag;<br /></span> +<hr style='width: 45%;margin-left:2em;' /> +<span class="i0">But now to my letter—to <i>yours</i> 'tis an answer—<br /></span> +<span class="i0">To-morrow be with me, as soon as you can, sir,<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span><br /></span> +<span class="i0">All ready and dressed for proceeding to spunge on<br /></span> +<span class="i0">(According to compact) the wit in the dungeon—<a name="FNanchor_26_27" id="FNanchor_26_27"></a><a href="#Footnote_26_27" class="fnanchor">[26]</a><br /></span> +<span class="i0">Pray Phoebus at length our political malice<br /></span> +<span class="i0">May not get us lodgings within the same palace!<br /></span> +<span class="i0">I suppose that to-night you're engaged with some codgers,<br /></span> +<span class="i0">And for Sotheby's Blues<a name="FNanchor_27_28" id="FNanchor_27_28"></a><a href="#Footnote_27_28" class="fnanchor">[27]</a> have deserted Sam Rogers;<br /></span> +<span class="i0">And I, though with cold I have nearly my death got,<br /></span> +<span class="i0">Must put on my breeches, and wait on the Heathcote;<a name="FNanchor_28_29" id="FNanchor_28_29"></a><a href="#Footnote_28_29" class="fnanchor">[28]</a><br /></span> +<span class="i0">But to-morrow, at four, we will both play the <i>Scurra</i>,<br /></span> +<span class="i0">And you'll be Catullus, the Regent Mamurra.<a name="FNanchor_29_30" id="FNanchor_29_30"></a><a href="#Footnote_29_30" class="fnanchor">[29]</a><br /></span> +</div> +</div> + +<p class="published">[First published, <i>Letters and Journals</i>, 1830, i. 401.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_25_26" id="Footnote_25_26"></a><a href="#FNanchor_25_26"><span class="label">[25]</span></a> <a name="Note_016" id="Note_016"></a>[Moore's "<i>Intercepted Letters; or, The Twopenny Post-Bag</i>, +By Thomas Brown, the Younger," was published in 1813.]</p></div> + +<div class="footnote"><p><a name="Footnote_26_27" id="Footnote_26_27"></a><a href="#FNanchor_26_27"><span class="label">[26]</span></a> <a name="Note_017" id="Note_017"></a>[James Henry Leigh Hunt (1784-1859) was imprisoned +February, 1813, to February, 1815, for a libel on the Prince +Regent, published in the <i>Examiner</i>, March 12, 1812.—<i>Letters</i>, +1898, ii. 205-208, note 1.]</p></div> + +<div class="footnote"><p><a name="Footnote_27_28" id="Footnote_27_28"></a><a href="#FNanchor_27_28"><span class="label">[27]</span></a> [For "Sotheby's Blues," see Introduction to <i>The Blues, +Poetical Works</i>, 1901, iv. 570, <i>et ibid</i>., 579, 580.]</p></div> + +<div class="footnote"><p><a name="Footnote_28_29" id="Footnote_28_29"></a><a href="#FNanchor_28_29"><span class="label">[28]</span></a> [Katherine Sophia Manners was married in 1793 to Sir Gilbert +Heathcote. See <i>Letters</i>, 1898, ii. 402, 406.]</p></div> + +<div class="footnote"><p><a name="Footnote_29_30" id="Footnote_29_30"></a><a href="#FNanchor_29_30"><span class="label">[29]</span></a> [See <i>Catullus</i>, xxix. 1-4— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">"Quis hoc potest videre? quis potest pati,<br /></span> +<span class="i0">Nisi impudicus et vorax et aleo,<br /></span> +<span class="i0">Mamurram habere, quod Comata Gallia<br /></span> +<span class="i0">Habebat uncti et ultima Britannia?" etc.]<br /></span> +</div> +</div> +</div> +</div> + +<h3>ON LORD THURLOW'S POEMS.<a name="FNanchor_30_31" id="FNanchor_30_31"></a><a href="#Footnote_30_31" class="fnanchor">[30]</a></h3> + +<div class="poem"> + +<p>1.</p> + +<div class="stanza"> +<span class="i0"><span class="smcap">When</span> Thurlow this damned nonsense sent,<br /></span> +<span class="i0">(I hope I am not violent)<br /></span> +<span class="i0">Nor men nor gods knew what he meant.<br /></span> +<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">And since not even our Rogers' praise<br /></span> +<span class="i0">To common sense his thoughts could raise—<br /></span> +<span class="i0">Why <i>would</i> they let him print his lays?<br /></span> +</div> + +<p>3.</p> + +<hr style="margin-left:4em;" /> + +<p>4.<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span></p> + +<hr style="margin-left:4em;" /> + +<p>5.</p> + +<div class="stanza"> +<span class="i0">To me, divine Apollo, grant—O!<br /></span> +<span class="i0">Hermilda's<a name="FNanchor_31_32" id="FNanchor_31_32"></a><a href="#Footnote_31_32" class="fnanchor">[31]</a> first and second canto,<br /></span> +<span class="i0">I'm fitting up a new portmanteau;<br /></span> +</div> + +<p>6.</p> + +<div class="stanza"> +<span class="i0">And thus to furnish decent lining,<br /></span> +<span class="i0">My own and others' bays I'm twining,—<br /></span> +<span class="i0">So, gentle Thurlow, throw me thine in.<br /></span> +</div> +</div> +<p class="published"> + June 2, 1813.<br /> +[First published, <i>Letters and Journals</i>, 1830, i. 396.] +</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"> +<p><a name="Footnote_30_31" id="Footnote_30_31"></a><a href="#FNanchor_30_31"><span class="label">[30]</span></a> [One evening, in the late spring or early summer of 1813, +Byron and Moore supped on bread and cheese with Rogers. Their +host had just received from Lord Thurlow [Edward Hovell Thurlow, +1781-1829] a copy of his <i>Poems on Several Occasions</i> (1813), and +Byron lighted upon some lines to Rogers, "On the Poem of Mr. +<a name="Note_018" id="Note_018"></a>Rogers, entitled 'An Epistle to a Friend.'" The first stanza ran thus— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">"When Rogers o'er this labour bent,<br /></span> +<span class="i0">Their purest fire the Muses lent,<br /></span> +<span class="i0">T' illustrate this sweet argument."<br /></span> +</div> +</div> +<p> +"Byron," says Moore, "undertook to read it aloud;—but he +found it impossible to get beyond the first two words. Our laughter +had now increased to such a pitch that nothing could restrain it. +Two or three times he began; but no sooner had the words 'When +Rogers' passed his lips, than our fit burst forth afresh,—till even Mr. +Rogers himself ... found it impossible not to join us. A day or two +after, Lord Byron sent me the following:—'My dear Moore, +"When Rogers" must not see the enclosed, which I send for your +perusal.'"—<i>Life</i>, p. 181; <i>Letters</i>, 1898, ii. 211-213, note 1.] +</p><p> +Thurlow's poems are by no means contemptible. A sonnet, "To +a Bird, that haunted the Water of Lacken, in the Winter," which +Charles Lamb transcribed in one of Coleridge's note-books, should +be set over against the absurd lines, "On the Poems of Mr. Rogers." +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">"O melancholy bird, a winter's day<br /></span> +<span class="i2">Thou standest by the margin of the pool;<br /></span> +<span class="i2">And, taught by God, dost thy whole being school<br /></span> +<span class="i0">To Patience, which all evil can allay:<br /></span> +<span class="i0">God has appointed thee the fish thy prey;<br /></span> +<span class="i2">And giv'n thyself a lesson to the fool<br /></span> +<span class="i2">Unthrifty, to submit to moral rule,<br /></span> +<span class="i0">And his unthinking course by thee to weigh.<br /></span> +<span class="i2">There need not schools nor the professor's chair,<br /></span> +<span class="i0">Though these be good, true wisdom to impart;<br /></span> +<span class="i2">He, who has not enough for these to spare<br /></span> +<span class="i0">Of time, or gold, may yet amend his heart,<br /></span> +<span class="i2">And teach his soul by brooks and rivers fair,<br /></span> +<span class="i0">Nature is always wise in every part."<br /></span> +</div> +</div> +<p class="published"> +<i>Select Poems</i>, 1821, p. 90.<br /> +[See "Fragments of Criticism," <i>Works of Charles Lamb</i>, 1903, iii. 284.] +</p> +</div> + +<div class="footnote"><p><a name="Footnote_31_32" id="Footnote_31_32"></a><a href="#FNanchor_31_32"><span class="label">[31]</span></a> <a name="Note_019" id="Note_019"></a>[<i>Hermilda in Palestine</i> was published in 1812, in quarto, and +twice reissued in 1813, as part of <i>Poems on Various Occasions</i> (8vo). +The Lines upon Rogers' <i>Epistle to a Friend</i> appeared first in the +<i>Gentleman's Magazine</i> for April, 1813, vol. 83, p. 357, and were +reprinted in the second edition of <i>Poems, etc.</i>, 1813, pp. 162, 163. +The lines in italics, which precede each stanza, are taken from +the last stanza of Lord Thurlow's poem.]</p></div> +</div> + +<h3>TO LORD THURLOW.<a name="FNanchor_32_33" id="FNanchor_32_33"></a><a href="#Footnote_32_33" class="fnanchor">[32]</a></h3> + +<div class="poem"> + +<p>1.</p> + +<div class="stanza"> +<span class="i3">"<i>I lay my branch of laurel down</i>."<br /></span> +<span class="i0">"<span class="smcap"><i>Thou</i></span> lay thy branch of <i>laurel</i> down!"<br /></span> +<span class="i2">Why, what thou'st stole is not enow;<br /></span> +<span class="i0">And, were it lawfully thine own,<br /></span> +<span class="i2">Does Rogers want it most, or thou?<br /></span> +<span class="i0">Keep to thyself thy withered bough,<br /></span> +<span class="i2">Or send it back to Doctor Donne:<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span><a name="FNanchor_33_34" id="FNanchor_33_34"></a><a href="#Footnote_33_34" class="fnanchor">[33]</a><br /></span> +<span class="i0">Were justice done to both, I trow,<br /></span> +<span class="i2">He'd have but little, and thou—none.<br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i3">"<i>Then, thus, to form Apollo's crown</i>."<br /></span> +<span class="i0">A crown! why, twist it how you will,<br /></span> +<span class="i0">Thy chaplet must be foolscap still.<br /></span> +<span class="i0">When next you visit Delphi's town,<br /></span> +<span class="i2">Enquire amongst your fellow-lodgers,<br /></span> +<span class="i0">They'll tell you Phoebus gave his crown,<br /></span> +<span class="i2">Some years before your birth, to Rogers.<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i3">"<i>Let every other bring his own</i>."<br /></span> +<span class="i0">When coals to Newcastle are carried,<br /></span> +<span class="i2">And owls sent to Athens, as wonders,<br /></span> +<span class="i0">From his spouse when the Regent's unmarried,<br /></span> +<span class="i2">Or Liverpool weeps o'er his blunders;<br /></span> +<span class="i0">When Tories and Whigs cease to quarrel,<br /></span> +<span class="i2">When Castlereagh's wife has an heir,<br /></span> +<span class="i0">Then Rogers shall ask us for laurel,<br /></span> +<span class="i2">And thou shalt have plenty to spare.<br /></span> +</div> +</div> + +<p class="published">[First published, <i>Letters and Journals</i>, 1830, i. 397.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_32_33" id="Footnote_32_33"></a><a href="#FNanchor_32_33"><span class="label">[32]</span></a> ["On the same day I received from him the following additional +scraps ['To Lord Thurlow']. The lines in Italics are from the +eulogy that provoked his waggish comments."—<i>Life</i>, p. 181. The +last stanza of Thurlow's poem supplied the text— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">"Then, thus, to form Apollo's crown,<br /></span> +<span class="i0">(Let ev'ry other bring his own,)<br /></span> +<span class="i0">I lay my branch of laurel down."]<br /></span> +</div> +</div> +</div> + +<div class="footnote"><p><a name="Footnote_33_34" id="Footnote_33_34"></a><a href="#FNanchor_33_34"><span class="label">[33]</span></a> [Lord Thurlow affected an archaic style in his Sonnets +and other verses. In the Preface to the second edition of <i>Poems, etc.</i>, +he writes, "I think that our Poetry has been continually declining +since the days of Milton and Cowley ... and that the +golden age of our language is in the reign of Queen Elizabeth."]</p></div> +</div> + +<p><span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span></p> +<h3>THE DEVIL'S DRIVE.<a name="FNanchor_II_35" id="FNanchor_II_35"></a><a href="#Footnote_II_35" class="fnanchor">[ii]</a><a name="FNanchor_34_36" id="FNanchor_34_36"></a><a href="#Footnote_34_36" class="fnanchor">[34]</a></h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">The</span> Devil returned to Hell by two,<br /></span> +<span class="i2">And he stayed at home till five;<br /></span> +<span class="i0">When he dined on some homicides done in <i>ragoût</i>,<br /></span> +<span class="i2">And a rebel or so in an <i>Irish</i> stew,<br /></span> +<span class="i0">And sausages made of a self-slain Jew,<br /></span> +<span class="i0">And bethought himself what next to do,<br /></span> +<span class="i2">"And," quoth he, "I'll take a drive.<br /></span> +<span class="i0">I walked in the morning, I'll ride to-night;<br /></span> +<span class="i0">In darkness my children take most delight,<br /></span> +<span class='linenum'>10</span><span class="i2">And I'll see how my favourites thrive.<br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">"And what shall I ride in?" quoth Lucifer, then—<br /></span> +<span class="i2">"If I followed my taste, indeed,<br /></span> +<span class="i0">I should mount in a waggon of wounded men,<br /></span> +<span class="i2">And smile to see them bleed.<br /></span> +<span class="i0">But these will be furnished again and again,<br /></span> +<span class="i2">And at present my purpose is speed;<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span><br /></span> +<span class="i0">To see my manor as much as I may,<br /></span> +<span class="i0">And watch that no souls shall be poached away.<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">"I have a state-coach at Carlton House,<br /></span> +<span class='linenum'>20</span><span class="i2">A chariot in Seymour-place;<a name="FNanchor_35_37" id="FNanchor_35_37"></a><a href="#Footnote_35_37" class="fnanchor">[35]</a><br /></span> +<span class="i0">But they're lent to two friends, who make me amends<br /></span> +<span class="i2">By driving my favourite pace:<br /></span> +<span class="i0">And they handle their reins with such a grace,<br /></span> +<span class="i0">I have something for both at the end of the race.<br /></span> +</div> + +<p>4.</p> + +<div class="stanza"> +<span class="i0">"So now for the earth to take my chance,"<br /></span> +<span class="i2">Then up to the earth sprung he;<br /></span> +<span class="i0">And making a jump from Moscow to France,<br /></span> +<span class="i2">He stepped across the sea,<br /></span> +<span class="i0">And rested his hoof on a turnpike road,<br /></span> +<span class='linenum'>30</span><span class="i0">No very great way from a Bishop's abode.<a name="FNanchor_36_38" id="FNanchor_36_38"></a><a href="#Footnote_36_38" class="fnanchor">[36]</a><br /></span> +</div> + +<p>5.</p> + +<div class="stanza"> +<span class="i0">But first as he flew, I forgot to say,<br /></span> +<span class="i0">That he hovered a moment upon his way,<br /></span> +<span class="i2">To look upon Leipsic plain;<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span><br /></span> +<span class="i0">And so sweet to his eye was its sulphury glare,<br /></span> +<span class="i0">And so soft to his ear was the cry of despair,<br /></span> +<span class="i2">That he perched on a mountain of slain;<br /></span> +<span class="i0">And he gazed with delight from its growing height,<br /></span> +<span class="i0">Nor often on earth had he seen such a sight,<br /></span> +<span class="i2">Nor his work done half as well:<br /></span> +<span class='linenum'>40</span><span class="i0">For the field ran so red with the blood of the dead,<br /></span> +<span class="i2">That it blushed like the waves of Hell!<br /></span> +<span class="i0">Then loudly, and wildly, and long laughed he:<br /></span> +<span class="i0">"Methinks they have little need here of <i>me</i>!"<br /></span> +</div> + +<p>6.</p> + +<div class="stanza"> +<span class="i0">Long he looked down on the hosts of each clime,<br /></span> +<span class="i2">While the warriors hand to hand were—<br /></span> +<span class="i0">Gaul—Austrian and Muscovite heroes sublime,<br /></span> +<span class="i0">And—(Muse of Fitzgerald arise with a rhyme!)<br /></span> +<span class="i2">A quantity of <i>Landwehr</i>!<a name="FNanchor_37_39" id="FNanchor_37_39"></a><a href="#Footnote_37_39" class="fnanchor">[37]</a><br /></span> +<span class="i4">Gladness was there,<br /></span> +<span class='linenum'>50</span><span class="i0">For the men of all might and the monarchs of earth,<br /></span> +<span class="i0">There met for the wolf and the worm to make mirth,<br /></span> +<span class="i2">And a feast for the fowls of the Air!<br /></span> +</div> + +<p>7.</p> + +<div class="stanza"> +<span class="i0">But he turned aside and looked from the ridge<br /></span> +<span class="i2">Of hills along the river,<br /></span> +<span class="i0">And the best thing he saw was a broken bridge,<a name="FNanchor_38_40" id="FNanchor_38_40"></a><a href="#Footnote_38_40" class="fnanchor">[38]</a><br /></span> +<span class="i2">Which a Corporal chose to shiver;<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span><br /></span> +<span class="i0">Though an Emperor's taste was displeased with his haste,<br /></span> +<span class="i2">The Devil he thought it clever;<br /></span> +<span class="i0">And he laughed again in a lighter strain,<br /></span> +<span class='linenum'>60</span><span class="i2">O'er the torrent swoln and rainy,<br /></span> +<span class="i0">When he saw "on a fiery steed" Prince Pon,<br /></span> +<span class="i0">In taking care of Number <i>One</i>—<br /></span> +<span class="i2">Get drowned with a great <i>many</i>!<br /></span> +</div> + +<p>8.</p> + +<div class="stanza"> +<span class="i0">But the softest note that soothed his ear<br /></span> +<span class="i2">Was the sound of a widow sighing;<br /></span> +<span class="i0">And the sweetest sight was the icy tear,<br /></span> +<span class="i0">Which Horror froze in the blue eye clear<br /></span> +<span class="i2">Of a maid by her lover lying—<br /></span> +<span class="i0">As round her fell her long fair hair,<br /></span> +<span class='linenum'>70</span><span class="i0">And she looked to Heaven with that frenzied air<br /></span> +<span class="i0">Which seemed to ask if a God were there!<br /></span> +<span class="i0">And stretched by the wall of a ruined hut,<br /></span> +<span class="i0">With its hollow cheek, and eyes half shut,<br /></span> +<span class="i2">A child of Famine dying:<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span><br /></span> +<span class="i0">And the carnage <i>begun</i>, when <i>resistance</i> is done,<br /></span> +<span class="i2">And the fall of the vainly flying!<br /></span> +</div> + +<p>9.</p> + +<div class="stanza"> +<span class="i0">Then he gazed on a town by besiegers taken,<br /></span> +<span class="i2">Nor cared he who were winning;<br /></span> +<span class="i0">But he saw an old maid, for years forsaken,<br /></span> +<span class='linenum'>80</span><span class="i2">Get up and leave her spinning;<br /></span> +<span class="i0">And she looked in her glass, and to one that did pass,<br /></span> +<span class="i2">She said—"pray are the rapes beginning?"<a name="FNanchor_39_41" id="FNanchor_39_41"></a><a href="#Footnote_39_41" class="fnanchor">[39]</a><br /></span> +</div> + +<p>10.</p> + +<div class="stanza"> +<span class="i0">But the Devil has reached our cliffs so white,<br /></span> +<span class="i2">And what did he there, I pray?<br /></span> +<span class="i0">If his eyes were good, he but saw by night<br /></span> +<span class="i2">What we see every day;<br /></span> +<span class="i0">But he made a tour and kept a journal<br /></span> +<span class="i0">Of all the wondrous sights nocturnal,<br /></span> +<span class="i0">And he sold it in shares to the <i>Men</i> of the <i>Row</i>,<br /></span> +<span class='linenum'>90</span><span class="i0">Who bid pretty well—but they <i>cheated</i> him, though!<br /></span> +</div> + +<p>11.</p> + +<div class="stanza"> +<span class="i0">The Devil first saw, as he thought, the <i>Mail</i>,<br /></span> +<span class="i2">Its coachman and his coat;<br /></span> +<span class="i0">So instead of a pistol he cocked his tail,<br /></span> +<span class="i2">And seized him by the throat;<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span><br /></span> +<span class="i0">"Aha!" quoth he, "what have we here?<br /></span> +<span class="i0">'T is a new barouche, and an ancient peer!"<a name="FNanchor_40_42" id="FNanchor_40_42"></a><a href="#Footnote_40_42" class="fnanchor">[40]</a><br /></span> +</div> + +<p>12.</p> + +<div class="stanza"> +<span class="i0">So he sat him on his box again,<br /></span> +<span class="i2">And bade him have no fear,<br /></span> +<span class="i0">But be true to his club, and staunch to his rein,<br /></span> +<span class='linenum'>100</span><span class="i2">His brothel and his beer;<br /></span> +<span class="i0">"Next to seeing a Lord at the Council board,<br /></span> +<span class="i0">I would rather see him here."<br /></span> +</div> + +<p>13.</p> + +<div class="stanza"> +<span class="i0">Satan hired a horse and gig<br /></span> +<span class="i2">With promises to pay;<br /></span> +<span class="i0">And he pawned his horns for a spruce new wig,<br /></span> +<span class="i2">To redeem as he came away:<br /></span> +<span class="i0">And he whistled some tune, a waltz or a jig,<br /></span> +<span class="i2">And drove off at the close of day.<br /></span> +</div> + +<p>14.</p> + +<div class="stanza"> +<span class="i0">The first place he stopped at—he heard the Psalm<br /></span> +<span class='linenum'>110</span><span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span><span class="i2">That rung from a Methodist Chapel:<br /></span> +<span class="i0">"'T is the best sound I've heard," quoth he, "since my palm<br /></span> +<span class="i2">Presented Eve her apple!<br /></span> +<span class="i0">When <i>Faith</i> is all, 't is an excellent sign,<br /></span> +<span class="i0">That the <i>Works</i> and Workmen both are mine."<br /></span> +</div> + +<p>15.</p> + +<div class="stanza"> +<span class="i0">He passed Tommy Tyrwhitt,<a name="FNanchor_41_43" id="FNanchor_41_43"></a><a href="#Footnote_41_43" class="fnanchor">[41]</a> that standing jest,<br /></span> +<span class="i2">To princely wit a Martyr:<br /></span> +<span class="i0">But the last joke of all was by far the best,<br /></span> +<span class="i2">When he sailed away with "the Garter"!<br /></span> +<span class="i0">"And"—quoth Satan—"this Embassy's worthy my sight,<br /></span> +<span class='linenum'>120</span><span class="i0">Should I see nothing else to amuse me to night.<br /></span> +<span class="i0">With no one to bear it, but Thomas à Tyrwhitt,<br /></span> +<span class="i0">This ribband belongs to an 'Order of Merit'!"<br /></span> +</div> + +<p>16.</p> + +<div class="stanza"> +<span class="i0">He stopped at an Inn and stepped within<br /></span> +<span class="i2">The Bar and read the "Times;"<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span><br /></span> +<span class="i0">And never such a treat, as—the epistle of one "Vetus,"<a name="FNanchor_42_44" id="FNanchor_42_44"></a><a href="#Footnote_42_44" class="fnanchor">[42]</a><br /></span> +<span class="i2">Had he found save in downright crimes:<br /></span> +<span class="i0">"Though I doubt if this drivelling encomiast of War<br /></span> +<span class="i0">Ever saw a field fought, or felt a scar,<br /></span> +<span class="i0">Yet his fame shall go farther than he can guess,<br /></span> +<span class='linenum'>130</span><span class="i0">For I'll keep him a place in my <i>hottest Press</i>;<br /></span> +<span class="i0">And his works shall be bound in Morocco <i>d'Enfer</i>,<br /></span> +<span class="i0">And lettered behind with his <i>Nom de Guerre</i>."<br /></span> +</div> + +<p>17.</p> + +<div class="stanza"> +<span class="i0">The Devil gat next to Westminster,<br /></span> +<span class="i2">And he turned to "the room" of the Commons;<br /></span> +<span class="i0">But he heard as he purposed to enter in there,<br /></span> +<span class="i2">That "the Lords" had received a summons;<br /></span> +<span class="i0">And he thought, as "a <i>quondam</i> Aristocrat,"<br /></span> +<span class="i0">He might peep at the Peers, though to <i>hear</i> them were flat;<br /></span> +<span class="i0">And he walked up the House so like one of his own,<br /></span> +<span class='linenum'>140</span><span class="i0">That they say that he stood pretty near the throne.<br /></span> +</div> + +<p>18.</p> + +<div class="stanza"> +<span class="i0">He saw the Lord Liverpool seemingly wise,<br /></span> +<span class="i2">The Lord Westmoreland certainly silly,<br /></span> +<span class="i0">And Jockey of Norfolk—a man of some size—<br /></span> +<span class="i2">And Chatham, so like his friend Billy;<span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span><a name="FNanchor_43_45" id="FNanchor_43_45"></a><a href="#Footnote_43_45" class="fnanchor">[43]</a><br /></span> +<span class="i0">And he saw the tears in Lord Eldon's eyes,<br /></span> +<span class="i2">Because the Catholics would <i>not</i> rise,<br /></span> +<span class="i2">In spite of his prayers and his prophecies;<br /></span> +<span class="i0">And he heard—which set Satan himself a staring—<br /></span> +<span class="i0">A certain Chief Justice say something like <i>swearing</i>.<a name="FNanchor_44_46" id="FNanchor_44_46"></a><a href="#Footnote_44_46" class="fnanchor">[44]</a><br /></span> +<span class="i0">And the Devil was shocked—and quoth he, "I must go,<br /></span> +<span class='linenum'>151</span><span class="i0">For I find we have much better manners below.<br /></span> +<span class="i0">If thus he harangues when he passes my border,<br /></span> +<span class="i0">I shall hint to friend Moloch to call him to order."<br /></span> +</div> + +<p>19.</p> + +<div class="stanza"> +<span class="i0">Then the Devil went down to the humbler House,<br /></span> +<span class="i2">Where he readily found his way<br /></span> +<span class="i0">As natural to him as its hole to a Mouse,<br /></span> +<span class="i2">He had been there many a day;<br /></span> +<span class="i0">And many a vote and soul and job he<br /></span> +<span class="i2">Had bid for and carried away from the Lobby:<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span><br /></span> +<span class="i0">But there now was a "call" and accomplished debaters<br /></span> +<span class='linenum'>161</span><span class="i0">Appeared in the glory of hats, boots and gaiters—<br /></span> +<span class="i0"><i>Some</i> paid rather more—but <i>all</i> worse dressed than Waiters!<br /></span> +</div> + +<p>20.</p> + +<div class="stanza"> +<span class="i0">There was Canning for War, and Whitbread for peace,<br /></span> +<span class="i2">And others as suited their fancies;<br /></span> +<span class="i0">But all were agreed that our debts should increase<br /></span> +<span class="i2">Excepting the Demagogue Francis.<br /></span> +<span class="i0">That rogue! how could Westminster chuse him again<br /></span> +<span class="i2">To leaven the virtue of these honest men!<br /></span> +<span class="i0">But the Devil remained till the Break of Day<br /></span> +<span class='linenum'>170</span><span class="i2">Blushed upon Sleep and Lord Castlereagh:<a name="FNanchor_45_47" id="FNanchor_45_47"></a><a href="#Footnote_45_47" class="fnanchor">[45]</a><br /></span> +<span class="i0">Then up half the house got, and Satan got up<br /></span> +<span class="i2">With the drowsy to snore—or the hungry to sup:—<br /></span> +<span class="i0">But so torpid the power of some speakers, 't is said,<br /></span> +<span class="i0">That they sent even him to his brimstone bed.<br /></span> +</div> + +<p>21.</p> + +<div class="stanza"> +<span class="i0">He had seen George Rose—but George was grown dumb,<br /></span> +<span class="i2">And only lied in thought!<a name="FNanchor_46_48" id="FNanchor_46_48"></a><a href="#Footnote_46_48" class="fnanchor">[46]</a><br /></span> +<span class="i0">And the Devil has all the pleasure to come<br /></span> +<span class="i2">Of hearing him talk as he ought.<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span><br /></span> +<span class="i0">With the falsest of tongues, the sincerest of men—<br /></span> +<span class='linenum'>180</span><span class="i2">His veracity were but deceit—<br /></span> +<span class="i0">And Nature must first have unmade him again,<br /></span> +<span class="i0">Ere his breast or his face, or his tongue, or his pen,<br /></span> +<span class="i0">Conceived—uttered—looked—or wrote down letters ten,<br /></span> +<span class="i2">Which Truth would acknowledge complete.<br /></span> +</div> + +<p>22.</p> + +<div class="stanza"> +<span class="i0">Satan next took the army list in hand,<br /></span> +<span class="i2">Where he found a new "Field Marshal;"<br /></span> +<span class="i0">And when he saw this high command<br /></span> +<span class="i2">Conferred on his Highness of Cumberland,<a name="FNanchor_47_49" id="FNanchor_47_49"></a><a href="#Footnote_47_49" class="fnanchor">[47]</a><br /></span> +<span class="i0">"Oh! were I prone to cavil—or were I not the Devil,<br /></span> +<span class='linenum'>190</span><span class="i2">I should say this was somewhat partial;<br /></span> +<span class="i0">Since the only wounds that this Warrior gat,<br /></span> +<span class="i0">Were from God knows whom—and the Devil knows what!"<br /></span> +</div> + +<p>23.</p> + +<div class="stanza"> +<span class="i0">He then popped his head in a royal Ball,<br /></span> +<span class="i2">And saw all the Haram so hoary;<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span><br /></span> +<span class="i0">And who there besides but Corinna de Staël!<a name="FNanchor_48_50" id="FNanchor_48_50"></a><a href="#Footnote_48_50" class="fnanchor">[48]</a><br /></span> +<span class="i2">Turned Methodist and Tory!<br /></span> +<span class="i0">"Aye—Aye"—quoth he—"'t is the way with them all,<br /></span> +<span class="i2">When Wits grow tired of Glory:<br /></span> +<span class="i0">But thanks to the weakness, that thus could pervert her,<br /></span> +<span class='linenum'>200</span><span class="i0">Since the dearest of prizes to me's a deserter:<br /></span> +<span class="i0"><i>Mem</i>—whenever a sudden conversion I want,<br /></span> +<span class="i0">To send to the school of Philosopher Kant;<br /></span> +<span class="i0">And whenever I need a critic who can gloss over<br /></span> +<span class="i0">All faults—to send for Mackintosh to write up the Philosopher."<a name="FNanchor_49_51" id="FNanchor_49_51"></a><a href="#Footnote_49_51" class="fnanchor">[49]</a><br /></span> +</div> + +<p>24.</p> + +<div class="stanza"> +<span class="i0">The Devil waxed faint at the sight of this Saint,<br /></span> +<span class="i2">And he thought himself of eating;<br /></span> +<span class="i0">And began to cram from a plate of ham<br /></span> +<span class="i2">Wherewith a Page was retreating—<br /></span> +<span class="i0">Having nothing else to do (for "the friends" each so near<br /></span> +<span class='linenum'>210</span><span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span><span class="i2">Had sold all their souls long before),<br /></span> +<span class="i0">As he swallowed down the bacon he wished himself a Jew<br /></span> +<span class="i2">For the sake of another crime more:<br /></span> +<span class="i0">For Sinning itself is but half a recreation,<br /></span> +<span class="i0">Unless it ensures most infallible Damnation.<br /></span> +</div> + +<p>25.</p> + +<div class="stanza"> +<span class="i0">But he turned him about, for he heard a sound<br /></span> +<span class="i2">Which even his ear found faults in;<br /></span> +<span class="i0">For whirling above—underneath—and around—<br /></span> +<span class="i2">Were his fairest Disciples Waltzing!<a name="FNanchor_50_52" id="FNanchor_50_52"></a><a href="#Footnote_50_52" class="fnanchor">[50]</a><br /></span> +<span class="i0">And quoth he—"though this be—the <i>premier pas</i> to me,<br /></span> +<span class='linenum'>220</span><span class="i2">Against it I would warn all—<br /></span> +<span class="i0">Should I introduce these revels among my younger devils,<br /></span> +<span class="i2">They would all turn perfectly carnal:<br /></span> +<span class="i0">And though fond of the flesh—yet I never could bear it<br /></span> +<span class="i0">Should quite in my kingdom get the upper hand of Spirit."<br /></span> +</div> + +<p>26.</p> + +<div class="stanza"> +<span class="i0">The Devil (but 't was over) had been vastly glad<br /></span> +<span class="i2">To see the new Drury Lane,<br /></span> +<span class="i0">And yet he might have been rather mad<br /></span> +<span class="i2">To see it rebuilt in vain;<br /></span> +<span class="i0">And had he beheld their "Nourjahad,"<a name="FNanchor_51_53" id="FNanchor_51_53"></a><a href="#Footnote_51_53" class="fnanchor">[51]</a><br /></span> +<span class='linenum'>230</span><span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span><span class="i2">Would never have gone again:<br /></span> +<span class="i0">And Satan had taken it much amiss,<br /></span> +<span class="i0">They should fasten such a piece on a friend of his—<br /></span> +<span class="i0">Though he knew that his works were somewhat sad,<br /></span> +<span class="i0">He never had found them <i>quite</i> so bad:<br /></span> +<span class="i0">For this was "the book" which, of yore, Job, sorely smitten,<br /></span> +<span class="i0">Said, "Oh that <i>mine</i> enemy, <i>mine</i> enemy had written"!<br /></span> +</div> + +<p>27.</p> + +<div class="stanza"> +<span class="i0">Then he found sixty scribblers in separate cells,<a name="FNanchor_52_54" id="FNanchor_52_54"></a><a href="#Footnote_52_54" class="fnanchor">[52]</a><br /></span> +<span class="i2">And marvelled what they were doing,<br /></span> +<span class="i0">For they looked like little fiends in their own little hells,<br /></span> +<span class='linenum'>240</span><span class="i2">Damnation for others brewing—<br /></span> +<span class="i0">Though their paper seemed to shrink, from the heat of their ink,<br /></span> +<span class="i2">They were only <i>coolly</i> reviewing!<br /></span> +<span class="i0">And as one of them wrote down the pronoun "<i>We</i>,"<br /></span> +<span class="i2">"That Plural"—says Satan—"means <i>him</i> and <i>me</i>,<br /></span> +<span class="i0">With the Editor added to make up the three<br /></span> +<span class="i0">Of an Athanasian Trinity,<br /></span> +<span class="i0">And render the believers in our 'Articles' sensible,<br /></span> +<span class="i0">How many must combine to form <i>one</i> Incomprehensible"!<br /></span> +</div> +</div> + +<p class="published"><i>December</i> 9, 1813.<br /> +[Stanzas 1, 2, 3, 4, 5, 8, 10, 11, 12, 17, 18, first published, +<i>Letters and Journals</i>, 1830, i. 471-474: stanzas 6, 7, +9, 13, 14, 15, 16, 19-27, now published for the first +time from an autograph MS. in the possession of the +Earl of Ilchester.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_II_35" id="Footnote_II_35"></a><a href="#FNanchor_II_35"><span class="label">[ii]</span></a> <a name="Note_021" id="Note_021"></a>The Devil's Drive. <i>A Sequel to Porson's</i> +Devil's Walk.—[MS. H.]</p></div> + +<div class="footnote"><p><a name="Footnote_34_36" id="Footnote_34_36"></a><a href="#FNanchor_34_36"><span class="label">[34]</span></a> ["I have lately written a wild, rambling, unfinished rhapsody, +called 'The Devil's Drive,' the notion of which I took from Porson's +<i>Devil's Walk</i>."—<i>Journal</i>, December 17, 18, 1813, <i>Letters</i>, +1898, ii. 378. "Though with a good deal of vigour and imagination, it is," +says Moore, "for the most part rather clumsily executed, wanting +the point and condensation of those clever verses of Coleridge and +Southey, which Lord Byron, adopting a notion long prevalent, has +attributed to Porson." The <i>Devil's Walk</i> was published in the +<i>Morning Post</i>, September 6, 1799. It has been published under +Porson's name (1830, ed. H. Montague, illustrated by Cruikshank). +(See <i>Poetical Works</i>, 1898, i. 30, note 1.)]</p></div> + +<div class="footnote"><p><a name="Footnote_35_37" id="Footnote_35_37"></a><a href="#FNanchor_35_37"><span class="label">[35]</span></a> <a name="Note_022" id="Note_022"></a>[Lord Yarmouth, nicknamed "Red Herrings," the eldest son +of the Regent's elderly favourite, the Marchioness of Hertford (the +"Marchesa" of the <i>Twopenny Post-Bag</i>), lived at No. 7, Seamore +Place, Mayfair. Compare Moore's "Epigram:" "'I want the +Court Guide,' said my lady, 'to look If the House, Seymour Place, +be at 30 or 20,'" etc.—<i>Poetical Works</i>, 1850, p. 165.]</p></div> + +<div class="footnote"><p><a name="Footnote_36_38" id="Footnote_36_38"></a><a href="#FNanchor_36_38"><span class="label">[36]</span></a> [The allusion may be to a case which was before the courts, +the Attorney-General <i>v</i>. William Carver and Brownlow Bishop of +Winchester (see <i>Morning Chronicle</i>, November 17, 1813). Carver +held certain premises under the Bishop of Winchester, at the +entrance of Portsmouth Harbour, which obstructed the efflux and +reflux of the tide. "The fact," said Mr. Serjeant Lens, in opening +the case for the Crown, "was of great magnitude to the entire +nation, since it effected the security, and even the existence of one +of the principal harbours of Great Britain."]</p></div> + +<div class="footnote"><p><a name="Footnote_37_39" id="Footnote_37_39"></a><a href="#FNanchor_37_39"><span class="label">[37]</span></a> <a name="Note_023" id="Note_023"></a>[The Russian and Austrian troops at the battle of Leipsic, +October 16, 1813, were, for the most part, veterans, while the +Prussian contingent included a large body of militia.]</p></div> + +<div class="footnote"><p><a name="Footnote_38_40" id="Footnote_38_40"></a><a href="#FNanchor_38_40"><span class="label">[38]</span></a> [For the incident of the "broken bridge" Byron was indebted +to the pages of the <i>Morning Chronicle</i> of November 8, 1813, "Paris +Papers, October 30"— +</p><p> +"The Emperor had ordered the engineers to form fougades under +the grand bridge which is between Leipsic and Lindenau, in order +to blow it up at the latest moment, and thus to retard the march +of the enemy and give time to our baggage to file off. General +<a name="Note_024" id="Note_024"></a>Dulauloy had entrusted the operation to Colonel Montford. The +Colonel, instead of remaining on the spot to direct it, and to give +the signal, ordered a corporal and four sappers to blow up the +bridge the instant the enemy should appear. The corporal, an +ignorant fellow, and ill comprehending the nature of the duty with +which he was charged, upon hearing the first shot discharged from +the ramparts of the city, set fire to the fougades and blew up the +bridge. A part of the army was still on the other side, with a park +of 80 pieces of artillery and some hundreds of waggons. The +advance of this part of the army, who were approaching the bridge, +seeing it blow up, conceived it was in the power of the enemy. A +cry of dismay spread from rank to rank. 'The enemy are close +upon our rear, and the bridges are destroyed!' The unfortunate +soldiers dispersed, and endeavoured to effect their escape as well as +they could. The Duke of Tarentum swam across the river. Prince +Poniatowsky, mounted on a spirited horse, darted into the water +and appeared no more. The Emperor was not informed of this +disaster until it was too late to remedy it.... Colonel Montfort +and the corporal of the sappers have been handed over to a court- +martial."] +</p></div> + +<div class="footnote"><p><a name="Footnote_39_41" id="Footnote_39_41"></a><a href="#FNanchor_39_41"><span class="label">[39]</span></a> <a name="Note_025" id="Note_025"></a>[Compare <i>Don Juan</i>, Canto VIII. stanza cxxxii. line 4. Sir +Walter Scott (<i>Journal</i>, October 30, 1826 [1890, i. 288]), tells the +same story of "an old woman who, when Carlisle was taken by +the Highlanders in 1745, chose to be particularly apprehensive of +personal violence, and shut herself up in a closet, in order that she +might escape ravishment. But no one came to disturb her solitude, +and ... by and by she popped her head out of her place of refuge +with the pretty question, 'Good folks, can you tell me when the +ravishing is going to begin?'" In 1813 Byron did not know Scott, +and must have stolen the jest from some older writer. It is, probably, +of untold antiquity.] +</p></div> + +<div class="footnote"><p><a name="Footnote_40_42" id="Footnote_40_42"></a><a href="#FNanchor_40_42"><span class="label">[40]</span></a> <a name="Note_026" id="Note_026"></a>[The "Four-Horse" Club, founded in 1808, was incorrectly +styled the Four-in-Hand Club, and the Barouche Club. According +to the Club rules, the barouches were "yellow-bodied, with 'dickies,' +the horses bay, with rosettes at their heads, and the harness silver-mounted. +The members wore a drab coat reaching to the ankles, +with three tiers of pockets, and mother-o'-pearl buttons as large as +five-shilling pieces. The waistcoat was blue, with yellow stripes an +inch wide; breeches of plush, with strings and rosettes to each +knee; and it was <i>de rigueur</i> that the hat should be 3-1/2 inches deep in +the crown." (See <i>Driving</i>, by the Duke of Beaufort, K.G., 1894, +pp. 251-258.) +</p><p> +The "ancient peer" may possibly be intended for the President +of the Club, Philip Henry, fifth Earl of Chesterfield (1755-1815), +who was a member of the Privy Council, and had been Postmaster-General +and Master of the Horse.]</p></div> + +<div class="footnote"><p><a name="Footnote_41_43" id="Footnote_41_43"></a><a href="#FNanchor_41_43"><span class="label">[41]</span></a> <a name="Note_027" id="Note_027"></a>[Sir Thomas Tyrwhitt (<i>circ</i>. 1762-1833) was the son of the +Rev. Edmund Tyrwhitt, Rector of Wickham Bishops, etc., and +nephew of Thomas Tyrwhitt, the editor of the <i>Canterbury Tales</i>. He +was Private Secretary to the Prince of Wales, auditor of the Duchy +of Cornwall (1796), and Lord Warden of the Stannaries (1805). +He was knighted May 8, 1812. He was sent in the following year +in charge of the Garter mission to the Czar, and on that occasion +was made a Knight of the Imperial Order of St. Anne, First Class. +He held the office of Gentleman Usher of the Black Rod, 1812-1832. +"Tommy Tyrwhitt" was an important personage at Carlton +House, and shared with Colonel McMahon the doubtful privilege +of being a confidential servant of the Prince Regent. Compare +Letter III. of Moore's <i>Twopenny Post-Bag</i>, 1813, p. 12. "From +G. R. to the E. of Y——th." +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">"I write this in bed while my whiskers are airing,<br /></span> +<span class="i0">And M—c has a sly dose of jalap preparing<br /></span> +<span class="i0">For poor T—mm—y T—rr—t at breakfast to quaff—<br /></span> +<span class="i0">As I feel I want something to give me a laugh,<br /></span> +<span class="i0">And there's nothing so good as old T—mm—y kept close<br /></span> +<span class="i0">To his Cornwall accounts, after taking a dose!"<br /></span> +</div> +</div> +<p> +See <i>Gentleman's Magazine</i>, March, 1833, vol. 103, pt. i. pp. +275, 276.]</p></div> + +<div class="footnote"><p><a name="Footnote_42_44" id="Footnote_42_44"></a><a href="#FNanchor_42_44"><span class="label">[42]</span></a> <a name="Note_028" id="Note_028"></a>["Vetus" [Edward Sterling] contributed a series of letters to +the <i>Times</i>, 1812, 1813. They were afterwards republished. Vetus +was not a Little Englander, and his political sentiments recall the +<i>obiter dicta</i> of contemporary patriots; <i>e.g.</i> "the only legitimate +basis for a treaty, if not on the part of the Continental Allies, at least +for England herself [is] that she should conquer all she can, and +keep all she conquers. This is not by way of retaliation, however +just, upon so obdurate and rapacious an enemy—but as an indispensable +condition of her own safety and existence." The letters +were reviewed under the heading of "Illustrations of Vetus," in the +<i>Morning Chronicle</i>, December 2, 10, 16, 18; 1813. The reviewer +and Byron did not take the patriotic view of the situation.]</p></div> + +<div class="footnote"><p><a name="Footnote_43_45" id="Footnote_43_45"></a><a href="#FNanchor_43_45"><span class="label">[43]</span></a> [Robert Banks Jenkinson (1770-1828), second Earl of Liverpool, +on the assassination of Perceval, became Prime Minister, <a name="Note_029" id="Note_029"></a>June +7, 1812; John Fane (1759-1841), tenth Earl of Westmoreland, +was Lord Privy Seal, 1798-1827; Charles Howard (1746-1815), +eleventh Duke of Norfolk, known as "Jockey of Norfolk," was a +Protestant and a Liberal, and at one time a friend of the Prince of +Wales. Wraxall, <i>Posthumous Memoirs</i>, 1836, i. 29, says that "he +might have been mistaken for a grazier or a butcher by his dress +and appearance." He figures <i>largely</i> in Gillray, see <i>e.g.</i> "Meeting +of the Moneyed Interest," December, 1798. John Pitt (1756-1835), +second Earl of Chatham, the hero of the abortive Walcheren expedition, +had been made a general in the army January 1, 1812. +He "inherited," says Wraxall, <i>ibid.</i>, iii. 129, "his illustrious father's +form and figure; but not his mind."]</p></div> + +<div class="footnote"><p><a name="Footnote_44_46" id="Footnote_44_46"></a><a href="#FNanchor_44_46"><span class="label">[44]</span></a> [Edward Law (1750-1818), first Baron Ellenborough, Lord +Chief Justice of the King's Bench, 1802-18, was given to the use +of strong language. His temper (see Moore's "Sale of the Tools") +was "none of the best." On one occasion, speaking in the House of +Lords (March 22, 1813) with regard to the "delicate investigation," +he asserted that the accusation ["that the persons intrusted had +thought fit to fabricate an unauthorized document"] "was as false +as hell;" and by way of protest against the tedious harangues of +old Lord Darnley, "I am answerable to God for my time, and +what account can I give at the day of judgment if I stay here +longer?"]</p></div> + +<div class="footnote"><p><a name="Footnote_45_47" id="Footnote_45_47"></a><a href="#FNanchor_45_47"><span class="label">[45]</span></a> <a name="Note_030" id="Note_030"></a>[Compare Moore's "Insurrection of the Papers"— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">"Last night I toss'd and turn'd in bed,<br /></span> +<span class="i0">But could not sleep—at length I said,<br /></span> +<span class="i0">'I'll think of Viscount C—stl—r—gh,<br /></span> +<span class="i0">And of his speeches—that's the way.'"]<br /></span> +</div> +</div> +</div> + +<div class="footnote"><p><a name="Footnote_46_48" id="Footnote_46_48"></a><a href="#FNanchor_46_48"><span class="label">[46]</span></a> [George Rose (1744-1818) was at this time Treasurer of the +Navy. Wraxall, who quotes the "Probationary Odes" with regard +to his alleged duplicity, testifies that he "knew him well in his official +capacity, during at least twelve years, and never found him deficient +in honour or sincerity" (<i>Posthumous Memoirs</i>, 1836, i. 148). Moore +("Parody of a Celebrated Letter") makes the Regent conceive how +shocked the king would be to wake up sane and find "that R—se +was grown honest, or W—stm—rel—nd wiser."]</p></div> + +<div class="footnote"><p><a name="Footnote_47_49" id="Footnote_47_49"></a><a href="#FNanchor_47_49"><span class="label">[47]</span></a> <a name="Note_031" id="Note_031"></a>[Ernest Augustus (1771-1851), Duke of Cumberland and King +of Hanover, fifth son of George III., was gazetted as Field-Marshal +November 27, 1813. His "wounds," which, according to the +Duke's sworn testimony, were seventeen in number, were inflicted +during an encounter with his valet, Joseph Sellis (? Sélis), a Piedmontese, +who had attempted to assassinate the Prince (June 1, 1810), +and, shortly afterwards, was found with his throat cut. A jury of +Westminster tradesmen brought in a verdict of <i>felo de se</i> against +Sellis. The event itself and the trial before the coroner provoked +controversy and the grossest scandal. The question is discussed and +the Duke exonerated of the charges brought against him, by J. H. +Jesse, <i>Memoirs, etc., of George III.</i>, 1864, iii. 545, 546, and by +George Rose, <i>Diaries, etc.</i>, 1860, ii. 437-446. The scandal was +revived in 1832 by the publication of a work entitled <i>The Authentic +Memoirs of the Court of England for the last Seventy Years.</i> The +printer and publisher of the work was found guilty. (See <i>The Trial +of Josiah Phillips for a Libel on the Duke of Cumberland</i>, 1833.)]</p></div> + +<div class="footnote"><p><a name="Footnote_48_50" id="Footnote_48_50"></a><a href="#FNanchor_48_50"><span class="label">[48]</span></a> <a name="Note_032" id="Note_032"></a>["At half-past nine [Wednesday, December 8, 1813] there was +a grand dress party at Carlton House, at which her Majesty and the +Prince Regent most graciously received the following distinguished +characters from the Russian Court, viz. the Count and Countess +Leiven, Mad. La Barrone (<i>sic</i>) de Staël, Monsieur de Staël," +etc.—<i>Morning Chronicle</i>, December 10, 1813.]</p></div> + +<div class="footnote"><p><a name="Footnote_49_51" id="Footnote_49_51"></a><a href="#FNanchor_49_51"><span class="label">[49]</span></a> [In the review of Madame de Staël's <i>De L'Allemagne</i> +(<i>Edinburgh Review</i>, October, 1813, vol. 22, pp. 198-238), Sir James +Mackintosh enlarged upon and upheld the "opinions of Kant" as +creative and seminal in the world of thought. In the same article +he passes in review the systems of Hobbes, Paley, Bentham, +Reid, etc., and finds words of praise and admiration for each in +turn. See, too, a passage (p. 226) in which he alludes to Coleridge +as a living writer, whose "singular character and unintelligible +style" might, in any other country but England, have won for him +attention if not approval. His own "conversion" from the extreme +liberalism of the <i>Vindiciæ Gallicæ</i> of 1791 to the philosophic conservatism +of the <i>Introductory Discourse</i> (1798) to his lecture on +<i>The Law of Nature and Nations</i>, was regarded with suspicion by +Wordsworth and Coleridge, who, afterwards, were still more +effectually "converted" themselves.]</p></div> + +<div class="footnote"><p><a name="Footnote_50_52" id="Footnote_50_52"></a><a href="#FNanchor_50_52"><span class="label">[50]</span></a> <a name="Note_033" id="Note_033"></a>[See Introduction to <i>The Waltz, Poetical Works</i>, 1898, i. 475.]</p></div> + +<div class="footnote"><p><a name="Footnote_51_53" id="Footnote_51_53"></a><a href="#FNanchor_51_53"><span class="label">[51]</span></a> [<i>Illusion, or the Trances of Nourjahad</i>, a melodrama founded +on <i>The History of Nourjahad</i>, By the Editor of Sidney Bidulph +(Mrs. Frances Sheridan, <i>née</i> Chamberlaine, 1724-1766), was played +for the first time at Drury Lane Theatre, November 25, 1813. +Byron was exceedingly indignant at being credited with the authorship +or adaptation. (See Letter to Murray, November 27, 1813, +<i>Letters</i>, 1898, ii. 288, note 1.) Miss Sophia Lee, who wrote some of +the <i>Canterbury Tales</i>, "made a very elegant musical drama of it" +(<i>Memoirs of Mrs. F. Sheridan</i>, by Alicia Lefanu, 1824, p. 296); +but this was not the <i>Nourjahad</i> of Drury Lane.]</p></div> + +<div class="footnote"><p><a name="Footnote_52_54" id="Footnote_52_54"></a><a href="#FNanchor_52_54"><span class="label">[52]</span></a> <a name="Note_034" id="Note_034"></a>[Millbank Penitentiary, which was built in the form of a +pentagon, was finally taken in hand in the spring of 1813. Solitary +confinement in the "cells" was, at first, reserved as a punishment +for misconduct.—<i>Memorials of Millbank</i>, by Arthur Griffiths, 1875, +i. 57.]</p></div> + +</div> +<p><span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span></p> + +<h3>WINDSOR POETICS.</h3> + +<h4 style="text-align:left;margin-left:3em;text-indent:-3em;line-height:1.5em;font-size:90%;"> +LINES COMPOSED ON THE OCCASION OF HIS ROYAL HIGHNESS +THE PRINCE REGENT BEING SEEN STANDING BETWEEN THE COFFINS +OF HENRY VIII. AND CHARLES I., IN THE ROYAL VAULT AT WINDSOR. +</h4> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Famed</span> for contemptuous breach of sacred ties,<br /></span> +<span class="i0">By headless Charles see heartless Henry lies;<br /></span> +<span class="i0">Between them stands another sceptred thing—<br /></span> +<span class="i0">It moves, it reigns—in all but name, a king:<br /></span> +</div> +<div class="stanza"> +<span class="i2">Charles to his people, Henry to his wife,<br /></span> +<span class="i0">—In him the double tyrant starts to life:<br /></span> +<span class="i0">Justice and Death have mixed their dust in vain,<br /></span> +<span class="i0">Each royal Vampire wakes to life again.<br /></span> +<span class="i0">Ah, what can tombs avail!—since these disgorge<br /></span> +<span class="i0">The blood and dust of both—to mould a George.<a name="FNanchor_53_55" id="FNanchor_53_55"></a><a href="#Footnote_53_55" class="fnanchor">[53]</a><br /></span> +</div> +</div> + +<p class="published">[First published, <i>Poetical Works</i>, Paris, 1819, vi. 125.]</p> +<p><span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span></p> +<h4>[<span class="smcap">Another Version</span>.]</h4> + +<h3>ON A ROYAL VISIT TO THE VAULTS.<a name="FNanchor_54_56" id="FNanchor_54_56"></a><a href="#Footnote_54_56" class="fnanchor">[54]</a></h3> + +<h4 style="font-size:90%;"> +[<span class="smcap">or Cæsar's Discovery of C. I. AND H. 8. in ye same Vault</span>.]</h4> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Famed</span> for their civil and domestic quarrels<br /></span> +<span class="i0">See heartless Henry lies by headless Charles;<br /></span> +<span class="i0">Between them stands another sceptred thing,<br /></span> +<span class="i0">It lives, it reigns—"aye, every inch a king."<br /></span> +<span class="i0">Charles to his people, Henry to his wife,<br /></span> +<span class="i0">In him the double tyrant starts to life:<br /></span> +<span class="i0">Justice and Death have mixed their dust in vain.<br /></span> +<span class="i0">The royal Vampires join and rise again.<br /></span> +<span class="i0">What now can tombs avail, since these disgorge<br /></span> +<span class="i0">The blood and dirt<a name="FNanchor_55_57" id="FNanchor_55_57"></a><a href="#Footnote_55_57" class="fnanchor">[55]</a> of both to mould a George!<br /></span> +</div> +</div> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_53_55" id="Footnote_53_55"></a><a href="#FNanchor_53_55"><span class="label">[53]</span></a> <a name="Note_035" id="Note_035"></a>["I cannot conceive how the <i>Vault</i> has got about; but so it +is. It is too <i>farouche</i>; but truth to say, my satires are not very +playful."—Letter to Moore, March 12, 1814, <i>Letters</i>, 1899, iii. 57-58. +Moore had written to him, "Your lines about the bodies of +Charles and Henry are, I find, circulated with wonderful avidity; +even some clods in this neighbourhood have had a copy sent to them +by some 'young ladies in town.'"—<i>Ibid</i>., p. 57, note 3. +</p><p> +The discovery "that King Charles I. was buried in the vault of +King Henry VIII.," was made on completing the mausoleum which +George III. caused to be built in the tomb-house. The Prince +Regent was informed of the circumstance, and on April 1, 1813, the +day after the funeral of his mother-in-law, the Duchess of Brunswick, +he superintended in person the opening of the leaden coffin, +which bore the inscription, "King Charles, 1648" (<i>sic</i>). See <i>An +Account of what appeared on Opening the Coffin of King Charles the +First</i>, by Sir H. Halford, Bart., 1813, pp. 6, 7. Cornelia Knight, +in her <i>Autobiography</i> (1861, i. 227), notes that the frolic prince, the +"Adonis of fifty," who was in a good humour, and "had given to +Princess Charlotte the centre sapphire of Charles's crown," acted +"the manner of decapitation on my shoulders." He had "forgotten" +Cromwell, who, as Lord Auchinleck reminded Dr. Johnson, had +"gart kings ken that they had a <i>lith</i> in their neck!"]</p></div> + +<div class="footnote"><p><a name="Footnote_54_56" id="Footnote_54_56"></a><a href="#FNanchor_54_56"><span class="label">[54]</span></a> <a name="Note_036" id="Note_036"></a>[From an autograph MS. in the possession of the +Hon. Mrs. Norbury. +</p><p> +The first wrapper has written upon it, "The original Impromptu +within is in the handwriting of the noble author Lord Byron, given +to Mr. Norbury [private secretary to Lord Granville] by Mr. Dallas, +his Lordship's valued relative." +</p><p> +Second wrapper, "Autograph of Lord Byron—tres précieux." +</p><p> +Third (outside) wrapper, "Autographe célèbre de Lord Byron."]</p></div> + +<div class="footnote"><p><a name="Footnote_55_57" id="Footnote_55_57"></a><a href="#FNanchor_55_57"><span class="label">[55]</span></a> +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0"><span title="Pêlὸn ai(/mati pephyramhenon">Πηλὸν αἵματι πεφυραμἑνον</span><br /></span> +<span class="i0">"Clay kneaded with blood."<br /></span> +</div> +</div> +<p> +Suetonius, in <i>Tiberium</i>, cap. 57.</p></div> +</div> + +<h3>ICH DIEN.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0">From this emblem what variance your motto evinces,<br /></span> +<span class="i0">For the <i>Man</i> is his country's—the Arms are the Prince's!<br /></span> +</div> +</div> + +<p class="published">?1814.<br /> +[From an autograph MS. in the possession of Mr. A. H. +Hallam Murray, now for the first time printed.]</p> +<p><span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span></p> + +<h3>CONDOLATORY ADDRESS</h3> + +<h4 style="font-size:90%;">TO SARAH COUNTESS OF JERSEY, ON THE PRINCE REGENT'S<br /> +RETURNING HER PICTURE TO MRS. MEE.<a name="FNanchor_56_58" id="FNanchor_56_58"></a><a href="#Footnote_56_58" class="fnanchor">[56]</a></h4> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">When</span> the vain triumph of the imperial lord,<br /></span> +<span class="i0">Whom servile Rome obeyed, and yet abhorred,<br /></span> +<span class="i0">Gave to the vulgar gaze each glorious bust,<br /></span> +<span class="i0">That left a likeness of the brave, or just;<br /></span> +<span class="i0">What most admired each scrutinising eye<br /></span> +<span class="i0">Of all that decked that passing pageantry?<br /></span> +<span class="i0">What spread from face to face that wondering air?<br /></span> +<span class="i0">The thought of Brutus<a name="FNanchor_57_59" id="FNanchor_57_59"></a><a href="#Footnote_57_59" class="fnanchor">[57]</a>—for his was not there!<br /></span> +<span class="i0">That absence proved his worth,—that absence fixed<br /></span> +<span class='linenum'>10</span><span class="i0">His memory on the longing mind, unmixed;<br /></span> +<span class="i0">And more decreed his glory to endure,<br /></span> +<span class="i0">Than all a gold Colossus could secure.<br /></span> +<span class="i2">If thus, fair Jersey, our desiring gaze<br /></span> +<span class="i0">Search for thy form, in vain and mute amaze,<br /></span> +<span class="i0">Amidst those pictured charms, whose loveliness,<br /></span> +<span class="i0">Bright though they be, thine own had rendered less:<br /></span> +<span class="i0">If he, that <span class="smcap">Vain Old Man</span>, whom truth admits<br /></span> +<span class="i0">Heir of his father's crown, and of his wits,<br /></span> +<span class="i0">If his corrupted eye, and withered heart,<br /></span> +<span class='linenum'>20</span><span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span><span class="i0">Could with thy gentle image bear to part;<br /></span> +<span class="i0">That tasteless shame be <i>his</i>, and ours the grief,<br /></span> +<span class="i0">To gaze on Beauty's band without its chief:<br /></span> +<span class="i0">Yet Comfort still one selfish thought imparts,<br /></span> +<span class="i0">We lose the portrait, but preserve our hearts.<br /></span> +<span class="i2">What can his vaulted gallery now disclose?<br /></span> +<span class="i0">A <i>garden</i> with all flowers—except the rose;—<br /></span> +<span class="i0">A <i>fount</i> that only wants its living stream;<br /></span> +<span class="i0">A <i>night</i>, with every star, save Dian's beam.<br /></span> +<span class="i0">Lost to our eyes the present forms shall be,<br /></span> +<span class='linenum'>30</span><span class="i0">That turn from tracing them to dream of thee;<br /></span> +<span class="i0">And more on that recalled resemblance pause,<br /></span> +<span class="i0">Than all he <i>shall</i> not force on our applause.<br /></span> +<span class="i2">Long may thy yet meridian lustre shine,<br /></span> +<span class="i0">With all that Virtue asks of Homage thine:<br /></span> +<span class="i0">The symmetry of youth—the grace of mien—<br /></span> +<span class="i0">The eye that gladdens—and the brow serene;<br /></span> +<span class="i0">The glossy darkness of that clustering hair,<a name="FNanchor_58_60" id="FNanchor_58_60"></a><a href="#Footnote_58_60" class="fnanchor">[58]</a><br /></span> +<span class="i0">Which shades, yet shows that forehead more than fair!<br /></span> +<span class="i0">Each glance that wins us, and the life that throws<br /></span> +<span class='linenum'>40</span><span class="i0">A spell which will not let our looks repose,<br /></span> +<span class="i0">But turn to gaze again, and find anew<br /></span> +<span class="i0">Some charm that well rewards another view.<br /></span> +<span class="i0">These are not lessened, these are still as bright,<br /></span> +<span class="i0">Albeit too dazzling <i>for a dotard's sight</i>;<br /></span> +<span class="i0">And those must wait till ev'ry charm is gone,<br /></span> +<span class="i0">To please the paltry heart that pleases none;—<br /></span> +<span class="i0">That dull cold sensualist, whose sickly eye<br /></span> +<span class="i0">In envious dimness passed thy portrait by;<br /></span> +<span class="i0">Who racked his little spirit to combine<br /></span> +<span class='linenum'>50</span><span class="i0">Its hate of <i>Freedom's</i> loveliness, and <i>thine</i>.<br /></span> +</div> +</div> + +<p class="published"><i>May</i> 29, 1814.<br /> +[First published in <i>The Champion</i>, July 31, 1814.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_56_58" id="Footnote_56_58"></a><a href="#FNanchor_56_58"><span class="label">[56]</span></a> <a name="Note_037" id="Note_037"></a>["The gentlemen of the <i>Champion</i>, and Perry, have got hold +(I know not how) of the condolatory Address to Lady Jersey on +the picture-abduction by our Regent, and have published them— +with my name, too, smack—without even asking leave, or inquiring +whether or no! Damn their impudence, and damn every thing. It +has put me out of patience, and so, I shall say no more about it."— +Letter to Moore, August 3, 1814, <i>Letters</i>, 1899, iii. 118. For +Byron's letter to Lady Jersey, of May 29, 1814, and a note from her +with reference to a lost(?) copy of the verses, <i>vide ibid</i>., p. 85. +Mrs. Anne Mee (1775?-1851) was a miniature-painter, who was employed +by the Prince Regent to take the portraits of fashionable beauties.]</p></div> + +<div class="footnote"><p><a name="Footnote_57_59" id="Footnote_57_59"></a><a href="#FNanchor_57_59"><span class="label">[57]</span></a> [Compare <i>Childe Harold</i>, Canto IV. stanza lix. line 3, +<i>Poetical Works</i>, 1899, ii. 374, note 2.]</p></div> + +<div class="footnote"><p><a name="Footnote_58_60" id="Footnote_58_60"></a><a href="#FNanchor_58_60"><span class="label">[58]</span></a> <a name="Note_038" id="Note_038"></a>[See <i>Conversations ...with the Countess of +Blessington</i>, 1834, p. 50.]</p></div> +</div> + +<div class="center"> +<a name="Illus_Annesley_Hall" id="Illus_Annesley_Hall"/> +<img src="images/annesley-hall.png" alt="Annesley Hall" title="Annesley Hall"/><p class="center">Annesley Hall</p></div> +<p><span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span></p> + + +<h3>FRAGMENT OF AN EPISTLE TO THOMAS MOORE.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0">"<span class="smcap">What</span> say <i>I</i>?"—not a syllable further in prose;<br /></span> +<span class="i0">I'm your man "of all measures," dear Tom,—so here goes!<br /></span> +<span class="i0">Here goes, for a swim on the stream of old Time,<br /></span> +<span class="i0">On those buoyant supporters, the bladders of rhyme.<br /></span> +<span class="i0">If our weight breaks them down, and we sink in the flood,<br /></span> +<span class="i0">We are smothered, at least, in respectable mud,<br /></span> +<span class="i0">Where the divers of Bathos lie drowned in a heap,<br /></span> +<span class="i0">And Southey's last Pæan has pillowed his sleep;<br /></span> +<span class="i0">That <i>Felo de se</i> who, half drunk with his Malmsey,<br /></span> +<span class="i0">Walked out of his depth and was lost in a calm sea,<span class='linenum'>10</span><br /></span> +<span class="i0">Singing "Glory to God" in a spick and span stanza,<br /></span> +<span class="i0">The like (since Tom Sternhold was choked) never man saw.<a name="FNanchor_59_61" id="FNanchor_59_61"></a><a href="#Footnote_59_61" class="fnanchor">[59]</a><br /></span> +</div> +<div class="stanza"> +<span class="i2">The papers have told you, no doubt, of the fusses,<br /></span> +<span class="i0">The fêtes, and the gapings to get at these Russes,<a name="FNanchor_60_62" id="FNanchor_60_62"></a><a href="#Footnote_60_62" class="fnanchor">[60]</a>—<br /></span> +<span class="i0">Of his Majesty's suite, up from coachman to Hetman,—<br /></span> +<span class="i0">And what dignity decks the flat face of the great man.<span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span><br /></span> +<span class="i0">I saw him, last week, at two balls and a party,—<br /></span> +<span class="i0">For a Prince, his demeanour was rather too hearty.<br /></span> +<span class="i0">You know, <i>we</i> are used to quite different graces,<br /></span> +<hr style='margin-left: 6em;' /> +<span class="i0">The Czar's look, I own, was much brighter and brisker,<br /></span> +<span class='linenum'>21</span><span class="i0">But then he is sadly deficient in whisker;<br /></span> +<span class="i0">And wore but a starless blue coat, and in kersey-<br /></span> +<span class="i0">mere breeches whisked round, in a waltz with the Jersey,<a name="FNanchor_61_63" id="FNanchor_61_63"></a><a href="#Footnote_61_63" class="fnanchor">[61]</a><br /></span> +<span class="i0">Who, lovely as ever, seemed just as delighted<br /></span> +<span class="i0">With Majesty's presence as those she invited.<br /></span> +<hr style='margin-left: 6em;' /> +<hr style='margin-left: 6em;' /> +</div> +</div> + +<p class="published"><i>June</i>, 1814.<br /> +[First published, <i>Letters and Journals</i>, 1830, i. 561, 562 (note).]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_59_61" id="Footnote_59_61"></a><a href="#FNanchor_59_61"><span class="label">[59]</span></a> +<a name="Note_039" id="Note_039"></a>[The two first stanzas of Southey's "<i>Carmen Triumphale</i>, for +the Commencement of the Year 1814," end with the line— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">"Glory to God—Deliverance for Mankind!"]<br /></span> +</div> +</div> +</div> + +<div class="footnote"><p><a name="Footnote_60_62" id="Footnote_60_62"></a><a href="#FNanchor_60_62"><span class="label">[60]</span></a> +["The newspapers will tell you all that is to be told of +emperors, etc. They have dined, and supped, and shown their flat +faces in all thoroughfares and several saloons."—Letter to Moore, +June 14, 1814, <i>Letters</i>, 1899, iii. 93, 94. +</p><p> +From June 6 to June 27, 1814, the Emperor of Russia, and the +King of Prussia were in England. Huge crowds watched all day +and night outside the Pulteney Hotel (105, Piccadilly), where the +Emperor of Russia stayed. Among the foreigners in London were +Nesselrode, Metternich, Blücher, and Platoff, Hetman of the Cossacks. +The two latter were the heroes of the mob. +<i>Ibid</i>., p. 93, note 1.]</p></div> + +<div class="footnote"><p><a name="Footnote_61_63" id="Footnote_61_63"></a><a href="#FNanchor_61_63"><span class="label">[61]</span></a> <a name="Note_040" id="Note_040"></a>["The Emperor," says Lady Vernon (<i>Journal of Mary +Frampton</i>, pp. 225, 226), "is fond of dancing.... He waltzed +with Lady Jersey, whom he admires, to the great discomposure of +the Regent, who has quarrelled with her."]</p></div> +</div> + +<h3>ANSWER TO <span style="text-decoration:line-through;"> </span>'S PROFESSIONS OF AFFECTION.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">In</span> hearts like thine ne'er may I hold a place<br /></span> +<span class="i0">Till I renounce all sense, all shame, all grace—<br /></span> +<span class="i0">That seat,—like seats, the bane of Freedom's realm,<br /></span> +<span class="i0">But dear to those presiding at the helm—<br /></span> +<span class="i0">Is basely purchased, not with gold alone;<br /></span> +<span class="i0">Add Conscience, too, this bargain is your own—<br /></span> +<span class="i0">'T is thine to offer with corrupting art<br /></span> +<span class="i0">The <i>rotten borough</i><a name="FNanchor_62_64" id="FNanchor_62_64"></a><a href="#Footnote_62_64" class="fnanchor">[62]</a> of the human heart.<br /></span> +</div> +</div> + +<p class="published">?1814.<br /> +[From an autograph MS., now for the first time printed.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_62_64" id="Footnote_62_64"></a><a href="#FNanchor_62_64"><span class="label">[62]</span></a> [The phrase, "rotten borough," was used by +Sir F. Burdett, <i>Examiner</i>, October 12, 1812.]</p></div> +</div> + +<p><span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span></p> +<h3>ON NAPOLEON'S ESCAPE FROM ELBA.<a name="FNanchor_63_65" id="FNanchor_63_65"></a><a href="#Footnote_63_65" class="fnanchor">[63]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Once</span> fairly set out on his party of pleasure,<br /></span> +<span class="i0">Taking towns at his liking, and crowns at his leisure,<br /></span> +<span class="i0">From Elba to Lyons and Paris he goes,<br /></span> +<span class="i0">Making <i>balls for</i> the ladies, and <i>bows to</i> his foes.<br /></span> +</div> +</div> + +<p class="published"><i>March 27, 1815.</i><br /> +[First published, <i>Letters and Journals</i>, 1830, i. 611.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_63_65" id="Footnote_63_65"></a><a href="#FNanchor_63_65"><span class="label">[63]</span></a> +<a name="Note_041" id="Note_041"></a>[It may be taken for granted that the "source" of this epigram +was a paragraph in the <i>Morning Chronicle</i> of March 27, 1815: +"In the <i>Moniteur</i> of Thursday we find the Emperor's own account +of his <i>jaunt</i> from the Island of Elba to the palace of the Thuilleries. +It seems certainly more like a jaunt of pleasure than the progress of +an invader through a country to be gained."]</p></div> +</div> + +<h3>ENDORSEMENT TO THE DEED OF +SEPARATION, IN THE APRIL OF 1816.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">A year</span> ago you swore, fond she!<br /></span> +<span class="i2">"To love, to honour," and so forth:<br /></span> +<span class="i0">Such was the vow you pledged to me,<br /></span> +<span class="i2">And here's exactly what 't is worth.<br /></span> +</div> +</div> + +<p class="published">[First published, <i>Poetical Works</i>, 1831, vi. 454.]</p> + + +<h3>[TO GEORGE ANSON BYRON(?)<a name="FNanchor_64_66" id="FNanchor_64_66"></a><a href="#Footnote_64_66" class="fnanchor">[64]</a>]</h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">And</span>, dost thou ask the reason of my sadness?<br /></span> +<span class="i2">Well, I will tell it thee, unfeeling boy!<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span><br /></span> +<span class="i0">'Twas ill report that urged my brain to madness,<br /></span> +<span class="i2">'Twas thy tongue's venom poisoned all my joy.<br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">The sadness which thou seest is not sorrow;<br /></span> +<span class="i2">My wounds are far too deep for simple grief;<br /></span> +<span class="i0">The heart thus withered, seeks in vain to borrow<br /></span> +<span class="i2">From calm reflection, comfort or relief.<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">The arrow's flown, and dearly shalt thou rue it;<br /></span> +<span class="i2">No mortal hand can rid me of my pain:<br /></span> +<span class="i0">My heart is pierced, but thou canst not subdue it—<br /></span> +<span class="i2">Revenge is left, and is not left in vain.<br /></span> +</div> +</div> + +<p class="published">?1816.<br /> +[First published, <i>Nicnac</i>, March 25, 1823.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_64_66" id="Footnote_64_66"></a><a href="#FNanchor_64_66"><span class="label">[64]</span></a> +["A short time before Lord Byron quitted England, in 1816, +he addressed these lines to an individual by whom he deemed +himself injured; they are but little known."—<i>Nicnac</i>, March 25, +1823.]</p></div> +</div> + +<h3>SONG FOR THE LUDDITES.<a name="FNanchor_65_67" id="FNanchor_65_67"></a><a href="#Footnote_65_67" class="fnanchor">[65]</a></h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">As</span> the Liberty lads o'er the sea<br /></span> +<span class="i0">Bought their freedom, and cheaply, with blood,<br /></span> +<span class="i4">So we, boys, we<br /></span> +<span class="i2">Will <i>die</i> fighting, or <i>live</i> free,<br /></span> +<span class="i0">And down with all kings but King Ludd!<br /></span> +<span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">When the web that we weave is complete,<br /></span> +<span class="i0">And the shuttle exchanged for the sword,<br /></span> +<span class="i2">We will fling the winding sheet<br /></span> +<span class="i2">O'er the despot at our feet,<br /></span> +<span class="i0">And dye it deep in the gore he has poured.<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">Though black as his heart its hue,<br /></span> +<span class="i0">Since his veins are corrupted to mud,<br /></span> +<span class="i4">Yet this is the dew<br /></span> +<span class="i4">Which the tree shall renew<br /></span> +<span class="i0">Of Liberty, planted by Ludd!<br /></span> +</div> +</div> + +<p class="published"><i>December</i> 24, 1816.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 58.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_65_67" id="Footnote_65_67"></a><a href="#FNanchor_65_67"><span class="label">[65]</span></a> <a name="Note_042" id="Note_042"></a>[The term "Luddites" dates from 1811, and was applied first +to frame-breakers, and then to the disaffected in general. It was +derived from a half-witted lad named Ned Lud, who entered a +house in a fit of passion, and destroyed a couple of stocking-frames. +The song was an impromptu, enclosed in a letter to Moore of +December 24, 1816. "I have written it principally," he says, "to +shock your neighbour [Hodgson?] who is all clergy and loyalty—mirth +and innocence—milk and water." See <i>Letters</i>, 1900, iv. 30; +and for General Lud and "Luddites," see <i>Letters</i>, 1898, ii. 97, +note 1.]</p></div> +</div> + +<h3>TO THOMAS MOORE.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0">What are you doing now,<br /></span> +<span class="i2">Oh Thomas Moore?<br /></span> +<span class="i0">What are you doing now,<br /></span> +<span class="i2">Oh Thomas Moore?<br /></span> +<span class="i0">Sighing or suing now,<br /></span> +<span class="i0">Rhyming or wooing now,<br /></span> +<span class="i0">Billing or cooing now,<br /></span> +<span class="i2">Which, Thomas Moore?<br /></span> +</div> +<div class="stanza"> +<span class="i0">But the Carnival's coming,<br /></span> +<span class="i2">Oh Thomas Moore!<br /></span> +<span class="i0">The Carnival's coming,<br /></span> +<span class="i2">Oh Thomas Moore!<span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span><br /></span> +<span class="i0">Masking and humming,<br /></span> +<span class="i0">Fifing and drumming,<br /></span> +<span class="i0">Guitarring and strumming,<br /></span> +<span class="i2">Oh Thomas Moore!<br /></span> +</div> +</div> + +<p class="published"><i>December</i> 24, 1816.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 58, 59.]</p> + + +<h3>TO MR. MURRAY.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0">To hook the Reader, you, John Murray,<br /></span> +<span class="i2">Have published "Anjou's Margaret,"<a name="FNanchor_66_68" id="FNanchor_66_68"></a><a href="#Footnote_66_68" class="fnanchor">[66]</a><br /></span> +<span class="i0">Which won't be sold off in a hurry<br /></span> +<span class="i2">(At least, it has not been as yet);<br /></span> +<span class="i0">And then, still further to bewilder him,<br /></span> +<span class="i2">Without remorse, you set up "Ilderim;"<a name="FNanchor_67_69" id="FNanchor_67_69"></a><a href="#Footnote_67_69" class="fnanchor">[67]</a><br /></span> +<span class="i2">So mind you don't get into debt,—<br /></span> +<span class="i0">Because—as how—if you should fail,<br /></span> +<span class="i0">These books would be but baddish bail.<br /></span> +<span class="i0">And mind you do <i>not</i> let escape<br /></span> +<span class="i2">These rhymes to <i>Morning Post</i> or Perry,<br /></span> +<span class="i0">Which would be <i>very</i> treacherous—<i>very</i>,<br /></span> +<span class="i0">And get me into such a scrape!<br /></span> +<span class="i2">For, firstly, I should have to sally,<br /></span> +<span class="i2">All in my little boat, against a <i>Galley</i>;<br /></span> +<span class="i0">And, should I chance to slay the Assyrian wight,<br /></span> +<span class="i0">Have next to combat with the female Knight:<br /></span> +<span class="i0">And pricked to death expire upon her needle,<br /></span> +<span class="i0">A sort of end which I should take indeed ill!<br /></span> +</div> +</div> + +<p class="published"><i>March</i> 25, 1817.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 91.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_66_68" id="Footnote_66_68"></a><a href="#FNanchor_66_68"><span class="label">[66]</span></a> <a name="Note_044" id="Note_044"></a>[<i>Margaret of Anjou</i>, by Margaret Holford, 1816.]</p></div> + +<div class="footnote"><p><a name="Footnote_67_69" id="Footnote_67_69"></a><a href="#FNanchor_67_69"><span class="label">[67]</span></a> [<i>Ilderim, a Syrian Tale</i>, by H. Gaily Knight, 1816.]</p></div> +</div> + +<p><span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span></p><p>VERSICLES.</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">I read</span> the "Christabel;"<a name="FNanchor_68_70" id="FNanchor_68_70"></a><a href="#Footnote_68_70" class="fnanchor">[68]</a><br /></span> +<span class="i4">Very well:<br /></span> +<span class="i0">I read the "Missionary;"<a name="FNanchor_69_71" id="FNanchor_69_71"></a><a href="#Footnote_69_71" class="fnanchor">[69]</a><br /></span> +<span class="i4">Pretty—very:<br /></span> +<span class="i0">I tried at "Ilderim;"<br /></span> +<span class="i4">Ahem!<br /></span> +<span class="i0">I read a sheet of "Marg'ret of <i>Anjou</i>;"<br /></span> +<span class="i4"><i>Can you</i>?<br /></span> +<span class="i0">I turned a page of Webster's "Waterloo;"<a name="FNanchor_70_72" id="FNanchor_70_72"></a><a href="#Footnote_70_72" class="fnanchor">[70]</a><br /></span> +<span class="i4">Pooh! pooh!<br /></span> +<span class="i0">I looked at Wordsworth's milk-white "Rylstone Doe;"<a name="FNanchor_71_73" id="FNanchor_71_73"></a><a href="#Footnote_71_73" class="fnanchor">[71]</a><br /></span> +<span class="i4">Hillo!<br /></span> +<span class="i0">I read "Glenarvon," too, by Caro Lamb;<a name="FNanchor_72_74" id="FNanchor_72_74"></a><a href="#Footnote_72_74" class="fnanchor">[72]</a><br /></span> +<span class="i4">God damn!<br /></span> +</div> +</div> + +<p class="published"><i>March</i> 25, 1817.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 87.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_68_70" id="Footnote_68_70"></a><a href="#FNanchor_68_70"><span class="label">[68]</span></a> <a name="Note_045" id="Note_045"></a>[<i>Christabel, etc.</i>, by S. T. Coleridge, 1816.]</p></div> + +<div class="footnote"><p><a name="Footnote_69_71" id="Footnote_69_71"></a><a href="#FNanchor_69_71"><span class="label">[69]</span></a> [<i>The Missionary of the Andes, a Poem</i>, by W. L. Bowles, +1815.]</p></div> + +<div class="footnote"><p><a name="Footnote_70_72" id="Footnote_70_72"></a><a href="#FNanchor_70_72"><span class="label">[70]</span></a> [<i>Waterloo and other Poems</i>, by +J. Wedderburn Webster, 1816.]</p></div> + +<div class="footnote"><p><a name="Footnote_71_73" id="Footnote_71_73"></a><a href="#FNanchor_71_73"><span class="label">[71]</span></a> [<i>The White Doe of Rylstone, or the Fate of the Nortons, a +Poem</i>, by W. Wordsworth, 1815.]</p></div> + +<div class="footnote"><p><a name="Footnote_72_74" id="Footnote_72_74"></a><a href="#FNanchor_72_74"><span class="label">[72]</span></a> [<i>Glenarvon, a Novel</i> [by Lady Caroline Lamb], 1816.]</p></div> +</div> + +<h3>QUEM DEUS VULT PERDERE PRIUS DEMENTAT.<a name="FNanchor_73_75" id="FNanchor_73_75"></a><a href="#Footnote_73_75" class="fnanchor">[73]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0">God maddens him whom't is his will to lose,<br /></span> +<span class="i0">And gives the choice of death or phrenzy—choose.<br /></span> +</div> +</div> + +<p class="published">[First published, <i>Letters</i>, 1900, iv. 93.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_73_75" id="Footnote_73_75"></a><a href="#FNanchor_73_75"><span class="label">[73]</span></a> [<i>À propos</i> of Maturin's tragedy, +<i>Manuel</i> (<i>vide post</i>, p. 48, note 1), +Byron "does into English" the Latin proverb by way of contrast to +the text, "Whom the Lord loveth He chasteneth; blessed be the +Name of the Lord" (Letter to Murray, April 2, 1817).]</p></div> +</div> + +<p><span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span></p> +<h3>TO THOMAS MOORE.</h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">My</span> boat is on the shore,<br /></span> +<span class="i2">And my bark is on the sea;<br /></span> +<span class="i0">But, before I go, Tom Moore,<br /></span> +<span class="i2">Here's a double health to thee!<br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">Here's a sigh to those who love me,<br /></span> +<span class="i2">And a smile to those who hate;<br /></span> +<span class="i0">And, whatever sky's above me,<br /></span> +<span class="i2">Here's a heart for every fate.<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">Though the Ocean roar around me,<br /></span> +<span class="i2">Yet it still shall bear me on;<br /></span> +<span class="i0">Though a desert shall surround me,<br /></span> +<span class="i2">It hath springs that may be won.<br /></span> +</div> + +<p>4.</p> + +<div class="stanza"> +<span class="i0">Were't the last drop in the well,<br /></span> +<span class="i2">As I gasped upon the brink,<br /></span> +<span class="i0">Ere my fainting spirit fell,<br /></span> +<span class="i2">'T is to thee that I would drink.<br /></span> +</div> + +<p>5.</p> + +<div class="stanza"> +<span class="i0">With that water, as this wine,<br /></span> +<span class="i2">The libation I would pour<br /></span> +<span class="i0">Should be—peace with thine and mine,<br /></span> +<span class="i2">And a health to thee, Tom Moore.<a name="FNanchor_74_76" id="FNanchor_74_76"></a><a href="#Footnote_74_76" class="fnanchor">[74]</a><br /></span> +</div> +</div> + +<p class="published"><i>July</i>, 1817.<br /> +[First published, <i>Waltz</i>, London, W. Benbow, 1821, p. 29.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_74_76" id="Footnote_74_76"></a><a href="#FNanchor_74_76"><span class="label">[74]</span></a> <a name="Note_046" id="Note_046"></a>["This should have been written fifteen months ago; the first +stanza was."—Letter to Moore, July 10, 1817.]</p></div> +</div> + +<p><span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span></p> +<h3>EPISTLE FROM MR. MURRAY TO DR. POLIDORI.<a name="FNanchor_75_77" id="FNanchor_75_77"></a><a href="#Footnote_75_77" class="fnanchor">[75]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Dear</span> Doctor, I have read your play,<br /></span> +<span class="i0">Which is a good one in its way,—<br /></span> +<span class="i0">Purges the eyes, and moves the bowels,<br /></span> +<span class="i0">And drenches handkerchiefs like towels<br /></span> +<span class="i0">With tears, that, in a flux of grief,<br /></span> +<span class="i0">Afford hysterical relief<br /></span> +<span class="i0">To shattered nerves and quickened pulses,<br /></span> +<span class="i0">Which your catastrophe convulses.<br /></span> +<span class="i2">I like your moral and machinery;<br /></span> +<span class='linenum'>10</span><span class="i0">Your plot, too, has such scope for Scenery!<br /></span> +<span class="i0">Your dialogue is apt and smart;<br /></span> +<span class="i0">The play's concoction full of art;<br /></span> +<span class="i0">Your hero raves, your heroine cries,<br /></span> +<span class="i0">All stab, and every body dies.<br /></span> +<span class="i0">In short, your tragedy would be<br /></span> +<span class="i0">The very thing to hear and see:<br /></span> +<span class="i0">And for a piece of publication,<br /></span> +<span class="i0">If I decline on this occasion,<br /></span> +<span class="i0">It is not that I am not sensible<br /></span> +<span class='linenum'>20</span><span class="i0">To merits in themselves ostensible,<br /></span> +<span class="i0">But—and I grieve to speak it—plays<br /></span> +<span class="i0">Are drugs—mere drugs, Sir—now-a-days.<span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span><br /></span> +<span class="i0">I had a heavy loss by <i>Manuel</i>—<a name="FNanchor_76_78" id="FNanchor_76_78"></a><a href="#Footnote_76_78" class="fnanchor">[76]</a><br /></span> +<span class="i0">Too lucky if it prove not annual,—<br /></span> +<span class="i0">And Sotheby, with his <i>Orestes</i>,<a name="FNanchor_77_79" id="FNanchor_77_79"></a><a href="#Footnote_77_79" class="fnanchor">[77]</a><br /></span> +<span class="i0">(Which, by the way, the old Bore's best is),<br /></span> +<span class="i0">Has lain so very long on hand,<br /></span> +<span class="i0">That I despair of all demand;<br /></span> +<span class="i0">I've advertised, but see my books,<br /></span> +<span class='linenum'>30</span><span class="i0">Or only watch my Shopman's looks;—<br /></span> +<span class="i0">Still <i>Ivan</i>, <i>Ina</i>,<a name="FNanchor_78_80" id="FNanchor_78_80"></a><a href="#Footnote_78_80" class="fnanchor">[78]</a> and such lumber,<br /></span> +<span class="i0">My back-shop glut, my shelves encumber.<br /></span> +<span class="i2">There's Byron too, who once did better,<br /></span> +<span class="i0">Has sent me, folded in a letter,<br /></span> +<span class="i0">A sort of—it's no more a drama<br /></span> +<span class="i0">Than <i>Darnley</i>, <i>Ivan</i>, or <i>Kehama</i>;<br /></span> +<span class="i0">So altered since last year his pen is,<br /></span> +<span class="i0">I think he's lost his wits at Venice.<br /></span> +</div> +<div class="stanza"> +<hr style='margin-left:4em;' /> +</div> +<div class="stanza"> +<hr style='margin-left:4em;' /> +</div> +<div class="stanza"> +<span class="i0">In short, Sir, what with one and t' other,<br /></span> +<span class='linenum'>40</span><span class="i0">I dare not venture on another.<br /></span> +<span class="i0">I write in haste; excuse each blunder;<br /></span> +<span class="i0">The Coaches through the street so thunder!<br /></span> +<span class="i0">My room's so full—we've Gifford here<br /></span> +<span class="i0">Reading MS., with Hookham Frere,<span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span><br /></span> +<span class="i0">Pronouncing on the nouns and particles,<br /></span> +<span class="i0">Of some of our forthcoming Articles.<br /></span> +<span class="i2">The <i>Quarterly</i>—Ah, Sir, if you<br /></span> +<span class="i0">Had but the Genius to review!—<br /></span> +<span class="i0">A smart Critique upon St. Helena,<br /></span> +<span class='linenum'>50</span><span class="i0">Or if you only would but tell in a<br /></span> +<span class="i0">Short compass what—but to resume;<br /></span> +<span class="i0">As I was saying, Sir, the Room—<br /></span> +<span class="i0">The Room's so full of wits and bards,<br /></span> +<span class="i0">Crabbes, Campbells, Crokers, Freres, and Wards<br /></span> +<span class="i0">And others, neither bards nor wits:<br /></span> +<span class="i0">My humble tenement admits<br /></span> +<span class="i0">All persons in the dress of Gent.,<br /></span> +<span class="i0">From Mr. Hammond to Dog Dent.<a name="FNanchor_79_81" id="FNanchor_79_81"></a><a href="#Footnote_79_81" class="fnanchor">[79]</a><br /></span> +<span class="i2">A party dines with me to-day,<br /></span> +<span class='linenum'>60</span><span class="i0">All clever men, who make their way:<br /></span> +<span class="i0">Crabbe, Malcolm,<a name="FNanchor_80_82" id="FNanchor_80_82"></a><a href="#Footnote_80_82" class="fnanchor">[80]</a> Hamilton,<a name="FNanchor_81_83" id="FNanchor_81_83"></a><a href="#Footnote_81_83" class="fnanchor">[81]</a> and Chantrey,<br /></span> +<span class="i0">Are all partakers of my pantry.<br /></span> +<span class="i0">They're at this moment in discussion<br /></span> +<span class="i0">On poor De Staël's late dissolution.<br /></span> +<span class="i0">Her book,<a name="FNanchor_82_84" id="FNanchor_82_84"></a><a href="#Footnote_82_84" class="fnanchor">[82]</a> they say, was in advance—<span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span><br /></span> +<span class="i0">Pray Heaven, she tell the truth of France!<br /></span> +<span class="i0">'T is said she certainly was married<br /></span> +<span class="i0">To Rocca, and had twice miscarried,<br /></span> +<span class="i0">No—not miscarried, I opine,—<br /></span> +<span class='linenum'>70</span><span class="i0">But brought to bed at forty-nine.<br /></span> +<span class="i0">Some say she died a Papist; some<br /></span> +<span class="i0">Are of opinion that's a Hum;<br /></span> +<span class="i0">I don't know that—the fellows Schlegel,<a name="FNanchor_83_85" id="FNanchor_83_85"></a><a href="#Footnote_83_85" class="fnanchor">[83]</a><br /></span> +<span class="i0">Are very likely to inveigle<br /></span> +<span class="i0">A dying person in compunction<br /></span> +<span class="i0">To try th' extremity of Unction.<br /></span> +<span class="i0">But peace be with her! for a woman<br /></span> +<span class="i0">Her talents surely were uncommon,<br /></span> +<span class="i0">Her Publisher (and Public too)<br /></span> +<span class='linenum'>80</span><span class="i0">The hour of her demise may rue—<br /></span> +<span class="i0">For never more within his shop he—<br /></span> +<span class="i0">Pray—was not she interred at Coppet?<br /></span> +<span class="i0">Thus run our time and tongues away;—<br /></span> +<span class="i0">But, to return, Sir, to your play:<br /></span> +<span class="i0">Sorry, Sir, but I cannot deal,<br /></span> +<span class="i0">Unless 't were acted by O'Neill.<br /></span> +<span class="i0">My hands are full—my head so busy,<br /></span> +<span class="i0">I'm almost dead—and always dizzy;<br /></span> +<span class="i0">And so, with endless truth and hurry,<br /></span> +<span class='linenum'>90</span><span class="i0">Dear Doctor, I am yours,<br /></span> +<span class="i8">JOHN MURRAY.<br /></span> +</div> +</div> + +<p class="published">August 21, 1817.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 139-141.<br /> +Lines 67-82 first published, <i>Letters</i>, 1900, iv. 161.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_75_77" id="Footnote_75_77"></a><a href="#FNanchor_75_77"><span class="label">[75]</span></a> <a name="Note_047" id="Note_047"></a>["By the way," writes Murray, Aug. 5, 1817 +(<i>Memoir, etc.</i>, i. 386), "Polidori has sent me his tragedy! +Do me the kindness to send by return of post a <i>delicate</i> +declension of it, which I engage faithfully to copy." +</p><p> +"I never," said Byron, "was much more disgusted with any +human production than with the eternal nonsense, and <i>tracasseries</i>, +and emptiness, and ill-humour, and vanity of this young person; but +he has some talent, and is a man of honour, and has dispositions of +amendment. Therefore use your interest for him, for he is improved +and improvable;" and, in a letter to Murray, Aug. 21, 1817, "You +want a 'civil and delicate declension' for the medical tragedy? +Take it."—For J. W. Polidori (1795-1821), see <i>Letters</i>, 1899, iii, +284 note I.]</p></div> + +<div class="footnote"><p><a name="Footnote_76_78" id="Footnote_76_78"></a><a href="#FNanchor_76_78"><span class="label">[76]</span></a> <a name="Note_048" id="Note_048"></a>[Maturin's second tragedy, <i>Manuel</i>, +produced at Drury Lane, +March 8, 1817, with Kean as "Manuel Count Valdis, failed, and +after five nights was withdrawn." It was published in 1817. "It +is," says Byron (letter to Murray, June 14, 1817), "the absurd work +of a clever man."—<i>Letters</i>, 1900, iv. 134, and note I.]</p></div> + +<div class="footnote"><p><a name="Footnote_77_79" id="Footnote_77_79"></a><a href="#FNanchor_77_79"><span class="label">[77]</span></a> [Sotheby published, in 1814, <i>Five Tragedies</i>, +viz. "The Confession," "Orestes," "Ivan," "The Death of Darnley," and +"Zamorin and Zama."]</p></div> + +<div class="footnote"><p><a name="Footnote_78_80" id="Footnote_78_80"></a><a href="#FNanchor_78_80"><span class="label">[78]</span></a> [<i>Ina, A Tragedy</i>, by Mrs. Wilmot [Barberina Ogle +(1768-1854), daughter of Sir Chaloner Ogle], afterwards Lady Dacre, was +produced at Drury Lane, April 22, 1815. Her "tragedy," writes +Byron to Moore, April 23, 1815, "was last night damned." See +<i>Letters</i>, 1898, ii. 332, note 3, etc.; +<i>ibid.</i>, 1899, iii. 195, note I.]</p></div> + +<div class="footnote"><p><a name="Footnote_79_81" id="Footnote_79_81"></a><a href="#FNanchor_79_81"><span class="label">[79]</span></a> <a name="Note_049" id="Note_049"></a>[George Hammond (1763-1853) was a distinguished diplomatist, +who twice (1795-1806 and 1807-1809) held the office of +Under-secretary of State for Foreign Affairs. He is associated with +the foundation of the <i>Anti-Jacobin</i> and the +<i>Quarterly Review</i>. In +the drawing-room of Albemarle Street, he was Murray's "chief +4-o'clock man," until his official duties compelled him to settle at +Paris.—<i>Letters</i>, 1900, iv. 160, note 1. +</p><p> +John Dent, M.P., a banker, was nicknamed "Dog Dent" because +he was concerned in the introduction of the Dog-tax Bill in 1796. +In 1802 he introduced a Bill to abolish bull-baiting.—<i>Ibid</i>]</p></div> + +<div class="footnote"><p><a name="Footnote_80_82" id="Footnote_80_82"></a><a href="#FNanchor_80_82"><span class="label">[80]</span></a> [Sir John Malcolm (1769-1833), soldier, administrator, and +diplomatist, published (January, 1815) his +<i>History of Persia.—Letters</i>, 1899, iii. 113, note 1.]</p></div> + +<div class="footnote"><p><a name="Footnote_81_83" id="Footnote_81_83"></a><a href="#FNanchor_81_83"><span class="label">[81]</span></a> [For "Dark Hamilton," W. R. Hamilton (1777-1859), see +<i>Childe Harold</i>, Canto II. stanza xiii. <i>var</i>. I, +<i>Poetical Works</i>, 1899, +ii. 108, note 1. Lines 61, 62 were added October 12, 1817.]</p></div> + +<div class="footnote"><p><a name="Footnote_82_84" id="Footnote_82_84"></a><a href="#FNanchor_82_84"><span class="label">[82]</span></a> [Madame de Staël's +<i>Considérations sur la Révolution Française</i> +was offered to Murray in June, 1816 (<i>Memoir, etc., 1891</i>, i. 316), +<a name="Note_050" id="Note_050"></a>and the sum of £4000 asked for the work. During the negotiations, +Madame de Staël died (July 14, 1817), and the book was eventually +published by Messrs. Baldwin and Cradock.—<i>Letters</i>, 1900, iv. 94, +note.]</p></div> + +<div class="footnote"><p><a name="Footnote_83_85" id="Footnote_83_85"></a><a href="#FNanchor_83_85"><span class="label">[83]</span></a> [Byron and the elder Schlegel met at Copet, in 1816, +but they +did not take to each other. Byron "would not flatter him," +perhaps because he did not appreciate or flatter Byron.]</p></div> +</div> + +<p><span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span></p> + +<h3>EPISTLE TO MR. MURRAY.</h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">My</span> dear Mr. Murray,<br /></span> +<span class="i0">You're in a damned hurry<br /></span> +<span class="i2">To set up this ultimate Canto;<a name="FNanchor_84_86" id="FNanchor_84_86"></a><a href="#Footnote_84_86" class="fnanchor">[84]</a><br /></span> +<span class="i0">But (if they don't rob us)<br /></span> +<span class="i0">You'll see Mr. Hobhouse<br /></span> +<span class="i2">Will bring it safe in his portmanteau.<br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">For the Journal you hint of,<a name="FNanchor_85_87" id="FNanchor_85_87"></a><a href="#Footnote_85_87" class="fnanchor">[85]</a><br /></span> +<span class="i0">As ready to print off,<br /></span> +<span class="i2">No doubt you do right to commend it;<br /></span> +<span class="i0">But as yet I have writ off<br /></span> +<span class="i0">The devil a bit of<br /></span> +<span class="i2">Our "Beppo:"—when copied, I'll send it.<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">In the mean time you've "Galley"<a name="FNanchor_86_88" id="FNanchor_86_88"></a><a href="#Footnote_86_88" class="fnanchor">[86]</a><br /></span> +<span class="i0">Whose verses all tally,<br /></span> +<span class="i2">Perhaps you may say he's a Ninny,<br /></span> +<span class="i0">But if you abashed are<br /></span> +<span class="i0">Because of <i>Alashtar</i>,<br /></span> +<span class="i2">He'll piddle another <i>Phrosine</i>.<a name="FNanchor_87_89" id="FNanchor_87_89"></a><a href="#Footnote_87_89" class="fnanchor">[87]</a><br /></span> +<span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span> +</div> + +<p>4.</p> + +<div class="stanza"> +<span class="i0">Then you've Sotheby's Tour,—<a name="FNanchor_88_90" id="FNanchor_88_90"></a><a href="#Footnote_88_90" class="fnanchor">[88]</a><br /></span> +<span class="i0">No great things, to be sure,—<br /></span> +<span class="i2">You could hardly begin with a less work;<br /></span> +<span class="i0">For the pompous rascallion,<br /></span> +<span class="i0">Who don't speak Italian<br /></span> +<span class="i2">Nor French, must have scribbled by guess-work.<br /></span> +</div> + +<p>5.</p> + +<div class="stanza"> +<span class="i0">No doubt he's a rare man<br /></span> +<span class="i0">Without knowing German<br /></span> +<span class="i2">Translating his way up Parnassus,<br /></span> +<span class="i0">And now still absurder<br /></span> +<span class="i0">He meditates Murder<br /></span> +<span class="i2">As you'll see in the trash he calls <i>Tasso's</i>.<br /></span> +</div> + +<p>6.</p> + +<div class="stanza"> +<span class="i0">But you've others his betters<br /></span> +<span class="i0">The real men of letters<br /></span> +<span class="i2">Your Orators—Critics—and Wits—<br /></span> +<span class="i0">And I'll bet that your Journal<br /></span> +<span class="i0">(Pray is it diurnal?)<br /></span> +<span class="i2">Will pay with your luckiest hits.<br /></span> +</div> + +<p>7.</p> + +<div class="stanza"> +<span class="i0">You can make any loss up<br /></span> +<span class="i0">With "Spence"<a name="FNanchor_89_91" id="FNanchor_89_91"></a><a href="#Footnote_89_91" class="fnanchor">[89]</a> and his gossip,<br /></span> +<span class="i2">A work which must surely succeed;<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span><br /></span> +<span class="i0">Then Queen Mary's Epistle-craft,<a name="FNanchor_90_92" id="FNanchor_90_92"></a><a href="#Footnote_90_92" class="fnanchor">[90]</a><br /></span> +<span class="i0">With the new "Fytte" of "Whistlecraft,"<br /></span> +<span class="i2">Must make people purchase and read.<br /></span> +</div> + +<p>8.</p> + +<div class="stanza"> +<span class="i0">Then you've General Gordon,<a name="FNanchor_91_93" id="FNanchor_91_93"></a><a href="#Footnote_91_93" class="fnanchor">[91]</a><br /></span> +<span class="i0">Who girded his sword on,<br /></span> +<span class="i2">To serve with a Muscovite Master,<br /></span> +<span class="i0">And help him to polish<br /></span> +<span class="i0">A nation so owlish,<br /></span> +<span class="i2">They thought shaving their beards a disaster.<br /></span> +</div> + +<p>9.</p> + +<div class="stanza"> +<span class="i0">For the man, "<i>poor and shrewd</i>,"<a name="FNanchor_92_94" id="FNanchor_92_94"></a><a href="#Footnote_92_94" class="fnanchor">[92]</a><br /></span> +<span class="i0">With whom you'd conclude<br /></span> +<span class="i2">A compact without more delay,<br /></span> +<span class="i0">Perhaps some such pen is<br /></span> +<span class="i0">Still extant in Venice;<br /></span> +<span class="i2">But please, Sir, to mention <i>your pay</i>.<br /></span> +</div> + +<p>10.</p> + +<div class="stanza"> +<span class="i0">Now tell me some news<br /></span> +<span class="i0">Of your friends and the Muse,<br /></span> +<span class="i2">Of the Bar, or the Gown, or the House,<span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span><br /></span> +<span class="i0">From Canning, the tall wit,<br /></span> +<span class="i0">To Wilmot,<a name="FNanchor_93_95" id="FNanchor_93_95"></a><a href="#Footnote_93_95" class="fnanchor">[93]</a> the small wit,<br /></span> +<span class="i2">Ward's creeping Companion and <i>Louse</i>,<br /></span> +</div> + +<p>11.</p> + +<div class="stanza"> +<span class="i0">Who's so damnably bit<br /></span> +<span class="i0">With fashion and Wit,<br /></span> +<span class="i2">That he crawls on the surface like Vermin,<br /></span> +<span class="i0">But an Insect in both,—<br /></span> +<span class="i0">By his Intellect's growth,<br /></span> +<span class="i2">Of what size you may quickly determine.<a name="FNanchor_94_96" id="FNanchor_94_96"></a><a href="#Footnote_94_96" class="fnanchor">[94]</a><br /></span> +</div> +</div> + +<p class="published">Venice, <i>January</i> 8, 1818.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 156, 157;<br /> +stanzas 3, 5, 6, 10, 11, first published, <i>Letters</i>, 1900, iv. 191-193.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_84_86" id="Footnote_84_86"></a><a href="#FNanchor_84_86"><span class="label">[84]</span></a> <a name="Note_051" id="Note_051"></a>[The Fourth Canto of <i>Childe Harold</i>.]</p></div> + +<div class="footnote"><p><a name="Footnote_85_87" id="Footnote_85_87"></a><a href="#FNanchor_85_87"><span class="label">[85]</span></a> [Murray bought a half-share in <i>Blackwood's Edinburgh +Monthly Magazine</i> in August, 1818, and remained its joint proprietor +till December, 1819, when it became the property of William Blackwood. +But perhaps the reference is to Byron's Swiss Journal of +September, 1816.]</p></div> + +<div class="footnote"><p><a name="Footnote_86_88" id="Footnote_86_88"></a><a href="#FNanchor_86_88"><span class="label">[86]</span></a> [Henry Gaily Knight (1786-1846), who was a contemporary +of Byron at Trinity College, Cambridge, was a poetaster, and, +afterwards, a writer of works on architecture. His Oriental verses +supplied Byron with a subject for more than one indifferent <i>jeu +d'esprit</i>.]</p></div> + +<div class="footnote"><p><a name="Footnote_87_89" id="Footnote_87_89"></a><a href="#FNanchor_87_89"><span class="label">[87]</span></a> [<i>Phrosyne</i>, a Grecian tale, and +<i>Alashtar</i>, an Arabian tale, were +<a name="Note_052" id="Note_052"></a>published in 1817. In a letter to Murray, September 4, 1817, +Byron writes, "I have received safely, though tardily, the magnesia +and tooth-powder, <i>Phrosine</i> and <i>Alashtar</i>. I shall clean +my teeth with one, and wipe my shoes with the +other."—<i>Letters</i>, 1901, iv.]</p></div> + +<div class="footnote"><p><a name="Footnote_88_90" id="Footnote_88_90"></a><a href="#FNanchor_88_90"><span class="label">[88]</span></a> [Sotheby's <i>Farewell to Italy</i> and +<i>Occasional Poems</i> were published in 1818, as the record of +a tour which he had taken in 1816-17 +with his family, Professor Elmsley, and Dr. Playfair. For Byron's +unfinished skit on Sotheby's Tour, see <i>Letters</i>, +1900, iv. Appendix V. pp. 452, 453.]</p></div> + +<div class="footnote"><p><a name="Footnote_89_91" id="Footnote_89_91"></a><a href="#FNanchor_89_91"><span class="label">[89]</span></a> +[<i>Observations, Anecdotes, and Characters of Books and Men</i>, by +<a name="Note_053" id="Note_053"></a>the Rev. Joseph Spence, arranged, with notes, by the late Edmund +Malone, Esq., 1 vol. 8vo, 1820.]</p></div> + +<div class="footnote"><p><a name="Footnote_90_92" id="Footnote_90_92"></a><a href="#FNanchor_90_92"><span class="label">[90]</span></a> +[<i>The Life of Mary Queen of Scots</i>, by George Chalmers, 2 vols. +4to, 1819.]</p></div> + +<div class="footnote"><p><a name="Footnote_91_93" id="Footnote_91_93"></a><a href="#FNanchor_91_93"><span class="label">[91]</span></a> +[Thomas Gordon (1788-1841) entered the Scots Greys in +1808. Two years later he visited Ali Pasha (see <i>Letters</i>, 1898, i. +246, note 1) in Albania, and travelled in Persia and Turkey in the +East. From 1813 to 1815 he served in the Russian Army. He +wrote a <i>History of the Greek Revolution</i>, 1832, 2 vols., but it does +not appear that he was negotiating with Murray for the publication +of any work at this period.]</p></div> + +<div class="footnote"><p><a name="Footnote_92_94" id="Footnote_92_94"></a><a href="#FNanchor_92_94"><span class="label">[92]</span></a> <i>Vide</i> your letter.</p></div> + +<div class="footnote"><p><a name="Footnote_93_95" id="Footnote_93_95"></a><a href="#FNanchor_93_95"><span class="label">[93]</span></a> <a name="Note_054" id="Note_054"></a>[Probably Sir Robert John Wilmot (1784-1841) (afterwards +Wilmot Horton), Byron's first cousin, who took a prominent part in +the destruction of the "Memoirs," May 17, 1824. (For Lady +Wilmot Horton, the original of "She walks in beauty," see <i>Poetical +Works</i>, 1900, iii. 381, note 1.)]</p></div> + +<div class="footnote"><p><a name="Footnote_94_96" id="Footnote_94_96"></a><a href="#FNanchor_94_96"><span class="label">[94]</span></a> [Stanzas 12, 13, 14 cannot be published.]</p></div> +</div> + +<h3>ON THE BIRTH OF JOHN WILLIAM RIZZO HOPPNER.<a name="FNanchor_95_97" id="FNanchor_95_97"></a><a href="#Footnote_95_97" class="fnanchor">[95]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0">His father's sense, his mother's grace,<br /></span> +<span class="i2">In him, I hope, will always fit so;<br /></span> +<span class="i0">With—still to keep him in good case—<br /></span> +<span class="i2">The health and appetite of Rizzo.<br /></span> +</div> +</div> + +<p class="published"><i>February</i> 20, 1818.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 134.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_95_97" id="Footnote_95_97"></a><a href="#FNanchor_95_97"><span class="label">[95]</span></a> [Richard Belgrave Hoppner (1786-1872), second son of John +Hoppner, R.A., was appointed English Consul at Venice, October, +1814. (See <i>Letters</i>, 1900, iv. 83, note 1.) +The quatrain was translated (see the following poem) into eleven +different +languages—Greek, Latin, Italian (also the Venetian dialect), German, French, +<a name="Note_055" id="Note_055"></a>Spanish, Illyrian, Hebrew, Armenian, and Samaritan, and printed +"in a small neat volume in the seminary of Padua." For nine of +these translations see <i>Works</i>, 1832, xi. pp. 324-326, and 1891, +p. 571. Rizzo was a Venetian surname. See W. Stewart Rose's +verses to Byron, "Grinanis, Mocenijas, Baltis, Rizzi, Compassionate +our cruel case," etc., <i>Letters</i>, iv. 212.]</p></div> +</div> +<p><span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span></p> +<h3>[E NIHILO NIHIL;<br /> + +<span style="font-size:75%;">OR<br /> + +AN EPIGRAM BEWITCHED</span>.]</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Of</span> rhymes I printed seven volumes—<a name="FNanchor_96_98" id="FNanchor_96_98"></a><a href="#Footnote_96_98" class="fnanchor">[96]</a><br /></span> +<span class="i0">The list concludes John Murray's columns:<br /></span> +<span class="i0">Of these there have been few translations<a name="FNanchor_97_99" id="FNanchor_97_99"></a><a href="#Footnote_97_99" class="fnanchor">[97]</a><br /></span> +<span class="i0">For Gallic or Italian nations;<br /></span> +<span class="i0">And one or two perhaps in German—<br /></span> +<span class="i0">But in this last I can't determine.<br /></span> +<span class="i0">But then I only sung of passions<br /></span> +<span class="i0">That do not suit with modern fashions;<br /></span> +<span class="i0">Of Incest and such like diversions<br /></span> +<span class="i0">Permitted only to the Persians,<br /></span> +<span class="i0">Or Greeks to bring upon their stages—<br /></span> +<span class="i0">But that was in the earlier ages<br /></span> +<span class="i0">Besides my style is the romantic,<br /></span> +<span class="i0">Which some call fine, and some call frantic;<br /></span> +<span class="i0">While others are or would seem <i>as</i> sick<br /></span> +<span class="i0">Of repetitions nicknamed Classic.<br /></span> +<span class="i0">For my part all men must allow<br /></span> +<span class="i0">Whatever I was, I'm classic now.<span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span><br /></span> +<span class="i0">I saw and left my fault in time,<br /></span> +<span class="i0">And chose a topic all sublime—<br /></span> +<span class="i0">Wondrous as antient war or hero—<br /></span> +<span class="i0">Then played and sung away like Nero,<br /></span> +<span class="i0">Who sang of Rome, and I of Rizzo:<br /></span> +<span class="i0">The subject has improved my wit so,<br /></span> +<span class="i0">The first four lines the poet sees<br /></span> +<span class="i0">Start forth in fourteen languages!<br /></span> +<span class="i0">Though of seven volumes none before<br /></span> +<span class="i0">Could ever reach the fame of four,<br /></span> +<span class="i0">Henceforth I sacrifice all Glory<br /></span> +<span class="i0">To the Rinaldo of my Story:<br /></span> +<span class="i0">I've sung his health and appetite<br /></span> +<span class="i0">(The last word's not translated right—<br /></span> +<span class="i0">He's turned it, God knows how, to vigour)<a name="FNanchor_98_100" id="FNanchor_98_100"></a><a href="#Footnote_98_100" class="fnanchor">[98]</a><br /></span> +<span class="i0">I'll sing them in a book that's bigger.<br /></span> +<span class="i0">Oh! Muse prepare for thy Ascension!<br /></span> +<span class="i0">And generous Rizzo! thou my pension.<br /></span> +</div> +</div> + +<p class="published"><i>February</i>, 1818.<br /> +[From an autograph MS. in the possession of Mr. Murray,<br /> +now for the first time printed.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_96_98" id="Footnote_96_98"></a><a href="#FNanchor_96_98"><span class="label">[96]</span></a> +[Byron must have added the Fourth Canto of <i>Childe Harold</i> +to the complete edition of the <i>Poetical Works</i> in six volumes. See +Murray's list, dated "Albemarle Street, London, January, 1818." +The seventh volume of the Collected Works was not issued till 1819.]</p></div> + +<div class="footnote"><p><a name="Footnote_97_99" id="Footnote_97_99"></a><a href="#FNanchor_97_99"><span class="label">[97]</span></a> +[A French translation of the <i>Bride of Abydos</i> appeared in +1816, an Italian translation of the <i>Lament of Tasso</i> in 1817. +Goethe (see <i>Letters</i>, 1901, v. 503-521) translated fragments of +<i>Manfred</i> in 1817, 1818, but the earliest German translation of the +entire text of <i>Manfred</i> was issued in 1819.]</p></div> + +<div class="footnote"><p><a name="Footnote_98_100" id="Footnote_98_100"></a><a href="#FNanchor_98_100"><span class="label">[98]</span></a> <a name="Note_056" id="Note_056"></a>[See the last line of the Italian translation of the quatrain.]</p></div> +</div> + +<p>TO MR. MURRAY.</p> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">Strahan</span>, Tonson, Lintot of the times,<a name="FNanchor_99_101" id="FNanchor_99_101"></a><a href="#Footnote_99_101" class="fnanchor">[99]</a><br /></span> +<span class="i0">Patron and publisher of rhymes,<br /></span> +<span class="i0">For thee the bard up Pindus climbs,<br /></span> +<span class="i18">My Murray.<br /></span> +</div> + +<p><span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span></p> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">To thee, with hope and terror dumb,<br /></span> +<span class="i0">The unfledged MS. authors come;<br /></span> +<span class="i0">Thou printest all—and sellest some—<br /></span> +<span class="i18">My Murray.<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">Upon thy table's baize so green<br /></span> +<span class="i0">The last new Quarterly is seen,—<br /></span> +<span class="i0">But where is thy new Magazine,<a name="FNanchor_100_102" id="FNanchor_100_102"></a><a href="#Footnote_100_102" class="fnanchor">[100]</a><br /></span> +<span class="i18">My Murray?<br /></span> +</div> + +<p>4.</p> + +<div class="stanza"> +<span class="i0">Along thy sprucest bookshelves shine<br /></span> +<span class="i0">The works thou deemest most divine—<br /></span> +<span class="i0">The Art of Cookery,<a name="FNanchor_101_103" id="FNanchor_101_103"></a><a href="#Footnote_101_103" class="fnanchor">[101]</a> and mine,<br /></span> +<span class="i18">My Murray.<br /></span> +</div> + +<p>5.</p> + +<div class="stanza"> +<span class="i0">Tours, Travels, Essays, too, I wist,<br /></span> +<span class="i0">And Sermons, to thy mill bring grist;<br /></span> +<span class="i0">And then thou hast the <i>Navy List</i>,<br /></span> +<span class="i18">My Murray.<br /></span> +</div> + +<p><span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span></p> + +<p>6.</p> + +<div class="stanza"> +<span class="i0">And Heaven forbid I should conclude,<br /></span> +<span class="i0">Without "the Board of Longitude,"<a name="FNanchor_102_104" id="FNanchor_102_104"></a><a href="#Footnote_102_104" class="fnanchor">[102]</a><br /></span> +<span class="i0">Although this narrow paper would,<br /></span> +<span class="i18">My Murray.<br /></span> +</div> +</div> + +<p class="published">Venice, <i>April 11</i>, 1818.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 171.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_99_101" id="Footnote_99_101"></a><a href="#FNanchor_99_101"><span class="label">[99]</span></a> [William Strahan (1715-1785) published Johnson's +<i>Dictionary</i>, Gibbon's <i>Decline and Fall</i>, Cook's <i>Voyages, +etc</i>. He was great-grandfather of the mathematician William +Spottiswoode (1825-1883). +</p><p> +<a name="Note_057" id="Note_057"></a>Jacob Tonson (1656?-1736) published for Otway, Dryden, Addison, +etc. He was secretary of the Kit-Cat Club, 1700. He was the +publisher (1712, etc.) of the <i>Spectator</i>. +</p><p> +Barnaby Bernard Lintot (1675-1736) was at one time (1718) in +partnership with Tonson. He published Pope's <i>Iliad</i> in 1715, and +the <i>Odyssey</i>, 1725-26.]</p></div> + +<div class="footnote"><p><a name="Footnote_100_102" id="Footnote_100_102"></a><a href="#FNanchor_100_102"><span class="label">[100]</span></a> +[See note 2, <a href="#Note_051">p. 51</a>.]</p></div> + +<div class="footnote"><p><a name="Footnote_101_103" id="Footnote_101_103"></a><a href="#FNanchor_101_103"><span class="label">[101]</span></a> [Mrs. Rundell's <i>Domestic Cookery</i>, published in 1806, +was one of Murray's most successful books. In 1822 he purchased the +copyright from Mrs. Rundell for £2000 (see <i>Letters</i>, 1898, ii. +375; and <i>Memoir of John Murray</i>, 1891, ii. 124).]</p></div> + +<div class="footnote"><p><a name="Footnote_102_104" id="Footnote_102_104"></a><a href="#FNanchor_102_104"><span class="label">[102]</span></a> <a name="Note_058" id="Note_058"></a>[The sixth edition of <i>Childe Harold's Pilgrimage</i> (1813) was +"printed by T. Davison, Whitefriars, for John Murray, Bookseller to +the Admiralty, and the Board of Longitude." +Medwin (<i>Conversations</i>, 1824, p. 259) attributes to Byron +a statement that Murray had +to choose between continuing to be his publisher and printing the +"Navy Lists," and "that there was no hesitation which way he +should decide: the Admiralty carried the day." In his "Notes" +to the <i>Conversations</i> (November 2, 1824) Murray characterized +"the passage about the Admiralty" as "unfounded in fact, and no +otherwise deserving of notice than to mark its absurdity."]</p></div> +</div> + +<h3>BALLAD.<br /> +<span style="font-size:75%;">TO THE TUNE OF "SALLEY IN OUR ALLEY."</span></h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">Of</span> all the twice ten thousand bards<br /></span> +<span class="i2">That ever penned a canto,<br /></span> +<span class="i0">Whom Pudding or whom Praise rewards<br /></span> +<span class="i2">For lining a portmanteau;<br /></span> +<span class="i0">Of all the poets ever known,<br /></span> +<span class="i2">From Grub-street to Fop's Alley,<a name="FNanchor_103_105" id="FNanchor_103_105"></a><a href="#Footnote_103_105" class="fnanchor">[103]</a><br /></span> +<span class="i0">The Muse may boast—the World must own<br /></span> +<span class="i2">There's none like pretty Gally!<a name="FNanchor_104_106" id="FNanchor_104_106"></a><a href="#Footnote_104_106" class="fnanchor">[104]</a><br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">He writes as well as any Miss,<br /></span> +<span class="i2">Has published many a poem;<span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span><br /></span> +<span class="i0">The shame is yours, the gain is his,<br /></span> +<span class="i2">In case you should not know 'em:<br /></span> +<span class="i0">He has ten thousand pounds a year—<br /></span> +<span class="i2">I do not mean to vally—<br /></span> +<span class="i0">His songs at sixpence would be dear,<br /></span> +<span class="i2">So give them gratis, Gaily!<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">And if this statement should seem queer,<br /></span> +<span class="i2">Or set down in a hurry,<br /></span> +<span class="i0">Go, ask (if he will be sincere)<br /></span> +<span class="i2">His bookseller—John Murray.<br /></span> +<span class="i0">Come, say, how many have been sold,<br /></span> +<span class="i2">And don't stand shilly-shally,<br /></span> +<span class="i0">Of bound and lettered, red and gold,<br /></span> +<span class="i2">Well printed works of Gally.<br /></span> +</div> + +<p>4.</p> + +<div class="stanza"> +<span class="i0">For Astley's circus Upton<a name="FNanchor_105_107" id="FNanchor_105_107"></a><a href="#Footnote_105_107" class="fnanchor">[105]</a> writes,<br /></span> +<span class="i2">And also for the Surry; (<i>sic</i>)<br /></span> +<span class="i0">Fitzgerald weekly still recites,<br /></span> +<span class="i2">Though grinning Critics worry:<br /></span> +<span class="i0">Miss Holford's Peg, and Sotheby's Saul,<br /></span> +<span class="i2">In fame exactly tally;<br /></span> +<span class="i0">From Stationer's Hall to Grocer's Stall<br /></span> +<span class="i2">They go—and so does Gally.<br /></span> +</div> + +<p><span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span></p> +<p>5.</p> + +<div class="stanza"> +<span class="i0">He rode upon a Camel's hump<a name="FNanchor_106_108" id="FNanchor_106_108"></a><a href="#Footnote_106_108" class="fnanchor">[106]</a><br /></span> +<span class="i2">Through Araby the sandy,<br /></span> +<span class="i0">Which surely must have hurt the rump<br /></span> +<span class="i2">Of this poetic dandy.<br /></span> +<span class="i0">His rhymes are of the costive kind,<br /></span> +<span class="i2">And barren as each valley<br /></span> +<span class="i0">In deserts which he left behind<br /></span> +<span class="i2">Has been the Muse of Gally.<br /></span> +</div> + +<p>6.</p> + +<div class="stanza"> +<span class="i0">He has a Seat in Parliament,<br /></span> +<span class="i2">Is fat and passing wealthy;<br /></span> +<span class="i0">And surely he should be content<br /></span> +<span class="i2">With these and being healthy:<br /></span> +<span class="i0">But Great Ambition will misrule<br /></span> +<span class="i2">Men at all risks to sally,—<br /></span> +<span class="i0">Now makes a poet—now a fool,<br /></span> +<span class="i2">And <i>we</i> know <i>which</i>—of Gally.<br /></span> +</div> + +<p>7.</p> + +<div class="stanza"> +<span class="i0">Some in the playhouse like to row,<br /></span> +<span class="i2">Some with the Watch to battle,<br /></span> +<span class="i0">Exchanging many a midnight blow<br /></span> +<span class="i2">To Music of the Rattle.<br /></span> +<span class="i0">Some folks like rowing on the Thames,<br /></span> +<span class="i2">Some rowing in an Alley,<br /></span> +<span class="i0">But all the Row my fancy claims<br /></span> +<span class="i2">Is <i>rowing</i>—of my <i>Gally</i>.<br /></span> +</div> +</div> + +<p class="published"><i>April</i> 11, 1818.<a name="FNanchor_107_109" id="FNanchor_107_109"></a><a href="#Footnote_107_109" class="fnanchor">[107]</a></p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_103_105" id="Footnote_103_105"></a><a href="#FNanchor_103_105"><span class="label">[103]</span></a> +[For Fop's Alley, see <i>Poetical Works</i>, 1898, i. 410, note 2.]</p></div> + +<div class="footnote"><p><a name="Footnote_104_106" id="Footnote_104_106"></a><a href="#FNanchor_104_106"><span class="label">[104]</span></a> +[H. Gally Knight (1786-1846) was at Cambridge with Byron.]</p></div> + +<div class="footnote"><p><a name="Footnote_105_107" id="Footnote_105_107"></a><a href="#FNanchor_105_107"><span class="label">[105]</span></a> +<a name="Note_059" id="Note_059"></a>[William Upton was the author of <i>Poems on Several Occasions</i>, +1788, and of the <i>Words of the most Favourite Songs, Duets, etc.</i>, +sung at the Royal Amphitheatre, Westminster Bridge, etc. In the +dedication to Mrs. Astley he speaks of himself as the author of the +<i>Black Cattle</i>, <i>Fair Rosamond</i>, etc. +He has also been credited with +the words of James Hook's famous song, <i>A Lass of Richmond Hill</i>, +but this has been disputed. +(See <i>Notes and Queries</i>, 1878, Series V. vol. ix. p. 495.)]</p></div> + +<div class="footnote"><p><a name="Footnote_106_108" id="Footnote_106_108"></a><a href="#FNanchor_106_108"><span class="label">[106]</span></a> <a name="Note_060" id="Note_060"></a>[Compare— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i2">"Th' unloaded camel, pacing slow.<br /></span> +<span class="i0">Crops the rough herbage or the tamarisk spray."<br /></span> +</div> +</div> +<p> +<i>Alashtar</i> (by H. G. Knight), 1817, Canto I, stanza viii, lines 5, 6.]</p></div> + +<div class="footnote"><p><a name="Footnote_107_109" id="Footnote_107_109"></a><a href="#FNanchor_107_109"><span class="label">[107]</span></a> [From an autograph MS. in the possession of Mr. Murray, +<a name="Note_061" id="Note_061"></a>now for the first time printed. For stanzas 3, 4, 6, see <i>Letters</i>, +1900, iv. 219, 220. For stanzas 1, 2, 3 of "Another Simple +Ballat. To the tune of Tally i.o. the Grinder" (probably a variant +of Dibdin's song, "The Grinders, or more Grist to the Mill"), +<i>vide ibid.</i>, pp. 220, 221.]</p></div> +</div> + +<p><span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span></p> + +<h3>ANOTHER SIMPLE BALLAT.</h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">Mrs. Wilmot</span> sate scribbling a play,<br /></span> +<span class="i2">Mr. Sotheby sate sweating behind her;<br /></span> +<span class="i0">But what are all these to the Lay<br /></span> +<span class="i2">Of Gally i.o. the Grinder?<br /></span> +<span class="i6">Gally i.o. i.o., etc.<br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">I bought me some books tother day,<br /></span> +<span class="i2">And sent them down stairs to the binder;<br /></span> +<span class="i0">But the Pastry Cook carried away<br /></span> +<span class="i2">My Gally i.o. the Grinder.<br /></span> +<span class="i6">Gally i.o. i.o., etc.<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">I wanted to kindle my taper,<br /></span> +<span class="i2">And called to the Maid to remind her;<br /></span> +<span class="i0">And what should she bring me for paper<br /></span> +<span class="i2">But Gally i.o. the Grinder.<br /></span> +<span class="i6">Gally i.o. i.o., etc.<br /></span> +</div> + +<p>4.</p> + +<div class="stanza"> +<span class="i0">Among my researches for <span class="smcap">Ease</span><br /></span> +<span class="i2">I went where one's certain to find her:<br /></span> +<span class="i0">The first thing by her throne that one sees<br /></span> +<span class="i2">Is Gally i.o. the Grinder.<br /></span> +<span class="i6">Gally i.o. i.o., etc.<br /></span> +<span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span> +</div> + +<p>5.</p> + +<div class="stanza"> +<span class="i0">Away with old Homer the blind—<br /></span> +<span class="i2">I'll show you a poet that's blinder:<br /></span> +<span class="i0">You may see him whene'er you've a mind<br /></span> +<span class="i2">In Gally i.o. the Grinder.<br /></span> +<span class="i6">Gally i.o. i.o., etc.<br /></span> +</div> + +<p>6.</p> + +<div class="stanza"> +<span class="i0">Blindfold he runs groping for fame,<br /></span> +<span class="i2">And hardly knows where he will find her:<br /></span> +<span class="i0">She don't seem to take to the name<br /></span> +<span class="i2">Of Gally i.o. the Grinder.<br /></span> +<span class="i6">Gally i.o. i.o., etc.<br /></span> +</div> + +<p>7.</p> + +<div class="stanza"> +<span class="i0">Yet the Critics have been very kind,<br /></span> +<span class="i2">And Mamma and his friends have been kinder;<br /></span> +<span class="i0">But the greatest of Glory's behind<br /></span> +<span class="i2">For Gally i.o. the Grinder.<br /></span> +<span class="i6">Gally i.o. i.o., etc.<br /></span> +</div> +</div> + +<p class="published"><i>April</i> 11, 1818.<br /> +[From an autograph MS. in the possession of Mr. Murray,<br /> +now for the first time printed.]</p> + + +<h3>EPIGRAM.<br /> +<span style="font-size:75%;">FROM THE FRENCH OF RULHIÈRES</span>.<a name="FNanchor_108_110" id="FNanchor_108_110"></a><a href="#Footnote_108_110" class="fnanchor">[108]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">If</span> for silver, or for gold,<br /></span> +<span class="i2">You could melt ten thousand pimples<br /></span> +<span class="i2">Into half a dozen dimples,<span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span><br /></span> +<span class="i0">Then your face we might behold,<br /></span> +<span class="i2">Looking, doubtless, much more snugly,<br /></span> +<span class="i2">Yet even <i>then</i> 'twould be damned ugly.<br /></span> +</div> +</div> + +<p class="published"><i>August</i> 12, 1819.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 235.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_108_110" id="Footnote_108_110"></a><a href="#FNanchor_108_110"><span class="label">[108]</span></a> <a name="Note_062" id="Note_062"></a>["Would you like an epigram—a translation? It was written +on some Frenchwoman, by Rulhières, I believe."—Letter to +Murray, August 12, 1819, <i>Letters</i>, 1900, iv. 346. +</p><p> +Claude Carloman de Rulhière (1718-1791), historian, poet, and +epigrammatist, was the author of <i>Anecdotes sur la revolution de Russie +en l'anneé</i> 1762, <i>Histoire de l'anarchie de Pologne</i> (1807), etc. His +epigrams are included in "Poésies Diverses," which are appended +to <i>Les jeux de Mains</i>, a poem in three cantos, published in 1808, and +were collected in his <i>Oeuvres Posthumes</i>, 1819; but there is no trace +of the original of Byron's translation. Perhaps it is <i>after</i> +de Rulhière, who more than once epigrammatizes "Une Vieille Femme."]</p></div> + +</div> + +<h3>EPILOGUE.<a name="FNanchor_109_111" id="FNanchor_109_111"></a><a href="#Footnote_109_111" class="fnanchor">[109]</a></h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">There's</span> something in a stupid ass,<br /></span> +<span class="i2">And something in a heavy dunce;<br /></span> +<span class="i0">But never since I went to school<br /></span> +<span class="i2">I heard or saw so damned a fool<br /></span> +<span class="i0">As William Wordsworth is for once.<br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">And now I've seen so great a fool<br /></span> +<span class="i2">As William Wordsworth is for once;<br /></span> +<span class="i0">I really wish that Peter Bell<br /></span> +<span class="i2">And he who wrote it were in hell,<br /></span> +<span class="i0">For writing nonsense for the nonce.<br /></span> +<span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">It saw the "light in ninety-eight,"<br /></span> +<span class="i2">Sweet babe of one and twenty years!<a name="FNanchor_110_112" id="FNanchor_110_112"></a><a href="#Footnote_110_112" class="fnanchor">[110]</a><br /></span> +<span class="i0">And then he gives it to the nation<br /></span> +<span class="i2">And deems himself of Shakespeare's peers!<br /></span> +</div> + +<p>4.</p> + +<div class="stanza"> +<span class="i0">He gives the perfect work to light!<br /></span> +<span class="i2">Will Wordsworth, if I might advise,<br /></span> +<span class="i0">Content you with the praise you get<br /></span> +<span class="i2">From Sir George Beaumont, Baronet,<br /></span> +<span class="i0">And with your place in the Excise!<br /></span> +</div> +</div> + +<p class="published">1819.<br /> +[First published, <i>Philadelphia Record</i>, December 28, 1891.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_109_111" id="Footnote_109_111"></a><a href="#FNanchor_109_111"><span class="label">[109]</span></a> +<a name="Note_063" id="Note_063"></a>[The MS. of the "Epilogue" is inscribed on the margin of a +copy of Wordsworth's <i>Peter Bell</i>, inserted in a set of +Byron's <i>Works</i> presented by George W. Childs to the Drexel Institute. +(From information kindly supplied by Mr. John H. Bewley, of Buffalo, +New York.) +</p><p> +The first edition of <i>Peter Bell</i> appeared early in 1819, and a +second edition followed in May, 1819. In Byron's Dedication of +<i>Marino Faliero</i>, "To Baron Goethe," dated October 20, 1820 +(<i>Poetical Works</i>, 1891, iv. 341), the same allusions to Sir George +Beaumont, to Wordsworth's "place in the Excise," and to his +admission that <i>Peter Bell</i> had been withheld "for one and twenty +years," occur in an omitted paragraph first published, <i>Letters</i>, 1891, +v. 101. So close a correspondence of an unpublished fragment +with a genuine document leaves little doubt as to the composition of +the "Epilogue."]</p></div> + +<div class="footnote"><p><a name="Footnote_110_112" id="Footnote_110_112"></a><a href="#FNanchor_110_112"><span class="label">[110]</span></a> <a name="Note_064" id="Note_064"></a>[The missing line may be, +"To <i>permanently</i> fill a station," see +Preface to <i>Peter Bell</i>.]</p></div> +</div> + +<h3>ON MY WEDDING-DAY.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Here's</span> a happy New Year! but with reason<br /></span> +<span class="i2">I beg you'll permit me to say—<br /></span> +<span class="i0">Wish me <i>many</i> returns of the <i>Season</i>,<br /></span> +<span class="i2">But as <i>few</i> as you please of the <i>Day</i>.<a name="FNanchor_111_113" id="FNanchor_111_113"></a><a href="#Footnote_111_113" class="fnanchor">[111]</a><br /></span> +</div> +</div> + +<p class="published"><i>January</i> 2, 1820.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 294.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_111_113" id="Footnote_111_113"></a><a href="#FNanchor_111_113"><span class="label">[111]</span></a> [Medwin (<i>Conversations</i>, 1824, p. 156) +prints an alternative— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">"You may wish me returns of the season,<br /></span> +<span class="i2">Let us, prithee, have none of the day!"]<br /></span> +</div> +</div> +</div> +</div> + +<h3>EPITAPH FOR WILLIAM PITT.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">With</span> Death doomed to grapple,<br /></span> +<span class="i2">Beneath this cold slab, he<br /></span> +<span class="i0">Who lied in the Chapel<br /></span> +<span class="i2">Now lies in the Abbey.<br /></span> +</div> +</div> + +<p class="published"><i>January</i> 2, 1820.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 295.]</p> +<p><span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span></p> + +<h3>EPIGRAM.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">In</span> digging up your bones, Tom Paine,<br /></span> +<span class="i2">Will. Cobbett<a name="FNanchor_112_114" id="FNanchor_112_114"></a><a href="#Footnote_112_114" class="fnanchor">[112]</a> has done well:<br /></span> +<span class="i0">You visit him on Earth again,<br /></span> +<span class="i2">He'll visit you in Hell.<br /></span> +</div> + +<p style="text-indent:0;font-size:100%;">or—</p> + +<div class="stanza"> +<span class="i0">You come to him on Earth again<br /></span> +<span class="i2">He'll go with you to Hell!<br /></span> +</div> +</div> + +<p class="published"><i>January</i> 2, 1820.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 295.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_112_114" id="Footnote_112_114"></a><a href="#FNanchor_112_114"><span class="label">[112]</span></a> <a name="Note_065" id="Note_065"></a>[Cobbett, by way of atonement for youthful vituperation +(he called him "a ragamuffin deist") of Tom Paine, exhumed his +bones from their first resting-place at New Rochelle, and brought +them to Liverpool on his return to England in 1819. They were +preserved by Cobbett at Normanby, Farnham, till his death in +1835, but were sold in consequence of his son's bankruptcy in 1836, +and passed into the keeping of a Mr. Tilly, who was known to be +their fortunate possessor as late as 1844. (See <i>Notes and Queries</i>, +1868, Series IV. vol. i. pp. 201-203.)]</p></div> +</div> + +<h3>EPITAPH.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Posterity</span> will ne'er survey<br /></span> +<span class="i2">A nobler grave than this;<br /></span> +<span class="i0">Here lie the bones of Castlereagh:<br /></span> +<span class="i2">Stop traveller, * *<br /></span> +</div> +</div> + +<p class="published"><i>January</i> 2, 1820.<br /> +[First published, <i>Lord Byron's Works</i>, 1833, xvii. 246.]</p> + + +<h3>EPIGRAM.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0">The world is a bundle of hay,<br /></span> +<span class="i2">Mankind are the asses who pull;<br /></span> +<span class="i0">Each tugs it a different way,—<br /></span> +<span class="i2">And the greatest of all is John Bull!<br /></span> +</div> +</div> + +<p class="published">[First published, <i>Letters and Journals</i>, 1830, ii. 494.]</p> + +<p><span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span></p> + + +<h3>MY BOY HOBBIE O.<a name="FNanchor_113_115" id="FNanchor_113_115"></a><a href="#Footnote_113_115" class="fnanchor">[113]</a></h3> + +<p>New Song to the tune of</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">"<i>Whare hae ye been a' day,</i><br /></span> +<span class="i2"><i>My boy Tammy O.!</i><br /></span> +<span class="i0"><i>Courting o' a young thing</i><br /></span> +<span class="i2"><i>Just come frae her Mammie O.</i>"<br /></span> +</div> +</div> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">How</span> came you in Hob's pound to cool,<br /></span> +<span class="i2">My boy Hobbie O?<br /></span> +<span class="i0">Because I bade the people pull<br /></span> +<span class="i2">The House into the Lobby O.<span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span><br /></span> +<span class="i0"> <span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span><br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">What did the House upon this call,<br /></span> +<span class="i2">My boy Hobbie O?<br /></span> +<span class="i0">They voted me to Newgate all,<br /></span> +<span class="i2">Which is an awkward Jobby O.<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">Who are now the people's men,<br /></span> +<span class="i2">My boy Hobbie O?<br /></span> +<span class="i0">There's I and Burdett—Gentlemen<br /></span> +<span class="i2">And blackguard Hunt and Cobby O.<br /></span> +</div> + +<p>4.</p> + +<div class="stanza"> +<span class="i0">You hate the house—<i>why</i> canvass, then?<br /></span> +<span class="i2">My boy Hobbie O?<br /></span> +<span class="i0">Because I would reform the den<br /></span> +<span class="i2">As member for the Mobby O.<br /></span> +</div> + +<p>5.</p> + +<div class="stanza"> +<span class="i0">Wherefore do you hate the Whigs,<br /></span> +<span class="i2">My boy Hobbie O?<br /></span> +<span class="i0">Because they want to run their rigs,<br /></span> +<span class="i2">As under Walpole Bobby O.<br /></span> +</div> + +<p>6.</p> + +<div class="stanza"> +<span class="i0">But when we at Cambridge were<br /></span> +<span class="i2">My boy Hobbie O,<br /></span> +<span class="i0">If my memory don't err<br /></span> +<span class="i2">You founded a Whig Clubbie O.<br /></span> +</div> + +<p>7.</p> + +<div class="stanza"> +<span class="i0">When to the mob you make a speech,<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span><br /></span> +<span class="i2">My boy Hobbie O,<br /></span> +<span class="i0">How do you keep without their reach<br /></span> +<span class="i2">The watch within your fobby O?<br /></span> +</div> + +<p>8.</p> + +<div class="stanza"> +<span class="i0">But never mind such petty things,<br /></span> +<span class="i2">My boy Hobbie O;<br /></span> +<span class="i0">God save the people—damn all Kings,<br /></span> +<span class="i2">So let us Crown the Mobby O!<br /></span> +<span class="i15">Yours truly,<br /></span> +<span class="i8">(Signed) <span class="smcap"><i>Infidus Scurra</i></span><br /></span> +</div> +</div> + +<p class="published"><i>March 23d</i>, 1820.<br /> +[First published <i>Murray's Magazine</i>, March, 1887, vol. i. pp. 292, 293.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_113_115" id="Footnote_113_115"></a><a href="#FNanchor_113_115"><span class="label">[113]</span></a> <a name="Note_066" id="Note_066"></a>[John Cam Hobhouse (1786-1869) +(see <i>Letters</i>, 1898, i. 163, note 1) +was committed to Newgate in December, 1819, for certain +passages in a pamphlet entitled, <i>A Trifling Mistake in Thomas +Lord Erskine's recent Preface</i>, which were voted (December 10) a +breach of privilege. He remained in prison till the dissolution on +the king's death, February 20, 1820, when he stood and was +returned for Westminster. Byron's Liberalism was intermittent, and +he felt, or, as Hobhouse thought, pretended to feel, as a Whig and +an aristocrat with regard to the free lances of the Radical party. +The sole charge in this "filthy ballad," which annoyed Hobhouse, +was that he had founded a Whig Club when he was an undergraduate +at Cambridge. He assured Murray (see his letter, November, 1820, +<i>Letters</i>, vol. iv. Appendix XI. pp. 498-500) that he was not the +founder of the club, and that Byron himself was a member. "As +for his Lordship's vulgar notions about the <i>mob</i>" he adds, "they +are very fit for the Poet of the <i>Morning Post</i>, and for nobody else." +There is no reason to suppose that Byron was in any way responsible +for the version as sent to the <i>Morning Post</i>.] +</p> +<p class="center">"MY BOY HOBBY O.<br /> +[<span class="smcap">Another Version</span>.] +</p> +<p class="center"> +To the Editor of the <i>Morning Post</i>. +</p> +<p> +<span class="smcap">Sir</span>,—A +copy of verses, to the tune of '<i>My boy Tammy</i>,' are +repeated in literary circles, and said to be written by a Noble Lord +of the highest poetical fame, upon his quondam friend and annotator. +My memory does not enable me to repeat more than the first two +verses quite accurately, but the humourous spirit of the Song may +be gathered from these:— +</p> + +<div class="poem"> +<p>1.</p> +<div class="stanza"> +<span class="i0">Why were you put in Lob's pond,<br /></span> +<span class="i2">My boy, <span class="smcap">Hobby</span> O? (<i>bis</i>)<br /></span> +<span class="i0">For telling folks to pull the House<br /></span> +<span class="i2">By the ears into the Lobby O!<br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">Who are your grand Reformers now,<br /></span> +<span class="i2">My boy, <span class="smcap">Hobby</span> O? (<i>bis</i>)<br /></span> +<span class="i0">There's me and <span class="smcap">Burdett</span>,—gentlemen,<br /></span> +<span class="i2">And Blackguards <span class="smcap">Hunt</span> and <span class="smcap">Cobby</span> O!<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">Have you no other friends but these,<br /></span> +<span class="i2">My boy, <span class="smcap">Hobby</span> O? (<i>bis</i>)<br /></span> +<span class="i0">Yes, Southwark's Knight,* the County <span class="smcap">Byng</span>,<br /></span> +<span class="i2">And in the City, <span class="smcap">Bobby</span> O!<br /></span> +</div> +</div> + +<div class="blockquot">* <a name="Note_067" id="Note_067"></a> "Southwark's Knight" was General Sir Robert Thomas Wilson +(1777-1849), who was returned for Southwark in 1818, and again +<a name="Note_068" id="Note_068"></a>in 1820; "County Byng" was George Byng, M.P. for Middlesex; +and "Bobby" was Sir Robert Waithman (1764-1833), who represented +the City of London in 1818, but lost his seat to Sir William +Curtis in 1820. All these were advanced Liberals, and, as such, +Parliamentary friends of Hobhouse. +</div> + +<div class="poem"> + +<p>4.</p> + +<div class="stanza"> +<span class="i0">"How do you recreate yourselves,<br /></span> +<span class="i2">My boy, <span class="smcap">Hobby</span> O? (<i>bis</i>)<br /></span> +<span class="i0">We spout with tavern Radicals,<br /></span> +<span class="i2">And drink with them hob-nobby O!<br /></span> +</div> + +<p>5.</p> + +<div class="stanza"> +<span class="i0">"What purpose can such folly work,<br /></span> +<span class="i2">My boy, <span class="smcap">Hobby</span> O? (<i>bis</i>)<br /></span> +<span class="i0">It gives our partisans a chance<br /></span> +<span class="i2">Watches to twitch from fob-by O!<br /></span> +</div> + +<p>6.</p> + +<div class="stanza"> +<span class="i0">"Have they no higher game in view,<br /></span> +<span class="i2">My boy, <span class="smcap">Hobby</span> O? (<i>bis</i>)<br /></span> +<span class="i0">Oh yes; to stir the people up,<br /></span> +<span class="i2">And then to head the mob-by O.<br /></span> +</div> + +<p>7.</p> + +<div class="stanza"> +<span class="i0">"But sure they'll at their ruin pause,<br /></span> +<span class="i2">My boy, <span class="smcap">Hobby</span> O? (<i>bis</i>)<br /></span> +<span class="i0">No! they'd see King and Parliament<br /></span> +<span class="i2">Both d—d without a sob-by O!<br /></span> +</div> + +<p>8.</p> + +<div class="stanza"> +<span class="i0">But, if they fail, they'll be hanged up,<br /></span> +<span class="i2">My boy, <span class="smcap">Hobby</span> O? (<i>bis</i>)<br /></span> +<span class="i0">Why, then, they'll swing, like better men,<br /></span> +<span class="i2">And that will end the job-by O!<br /></span> +<span class="i15"><span class="smcap">Philo-Radicle</span>."<br /></span> +<span class="i15">April 15, 1820."<br /></span> +</div> +</div> + +</div> +</div> + +<h3>LINES<br /> +<span style="font-size:75%;">ADDRESSED BY LORD BYRON TO MR. HOBHOUSE ON HIS +ELECTION FOR WESTMINSTER</span>.<a name="FNanchor_114_116" id="FNanchor_114_116"></a><a href="#Footnote_114_116" class="fnanchor">[114]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Would you go to the house by the true gate,<br /></span> +<span class="i2">Much faster than ever Whig Charley went;<br /></span> +<span class="i0">Let Parliament send you to Newgate,<br /></span> +<span class="i2">And Newgate will send you to Parliament.<br /></span> +</div> +</div> + +<p class="published"><i>April 9, 1820</i>.<br /> +[First published, <i>Miscellaneous Poems</i>, printed for J. Bumpus, 1824.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_114_116" id="Footnote_114_116"></a><a href="#FNanchor_114_116"><span class="label">[114]</span></a> <a name="Note_069" id="Note_069"></a>["I send you 'a Song of Triumph,' by W. Botherby, Esq<sup>re</sup> +price sixpence, on the election of J. C. H., Esqre., for Westminster +(<i>not</i> for publication)."—Letter to Murray, April 9, 1820, +<i>Letters</i>, 1901, v. 6.]</p></div> +</div> + +<p><span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span></p> + +<h3>A VOLUME OF NONSENSE.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i2"><span class="smcap">Dear Murray</span>,—<br /></span> +<span class="i6">You ask for a "<i>Volume of Nonsense</i>,"<br /></span> +<span class="i2">Have all of your authors exhausted their store?<br /></span> +<span class="i0">I thought you had published a good deal not long since.<br /></span> +<span class="i2">And doubtless the Squadron are ready with more.<br /></span> +<span class="i0">But on looking again, I perceive that the Species<br /></span> +<span class="i0">Of "Nonsense" you want must be purely "<i>facetious</i>;"<br /></span> +<span class="i0">And, as that is the case, you had best put to press<br /></span> +<span class="i2">Mr. Sotheby's tragedies now in M.S.,<br /></span> +<span class="i8">Some Syrian Sally<br /></span> +<span class="i8">From common-place Gally,<br /></span> +<span class="i0">Or, if you prefer the bookmaking of women,<br /></span> +<span class="i0">Take a spick and span "Sketch" of your feminine <i>He-Man</i>.<a name="FNanchor_115_117" id="FNanchor_115_117"></a><a href="#Footnote_115_117" class="fnanchor">[115]</a><br /></span> +</div> +</div> + +<p class="published"><i>Sept</i>. 28, 1820.<br /> +[First published, <i>Letters</i>, 1900, v. 83.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_115_117" id="Footnote_115_117"></a><a href="#FNanchor_115_117"><span class="label">[115]</span></a> <a name="Note_070" id="Note_070"></a>[For Felicia Dorothea Browne (1793-1835), married in 1812 +to Captain Hemans, see <i>Letters</i>, iii. 368, note 2. +In the letter which +contains these verses he writes, "I do not despise Mrs. Heman; +but if she knit blue stockings instead of wearing them it would be +better." Elsewhere he does despise her: "No more <i>modern</i> poesy, +I pray, neither Mrs. Hewoman's nor any female or male Tadpole +of poet Wordsworth's."—<i>Ibid.</i>, v. 64.]</p></div> +</div> + +<h3>STANZAS.<a name="FNanchor_116_118" id="FNanchor_116_118"></a><a href="#Footnote_116_118" class="fnanchor">[116]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">When</span> a man hath no freedom to fight for at home,<br /></span> +<span class="i2">Let him combat for that of his neighbours;<span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span><br /></span> +<span class="i0">Let him think of the glories of Greece and of Rome,<br /></span> +<span class="i2">And get knocked on the head for his labours.<br /></span> +</div> +<div class="stanza"> +<span class="i0">To do good to Mankind is the chivalrous plan,<br /></span> +<span class="i2">And is always as nobly requited;<br /></span> +<span class="i0">Then battle for Freedom wherever you can,<br /></span> +<span class="i2">And, if not shot or hanged, you'll get knighted.<br /></span> +</div> +</div> + +<p class="published"><i>November 5, 1820</i>.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 377.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_116_118" id="Footnote_116_118"></a><a href="#FNanchor_116_118"><span class="label">[116]</span></a> [The lines were sent in a letter to Moore (November 5, 1820) +by way of <i>Autoepitaphium</i>, "if 'honour should come unlooked for' +to any of your acquaintance;" i.e. if Byron should fall in the cause +of Italian revolution, and Moore should not think him worthy of +commemoration, here was a threnody "ready at hand."]</p></div> +</div> + +<h3>TO PENELOPE.<a name="FNanchor_117_119" id="FNanchor_117_119"></a><a href="#Footnote_117_119" class="fnanchor">[117]</a> +<br /> +<span style="font-size:75%;"><span class="smcap">January</span> 2, 1821</span>. +</h3> + + + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">This</span> day, of all our days, has done<br /></span> +<span class="i2">The worst for me and you:—<br /></span> +<span class="i0">'T is just <i>six</i> years since we were <i>one</i>,<br /></span> +<span class="i2">And <i>five</i> since we were <i>two</i>.<br /></span> +</div> +</div> + +<p class="published"><i>November 5, 1820.</i><br /> +[First published, Medwin's <i>Conversations</i>, 1824, p. 106.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_117_119" id="Footnote_117_119"></a><a href="#FNanchor_117_119"><span class="label">[117]</span></a> <a name="Note_071" id="Note_071"></a>["For the anniversary of January 2, 1821, I have a small +grateful anticipation, which, in case of accident, I add."—Letter +to Moore, November 5, 1820, <i>Letters</i>, 1891, v. 112.]</p></div> +</div> + +<h3>THE CHARITY BALL.<a name="FNanchor_118_120" id="FNanchor_118_120"></a><a href="#Footnote_118_120" class="fnanchor">[118]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">What</span> matter the pangs of a husband and father,<br /></span> +<span class="i2">If his sorrows in exile be great or be small,<br /></span> +<span class="i0">So the Pharisee's glories around her she gather,<br /></span> +<span class="i2">And the saint patronises her "Charity Ball!"<span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span><br /></span> +</div> +<div class="stanza"> +<span class="i0">What matters—a heart which, though faulty, was feeling,<br /></span> +<span class="i2">Be driven to excesses which once could appal—<br /></span> +<span class="i0">That the Sinner should suffer is only fair dealing,<br /></span> +<span class="i2">As the Saint keeps her charity back for "the Ball!"<br /></span> +</div> +</div> + +<p class="published"><i>December</i> 10, 1820.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 540.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_118_120" id="Footnote_118_120"></a><a href="#FNanchor_118_120"><span class="label">[118]</span></a> [Written on seeing the following paragraph in a newspaper: +"Lady Byron is this year the lady patroness at the annual Charity +Ball, given at the Town Hall, at Hinckley, +Leicestershire...."—<i>Life</i>, p. 535. Moore adds that +"these verses [of which he only +prints two stanzas] are full of strong and indignant feeling,—every +stanza concluding pointedly with the words 'Charity Ball.'"]</p></div> +</div> + +<h3>EPIGRAM<br /> +<span style="font-size:75%;">ON THE BRAZIERS' ADDRESS TO BE PRESENTED IN +<i>ARMOUR</i> BY THE COMPANY TO QUEEN CAROLINE</span>.<a name="FNanchor_119_121" id="FNanchor_119_121"></a><a href="#Footnote_119_121" class="fnanchor">[119]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">It</span> seems that the Braziers propose soon to pass<br /></span> +<span class="i0">An Address and to bear it themselves all in brass;<span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span><br /></span> +<span class="i0">A superfluous pageant, for by the Lord Harry!<br /></span> +<span class="i0">They'll <i>find</i>, where they're going, much more than they carry.<br /></span> +</div> +</div> + +<p>Or—</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">The</span> Braziers, it seems, are determined to pass<br /></span> +<span class="i0">An Address, and present it themselves all in brass:—<br /></span> +<span class="i0">A superfluous {pageant/trouble} for, by the Lord Harry!<br /></span> +<span class="i0">They'll find, where they're going, much more than they carry.<br /></span> +</div> +</div> + +<p class="published"><i>January 6, 1821.</i><br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 442.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_119_121" id="Footnote_119_121"></a><a href="#FNanchor_119_121"><span class="label">[119]</span></a> <a name="Note_072" id="Note_072"></a>[The allusion is explained in Rivington's +<i>Annual Register</i>, October 30, 1820 (vol. lxii. pp. 114, 115)— +</p><p> +"ADDRESSES TO THE QUEEN. +</p><p> +" ... The most splendid exhibition of the day was that of the +brass-founders and braziers. The procession was headed by a man +dressed in a suit of burnished plate armour of brass, and mounted +on a handsome black horse, the reins being held by pages ... +wearing brass helmets.... A man in a complete suite of brass +armour ... was followed by two persons, bearing on a cushion +a most magnificent imitation of the imperial Crown of England. +A small number of the deputation of brass-founders were admitted +to the presence of her Majesty, and one of the persons in armour +advanced to the throne, and bending on one knee, presented the +address, which was enclosed in a brass case of excellent +workmanship."—See <i>Letters</i>, 1901, v. 219, 220, note 2. +</p><p> +In a postscript to a letter to Murray, dated January 19, 1821, +he writes, "I sent you a line or two on the Braziers' Company last +week, <i>not</i> for publication. The lines were even worthy +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">'Of ——dsworth the great metaquizzical poet,<br /></span> +<span class="i0">A man of great merit amongst those who know it,<br /></span> +<span class="i0">Of whose works, as I told Moore last autumn at <i>Mestri</i><br /></span> +<span class="i0">I owe all I know to my passion for <i>Pastry</i>.'"<br /></span> +</div> +</div> +<p> +He adds, in a footnote, "<i>Mestri</i> and <i>Fusina</i> are the +ferry trajects to Venice: I believe, however, that it was at +Fusina that Moore +<a name="Note_073" id="Note_073"></a>and I embarked in 1819, when Thomas came to Venice, like +Coleridge's Spring, 'slowly up this way.'" +</p><p> +Again, in a letter to Moore, dated January 22, 1821, he encloses +slightly different versions of both epigrams, and it is worth noting +that the first line of the pendant epigram has been bowdlerized, and +runs thus— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">"Of Wordsworth the grand metaquizzical poet."<br /></span> +</div> +</div> +<p> +—<i>Letters</i>, 1901, v. 226, 230.]</p></div> +</div> + +<h3>ON MY THIRTY-THIRD BIRTHDAY.<br /> +<span style="font-size:75%;">JANUARY 22, 1821.</span><a name="FNanchor_120_122" id="FNanchor_120_122"></a><a href="#Footnote_120_122" class="fnanchor">[120]</a> +</h3> + + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Through</span> Life's dull road, so dim and dirty,<br /></span> +<span class="i0">I have dragged to three-and-thirty.<br /></span> +<span class="i0">What have these years left to me?<br /></span> +<span class="i0">Nothing—except thirty-three.<br /></span> +</div> +</div> + +<p class="published">[First published, <i>Letters and Journals</i>, 1830, ii. 414.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"> +<p><a name="Footnote_120_122" id="Footnote_120_122"></a><a href="#FNanchor_120_122"><span class="label">[120]</span></a> +["To-morrow is my birthday—that is to say, at +twelve o' the clock, midnight; <i>i.e.</i> in twelve minutes I shall +have completed thirty and three years of age!!! and I go to my bed with a +heaviness of heart at having lived so long, and to so little purpose. +* * * It is three minutes past twelve—''Tis the middle of night +by the castle clock,' and I am now thirty-three!— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">'Eheu, fugaces, Posthume, Posthume,<br /></span> +<span class="i0">Labuntur anni;'—<br /></span> +</div> +</div> +<p> +<a name="Note_074" id="Note_074"></a>but I don't regret them so much for what I have done, as for what +I might have done."—Extracts from a Diary, January 21, 1821, +<i>Letters</i>, 1901, v. 182. +</p><p> +In a letter to Moore, dated January 22, 1821, he gives another version— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">"Through Life's road, so dim and dirty,<br /></span> +<span class="i0">I have dragged to three-and-thirty.<br /></span> +<span class="i0">What <i>have</i> these years left to me?<br /></span> +<span class="i0">Nothing—except thirty-three."<br /></span> +</div> +</div> +<p><i>Ibid.</i>, p. 229.]</p> +</div> +</div> + +<p><span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span></p> + +<h3>MARTIAL, <span class="smcap">Lib. I. Epig. I</span>.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i3"><span style="font-size:90%;">"Hic est, quem legis, ille, quem requiris,</span><br /></span> +<span class="i3"><span style="font-size:90%;">Toto notus in orbe Martialis," etc.</span><br /></span> +</div> +<div class="stanza"> +<span class="i0"><span class="smcap">He</span>, unto whom thou art so partial,<br /></span> +<span class="i0">Oh, reader! is the well-known Martial,<br /></span> +<span class="i0">The Epigrammatist: while living,<br /></span> +<span class="i0">Give him the fame thou would'st be giving;<br /></span> +<span class="i0">So shall he hear, and feel, and know it—<br /></span> +<span class="i2">Post-obits rarely reach a poet.<br /></span> +</div> +</div> + +<p class="published">[N.D. ? 1821.]<br /> +[First published, <i>Lord Byron's Works</i>, 1833, xvii. 245]</p> + + +<h3>BOWLES AND CAMPBELL.</h3> + +<div class="poem"> + +<p class="center" style="text-indent:0;"> +To the air of "How now, Madam Flirt," in the <i>Beggar's Opera</i>.<a name="FNanchor_121_123" id="FNanchor_121_123"></a><a href="#Footnote_121_123" class="fnanchor">[121]</a></p> + +<p>BOWLES.</p> + +<div class="stanza"> +<span class="i0">"<span class="smcap">Why</span>, how now, saucy Tom?<br /></span> +<span class="i2">If you thus must ramble,<span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span><br /></span> +<span class="i0">I will publish some<br /></span> +<span class="i2">Remarks on Mister Campbell.<br /></span> +<span class="i15">Saucy Tom!"<br /></span> +</div> + +<p>CAMPBELL.</p> + +<div class="stanza"> +<span class="i0">"<span class="smcap">Why</span>, how now, Billy Bowles?<br /></span> +<span class="i2">Sure the priest is maudlin!<br /></span> +<span class="i0">(<i>To the public</i>) How can you, d—n your souls!<br /></span> +<span class="i2">Listen to his twaddling?<br /></span> +<span class="i15"><i>Billy Bowles</i>!"<br /></span> +</div> +</div> + +<p class="published"><i>February</i> 22, 1821.<br /> +[First published, <i>The Liberal</i>, 1823, No. II. p. 398.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_121_123" id="Footnote_121_123"></a><a href="#FNanchor_121_123"><span class="label">[121]</span></a> [Compare the Beggar's Opera, act ii. sc. 2— +</p> +<div class="poem"> +<p class="center" style="text-indent:0;">Air, "Good morrow, Gossip Joan."</p> +<div class="stanza"> +<span class="i0">"Polly. <i>Why, how now, Madam Flirt?</i><br /></span> +<span class="i4"><i>If you thus must chatter,</i><br /></span> +<span class="i0"><i>And are for flinging dirt,</i><br /></span> +<span class="i4"><i>Let's try who best can spatter,</i><br /></span> +<span class="i13"><i>Madam Flirt</i>!<br /></span> +<span class="i0">"Lucy. <i>Why, how now, saucy jade?</i><br /></span> +<span class="i4"><i>Sure the wench is tipsy!</i><br /></span> +<span class="i0"><i>How can you see me made</i><br /></span> +<span class="i4"><i>The scoff of such a gipsy</i>? [To him.]<br /></span> +<span class="i13"><i>Saucy jade</i>!" [To her.]<br /></span> +</div> +</div> +<p> +<a name="Note_075" id="Note_075"></a> +Bowles replied to Campbell's Introductory Essay to his <i>Specimens +of the English Poets</i>, 7 vols., 1819, by <i>The Invariable Principles of +Poetry</i>, in a letter addressed to Thomas Campbell. For Byron's two +essays, the "Letter to.... [John Murray]" and +"Observations upon Observations," see <i>Letters</i>, 1901, +v. Appendix III. pp. 536-592.]</p></div> +</div> + +<h3>ELEGY.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Behold</span> the blessings of a lucky lot!<br /></span> +<span class="i0">My play is <i>damned</i>, and Lady Noel <i>not</i>.<br /></span> +</div> +</div> + +<p class="published"><i>May</i> 25, 1821.<br /> +[First published, Medwin's <i>Conversations</i>, 1824, p. 121.]</p> +<p><span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span></p> + + +<h3>JOHN KEATS.<a name="FNanchor_122_124" id="FNanchor_122_124"></a><a href="#Footnote_122_124" class="fnanchor">[122]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Who</span> killed John Keats?<br /></span> +<span class="i2">"I," says the Quarterly,<br /></span> +<span class="i2">So savage and Tartarly;<br /></span> +<span class="i0">"'T was one of my feats."<br /></span> +</div> +<div class="stanza"> +<span class="i0">Who shot the arrow?<br /></span> +<span class="i2">"The poet-priest Milman<br /></span> +<span class="i2">(So ready to kill man)<br /></span> +<span class="i0">"Or Southey, or Barrow."<br /></span> +</div> +</div> + +<p class="published"><i>July</i> 30, 1821.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 506.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_122_124" id="Footnote_122_124"></a><a href="#FNanchor_122_124"><span class="label">[122]</span></a> <a name="Note_076" id="Note_076"></a>[For Croker's "article" on Keats's <i>Endymion</i> +(<i>Quarterly Review</i>, April, 1818, vol. xix. pp. 204-208), +see <i>Don Juan</i>, Canto XI. stanza lx. line 1, +<i>Poetical Works</i>, 1902, vi. 445, note 4.]</p></div> +</div> + +<h3>FROM THE FRENCH.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Ægle</span>, beauty and poet, has two little crimes;<br /></span> +<span class="i0">She makes her own face, and does not make her rhymes.<br /></span> +</div> +</div> + +<p class="published"><i>Aug</i>. 2, 1821.<br /> +[First published, <i>The Liberal</i>, 1823, No. II. p. 396.]</p> + + +<h3>TO MR. MURRAY.</h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">For</span> Orford<a name="FNanchor_123_125" id="FNanchor_123_125"></a><a href="#Footnote_123_125" class="fnanchor">[123]</a> and for Waldegrave<a name="FNanchor_124_126" id="FNanchor_124_126"></a><a href="#Footnote_124_126" class="fnanchor">[124]</a><br /></span> +<span class="i0">You give much more than me you <i>gave</i>;<br /></span> +<span class="i0">Which is not fairly to behave,<br /></span> +<span class="i13">My Murray!<br /></span> +</div> + +<p><span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span></p><p>2.</p> + +<div class="stanza"> +<span class="i0">Because if a live dog, 't is said,<br /></span> +<span class="i0">Be worth a lion fairly sped,<br /></span> +<span class="i0">A live lord must be worth <i>two</i> dead,<br /></span> +<span class="i13">My Murray!<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">And if, as the opinion goes,<br /></span> +<span class="i0">Verse hath a better sale than prose,—<br /></span> +<span class="i0">Certes, I should have more than those,<br /></span> +<span class="i13">My Murray!<br /></span> +</div> + +<p>4.</p> + +<div class="stanza"> +<span class="i0">But now this sheet is nearly crammed,<br /></span> +<span class="i0">So, if <i>you will</i>, <i>I</i> shan't be shammed,<br /></span> +<span class="i0">And if you <i>won't</i>,—<i>you</i> may be damned,<br /></span> +<span class="i13">My Murray!<a name="FNanchor_125_127" id="FNanchor_125_127"></a><a href="#Footnote_125_127" class="fnanchor">[125]</a><br /></span> +</div> +</div> + +<p class="published"><i>August 23, 1821.</i><br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 517.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_123_125" id="Footnote_123_125"></a><a href="#FNanchor_123_125"><span class="label">[123]</span></a> [Horace Walpole's <i>Memoirs of the Last Nine Years of the +Reign of George II.</i> ]</p></div> + +<div class="footnote"><p><a name="Footnote_124_126" id="Footnote_124_126"></a><a href="#FNanchor_124_126"><span class="label">[124]</span></a> [<i>Memoirs</i> by James Earl Waldegrave, Governor of George III. +when Prince of Wales.]</p></div> + +<div class="footnote"><p><a name="Footnote_125_127" id="Footnote_125_127"></a><a href="#FNanchor_125_127"><span class="label">[125]</span></a> <a name="Note_077" id="Note_077"></a>["Can't accept your courteous offer +[<i>i.e.</i> £2000 for three cantos of <i>Don Juan, Sardanapalus</i>, +and <i>The Two Foscari</i>.] These +matters must be arranged with Mr. Douglas Kinnaird. He is my +trustee, and a man of honour. To him you can state all your +mercantile reasons, which you might not like to state to me personally, +such as 'heavy season'—'flat public'—'don't go off'—'lordship +writes too much'—'won't take advice'—'declining popularity'—'deductions +for the trade'—'make very little'—'generally lose by him'—'pirated +edition'—'foreign edition'—'severe criticisms,' etc., with other +hints and howls for an oration, which I +leave Douglas, who is an orator, to answer."—Letter to Murray, +August 23, 1821, <i>Letters</i>, 1901, v. 348.]</p></div> +</div> + +<h3>[NAPOLEON'S SNUFF-BOX.]<a name="FNanchor_126_128" id="FNanchor_126_128"></a><a href="#Footnote_126_128" class="fnanchor">[126]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Lady</span>, accept the box a hero wore,<br /></span> +<span class="i2">In spite of all this elegiac stuff:<br /></span> +<span class="i0">Let not seven stanzas written by a bore,<br /></span> +<span class="i2">Prevent your Ladyship from taking snuff!<br /></span> +</div> +</div> + +<p class="published">1821.<br /> +[First published, <i>Conversations of Lord Byron</i>, 1824, p. 235.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_126_128" id="Footnote_126_128"></a><a href="#FNanchor_126_128"><span class="label">[126]</span></a> [Napoleon bequeathed to Lady Holland a snuff-box which had +<a name="Note_078" id="Note_078"></a>been given to him by the Pope for his clemency in sparing Rome. +Lord Carlisle wrote eight (not seven) stanzas, urging her, as Byron +told Medwin, to decline the gift, "for fear that horror and murder +should jump out of the lid every time it is opened."—<i>Conversations</i>, +1824, p. 362. The first stanza of Lord Carlyle's verses, which <i>teste</i> +Medwin, Byron parodied, runs thus— +</p> +<div class="poem"> +<div class="stanza"> +<span class="i0">"Lady, reject the gift! 'tis tinged with gore!<br /></span> +<span class="i2">Those crimson spots a dreadful tale relate;<br /></span> +<span class="i0">It has been grasp'd by an infernal Power;<br /></span> +<span class="i2">And by that hand which seal'd young Enghien's fate."<br /></span> +</div> +</div> +<p> +The snuff-box is now in the jewel-room in the British Museum.]</p></div> +</div> + +<p><span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span></p> +<h3>THE NEW VICAR OF BRAY.</h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i4"><span class="smcap">Do</span> you know Doctor Nott?<a name="FNanchor_127_129" id="FNanchor_127_129"></a><a href="#Footnote_127_129" class="fnanchor">[127]</a><br /></span> +<span class="i4">With "a crook in his lot,"<br /></span> +<span class="i0">Who seven years since tried to dish up<br /></span> +<span class="i4">A neat Codi<i>cil</i><br /></span> +<span class="i4">To the Princess's Will,<a name="FNanchor_128_130" id="FNanchor_128_130"></a><a href="#Footnote_128_130" class="fnanchor">[128]</a><br /></span> +<span class="i0">Which made Dr. Nott <i>not</i> a bishop.<br /></span> +</div> + +<p><span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span></p><p>2.</p> + +<div class="stanza"> +<span class="i4">So the Doctor being found<br /></span> +<span class="i4">A little unsound<br /></span> +<span class="i0">In his doctrine, at least as a teacher,<br /></span> +<span class="i4">And kicked from one stool<br /></span> +<span class="i4">As a knave or a fool,<br /></span> +<span class="i0">He mounted another as preacher.<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i4">In that Gown (like the Skin<br /></span> +<span class="i4">With no Lion within)<br /></span> +<span class="i0">He still for the Bench would be driving;<br /></span> +<span class="i4">And roareth away,<br /></span> +<span class="i4">A new Vicar of <i>Bray</i>,<br /></span> +<span class="i0">Except that <i>his bray</i> lost his living.<br /></span> +</div> + +<p>4.</p> + +<div class="stanza"> +<span class="i4">"Gainst Freethinkers," he roars,<br /></span> +<span class="i4">"You should all block your doors<br /></span> +<span class="i0">Or be named in the Devil's indentures:"<br /></span> +<span class="i4">And here I agree,<br /></span> +<span class="i4">For who e'er would be<br /></span> +<span class="i0">A Guest where old Simony enters?<br /></span> +</div> + +<p>5.</p> + +<div class="stanza"> +<span class="i4">Let the Priest, who beguiled<br /></span> +<span class="i4">His own Sovereign's child<br /></span> +<span class="i0">To his own dirty views of promotion,<br /></span> +<span class="i4">Wear his Sheep's cloathing still<br /></span> +<span class="i4">Among flocks to his will,<br /></span> +<span class="i0">And dishonour the Cause of devotion.<br /></span> +<span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span> +</div> + +<p>6.</p> + +<div class="stanza"> +<span class="i4">The Altar and Throne<br /></span> +<span class="i4">Are in danger alone<br /></span> +<span class="i0">From such as himself, who would render<br /></span> +<span class="i4">The Altar itself<br /></span> +<span class="i4">But a step up to Pelf,<br /></span> +<span class="i0">And pray God to pay his defender.<br /></span> +</div> + +<p>7.</p> + +<div class="stanza"> +<span class="i4">But, Doctor, one word<br /></span> +<span class="i4">Which perhaps you have heard<br /></span> +<span class="i0">"He should never throw stones who has windows<br /></span> +<span class="i4">Of Glass to be broken,<br /></span> +<span class="i4">And by this same token<br /></span> +<span class="i0">As a sinner, you can't care what Sin does.<br /></span> +</div> + +<p>8.</p> + +<div class="stanza"> +<span class="i4">But perhaps you do well:<br /></span> +<span class="i4">Your own windows, they tell,<br /></span> +<span class="i0">Have long ago sufferéd censure;<br /></span> +<span class="i4">Not a fragment remains<br /></span> +<span class="i4">Of your character's panes,<br /></span> +<span class="i0">Since the Regent refused you a glazier.<br /></span> +</div> + +<p>9.</p> + +<div class="stanza"> +<span class="i4">Though your visions of lawn<br /></span> +<span class="i4">Have all been withdrawn,<br /></span> +<span class="i0">And you missed your bold stroke for a mitre;<br /></span> +<span class="i4">In a very snug way<br /></span> +<span class="i4">You may still preach and pray,<br /></span> +<span class="i0">And from bishop sink into backbiter!"<br /></span> +</div> +</div> + +<p class="published">[First published, <i>Works</i> (Galignani), 1831, p. 116.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_127_129" id="Footnote_127_129"></a><a href="#FNanchor_127_129"><span class="label">[127]</span></a> [George Frederick Nott (1767-1841), critic and divine, was +Rector of Harrietsham and Woodchurch, a Prebendary of Winchester +and of Salisbury. He was Bampton Lecturer in 1802, and, soon +afterwards, was appointed sub-preceptor to the Princess Charlotte +of Wales. He was a connoisseur of architecture and painting, and +passed much of his time in Italy and at Rome. When he was at +Pisa he preached in a private room in the basement story of the +house in Pisa where Shelley was living, and fell under Byron's +displeasure for attacking the Satanic school, and denouncing <i>Cain</i> as +a blasphemous production. "The parsons," he told Moore (letter, +February 20, 1820), "preached at it [<i>Cain</i>] from Kentish Town to +Pisa." Hence the apostrophe to Dr. Nott. (See <i>Records of Shelley, +Byron, and the Author</i>, by E. T. Trelawny, 1887, pp. 302, 303.)]</p></div> + +<div class="footnote"><p><a name="Footnote_128_130" id="Footnote_128_130"></a><a href="#FNanchor_128_130"><span class="label">[128]</span></a> [According to Lady Anne Hamilton (<i>Secret History of +the Court +of England</i>, 1832, i. 198-207), the Princess Charlotte incurred the +suspicion and displeasure of her uncles and her grandmother, the +Queen, by displaying an ardent and undue interest in her sub-preceptor. +On being reproved by the Queen for "condescending to +favour persons in low life with confidence or particular respect, +persons likely to take advantage of your simplicity and innocence," +and having learnt that "persons" meant Mr. Nott, she replied by +threatening to sign a will in favour of her sub-preceptor, and by +actually making over to him by a deed her library, jewels, and all +<a name="Note_079" id="Note_079"></a>other private property. Lady Anne Hamilton is not an accurate +or trustworthy authority, but her extremely circumstantial narrative +was, no doubt, an expansion of the contemporary scandal to which +Byron's lampoon gave currency.]</p></div> +</div> +<p><span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span></p> + +<h3>LUCIETTA. A FRAGMENT.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">Lucietta</span>, my deary,<br /></span> +<span class="i0">That fairest of faces!<br /></span> +<span class="i0">Is made up of kisses;<br /></span> +<span class="i0">But, in love, oft the case is<br /></span> +<span class="i0">Even stranger than this is—<br /></span> +<span class="i0">There's another, that's slyer,<br /></span> +<span class="i0">Who touches me nigher,—<br /></span> +<span class="i0">A Witch, an intriguer,<br /></span> +<span class="i0">Whose manner and figure<br /></span> +<span class="i0">Now piques me, excites me,<br /></span> +<span class="i0">Torments and delights me—<br /></span> +<span class="i8"><i>Cætera desunt</i>.<br /></span> +</div> +</div> + +<p class="published">[From an autograph MS. in the possession of Mr. Murray, +now for the first time printed.]</p> + + +<h3>EPIGRAMS.</h3> + +<div class="poem"> + +<div class="stanza"> +<span class="i0"><span class="smcap">Oh</span>, Castlereagh! thou art a patriot now;<br /></span> +<span class="i0">Cato died for his country, so did'st thou:<br /></span> +<span class="i0">He perished rather than see Rome enslaved,<br /></span> +<span class="i0">Thou cut'st thy throat that Britain may be saved!<br /></span> +</div> + +<div class="stanza"><hr style='width: 45%;margin:1em auto 1em 5em;' /></div> + +<div class="stanza"> +<span class="i0">So Castlereagh has cut his throat!—The worst<br /></span> +<span class="i0">Of this is,—that his own was not the first.<br /></span> +</div> + +<div class="stanza"><hr style='width: 45%;margin:1em auto 1em 5em;' /></div> + +<div class="stanza"> +<span class="i0">So <i>He</i> has cut his throat at last!—He! Who?<br /></span> +<span class="i0">The man who cut his country's long ago.<br /></span> +</div> + +</div> + +<p class="published"><i>?August</i>, 1822.<br /> +[First published, <i>The Liberal</i>, No. I. October 18, 1822, p. 164.]</p> + +<p><span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span></p> + + +<h3>THE CONQUEST.<a name="FNanchor_129_131" id="FNanchor_129_131"></a><a href="#Footnote_129_131" class="fnanchor">[129]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">The</span> Son of Love and Lord of War I sing;<br /></span> +<span class="i2">Him who bade England bow to Normandy,<br /></span> +<span class="i0">And left the name of Conqueror more than King<br /></span> +<span class="i2">To his unconquerable dynasty.<br /></span> +<span class="i0">Not fanned alone by Victory's fleeting wing,<br /></span> +<span class="i2">He reared his bold and brilliant throne on high;<br /></span> +<span class="i0">The Bastard kept, like lions, his prey fast,<br /></span> +<span class="i0">And Britain's bravest Victor was the last.<br /></span> +</div> +</div> + +<p class="published"><i>March</i> 8-9, 1823.<br /> +[First published, <i>Lord Byron's Works</i>, 1833, xvii. 246.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_129_131" id="Footnote_129_131"></a><a href="#FNanchor_129_131"><span class="label">[129]</span></a> <a name="Note_082" id="Note_082"></a>[This fragment was found amongst Lord Byron's papers, after +his departure from Genoa for Greece.]</p></div> +</div> + +<h3>IMPROMPTU.<a name="FNanchor_130_132" id="FNanchor_130_132"></a><a href="#Footnote_130_132" class="fnanchor">[130]</a></h3> + +<div class="poem"> +<div class="stanza"> +<span class="i3"><span class="smcap">Beneath</span> Blessington's eyes<br /></span> +<span class="i3">The reclaimed Paradise<br /></span> +<span class="i0">Should be free as the former from evil;<br /></span> +<span class="i3">But if the new Eve<br /></span> +<span class="i3">For an Apple should grieve,<br /></span> +<span class="i0">What mortal would not play the Devil?<br /></span> +</div> +</div> + +<p class="published"><i>April</i>, 1823.<br /> +[First published, <i>Letters and Journals</i>, 1830, ii. 635.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_130_132" id="Footnote_130_132"></a><a href="#FNanchor_130_132"><span class="label">[130]</span></a> [With the view of inducing these friends [Lord and Lady +Blessington] to prolong their stay at Genoa, he suggested their +taking a pretty villa, called "Il Paradiso," in the neighbourhood of +his own, and accompanied them to look at it. Upon that occasion +it was that, on the lady expressing some intention of residing there, +he produced the following impromptu.—<i>Life</i>, 577.]</p></div> +</div> + +<p><span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span></p> + +<h3>JOURNAL IN CEPHALONIA.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">The</span> dead have been awakened—shall I sleep?<br /></span> +<span class="i2">The World's at war with tyrants—shall I crouch?<br /></span> +<span class="i0">The harvest's ripe—and shall I pause to reap?<br /></span> +<span class="i2">I slumber not; the thorn is in my Couch;<br /></span> +<span class="i0">Each day a trumpet soundeth in mine ear,<br /></span> +<span class="i2">Its echo in my heart——<br /></span> +</div> +</div> + +<p class="published"><i>June</i> 19, 1823.<br /> +[First published, <i>Letters</i>, 1901, vi. 238.]</p> + + +<h3>SONG TO THE SULIOTES.</h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">Up</span> to battle! Sons of Suli<br /></span> +<span class="i0">Up, and do your duty duly!<br /></span> +<span class="i0">There the wall—and there the Moat is:<br /></span> +<span class="i0">Bouwah!<a name="FNanchor_131_133" id="FNanchor_131_133"></a><a href="#Footnote_131_133" class="fnanchor">[131]</a> Bouwah! Suliotes!<br /></span> +<span class="i0">There is booty—there is Beauty,<br /></span> +<span class="i0">Up my boys and do your duty.<br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">By the sally and the rally<br /></span> +<span class="i0">Which defied the arms of Ali;<br /></span> +<span class="i0">By your own dear native Highlands,<br /></span> +<span class="i0">By your children in the islands,<br /></span> +<span class="i0">Up and charge, my Stratiotes,<br /></span> +<span class="i0">Bouwah!—Bouwah!—Suliotes!<br /></span> +<span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">As our ploughshare is the Sabre:<br /></span> +<span class="i0">Here's the harvest of our labour;<br /></span> +<span class="i0">For behind those battered breaches<br /></span> +<span class="i0">Are our foes with all their riches:<br /></span> +<span class="i0">There is Glory—there is plunder—<br /></span> +<span class="i0">Then away despite of thunder!<br /></span> +</div> +</div> + +<p class="published">[From an autograph MS. in the possession of Mr. Murray, +now for the first time printed.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> +<div class="footnote"><p><a name="Footnote_131_133" id="Footnote_131_133"></a><a href="#FNanchor_131_133"><span class="label">[131]</span></a> <a name="Note_083" id="Note_083"></a>"Bouwah!" is their war-cry.</p></div> +</div> + +<h3>[LOVE AND DEATH.]</h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">I watched</span> thee when the foe was at our side,<br /></span> +<span class="i2">Ready to strike at him—or thee and me.<br /></span> +<span class="i0">Were safety hopeless—rather than divide<br /></span> +<span class="i2">Aught with one loved save love and liberty.<br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">I watched thee on the breakers, when the rock<br /></span> +<span class="i2">Received our prow and all was storm and fear,<br /></span> +<span class="i0">And bade thee cling to me through every shock;<br /></span> +<span class="i2">This arm would be thy bark, or breast thy bier.<br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">I watched thee when the fever glazed thine eyes,<br /></span> +<span class="i2">Yielding my couch and stretched me on the ground,<br /></span> +<span class="i0">When overworn with watching, ne'er to rise<br /></span> +<span class="i2">From thence if thou an early grave hadst found.<br /></span> +</div> + +<p>4.</p> + +<div class="stanza"> +<span class="i0">The earthquake came, and rocked the quivering wall,<br /></span> +<span class="i2">And men and nature reeled as if with wine.<span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span><br /></span> +<span class="i0">Whom did I seek around the tottering hall?<br /></span> +<span class="i2">For thee. Whose safety first provide for? Thine.<br /></span> +</div> + +<p>5.</p> + +<div class="stanza"> +<span class="i0">And when convulsive throes denied my breath<br /></span> +<span class="i2">The faintest utterance to my fading thought,<br /></span> +<span class="i0">To thee—to thee—e'en in the gasp of death<br /></span> +<span class="i2">My spirit turned, oh! oftener than it ought.<br /></span> +</div> + +<p>6.</p> + +<div class="stanza"> +<span class="i0">Thus much and more; and yet thou lov'st me not,<br /></span> +<span class="i2">And never wilt! Love dwells not in our will.<br /></span> +<span class="i0">Nor can I blame thee, though it be my lot<br /></span> +<span class="i2">To strongly, wrongly, vainly love thee still.<a name="FNanchor_132_134" id="FNanchor_132_134"></a><a href="#Footnote_132_134" class="fnanchor">[132]</a><br /></span> +</div> +</div> + +<p class="published">[First published, <i>Murray's Magazine</i>, February, 1887, +vol. i. pp. 145, 146.]</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_132_134" id="Footnote_132_134"></a><a href="#FNanchor_132_134"><span class="label">[132]</span></a> <a name="Note_085" id="Note_085"></a>["The last he ever wrote. From a rough copy found amongst +his papers at the back of the 'Song of Suli.' +Copied November, 1824.—John C. Hobhouse." +</p><p> +"A note, attached to the verses by Lord Byron, states they were +addressed to no one in particular, and were a mere poetical Scherzo. +—J. C. H."]</p></div> +</div> + +<h3>LAST WORDS ON GREECE.</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><span class="smcap">What</span> are to me those honours or renown<br /></span> +<span class="i2">Past or to come, a new-born people's cry?<br /></span> +<span class="i0">Albeit for such I could despise a crown<br /></span> +<span class="i2">Of aught save laurel, or for such could die.<br /></span> +<span class="i0">I am a fool of passion, and a frown<br /></span> +<span class="i2">Of thine to me is as an adder's eye.<br /></span> +<span class="i0">To the poor bird whose pinion fluttering down<br /></span> +<span class="i2">Wafts unto death the breast it bore so high;<span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span><br /></span> +<span class="i0">Such is this maddening fascination grown,<br /></span> +<span class="i2">So strong thy magic or so weak am I.<br /></span> +</div> +</div> + +<p class="published">[First published, <i>Murray's Magazine</i>, February, 1887, +vol. i. p. 146.]</p> + + +<h3>ON THIS DAY I COMPLETE MY THIRTY-SIXTH YEAR.<a name="FNanchor_133_135" id="FNanchor_133_135"></a><a href="#Footnote_133_135" class="fnanchor">[133]</a></h3> + +<div class="poem"> + +<p>1.</p> +<div class="stanza"> +<span class="i0"><span class="smcap">'T is</span> time this heart should be unmoved,<br /></span> +<span class="i2">Since others it hath ceased to move:<br /></span> +<span class="i0">Yet, though I cannot be beloved,<br /></span> +<span class="i6">Still let me love!<br /></span> +</div> + +<p>2.</p> + +<div class="stanza"> +<span class="i0">My days are in the yellow leaf;<br /></span> +<span class="i2">The flowers and fruits of Love are gone;<br /></span> +<span class="i0">The worm, the canker, and the grief<br /></span> +<span class="i6">Are mine alone!<span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span><br /></span> +</div> + +<p>3.</p> + +<div class="stanza"> +<span class="i0">The fire that on my bosom preys<br /></span> +<span class="i2">Is lone<a name="FNanchor_III_136" id="FNanchor_III_136"></a><a href="#Footnote_III_136" class="fnanchor">[iii]</a> as some Volcanic isle;<br /></span> +<span class="i0">No torch is kindled at its blaze—<br /></span> +<span class="i6">A funeral pile.<br /></span> +</div> + +<p>4.</p> + +<div class="stanza"> +<span class="i0">The hope, the fear, the jealous care,<br /></span> +<span class="i2">The exalted portion of the pain<br /></span> +<span class="i0">And power of love, I cannot share,<br /></span> +<span class="i6">But wear the chain.<br /></span> +</div> + +<p>5.</p> + +<div class="stanza"> +<span class="i0">But 't is not <i>thus</i>—and 't is not <i>here</i>—<a name="FNanchor_IV_137" id="FNanchor_IV_137"></a><a href="#Footnote_IV_137" class="fnanchor">[iv]</a><br /></span> +<span class="i2">Such thoughts should shake my soul, nor now<br /></span> +<span class="i0">Where Glory decks the hero's bier,<a name="FNanchor_V_138" id="FNanchor_V_138"></a><a href="#Footnote_V_138" class="fnanchor">[v]</a><br /></span> +<span class="i6">Or binds his brow.<br /></span> +</div> + +<p>6.</p> + +<div class="stanza"> +<span class="i0">The Sword, the Banner, and the Field,<a name="FNanchor_VI_139" id="FNanchor_VI_139"></a><a href="#Footnote_VI_139" class="fnanchor">[vi]</a><br /></span> +<span class="i2">Glory and Greece, around me see!<br /></span> +<span class="i0">The Spartan, borne upon his shield,<a name="FNanchor_134_140" id="FNanchor_134_140"></a><a href="#Footnote_134_140" class="fnanchor">[134]</a><br /></span> +<span class="i6">Was not more free.<br /></span> +</div> + +<p>7.</p> + +<div class="stanza"> +<span class="i0">Awake! (not Greece—she <i>is</i> awake!)<br /></span> +<span class="i2">Awake, my spirit! Think through <i>whom</i><span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span><br /></span> +<span class="i0">Thy life-blood tracks its parent lake,<a name="FNanchor_VII_141" id="FNanchor_VII_141"></a><a href="#Footnote_VII_141" class="fnanchor">[vii]</a><br /></span> +<span class="i6">And then strike home!<br /></span> +</div> + +<p>8.</p> + +<div class="stanza"> +<span class="i0">Tread those reviving passions down,<a name="FNanchor_IX_142" id="FNanchor_IX_142"></a><a href="#Footnote_IX_142" class="fnanchor">[ix]</a><br /></span> +<span class="i2">Unworthy manhood!—unto thee<br /></span> +<span class="i0">Indifferent should the smile or frown<br /></span> +<span class="i6">Of Beauty be.<br /></span> +</div> + + +<p>9.</p> + +<div class="stanza"> +<span class="i0">If thou regret'st thy youth, <i>why live</i>?<br /></span> +<span class="i2">The land of honourable death<br /></span> +<span class="i0">Is here:—up to the Field, and give<br /></span> +<span class="i6">Away thy breath!<br /></span> +</div> + +<p>10.</p> + +<div class="stanza"> +<span class="i0">Seek out—less often sought than found—<br /></span> +<span class="i2">A soldier's grave, for thee the best;<br /></span> +<span class="i0">Then look around, and choose thy ground,<br /></span> +<span class="i6">And take thy Rest.<br /></span> +</div> +</div> + +<p class="published">Missolonghi, <i>Jan</i>. 22, 1824.<br /> +[First published, <i>Morning Chronicle</i>, October 29, 1824.]</p> + +<p><span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span></p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_133_135" id="Footnote_133_135"></a><a href="#FNanchor_133_135"><span class="label">[133]</span></a> +<a name="Note_086" id="Note_086"></a>["This morning Lord Byron came from his bedroom into the +apartment where Colonel Stanhope and some friends were assembled, +and said with a smile—'You were complaining, the other day, that +I never write any poetry now:—this is my birthday, and I have +just finished something, which, I think, is better than what I usually +write.' He then produced these noble and affecting verses, which +were afterwards found written in his journals, with only the following +introduction: 'Jan. 22; on this day I complete my 36<sup>th</sup> year.'"—<i>A +Narrative of Lord Byron's Last Journey to Greece</i>, 1825, p. +125, by Count Gamba. In the <i>Morning Chronicle</i>, October 29, 1824, +the lines are headed, "Lord Byron's Latest Verses," and are prefaced +by the following note: "We have been indebted to a friend +for the following immortal verses, the last he ever composed. Four +of the lines have already appeared in an article in the <i>Westminster +Review</i>" ("Lord Byron in Greece," July, 1824, vol. ii. p. 227).]</p></div> + +<div class="footnote"><p><a name="Footnote_III_136" id="Footnote_III_136"></a><a href="#FNanchor_III_136"><span class="label">[iii]</span></a> <a name="Note_087" id="Note_087"></a><i>Is like to</i>——.—[M.C.]</p></div> + +<div class="footnote"><p><a name="Footnote_IV_137" id="Footnote_IV_137"></a><a href="#FNanchor_IV_137"><span class="label">[iv]</span></a> —— <i>it is not here</i>.—[M.C.]</p></div> + +<div class="footnote"><p><a name="Footnote_V_138" id="Footnote_V_138"></a><a href="#FNanchor_V_138"><span class="label">[v]</span></a> —— <i>seals the hero's bier</i>.—[M.C.]</p></div> + +<div class="footnote"><p><a name="Footnote_VI_139" id="Footnote_VI_139"></a><a href="#FNanchor_VI_139"><span class="label">[vi]</span></a> <i>The steed—the Banner—and the Field.—</i>[MS. B.M.]</p></div> + +<div class="footnote"><p><a name="Footnote_134_140" id="Footnote_134_140"></a><a href="#FNanchor_134_140"><span class="label">[134]</span></a> I. [The slain were borne on their shields. Witness the Spartan +mother's speech to her son, delivered with his buckler: "either <i>with</i> +this <i>or on</i> this" (B.M. Addit. MS. 31,038).]</p></div> + +<div class="footnote"><p><a name="Footnote_VII_141" id="Footnote_VII_141"></a><a href="#FNanchor_VII_141"><span class="label">[vii]</span></a> <a name="Note_088" id="Note_088"></a><i>My life-blood tastes</i>——.—[M.C.]</p></div> + +<div class="footnote"><p><a name="Footnote_IX_142" id="Footnote_IX_142"></a><a href="#FNanchor_IX_142"><span class="label">[ix]</span></a> <i>I tread reviving</i>——.—[M.C.]</p></div> +</div> + +<hr style="width:75%;margin-top:5em;margin-bottom:8em;" /> + +<h2><a name="biblio" id="biblio"></a> +<span style="font-size:60%;">A</span><br /> +<span style="font-size:125%;">BIBLIOGRAPHY</span><br /> +<span style="font-size:75%;"><span class="smcap">of the</span></span><br /> +<span style="font-size:75%;">SUCCESSIVE EDITIONS AND TRANSLATIONS</span><br /> +<span style="font-size:75%;"><span class="smcap">of</span></span><br /> +<span style="font-size:125%;">LORD BYRON'S <i>POETICAL WORKS</i></span>. +</h2> +<div class="center"><img src="images/decoration.png" alt="typographical flourish" title="typographical flourish" /></div> + +<div id="bibliography" style="margin-left: 1em;"> + +<h3><span class="smcap">Collected Editions</span>.</h3> + +<h6>I.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ In Two Volumes./ +Vol. I./ [Vol. II.] From the last London Edition./ +Philadelphia:/ Published by Moses Thomas,/ No. 52, Chesnut +Street./ William Fry, Printer./ 1813./ [16º.<br /> +[A bound copy: smooth blue calf, lettered "<span class="smcap">Lord Byron</span>."]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> +<p>Vol. I.—Title, one leaf; Cont.; Half-title; +Dedication; and Text, pp. <i>1</i>-203.</p> +<p>Vol. II—Title, one leaf; Cont.; Half-title; +Preface, etc, pp. i.-xii.; Text, pp. <i>1</i>-261.</p> +<p><i>Contents</i>—</p> +<table summary="Contents"> +<tr><td>Vol. I.:—Poems, Original and Translated</td><td class="pn">p. 1</td></tr> +<tr><td>English Bards, etc.</td><td>p. 137</td></tr> +<tr><td>Vol. II.:—Childe Harold's Pilgrimage, Canto I. (xciii. stanzas)</td><td>p. 13</td></tr> +<tr><td>Canto II. (lxxxviii. stanzas)</td><td>p. 9</td></tr> +<tr><td>Notes</td><td>p. 99</td></tr> +<tr><td>Poems (xx.)</td><td>p. 156</td></tr> +<tr><td>The Giaour (1215 lines)</td><td>p. 205</td></tr> +<tr><td>Note</td><td>p. 261</td></tr> +</table> + +<p><i>Note</i> (Vol. I.).—On fly-leaf: "To the R<sup>t</sup> Honourable Lord +Byron from his ob<sup>t</sup>. servant Geo Ticknor, June 20. 1815."<span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span></p> + +<p>"This book was given to me by Lord Byron, April 20, 1816, +on his leaving England. Scrope Davies."</p> + +<p class="center"><span title="APO: IÔ:">ΑΠΟ: ΙΩ:</span><br /> +<span title="Keph. Th.">Κεφ. θ.</span></p> + +<p> +<span title="Kai\ e)n tai~s ê(me/rais e)kei/nais zêtê/sousin oi("> +Καὶ ἐν ταῖς ἡμέραις ἐκείναις ζητήσουσιν οἱ +</span> +<span title="a)/nthrôpoi to\n tha/naton"> +ἄνθρωποι τὸν θάνατον +</span> +<span title="kai\ ou)ch eu(rê/sousin au)to\n' kai\ e)pithymê/sousin"> +καὶ οὐχ εὑρήσουσιν αὐτὸν' καὶ ἐπιθυμήσουσιν +</span> +<span title="a)pothanei~n, kai\ pheu/xetai"> +ἀποθανεῖν, καὶ φεύξεται +</span> +<span title="o( tha/natos a)p' au)tô~n"> +ὁ θάνατος ἀπ' αὐτῶν +</span> +</p> + +<p>On second fly-leaf: "Semper ego tui memoriam colam; +semper tua imago ante oculos observabitur; semper idem mihi +eras; qui idem semper eras bonis omnibus."</p> + +<p>These volumes which were presented by George Ticknor to Lord +Byron,<a name="FNanchor_I_143" id="FNanchor_I_143"></a><a href="#Footnote_I_143" class="fnanchor">[I]</a> and, in turn, presented by him to Scrope Davies, passed +into the hands of Sir Francis Burdett (1770-1844), and are now +in the possession of his grandson, Mr. F. B. Money-Coutts.</p> +</div> + +<div class="footnotes" style="margin-top:0.5em;"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_I_143" id="Footnote_I_143"></a><a href="#FNanchor_I_143"><span class="label">[I]</span></a> <a name="Note_090" id="Note_090"></a>"He [Byron] spoke to me of a copy of the American edition +of his poems, which I had sent him, and expressed his satisfaction +at seeing it in a small form, because in that way, he said, nobody +would be prevented from purchasing it" ("Journal," June 21, +1815).—<i>Life, Letters, and Journals</i> of George Ticknor, Boston, +1876, i. 62.</p></div> +</div> + +<h6>II.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ From the last +London Edition./ In Two Volumes./ Volume I./ [Vol. +II.] Boston:/ Published by Cummings & Hilliard,/ +No. I, Cornhill./ Joseph T. Buckingham, Printer,/ +1814./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. xi. + 308—Title, one leaf, pp. i., ii.; +Cont., pp. iii., iv.; <i>Lord Byron</i> +[excerpt from the <i>Analectic Magazine</i>], pp. v.-xi.; +Text, pp. 1-308.</p> + +<p>Vol. II.: pp. iv. + 251—Title, one leaf, pp. i, ii; Cont., +pp. iii, iv; Text, pp. 1-251.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Vol. I.:—Poems, Original and Translated</td><td class="pn">p. 1</td></tr> +<tr><td>English Bards, etc. (Third Edition) (1050 lines), with Postscript</td><td>p. 123</td></tr> +<tr><td>Childe Harold's Pilgrimage, Cantos I., II. (First Edition), with Notes, etc.</td><td>p. 179</td></tr> +<tr><td>Vol. II.:—Poems [Twenty-six, <i>i.e.</i> poems issued with Sec. Ed. of <i>Childe Harold</i>, and six (not tabulated) issued with the <i>Corsair</i>]</td><td>p. 1</td></tr> +<tr><td>The Giaour (Fifth Edition)</td><td>p. 47</td></tr> +<tr><td>The Bride of Abydos (Seventh Edition)</td><td>p. 103</td></tr> +<tr><td>The Corsair (Sixth Edition)</td><td>p. 159</td></tr> +<tr><td>Prize Prologue (Oct. 1812) (Second Edition)</td><td>p. 241</td></tr> +<tr><td>Ode to Napoleon Buonaparte (Second Edition: sixteen stanzas)</td><td>p. 245</td></tr> +</table><span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span> +</div> + +<h6>III.</h6> + +<p>The/ Works/ of/ The Right Honorable/ Lord Byron./ In +Four Volumes./ Vol. I./ [Vol. II., etc.] Childe Harold./ +London:/ Printed for John Murray, Albemarle Street./ +1815./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. xviii. + 218—Gen. Half-title, one leaf, pp. i., ii.; +Title (<i>R. T. Davison, Lombard-Street,/ White-Friars, London</i>.), +pp. iii., iv.; General Contents to the Four Volumes, pp. v.-x.*; +Half-title (R. Motto—<i>Le Cosmopolite</i>), <i>n.p.</i>; +Prefaces, pp. xi.-xviii.; +Cont. to Vol. I., one leaf, <i>n.p.</i>; Text, pp. 1-218. The +Imprint is at the foot of p. 218.</p> + +<p><i>Note</i>.—In the earlier copies of Vol. I. of this edition, the +misplaced "Advertisement" to <i>The Giaour</i> is on pp. i., ii., and pp. +ix.*, x.*, giving Cont. of <i>Hebrew Melodies</i>, are not inserted.</p> + +<p>Vol. II.: pp. 1-202—Gen. Half-title, one leaf; Title (R. Imprint); +Cont. to Vol. II.; Half-title; Dedication; Text, pp. 1-202. +The Imprint is in the centre of the last page, p. [204].</p> + +<p>Vol. III.: pp. viii. + 9-228—Gen. Half-title, one leaf; Title +(R. Imprint); Cont. to Vol. III.; Half-title, pp. i., ii.; +Dedication to Thomas Moore, Esq., pp. iii.-viii.; Text, pp. 9-228. +The Imprint is at the foot of p. 228.</p> + +<p>Vol. IV.: pp. viii. [ix.*, x.*] + 203—Gen. Half-title, one +leaf; Title (R. Imprint), pp. i.-iv.; Cont. to Vol. IV., pp. v.-x.*; +Text, pp. 1-203.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Vol. I.:—To Ianthe, Childe Harold's Pilgrimage, Cantos I., II., (N. App.)</td><td class="pn">p. 3</td></tr> +<tr><td>Romaic Books and Authors, etc.</td><td>p. 188</td></tr> +<tr><td>Vol. II.:—The Giaour (N.)</td><td>p. 1</td></tr> +<tr><td>The Bride of Abydos, Cantos I., II. (N.)</td><td>p. 103</td></tr> +<tr><td>Vol. III.:—The Corsair, Cantos I.-III. (N.)</td><td>p. i.</td></tr> +<tr><td>Lara, Cantos I., II. (N.)</td><td>p. 133</td></tr> +<tr><td>Vol. IV.:—Ode to Napoleon Buonaparte (N.)</td><td>p. 1</td></tr> +<tr><td>Poems (N.) [xxxvi., consisting of xxix. pub. in the Seventh Ed. of <i>Childe Harold</i>, vi. pub. in the Second Ed. of the <i>Corsair</i>, and Verses on Sir P. Parker.]</td><td>p. 17</td></tr> +<tr><td>Hebrew Melodies (24)</td><td>p. 143</td></tr> +</table> + +<p><i>Note</i>.—In later issues of Vol. III., 1815, the note on the +"Pirates of Barrataria" is inserted and paginated 133*-137*.</p> +</div> + +<h6>IV.</h6> + +<p>The/ Works/ of The/ Right Hon. Lord Byron./ In Two +Volumes./ Vol. I./ [Vol. II.] London:/ Printed for +John Murray, Albemarle-Street./ 1815/ [8º.<span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span></p> + +<div class="cocono"> +<p><i>Contents</i>—</p> + +<p>Vol. I.: The Title, as above, is prefixed to <i>Childe Harold's +Pilgrimage</i>, Cantos I., II. (Fourth Ed.), 1812, +and <i>Hebrew Melodies</i> (First Ed.), 1815, pp. 1-53.</p> + +<p>Vol. II.: The Title, as above, is prefixed to <i>Childe Harold's +Pilgrimage</i>, Canto III.; <i>Childe Harold</i>, etc., Canto +the Fourth; <i>Romance Muy Doloroso</i>, Translation, etc., pp. xiv. + 257; +<i>The Lament of Tasso</i> (Sixth Ed.), 1818, pp. 1-18; +<i>Poems</i> (N.) (Second Ed.), 1816; <i>Monody</i>, etc. (New +Ed.), 1810; <i>Ode to Napoleon</i> (Second Ed.), 1814, pp 1-14.</p> + +<p><i>Note</i>.—These general titles were advertised, in July, 1815, for +the purpose of binding, in two volumes, poems which were +uniformly printed but had been separately issued. It is evident +that they were still to be procured after the collected editions of +1815, 1817, 1818 had been published. In other copies the +Contents are arranged in a different order.</p> +</div> + +<h6>V.</h6> + +<p><i>The Poetical Works</i>, etc. From the last London Edition. +In Three Volumes. New York: Published by David Huntington. 1815.</p> + +<p class="auth">[E. Kölbing, <i>Prisoner of Chillon</i>, 1896.]</p> + +<h6>VI.</h6> + +<p><i>The Works</i>, etc. Including several poems now first collected. +Together with an Original Biography. Embellished +with a portrait, title-page, and six other engravings. +In Three Vols. Philadelphia: Published by Moses +Thomas, J. Maxwell, Printer. 1816. [12º.</p> + +<p class="auth">[Kölbing.]</p> + +<h6>VII.</h6> + +<p>The/ Works/ of/ The Right Honourable/ Lord Byron./ +In Five Volumes./ Vol. I./ [Vol. II., etc.] Childe +Harold./ London:/ John Murray, Albemarle-Street./ +1817. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.:—Title, one leaf, pp. iii., iv.; Half-title +(R. Motto), pp. v., vi.; Pref., pp. vii.-xiv.; Cont., <i>n.p.</i>; +Text, pp. 1-218. The Imprint (<i>T. Davison, Lombard Street,/ +Whitefriars, London</i>/), is in the centre of the last page.</p> + +<p>Vol. II.: pp. 1-202—Title, one leaf; Cont. to Vol. II.; +Half-title; Dedication; Advertisement; Text, pp. 1-202. The +Imprint is in the centre of the last page, p. [204].</p> + +<p><span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span> +Vol. III.: pp. viii. + 9-222: Title, one leaf; Cont. to Vol. +III.; Half-title, pp. i. ii.; Dedication to Thomas Moore, Esq., +pp. iii.-viii.; Text, pp. 9-222. The Imprint is in the centre of +the last page, p. [224].</p> + +<p>Vol. IV.: Title, one leaf; pp. iii., iv.; Cont. +to Vol. IV., v.-viii.; Text. The Imprint is in +the centre of the last page.</p> + +<p>Vol. V.: pp. vi. + 184—Title, one leaf; Dedication, pp. i., ii.; +Advertisement, pp. iii., iv.; Cont. to Vol. V., pp. v., vi.; +Half-title; Text, pp. 1-184. The Imprint is at the foot of p. 184.</p> + +<p><i>Note</i>.—The Cont. of Vols. I.-IV., 1817, are identical with +the Cont. of Vols. I.-IV., 1815.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Vol. V.:-Siege of Corinth (N.)</td><td class="pn">p. 1</td></tr> +<tr><td>Parisina (N.)</td><td>p. 79</td></tr> +<tr><td>Poems (eleven, as pub. in <i>Poems</i>, 1816)</td><td>p. 127</td></tr> +<tr><td>Monody, etc. (N.)</td><td>p. 171</td></tr> +</table> +</div> + +<h6>VIII.</h6> + +<p>Poems./ By Lord Byron./ New-York:/ Published by +Thomas Kirk and Thomas R. Mercein,/ Moses Thomas, +M. Carey and Son, Philadelphia;/ Wells and Lilly, +Boston;/ and Coale and Maxwell, Baltimore./ T. and +W. Mercein, Printers, 93, Gold Street./ 1817./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 1-64 (title-page unnumbered).</p> +</div> + +<h6>IX.</h6> + +<p>The/ Works/ of/ The Right Honourable/ Lord Byron./ Vol. +I./ [Vol. II., etc.] Childe Harold./ London:/ John +Murray, Albemarle-Street./ 1818.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. xiv. + 218—Half-title (<i>R. T. Davison, Lombard +Street,/ Whitefriars, London</i>./), etc. (<i>Vide supra</i>, Vol. I., 1817).</p> + +<p>Vol. II.: pp. 1-202—Half-title (R. Imprint), etc. (<i>Vide supra</i>, Vol. II., 1817).</p> + +<p>Vol. III.: pp. viii. + 9-222 (<i>Vide supra</i>, Vol. III., 1817).</p> + +<p>Vol. IV.: pp. viii. + 203—Half-title (R. Imprint) (<i>Vide supra</i>, Vol. IV., 1817).</p> + +<p>Vol. V.:/ pp. 1-184—Half-title, <i>The Siege</i>, etc., one leaf; +Title [The/ Works/ etc./ The Siege of Corinth—Parisina— +Poems./ London:/John Murray, Albemarle-Street,/ 1818./]; +Cont. of Vol. V.; Advertisement; Dedication, "To John Hobhouse, Esq.;" +Text, pp. 1-104; The Imprint, <i>T. Davison, +Lombard-street</i>,/ Whitefriars, London,/ is at the foot of p. 184.</p> + +<p>Vol. VI.: pp. 1-187—Gen. Half-title (R. <i>T. Davison, Lombard +Street, Whitefriars, London</i>); Title, one leaf [The Works,/ etc. +<i>In Six Volumes</i> (in some copies "In six," etc., does not +appear)]; Cont. to Vol. VI.; Half-title; Text, pp. 1-187, + Publisher's<span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span> +List, pp. 189-192. The Imprint is at the foot of p. 192.</p> + +<p>Vol. VII.: pp. 1-273—Title [The/ Works, etc./ 1819.] (R. +<i>London:/ Printed by T. Davison, Whitefriars</i>/); Cont. to Vol. VII.; +Text, pp. 1-273 + Publisher's Advertisement of Historical +Illustrations (R. <i>London:/ Printed by Thomas Davison, Whitefriars</i>/).</p> + +<p>Vol. VIII.: pp. 1-165—Gen. Half-title (R. Imprint); Title +[The/ Works, etc./ 1820]; Cont. to Vol. VIII.; Text, pp. 1-165 ++ Publisher's List (ten pages, with Imprint at the foot of p. [10]).</p> + +<p><i>Note</i>.—For Contents for Vols. I.-V., <i>vide supra</i>, Ed. 1817.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Vol. VI.: — Sonnet</td><td class="pn">p. 1</td></tr> +<tr><td>The Prisoner of Chillon (N.) (and six poems, N.)</td><td>p. 3</td></tr> +<tr><td>To Manfred (N.)</td><td>p. 67</td></tr> +<tr><td>Lament of Tasso</td><td>p. 169</td></tr> +<tr><td>Vol. VII.: — Childe Harold's Pilgrimage, Canto III. (N.)</td><td>p. 1</td></tr> +<tr><td>Canto IV. (N.)</td><td>p. 81</td></tr> +<tr><td>Vol. VIII.: — Beppo (N.)</td><td>p. 1</td></tr> +<tr><td>Mazeppa</td><td>p. 57</td></tr> +<tr><td>Ode</td><td>p. 113</td></tr> +<tr><td>A Fragment</td><td>p. 127</td></tr> +<tr><td>Romance Muy Doloroso (Transl.)</td><td>p. 145</td></tr> +<tr><td>Sonetto di Vittorelli (Transl.)</td><td>p. 162</td></tr> +</table> + +<p><i>Note</i>.—Vols. I.-IV. of the Edition of 1818 are illustrated by +"Twelve Plates engraved by Charles Heath, and other Artists, +from the original Designs of [Tho.] Stothard." The "original +Designs," water-colour drawings, were presented by Lord Byron +to the third Lord Holland, and are now in the possession of the +Earl of Ilchester.</p> +</div> + +<h6>X.</h6> + +<p><i>The Works of the right honourable Lord Byron</i>. Comprehending +all his suppressed poems. Embellished with +a portrait, and a Sketch of his Lordship's life. Vols. I.-VI. +Paris: Published by Galignani, at the French, +English, Italian, German and Spanish library, Nº 18, +Rue Vivienne, 1818, in 12º.</p> + +<p class="auth">[<i>Bibliographie de la France</i>, June 13, 1818.]</p> + +<h6>XI.</h6> + +<p><i>The Works of Lord Byron</i>. In Thirteen Volumes. Published +by Gerard Fleischer. Leipzic. 1818-1822. [8º.</p> + +<p class="auth">[Kayser, <i>Index Verborum</i>. 1834. See, too, <i>Jahrbücher +der Literatur</i>. Vienna, 1821. Vol. xv. pp. 105-145.]</p> + +<h6>XII.</h6> + +<p>The/ Works/ of/ Lord Byron./ Vol. I./ [Vol. II., etc.] +London:/ John Murray, Albemarle-Street./ 1819./ [8º.<span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. xv. + 479—Title, one leaf, pp. iii., iv.; Cont. +to Vol. I., pp. v., vi.; Half-title, with Motto, pp. vii., viii.; +Preface, etc., pp. ix.-xv.; Text, pp. 1-479. The Imprint +(<i>London:/ Printed by Thomas Davison, Whitefriars</i>./) is in the +centre of the last page, p. [480].</p> + +<p>Vol. II.: pp. 1-491—Gen. Half-title (R. Imprint); Title, one +leaf; Cont. to Vol. II.; Text, pp. 1-491; Notes to <i>Beppo</i>, p. [493], +one leaf.</p> + +<p>Vol. III.: pp. viii. + 330—Gen. Half-title (R. Imprint), pp. i., ii.; +Title, one leaf, pp. iii., iv.; Cont. to Vol. III., pp. v.-viii.; +Text, pp. 1-330. The Imprint is at the foot of the last page, p. 330.</p> + +<p><i>Note</i>.—In Vol. I. the text and notes of Cantos I., II. of <i>Childe +Harold</i> are identical with the Eleventh Edition of 1819, the text +with the Tenth Edition of 1815. The text of Cantos III. and +IV. is all but identical with the text of the editions of 1816, 1818, +but the notes have been reset.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Vol. I.: Childe Harold's, etc. Cantos I., II. (N.)</td><td>p.1</td></tr> +<tr><td>Canto III. (N.).</td><td>p. 195</td></tr> +<tr><td>Canto IV. (N.).</td><td>p. 273</td></tr> +<tr><td>Vol. II.:—The Giaour (N.)</td><td>p. 1</td></tr> +<tr><td>The Bride of Abydos (N.)</td><td>p. 79</td></tr> +<tr><td>The Corsair (N.)</td><td>p. 149</td></tr> +<tr><td>Lara (N.)</td><td>p. 251</td></tr> +<tr><td>The Siege of Corinth (N.)</td><td>p. 317</td></tr> +<tr><td>Parisina (N.)</td><td>p. 373</td></tr> +<tr><td>The Prisoner of Chillon (N.)</td><td>p. 411</td></tr> +<tr><td>Beppo (N.)</td><td>p. 439</td></tr> +<tr><td>Vol. III.:—Manfred (N.)</td><td>p. 1</td></tr> +<tr><td>Hebrew Melodies (23)</td><td>p. 81</td></tr> +<tr><td>Ode to Napoleon Buonaparte (N.)</td><td>p. 121</td></tr> +<tr><td>Monody, etc. (N.)</td><td>p. 137</td></tr> +<tr><td>Lament of Tasso</td><td>p. 147</td></tr> +<tr><td>Poems (N.)</td><td>p. 163</td></tr> +</table> + +<p><i>Note</i>.—The <i>Poems</i> include thirty pub. with <i>Childe Harold</i>, +Ed. 10, 1815; six pub. with the <i>Corsair</i>, Ed. 2, 1814; eleven pub. +in <i>Poems</i>, 1816; <i>A Sketch</i>, etc. (now first included); six pub. +with <i>The Prisoner of Chillon</i>, 1816, and the translation from the +Spanish Ballad (<i>Romance</i>, etc.) and the Italian Sonnet pub. with +<i>Childe Harold</i>, Canto IV., 1818-fifty-six pieces in all.</p> +</div> + +<h6>XIII.</h6> + +<p>The/ Works/ of/ The Right Honourable/ Lord Byron./ +Comprehending all his Suppressed Poems,/ Embellished +with a Portrait and a Sketch of His/ Lordship's Life./ +Vol. I./ [Vol. II., etc.] Childe Harold's Pilgrimage,/ +Cantos I. and II.—The Giaour./ Second Edition./ Paris./ +Published by Galignani,/ At the French, English, Italian, +German and Spanish/ Library, No. 18, Rue Vivienne./ 1819 [12º.<span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. viii. + viii. + 276—Title, one leaf; Advertisement, +one leaf; Memoir of the R.H. Lord Byron, pp. i.-viii.; +Text, pp. i.-viii., 9-284. Frontispiece: Portrait of Lord Byron +by G. Harlow, Lith. de G. Engelmann.</p> + +<p>Vol. II.: pp. 1-244—Gen. Half-title (R. <i>Printed by A. Belin</i>); +Title, one leaf; Text, pp. 1-244.</p> + +<p>Vol. III.: pp. 1-230—Gen. Half-title, etc., as above; Text, pp. 1-230.</p> + +<p>Vol. IV.: pp. 1-211—Gen. Half-title, etc., as above; Text, pp. 1-211.</p> + +<p>Vol. V.: pp. 1-225—Gen. Half-title, as above; Dedication, pp. iii.-x.; +Text, pp. 11-235.</p> + +<p>Vol. VI.: pp. 1-130—Gen. Half-title, etc., as above; Text, pp. 1-130 + +six pages of General Index.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Vol. I.:—Childe Harold's, etc., Cantos I., II. (N.)</td><td class="pn">p. 9</td></tr> +<tr><td>The Giaour (N.)</td><td>p. 207</td></tr> +<tr><td>Vol. II.:—The Bride, etc. (N.)</td><td>p. 1</td></tr> +<tr><td>The Corsair (N.)</td><td>p. 71</td></tr> +<tr><td>Lara (N.)</td><td>p. 179</td></tr> +<tr><td>Vol. III.:—Ode to N.B. (N.)</td><td>p. 1</td></tr> +<tr><td>Poems (xxxvi.) (N.)</td><td>p. 13</td></tr> +<tr><td>Hebrew Melodies</td><td>p. 79</td></tr> +<tr><td>The Siege, etc. (N.)</td><td>p. 107</td></tr> +<tr><td>Parisina (N.)</td><td>p. 163</td></tr> +<tr><td>Poems, 1816</td><td>p. 195</td></tr> +<tr><td>Monody, etc. (N.)</td><td>p. 222</td></tr> +<tr><td>Vol. IV.:—The Prisoner of Chillon, etc. (N.)</td><td>p. 1</td></tr> +<tr><td>Manfred (N.)</td><td>p. 51</td></tr> +<tr><td>The Lament of Tasso</td><td>p. 125</td></tr> +<tr><td>Childe Harold's, etc., Canto IV. (N.)</td><td>p. 139</td></tr> +<tr><td>Vol. V.:—Childe Harold's, etc., Canto IV. (N.)</td><td>p. 1</td></tr> +<tr><td>Publisher's Advt.</td><td>p. [220]</td></tr> +<tr><td>Romance Muy Doloroso (Transl.)</td><td>p. 221</td></tr> +<tr><td>Sonetto di Vittorelli (Transl.)</td><td>p. 234</td></tr> +<tr><td>Vol. VI.:—Beppo</td><td>p. 1</td></tr> +<tr><td>Suppressed Poems: English Bards, etc.</td><td>p. 47</td></tr> +<tr><td>Ode ("Oh, shame to thee," etc.)</td><td>p. 121</td></tr> +<tr><td>Windsor Poetics</td><td>p. 125</td></tr> +<tr><td>A Sketch</td><td>p. 126</td></tr> +<tr><td>Mazeppa</td><td>p. 5</td></tr> +<tr><td>Ode (To Venice)</td><td>p. 47</td></tr> +<tr><td>A Fragment</td><td>p. 57</td></tr> +</table> + +<p><i>Note</i>.—Bound up with, and, possibly, an integral part of Vol. +VI., is <i>Mazeppa</i>. <i>Collation</i>: pp. 1-69. 12º. +Half-title (R. <i>Printed by A. Belin</i>); pp 1, 2; Title, one leaf +(Mazeppa,/ A Poem.: By Lord Byron./ Second Edition./ Paris:/ Published by +Galignani,/ At the French, English, Italian, German and +Spanish/ Library, Nº 18, Rue Vivienne./ 1819./), pp. 3, 4; +Second half-title; Advertisement, pp. 7, 8; and Text, pp. 9-69. +(For Contents, <i>vide supra</i>.)</p> +</div> + +<h6>XIV.</h6> + +<p><i>The Works of the R.H. Lord Byron</i>. In Six Volumes. +Zwickau. Printed for Brothers Schumann, 1819.</p> + +<p class="auth">[<i>Jahrbücher der Lit</i>.]<span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span></p> + +<h6>XV.</h6> + +<p><i>The Works</i>, etc. In Seven Volumes. Brussels: published +at the English Repository of Arts, 1819.</p> + +<p class="auth">[Kölbing.]</p> + +<h6>XVI.</h6> + +<p><i>Works of Lord Byron</i>. New York. 1820. Four Volumes. [18º.</p> + +<p>[Cat. of Library of <i>Boston Athenæum</i>.]</p> + +<div class="cocono"> +<p><i>Contents</i>—</p> + +<p>Vol. I.:—Childe Harold's, etc.</p> + +<p>Vol. II.:—Bride, etc.—Corsair—Lara—The Giaour.</p> + +<p>Vol. III.:—Siege, etc.—Prisoner of Chillon—Parisina—Beppo—English +Bards, etc.—Mazeppa—Ode—Fragment—Don Juan.</p> + +<p>Vol. IV.:—Hebrew Melodies—Ode to N.B.—Monody, etc.—Lament +of Tasso—Manfred—Poems.</p> +</div> + +<h6>XVII.</h6> + +<p>The/ Works/ of/ Lord Byron./ Vol. I./ [Vol. II., etc.] +London:/ John Murray, Albemarle-Street./ 18217 [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. xvi. + 216—Gen. Half-title (R. (<i>a</i>) <i>Thomas +Davison, Whitefriars</i>.) pp. i., ii.; Title, one leaf, pp. iii., iv.; +Cont. to Vol. I., pp. v., vi.; Preface, etc., pp. vii.-xi.; Text, pp. 1-216. +The Imprint (<i>b</i>) (<i>London:/ Printed by Thomas Davison, +Whitefriars</i>.) is at the foot of p. 216.</p> + +<p>Vol. II.: pp. 1-272—Gen. Half-title (R. Imprint (<i>a</i>)); Title, +one leaf; Cont. to Vol. II.; Text, pp. 1-237. The Imprint (<i>b</i>) +is at the foot of p. 272.</p> + +<p>Vol. III.: pp. 1-237—Gen. Half-title (R. Imprint (<i>a</i>)); Title, +one leaf; Cont. to Vol. III.; Text, pp. 1-237. The Imprint (<i>b</i>) +is in the centre of p. [240].</p> + +<p>Vol. IV.: pp. 1-274—Gen. Half-title (R. Imprint (<i>a</i>)); Title, +one leaf; Cont. to Vol. IV.; Text, pp. 1-274. The Imprint (<i>b</i>) +is in the centre of p. [276].</p> + +<p>Vol. V.: pp. viii. + 284—Gen. Half-title (R. Imprint (<i>a</i>)), +pp. i., ii.; Title, one leaf; Cont. to Vol. V., pp.[v.]-viii.; +Text, pp. 1-284. The Imprint (<i>b</i>) is at the foot of p. 284.</p> + +<p><i>Contents</i>—</p> +<p><span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span></p> +<table summary="Contents"> +<tr><td>Vol. I.:—Childe Harold's, etc., Cantos I., II. (N. App.)</td><td class="pn">p. i.</td></tr> +<tr><td>Vol. II.:—Childe Harold's, etc., Canto III. (N.)</td><td>p. 1</td></tr> +<tr><td>Canto IV. (N.)</td><td>p. 77</td></tr> +<tr><td>Vol. III.:—The Giaour (N.)</td><td>p. 1</td></tr> +<tr><td>The Bride, etc. (N.)</td><td>p. 75</td></tr> +<tr><td>The Corsair (N.)</td><td>p. 143</td></tr> +<tr><td>Vol. IV.:—Lara (N.)</td><td>p. 1</td></tr> +<tr><td>The Siege (N.)</td><td>p. 63</td></tr> +<tr><td>Parisina</td><td>p. 117</td></tr> +<tr><td>The Prisoner (N.)</td><td>p. 153</td></tr> +<tr><td>Beppo (N.)</td><td>p. 179</td></tr> +<tr><td>Mazeppa</td><td>p. 235</td></tr> +<tr><td>Vol. V.:—Manfred (N.)</td><td>p. 1</td></tr> +<tr><td>Hebrew Melodies</td><td>p. 73</td></tr> +<tr><td>Ode to N.B. (N.)</td><td>p. 104</td></tr> +<tr><td>Monody, etc</td><td>p. 121</td></tr> +<tr><td>Lament of Tasso</td><td>p. 127</td></tr> +<tr><td>Poems (N.)</td><td>p. 141</td></tr> +</table> + +<p><i>Note</i>.—The Poems (fifty-seven in all) include the <i>Ode to Venice</i>.</p> +</div> + +<h6>XVIII.</h6> + +<p>Lord Byron's/ Works./ Volume the First./ [Volume the +Second, etc.] Containing:/ The Bride of Abydos—The +Corsair—Lara—/Parisina, etc./ Paris/ Sold by François +Louis,/ At his French and English Library,/ Rue +Hautefeuille, Nº 10;/ And Baudry,/ At the Foreign +Library,/ Rue du Coq Saint Honoré, Nº 9./ 1821./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. xii. + 216—Title, one leaf, pp. iii., iv.; "Memoir +of Lord Byron," pp. v.-xii.; Text, pp. 1-216.</p> + +<p>Vol. II. pp. 1-240—Title, one leaf; Text, pp. 1-240.</p> + +<p>Vol. III.: pp. 1-[224]—Title, one leaf; Text, pp. 1-224 + 4 <i>n.p.</i></p> + +<p>Vol. IV.: pp. 1-[228]—Title, one leaf; Text, pp. 1-224 + 4 <i>n.p.</i></p> + +<p>Vol. V.: pp. 1-244—Title, one leaf; Text, pp. 1-244.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Vol. I.:—The Bride, etc., Cantos I., II. (N.)</td><td class="pn">p. 1</td></tr> +<tr><td>The Corsair, Cantos I.-III. (N.)</td><td>p. 55</td></tr> +<tr><td>Lara, Cantos I., II. (N.)</td><td>p. 131</td></tr> +<tr><td>Parisina</td><td>p. 179</td></tr> +<tr><td>Ode to N.B.</td><td>p. 203</td></tr> +<tr><td>Ode to Venice</td><td>p. 211</td></tr> +<tr><td>Vol. II.:—English Bards, etc</td><td>p. 1</td></tr> +<tr><td>Don Juan, Cantos I., II. (N.)</td><td>p. 55</td></tr> +<tr><td>The Giaour (N.)</td><td>p. 167</td></tr> +<tr><td>Vol. III.:—Childe Harold, Cantos I.-IV.(N.)</td><td>p. 1</td></tr> +<tr><td>Beppo</td><td>p. 187</td></tr> +<tr><td>Fare Thee Well</td><td>p. 219</td></tr> +<tr><td>Darkness</td><td>p. 221</td></tr> +<tr><td>Stanzas for Music ("There be none," etc.)</td><td>p. [224]</td></tr> +<tr><td>Vol. IV.:—Siege, etc. (N.)</td><td>p. 1</td></tr> +<tr><td>Manfred (N.)</td><td>p. 43</td></tr> +<tr><td>Mazeppa</td><td>p. 107</td></tr> +<tr><td>Prisoner of Chillon, a Fable, Sonnet, etc. (N.)</td><td>p. 139</td></tr> +<tr><td>Sonnet ("Rousseau," etc.)</td><td>p. 160</td></tr> +<tr><td>Lament of Tasso</td><td>p. 161</td></tr> +<tr><td>Various Poems:<a name="FNanchor_J_144" id="FNanchor_J_144"></a><a href="#Footnote_J_144" class="fnanchor">[J]</a> A Sketch, etc. (and 34 others)</td><td>p. 173</td></tr> +<tr><td>Vol. V.:—Hours of Idleness (<i>i.e.</i> Poems Original and Translated), "The Second English Edition," On Leaving Newstead Abbey, etc</td><td>p. 1</td></tr> +<tr><td>Critique, etc</td><td>p. 116</td></tr> +<tr><td>Fugitive Pieces (including <i>Windsor Poetics</i>, first pub. by Murray, and the spurious <i>Ode</i>, "Oh, shame to thee," etc.)</td><td>p. 163</td></tr> +<tr><td>The Curse of Minerva (full text)</td><td>p. 177</td></tr> +<tr><td>Avis ("Le Vampire, faussement attribué à Lord Byron, est de <i>Polidori</i>, jeune médecin qui a vécu quelque temps à Genève avec le poëte anglais," etc.)</td><td>p. 191</td></tr> +<tr><td>The Vampyre, A Tale</td><td>p. 192</td></tr> +<tr><td>Extract of a Letter from Geneva</td><td>p. 194</td></tr> +<tr><td>Introduction</td><td>p. 201</td></tr> +<tr><td>The Vampyre</td><td>p. 207</td></tr> +<tr><td>A Fragment (June 17, 1816)</td><td>p. 237</td></tr> +</table> +</div> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"> +<p><a name="Footnote_J_144" id="Footnote_J_144"></a><a href="#FNanchor_J_144"><span class="label">[J]</span></a> [Six "Hebrew Melodies" are included in Various Poems.] +</p> +</div> +</div> +<p><span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span></p> + +<h6>XIX.</h6> + +<p>The/ Works/ of/ Lord Byron,/ comprehending the/ Suppressed +Poems./ Embellished with a Portrait, And a +Sketch of His Life./ Vol. I./ [Vol. II., etc.] Paris:/ +Published by A. and W. Galignani,/ At the French, +English, Italian, German and Spanish Library,/ Nº 18, +Rue Vivienne./ 1822.7 [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>— +Vol. I.: pp. 106 + 265—Gen. Half-title (R. <i>Printed by A. +Belin</i>); Title, one leaf, pp. 1, 2; Contents to Vol. I., pp. 3, 4; +<i>The Life of Lord Byron</i> [By J. W. Lake], pp. 5-106; +Text, pp. 1-264.</p> + +<p>Vol. XVI: pp. 204—Gen. Half-title (R. Imprint); Title, one +leaf; Text, pp. 1-204.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Vol. I.:—Hours of Idleness</td><td class="pn">p. 1</td></tr> +<tr><td>Translations and Imitations</td><td>p. 63</td></tr> +<tr><td>Fugitive Pieces</td><td>p. 97</td></tr> +<tr><td>Critique [E.R. Jan. 1808]</td><td>p. 153</td></tr> +<tr><td>English Bards, etc.</td><td>p. 161</td></tr> +<tr><td>Lines written by Mr. Fitzgerald in a copy of <i>English Bards</i>, etc., with his Lordship's Reply</td><td>p. 234</td></tr> +<tr><td>The Curse of Minerva</td><td>p. 235</td></tr> +<tr><td>An Ode ("Oh, shame to thee," etc.)</td><td>p. 255</td></tr> +<tr><td>Windsor Poetics</td><td>p. 259</td></tr> +<tr><td>A Sketch, etc.</td><td>p. 260</td></tr> +<tr><td>Vol. XVI.:—The Deformed Transformed</td><td>p. 1</td></tr> +<tr><td>Transl. of Morgante Maggiore</td><td>p. 105</td></tr> +<tr><td>Lord Byron's Speeches</td><td>p. 157</td></tr> +</table> + +<p><i>Note</i>.—The frontispiece of Vol. I. is an engraving of the +Portrait by G. Sanders.</p> + +<p><i>Don Juan</i> was included in successive volumes in accordance +with the date of publication: Cantos I., II. in Vol. VII.; Cantos +III., IV., V. in Vol. VIII.; Cantos VI.-XI. in Vol. XIV; and +Cantos XII.-XVI. in Vol. XV.</p> + +<p>Volumes XIII.-XV. of this Edition were issued in 1823, and +Vol. XVI. in 1824.</p> +</div> + +<h6>XX.</h6> + +<p>The/ Works/ of/ Lord Byron./ In Four Volumes./ Vol. I./ +[Vol. II., etc.] London:/ John Murray, Albemarle Street./ +1823 [8º<span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. xi. + 303—Title, one leaf, pp. iii., iv.; Gen. +Cont., pp. v., xi.; Cont. of Vol. I.; Text, pp. 1-303. The +Imprint (<i>London:</i>/ <i>Printed by Thomas Davison, Whitefriars</i>/) +is in the centre of the last page.</p> + +<p>Vol. II.: pp. 1-359—Title, one leaf; Cont. of Vol. II.; +Text, pp. 1-359. The Imprint is in the centre of the last page, p. [360].</p> + +<p>Vol. III.: pp. 1-345—Title, one leaf; Cont. of Vol. III.; +Text, pp. 1-345; Notes to <i>Beppo</i>, one leaf, p. [347]. The Imprint +is in the centre of the last page, p. [348].</p> + +<p>Vol. IV.: pp. viii. + 372—Title, one leaf, pp. iii., iv.; Cont. +of Vol. IV., pp. v.-viii.; Text, pp. 1-372. The Imprint is at +the foot of p. 372.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Vol. I.:—Childe Harold's, etc., Cantos I., II. (N. App.)</td><td class="pn">p. 1</td></tr> +<tr><td>Canto III. (N.)</td><td>p. 223</td></tr> +<tr><td>Vol. II.:—Childe Harold's, etc., Canto IV. (N.)</td><td>p. 1</td></tr> +<tr><td>The Giaour (N.)</td><td>p. 207</td></tr> +<tr><td>The Bride, etc., Cantos I., II. (N.)</td><td>p. 287</td></tr> +<tr><td>Vol. III.:—The Corsair, Cantos I.-III. (N.)</td><td>p. 1</td></tr> +<tr><td>Lara, Cantos I., II. (N.)</td><td>p. 105</td></tr> +<tr><td>The Siege, etc. (N.)</td><td>p. 169</td></tr> +<tr><td>Parisina (N.)</td><td>p. 225</td></tr> +<tr><td>The Prisoner of Chillon, Sonnet (N.)</td><td>p. 265</td></tr> +<tr><td>Beppo (N.)</td><td>p. 293</td></tr> +<tr><td>Vol. IV.:—Mazeppa (N.)</td><td>p. 1</td></tr> +<tr><td>Manfred (N.)</td><td>p. 43</td></tr> +<tr><td>Hebrew Melodics (N.)</td><td>p. 121</td></tr> +<tr><td>Ode to N.B. (N.)</td><td>p. 159</td></tr> +<tr><td>Monody, etc. (N.)</td><td>p. 175</td></tr> +<tr><td>Lament of Tasso</td><td>p. 185</td></tr> +<tr><td>Poems (57) (N.)</td><td>p. 203</td></tr> +</table> + +<p><i>Note</i>.—This edition of 1823, 4 vols. 8º, differs from the 3 vols. +8º of 1819, by the addition of <i>Mazeppa</i> and the <i>Ode to Venice</i>. +The Front, of Vol. I. is "Lord Byron," by T. Phillips, R.A., +engr. by C. Warren.</p> +</div> + +<h6>XXI.</h6> + +<p><i>The Works of Lord Byron</i>. In Twelve Vols. Paris: +Printed for Baudry, etc. 1822-1824. [12º.</p> + +<div class="cocono"> +<p><i>Note</i>.—The <i>Life and Genius of Lord Byron</i>, by Sir Cosmo +Gordon, is affixed to the twelfth volume. See <i>La France +Littéraire</i>, by J. M. Quérard. 1827.</p> +</div> + +<h6>XXII.</h6> + +<p><i>The Works of Lord Byron</i>, comprehending the suppressed +Poems. Embellished with a portrait, and a sketch of his +life. In Twelve Volumes. Printed by A. Belin. Published +by Galignani. 1823. [12º.</p> + +<p class="auth">[<i>B. de la F.</i>, May 24, 1823.]<span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span></p> + +<h6>XXIII.</h6> + +<p>The/ Works/ of/ Lord Byron./ Vol. V./ Containing/ +Hours of Idleness—Fugitive Pieces—English/ Bards and +Scotch Reviewers—Waltz—/Miscellaneous Poems, etc./ +London:/ Knight and Lacey, Paternoster-Row./ 1824./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. V.: pp. xiii. + 154 + 9 + vi. + 57 + vii. + 61—Gen. +Half-title; Title (R. <i>T. C. Hansard, Paternoster-Row Press</i>); +Preface; Cont., pp. [i.]-xiii.; Second Half-title; Text, pp. 2-154, etc.</p> + +<p><i>Note</i>.—The Imprint (<i>T. C. Hansard/ Paternoster-Row</i>/) is at +the foot of the last page (p. 62). Four pages (<i>n.p.</i>) of publishers' +list of Sherwood, Jones & Co., etc., dated London, June, 1824, +are bound up with Vol. V.</p> + +<p>Vol. VI.: pp. vi. + 308 + 2 pages (<i>n.p.</i>)—Gen. Half-title; +Title [The/ etc. In Seven Volumes./ Vol. VI./ London:/ +Printed for John and Henry L. Hunt,/ Tavistock Street./ 1824./] +(R. <i>London:/ Printed By C. H. Reynell, Broad-Street, Golden-Square</i>/); Second Half-title; Dedication; Preface, pp. i.-vi.; +Dramatis Personæ, p. [viii.] (<i>B.A.</i>); Text, pp. 9-308; Note to +the Translation of the <i>Morgante Maggiore</i>, one leaf, pp. [309, 310].</p> + +<p>Vol. VII.: pp. 1-286—Gen. Half-title; Title [The, etc./ +Tavistock-Street./ 1825./], (R. Imprint as above); Text, pp. 1-286.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Vol. V.:—Hours of Idleness</td><td class="pn">p. 1</td></tr> +<tr><td>Review, etc.</td><td>p. 1</td></tr> +<tr><td>English Bards, etc.</td><td>p. i.</td></tr> +<tr><td>Waltz [N]</td><td>p. i.</td></tr> +<tr><td>Ode ("Oh, shame to thee," etc.)</td><td>p. 19</td></tr> +<tr><td>Adieu to Malta</td><td>p. 23</td></tr> +<tr><td>Madame Lavalette</td><td>p. 26</td></tr> +<tr><td>The Curse of Minerva (111 lines)</td><td>p. 28</td></tr> +<tr><td>Farewell to England</td><td>p. 35</td></tr> +<tr><td>To my Daughter, etc.</td><td>p. 46</td></tr> +<tr><td>Ode to ... St. Helena</td><td>p. 50</td></tr> +<tr><td>To the Lily of France</td><td>p. 53</td></tr> +<tr><td>To Jessy</td><td>p. 56</td></tr> +<tr><td>To T. Moore, Esq. ("My Boat," etc.)</td><td>p. 58</td></tr> +<tr><td>Lines to Mr. Hobhouse</td><td>p. 60</td></tr> +<tr><td>Enigma [H.]</td><td>p. 61</td></tr> +<tr><td>Vol. VI.:—Werner</td><td>p. i.</td></tr> +<tr><td>Heaven and Earth</td><td>p. 197</td></tr> +<tr><td>Transl. of Morgante Maggiore (Advt.)</td><td>p. 259</td></tr> +<tr><td>Vol. VII.:—The Age of Bronze</td><td>p. I</td></tr> +<tr><td>The Island</td><td>p. 37</td></tr> +<tr><td>Appendix (Extract from the Voyage of Capt. Bligh)</td><td>p. 109</td></tr> +<tr><td>The Vision of Judgment</td><td>p. 125</td></tr> +<tr><td>Appendix (Court of King's Bench, Thursday, January 15, 1824. The King <i>v</i>. John Hunt)</td><td>p. 187</td></tr> +<tr><td>The Deformed Transformed</td><td>p. 191</td></tr> +</table> + +<p><i>Note</i> (1).—In Vol. V. the pagination of the "Postscript" of +<i>English Bards, etc.</i>, pp. 45-47, is incorrect.<span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span></p> + +<p><i>Note</i> (2).—In Vol. VII. (pp. 125, <i>sq</i>.) in the edition of the +<i>Vision of Judgment</i>, issued after the verdict in the case of the +King <i>v.</i> John Hunt, January 15, 1824, stanzas viii., ix. (lines +1, 2), xliii. (lines 1-6), xliv., xlv. (lines 1-6), xlvii. (lines 4, 8), +are omitted in the text, but are quoted in the report of the trial.</p> + +<p><i>Note</i> (3).—The following slip, headed "Notice to the Binder," +is inserted between a fly-leaf and the general half-title of Vols. VI., +VII.: "<i>In order that each purchaser of the two concluding volumes +of Lord Byron's Works may be enabled with them to complete his +particular set,—whatever edition he possesses, an extra Title-page is +given with each—there being several editions in print, comprising +the same marks in different numbers of volumes. In binding these +two last volumes, therefore, the binder should be instructed which +of the Title-pages to retain.</i>" Four pages (<i>n.p.</i>) consisting of +General Half-title (<i>B.R.</i>) and Title-page as above [In Eight +volumes./ Vol. VII., Vol. VIII./] with Imprint as above, at foot +of Reverse, are bound up with Vols. VI., VII. Volume VIII. +was not issued.</p> +</div> + +<h6>XXIV.</h6> + +<p><i>The Works</i>, etc. In Eight Volumes. London: John +Murray, etc., 1825. [Small] 8º.</p> + +<h6>XXV.</h6> + +<p>The/ Works /of/ Lord Byron./ In Six Volumes./ Vol. V./ +London:/ John Murray, Albemarle Street./ 1825./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. V.: pp. 1-404—Title, one leaf; Cont. of Vol. V.; Text, +pp. 1-404. The Imprint (<i>London:/ Printed by Thomas Davison, +Whitefriars</i>/) is at the foot of p. 404.</p> + +<p>Vol. VI.: pp. viii. + 319—Title, one leaf; Cont. of Vol. VI.; +Text, pp 1-319. The Imprint is in the centre of the last page, +p. [320].</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Vol. V.:—Marino Faliero (N. App.)</td><td class="pn">p. 1</td></tr> +<tr><td>Prophecy of Dante, Cantos I.-IV. (N.)</td><td>p. 243</td></tr> +<tr><td>Cain</td><td>p. 291</td></tr> +<tr><td>Vol. VI.:—Sardanapalus (N)</td><td>p. 1</td></tr> +<tr><td>The Two Foscari (App.)</td><td>p. 171</td></tr> +</table> +</div> + +<h6>XXVI.</h6> + +<p>The/ Complete Works/ of/ Lord Byron/ With/ A +Biographical and Critical notice/ By J. W. Lake, Esq./ +Vol. I. [Vol. II., etc.] Childe Harold's Pilgrimage./ +[Monogram.] Paris/ From the Press of Jules Didot +senior,/ vi, Rue Du Pont-de-Lodi./ Published by<span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span> +Baudry, Rue du Coq-Saint-Honoré,/ And Amyot, Rue +De La Paix./ 1825./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. c. + 353—Title, one leaf; Cont. of the First +Vol.; A Biographical, etc., pp. i.-c.; Text, pp. 1-353.</p> + +<p>Vol. II.: pp. 1-432—Title, one leaf; Cont. of the Second +Vol.; Text, pp. 1-432.</p> + +<p>Vol. III.: pp. 1-466—Title, one leaf; Cont. of the Third +Vol.; Text, pp. 1-466.</p> + +<p>Vol. IV.: pp. 1-426—Title, one leaf; Cont. of the Fourth +Vol.; Text, pp. 1-426.</p> + +<p>Vol. V.: pp. 1-435—Title, one leaf; Cont. of the Fifth Vol.; +Text, pp. 1-435; Note to Cain, one leaf, p. [437].</p> + +<p>Vol. VI.: pp. vii. + 529—Title, one leaf, pp. iii., iv.; Cont. +of the Sixth Vol., pp. v.-viii.; Text, pp. 1-529.</p> + +<p>Vol. VII.: pp. viii. + 528—Title, one leaf, pp. iii., iv.; Cont. +of the Seventh Vol., pp. v.-viii.; Text, pp. 1-528.</p> + +<p><i>Note</i>.—The Frontispiece of Vol. I. is an engraving of the +Portrait of Lord Byron by G. Sanders.</p> + +<p><i>Contents</i>—</p> + +<p><span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span></p><table summary="Contents"> +<tr><td>Vol. I.:—A Biographical, etc.</td><td class="pn">p. i</td></tr> +<tr><td>Childe Harold's, etc., Cantos I.-III (N.)</td><td>p. 1</td></tr> +<tr><td>Dedication</td><td>p. 205</td></tr> +<tr><td>Canto IV. (N.)</td><td>p. 213</td></tr> +<tr><td>Vol. II.:—Don Juan, Cantos I.-V. (N.)</td><td>p. 1</td></tr> +<tr><td>Preface to Cantos VI., VII., VIII.</td><td>p. 301</td></tr> +<tr><td>Cantos VI.-VIII. (N.)</td><td>p. 307</td></tr> +<tr><td>Vol. III.:—Don Juan, etc., etc.</td><td> </td></tr> +<tr><td>Canto IX. (N.)</td><td>p. 1</td></tr> +<tr><td>Canto XVI. (N.)</td><td>p. 247</td></tr> +<tr><td>Beppo (N.)</td><td>p. 295</td></tr> +<tr><td>The Vision of Judgment (N.)</td><td>p. 333</td></tr> +<tr><td>The Giaour (N.)</td><td>p. 373</td></tr> +<tr><td>Parisina</td><td>p. 435</td></tr> +<tr><td>Vol. IV.:—Manfred (N.)</td><td>p. 1</td></tr> +<tr><td>Marino Faliero (N.), Preface, etc.</td><td>p. 267</td></tr> +<tr><td>Vol. V.:—The Two Foscari (N.)</td><td>p. 1</td></tr> +<tr><td>Appendix</td><td>p. 123</td></tr> +<tr><td>Werner (N.)</td><td>p. 143</td></tr> +<tr><td>Cain (N.)</td><td>p. 331</td></tr> +<tr><td>Vol. VI.:—Heaven and Earth (N.)</td><td>p. i</td></tr> +<tr><td>The Deformed, etc. (N.)</td><td>p. 53</td></tr> +<tr><td>The Bride, etc. (N.)</td><td>p. 133</td></tr> +<tr><td>The Corsair (N.)</td><td>p. 193</td></tr> +<tr><td>Lara (N.)</td><td>p. 279</td></tr> +<tr><td>The Siege, etc. (N.)</td><td>p. 331</td></tr> +<tr><td>The Prisoner of Chillon (N.), Sonnet, etc.</td><td>p. 377</td></tr> +<tr><td>Mazeppa (N.), Advt., etc.</td><td>p. 399</td></tr> +<tr><td>The Island (N.), Advt., etc.</td><td>p. 435</td></tr> +<tr><td>The Lament of Tasso, Advt.</td><td>p. 517</td></tr> +<tr><td>Vol. VII.:—The Prophecy of Dante (N.), Dedication, etc.</td><td>p. 1</td></tr> +<tr><td>The Age of Bronze (N.)</td><td>p. 45</td></tr> +<tr><td>The Curse of Minerva (N.)</td><td>p. 77</td></tr> +<tr><td>Hours of Idleness</td><td>p. 95</td></tr> +<tr><td>Critique, etc.</td><td>p. 211</td></tr> +<tr><td>English Bards, etc., Preface</td><td>p. 221</td></tr> +<tr><td>Hebrew Melodies</td><td>p. 277</td></tr> +<tr><td>Miscellaneous Poems, and The Dream, etc.</td><td>p. 301</td></tr> +<tr><td>Morgante Maggiore (N.), Advt.</td><td>p. 439</td></tr> +<tr><td>Letter to * * *</td><td>p. 475</td></tr> +<tr><td>Parliamentary Speeches, Debate on the Framework Bill</td><td>p. 505</td></tr> +</table> + +<p><i>Note</i>.—The Miscellaneous Poems (67) include the following +forgeries: Ode ("Oh, shame to thee," etc.), p. 345; Madame +Lavalette, p. 349; Farewell to England, p. 356; To my Daughter, +P. 366.</p> +</div> + +<h6>XXVII.</h6> + +<p><i>Works of Lord Byron. Philadelphia</i>. 1825. Eight Vols. [8º.</p> + +<div class="cocono"> +<p><i>Contents</i>—</p> + +<p>Vol. I.:—Childe Harold's Pilgrimage.</p> + +<p>Vol. II.:—Giaour—Two Foscari—Werner.</p> + +<p>Vol. III.:—Bride, etc.—Corsair—Cain, a Mystery—Sardanapalus.</p> + +<p>Vol. IV.:—Lara—English Bards, and Scotch Reviewers— +Marino Faliero-Siege, etc.—Prisoner of Chillon—Song.</p> + +<p>Vol. V.:—Manfred—Parisina—Deformed Transformed—Vision +of Judgment—Beppo—Age of Bronze—Heaven and Earth—Curse +of Minerva, etc.</p> + +<p>Vol. VI.:—Mazeppa—The Dream—The Island—Prophecy of +Dante—Lament of Tasso—Ode to Buonaparte—Monody, etc.—Hebrew +Melodies—Miscellaneous Poems.</p> + +<p>Vols. VII., VIII.:—Don Juan.</p> +</div> + +<p class="auth">[Catalogue of the Boston Athenæum Library, 1874.]</p> + +<h6>XXVIII.</h6> + +<p><i>The Works of the R.H. Lord Byron</i>. In Eight Vols. +New York: published by Wm. Borrodaile, at his wholesale +Book Store, 114, Fulton Street. 1825.</p> + +<p class="auth">[Kölbing.]</p> + +<h6>XXIX.</h6> + +<p><i>The Works of Lord Byron</i>. Complete in Thirty-two +Volumes. Published by the Brothers Schumann, Zwickau. +1825-1827. [16º.</p> + +<div class="cocono"> +<p><i>Note</i>.—Vol. XXXIII. was issued in 1838. [Kayser, 1841.]</p> +</div> + +<h6>XXX.</h6> + +<p><i>The Works of Lord Byron</i>, comprising the suppressed poems. +In Thirteen Volumes. Paris. Printed by Didot aîné.<span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span> +Published by A. and W. Galignani, No. 18, Rue Vivienne. +1826. [32º.</p> + +<p class="auth">[<i>B. de la F.</i>, June 3, 1826.]</p> + +<h6>XXXI.</h6> + +<p>The/ Works/ of/ Lord Byron/ Including/ The Suppressed +Poems./ Complete in one volume/. Paris:/ Published by +A. and W. Galignani,/No. 18, Rue Vivienne./ 1826./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xliii. + 716—Gen. Half-title (R. <i>Printed by Jules Didot, +Senior,/ Printer to his Majesty, Rue du Pont de Lodi, Nº 6</i>/); +Title-page, one leaf, pp. i., ii.; Cont., pp. iii., iv.; The Life of +Lord Byron [by J. W. Lake], pp. v.-xliii.; Text, pp. 1-716.</p> + +<p>The Front. is a Portrait of Lord Byron by F. Sieurac, engr. +by J. T. Wedgwood. The Title-vignette is a harp, etc., resting +on foliage (bays and oak leaves).</p> + +<p>The Facsimile of the Letter from Lord Byron to M. Galignani, +dated Venice, April 27, 1819, is inserted between the "Contents" +and the "Life," etc.</p> + +<p><i>Note</i> (1).—Among <span class="smcap">Miscellaneous Poems</span> are <i>The Irish +Avatar</i>, p. 515; <i>Ode</i> ("Oh, shame to thee," etc.), p. 539; +<i>Windsor Poetics</i>, p. 540; and <i>Carmina Byronis in C. Elgin</i>, +p. 541. The Volume concludes (pp. 711-716) with <span class="smcap">Poems +Attributed to Lord Byron</span>, viz.—</p> + +<table summary="Contents"> +<tr><td>Childish Recollections (32 lines)</td><td class="pn">p. 711</td></tr> +<tr><td>Lord Byron to his Lady ("How strangely," etc.)</td><td><i>ib.</i></td></tr> +<tr><td>Ode to the Island of St. Helena</td><td><i>ib.</i></td></tr> +<tr><td>To the Lily of France</td><td>p. 712</td></tr> +<tr><td>Madame Lavalette</td><td><i>ib.</i></td></tr> +<tr><td>Adieu to Malta</td><td><i>ib.</i></td></tr> +<tr><td>Enigma ("'Twas whispered," etc.)</td><td>p. 713</td></tr> +<tr><td>The Triumph of the Whale</td><td><i>ib.</i></td></tr> +<tr><td>To Jessy</td><td><i>ib.</i></td></tr> +<tr><td>To my Daughter</td><td>p. 714</td></tr> +<tr><td>To Lady Caroline Lamb</td><td>p. 715</td></tr> +<tr><td>The Farewell ("When man compelled," etc.)</td><td><i>ib.</i></td></tr> +<tr><td>Lines ("Would you get to the House," etc.)</td><td><i>ib.</i></td></tr> +<tr><td>Verses ("All hail, Mont Blanc," etc.)</td><td><i>ib.</i></td></tr> +<tr><td>To a Lady ("And wilt thou weep," etc.)</td><td>716</td></tr> +<tr><td>Stanzas ("I heard thy fate," etc.)<a name="FNanchor_A_145" id="FNanchor_A_145"></a><a href="#Footnote_A_145" class="fnanchor">[A]</a></td><td><i>ib.</i></td></tr> +<tr><td>Lines found in the Travellers' Book at Chamouni</td><td><i>ib.</i></td></tr> +<tr><td>Lines found in Lord Byron's Bible<a name="FNanchor_B_146" id="FNanchor_B_146"></a><a href="#Footnote_B_146" class="fnanchor">[B]</a></td><td><i>ib.</i></td></tr> +</table> + +<p><i>Note</i> (2).—This edition was reissued, in 1827, on different paper. +An impression of the portrait by F. Sieurac, in an unfinished state, +precedes the Frontispiece.</p> +</div> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_A_145" id="Footnote_A_145"></a><a href="#FNanchor_A_145"><span class="label">[A]</span></a> "Stanzas" were published <i>Poetical Works</i>, 1899, iii. 425, +426, with the title, "On the Death of the Duke of Dorset." Note (I) on p. 425 +is incorrect.</p></div> + +<div class="footnote"><p><a name="Footnote_B_146" id="Footnote_B_146"></a><a href="#FNanchor_B_146"><span class="label">[B]</span></a> "Lines Found in Lord Byron's Bible" are by Sir Walter Scott +(see <i>Monastery</i>, chap. xii.).<span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span></p></div> +</div> + +<h6>XXXII.</h6> + +<p><i>The Works</i>, etc. Complete. One Vol. Frankfort o. M. +Printed by and for H. L. Broenner. 1826. 4º, pp. xvi. + 776.</p> + +<p class="auth">[Kölbing.]</p> + +<div class="cocono"> +<p><i>Note</i>.—A Second Edition, pp. xlvi. + 804, including <i>Morgante +Maggiore</i> and <i>Parliamentary Speeches</i>, was issued in 1829, <i>vide +post</i>, <a href="#Page_109">No. xl.</a>; and a third, pp. xxx. + 784, including <i>Francesca +di Rimini, Hints from Horace</i>, and <i>The Blues</i>, etc., in +1837. According to Kayser, the First Edition appeared in 1827, +a second in 1829, and a third, "considerably augmented," in 1837.</p> +</div> + +<h6>XXXIII.</h6> + +<p><i>The Works</i>, etc. In Six Volumes. London: John Murray, +etc. 1827. [Small 8º.</p> + +<p class="auth">[Kölbing.]</p> + +<h6>XXXIV.</h6> + +<p>The/ Works/ of/ Lord Byron./ In Four Volumes./ Vol. I./ +[Vol. II., etc.] London:/ John Murray, Albemarle-Street./ +1828./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. ix. + 362—Gen. Half-title, Works/ of/ Lord/ +Byron./ (R. <i>London: Printed by Thomas Davison Whitefriars</i>/), +pp. i., ii.; Title, one leaf, pp. iii., iv.; Gen. Cont., pp. v.-ix.; +Cont. of Vol. I. (<i>n.p.</i>); Text, pp. 1-362.</p> + +<p>The Front., "Lord Byron," is engr. by E. Finden from a +portrait by G. (<i>sic</i>) Phillips, R.A.</p> + +<p>Vol. II.: pp. 1-424—Gen. Half-title (R. Imprint); Cont. of +Vol. II.; Text, pp. 1-424. The Imprint is at the foot of p. 424.</p> + +<p>The Front., "Medora" (<i>Corsair</i>, i. 379), is engr. by E. +Finden from a drawing by H. Corbould.</p> + +<p>Vol. III.: pp. vii. + 383—Half-title (R. Imprint), pp. i., ii.; +Title, one leaf, pp. iii., iv.; Cont. of Vol. III., pp. v.-vii.; +Text, pp. 1-383. The Imprint is in the centre of the last page, +p. [384].</p> + +<p>The Front., "Lord Byron" ("When late I saw thy ... child"), +is engr. by E. Finden from a drawing by H. Corbould.</p> + +<p>Vol. IV.: pp. 1-429—Gen. Half-title (R. Imprint); Title, one +leaf; Cont. of Vol. IV.; Text, pp. 1-429. The Imprint is in +the centre of the last page, p. [430].</p> + +<p>The Front., "Sardanapalus" (act iv. sc. 1, line 1), is engr. +by E. Finden from a drawing by H. Corbould.</p> + +<p><span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Vol. I.:—Childe Harold's, etc., Cantos I.-IV. (N.)</td><td class="pn">p. 1</td></tr> +<tr><td>Vol. II.:—The Giaour (N.)</td><td>p. 1</td></tr> +<tr><td>The Corsair, Cantos I.-III. (N.)</td><td>p. 61</td></tr> +<tr><td>Lara, Cantos I., II. (N.)</td><td>p. 143</td></tr> +<tr><td>The Bride, etc., Cantos I., II. (N.)</td><td>p. 195</td></tr> +<tr><td>Siege, etc. (N.)</td><td>p. 253</td></tr> +<tr><td>Parisina (N.)</td><td>p. 299</td></tr> +<tr><td>The Prisoner of Chillon, Sonnet, etc. (N.)</td><td>p. 331</td></tr> +<tr><td>Beppo (N.)</td><td>p. 353</td></tr> +<tr><td>Mazeppa</td><td>p. 391</td></tr> +<tr><td>Vol. III.:—Manfred (N.)</td><td>p. 1</td></tr> +<tr><td>Hebrew Melodies: "She walks in beauty" (and 22 others)</td><td>p. 61</td></tr> +<tr><td>Ode to N.B. (N.)</td><td>p. 89</td></tr> +<tr><td>Monody, etc.</td><td>p. 99</td></tr> +<tr><td>Lament of Tasso</td><td>p. 105</td></tr> +<tr><td>Poems: Written in an Album (and 55 others)</td><td>p. 119</td></tr> +<tr><td>Ode [to Venice]</td><td>p. 249</td></tr> +<tr><td>Notes to the Poems</td><td>p. 255</td></tr> +<tr><td>Prophecy of Dante, Cantos I.-IV. (N.)</td><td>p. 259</td></tr> +<tr><td>Cain</td><td>p. 299</td></tr> +<tr><td>Vol. IV.:—Marino Faliero (App.)</td><td>p. 1</td></tr> +<tr><td>Sardanapalus (N.)</td><td>p. 175</td></tr> +<tr><td>The Two Foscari (App.)</td><td>p. 303</td></tr> +</table> +</div> + +<h6>XXXV.</h6> + +<p>The/ Works/ of/ Lord Byron/ Including/ The Suppressed +Poems./ Complete in One Volume./ Paris:/ Published +by A. and W. Galignani,/ No. 18, Rue Vivienne./ 1828./ 8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xl. + 718.</p> + +<p><i>Note</i>.—This edition closely corresponds with that issued by +A. and W. Galignani in 1826-7, <i>q.v. ante</i>, <a href="#Page_105">No. xxxi.</a> The +"Life of Lord Byron," by J. W. Lake, is abbreviated and corrected. +Among <span class="smcap">Attributed Poems</span> are the following additions: +<i>A Drinking Song</i> ("Fill the goblet," etc.), p. 716; <i>Remember +Thee</i>, <i>ibid</i>.; <i>To Mary</i> ("Remind me not," etc.), p. 717; Verses +("There was a time," etc.), <i>ibid</i>.; <i>On Leaving England</i>, <i>ibid.</i>; +and the following omissions: Verses ("All hail, Mont Blanc," +etc.), 1826, p. 715; and <i>Lines found in Lord Byron's Bible</i>, +1826, p. 716.</p> +</div> + +<h6>XXXVI.</h6> + +<p><i>The Works of Lord Byron</i>. Complete in One Volume. +Title-Vignette. Published by Broenner, Frankfort. 1828, 8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—A Second Edition was issued in 1829, and a third, +"considerably augmented," in 1837. [Kayser.]</p> +</div> + +<h6>XXXVII.</h6> + +<p>The/ Works/ of/ Lord Byron./ In Six Volumes./ Vol. I./ +[Vol. II., etc.] London:/ John Murray, Albemarle-Street./ +1829./ 8º.<span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.:—Gen. Half-title, "Byron" (R. <i>London: +Printed by Thomas Davison, Whitefriar's</i>), pp. i., ii; Title, one +leaf, pp. iii, iv.; General Cont., pp. v.-ix.; Cont. of Vol. I., +<i>n.p.</i>; Text, pp. 1-235. The Imprint is in the centre of the last +page, p. [236].</p> + +<p>Vol. II.: Gen. Half-title (R. Imprint); Title, one leaf; Cont. +of Vol. II.; Text, pp. 1-297. The Imprint is in the centre of +the last page, p. [300].</p> + +<p>Vol. III.: Gen. Half-title, etc., as in Vol. II.; Text pp. 1-282. +The Imprint is in the centre of the last page, p. [284].</p> + +<p>Vol. IV.: pp. vii. + 275—Half-title (R. Imprint), pp. i., ii.; +Title, one leaf, pp. iii., iv.; Cont. of Vol. IV., pp. v.-vii.; +Text, pp. 1-275. The Imprint is in the centre of the last page, p. [276].</p> + +<p>Vol. V.: Half-title, etc., as in Vol. II.; Text, pp. 1-26. The +Imprint is at the foot of p. 264.</p> + +<p>Vol. VI.: pp. viii. + 266—Half-title (R. Imprint), pp. i., ii.; +Title, one leaf, pp. iii, iv.; Cont. of Vol. VI. (<i>B.R.</i>), pp. v., vi.; +Preface, pp. vii., viii.; Text, pp. 1-266. The Imprint is in the +centre of the last page, p. [268].</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Vol. I.:—Childe Harold's, etc., Cantos I.-III. (Pref. N.)</td><td class="pn">p. 1</td></tr> +<tr><td>Vol. II.:—Childe Harold's, etc., Canto IV. (N.)</td><td>p. 1</td></tr> +<tr><td>The Giaour (N.)</td><td>p. 157</td></tr> +<tr><td>The Corsair, Cantos I.-III. (N.)</td><td>p. 217</td></tr> +<tr><td>Vol. III.:—Lara, Cantos I., II. (N.)</td><td>p. 1</td></tr> +<tr><td>The Bride, etc., Cantos I., II. (N.)</td><td>p. 53</td></tr> +<tr><td>Siege, etc. (N.)</td><td>p. 111</td></tr> +<tr><td>Parisina (N.)</td><td>p. 157</td></tr> +<tr><td>The Prisoner, etc. (Sonnet, N.)</td><td>p. 189</td></tr> +<tr><td>Beppo (N.)</td><td>p. 211</td></tr> +<tr><td>Mazeppa</td><td>p. 249</td></tr> +<tr><td>Vol. IV.:—Manfred (N.)</td><td>p. 1</td></tr> +<tr><td>Hebrew Melodies: "She walks," etc. (and 21 others)</td><td>p. 61</td></tr> +<tr><td>Ode to N.B. (N.)</td><td>p. 85</td></tr> +<tr><td>Monody, etc.</td><td>p. 95</td></tr> +<tr><td>Lament of Tasso</td><td>p. 101</td></tr> +<tr><td>Poems: Written in an Album (and 56 others) (N.)</td><td>p. 115</td></tr> +<tr><td>Prophecy of Dante, Cantos I.-IV. (N.)</td><td>p. 235</td></tr> +<tr><td>Vol. V.:—Marino Faliero (A)</td><td>p. 1</td></tr> +<tr><td>Cain</td><td>p. 179</td></tr> +<tr><td>Vol. VI.:-Sardanapalus (N.)</td><td>p. 1</td></tr> +<tr><td>The Two Foscari (A)</td><td>p. 135</td></tr> +<tr><td>Notes to Captain Medwin's, etc.</td><td>p. 253</td></tr> +</table> +</div> + +<h6>XXXVIII.</h6> + +<p>The/ Works/ of/ Lord Byron./ In Four Volumes./ Vol. I./ +[Vol. II., etc.] London:/ John Murray, Albemarle-Street./ +1829./ 12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.:—Gen. Half-title, "Byron" (R. (<i>a</i>) +<i>Printed by Thomas Davison, Whitefriars</i>); Title, one<span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span> +leaf, pp. iii., iv.; Gen. Cont., pp. v.-x.; Cont. of Vol. I., +<i>n.p.</i>; Text, pp. 1-357. The Imprint (<i>b</i>) (<i>London:/ Printed by +Thomas Davison, Whitefriars</i>/), is in the centre of the last page, +p. [360].</p> + +<p>Vol. II.: pp. 1-424—Gen. Half-title (R. Imprint (<i>a</i>)); Title, +one leaf; Cont. of Vol. II.; Text, pp. 1-424. The Imprint (<i>b</i>) +is at the foot of p. 424.</p> + +<p>Vol. III.:—Gen. Half-title (R. Imprint (<i>a</i>)); +Title, one leaf, pp. iii., iv.; Cont. of Vol. III., pp. v.-viii.; +Text, pp. 1-383. The Imprint (<i>b</i>) is at the foot of the last +page, p. [384].</p> + +<p>Vol. IV.: pp. 1-412—Half-title (R. Imprint (<i>a</i>)); Title, one +leaf; Cont. of Vol. IV.; Text, pp. 1-412. The Imprint (<i>b</i>) is at +the foot of p. 412.</p> + +<p><i>Contents</i>—</p> + +<p>The Cont. of Vols. I., II., III. of the Edition of 1829 are +identical with the Cont. of Vols. I., II., III. of the Edition of +1828. The pagination of the Text 1829 follows the pagination +of the Text 1828, but the type of 1829 is not the type of 1828.</p> + +<table summary="Contents"> +<tr><td>Vol. IV. (1829):—Marino Faliero</td><td class="pn">p. 1</td></tr> +<tr><td>Appendix</td><td>p. 147</td></tr> +<tr><td>Sardanapalus (N.)</td><td>p. 161</td></tr> +<tr><td>The Two Foscari</td><td>p. 289</td></tr> +<tr><td>Appendix</td><td>p. 381</td></tr> +<tr><td>Notes on Captain Medwin's "Conversations of Lord Byron"</td><td>p. 401</td></tr> +</table> + +<p><i>Note</i>.—The original Italian and French Versions of the <i>Cronica +di Sanuto</i>, and the extracts from the works of P. Daru and P. L. +Ginguené, which appeared in 1828, are omitted in 1829, and the +notes (by John Murray) on Captain Medwin's <i>Conversations, etc.</i> +(1824), are inserted.</p> +</div> + +<h6>XXXIX.</h6> + +<p><i>The Poetic Works</i>, etc., including his <i>Don Juan</i>—all his +minor poems, and the suppressed pieces of <i>Cain</i>, and the +<i>V. of Judgment</i>, all complete. In Two Vols. Second +Edition. Philadelphia: Published by the Washington +Press. 1829. [4º and 6º.</p> + +<h6>XL.</h6> + +<p>The/ Works/ of/ Lord Byron./ Complete/ In One Volume./ +[Title-vignette, "Ship in Storm," engraved on steel by +C. Tremonet.] The Second Edition, considerably augmented./ +Francfort O.M./ Printed by and for H. L. +Broenner./ 1829./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xlvi + Cont., one leaf + 804—Title, one leaf; <i>Life</i>, etc., +by J. W. Lake, pp. i.-xli. + A Character of Lord Byron, by +Sir W. Scott, pp. xlii., xliii. + "Goethe und Byron" (including<span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span> +the stanzas "Ein freundlich Wort," etc.) + "Lord Byron's Last +Lines," pp. xliv.-xlivi. + Cont., one leaf, <i>n.p.</i> + Text, pp. 1-804.</p> + +<p><i>Note</i>.—The Miscellaneous Poems include Ode "Oh, shame to +thee," etc., and On Sir John Moore's Burial, p. 650. +The <span class="smcap">Attributed Poems</span> are identical with those published +in Paris, 1826 (<a href="#Page_105">No. xxxi.</a>), except that they include To Miss +Chaworth ("Remind me not," etc.), and exclude Lines Found +in Lord Byron's Bible. The Notes to <i>Childe Harold's, etc.</i>, and +other poems are printed continuously, pp. 715-792. <i>The Waltz</i>, +together with the <i>Notes</i>, is on pp. 795-798.</p> +</div> + +<h6>XLI.</h6> + +<p>The/ Works/ of/ Lord Byron./ In Four Volumes./ Vol. I./ +[Vol. II., etc.] London:/ John Murray, Albemarle-Street./ +1830./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. ix. + 359—Title (R. (<i>a</i>) <i>Thomas Davison, London.</i>), +pp. i., ii.; General Cont., pp. iii.-ix.; Cont. of Vol. I., p. x.; +Text, pp. 1-359. The Imprint (<i>b</i>) (<i>London:/ Printed by Thomas +Davison, Whitefriars</i>/) is in the centre of the last page, p. [360].</p> + +<p>The Frontispiece, "Lord Byron," is engraved by E. Finden from +a portrait by T. Phillips, R.A.</p> + +<p>Vol. II.: pp. iv. + 424—Title (R. Imprint), pp. i., ii.; Cont. +of Vol. II., pp. iii., iv.; Text, pp. 1-383. The Imprint (<i>b</i>) is at +the foot of p. 424.</p> + +<p>Vol. III.: pp. vi. + 383—Title (R. Imprint), pp. i., ii.; Cont. +of Vol. III., pp. iii.-vi.; Text, pp. 1-383. The Imprint (<i>b</i>) is in +the centre of the last page, p. [384].</p> + +<p>Vol. IV.: pp. 1-415—Title (R. Imprint); Cont. of Vol. IV., +one leaf; Text, pp. 1-415. The Imprint (<i>b</i>) is in the centre of +the last page, p. [384].</p> + +<p>The Front, of Vol. II. is that of Vol. II., ed. 1828; the Front. +of Vol. III. that of Vol. IV., 1828; and the Front. of Vol. IV. +that of Vol. III., 1828.</p> + +<p><i>Note</i>.—The Cont. of Vols. I.-IV., 1830, are identical with the +Cont. of Vols. I.-IV., 1829. The Notes have been partly re-set.</p> +</div> + +<h6>XLII.</h6> + +<p><i>The Complete Works</i>, etc., including his lordship's suppressed +poems with others never before published. (With +portrait and <i>fac-simile</i>.) Paris, Galignani, 1830. [12º.</p> + +<p class="auth">[Quérard, 1846.]</p> + +<h6>XLIII.</h6> + +<p>The/ Works/ of/ Lord Byron./ In Six Volumes./ Vol. I./ +[Vol. II., etc.] London:/ John Murray, Albemarle-Street./ +1831./ [16º.<span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vols. I.-IV. of Ed. 1831 are identical with Vols. I.-IV. of Ed. +1830. The Frontispieces of Vols. III., IV., which were transposed +in Ed. 1830, are restored to their original position, as in Ed. 1828.</p> + +<p>Vol. V.: pp. xii. + 475—Gen. Half-title (R. (<i>a</i>) <i>Thomas Davison, +London</i>), pp. i., ii.; Title, one leaf, pp. iii., iv.; Editor's Advt. +to <i>Hours of Idleness</i>, pp. v.-vii.; Cont. of Vol. V., pp. ix.-xii.; +Text, pp. 1-475; Publisher's Advt. of the Life of Lord Byron +(2 Vols. 4to).... by Thomas Moore, Esq., p. [477]. +The Imprint (<i>b</i>) (<i>London:/ Printed by Thomas Davison, Whitefriars</i>:/) +is in the centre of p. 476.</p> + +<p>The Frontispiece, "Heaven and Earth," is engr. by E. Finden +from a drawing by H. Richter.</p> + +<p>Vol. VI.: pp. viii. + 459—Gen. Half-title (R. Imprint), pp. +i., ii.; Title, one leaf, pp. iii., iv.; Cont. to Vol. VI., pp. v.-viii.; +Text, pp. 1-459. The Imprint (<i>b</i>) is in the centre of the +last page, p. [460].</p> + +<p>The Frontispiece, "The Island," is engr. by E. Finden from a +drawing by H. Richter.</p> + +<p><i>Contents</i>—</p> +<table summary="Contents"> +<tr><td>Vol. V.:—Hours of Idleness: Preface, etc.</td><td class="pn">p. 1</td></tr> +<tr><td>On leaving Newstead Abbey (and 64 others)</td><td>p. 11</td></tr> +<tr><td>Critique from <i>Edinb. Rev.</i></td><td>p. 203</td></tr> +<tr><td>English Bards, etc.</td><td>p. 209</td></tr> +<tr><td>Hints from Horace</td><td>p. 273</td></tr> +<tr><td>The Curse of Minerva</td><td>p. 329</td></tr> +<tr><td>The Waltz</td><td>p. 345</td></tr> +<tr><td>Age of Bronze</td><td>p. 365</td></tr> +<tr><td>The Vision of Judgment</td><td>p. 397</td></tr> +<tr><td>Morgante Maggiore</td><td>p. 441</td></tr> +<tr><td>Vol. VI.:—Werner</td><td>p. 1</td></tr> +<tr><td>The Deformed Transformed</td><td>p. 157</td></tr> +<tr><td>Heaven and Earth</td><td>p. 227</td></tr> +<tr><td>The Island: Cantos I.-IV. App.</td><td>p. 277</td></tr> +<tr><td>Poems:</td></tr> +<tr><td>The Blues</td><td>p. 351</td></tr> +<tr><td>Fragment ("Hills of Annesly")</td><td>p. 368</td></tr> +<tr><td>The Prayer of Nature</td><td><i>ib.</i></td></tr> +<tr><td>Fragment ("Young Oak," etc., 10 lines)</td><td>p. 371</td></tr> +<tr><td>On Revisiting Harrow</td><td>p. 372</td></tr> +<tr><td>L'amitie, etc.</td><td>p. 373</td></tr> +<tr><td>To my Son</td><td>p. 377</td></tr> +<tr><td>Epitaph on John Adams</td><td>p. 379</td></tr> +<tr><td>Fragment ("Forget this World," etc.) (20 lines)</td><td>p. 380</td></tr> +<tr><td>To Mrs. —— ("When man expell'd," etc.)</td><td>p. 381</td></tr> +<tr><td>A Love-song ("Remind," etc.)</td><td>p. 382</td></tr> +<tr><td>Stanzas to —— ("There was a time," etc.)</td><td>p. 383</td></tr> +<tr><td>To the Same ("And wilt thou weep," etc.)</td><td>p. 384</td></tr> +<tr><td>Song ("Fill the goblet," etc.)</td><td>p. 386</td></tr> +<tr><td>Stanzas to —— on leaving England</td><td>p. 387</td></tr> +<tr><td>Lines to Mr. Hodgson</td><td>p. 390</td></tr> +<tr><td>Epistle to ("Oh, banish," etc.)</td><td>p. 393</td></tr> +<tr><td>The Devil's Drive</td><td>p. 396</td></tr> +<tr><td>Additional stanzas to the Ode to Napoleon</td><td>p. 400</td></tr> +<tr><td>Stanzas for Music ("I speak not," etc.)</td><td>p. 401</td></tr> +<tr><td>Address—at the Caledonian Meeting</td><td>p. 402</td></tr> +<tr><td>Lines—for the opening of "The Siege of Corinth"</td><td>p. 404<span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span></td></tr> +<tr><td>Extract, "Could I remount," etc.</td><td>p. 406</td></tr> +<tr><td>To Augusta</td><td>p. 407</td></tr> +<tr><td>On the bust of Helen by Canova</td><td>p. p. 413</td></tr> +<tr><td>To Thomas Moore ("My boat," etc.)</td><td><i>ib.</i></td></tr> +<tr><td>To Mr. Murray ("Strahan," etc.)</td><td>p. 414</td></tr> +<tr><td>Stanzas to the River Po</td><td>p. 416</td></tr> +<tr><td>The Irish Avatar</td><td>p. 419</td></tr> +<tr><td>On the Prince Regent's returning the picture, etc.</td><td>p. 425</td></tr> +<tr><td>To Belshazzar</td><td>p. 427</td></tr> +<tr><td>Sonnet to George the Fourth</td><td>p. 428</td></tr> +<tr><td>Francesca of Rimini</td><td>p. 429</td></tr> +<tr><td>Stanzas ("Oh, talk not to me," etc.)</td><td>p. 431</td></tr> +<tr><td>To the Countess of B—-</td><td>p. 432</td></tr> +<tr><td>Lines from a letter to T. Moore ("So we'll," etc.)</td><td>p. 434</td></tr> +<tr><td>Epistle to Dr. [Polidori]</td><td><i>ib.</i></td></tr> +<tr><td>Ep. ("My dear Mr. Murray")</td><td>p. 437</td></tr> +<tr><td>To Mr. J. Murray ("For Oxford," etc.)</td><td>p. 439</td></tr> +<tr><td>On this Day, etc.</td><td>p. 440</td></tr> +<tr><td>From the Portuguese</td><td>p. 442</td></tr> +<tr><td>Paraphrase from ... the <i>Medea</i></td><td>p. 443</td></tr> +<tr><td>Epitaph ("Youth, Nature," etc.)</td><td><i>ib.</i></td></tr> +<tr><td>On Moore's Last ... Farce</td><td>p. 444</td></tr> +<tr><td>On Lord T.'s poems</td><td><i>ib.</i></td></tr> +<tr><td>To Lord T.</td><td>p. 445</td></tr> +<tr><td>To Thomas Moore ("Oh, you," etc.)</td><td>p. 446</td></tr> +<tr><td>Fragment of an Ep. to T. Moore ("What say I," etc.)</td><td>p. 447</td></tr> +<tr><td>On Napoleon's Escape from Elba</td><td>p. 449</td></tr> +<tr><td>Fragment ... On hearing that Lady Byron was ill (6 lines)</td><td><i>ib.</i></td></tr> +<tr><td>To Thomas Moore ("What are you," etc.)</td><td><i>ib.</i></td></tr> +<tr><td>Song for the Luddites</td><td>p. 450</td></tr> +<tr><td>Versicles</td><td>p. 451</td></tr> +<tr><td>To Mr. Murray ("To hook," etc.)</td><td><i>ib.</i></td></tr> +<tr><td>On the birth of J. W. R. Hoppner</td><td>p. 452</td></tr> +<tr><td>Epigram (from Rulhieres) (<i>sic</i>)</td><td>p. 453</td></tr> +<tr><td>Epigr. ("To-day it is," etc.)</td><td><i>ib.</i></td></tr> +<tr><td>Epigr. ("Here's a Happy," etc.)</td><td><i>ib.</i></td></tr> +<tr><td>Epigr. ("This day of all," etc.)</td><td>p. 454</td></tr> +<tr><td>Endorsement to the deed, etc.</td><td><i>ib.</i></td></tr> +<tr><td>Epitaph for William Pitt</td><td><i>ib.</i></td></tr> +<tr><td>Epigr. ("In digging," etc.)</td><td>p. 455</td></tr> +<tr><td>Stanzas ("When a man," etc.)</td><td><i>ib.</i></td></tr> +<tr><td>On his Thirty-third Birthday</td><td><i>ib.</i></td></tr> +<tr><td>Epigr. ("The Brasiers," etc.)</td><td>p. 456</td></tr> +<tr><td>Epigr. ("The world," etc.)</td><td><i>ib.</i></td></tr> +<tr><td>The Charity Ball</td><td>p. 457</td></tr> +<tr><td>Impromptu</td><td><i>ib.</i></td></tr> +<tr><td>Windsor Poetics</td><td>p. 458</td></tr> +<tr><td>Lines in the Travellers' Book at Orchomenus</td><td><i>ib.</i></td></tr> +</table> + +<p><i>Note</i>.—List of publications by John Murray, January 4, 1831— +"A fifth and sixth vol. of Lord Byron's Works: containing +<i>E.B., etc., Heaven & E., The Def. Trans., The Island</i>, etc., etc., +forming the portion of the Works recently purchased by Mr. +Murray, and rendering them the first and only complete edition +(<i>Don Juan</i> being alone excepted). 2 vols. 12º.<span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span> +Printed for the first time, to match with the Edition of +Lord Byron's Works in 4 vols. 18º."</p> +</div> + +<h6>XLIV.</h6> + +<p>The/ Complete works/ of/ Lord Byron,/ Including/ his +Lordship's Suppressed Poems,/ With others never before +published./ In one Volume./ Paris./ Published by A. +and W. Galignani,/ No. 18, Rue Vivienne./ 1831./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxiv. + 730—Half-title (R. <i>Printed by J. Smith, Rue +Montmorency, Paris</i>./); Title, one leaf; Cont., pp. i.-iv.; The +Life of Lord Byron [abridged from the <i>Life</i> by J. W. Lake] pp. +v.-xxiv.; Text, pp. 1-730.</p> + +<p>The Frontispiece, a portrait of Lord Byron, engr. by J. T. +Wedgwood from a painting by W. E. West, in arabesque frame, +rests on miniatures of Newstead Abbey and Missolunghi (<i>sic</i>) +designed by F. Sieurac. The Title-vignette is tomb, harp, +willows, etc. A lithograph of letter, April 27, 1819, to the +Editor of <i>Galignani's Messenger</i>, is inserted between the <i>Life</i> +and the Text.</p> + +<p><i>Contents</i>—</p> + +<p>This edition includes Hours of Idleness (Sec. Ed.), <i>English +Bards</i>, etc., <i>The Curse of Minerva</i>, <i>The Waltz</i>, all poems +published by John Murray before 1831, a selection of poems +included in Moore's <i>Notices of the Life</i>, etc., poems published by +John Hunt, Letter to ... on Bowles' Strictures +on Pope, Fragment, Parliamentary Speeches, and the following +spurious and additional poems:—</p> + +<table summary="Contents"> +<tr><td>Madame Lavalette</td><td class="pn">p. 699</td></tr> +<tr><td>Ode ("Oh, shame to thee," etc.)</td><td>p. 705</td></tr> +<tr><td><i>Carmina Byronis in C. Elgin</i></td><td>p. 707</td></tr> +<tr><td>Ode to the Island of St. Helena</td><td><i>ib.</i></td></tr> +<tr><td>Enigma on the letter H</td><td>p. 708</td></tr> +<tr><td>To Jessy</td><td><i>ib.</i></td></tr> +<tr><td>To my Daughter</td><td>p. 709</td></tr> +<tr><td>Lines to Mr. Hobhouse</td><td>p. 710</td></tr> +<tr><td>Lines found in the Travellers' book at Chamouni</td><td><i>ib.</i></td></tr> +<tr><td>Stanzas to her who can best understand them</td><td>p. 712</td></tr> +<tr><td>In the Valley of Waters</td><td>p. 713</td></tr> +<tr><td>Francesca</td><td><i>ib.</i></td></tr> +<tr><td>Faith, Wisdom, Love and Power</td><td><i>ib.</i></td></tr> +<tr><td>Thermopylæ</td><td>p. 714</td></tr> +<tr><td>Song, "Do you know Dr. Nott?"</td><td>p. 716</td></tr> +<tr><td>To Mr. Hobhouse, "What made you," etc. (20 lines)</td><td>p. 717</td></tr> +<tr><td>Enigma on the letter I</td><td>p. 720</td></tr> +<tr><td>To Memory ("Oh, memory," etc.)</td><td>p. 721</td></tr> +<tr><td>To my dear Mary Anne</td><td><i>ib.</i></td></tr> +<tr><td>On an Old Lady ("In Nottingham," etc.)</td><td>p. 722</td></tr> +</table> + +<p><i>Note</i>.—Among the <span class="smcap">Attributed Poems</span> are To the Lily of<span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span> +France, p. 729; The Triumph of the Whale, <i>ib.</i>; To Lady C. +Lamb, <i>ib.</i>; Stanzas ("I heard thy fate," etc.), p. 730.</p> +</div> + +<h6>XLV.</h6> + +<p><i>The Works</i>, etc., including the suppressed poems. Also +a Sketch of his Life. By J. W. Lake. Complete in one +Vol. Philadelphia. Published by Henry Adams and +sold by John Griggs. 1831. [4º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxxix. + 176.</p> +</div> + +<h6>XLVI.</h6> + +<p>The/ Works/ of/ Lord Byron:/ With/ His Letters and +Journals,/ And His Life,/ By Thomas Moore, Esq./ In +Fourteen Volumes./ Vol. I. [Vol. II., etc.] London:/ +John Murray, Albemarle Street./ 183./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. xv. + 359—Title (R. Imprint, <i>London:/ Printed +by A. Spottiswoode,/ New-Street-Square</i>./), pp. i., ii.; Cont. of +Vol. I., pp. iii., iv.; Half-title, pp. v., vi.; Dedication to Sir W. +Scott, pp. vii., viii.; Preface to the First Vol. of First Ed., pp. +ix., x.; Preface to the Sec. Vol., pp. xi.-xv.; Text (<i>Notices of the +Life of Lord Byron</i>), pp. 1-359.</p> + +<p>The Frontispiece, "Lord Byron at the Age of 19," is engr. by +W. Finden from the portrait by G. Sanders: the Title-vignette, +"Cadiz," is engr. by E. Finden from a drawing by C. Stansfield.</p> + +<p>Vol. II.: pp. 1-341—The Frontispiece "Tepaleen," is engr. by +F. Finden from a drawing by W. Purser; the Title-vignette, +"Constantinople," is engr. by E. Finden from a drawing by +C. Stansfield.</p> + +<p>Vol. III.: pp. 1-376—The Front., "Marathon," and the Title-vignette, +"A Street in Athens," are engr. by E. Finden from +drawings by C. Stansfield.</p> + +<p>Vol. IV.: pp. 1-359—The Front., "The Wengen Alps," and +the Title-vignette, "The Coliseum from the Orto Farnese," are +engr. by E. Finden from drawings by J. D. Harding.</p> + +<p>Vol. V.: pp. 1-376—The Front., "S<sup>ta</sup> Maria Dalla Spina," +is engr. by E. Finden from a drawing by J. M. W. Turner, +R.A.; the Title-vignette, the "Hellespont," is engr. by E. Finden +from a drawing by J. D. Harding.</p> + +<p>Vol. VI.: pp. 1-416—The Front., "Newstead Abbey" [from +the Monk's Garden], and the Title-vignette, "The Fountain at +Newstead Abbey," are engr. by E. Finden from drawings by +W. Westall, A.R.A.</p> + +<p>Vol. VII.: pp. xv. + 319—Gen. Half-title (R. Imprint), pp. i., +ii.; Title, one leaf, pp. iii., iv.; Advt. (editorial, June, 1832), +pp. v.-vii.; Cont. of Vol. VII., pp. ix.-xv.; Text, pp. 1-319. +The Imprint is in the centre of the last page, p. [320].<span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span></p> + +<p>The Front., "The Gate of Theseus," and the Title-vignette, +"The Plains of Troy," are engr. by E. Finden from drawings +by J. M. W. Turner, R.A. A facsimile of the two first stanzas +of To D—— faces p. 12.</p> + +<p>Vol. VIII.: pp. x. + 328—Gen. Half-title (R. Imprint), pp. i., +ii.; Title, one leaf, pp. iii., iv.; Advt. (editorial, July 20, 1832), +pp. v.-x.; Cont. of Vol. VIII., <i>n.p.</i>; Text, pp. 1-328. The +Imprint is at the foot of p. 328.</p> + +<p>The Front., "Bacharach," and the Title-vignette, "The +Castle of St. Angelo," are engr. by E. Finden from drawings +by J. M. W. Turner, R. A. A facsimile of <i>Childe Harold's, etc.</i>, +Canto III. stanza xci. faces p. 174. In earlier copies the facsimile +faced p. [viii.] of Vol. IX. See Note on reverse of p. vii. +of that volume.</p> + +<p>Vol. IX.: pp. vii. + 360—Title (R. Imprint), pp. i., ii.; +Advt. (editorial, July 20, 1832), pp. iii., iv.; Cont. of Vol. IX., +pp. v.-vii.; Text, pp. 1-360. The Imprint is at the foot of p. 360.</p> + +<p>The Front., "Petrarch's Tomb," is engr. by E. Finden from +a drawing by J. M. W. Turner, R.A.; the Title-vignette, +"Seville," is engr. by E. Finden.</p> + +<p>Vol. X.: pp. xix. + 316—Gen. Half-title (R. Imprint), pp. i., +ii.; Title, one leaf, pp. iii., iv.; Advt. (editorial, September 16, +1832), pp. v.-xiii.; Cont. of Vol. X., pp. xv.-xix.; Text, pp. +1-316. The Imprint is at the foot of p. 316.</p> + +<p>The Front., "Corinth," is engr. by E. Finden from drawings +by J. M. W. Turner, R.A., and W. Page; the Title-vignette, +"Athens and the Island of Egina," is engr. by E. Finden from +drawings by C. Stansfield and W. Page.</p> + +<p>Vol. XI.: pp. viii. + 326—Gen. Half-title (R. Imprint), pp. i., +ii.; Title, one leaf, pp. iii., iv.; Advt. (editorial, October 10, +1832), pp. v., vi.; Cont. of Vol. XI., pp. vii., viii.; Text, pp. +1-326. The Imprint is at the foot of p. 326.</p> + +<p>The Front., "The Bridge of Sighs," and the Title-vignette, +"The Bernese Alps," are engr. by E. Finden, from drawings by +J. M. W. Turner, R.A.</p> + +<p>Vol. XII.: pp. vi. + 324—Gen. Half-title (R. Imprint), pp. i., +ii.; Title, one leaf, pp. iii., iv.; Advt. (editorial, November 10, +1832), pp. v., vi.; Cont. of Vol. XII., <i>n.p.</i>; Text, pp. 1-324. +The Imprint is at the foot of p. 324.</p> + +<p>The Front., "Florence," is engr. by E. Finden from drawings +by J. D. Harding and G. Moran, junr.; the Title-vignette, +"San Georgio Maggiore," is engr. by E. Finden from a drawing +by C. Stansfield, A.R.A.</p> + +<p>Vol. XIII.: pp. vi. + 369—Half-title (R. Imprint), pp. i., ii.; +Title, one leaf, pp. iii., iv.; Advt. (editorial, December 12, +1832), pp. v., vi.; Cont. of Vol. XIII., <i>n.p.</i>; Text, pp. 1-369. +The Imprint is in the centre of the last page, p. [370].</p> + +<p>The Front., "The Arch of Titus," is engr. by E. Finden, from +drawings by C. Stansfield and W. Page; the Title-vignette, +"The Walls of Rome," is engr. by E. Finden from a drawing by +J. M. W. Turner, R.A.<span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span></p> + +<p>Vol. XIV.: pp. 1-360—Gen. Half-title (R. Imprint), pp. [i., ii.]; +Title, one leaf, pp. [iii., iv.]; Advt. (editorial, January 10, +1833), pp. [v., vi.]; Text, pp. 1-360. The Imprint is at the foot +of p. 360.</p> + +<p>The Front., "Parnassus," and the Title-vignette, "The Field +of Waterloo," are engr. by E. Finden from drawings by J. M. W. Turner, R.A.</p> + +<p>Vol. XV.: pp. vi. + 334—Half-title (R. Imprint), pp. i. ii.; +Title, one leaf, pp. iii., iv.; Advt. (editorial, February 15, 1833), +pp. v., vi.; Cont. of Vol. XV., <i>n.p.</i>; Text, pp. 1-334. The +Imprint is at the foot of p. 334.</p> + +<p>The Front., "Scio," and the Title-vignette, "Genoa," are +engr. by E. Finden from drawings by J. M. W. Turner, R.A.</p> + +<p>Vol. XVI.: pp. vi. + 335—Half-title (R. Imprint), pp. i., ii.; +Title, one leaf, pp. iii., iv.; Advt. (editorial, March 15, 1833), +pp. v., vi.; Cont. of Vol. XVI., <i>n.p.</i>; Text, pp. 1-335. The +Imprint is in the centre of the last page, p. [336].</p> + +<p>The Front., "Cologne," and the Title-vignette, "St. Sophia," +are engr. by E. Finden from drawings by J. M. W. Turner, R.A.</p> + +<p>Vol. XVII.: pp. viii. + 304—Half-title (R. Imprint), pp. i., ii; +Title, one leaf, pp. iii., iv.; Advt. (editorial, May 15, 1833), +pp. v., vi.; Cont. of Vol. XVII., pp. vii., viii.; Text, pp. 1-248; +Index, pp. 249-304. The Imprint is at the foot of p. 304.</p> + +<p>The Front., "The School of Homer," and the Title-vignette, +"The Castellated Rhine," are engr. by E. Finden from drawings +by J. M. W. Turner, R.A.</p> + +<p><i>Contents</i>—</p> +<table summary="Contents"> +<tr><td>Vols. I.-V.:—Notices of the Life of Lord Byron.</td><td class="pn"> </td></tr> +<tr><td>Vol. VI.:—The Life, etc., from February, 1823-April, 1824</td><td>p.1</td></tr> +<tr><td>App.: cont. two epistles from the Armenian, etc.</td><td>p. 269</td></tr> +<tr><td>Miscellaneous Pieces in Prose:</td><td> </td></tr> +<tr><td>Review of Wordsworth's Poems, 1807</td><td>p. 293</td></tr> +<tr><td>Review of Gell's Geography of Ithaca, etc., 1811</td><td>p. 296</td></tr> +<tr><td>Parliamentary Speeches, etc.</td><td>p. 314</td></tr> +<tr><td>A Fragment. [The Vampyre.] 1816</td><td>p. 339</td></tr> +<tr><td>Letter to John Murray, Esq., etc.</td><td>p. 346</td></tr> +<tr><td>Observations upon "Observations," etc. [<i>Now first published.</i>]</td><td>p. 382</td></tr> +<tr><td>Vol. VII.:—Hours of Idleness: a Series of Poems, Original and Translated:</td><td> </td></tr> +<tr><td>Dedication.</td><td>p. 1</td></tr> +<tr><td>Preface</td><td>p. 5</td></tr> +<tr><td>On the Death of a Young Lady (and 69 others)</td><td>p. 9</td></tr> +<tr><td>Article from the <i>Edin. Rev.</i></td><td>p. 188</td></tr> +<tr><td>Occasional Pieces: written in 1807-8:</td><td> </td></tr> +<tr><td>The Adieu (and 15 others)</td><td>p. 195</td></tr> +<tr><td>English Bards and Scotch Reviewers</td><td>p. 219</td></tr> +<tr><td>Occasional Pieces: written in 1808-1810:</td><td> </td></tr> +<tr><td>Well, thou art happy (and 15 others)</td><td>p. 291</td></tr> +<tr><td>Vol. VIII.:—Childe Harold's Pilgrimage: Preface to the First and Second Cantos</td><td>p. 3</td></tr> +<tr><td>To Ianthe</td><td>p. 9</td></tr> +<tr><td>Canto the First [Canto the Second, etc.]</td><td>p. 11<span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span></td></tr> +<tr><td>Dedication of Canto the Fourth</td><td>p. 189</td></tr> +<tr><td>Historical Notes to Canto the Fourth</td><td>p. 271</td></tr> +<tr><td>Vol. IX.:—Occasional Pieces: written in 1811-1813:</td><td> </td></tr> +<tr><td>Lines written beneath a Picture (and 31 others)</td><td>p. 3</td></tr> +<tr><td>Hints from Horace</td><td>p. 47</td></tr> +<tr><td>The Curse of Minerva</td><td>p. 107</td></tr> +<tr><td>The Waltz</td><td>p. 123</td></tr> +<tr><td>The Giaour</td><td>p. 141</td></tr> +<tr><td>The Bride, etc.</td><td>p. 203</td></tr> +<tr><td>The Corsair (Dedication, etc.)</td><td>p. 257</td></tr> +<tr><td>Appendix: Remarks on the Romaic, etc.</td><td>p. 339</td></tr> +<tr><td>Vol. X.:—Ode to N.B.</td><td>p. 1</td></tr> +<tr><td>Lara (Cantos I., II. (N.))</td><td>p. 17</td></tr> +<tr><td>Hebrew Melodies: She walks in Beauty (and 22 others)</td><td>p. 75</td></tr> +<tr><td>The Siege, etc.</td><td>p. 99</td></tr> +<tr><td>Parisina</td><td>p. 149</td></tr> +<tr><td>Domestic Pieces:</td><td> </td></tr> +<tr><td>Fare Thee Well (and five others)</td><td>p. 185</td></tr> +<tr><td>Monody, etc.</td><td>p. 211</td></tr> +<tr><td>The Prisoner of Chillon</td><td>p. 221</td></tr> +<tr><td>The Dream</td><td>p. 243d</td></tr> +<tr><td>Occasional Pieces: 1814-1816:</td><td> </td></tr> +<tr><td>The Devil's Drive (and 28 others)</td><td>p. 257</td></tr> +<tr><td>Vol. XI.:—Manfred</td><td>p. 1</td></tr> +<tr><td>The Lament of Tasso</td><td>p. 77</td></tr> +<tr><td>Beppo</td><td>p. 95</td></tr> +<tr><td>Mazeppa</td><td>p. 143</td></tr> +<tr><td>Ode on Venice</td><td>p. 179</td></tr> +<tr><td>The Morgante Maggiore (Canto I.)</td><td>p. 187</td></tr> +<tr><td>The Prophecy of Dante (Cantos I.-IV.)</td><td>p. 259</td></tr> +<tr><td>Occasional Pieces:</td><td> </td></tr> +<tr><td>Versicles (and 14 others)</td><td>p. 307</td></tr> +<tr><td>Vol. XII.:—Francesca of Rimini</td><td>p. 1</td></tr> +<tr><td>Stanzas to the Po</td><td>p. 13</td></tr> +<tr><td>Stanzas (Written on the Road, etc.)</td><td>p. 19</td></tr> +<tr><td>The Blues</td><td>p. 21</td></tr> +<tr><td>Marino Faliero (App.)</td><td>p. 43</td></tr> +<tr><td>The Vision of Judgment (App.)</td><td>p. 231</td></tr> +<tr><td>Occasional Pieces:</td><td> </td></tr> +<tr><td>Stanzas ["Could Love for ever"] (and 5 others)</td><td>p. 317</td></tr> +<tr><td>Vol. XIII.:—Heaven and Earth</td><td>p. 1</td></tr> +<tr><td>Sardanapalus</td><td>p. 55</td></tr> +<tr><td>The Two Foscari</td><td>p. 197</td></tr> +<tr><td>The Deformed Transformed</td><td>p. 301</td></tr> +<tr><td>Vol. XIV.:—Cain (App.)</td><td>p. 1</td></tr> +<tr><td>Werner</td><td>p. 113</td></tr> +<tr><td>The Age of Bronze</td><td>p. 263</td></tr> +<tr><td>The Island</td><td>p. 299</td></tr> +<tr><td>Stanzas: To a Hindoo Air</td><td>p. 357</td></tr> +<tr><td>Lines ("On this day," etc.)</td><td>p. 358</td></tr> +<tr><td>Vol. XV.:—Preface to Don Juan</td><td>p. 3</td></tr> +<tr><td>Testimonies of Authors</td><td>p. 5</td></tr> +<tr><td>Letter to the Editor of "My Grandmother's Review"</td><td>p. 41</td></tr> +<tr><td>Some Observations upon an article in <i>Blackwood's Magazine</i> (August, 1819. [Now first pub.])</td><td>p. 55</td></tr> +<tr><td>Fragment ("I would to heaven," etc.)</td><td>p. 100</td></tr> +<tr><td>Dedication to Robert Southey, Esq.</td><td>p. 101</td></tr> +<tr><td>Don Juan (Cantos I.-III.)</td><td>p. 109</td></tr> +<tr><td>Vol. XVI.:—Don Juan (Cantos IV., V., App.)</td><td>p. 1</td></tr> +<tr><td>Preface to Cantos VI., VII., VIII.</td><td>p. 127</td></tr> +<tr><td>Cantos VI.-X.</td><td>p. 133</td></tr> +<tr><td>Vol. XVII.:—Don Juan (Cantos XI.-XVI.)</td><td>p. 1<span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span></td></tr> +<tr><td>Appendix: Farewell to Malta (and nine additional occasional pieces)</td><td>p. 239</td></tr> +<tr><td>Concluding Page of Lord Byron's "Observations upon an Article," etc.</td><td>p. 247</td></tr> +<tr><td>Index</td><td>p. 249</td></tr> +</table> + +<p><i>Note</i> (1).—The Title-pages of Vols. XIII., XIV., XV., XVI., +issued in 1833, do not specify the total number of volumes. The +Title-pages of Vol. I. issued in 1835, Vol. II. in 1833, and +Vol. IX. in 1834, print the words, "In Seventeen Volumes." +There were probably other variations. There is an illustrated +Title-page ornamented with a Title-vignette (<i>vide supra et ante</i>) +to each volume.</p> + +<p><i>Note</i> (2).—The editor of these volumes was John Wright +(1770?-1844), the editor of Cobbett's <i>Parliamentary History</i>, and +the ninth and tenth volumes of Boswell's <i>Life of Johnson</i> (1836), +and of Sir Henry Cavendish's <i>Debates of the House of Commons +during the Thirteenth Parliament of Great Britain, etc.</i>, two +vols. 1841-3.</p> +</div> + +<h6>XLVII.</h6> + +<p><i>The Complete Works</i>, etc., including his suppressed poems +and others never before published. In Four Volumes. +Paris, Baudry. 1832. [8º.</p> + +<p class="auth">[<i>Katalog der Bucher</i>, von Eduard Grisebach, 1894, p. 127.]</p> + +<div class="cocono"> +<p><i>Note</i>.—The Front. is "Lord Byron," from a portrait by +Hopwood. Quérard, 1846, gives the names of the publishers of +this edition as Baudry, Barrois, Amyot.</p> +</div> + +<h6>XLVIII.</h6> + +<p><i>The Works</i>, etc., In Verse and Prose. Including his Letters, +Journals, etc. With a sketch of his Life. New York: +George Dearborn, Publisher. 1833. 4º. pp. xxviii., 203, +619. ["... The first complete edition of the Poetical +and Prose Works of Lord Byron."—<i>Publisher's Advt.</i>]</p> + +<div class="cocono"> +<p><i>Note</i>.—The Catalogue of the Library of Congress, 1880, +describes this or a Second Edition as consisting of two vols. in +one, 8º.</p> +</div> + +<h6>XLIX.</h6> + +<p>The/ Complete Works/ of Lord Byron,/ Reprinted from the +last London Edition,/ with considerable additions, now +first published;/ Containing/ Notes and Illustrations/ By/ +Moore, Walter Scott, Campbell, Jeffrey, Egerton Brydges, +Wilson, Hobhouse,/ Dallas, Hunt, Milman, Lockhart, +Bowles, Heber, Medwin, Gamba, Croby, Ugo Foscolo,<span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span> +Ellis,/ Kennedy, Parry, Stanhope, Gait, Nathan, Lady +Blessington, Mrs. Shelley, etc./ And/ A Complete Index;/ +To which is prefixed/ A Life,/ By Henry Lytton Bulwer, +Esq., M.P.,/ In one Volume./ Paris/ Published by A. and +W. Galignani and Co./ 1835./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxxiii. + 935—Half-title (R. <i>Printed by H. and A. +Firmin Didot, rue Jacob, No. 24.</i>), pp. i., ii.; Title, pp. iii., iv.; +(Publisher's) Advt., pp. v., vi.; Cont. pp. vii.-x.; The Life of +Lord Byron, pp. xi.-xxxiii.; Text pp. 1-908; Index, pp. 909-935.</p> + +<p>The Frontispiece is a portrait of Lord Byron, engr. by J. T. +Wedgwood from a painting by W. E. West. The portrait in +arabesque frame rests on picture of Newstead Abbey and Missolunghi (<i>sic</i>), +designed by F. Sieurac. There is a lithographed +vignette of tomb, harp, wreath, etc., on the title-page, and +a lithograph of the memorial tablet in the chancel of +Hucknall Torkard. A facsimile of the letter dated Venice, April +27, 1819, precedes the text, and facsimiles of original MS. of +"To D——," and of <i>Childe Harold</i>, Canto IV. stanza xcii., +face pp. 3, 122.</p> + +<p><i>Miscellaneous Poems</i>—</p> + +<table summary="Poems"> +<tr><td>On an Old Lady ("In Nottingham," etc.)</td><td class="pn">p. 842</td></tr> +<tr><td>On Lord Elgin ("Noseless himself," etc.)</td><td>p. 864</td></tr> +<tr><td>Stanzas to her who can best understand them</td><td>p. 887</td></tr> +<tr><td>Epigram from Martial ("The Laureate's House," etc.)</td><td>p. 888</td></tr> +<tr><td>To Mr. Hobhouse ("Would you get," etc.)</td><td><i>ib</i></td></tr> +<tr><td>To Mr. Hobhouse ("What made you," etc.)</td><td><i>ib</i></td></tr> +<tr><td>On Queen Caroline</td><td>p. 901</td></tr> +<tr><td>Elegy on the Recovery of Lady ——</td><td>p. 903</td></tr> +<tr><td>Song, "Do you know Doctor Nott?"</td><td><i>ib</i></td></tr> +<tr><td>To —— ("But once I dared," etc.)</td><td>p. 904</td></tr> +<tr><td>On Sam Rogers ("Nose and Chin," etc.)</td><td><i>ib</i></td></tr> +<tr><td>On Lady Milbank's Dog Trim</td><td>p. 905</td></tr> +<tr><td>Lines to Lady Holland ("Lady, accept," etc.)</td><td><i>ib</i></td></tr> +<tr><td>Attributed Poems:</td><td> </td></tr> +<tr><td>To Jessy ("There is a mystic," etc.)</td><td>p. 906</td></tr> +<tr><td>Lines found in the Travellers' Book at Chamouni</td><td><i>ib</i></td></tr> +<tr><td>To Lady Caroline Lamb</td><td>p. 907</td></tr> +<tr><td>To the Prince of W<i>h</i>ales</td><td><i>ib</i></td></tr> +<tr><td>On the letter I</td><td>p. 908</td></tr> +<tr><td>To my dear Mary Anne</td><td><i>ib</i></td></tr> +<tr><td>Stanzas ("I heard thy fate," etc.)</td><td><i>ib</i></td></tr> +</table> + +<p><i>Note</i>.—This edition includes the contents of "the last [edition] +published in London in seventeen volumes," together with the +poems published in the Appendix to the <i>Works of Lord Byron</i> +(1832-1833, xvii. 238-248), and the following pieces not recognized +or collected by John Murray.<span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span> +</p> +</div> + +<h6>L.</h6> + +<p><i>The Complete Works</i>, etc. In Four Volumes. Paris, +Baudry, Amyot, Truchy. 1835. [8º.</p> + +<p class="auth">[Quérard, 1846.]</p> + +<p><i>Note</i>.—This edition was reissued in 1840.</p> + +<h6>LI.</h6> + +<p>The/ Works/ of/ Lord Byron./ Complete In One Volume./ +With Notes By/</p> +<table summary="Contents"> +<tr><td>Thomas Moore, Esq.,</td><td>Professor Wilson,</td></tr> +<tr><td>Lord Jeffrey,</td><td>J. G. Lockhart, Esq.,</td></tr> +<tr><td>Sir Walter Scott,</td><td>George Ellis, Esq.,</td></tr> +<tr><td>Bishop Heber,</td><td>Thomas Campbell, Esq.,</td></tr> +<tr><td>Samuel Rogers, Esq.,</td><td>Rev. H. H. Milmand,</td></tr> +<tr><td colspan="2" style="text-align:center;">etc. etc. etc.</td></tr> +</table> + +<p>London:/ John Murray, Albemarle Street./ 1837./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 827—Title (R. <i>London:/ Printed by A. Spottiswoode,/ +New-Street-Square./</i>), pp. i., ii.; Contents, pp. iii.-vi.; +Chronology of Lord Byron's Life and Works, pp. vii., viii.; +Text, pp. 1-812; Index, pp. 813-827. The Imprint, as above, is +at the foot of p. 827.</p> + +<p>The Frontispiece, "Lord Byron at the age of 19," is engr. by +E. Finden from the portrait by G. Sanders. The illustrated Title +is embellished with a vignette of "Newstead Abbey," engr. by +E. Finden from a painting by T. Creswick.</p> + +<p>The Dedication is enclosed in an arabesque of oak branches +issuing from a shield bearing the arms and motto. (<i>Industria</i>) of +Sir Robert Peel. It runs as follows: To/ The Right Honorable/ +Sir Robert Peel, Bart./ etc. etc. etc./ This/ Collective Edition/ +of The Works of His/ "School and Form Fellow,"/ Is/ +Respectfully Inscribed/ By His/ Faithful and Obedient Servant/ +John Murray,/ February Fifth./ MDCCCXXXVII./</p> + +<p>Facsimiles of Lord Byron's Handwriting at Various Periods of +His Life, viz.: I. <i>At Harrow in</i> 1803. II. <i>From the Giaour</i>, +1813. <i>First draft</i>. III. <i>Marriage Signatures of Lord and Lady +Byron</i>, January 2, 1815. IV. <i>From Lord Byron's Diary</i>, 1821. +V. <i>From Lord Byron's last letter to Mr. Murray, dated Missalonghi, +February 2</i>, 1824 (four pages, <i>n.p.</i>) are inserted between +the "Chronology," etc., and the Text.</p> + +<p>The first edition was bound in brown cloth. Lord Byron's +Coat of Arms, with Coronet, Supporters and Motto, is stamped in +gold on the cover.</p> + +<p><i>Note</i>.—This Edition, which is printed in double columns enclosed +by a double line, has been reissued at brief intervals from 1838 +to 1902.</p> + +<p>The contents of this volume includes the contents of Vols.<span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span> +VII.-XVII. of the Ed. 1832, 1833, together with the following +additions already printed (except No. 4) in Vols. I.-VI.:—</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>1. Translation of ... Nurse's Dole ("Oh, how I wish," etc.)</td><td class="pn">p. 546</td></tr> +<tr><td>2. My Epitaph ("Youth, Nature," etc.)</td><td><i>ib</i></td></tr> +<tr><td>3. Remember thee! Remember thee!</td><td>p. 554</td></tr> +<tr><td>4. John Keats</td><td>p. 574</td></tr> +<tr><td>5. Impromptu ("Beneath Blessington's eyes")</td><td>p. 577</td></tr> +<tr><td>6. To the Countess of Blessington</td><td><i>ib</i></td></tr> +<tr><td>Appendix: Conversations of Lord Byron as related by Thomas Medwin, Esq., compared with a Portion of His Lordship's Correspondence. Published, Ed. 1828, iv. 419-429.</td><td>p. 809</td></tr> +</table> +</div> + +<h6>LII.</h6> + +<p>The/ Complete Works/ of/ Lord Byron/ From the last London +Edition,/ Now first collected and arranged, and Illustrated/ +With all the notes/ By Sir Walter Scott [and 24 others— +five lines] To which is prefixed the Life of the Author/ By +John Galt, Esq./ In one Volume./ Paris:/ Baudry's +European Library,/ Rue Du Coq, near the Louvre./ A. +and W. Galignani and Co., 18, Rue Vivienne./ Sold also +by Amyot, Rue de la Paix; Truchy, Boulevard des +Italiens; Theophile Barrois, Jun.,/ Rue Richelieu; at the +Librairie des Etrangers, 55, Rue Neuve-Saint-Augustin;/ +And by all the Principal Booksellers on the Continent./ +1837./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. II + cxxii + 954—Half-title (R. <i>Printed by Casimir, 12, +Rue de la Vieille-Monnaie</i>); Title, one leaf; Publisher's Advt., pp. 1-6; +Contents, pp. 7-11; <i>The Life of Lord Byron</i>. By John +Galt, Esq., pp. i.-cxxii.; Text, pp. 1-941; Index, pp. 943-954. +The Imprint, as above, is at the foot of p. 954.</p> + +<p>The Frontispiece, "Lord Byron at the age of 17" (<i>sic</i>), is engr. +by Blanchard from the painting by G. Sanders. The Title-page +is embellished with a vignette of a shipwreck.</p> + +<p>Facsimiles of Lord Byron's Handwriting, etc. (as in <a href="#Page_120">No. li.</a>), +four pages (<i>n.p.</i>), are inserted between the "Life," and +the Text.</p> + +<p><i>Note</i>.—This volume "contains all the works of Lord Byron +carefully reprinted from the [last eleven volumes of the] London +edition published by Mr. Murray in 1833." The prose pieces +published in Vol. VI. of the same edition are included. The +additional poems printed in the Appendix of Vol. XVII., 1833, +"occupy respectively their proper places."</p> + +<p>Galt's <i>Life of Lord Byron</i> was first published in 1830 as No. 1 of +G. A. Gleig's "National Library."<span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span></p> +</div> + +<h6>LIII.</h6> + +<p><i>The Works</i>, etc., Complete in one Vol. With Notes by +Th. Moore, Lord Jeffrey, etc. Authorized Foreign Edition. +London and Leipzig: Black and Armstrong. 1837.</p> + +<div class="cocono"> +<p><i>Note</i>.—Kayser (1841) records the issue of <i>The Works</i> in seventeen volumes, and <i>The Complete Works</i> in ten volumes (pocket +edition), by the same publisher. (See, too, <i>The Prisoner of +Chillon</i>, by E. Kölbing, 1896)</p> +</div> + +<h6>LIV.</h6> + +<p><i>Lord Byron's Complete Works</i>. In Seven Vols. Mannheim. +Henry Hoff. 1837. [16º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>LV.</h6> + +<p><i>The Complete Works</i>, etc. Including the Suppressed +Poems and Supplementary pieces selected from his papers +after his Death. In one Vol. Paris. Published by Gamier, +Palais-Royal. 1839. [4º.</p> + +<p class="auth">[Kölbing.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xlv. + 724.</p> +</div> + +<h6>LVI.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ In Eight Volumes./ +Vol. I.—Part I./ London:/ John Murray, Albemarle +Street. 1839.-[4º.</p> + +<div class="cocono"> +<p><i>Note</i>.—This edition (printed by A. Spottiswoode, New-Street-Square), +together with <i>Letters and Journals of Lord Byron, etc., +by T. Moore</i>. 2 v. 1830. 4º. ("to which have been added the +Letter to [John Murray] on the Rev. W. L. Bowles' Strictures +on the life and writings of Pope.... Second Edition, and a few +other printed papers, also numerous views, portraits, autograph +letters," etc.) bound in 44 vols. with the gen. Title (The/ Poetical +Works,/ Letters and Journals,/ of/ Lord Byron:/ with/ Notices +of His Life./ By/ Thomas Moore, Esq./ Vol. I. [Vol. II.] +London: 1844./), printed expressly for the purpose and prefixed to +each volume, which is known as the "Watts" Collection (B.M.C. +44, e-h), was arranged by the late William Watts, Esq., Member +of the Philharmonic Society, who died at Jersey, December 28, +1859, aged 81. (See Kölbing's <i>P. of Chillon</i>, 1896, pp. 90-92.)</p> +</div> + +<h6>LVII.</h6> + +<p><i>The Works</i>, etc. Complete in Five Vols. Leipzig: Bernhard +Tauchnitz. 1842. [8º.</p> + +<p class="auth">[Kölbing.]</p> + +<div class="cocono"> +<p><i>Note</i>.—A Second Edition was issued in 1886.<span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span></p> +</div> + +<h6>LVIII.</h6> + +<p><i>The Works</i>, etc. A New Edition. Edited by Thomas +Moore, Esq. Complete in four volumes. With Engravings. +Philadelphia. Carey and Hart. 1843.</p> + +<p class="auth">[Kölbing.]</p> + +<h6>LIX.</h6> + +<p><i>The Complete Works</i>, etc.... A Life by Thomas Moore, +Esq. In One Volume. With a Portrait. Second Edition. +Frankfort o. M. Published by Joseph Baer.; 1846. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xlviii. + 1004.</p> + +<p><i>Note</i>.—Another edition appeared in 1852 (<i>vide post</i>, <a href="#Page_126">No. lxv.</a>).</p> +</div> + +<p class="auth">[Kölbing.]</p> + +<h6>LX.</h6> + +<p>The/ Works of Lord Byron;/ In Verse and Prose./ +Including/ His Letters, Journals, etc./ With/ A Sketch of +His Life./ Hartford:/ Published by Silas Andrus and +Son./ 1847./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxviii. + 319 + 627—Illustrated Title as above (<i>n.d.</i>), +pp. iii., iv.; Title (R. Publishers' Advt, New York, Jan. 1834), +pp. v., vi.; Cont. pp. vii.—xiv.; <i>The Life of Lord Byron</i> +[By Fitz Green Halleck], pp. xv.-xxviii.; Text (i.) <i>Letters</i> (635), +Extracts from a Journal, and Prose Pieces, pp. 1-319; Text (ii.) +<i>Poems</i>, etc., pp. 1-627.</p> + +<p>The Front., "Lady Noel Byron," is engr. by A. Dick from +a painting by W. J. Newton. The vignette or illust. title is +Lord Byron, engr. by A. Dick from a painting by W. E. West. +To face p. 1 of the <i>Poems</i> is "Diodati," engr. by M. Osborne +from a sketch by W. Purser; to face p. 156, "<i>Mazeppa</i>," engr. +by Illman and Pilbrow from a painting by H. Verner; facsimiles +of Lord Byron's handwriting face pp. 25, 384.</p> + +<p>The volume was issued in roan binding, with portrait of Byron +stamped in gold on the covers.</p> + +<p>Among "Poems not included in any Collection of Lord +Byron's Works until after his Death," pp. 467-488, are the +following pieces not included in the London editions of 1831, +1832, and of 1833.</p> + +<table summary="Contents"> +<tr><td>To my dear Mary Anne</td><td class="pn">p. 472</td></tr> +<tr><td>To Miss Chaworth ("Oh, memory," etc.)</td><td><i>ib.</i></td></tr> +<tr><td>To Lady Caroline Lamb</td><td>p. 480</td></tr> +<tr><td>"In the Valley of Waters," etc.</td><td>p. 482</td></tr> +<tr><td>Stanzas to her who can best understand them</td><td>p. 486</td></tr> +</table> +</div> +<p><span class='pagenum'><a name="Page_124" id="Page_124">[124]</a></span></p> + +<h6>LXI.</h6> + +<p>The/ Works/ of/ Lord Byron:/ With a/ Life and Illustrative +Notes,/ By/ William Anderson, Esq.,/ Author of Landscape +Lyrics, Scottish Popular Biography, etc./ In Two +Volumes./ Vol. I./ [Vol. II.] A Fullarton & Co.:/ +Stead's Place, Leith Walk, Edinburgh;/ and 106, Newgate +Street, London./ <i>n.d.</i> [1850.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. ccxxiv. + 270—Title (R. Edinburgh:/ <i>Fullarton +and Macnab, Printers, Leith Walk</i>), pp. i., ii.; Preface, pp. iii., +iv.; Cont. of Vol. I. pp. v., vi.; Life of Lord Byron, pp. vii.-ccxxiv.; +Text, pp. 1-270. The Imprint, as above, is at the foot +of p. 270.</p> + +<p>The Front. ["Lord Byron at the age of 19"] is engr. by E. +Finden from the painting by G. Sanders. The illustrated Title-page +[The/ Works/ of/ Lord Byron/ With Notes and Illustrations./ +Vol. I./ Edinburgh:/ A Fullarton & Co./ Stead's Place, Leith +Walk./] is embellished with a vignette of "Lausanne," engr. by +W. Finden from a drawing by C. Stansfield, A.R.A.</p> + +<p>Vol. II.: pp. 1-465—Title (R. Imprint as above); Cont. of +Vol. II.; Text, pp. 1-465. The Imprint, as above, is at the +foot of p. 465.</p> + +<p>The Front., "Newstead Abbey," is engr. by E. Finden from +a drawing by W. Westall, A.R.A. The illustrated Title-page is +embellished with a vignette, "Villeneuve," engr. by E. Finden +from a drawing by C. Stansfield, A.R.A.</p> + +<p><i>Note</i>.—These volumes contain all that "the existing laws of +copyright [1850] allows to be free;" <i>e.g.</i> all the dramas except +<i>Manfred</i> and <i>Cain</i>, <i>The Island</i>, <i>The Age of Bronze</i>, etc., are +omitted. In Vol. i. the Life and Text are illust. by 56 Plates; +in Vol. II. the Text is illust. by 41 Plates. Two pages (B.R.) +headed, "Directions for placing the Plates," and "Directions +for placing Plates in Supplement," are bound up with Vol. II.</p> +</div> + +<h6>LXII.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ Complete in One +Volume./ Collected and Arranged, with Illustrative +Notes,/ By/ Thomas Moore/ [and 9 others]. With a +Portrait, and View of Newstead Abbey./ Philadelphia./ +1850./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 829.</p> + +<p><i>Note</i>.—Reissued by the same firm with different addresses in +1854, 1869, 1878, etc. This edition is a reproduction of Murray's +one-volume edition of 1837.<span class='pagenum'><a name="Page_125" id="Page_125">[125]</a></span></p> +</div> + +<h6>LXIII.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ Containing/ The +Giaour,/ [and 17 others]. Also/ Several Attributed and +Suppressed Poems not/ Included in Other Editions./ +With a Memoir,/ By/ Henry Lytton Bulwer, Esq./ +London:/ Henry G. Bohn, York Street, Covent Garden./ +1851./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xlviii. + 641.</p> + +<p><i>Attributed Poems</i>—</p> + +<table summary="Contents"> +<tr><td>Ode ("Oh, shame to thee")</td><td>p. 624</td></tr> +<tr><td>Madame Lavalette</td><td>p. 626</td></tr> +<tr><td>Farewell to England</td><td>p. 627</td></tr> +<tr><td>To my Daughter, Etc.</td><td>p. 627</td></tr> +<tr><td>Ode to the Island of St. Helena</td><td>p. 636</td></tr> +<tr><td>To the Lily of France</td><td>p. 638</td></tr> +<tr><td>To Jessy</td><td>p. 640</td></tr> +<tr><td>Lines addressed to Mr. Hobhouse</td><td>p. 641</td></tr> +<tr><td>Enigma (H.)</td><td><i>ib.</i></td></tr> +</table> + +<p><i>Note</i>.—The Front. is "Lord Byron," by Harlow, Sanders, and +Phillips (three vignettes), with arabesque border surmounted by +arms and coronet. The Title-vignette (on illustrated Title-page, +dated 1847) is "Newstead Abbey."</p> +</div> + +<h6>LXIV.</h6> + +<p><i>The Poetical Works</i>, etc. Complete in One Volume. +Philadelphia: Lippincott, Grambo and Co., successors to +Grigg, Elliot and Co., Nº 14, North Fourth Street. 1851. +[6º.</p> + +<div class="cocono"> +<p><i>Note</i>.—A reissue, entitled <i>The Globe Edition</i>, Philadelphia, +Claxton, Remsen, and Haffelfinger, appeared in 1870.</p> +</div> + +<h6>LXV.</h6> + +<p>The/ Complete Works/ of/ Lord Byron./ Reprinted from +the Last London Edition;/ Containing Besides the/ Notes +and Illustrations/ By/ Moore, (and 24 others = 4 lines). +Considerable Additions and Original Notes;/ To which +is Prefixed/ a Life/ By Thomas Moore, Esq./ [Abbreviated.] +In One Volume, with a Portrait./ Second Edition./ +Frankfort o.M./ Published by Joseph Baer, +Bookseller./ 1852./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xlviii. + 1004.</p> + +<p>The Front., "Lord Byron at the age of 19," is engr. by C. +Deucker from the painting by G. Sander (<i>sic</i>).<span class='pagenum'><a name="Page_126" id="Page_126">[126]</a></span></p> + +<p>The "Miscellaneous Poems" are identical with the Miscellaneous +Poems of <a href="#Page_118">No. xlviii.</a>, save for the omission of the lines, +"In Nottingham County," etc., and twelve lines from the ballad +"On Mr. Hobhouse."</p> +</div> + +<h6>LXVI.</h6> + +<p>The/ Illustrated/ Byron/ with upwards of/ Two Hundred +Engravings/ From Original Drawings/ By/ Kenny +Meadows/ Birket Foster/ Hablot K. Browne/ Gustave +Janet/ and/ Edward Morin./ Henry Vizetelly London. +Gough Sq., Fleet St./ [1854, 1855.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 632.</p> +</div> + +<h6>LXVII.</h6> + +<p><i>Poetical Works</i>, with a memoir of his life. (2 vols.) +Philadelphia. 1853. [8º.</p> + +<p class="auth">[Detroit Public Library.]</p> + +<h6>LXVIII.</h6> + +<p><i>Poetical Works</i>, etc. With life and notes by Allan Cunningham. +Family ed. London, Charles Daly, 17 Greville +Street, Hatton Gardens. [1854.] [12º.</p> + +<p class="auth">[Cat. of Lib. of Congress, 1880.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> +<p>Pp. xxii. + 544. 10 pl.</p> +</div> + +<h6>LXIX.</h6> + +<p><i>The Works</i>, etc., embracing his suppressed poems, and a +sketch of his life. Illustrated. New edition, complete in +one volume. Boston: Phillips, Sampson, and Company, +110 Washington Street. 1854. [4º.</p> + +<p class="auth">[Kölbing.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vi. + 1071.</p> +</div> + +<h6>LXX.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ In Six Volumes— +Vol. I./ [Vol. II., etc.] A New Edition./ With Portrait./ +London:/ John Murray, Albemarle Street./ 1855./ [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—Front., Portrait of Lord Byron, by T. Phillips, R.A., +engr. by E. Finden. [Murray's "Library Edition," reissued in +1857 and in 1867.]<span class='pagenum'><a name="Page_127" id="Page_127">[127]</a></span></p> +</div> + +<h6>LXXI.</h6> + +<p>(In this Edition Objectionable Pieces have been excluded.)/ +The/ Poetical Works/ of/ Lord Byron./ With Life./ +Eight engravings on Steel./ Edinburgh:/ Gall and +Inglis, 6 George Street;/ London: Houlston and +Wright./ [1857.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xix. + 524.</p> + +<p><i>Note</i>.—The Ed. omits Canto IV. of <i>Childe Harold</i>, all the +dramas except <i>Manfred</i>, and gives "extracts" from <i>Don Juan</i>, +"a poem unfit to be printed in this collection entire." Another +edition, including the Fourth Canto of <i>Childe Harold's, etc., +Mazeppa</i>, and the <i>Ode on Venice</i>, enclosed in coloured vignette +borders, was issued in 1881.</p> +</div> + +<h6>LXXII.</h6> + +<p><i>The Poetical Works</i>, etc. Complete in One Vol. Illustrated. +New York. Leavitt and Allen. 1857. [4º.</p> + +<p class="auth">[Kölbing.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxxiii. + 935.</p> +</div> + +<h6>LXXIII.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ Complete./ New +Edition, The Text Carefully Revised./ With Portrait./ +London: John Murray, Albemarle Street./ 1857./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 685. The Front., "Statue of Byron by Thorwaldsen," +is engr. by W. Holl.</p> + +<p><i>Note</i>.—The arrangement of the poems differs from the edition of +1837. [<i>Hours of Idleness</i>; Occasional Pieces; <i>Hebrew Melodies</i>; +Domestic Pieces; Later "Occasional Pieces;" The Satires; +<i>Childe Harold</i>; The Tales; The Dramas; <i>Beppo</i>; <i>Don Juan</i>; +Notes; Index.] This edition is known as the "Pearl" Edition. +There was a reissue in 1867, with a new Title-page and without +the line-border.</p> +</div> + +<h6>LXXIV.</h6> + +<p><i>The Poetical Works</i>, etc. Collected and arranged with +notes by Sir Walter Scott, Lord Jeffrey, Professor Wilson, +Thomas Moore, etc. New and Complete Edition. With +Portrait and Illustrated Engravings. London: John +Murray, etc. 1859. [8º.<span class='pagenum'><a name="Page_128" id="Page_128">[128]</a></span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. x. + 827.</p> + +<p><i>Note</i>.—This edition was reissued in 1866, 1873, 1876, and +1883.</p> +</div> + +<h6>LXXV.</h6> + +<p><i>The Poetical Works</i>, etc. With copious illustrative notes, +and a memoir of his life. Complete in One Vol. Illust. +with elegant steel engravings. Philadelphia: James B. +Smith & Co., No. 27, South Seventh Street. 1859. [8º.</p> + +<p class="auth">[Kölbing.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 715.</p> +</div> + +<h6>LXXVI.</h6> + +<p><i>The Poetical Works</i>, etc. Collected and arranged with +notes by Sir Walter Scott, Lord Jeffrey, etc. New and +Complete Edition. With Portrait. London: 1860. +Leipzig. B. Tauchnitz. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. x. + 828.</p> + +<p><i>Note</i>.—An edition of <i>The Works, etc.</i>, forming part of the +"Collection of British Authors" (16º), was issued by B. Tauchnitz, +at Leipzig, 1865-1870. [Kayser, 1865, 1871.]</p> +</div> + +<h6>LXXVII.</h6> + +<p><i>The Poetical Works</i>, etc. In Three Vols. F. A. Brockhaus. +Leipzig. 1860. [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—Part of the "Library of British Poets." A Second +Edition was issued in 1867. [Kayser, 1866.]</p> +</div> + +<h6>LXXVIII.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ With Illustrations/ +By Keeley Halswelle./ Edinburgh: William P. Nimmo, +2 St. David Street./ London: Simpkin, Marshall & Co./ +1861. [8º</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxii + 673.</p> + +<p><i>Note</i>.—<i>The Life of Lord Byron</i>, pp. v.-xv., is by Alexander +Leighton. The dramas are represented by <i>Manfred</i>, <i>Heaven and +Earth</i>, and <i>Cain</i>; the Satires by <i>English Bards</i>, etc., <i>The Waltz</i>, +and <i>Vision of Judgment</i>, ... <i>Don Juan</i> by numerous extracts. +Red line-borders.<span class='pagenum'><a name="Page_129" id="Page_129">[129]</a></span></p> +</div> + +<h6>LXXIX.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ In Ten Volumes./ +Vol. I. [Vol. II., etc.] Boston:/ Little, Brown and +Company./ New York: Phinney, Blakeman and Mason./ +Cincinnati: Rickey, Mallory and Co./ 1861./ [8º.</p> + +<div class="cocono"> +<p><i>Note</i> (1).—Vol. I. contains <i>Life of Lord Byron</i> +[Excerpt from the <i>Encycl. Brit.</i>, by J. H. Lister], pp. xi.-xxxv.; +<i>Hours of Idleness</i> (71), and all the "Occasional Pieces," 1807-1824. +Vol. II., The Satires; Ode to N.B.; <i>Heb. Melodies</i>; "Domestic Pieces;" +<i>Ode on Venice</i>; <i>Monody, etc</i>.; <i>Lament of Tasso, etc</i>. Vol. III., +<i>Beppo</i>; <i>Proph. of Dante</i>; <i>Francesca, etc</i>.; the Poems published +in <i>The Liberal</i>; <i>The Age of Bronze</i>. Vol. IV., <i>Childe Harold's, +etc.</i> Vol. V., "The Tales." Vols. VI., VII., VIII., The +Dramas. Vols. IX., X., <i>Don Juan</i>. The Front. of Vol. I. is +"Byron," by T. Phillips, R.A.</p> + +<p><i>Note</i> (2).—This edition professes to be an amended reprint of +the London Edition of 1856 in Six Volumes. Doubtful and +"attributed" poems are not included.</p> +</div> + +<h6>LXXX.</h6> + +<p><i>The Poetical Works</i>, etc. With Life of the Author, and +Copious Notes. Beautifully illustrated. Family Edition. +Halifax: Milner and Sowerby. 1863. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xv. + 702.</p> + +<p><i>Note</i>.—Two other editions of the same work were issued in 1865 +by the firm, imprinted <i>London; Milner and Sowerby, Paternoster +Row</i>. [Kölbing.]</p> +</div> + +<h6>LXXXI.</h6> + +<p>The Poetical Works/ of Lord Byron./ With Illustrations./ +[Life by A. Leighton.] New Edition Carefully Revised./ +Edinburgh:/ William P. Nimmo./ [1868.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 437.</p> + +<p><i>Note</i>.—This edition includes three dramas, <i>Manfred</i>, <i>Cain</i>, +<i>Heaven and Earth</i>; <i>Childe Harold</i>, and <i>Don Juan</i>, but omits <i>Hints +from Horace</i>, <i>The Age of Bronze</i>, <i>The Island</i>, <i>The Blues</i>, etc., +and occasional Pieces first included in the ed. of 1831.</p> +</div> + +<h6>LXXXII.</h6> + +<p>The Poetical Works/ of Lord Byron./ Reprinted from +the Original Editions./ With explanatory notes, etc./ +London:/ Frederick Warne and Company./ Bedford<span class='pagenum'><a name="Page_130" id="Page_130">[130]</a></span> +Street, Covent Garden./ New York: Scribner, Welford +and Co./ [1868.] [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vii. + 638.</p> + +<p><i>Note</i>.—Part of the "Chandos Classics."</p> + +<p>Kölbing notes another edition, pp. viii. + 668.</p> + +<p>A Third Edition: London and New York.</p> + +<p>A Fourth Edition: Portrait and Original Illustrations. Part of +"The Lansdowne Poets."</p> +</div> + +<h6>LXXXIII.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron:/ With/ Life and +Portrait,/ and/ Sixteen Illustrations./ By F. Gilbert./ +London:/ John Dicks, 313, Strand./ [1869.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xv. + 457. Double columns.</p> +</div> + +<h6>LXXXIV.</h6> + +<p><i>The Poetical Works</i>, etc. New Edition. In Eight Volumes. +London: John Murray, Albemarle Street. 1870. [8º.</p> + +<p class="auth">[Kölbing.]</p> + +<h6>LXXXV.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ Edited, with a +Critical Memoir,/ By/ William Michael Rossetti./ Illustrated +by/ Ford Madox Brown./ London:/ E. Moxon, +Son, & Co., Dover Street./ 1870./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xx. + 604.</p> + +<p><i>Note</i>.—<i>Hints from Horace</i>, Translation of <i>Francesca of Rimini</i>, +and Occasional Pieces, first included in the edition of 1831, are +omitted. This edition was reissued in 1872.</p> +</div> + +<h6>LXXXVI.</h6> + +<p>The Complete/ Poetical Works/ of/ Lord Byron/ with an +Introductory Memoir/ by/ William B. Scott/ With Illustrations/ +London/ George Routledge and Sons/ The +Broadway, Ludgate/ New York: 416, Broome Street/ [1874] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 750.</p> + +<p><i>Note</i>.—Double columns bordered with red lines.<span class='pagenum'><a name="Page_131" id="Page_131">[131]</a></span></p> +</div> + +<h6>LXXXVII.</h6> + +<p>The Poetical Works/ of/ Lord Byron/ Illustrated Edition/ +London/ Virtue and Co., City Road and Ivy Lane/ +[1874] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. cliv. + 614.</p> + +<p>The Front., "Byron," is engr. by W. J. Edwards from the +portrait by T. Phillips, R.A. The Title-vignette is "The Corsairs' +Isle," and there are fifty other line engravings.</p> + +<p><i>Note</i>.—This edition includes six "<i>Attributed Poems</i>," +but omits <i>Hints from Horace</i>, +Transl. of <i>Francesca of Rimini</i>, and the +Occasional Pieces first collected in the editions of 1831 and 1832-1833. +This edition was reissued in 1879.</p> +</div> + +<h6>LXXXVIII.</h6> + +<p><i>Poetical Works</i>, etc., embracing his suppressed poems, and +a sketch of his life. New Edition.... (Portrait ... +8 plates.) Boston: Lee & Shepard. 1874. [8º.</p> + +<div class="cocono"> +<p>[<i>Cat. of Lib. of Congress</i>, 1880.]</p> +</div> + +<h6>LXXXIX.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ London:/ Ward, +Lock, and Co., Warwick House,/ Dorset Buildings, Salisbury Square, E.C./ +[1878.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vii. + 604. [Double column.]</p> +</div> + +<h6>XC.</h6> + +<p><i>The Poetical Works</i>, etc., complete in one Vol. Collected +and arranged, with illustrative notes by Thomas Moore, +etc., ... Boston: Lee and Shepard, 1878. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 829.</p> + +<p><i>Note</i>.—A reproduction of Murray's Edition of 1855. [Kölbing.]</p> +</div> + +<h6>XCI.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ Edited, With a +Critical Memoir,/ By/ William Michael Rossetti./ Illustrated by/ +Thomas Seccombe./ London:/ Ward, Lock, & Co., Warwick House,/ +Dorset Buildings, Salisbury Square, E.C./ [1880.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xx. + 604.<span class='pagenum'><a name="Page_132" id="Page_132">[132]</a></span></p> + +<p><i>Note</i>.—Part of "Moxon's Popular Poets." This edition does +not contain <i>Hints from Horace</i>, <i>Francesca of Rimini</i>, or the +Occasional Pieces first collected in the editions of 1831, 1832-1833. +The Prefatory Note is by W. M. Rossetti. Double +columns bordered with red lines. The same edition, bordered +with different red lines and printed on large paper, was issued in 1881.</p> +</div> + +<h6>XCII.</h6> + +<p>The Poetical Works/ of/ Lord Byron./ Reprinted from +the Original Editions,/ With Life, Explanatory Notes, +etc./ London:/ Frederick Warne and Co.,/ Bedford +Street, Strand./ [1881.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xvi. + 720.</p> + +<p><i>Note</i>.—"This edition (known as 'The Albion Edition') +contains the whole of Byron's Poems and Dramas, with his +Original Notes."—<i>Publisher's Preface</i>. The Albion Edition was +reissued by Warne and Co. in 1897.</p> +</div> + +<h6>XCIII.</h6> + +<p>The Complete/ Poetical Works/ of/ Lord Byron/ With an +Introductory Memoir/ By/ William B. Scott/ London/ +George Routledge and Sons/ Broadway, Ludgate Hill/ +New York: 9, Lafayette Place/ 1883/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 750.</p> + +<p>The Front. is the portrait of Lord Byron by G. Sanders; +the vignette on Title-page is "Newstead Abbey."</p> + +<p><i>Note</i>.—This edition (double column), which includes all poems +published in the one-volume edition of 1837 (<a href="#Page_120">No. li.</a>), was +reissued in three volumes, 1883, 1886, 1887. Each volume +concludes with an Index of First Lines.</p> +</div> + +<h6>XCIV.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ With Life./ Engravings on Steel./ +Gall & Inglis./ Edinburgh:/ Bernard +Terrace./ London:/ 25 Paternoster Sq<sup>r</sup>. / [1881.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xviii. + 576.</p> + +<p><i>Note</i>.—This edition, which repeats the order and contents of +that issued by Gall and Inglis in 1857 (<a href="#Page_127">No. lxxi.</a>), adds the Fourth +Canto of <i>Childe Harold's, etc.</i>, <i>Mazeppa</i>, and the +<i>Ode on Venice</i>. Coloured vignette-borders.<span class='pagenum'><a name="Page_133" id="Page_133">[133]</a></span></p> +</div> + +<h6>XCV.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ With Original and +Additional Notes./ In Twelve Volumes./ Vol. I./ [Vol. II., etc.] +Hours of Idleness./ English Bards and Scotch +Reviewers./ London:/ Suttaby and Co., Amen Corner./ +New York:/ Scribner and Welford./ 1885./ [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—This edition includes all poems contained in the edition +of 1837, but omits the prose pieces.</p> +</div> + +<h6>XCVI.</h6> + +<p><i>The Poetical Works</i>, etc. Complete in one vol. +Collected and arranged with illustrative notes by Thomas +Moore, etc. New York: P. F. Collier. [1886?] [Folio.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 820. [Kölbing.]</p> +</div> + +<h6>XCVII.</h6> + +<p>The Poetical Works/ of/ Lord Byron./ Edited by/ Mathilde Blind./ +Miscellaneous Poems./ London:/ Walter Scott, +24, Warwick Lane, E.G./ and Newcastle-on-Tyne./ 1886./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxviii. + 280.</p> + +<p><i>Note</i>.—Part of the "Canterbury Poets." This volume contains +<i>Introductory Notice</i> by Mathilde Blind, pp. vii.-xxviii.; +"Miscellaneous Poems" (including <i>Vision of Judgment</i>, +<i>Manfred</i>, <i>Cain</i>, etc.), pp. 1-280.</p> +</div> + +<h6>XCVIII.</h6> + +<p>The Poetical Works/ etc. Edited by/ Mathilde Blind./ +Childe Harold./ Don Juan./ London, etc./ 1886./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 1-369.</p> + +<p><i>Note</i>.—These volumes (Nos. xcvii., xcviii.) were issued +separately. Red line-borders.</p> +</div> + +<h6>XCIX.</h6> + +<p><i>The Life and Works of</i>, etc., With Notes and Illustrations. +["Centenary Edition."] In Two Volumes. Thomas C. +Jack, London, Edinb. and Glasgow. 1888.</p> + +<p class="auth">[Kölbing.]</p> +<p><span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span></p> + + +<h6>C.</h6> + +<p>The Complete/ Poetical Works/ of/ Lord Byron/ With an +Introductory Memoir/ By/ William B. Scott/ London/ +George Routledge and Sons, Limited/ Broadway, +Ludgate Hill/ Glasgow, Manchester, and New York/ 1890/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 750. Double columns.</p> + +<p><i>Note</i>.—Part of "Routledge's Popular Library." The Front. +is an illust. of <i>Childe Harold</i>, Canto III. stanza xxi., and the +Title-vignette, "Newstead Abbey."</p> +</div> + +<h6>CI.</h6> + +<p><i>The Poetical Works</i>, etc. New York: John W. Lovell, +Company, 50, Worth Street, Corner Mission Place. 1890? [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. ii. + 544. [Kölbing.]</p> +</div> + +<h6>CII.</h6> + +<p>The/ Poetical Works/ of/ Lord Byron./ With Original and +Additional Notes./ In Twelve Volumes./ Vol. I. [Vol. +II., etc.] Hours of Idleness./ English Bards and +Scotch Reviewers./ Griffith Farran Okeden & Welsh/ +Newbery House, Charing Cross Road/ London, and +Sydney./ [1891.] [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—This edition (The "Bijou Byron") is a reissue of <i>The +Poetical Works</i>, etc., published by Suttaby and Co. (<a href="#Page_133">No. xcv.</a>) in +1885.</p> +</div> + +<h6>CIII.</h6> + +<p><i>The Poetical Works</i>, etc., Complete Edition. In Three +Vols. William W. Gibbings. London. 1892.</p> + +<div class="cocono"> +<p><i>Note</i>.—A reprint of the Leipzig edition of 1880, published by +F. A. Brockhaus.</p> +</div> + +<h6>CIV.</h6> + +<p><i>Works</i>. "Bijou Ed." 12 Vols. Philadelphia, J. B. Lippincott Co. 1892. +[Pocket size.</p> + +<p class="auth">[<i>Amer. Cat.</i>, 1892.]</p> +<p><span class='pagenum'><a name="Page_135" id="Page_135">[135]</a></span></p> + +<h6>CV.</h6> + +<p><i>Dramatic and Poetical Works</i>. "Newstead Ed." +Philadelphia, D. McKay. 1895. [8º.</p> + +<p class="auth">[<i>Amer. Cat.</i>, 1895.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 720.</p> +</div> + +<h6>CVI.</h6> + +<p>Oxford Miniature Byron/ The/ Poetical Works/ of/ Lord +Byron/ In Four Volumes—Vol. I./ London/ Henry +Frowde/ Oxford University Press Warehouse/ Amen +Corner, E.C./ New York: 91 and 93, Fifth Avenue/ +1896/ [16º.</p> + +<div class="cocono"> +<p><i>Note</i>.—"We are indebted to the courtesy of Mr. John Murray, +publisher of the edition of 1867, for permission to use any +copyright matter contained in that issue."—<i>Publisher's Advt.</i></p> +</div> + +<h6>CVII.</h6> + +<p>The Poetical/ Works of/ Lord/ Byron/ London/ Bliss/ +Sands & Co/ XII. Burl-/ Eigh St./ Strand/ W.C./ +[1897] [4º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xvi + 727.</p> + +<p><i>Note</i>.—This edition forms part of "The Apollo Poets." The +Front., "Lord Byron," is a <i>Lamerciergravure</i>, printed in Paris, +of the portrait by T. Phillips, R.A.</p> +</div> + +<h6>CVIII.</h6> + +<p><i>Poetical Works</i>, etc. New Edition, carefully revised. With +illustrations. W. P. Nimmo. 1897. [8º.</p> + +<p class="auth">[<i>English Catalogue</i>, 1898.]</p> + +<div class="cocono"> +<p><i>Note</i>.—Part of the "Edinburgh Library of Standard Authors."</p> +</div> + +<h6>CIX.</h6> + +<p><i>Poetical Works</i>. (Ed. by T. Moore.) In four volumes. +Philadelphia, J. B. Lippincott Co. 1897. [12º.</p> + +<p class="auth">[<i>Amer. Cat.</i>, 1898.]</p> + +<h6>CX.</h6> + +<p><i>The Poetical Works</i>, etc. With Notes, and a memoir of +the author. Pictorial Edition. London: George Henny +& Co., Bartholomew Close. [<i>n.d.</i>]</p> + +<p class="auth">[Kölbing.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. cliv. + 344.<span class='pagenum'><a name="Page_136" id="Page_136">[136]</a></span></p> +</div> + +<h6>CXI.</h6> + +<p><i>The Poetical Works</i>, etc. With explanatory notes and a +life of the author, by Thomas Moore. Illustrated with +numerous fine steel engravings, embracing the principal +female characters, landscape and historical subjects. +First quarto edition complete in [? one] volume. New +York: Johnson, Fry and Company, 27 Beekman Street. +<i>n.d.</i> [4º.</p> + +<p class="auth">[Kölbing.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. ii. + 740 + xxviii.</p> +</div> + +<h6>CXII.</h6> + +<p><i>The Poetical Works</i>, etc. Complete in one volume. +Collected and arranged with illustrative notes by Thomas +Moore, etc. New York: P. F. Collier. [1889?] [Fol.</p> + +<p class="auth">[Kölbing.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 820.</p> +</div> + +<h6>CXIII.</h6> + +<p><i>The Poetical Works</i>, etc. New York: Hurst & Co., +Publishers, 122 Nassau Street. [<i>n.d.</i>]</p> + +<p class="auth">[Kölbing.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vi. + 608.</p> +</div> + +<h3><span class="smcap">Translations of Collected Editions</span>.</h3> + +<h5>French.</h5> + +<h6>I.</h6> + +<p>Oeuvres/ Complètes/ de Lord Byron,/ Traduites de +l'Anglais/ Par MM.A.—P. et E.—D.S.; [Amédée Pichot +et Eusèbe de Salle]/ Troisième édition,/ Entièrement +revue et corrigée./ Tome premier./ Paris,/ Ladvocat, +Libraire, Palais-Royal,/ Galerie de Bois, No. 195./ 1821./ +[12º.</p> + +<div class="cocono"> +<p><i>Note</i>.—Vols. I.-VIII. were issued in 1821; Vols. IX. and X. +(in two parts) in 1822. Vol. I. (pp. i.-xlv.) is preceded by +<i>Notice sur Lord Byron, et ses Ecrits</i>, par Amédée Pichot. Vols. +XI.-XV. (Oeuvres, etc./ Traduites de l'Anglais/ Par A. P. +<span class='pagenum'><a name="Page_137" id="Page_137">[137]</a></span> +... T./) with Gen. half-title, Oeuvres/ de/ Lord Byron./ +Inédites,/ were issued in 1824.</p> + +<p>In the Museum copy of this edition an unnumbered volume +entitled Essai/ Sur le Génie et le Caractère/ de Lord Byron,/ +Par A. P.... T.,/ Précédé/ d'une Notice Préliminaire/ Par M. +Charles Nodier./ Extracts de la Quatrième Edition des Oeuvres/ +Complètes de Lord Byron,/ (six volumes in-8 ornés de vignettes.) +Paris./ Ladvocat, etc./ 1824,/ which includes an essay <i>Sur la +Mort de Byron</i>, and a transl. of <i>Heaven and Earth</i>, pp. 195-252, +is bound up with Vol. XV.</p> + +<p><i>Note</i> (1).—"Oeuvres de lord Byron. Quatrième édition, +entièrement revue et corrigée par A. P.... T.; précédée d'une notice +sur lord Byron, par M. Charles Nodier; ornée de vignettes ... +<i>A Paris, chez Ladvocat, libraire, Palais-Royal, galerie de bois</i>, +No. 195 (Impr. Firmin Didot), MDCCCXXII.-MDCCCXXV. +(1822-1825), 8 vols. in-8, conv. impr. <i>Tome I</i>: [Tome II., +etc. (in 8 vols.)], 2 ff. (faux-titre et titre); xvi. pp. (notice +préliminaire de Ch. Nodier); clii. pp. (Essai sur lord Byron); 4 pp. +(Table générale des matières pour les tomes I. à VI.); 249 pp.; +et 1 f.n. ch. (annonce d'ouvrages).</p> + +<p>"Frontispiece gravé par Godefroy; portrait de lord Byron, +gravé par Dequevauvilliers; et 5 figures gravées d'après Richard +Westall, par Godefroy, Mougeot, Dequevauvilliers, etc.</p> + +<p>"<i>Tome II.</i>, etc., etc.</p> + +<p>"Les tomes II., III., IV., V., portent la date de 1822; les +tomes I. et VI., celle de 1823; le tome VII., celle de 1824; et +le tome VIII., la date de 1825." [<i>Manuel de l'Amateur de +Livres du XIX<sup>e</sup> siècle</i>. Par Georges Vicaire. Paris, 1894. +Fascic. 3 (1<sup>re</sup> Partie), pp. 989, 990.]</p> + +<p><i>Note</i> (2).—"La prem. édit, de cette trad, parut de 1819 à 1820, +et formait 10 vol. in-12; la seconde Ã[dit. fut. publ. de 1820 Ã +1822, et formait 5 vol. in-8." [Quérard, La France Littéraire, +1827, i. 581.]</p> + +<p>"Oeuvres complètes, VI. édit.... Paris, Ladvocat, Delangle, +1829 et ann. suiv., 20 vol. gr. in-18, fig.—Autre édit. Paris, +Furne, 1830-35, 6 vol. in-8, et avec 6 vignettes ajoutées. +XI. édit., avec une notice historique sur lord Byron, des notes +et des pièces inédites. Paris, Furne, Ch. Gosselin, 1842, grand +in-8 à deux colonnes, avec 15 vignettes." [Quérard, <i>La Littérature +Française Contemporaine</i>. 1827-1844. 1846, ii. 486.]</p> +</div> + +<h6>II.</h6> + +<p>Oeuvres complètes/ de/ Lord Byron,/ avec notes et +commentaires,/ Comprenant/ Ses Mémoires publiés par +Thomas Moore,/ et ornées d'un beau portrait de l'auteur./ +Traduction nouvelle/ Par M. Paulin Paris,/ de la +Bibliothèque du roi./ Tome premier./ Paris./ Dondey-Dupré +Père et Fils, impr.—libr., éditeurs,/ Rue Saint-Louis, +Nº 46,/ et rue Richelieu, Nº 47 <i>bis.</i>/ 1830./ [8º.<span class='pagenum'><a name="Page_138" id="Page_138">[138]</a></span></p> + +<div class="cocono"> +<p><i>Note</i> (1).—The Front. of Vol. I., "Noel Byron," is engr. by +Adele Ethiou, after the portrait by T. Phillips, R.A. The +engraver has added a wreath of bay leaves.</p> + +<p>Vols. I.-X. were issued in 1830; Vols. XI., XII., XIII., in 1831.</p> + +<p><i>Note</i> (2).-"Il y a une seconde édition, Paris, etc., +Dondey-Dupré, 1836, in-8, 13 vol." [Quérard, 1846, ii. 486.]</p> +</div> + +<h6>III.</h6> + +<p>Oeuvres complètes/ de/ Lord Byron,/ Traduction nouvelle,/ +d'après la dernière édition de Londres,/ Par/ Benjamin +Laroche,/ Traducteur des Oeuvres de J. Bentham, Cooper, +etc.;/ avec les notes et commentaires de Sir Walter +Scott, etc. [Three Lines]. Précédées de/ l'histoire de +la vie et des ouvrages de Lord Byron,/ Par John +Galt./ Tome premier./ Paris./ Charpentier, Libraire- +éditeur,/ Rue de Seine, No. 31./ 1836./ [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—The Front. of Vol. I. is "Byron," after the portrait by +T. Phillips, R.A. Vol. I. was issued in 1836, Vols. II.-IV. in +1837. The translator (<i>Post-Scriptum</i>, Vol. IV. p. [827]) claims +to have accomplished his work from beginning to end without +collaboration or assistance: "cette traduction a été commencée, +poursuivie et achevée par <span class="smcap">Moi Seul</span>."</p> + +<hr /> + +<p>"II<sup>e</sup> édit.... précédée de l'histoire de la vie ... de lord +Byron par <i>H. Romand</i>, Paris ... 1837, grand in 8, avec une +gravure.</p> + +<p>"III<sup>e</sup> édit., précédée d'une Notice sur la vie de lord Byron, +par M. Émile Souvestre, Paris, 1838, in-8, avec portrait et +<i>fac-simile</i>.</p> + +<p>"IV<sup>e</sup> édit. Paris, 1840, 1841. 4 vol. in 12.</p> + +<p>"V<sup>e</sup> édit, ornée d'un <i>fac-simile</i>, et précédée d'une Notice sur +lord Byron ... par M. Villemain. Paris, 1843. Grand in-8." +[Quérard, 1846, ii. 487.]</p> + +<p>"La I<sup>re</sup> édition de cette traduction a été publiée en 1836, +4 vol.... Depuis elle a été réimprimée environ 10 fois, +d'abord par M. Charpentier et puis par M. Lecou, et en dernier +lieu par MM. Hachette et Cie." [Lorenz. <i>Cat. Gén.</i> 1867, i. 407.]</p> +</div> + +<h6>IV.</h6> + +<p><i>Oeuvres, traduites en vers français</i> par Orby Hunter, 2 vols. +(Paris, Chapelle. 1841-1842.) [8º.</p> + +<p class="auth">[Lorenz, <i>Cat. Gén.</i>, 1867, i. 407.]</p> + +<h6>V.</h6> + +<p>Oeuvres/ de/ Lord Byron/ Traduites en vers français/ Par/ +Orby Hunter & Pascal Ramé/ Tome.<span class='pagenum'><a name="Page_139" id="Page_139">[139]</a></span> +fred,—Beppo,—Le Corsair,—Lara/ et Poésies diverses/ Paris/ +Daussin,/ Libraire/ Place et rue Favart,/ 8 bis/ 1845/ [8º.</p> + +<div class="cocono"> +<p>Vols. I.-III. were issued in 1845.</p> + +<p><i>Note</i>.—Vol. II. contains <i>Marino Faliero</i>; <i>La Fiancée</i>, etc.; +<i>Parisina</i>; "Inscription sur le Monument d'un chien," etc.; +<i>A Venise</i>; "Ode sur l'étoile," etc.; "Adieu!—Elégié." Vol. III. +contains <i>Don Juan</i>, Chants I.-VI.; <i>Notes</i>.</p> +</div> + +<h6>VI.</h6> + +<p><i>Oeuvres complètes de lord Byron</i>. Traduction nouvelle de +Louis Barré, illustrée par Ch. Mettais, E. Bocourt, Ed. +Frère, Edition Bry aîné Paris, <i>en vente à la librairie +centrale des publications à 20 centimes, 5, rue du Pont-de-Lodi</i>, +5 (Typ. Gaittet et Cie.), 1856, gr. in 4.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>2 ff. (faux-titre et litre); et 400 pp. +Texte imprimé sur deux colonnes.</p> +</div> + +<p class="auth">[<i>Manuel de l'Amateur</i>, etc., 1894. Fasc. 3 (I'e Partie), +p. 990.]</p> + +<h6>VII.</h6> + +<p>Oeuvres/ de/ Lord Byron/ Traduction nouvelle/ Précédée +d'un/ Essai sur Lord Byron/ Par/ Daniel Le Sueur/ +Heures d'oisiveté—Childe Harold/ Paris/ Alphonse Lemerre, +éditeur/ 23-31, passage Choiseul, 23-31./ 1891./ [12º.</p> + +<div class="cocono"> +<p><i>Note</i>.—The Front., "Lord Byron," is engr. by Fredéric Massé +after the portrait by G. Sanders. The Title-vignette bears a +motto, <i>Fac et Spera</i>, and the initials A. L. A second volume +(unnumbered), containing <i>Le Giaour</i>; <i>La Fiancée, etc.</i>; <i>Le +Corsair</i>; <i>Lara</i>, etc., was issued in 1892. This translation, +advertised as <i>Oeuvres Complètes</i>, and described by Lorenz as +"Traduction couronnée par l'Académie française," has not been +continued.</p> +</div> + + + + +<h5>German.</h5> + +<h6>I.</h6> + +<p><i>Lord Byron's Poesien</i>. In 31 volumes. Brothers Schumann, +Zwickau. 1821-1828. [16º.</p> + +<div class="cocono"> +<p><i>Note</i>.—Among the several translators were Julius Körner, +Wilhelm Reinhold, Heinrich Doering, August Schumann, +Christian Karl Meissner, etc. Vols. I.-VI. appeared in 1821; +Vols. VII.-XII. in 1822; Vols. XIII., XIV. in 1824;<span class='pagenum'><a name="Page_140" id="Page_140">[140]</a></span> +Vols. XV.-XX. in 1825; Vol. XXI. in 1826; Vols. XXII.-XXVIII. +in 1827; and Vols. XXIX.-XXXI. in 1828.</p> + +<p>[<i>Lord Byron in Deutschland</i>, von Dr. Cäsar Flaischlen, +<i>Centralblatt für Bibliothekswesen</i>, 1890, vii. 462-464.]</p> +</div> + +<h6>II.</h6> + +<p>Lord Byron's/ sämmtliche Werke./ Herausgegeben/ von/ +Dr. Adrian,/ ordentlichem öffentlichem Professor der +neueren Litteratur an der/ Universität zu Giessen./ Erster +Theil./ Lord Byron's Leben./ Mit dem Bildniss, einem +Facsimile der Handschrift und der/ Abbildung des Stammsitzes +Lord Byron's./ Frankfurt am Main./ Gedruckt +und verlegt von Johann David Sauerländer./ 1830./ [12º.</p> + +<div class="cocono"> +<p><i>Note</i>.—Vols. X. and XII. were issued in 1831. The several +translators were G. H. Barmann, O.L.B. Wolff, K. L. Kannegiesser, +A. Hungari, P. von Haugwitz, Ph. A. G. von Meyer +(the author of <i>Byron's Leben</i>, i. 3-326), and The Editor. +This edition was reissued in twelve vols. (12º) in 1837. +[Kayser, 1841.]</p> +</div> + +<h6>III.</h6> + +<p><i>Dichtungen von Lord Byron</i>. Deutsch v. Gustav Pfizer. +4 Sammlungen. Stuttgart, Liesching. 1836-1839. [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—There was a reissue of this work in 1851.</p> +</div> + +<p class="auth">[<i>Centralblatt, etc.</i>, 1890, vii. 468, 469.]</p> + +<h6>IV.</h6> + +<p><i>Lord Byron's sämmtliche Werke</i>. Deutsch v. Adolf Böttger +[1 vol., with life and portrait.] Leipzig, Otto Wigand. +1839-40. [8º.</p> + +<p class="auth">[Kayser, 1841.].</p> + +<div class="cocono"> +<p><i>Note</i>.—This edition was reissued at Leipzig by Otto Wigand +in 1 vol. 8º in 1841, 1844, 1845; in 12 vols. 16º in 1841, 1842, +and 1847; in diamond edition, in 12 vols. 16º in 1850, 1852, +1856, 1860, 1861; and in 8 vols. 8º in 1854, 1863, 1864. For +the latest edition, <i>vide post</i>, <a href="#Page_142">No. xiii.</a> [Kayser, 1848, 1853, +1860, 1865. See, too, <i>Centralblatt, etc.</i>, 1890, vii. 457.]</p> +</div> + +<h6>V.</h6> + +<p>Lord Byron's/ sämmtliche Werke./ Nach den/ Anforderungen +unserer Zeit/ neu übersetzt von/ Mehreren./ +Zweite unveränderte Ausgabe./ Erster Band./ Pforzheim./ +Verlag von Dennig Finck & Co./ [Ten Vols.] 1842./ [16º.<span class='pagenum'><a name="Page_141" id="Page_141">[141]</a></span> +<i>Note</i> (1).—The several translators were E. Ortlepp, Dr. Kottenkamp, +H. Kurtz, Professor Duttenhofer, Bardili, Bernd von Guseck.</p> + +<div class="cocono"> +<p><i>Note</i> (2).—This edition was first issued in small octavo by Hoffmann +at Stutgard, in 1839, and reissued (16º) by Scheible, Rieger, +and Sattler, 1845, 1846; and in 12 vols. (16º) by Rieger at +Stutgard, in 1856. [<i>Centralblatt, etc.</i>, 1890, vii. 466.]</p> +</div> + +<h6>VI.</h6> + +<p><i>Lord Byron's sämmtliche Werke</i>. [8 Bde.] Deutsch von +A. Neidhardt. Berlin, Hofmann. 1865. [8º.</p> + +<p class="auth">[Kayser, 1871.]</p> + +<h6>VII.</h6> + +<p>Dichtungen/ von/ Lord Byron./ Deutsch/ von/ Wilhelm +Schäffer./ Die Belagerung von Korinth./ Der Gefangene +von Chillon. Die Insel./ Hildburghausen./ Verlag des +Bibliographischen Instituts. 1865. [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—This collected edition of translations forms part of the +<i>Bibliothek ausländischer Klassiker, etc.</i></p> + +<p><i>Don Juan</i>, Cantos I.-VI., transl. by W. Schäffer, was issued in +two vols. in 1867; <i>Childe Harold's, etc.</i>, transl. by A. H. Janert, +in 1868; <i>Corsair</i>, <i>Mazeppa</i>, <i>Beppo</i>, by W. Schäffer, +in 1870; <i>Manfred</i>, <i>Cain</i>, <i>Heaven and Earth</i>, +<i>Sardanapalus</i>, by W. Grüzmacher, +in 1872; Lyrical Pieces, by Heinrich Stadelmann, in +1872; <i>The Giaour</i>, <i>Bride of Abydos</i>, <i>Lara</i>, +<i>Parisina</i>, by Adolf Strodtmann, in 1872.</p> +</div> + +<h6>VIII.</h6> + +<p><i>Lord Byron's ausgewählte Werke</i>, uebersetzt von Mehreren +[4 bde.], herausg. von A. Strodtmann. Leipzig, Bibl. +Inst. 1865-1872. [8º.</p> + +<p class="auth">[<i>Centralblatt, etc.</i>, 1890, vii. 466.]</p> + +<h6>IX.</h6> + +<p>Lord Byron's/ sämmtliche Werke/ in drei Bänden./ Frei +überzetzt/ von/ Adolf Seubert./ Erster Band./ Leipzig./ +Druck und Verlag von Philipp Reclam jun./ [1874.] [8º.</p> + +<h6>X.</h6> + +<p><i>Lord Byron's Werke</i>. Deutsch v. Dr. Adalbert Schroeter. +[6 Bde.] Uebersetzt, mit Einleitung und Anmerkungen +versehen. Stuttgart. In; Coll. Spemann. 1885-1890. [8º.</p> + +<p class="auth">[<i>Centralblatt, etc.</i>, 1890, vii, 470.]</p> +<p><span class='pagenum'><a name="Page_142" id="Page_142">[142]</a></span></p> + +<h6>XI.</h6> + +<p><i>Lord Byron's poetische Werke</i>. In älteren Uebertragungen; +eingeleitet durch e. Studie v. Henry T. Tuckermann. +Stuttgart. Cotta'sche Bibl. der Weltlitteratur, 1886. [In +eight vols.] [8º.</p> + +<p class="auth">[Kayser, 1887.]</p> + +<h6>XII.</h6> + +<p>Lord Byron's Werke./ Uebersetz/ von/ Otto Gildemeister./ +In sechs Bänden./ Erster Band./ Vierte Auflage./ +Berlin./ Druck und Verlag von Georg Reimer./ 1888./ [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—A First Edition appeared in 1864, a second in 1866, +and a third in 1877. [Kayser, 1865, 1871, 1883.]</p> +</div> + +<h6>XIII.</h6> + +<p>Byron's/ sämmtliche Werke./ Von/ Adolf Böttger./ Achte +Auflage./ Erster Band./ Leipzig,/ Verlag von Otto +Wigand./ 1901./ [8 Bde.] [8º.</p> + + +<h5>Modern Greek</h5> + +<p><span title="Ta Apanta / tou / Byrônos / Tomos Prôtos / En Athênais /">Τα Απαντα / του / Βυρωνος / Τομος Πρωτος / Εν Αθηναις /</span> +<span title="Ek tou typographeiou tôn katastêmatôn / Anestê kônstatinidou">Εκ του τυπογραφειου των καταστηματων / Ανεστη κωνστατινιδου</span> +1895/ [Three Vols.] [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—This translation includes <i>Mazeppa</i>, <i>Parisina</i>, +<i>Childe Harold</i>, <i>The Siege of Corinth</i>, +<i>The Bride of Abydos</i>, <i>The Corsair</i>, +<i>The Curse of Minerva</i>, <i>Don Juan</i>, <i>The Giaour</i>.</p> + +<p>The paper wrapper and the title-page are embellished with a +lithograph of the portrait by T. Phillips, R.A.</p> +</div> + + + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p>Opere complete/ di/ Lord Byron/ voltate dall' originale +inglese in prosa italiana/ Da/ Carlo Rusconi/ Con note +ed illustrazioni del volgarizzatore/ nonchè dei signori/ +Moore (and 33 others = 6 lines)/ a cui si aggiungono/ +I dialoghi di Lord Byron compilati da M. Medwin/ Un +saggio sul di lui genio—una prefazione—E un' appendice/ +parte desunti da altri scritti, parte tradotti,/ parte originali./ +Padova/ coi tipi della Minerva/ 1842/ [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—This edition, which forms one volume, pp. xxxix. + 1561,<span class='pagenum'><a name="Page_143" id="Page_143">[143]</a></span> +was issued in two parts. A dedication ("A Sua Eccellenza/ +Lord Holland/ Ministro Plenipotenziario D'Inghilterra/ alla Corte +di Toscana"/) is prefixed to Part I., pp. [ix.]-[xi.].</p> +</div> + +<h6>II.</h6> + +<p>Opere/ di/ Giorgio Lord Byron/ Precedute/ da alcune +avvertenze critiche/ Sulle stesse/ e da un discorso/ di/ +Cesare Cantù/ prima edizione napolitana adorna di figure +incise/ Napoli/ Francesco Rossi-Romano editore/ Trinità +Maggiore, 6/ 1853/ [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—The Front. is a lithograph of "Lord Byron nell' età di +17 anni," after the portrait by G. Sanders.</p> + +<p>The several translators were Giuseppe Gazzino, Giuseppe Nicolini, +Pietro Isola, Pellegrino Rossi, Andrea Maffei, Marcello +Mazzoni, and P. G. B. Cereseto.</p> + +<p>The translation includes <i>Childe Harold</i>, eight tales, and four +dramas.</p> +</div> + +<h6>III.</h6> + +<p><i>Opere di Lord Byron</i> tradotte ed annotate da Gabr. De +Stefano. Napoli, 1857. [8º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 625.</p> +</div> + +<h6>IV.</h6> + +<p>Opere/ di/ Lord Giorgio Byron/ Precedute/ da un saggio +intorno al genio e al carattere/ Del medesimo/ Volume +unico/ Napoli/ Presso Pasquale Perrone libraio-/Editore/ +via Costantinopoli, 107./ 1886/ [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—The translations include <i>Childe Harold</i>, +<i>Don Juan</i>, +eight tales, and seven dramas. A reissue with a portrait, and, +apparently, wanting pp. 669-[711] of the appendix, appeared in +1891 (Ferdinando Bideri, editore/ Via Costantinopoli, 89).</p> +</div> + + + + +<h5>Polish.</h5> + +<h6>I.</h6> + +<p>Poezye/ Lorda Byrona/ w tłumaczeniu Polskiém. Wydane +staraniem/ Bolesława Maurycego Wolffa./ Tom. I./ +W[e,]drówki Czajlda-Harolda./ Petersburg./ Nakadem i +Drukiem B. M. Wolffa./ 1857./ [12º.</p> + +<div class="cocono"> +<p><i>Note</i>.—No more published.<span class='pagenum'><a name="Page_144" id="Page_144">[144]</a></span></p> +</div> + +<h6>II.</h6> + +<p>Poezye Lorda Byrona w przekładzie polskich poetów. Zbiorowe +wydanie, pod red. Piotra Chmielowskiego. ("Biblioteka +Najcelnijszych Utworów.") [8º. +<i>Warszawa, 1885, etc.</i></p> + + +<h5>Russian.</h5> + +<h6>I.</h6> + +<p><span title="Sochinenaiya Lorda Bairona V perevodakh russkikh">Сочиненія Лорда Байрона Въ переводахъ русскихъ </span> +<span title="Poėtov izdainnikh pol redaktsieyu N.V. Gerbelya">Поэтовъ изданных полъ редакціею Н.В. Гербеля</span> +5 <span class="smcap">tom</span>. +<span title='S.-Peterburg'>С.-Петербургъ</span> +1864-66 [16º.</p> + +<p>Second edition of Gerbel. +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1874-77. In 4 vols.</p> + +<p>Third edition. +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1883-84. In 3 vols.</p> + +<h6>II.</h6> + +<p><span title='Bairon". Evropeĭeskīe Klassiki V" russkom" perevodie'>Байронъ. Европейскіе Классики Въ русскомъ переводѣ</span> +<span title='P. Veĭnberga'>П. Вейнберга</span> +<span title='S.-Peterburg"'>С.-Петербургъ</span> +1876.</p> + +<div class="cocono"> +<p><i>Note</i>.—The translations include <i>Hebrew Melodies</i>, +<i>Sardanapalus</i>, <i>Manfred</i>, <i>Childe Harold's, etc.</i>, +and <i>Don Juan</i>.</p> +</div> + + + +<h5>Spanish.</h5> + +<p>Biblioteca Universal./ Coleccion/ de los/ Mejores autores/ +Antiguos y modernos,/ Nationales y extranjeros./ Tomo LXIII./ +Lord Byron/ Madrid./ Direccion y administracion/ +calle de Leganitos, 18, 2.0/ 1880./ [16º.</p> + +<div class="cocono"> +<p>This translation includes <i>The Corsair</i>, <i>Lara</i>, +<i>Darkness</i>, and <i>Hebrew Melodies</i> (6), +<i>The Lament of Tasso</i>. The <i>Prologo</i> is by +Rafael Ginard de La Rosa.</p> +</div> + + + +<h5>Swedish.</h5> + +<p>Byron's Poetiska Berättelser. Öfversättning af Talis Qualis +[C. W. A. Strandberg]. 1. Maseppa.—2. Belägringen af +Korinth.—3. Fången på Chillon.—4. Parisina—5. Beppo.—6. +Giaurn.—7. Bruden från Abydos.—8. On Eller +Christian OCH Hans Ställbröder. [8 vols.] Stockholm, +J. L. Brudins Förlag. 1854-1856. [12º.</p> + + + +<h3><span class="smcap">Selections</span>.</h3> + +<h6>I.</h6> + +<p><i>The Beauties of Byron</i>, with a sketch of his life and a +dissertation on his genius and writings. By Thomas Parry. +London: J. Sudbury. 1823.</p> + +<p class="auth">[Kölbing.]</p> +<p><span class='pagenum'><a name="Page_145" id="Page_145">[145]</a></span></p> + +<h6>II.</h6> + +<p><i>The Beauties of Byron</i>. Extracts from the works of the +Right Hon. Lord Byron. Embellished with engravings +on steel. London: J. Limbird. 1827.</p> + +<p class="auth">[Kölbing.]</p> + +<h6>III.</h6> + +<p>Life/ and/ Select Poems/ of/ Lord Byron,/ Arranged, etc./ +By C. Hulbert,/ Author of Literary Beauties, Poetical +Bouquet, Museum of the World, etc./ London: Sold by +all the Booksellers./ [1828.] [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 84.</p> +</div> + +<h6>IV.</h6> + +<p><i>The Beauties of Lord Byron</i>, selected by B. F. French, +10th ed. [Pp. xi. + 204, 3 pl.] Philadelphia. 1828. [24º</p> + +<p class="auth">[<i>Cat. of Library of Congress</i>, 1880.]</p> + +<h6>V.</h6> + +<p>The/ Beauties/ of/ Byron,/ Consisting of/ Selections From +His Works./ By J. W. Lake./ [L.B. in Gothic letters, +enclosed in bay and oak leaves.] Paris,/ Baudry, at the +English, Italian,/ Spanish, German, and Portuguese +Library,/ Rue du Coq Saint-Honoré, No. 9./ Bobée and +Hingray, rue de Richelieu, No. 14./ 1829./ [16º</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 230.</p> +</div> + +<h6>VI.</h6> + +<p><i>Lord Byron's Select Works</i>. Vols. I.-III. Frankfort a. M +Brönner. 1831, 1832. [12º</p> + +<p class="auth">[Kayser, 1834.]</p> + +<h6>VII.</h6> + +<p><i>Childe Harold's Pilgrimage</i>; The Giaour; The Siege, etc.; +Parisina; The Island; The Prisoner, etc.; Beppo; +Mazeppa; The Prophecy, etc.; The Waltz; The Lament, +etc.; Hebrew Melodies; Misc. in Prose. By Lord Byron. +Paris. 1832. (1 vol.) [8º.</p> + +<p>["Le Moniteur de la librairie." <i>Courrier de +l'amateur de livres</i>. Paris, Barrois. 4<sup>e</sup> Annèe, +1845, p. 122. (Bibl. Nat. 9, 5610.)]<span class='pagenum'><a name="Page_146" id="Page_146">[146]</a></span></p> + +<h6>VIII.</h6> + +<p><i>Lord Byron's Select Poetical Works</i>, containing the <i>Corsair</i>, +<i>Lara</i>, the <i>Giaour</i>, the <i>Siege</i>, etc., +the <i>Bride</i>, etc., <i>Parisina</i>, +<i>Mazeppa</i>, the <i>Prisoner</i>, etc. Paris and Lyons. 1835. +[12º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>IX.</h6> + +<p><i>Lord Byron's Select Works</i>. Consisting of <i>Cain, a Mystery</i>; +<i>Hours of Idleness</i>; <i>English Bards</i>, etc., with Occ. Pieces +and Life of the Author. Asher, London and Berlin. 1837. [32º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>X.</h6> + +<p>The/ Beauties/ of/ Byron:/ Consisting of/ Selections from +the Popular Works of/ This most admired Writer./ By +Alfred Howard, Esq./ A new Edition./ London:/ +Printed for Thomas Tegg and Son, 73, Cheapside;/ R. +Griffin and Co., Glasgow./ T. T. and H. Tegg, Dublin:/ +also, J. and S. A. Tegg, Sydney and Hobart Town./ +1837./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 192.</p> +</div> + +<h6>XI.</h6> + +<p>The/ Beauties/ of/ Byron,/ consisting of/ selections from his +Works./ By Alfred Howard, Esq./ London:/ Printed by +T. Davison,/ For Thomas Tegg, No. 73, Cheapside;/ R. +Griffin and Co. Glasgow;/ and/ J. Cummings, Dublin./ +[<i>n.d.</i>] [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 212.</p> + +<p><i>Note</i>.—The following advertisement is printed on the R. of the +Gen. Half-title: "To the few persons who have not read Lord +Byron's poems, but who, after perusing these specimens, will undoubtedly +wish to read the whole of them, we beg leave to say +that the only correct editions are published by Mr. Murray, of +Albemarle Street, and Messrs. J. & H. L. Hunt, of Tavistock +Street. The first eight volumes are to be had from the former +publisher; the last two from the latter. All other editions are +piracies, and inflict even more injury on the sense and poetry of +the noble bard than they do on the property of the proprietors."<span class='pagenum'><a name="Page_147" id="Page_147">[147]</a></span></p> +</div> + +<h6>XII.</h6> + +<p><i>Byron's Select Works</i>, containing the Corsair; Lara; +Giaour; the Bride, etc.; the Siege, etc.; the Prisoner, +etc.; Select Poems, etc., etc.; to which is prefixed a +biographical notice of Lord B. by J. W. Lake. Paris, +Truchy. 1843. [12º.</p> + +<p class="auth">[<i>Le Moniteur</i>, etc., 1845, p. 122. See, too, <i>Bibl. +de la France</i>, Aug. 12, 1843, vol. xxxii. p. 413.]</p> + +<h6>XIII.</h6> + +<p><i>A Selection from Lord Byron's Poetical Works</i>, containing, +etc. Intended for the use of young people, and provided +with explanatory German notes by Charles Graeser. +Marienwerder, Edward Levysohn. 1846.</p> + +<p class="auth">[Kölbing.]</p> + +<h6>XIV.</h6> + +<p><i>Select Poetical Works of Lord Byron</i>. Containing, etc. +With a memoir by Henry Lytton Bulwer, Esq. London, +Adam Scott. 1848.</p> + +<p class="auth">[Kölbing.]</p> + +<h6>XV.</h6> + +<p><i>Lord Byron's Select Works</i>, with an Appendix, containing +songs and ballads for the use of schools, edited by F. +Breier. Oldenburg, Schulze. 1848. [8º.</p> + +<p class="auth">[Kayser, 1853.]</p> + +<h6>XVI.</h6> + +<p>Selections/ From The/ Writings of Lord Byron./ Poetry./ +By a Clergyman./ London:/ John Murray, Albemarle +Street./ 1854./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 175.</p> + +<p><i>Note</i>.—The Selection (two vols.—Prose, Poetry) is one of a +series called "Murray's Railway Reading." The editor was the +Rev. Whitwell Elwin, sometime editor of the <i>Q.R</i>.</p> +</div> + +<h6>XVII.</h6> + +<p>Moxon's Miniature Poets./ A/ Selection From/ The Works/ +of/ Lord Byron./ Edited and Prefaced by Algernon Chas. +Swinburne./ London:/ Edward Moxon & Co., Dover +Street./ 1866./ [8º.<span class='pagenum'><a name="Page_148" id="Page_148">[148]</a></span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> +<p>Pp.xxxii.+244.</p> +<p><i>Note</i>.—The Selection was reissued by Ward, Lock, and Co. in 1885.</p> +</div> + +<h6>XVIII.</h6> + +<p>Songs by/ Lord Byron/ [Crest, motto <i>Crede Byron</i>.]/ +London/ Virtue & Co., Publishers/ 26 Ivy Lane, Pater +noster Row/ 1872/ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 270.</p> + +<p><i>Note</i>.—There is an index of "Songs set to Music," pp. 268-270.</p> +</div> + +<h6>XIX.</h6> + +<p><i>Selections from the Writings of Lord Byron</i>. New Edition. +With Portrait. London, John Murray. 1874.</p> + +<p class="auth">[Kölbing.]</p> + +<h6>XX.</h6> + +<p><i>Beautés de Byron</i>: Childe Harold, le Corsaire, Lara, le +Giaour, le Siège, etc., Don Juan, Extraits (texte anglais) +avec préface et notes en français, par A. Biard. Paris, +Delagrave. 1876. [12º</p> + +<p class="auth">[Lorenz, 1886.]</p> + +<h6>XXI.</h6> + +<p>Favourite Poems./ By/ Lord Byron./ Illustrated./ Boston:/ +James R. Osgood and Company./ Late Ticknor & Fields, +and Fields, Osgood & Co./ 1877./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 127.</p> +</div> + +<h6>XXII.</h6> + +<p><i>The Beauties of Byron</i>. An Original Selection. Stuttgart, +Paul Neff.</p> + +<p class="auth">[Kölbing.]</p> + +<h6>XXIII.</h6> + +<p>Poetry of Byron/ Chosen and Arranged by/ Matthew +Arnold/ London/ Macmillan and Co./ 1881/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxxvi. + 276.<span class='pagenum'><a name="Page_149" id="Page_149">[149]</a></span></p> + +<p><i>Note</i>.—The title-page is illustrated by an engraving, by G. J. +Stodart, of Thorwaldsen's statue of Lord Byron. The preface +(pp. vii.-xxxi.) is by Matthew Arnold.</p> +</div> + +<h6>XXIV.</h6> + +<p>Routledge's World Library/ "Syllables govern the World." +John Selden/ Gems from Byron/ With an Introduction/ +By the/ Rev. Hugh Reginald Haweis, M.A./ London/ +George Routledge and Sons/ Broadway, Ludgate Hill/ +New York: 9 Lafayette Place/ 1886/ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 158.</p> +</div> + +<h6>XXV.</h6> + +<p>Selections/ From The Poetry of/ Lord Byron/ Edited with/ +An Introduction and Notes/ By/ Frederic Ives Carpenter, +Ph.D./ Instructor in English, the University of Chicago/ +Dir in klar und truben Tagen/ Lied und Mut war schon +und gross./ II. 'Faust,' iii. 1. 1426./ New York/ Henry +Holt and Company/ 1900/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. lviii. + 412.</p> +</div> + +<h6>XXVI.</h6> + +<p>Poems/ of/ Lord Byron/ Selected and arranged for use in +Schools/ By/ C. Linklater Thomson/ Head-Mistress of +the Solihull School for Girls, [etc., three lines]./ London/ +Adam and Charles Black/ 1901/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. ix. + 67.</p> +</div> + +<h3><span class="smcap">Translations Of Selections</span>.</h3> + +<h5>Armenian.</h5> + +<p>Lord Byron's/ Armenian Exercises/ and Poetry./ Venice/ +In the Island of S. Lazzaro./ 1886/ [8º</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 167 + Index, pp. [169]-[172].</p> + +<p><i>Note</i>.—The Title-page is dated 1886, the paper wrapper +(yellow) 1870. Among the exercises are <i>Pieces of Armenian +History</i>, <i>The Epistle of Paul to the Corinthians</i>, etc.; +and among the translations are "The Destruction of Sennacherib," "On +Waterloo," "To the Duke of Dorset," etc.<span class='pagenum'><a name="Page_150" id="Page_150">[150]</a></span></p> +</div> + +<h5>French.</h5> + +<h6>I.</h6> + +<p><i>Choix de Poésies de Byron, de W. Scott et Th. Moore</i>; +trad. libre de l'angl. Genève et Paris, Paschoud. 1820. +[Two Vols.] [8º.</p> + +<p class="auth">[Quérard, 1827.]</p> + +<h6>II.</h6> + +<p><i>Les Beautés de lord Byron</i>, galerie de quinze tableaux tirés +de ses oeuvres, accompagnée d'un texte traduit par +Amédée Pichot. Paris, Aubert, Giraldon. 1838. [4º.</p> + +<p class="auth">[Quérard, 1846.]</p> + +<h6>III.</h6> + +<p>Écrin poétique/ de/ littérature anglaise./ Traduction en +vers français,/ Avec notes historiques,/ De poèmes, +épisodes et fragments choisis/ de Lord Byron,/ Thomas +Moore, Gray, Graham, etc./ Ornée du portrait de lord +Byron/ et de jolies vignettes de Thompson./ Par D. Bonnefin./ +Chevalier de la légion d'honneur,/ A Paris,/ +Chez L. Hachette,/ Libraire de l'Université Royale de +France,/rue Pierre-Sarrazin, no. 12./ 1841./ [8º</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. ix. + 473.</p> +</div> + +<h6>IV.</h6> + +<p><i>Chefs-d'oeuvre de lord Byron</i>. (Le Pèlerinage, etc., Lara, +la Fiancée, etc., Parisina, Mazeppa, le Siége, etc., le Prisonnier, etc.) +La traduction françoise en regard par M. le comte d'Hautefeuille; +précédés d'un essai sur la vie et les +oeuvres de lord Byron et de ses contemporains, renfermant +l'histoire de la poésie anglaise au xix<sup>e</sup> siècle, par D. +O'Sullivan. 1847. <i>Place de la Madelaine</i>, 24. [8º</p> + +<p class="auth">[Lorenz, 1866.]</p> + +<h6>V.</h6> + +<p>Rough Hewing/ of/ Lord Byron/ In French,/ With the +English Text./ By Francis D'Autrey./ ... Obscurus fio./ +Horace, Ars Poetica./ London:/ J. W. Kolckmann,/ +Foreign Library,/ 1, Princes Street, Cavendish Square, W./ +1869./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 233.<span class='pagenum'><a name="Page_151" id="Page_151">[151]</a></span></p> +</div> + +<h6>VI.</h6> + +<p><i>Chefs-d'oeuvre de lord Byron</i>. Traduits en vers français par +A. Regnault. (Two Vols.) 1874. [8º.</p> + +<p class="auth">[Lorenz, 1876.]</p> + + + +<h5>German.</h5> + +<h6>I.</h6> + +<p><i>Lord Byron's</i> ausgewählte Dichtungen. Aus d. Engl. übertragen. +Leipzig, Wienbrack. 1838. [8º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>II.</h6> + +<p>Byron-Anthologie./ Auserwähltes/ aus/ Lord Byron's Dichtungen,/ +übertragen/ von/ Eduard Hobein./ Schwerin./ +Stiller'sche Hofbuchhandlung./ (G. Bolhoevener.) 1866. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 187.</p> +</div> + +<h6>III.</h6> + +<p><i>Auswahl aus Byron: Childe Harold</i> (III. and IV.), <i>Prisoner, +etc., Mazeppa</i>. Hrsg. v. J. Hengesbach. 1892. [12º.</p> + +<p class="auth">[Kayser, 1895.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 116.</p> + +<p><i>Note</i>.—Part of <i>Textausgaben französischer u. englischer +Schriftsteller f. den Schulgebrauch</i>, hrsg. v. Osk. Schmager.</p> +</div> + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p>Poemi/ di/ Lord G. Byron/ Tradotti/ dall' originale +inglese/ da/ Pietro Isola/ Socio corrispondente della R. +Accademia delle scienze ed arti/ di Alessandria/ Torino/ +Presso Giuseppe Pomba/ 1827/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 204.</p> +</div> + +<h6>II.</h6> + +<p><i>Opere scelte</i>, tradotte da M. Mazzoni. Milano. 1852. [8º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> +<p><span class='pagenum'><a name="Page_152" id="Page_152">[152]</a></span></p> + +<h6>III.</h6> + +<p>A'Mici Amici./ [1873.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 27.</p> + +<p><i>Note</i>.—A translation of a few detached passages, by P. Isola, +entitled "In partendo dall' Inghilterra," etc. There is no Title-page.</p> +</div> + +<h3><span class="smcap">Miscellaneous Poems</span>.</h3> + +<h6>I.</h6> + +<p>An Ode./ On/ The Star of the Legion of Honour./ +Napoleon's Farewell./ Fare Thee Well./ And/ A Sketch, +etc./ By Lord Byron./ New-York:/ Published by Van +Winkle and Wiley,/ No. 3 Wall-Street./ 1816./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. 3, 4; Text, pp. 5-24.</p> + +<p><i>Note</i>.—The Half-title is probably missing. The "Ode" is the +<i>Ode from the French</i> ("We do not curse thee, Waterloo!"). The +edition contains the five pieces enumerated on the title.</p> +</div> + +<h6>II.</h6> + +<p>Three Poems,/ not Included in the Works of/ Lord Byron./ +Lines to Lady J——./ The Ænigma./ The Curse of +Minerva./ [Motto from <i>Ter. Andria</i>, five lines.] London:/ +Printed for Effingham Wilson,/ Royal Exchange./ 1818./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (R. <i>John Hill, Printer, 32, Water Lane, Blackfriars</i>.), +pp. 3, 4; Note on the Lines to Lady Jersey, pp. 5, 6; Text and +Notes, pp. 7-18. The second poem is Miss Fanshaw's Enigma +(Letter H); the third, <i>The Curse of Minerva</i> (112 lines).</p> +</div> + +<h6>III.</h6> + +<p>English Bards,/ and/ Scotch Reviewers;/ A Satire./ Ode +to the Land of the Gaul.—Sketch/ From Private Life.—Windsor/ +Poetics, etc./ By/ The Right Honorable/ Lord +Byron./ Second Edition./ Paris:/ Published by Galignani/ +At the French, English, Italian, German and +Spanish/ Library, No. 18, Rue Vivienne,/ 1818./ [12º.</p> + +<div id="CC"> +<p><i>Collation</i>—</p> + +<p>Pp. 84, With half-title, "Suppressed/ Poems." <i>English +Bards, etc.</i>, a reprint of the Fourth Edition of 1811, numbers 1052 +lines.<span class='pagenum'><a name="Page_153" id="Page_153">[153]</a></span></p> +</div> + +<h6>IV.</h6> + +<p>The/ Works/ of/ The Right Honourable/ Lord Byron;/ +Containing/ English Bards, and/ Scotch Reviewers;/ The +Curse of Minerva,/ And the Waltz,/ An/ Apostrophic +Hymn./ Philadelphia:/ Published By M. Thomas./ 1820./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 151.</p> + +<p><i>Note</i>.—<i>The English Bards, etc.</i>, is a reprint of the Fourth +Edition of 1050 lines. The <i>Curse of Minerva</i> is the complete +edition of 312 lines. The "Fugitive Pieces" are: (1) To Jessy; +(2) "My Boat is on the Shore;" (3) Lines addressed to Mr. +Hobhouse; (4) Adieu to Malta; (5) Enigma [To the Letter H]. +It will be observed that, with the exception of No. 5, all these +pieces are genuine.</p> +</div> + +<h6>V.</h6> + +<p>Poems/ By/ The Right Honourable/ Lord Byron;/ With/ +His Memoirs./ London:/ Published by Jones and +Company,/ No. 3, Warwick Square./ 1825./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 292 + Cont., p. [293].</p> + +<p>This edition contains <i>Hours of Idleness, English Bards, etc.</i> +(3rd ed.), "Poems on His Domestic Circumstances" (twenty-five, +including eight forgeries), and the whole of <i>Don Juan</i>.</p> +</div> + +<h6>VI.</h6> + +<p>The/ Miscellaneous Poems/ of/ Lord Byron./ London:/ +Benbow, Printer and Publisher, 252, High/ Holborn./ 1825./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 94.</p> + +<p><i>Note</i>.—The collection numbers fifty-three poems, including the +twenty-five published by R. Bumpus in 1824 (No. xi. of "Poems +on His Domestic Circumstances"), and twenty-eight others (all +genuine), including the <i>Ode to Napoleon Buonaparte</i>, and the +<i>Monody on the Death of Sheridan</i>.</p> +</div> + +<h6>VII.</h6> + +<p>Don Juan,/ Complete;/ English Bards and Scotch/ Reviewers;/ +Hours of Idleness;/ The Waltz;/ and all the +other Minor Poems:/ By/ Lord Byron./ [Emblem (Dove +and olive-branch):—motto (<i>Perseverantia et Amicis</i>).] +London:/ Printed and Published by J. F. Dove,/ St. John's +Square./ 1827./ [12º.<span class='pagenum'><a name="Page_154" id="Page_154">[154]</a></span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. iv. + 574.</p> + +<p><i>Note</i>.—A second Title-page, with Title-vignette. <i>English +Bards, etc.</i>, numbers 1050 lines. Among the "Minor Poems" +are the seven forgeries: (1) Farewell to England; (2) To my +Daughter; (3) Ode—St. Helena; (4) To the Lily of France; +(5) Ode ("Oh, shame to thee," etc.); (6) Madame Lavalette; +(7) Enigma (Letter H); and <i>The Curse of Minerva</i> (111 lines).</p> +</div> + +<h6>VIII.</h6> + +<p>Don Juan;/ Hours of Idleness;/ English Bards and Scotch +Reviewers;/ The Waltz;/ and other Poems./ By Lord +Byron./ In Two Volumes./ Vol. I. [Vol. II.] London: +J. F. Dove, St. John's Square./ 1828./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. xiv. + 384.</p> + +<p>Vol. II.: pp. iv. + 428.</p> + +<p><i>Note</i>.—These pirated volumes were occasionally bound up +with Murray's four-volume edition of 1828, and numbered +Vols. V., VI.</p> +</div> + +<h6>IX.</h6> + +<p>The/ Miscellaneous Works/ of/ Lord Byron./ Containing/ +Werner, a Tragedy; Heaven and Earth;/ Morgante +Maggiore; Age of Bronze; The Island;/ Vision of +Judgment;/ and The Deformed Transformed./ London:/ +Printed for Hunt and Clarke,/ Tavistock Street;/ and sold +by all Booksellers./ 1830./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vi. + 7-308 + 286—Title, one leaf; Half-title (Werner); +pp. i., ii.; Dedication, pp. iii., iv.; Preface, pp. v., vi.; +Dramatis Personæ, p. [8]; Text +(<i>Werner</i>, <i>Heaven and Earth</i>, Translation of <i>Morgante Maggiore</i>), +pp. 9-308; Text +(<i>The Age of Bronze</i>, <i>The Island</i> (App.), +<i>The Vision of Judgment</i> (App.), +<i>The Deformed Transformed</i>), +pp. 1-286. The Imprint +(London:/ <i>Printed by C. H. Reynell, Broad Street, Golden Square</i>./) +is at the foot of p. 286.</p> +</div> + +<h6>X.</h6> + +<p><i>The Corsair—Lara</i>. Tales by Lord Byron, with a notice +and explanatory arguments by Lake. Paris. 1830. [12º.</p> + +<p class="auth">[<i>Le Moniteur</i>, etc., 1845.]</p> + +<h6>XI.</h6> + +<p><i>The Bride of Abydos</i>—The Corsair—Lara—Curse of +Minerva—Morg. Magg.—Hours of Idleness—Engl.<span class='pagenum'><a name="Page_155" id="Page_155">[155]</a></span> +Bards, etc.—Miscell. Poems. [In one vol.] By Lord +Byron. Paris. 1832. [8º.</p> + +<p class="auth">[<i>Le Moniteur</i>, etc., 1845.]</p> + +<h6>XII.</h6> + +<p><i>Manfred</i>—Marino Faliero—Sardanapalus—The Two +Foscari—Cain—Werner—Heaven and Earth—The Deformed +Transf. By Lord Byron. [In one vol.] Paris. 1832. [8º.</p> + +<p class="auth">[<i>Le Moniteur</i>, etc., 1845.]</p> + +<h6>XIII.</h6> + +<p><i>Don Juan</i>—The Age of Bronze—The Vision of Judgment. +By Lord Byron. [In one vol.] Paris. 1832. [8º.</p> + +<p class="auth">[<i>Le Moniteur</i>, etc., 1845.]</p> + +<h6>XIV.</h6> + +<p>Miscellanies./ By/ Lord Byron./ In Three Volumes./ +Vol. I./ [Vol. II., etc.] London:/ John Murray, Albemarle +Street./ 1837./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. vi. + 316.</p> + +<p>Vol. II.: pp. iv. + 305.</p> + +<p>Vol. III.: pp. viii. + 288.</p> + +<p><i>Note</i>.—Vol. I. contains <i>Hours of Idleness</i>; <i>English Bards, +etc.</i>; <i>Hints from Horace</i>.</p> + +<p>Vol. II. contains <i>The Curse of Minerva</i>; <i>The Waltz</i>; +<i>Ode to N.B.</i>; <i>Hebrew Melodies</i>; <i>The Morgante Maggiore</i>; +<i>The Prophecy of Dante</i>; <i>The Blues</i>; <i>The Vision of +Judgment</i>; <i>The Age of Bronze</i>.</p> + +<p>Vol. III. contains "Occasional Pieces," 1807-1824; "Domestic +Pieces," 1816; <i>Monody, etc.</i>; <i>The Dream</i>; <i>Darkness</i>; +<i>The Lament of Tasso</i>; <i>Ode on Venice</i>; +<i>Francesco da Rimini</i>; and, interspersed +with these, pp. 171-261, other minor pieces and epigrams. The +App. (pp. 265-288) contains "Remarks on the Romaic," etc.</p> +</div> + +<h6>XV.</h6> + +<p>Tales./ By Lord Byron./ In Two Volumes./ Vol. I./ +London:/ John Murray,/ Albemarle Street./ 1837./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. 263.</p> + +<p>Vol. II.: pp. 260.</p> + +<p><i>Note</i>.—Vol. I. contains <i>The Giaour</i>; +<i>The Bride, etc.</i>; <i>The Corsair</i>; <i>Lara</i>. Vol. II. contains +<i>The Siege, etc.</i>; <i>Parisina</i>; +<i>The Prisoner, etc.</i>; <i>Beppo</i>; <i>Mazeppa</i>; <i>The Island</i>.<span class='pagenum'><a name="Page_156" id="Page_156">[156]</a></span></p> +</div> + +<h6>XVI.</h6> + +<p>Lord Byron's/ Tales:/ Consisting of/ The Giaour, The Bride +of Abydos,/ The Corsair, Lara;/ With all the Notes:/ +Hebrew Melodies,/ and other Poems./ Halifax:/ Printed +and Published by William Milner,/ Cheapside./ 1845./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 9-256.</p> + +<p><i>Note</i>.—Among the "Poems" are twelve pieces, +"The Illuminated City," "The Wreath," "A Child at Prayer," etc., which +are, apparently, attributed to Lord Byron, but are neither his +compositions nor capable of being described as forgeries or +imitations. They precede six genuine poems.</p> + +<p>For an interesting account (by W. Roberts) of other editions +(1838, 1865, etc.), published at Halifax, see <i>Notes and Queries</i>, +1886, iv. S. v. 225, etc.; and <i>The Antiquarian Magazine</i>, vol. +xii., July-November, 1887, pp. 101-106.</p> +</div> + +<h6>XVII.</h6> + +<p>The Giaour,/ and/ The Bride of Abydos./ By/ Lord Byron./ +London:/ H. G. Clarke & Co., 278, Strand./ 1848./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 154.</p> + +<p><i>note</i>.—Part of "Clarke's Cabinet Series."</p> +</div> + +<h6>XVIII.</h6> + +<p>Miscellanies./ By Lord Byron./ In Two Volumes.—Vol. I./ +[Vol. II.] London:/ John Murray, Albemarle Street./ +1853./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. vii. + 364.</p> + +<p>Vol. II.: pp. viii. + 360.</p> + +<p><i>Note</i>.—Vol. I. contains <i>Hours of Idleness</i>; +<i>English Bards, etc.</i>; <i>Hints from Horace</i>; +<i>The Curse of Minerva</i>; <i>The Waltz</i>; +<i>Ode to Napoleon Buonaparte</i>; <i>Hebrew Melodies</i>; +Domestic Pieces; +<i>Monody, etc.</i>; <i>The Dream</i>.</p> + +<p>Vol. II. contains <i>The Lament of Tasso</i>; +<i>Ode on Venice</i>; +<i>The Morgante Maggiore</i>; <i>The Prophecy of Dante</i>; +<i>Francesca of Rimini</i>; <i>The Blues</i>; +<i>The Vision of Judgment</i>; <i>The Age of Bronze</i>; +Occasional Pieces, 1807-1824.</p> +</div> + +<h6>XIX.</h6> + +<p>Tales and Poems/ By Lord Byron./ Containing/ The +Giaour./ Bride of Abydos./ The Corsair./ Lara./ Siege<span class='pagenum'><a name="Page_157" id="Page_157">[157]</a></span> +of Corinth./ Parisina./ Prisoner of Chillon./ Mazeppa./ +The Island./ London: John Murray, Albemarle Street./ +1853./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vi. + 7-358.</p> +</div> + +<h6>XX.</h6> + +<p>Beppo and Don Juan./ By Lord Byron./ In Two Volumes.—Vol. I./ +[Vol. II.] London:/John Murray, Albemarle Street./ 1853./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. 353.</p> + +<p>Vol. II.: pp. 367.</p> +</div> + +<h6>XXI.</h6> + +<p>Poems/ By/ The Right Honourable/ Lord Byron;/ With/ +His Memoirs./ London:/ Thomas Nelson & Sons,/ +Paternoster Row./ 1855./ [32º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xvi. + 174.</p> + +<p><i>Note</i>.—"Poems on Domestic Circumstances," etc. (pp. 133-174) +are identical with those published by J. F. Dove, 1827, pp. 536-574 +(see No. <a href="#Page_153">vii</a>.); and the entire contents of the volume +are identical with Poems/ By the/ Right Honourable Lord Byron./, +which form part (Vol. II. pp. 1-46) of "The Cabinet Edition of +the British Poets." In Four Volumes./ London:/ Henry G. +Bohn, York Street, Covent Garden./ 1851./ [8º.</p> +</div> + +<h6>XXII.</h6> + +<p><i>Lord Byron's Tales and Poems</i>. Leipzig, Brockhaus. 1857. [8º.</p> + +<p class="auth">[Kayser, 1860.]</p> + +<h6>XXIII.</h6> + +<p>Poems./ By Lord Byron./ [Motto: "Like an archangel," +etc., twelve lines, <i>Anon.</i>] With Eight Illustrations,/ By +Birket Foster, John Gilbert, etc./ London:/ Routledge, +Warne, and Routledge,/ Farringdon Street;/ New York: +56, Walker Street./ 1859./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxxii. + 539.</p> +</div> + +<h6>XXIV.</h6> + +<p>Eastern Tales:/ By/ Lord Byron./ Comprising/ The +Corsair, Lara, The Giaour,/ The Bride of Abydos, and<span class='pagenum'><a name="Page_158" id="Page_158">[158]</a></span> +The Siege of Corinth./ With the Author's original Introductions and Notes./ Illustrated./ London:/ David +Bogue, 86, Fleet Street./ [1859.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 5-265.</p> +</div> + +<h6>XXV.</h6> + +<p>Byron's/ Siege of Corinth/ And/ Ode to Napoleon Buonaparte./ +With Notes/ For students for the first examination in Arts,/ +University of Madras./ 1877./ Madras:/ +Addison and Co., 18, Mount Road./ 18767 [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 56.</p> +</div> + +<h6>XXVI.</h6> + +<p>Poems/ By/ Lord Byron/ London/ George Routledge +and Sons/ Broadway, Ludgate Hill./ New York: 416 +Broome Street/ [1880.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxxii. + 719.</p> + +<p><i>Note</i>.—Part of the "Excelsior Series."</p> +</div> + +<h6>XXVII.</h6> + +<p>Poems/ of/ Lord Byron./ Carefully Selected./ In Two +Volumes./ Vol. I./ [Vol. II.] Cassell & Company, +Limited:/ London, Paris, New York, & Melbourne./ +[1886.] [32º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. 3-316.</p> + +<p>Vol. II.: pp. x. + 11-316.</p> + +<p><i>Note</i>.—Part of Cassell's "Miniature Library of the Poets."</p> +</div> + +<h6>XXVIII.</h6> + +<p>Byron's/ Prisoner of Chillon/ und/ Siege of Corinth./ Mit +bibliographischem Material,/ litterarischer Einleitung und +sachlichen/ Anmerkungen für Studierende/ Herausgegeben/ +von/ J. G. C. Schuler./ Halle./ Max Niemeyer./ +1886./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 92 + "Lesarten aus Byron's MSS.," pp. 93, 94.</p> + +<p><i>Note</i>.—No. 8 of "Materialen für das Neuenglische Seminar." +Herausg. v. Ernst Regel.<span class='pagenum'><a name="Page_159" id="Page_159">[159]</a></span></p> +</div> + +<h6>XXIX.</h6> + +<p>The Corsair. Lara. Illustrated by Gambard and Mittis. +With Introduction by M. F. Sweetser. Boston, Joseph +Knight & Co. 1893. [32º.</p> + +<p class="auth">[<i>Amer. Cat.</i>, 1894.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 142.</p> + +<p><i>Note</i>.—Part of the "World's Classics."</p> +</div> + +<h3><span class="smcap">Translations of Miscellaneous Poems</span>.</h3> + + +<h5>Bohemian.</h5> + +<p>Korsár. Lara/ Básnické Povídky/ Lorda Byrona/ +Pṙeložil/ Cěněk Ibl./ V Praze/ Tiskem A Nákladem +Dra Ed. Grégra/ 1885/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 128.</p> + +<p><i>Note</i>.—Poesie Svetova, Pt. xxiii., 1871, etc.</p> +</div> + + +<h5>Danish.</h5> + +<h6>I.</h6> + +<p>Udvalgte/ Dramatiske Digte/ <span class="smcap">Og</span>/ Fortoellinger/ Af/ Byron./ +Oversatte af Edv. Lembcke./ Første Bind./ (Dramatiske +Dicte.)/ KjøBenHavn./ Forlagt af J. H. Schubothes. +Boghandel./ Græbes Bogtrykkeri./ 1873./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. 594.</p> + +<p>Vol. II.: [1876] pp. 422.</p> + +<p><i>Note</i>.—Vol. I. contains <i>Sardanapalus</i>; <i>Manfred</i>; +<i>Cain</i>; <i>Marino Faliero</i>.</p> + +<p>Vol. II. contains <i>The Siege, etc.</i>; <i>Mazeppa</i>; +<i>The Bride, etc.</i>; <i>Corsair</i>; <i>Giaour</i>; +<i>Lara</i>; <i>The Prisoner, etc.</i>; <i>The Island</i>.</p> +</div> + +<h6>II.</h6> + +<p>Byron:/ Manfred,/ Fangen paa Chillon og Mazeppa./ +Oversat af/ Alfred Ipsen./ København./ Forlagt af P. +Hauberg & Comp. og Jul. Gjellerup./ Trykt hos Martius +Truelsen. [1889?] [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 136.<span class='pagenum'><a name="Page_160" id="Page_160">[160]</a></span></p> +</div> + +<h6>III.</h6> + +<p>Beppo./ Dommedagssynet./ Af/ Lord Byron./ Oversatte/ +Af/ Alfred Ipsen./ København,/ Forlagt Af I. H. Schubothes +Boghandel./ Græbes Bogtrykkeri./ 1891./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 88.</p> +</div> + + + + +<h5>Dutch.</h5> + +<h6>I.</h6> + +<p>Navolgingen/ van/ Lord Byron./ Door/ Nicolaas Beets./ De +gevangene van Chillon./ Mazeppa. Parisina. Fragmenten. +Joodsche zangen./ Verscheiden gedichten./ +Nieuwe, Herziene Uitgave./ Vermeederd met een Woord +over Byrons Poëzy./ Te Haarlem, By/ De Erven F. +Bonn./ 1848./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xl. + 170.</p> + +<p><i>Note</i>.—The vignette (a bunch of cornflowers) on the illustrated +title-page (Gedichten/ van/ Nicolaas Beets./) is engraved by J. W. Kaiser.</p> +</div> + +<h6>II.</h6> + +<p>Gedichten/ van/ Lord Byron./ Door/ J. J. L. Ten Kate./ +Eerste Volledige Uitgave./ Te Leiden, Bij A. W. Sijthoff. +[1870?] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 242.</p> +</div> + + + + +<h5>French.</h5> + +<h6>I.</h6> + +<p><i>Le Corsaire</i>, <i>Mazeppa</i>, traduits en vers français suivis de +poésies diverses, par Lucien Méchin, 1848. Paris, Paulin. [12º.</p> + +<p class="auth">[Lorenz, 1840-1865.]</p> + +<h6>II.</h6> + +<p>Le/ Prisonnier de Chillon/ Lara/ Parisina/ Poémes de +Lord Byron,/ Traduits en vers/ et/ Poésies diverses/ +Par H. Gomont/ Membre correspondant de l'Académie +de Stanislas/ Paris/ Amyot, Libraire/ Rue de la Paix, 6/ +[the second column] Nancy./ Mlle Gonet, libraire/ Rue +des Dominicains, 14/ 1862/ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 228.<span class='pagenum'><a name="Page_161" id="Page_161">[161]</a></span></p> +</div> + +<h6>III.</h6> + +<p><i>Le Corsaire</i>, <i>Lara</i>, <i>le Siége de Corinthe</i>. +Traduction nouvelle par Paul Lorencin. (<i>Libraire de la Bibliothèque +Nationiale</i>, tom. 117.) 1868. [32º.</p> + +<p class="auth">[Lorenz, 1876.]</p> + +<h6>IV.</h6> + +<p>Chefs-D'oeuvre/ de/ Lord Byron/ Traduits en vers français/ +par/ A. Regnault/ Bibliothécaire et archiviste honoraire +du Conseil D'État/ Membre de l'Académie de Lyon/ +Auteur d'une histoire du Conseil D'État,/ D'un Voyage +en Orient (Gréce, Turquie, Egypte)/ Et de notices +historiques sur Moscou et Saint-Pétersbourg/ Tome +premier/ Paris/ Amyot, Librairie-Editeur/ 8, rue de la +Paix, 8/ Et à la librairie, Galignani/ 224, rue de Rivoli, +224/ 1874/ Touts droits réservés/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. xxxii. + 518.</p> + +<p>Vol. II.: pp. 511.</p> + +<p><i>Note</i>.—Vol. I. contains <i>Childe Harold's, etc.</i>; +<i>The Bride, etc</i>.; +<i>The Giaour</i>; <i>The Siege, etc.</i>; <i>Manfred</i> [Scènes Détachées].</p> + +<p>Vol. II. contains <i>The Corsair</i>; <i>Lara</i>; +<i>Mazeppa</i>; <i>The Prisoner, etc.</i>; <i>Parisina</i>; +<i>Beppo</i>; Juan and Haidee; Poésies Diverses.</p> +</div> + +<h6>V.</h6> + +<p>Lord Byron/ Les/ Deux Foscari/ Tragédie historique/ +Beppo/ Poème humoristique/ Traduction en vers (ornée +de 15 vignettes)/ Par/ Achille Morisseau/ Paris/ +Calmann Lévy, éditeur/ 3, rue Auber, 3/ 1881/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xiii. + 258.</p> +</div> + +<h6>VI.</h6> + +<p><i>Le Corsaire</i>. <i>Lara</i>. Illustrations de Gambard et Mittis. +Paris, Dentre. 1892. [32º.</p> + +<div class="cocono"> +<p>Fait partie de la "Petite Collection Guillaume," Lorenz, 1900.</p> +</div> + + +<h5>German.</h5> + +<h6>I.</h6> + +<p><i>Gefangener von Chillon u. Parisina</i>, nebst e. Anh. seiner +lyrischen Gedichte, übers. durch Paul Graf v. Haugwitz. +Breslau, W. G. Korn. Übers. 1821. [8º.</p> + +<p class="auth">[Kayser, 1834.]</p> + +<p><span class='pagenum'><a name="Page_162" id="Page_162">[162]</a></span></p> + +<h6>II.</h6> + +<p><i>Manfred</i>.—<i>Die Finsterniss</i>.—<i>Der Traum</i>. Aus d. Engl. +übersetzt von Er. Köpke. Berlin, Schröder. 1835. [8º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>III.</h6> + +<p><i>Der Giaur</i>. <i>Hebräische Gesänge</i>. Aus dem Engl. übers. +von Friederike Friedmann. Leipzig. 1854. Brockhaus. [16º.</p> + +<p class="auth">[Kayser, 1860.]</p> + +<h6>IV.</h6> + +<p>Kain./ Ein Mysterium./ Mazeppa./ Von/ Lord Byron./ +Aus dem Englischen übersetzt/ von/ Friederike Friedmann./ +Leipzig:/ F. A. Brockhaus./ 1855./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 154.</p> +</div> + +<h6>V.</h6> + +<p><i>Manfred</i>. Der Gefangene von Chillon, Hebräische Gesänge, +u. Lyrische Gedichte. Deutsch von A. R. Niele. Münster, +Coppenrath. 1857. [16º.</p> + +<p class="auth">[Kayser, 1859.]</p> + +<h6>VI.</h6> + +<p>Lord Byron's/ Mazeppa, Korsar und Beppo./ In das +Deutsche übertragen/ von/ Wilhelm Schäffer./ <i>Stulta est +elementia, quam tot ubique</i>/ <i>Vatibus occurras, perituræ +parcere chartæ</i>./ Juvenal./ [Emblem—Griffin with +shield bearing motto "F. A. B. 1805."] Leipzig: F. A. Brockhaus./ 1864./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 138.</p> +</div> + +<h6>VII.</h6> + +<p>Die Braut von Abydos./ Der Traum./ Zwei Gedichte./ +von/ Lord Byron./ Im Versmass des Originals übertragen/ +von/ Dr. Otto Riedel./ Hamburg./ Hermann Grüning./ +1872./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 80.</p> +</div> + +<p><span class='pagenum'><a name="Page_163" id="Page_163">[163]</a></span></p> + +<h6>VIII.</h6> + +<p><i>Der Gefangene v. Chillon</i>. <i>Mazeppa</i>. Von Lord Byron.</p> + +<p class="auth">[Kayser, 1877.]</p> + +<div class="cocono"> +<p><i>Note</i>.—No. 557 of the "Universal Bibliothek." Leipzig, +1871-1876.</p> +</div> + +<h6>IX.</h6> + +<p><i>Der Gefangene v. Chillon</i>. <i>Parisina</i>. Zwei poet. Erzählungen, +übers. v. Otto Michaeli. Halle. 1887-1890. [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—Part of the "Bibl. der Gesamt-Litteratur des +In-u. Auslandes." [Kayser, 1891.]</p> +</div> + + +<h5>Hungarian.</h5> + +<p>Byron Lord'/ Élete's Munkái./ Irta/ Petrichevich Horváth +Lázár./ Harmadik Rész./ Pesten./ Nyomtatta Landerer +és Heckenast./ 1842./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 154 + Sajtó-hibák, p. [155].</p> + +<p><i>Note</i>.—The translations include <i>Mazeppa</i>; +<i>The Dream</i>; and sixteen lyrical pieces.</p> +</div> + + +<h5>Icelandic.</h5> + +<p>Bandinginn Í Chillon/ og/ Dramurinn,/ Eptir/ Byron +Lávard./ Steingrímur Thorsteinson,/ Íslenzkadi./ Kaupmannahöfn./ +Utgefandi Páll Sveinsson./ Prentad Hjá Louis Klein./ 1866./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 70.</p> +</div> + + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p>Poemi/ di/ Lord G. Byron/ Tradotti dall' originale inglese/ +Da/ Pietro Isola/ Socio corrispondente/ della R. Accademia +delle scienze ed arti di Alessandria./ Primo +volume/ Lugano/ coi tipi di Francesco Veladini e +Comp./ 1832./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. 221 + Note, Indice, pp. [222]-[224]. +N.B.—Pp. 1-19 are not numbered.</p> + +<p>Vol. II.: pp. 298 + Indice, p. [299], Pp. 1-13 are not +numbered.</p> +</div> + +<p><span class='pagenum'><a name="Page_164" id="Page_164">[164]</a></span></p> + +<h6>II.</h6> + +<p>Poemi/ di/ Giorgio Lord Byron/ Recati in italiano/ da/ +Giuseppe Nicolini/ con alcuni componimenti originali/ +del traduttore./ Milano/ Per Giuseppe Crespi e C./ +1834./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 433 + Indice, p. [435].</p> + +<p><i>Note</i>.—The Title-vignette is a portrait of Lord Byron.</p> +</div> + +<h6>III.</h6> + +<p>Poemi/ di Giorgio Lord Byron/ Recati in italiano/ Da +Giuseppe Nicolini/ Nuova edizione eseguita su quella del +1837/ Riveduta ed aumentata dal traduttore/ Vol. I./ +[Vol. II.] Milano/ Presso la ditta Angelo Bonfanti 1842/ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. 283.</p> + +<p>Vol. II.: pp. 255.</p> +</div> + +<h6>IV.</h6> + +<p><i>Poemi e novelle</i>. Milano, Sonzogno. 1882. [16º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 107.</p> +</div> + +<h6>V.</h6> + +<p>Opere/ Edite e postume/ di Giacinto Casella/ Già Accademico +della Crusca/ Con prefazione del Prof. Alessandro +d'Ancona,/ Uno scritto critico sul Properzio del +Prof. G. Rigutini/ E una notizia biografica sull' autore/ +Scritta da sua moglie./ Due Vol.—Vol. I./ Parte I.—Il +Pellegrinaggio d'Aroldo, la Parisina,/ il Beppo e la sposa +d'Abido, di Lord Byron.—Sopra M. Aurora., di S. Fenzi./ +Un frammento dal <i>Lambros</i>, di D. Solomos./ Parte II.—Liriche +originali./ Firenze,/ Tipografia di G. Barbéra./ 1884./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. lvi. + 438 + Errata Corrige, p. [439].</p> + +<p>Vol. II.: pp. xviii. + 450 [Text = pp. 3-450] + <i>Indice</i>, etc., +p. [451].</p> + +<p><i>Note</i>.—The translations of <i>Childe Harold</i>, +<i>Parisina</i>, <i>Beppo</i>, +and the <i>Bride, etc.</i>, are on pp. 1-311 of the first part +of the first volume.</p> +</div> + +<p><span class='pagenum'><a name="Page_165" id="Page_165">[165]</a></span></p> + +<h6>VI.</h6> + +<p><i>Misteri e canti</i>; Caino; Parisina; Un sogno. Traduzione +di Andrea Maffei. Milano, Hoepli. 1886. [64º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 198.</p> +</div> + +<h6>VII.</h6> + +<p><i>Misteri, novelle e liriche</i>. Traduzione di Andrea Maffei. +Firenze, Le Monnier. 1890. [64º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxxviii. + 441.</p> +</div> + + +<h5>Polish.</h5> + +<h6>I.</h6> + +<p><i>Poemata i powieści</i> ... Przez B. hr. K. [Brunona hr. +Kicińskiego]. Tom. 1. (Obłęźenie Koryntu, Korsarz.) +<i>Warszawa</i>, 1820. [8º.</p> + +<div class="cocono"> +<p><i>Part of "Biblioteka Romansów," etc. Wyd. przez W. Malccką</i>.</p> +</div> + +<h6>II.</h6> + +<p><i>Powieści</i>, przekład Wandy Maleckiéj. (Mazepa, przek. +H. Dembińskiego, Paryzyna, Giaur, Upiór.) pp. 196. +<i>w druk, J. Wróblewskiego: Warszawa</i>, 1828. [8º.</p> + +<div class="cocono"> +<p><i>Wybór Romansów, wyd. W. Maleckiéj. Tom. <span class="smcap">xiii</span></i>.</p> +</div> + +<p>[Another edition.] <i>Warszawa</i>, 1831. [8º.</p> + +<h6>III.</h6> + +<p><i>Paryzyna</i>, Kalmar i Orla, dwa poemata ... Przekład Ign. +Szydłowskiego. pp. 58.</p> + +<div class="cocono"> +<p><i>druk. J. Zawadzkiego: Wilno</i>, 1834. [8º.</p> +</div> + +<h6>IV.</h6> + +<p>Poezye/ Lorda Byrona/ tłumaczone/ Giaur/ przez/ Adama +Mickiewicza,/ Korsarz/ Przez/ Edwarda Odyńca./ Wydanie +Alexandra Jełowickiego./ W. Pary[.z]u./ 1835/ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xiv. + 202.</p> + +<p><span class='pagenum'><a name="Page_166" id="Page_166">[166]</a></span></p><h6>V.</h6> + +<p>Tłómaczenia/ Antoniego Edwarda/ Odyńca./ Tom Drugi./ +Narzeczona z Abydos./ W Lipsku/ u Breitkopfa i Haertela./ 1838./</p> + +<p><i>Collation</i>—</p> + +<p>Pp. 216.</p> + +<p><i>Note</i>.—The translation of the <i>Bride of Abydos</i>, +with the Notes, is on pp. 1-83 of this volume.</p> +</div> + +<h6>VI.</h6> + +<p>Tłomaczenia/ Antoniego Edwarda/ Odyńca./ Tom Trzeci./ +Korsarz./ Niebo i Ziemia./ W Lipsku/ u Breitkopfa i +Haertela./ 1841./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 201.</p> + +<p><i>Note</i>.—The translation of the <i>Corsair</i>, with Notes, +is on pp. 1-112; of <i>Heaven and Earth</i>, pp. 116-201.</p> +</div> + +<h6>VII.</h6> + +<p><i>Poemata</i>. Z oryginału przełožył Ant. Zawadzki. (Żale +Tassa; Werner; Narzeczona z Abydos; Wyspa.) pp. 392. +<i>H. Skimborowicz: Warszawa</i>, 1846. [8º.</p> + +<h6>VIII.</h6> + +<p>Pięć Poematów/ Lorda Birona/ Przełožył/ Franciszek +Dzieržykraj Morawski./ Nakladem Autora./ Leszno./ +Drukiem Ernesta Günthera./ 1853./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 272.</p> + +<p><i>Note</i>.—The translations include <i>Manfred</i>; +<i>Mazeppa</i>; <i>The Siege, etc.</i>; +<i>Parisina</i>; and <i>The Prisoner, etc</i>.</p> +</div> + +<h6>IX.</h6> + +<p>KRUZER (Karol) Przekłady i rymy własne. 5 tom. +<i>druk. E. Skiwskiego: Warszawa</i>, 1876. [8º.</p> + +<div class="cocono"> +<p>Tom. 3. Parisina. Lara. Kain. Poezje ulotne.</p> + +<p>Tom. 4. Poezje ulotne Lorda Byrona.</p> +</div> + + +<h5>Portuguese.</h5> + +<p>Traducçōes/ Poeticas/ de/ Francisco José Pinheiro Guimarāes/ +Bacharel em sciencias sociaes e juridicas/ Childe<span class='pagenum'><a name="Page_167" id="Page_167">[167]</a></span> +Harold e Sardanapalo,/ De Lord Byron;/ O Roubo da +Madeixa, de Pope;/ Hernani, de Victor Hugo/ Rio de +Janeiro/ Typographia universal de Laemmert/ Rua dos +Invalidos, 61 B./ 1863./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 636.</p> + +<p><i>Note</i>.—The Title-page, a Dedication, and <i>O Sonho</i>, +an imitation of Byron's <i>Dream</i>, are unpaged. +The translations of <i>Childe Harold</i>, Cantos I.-IV., and +of <i>Sardanapalus</i>, are on pp. 1-424.</p> +</div> + + + +<h5>Roumanian.</h5> + +<p>Din Scrierile/ Loui/ Lord Byron/ 3 P<sup>t</sup>/ Tradduce/ de/ J. Eliad/ +Boukouresti/ In Tipographia loui Eliad/ 1834/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 74.</p> + +<p><i>Note</i>.—The Title-page, in old Roumanian character, has been +transliterated. The translations consist of <i>The Prisoner of +Chillon</i>, <i>The Lament of Tasso</i>, and <i>Beppo</i>. +The volume concludes with a Half-title, <i>The Vampire</i>.</p> +</div> + + +<h5>Spanish.</h5> + +<h6>I.</h6> + +<p>Odas/ A Napoleon,/ Por lord Byron./ Traduccion castellana./ +[Emblem—eagle flying to the sun.] Paris,/ +Libreria americana,/ Calle del Temple, Nº 69./ 1830./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 60.</p> + +<p><i>Note</i>.—The translations include the <i>Ode to Napoleon +Buonaparte</i>; <i>Napoleon's Farewell</i>; +<i>On the Star of "The Legion of Honour"</i>; +<i>From the French</i>; <i>Ode from the French</i>.</p> +</div> + +<h6>II.</h6> + +<p>Biblioteca Jané./ Poemas/ de Lord/ Byron,/ Con notas, +comentarios y aclaraciones/ Primera version española, +en vista de la ultima edicion/ Por Ricardo Canales./ +Lara.—El Sitio de Corinto.—Parisina.—Mazeppa./—La +Peregrinacion de Childe—Harold.—Las Lamentaciones/ +del Tasso.—Beppo./ Barcelona./ Jané Hermanos, +Editores./ Ronda de San Antonia, 58./ [?1876.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 352 + <i>Indice</i>, p. [353].</p> +</div> + +<p><span class='pagenum'><a name="Page_168" id="Page_168">[168]</a></span></p> + +<h6>III.</h6> + +<p>Cuatro poemas/ de/ Lord Byron/ Traducidos en verso +castellano/ Por/ Antonio Sellen/ Parisina.—El prisionero +de Chillon.—/ Los lamentos del Tasso.—La novia de +Abydos/ New York./ Imprenta y librería de N. Ponce +Leon, 40 y 42 Broadway/ 1877/ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xiii. + 15-111.</p> +</div> + +<h6>IV.</h6> + +<p>D. Juan/ El Hijo de Doña Inés/ Poema de/ Lord Byron/ +seguido de/ Las lamentaciones del Tasso/ del proprio +autor/ Version de/ J.A.R./ Ilustrada con dibujos à la +pluma/ Por R. Escaler/ Barcelona/ Administracion: +Nueva San Francisco, 11 y 13/ 1883/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 9-414 + <i>Indice</i>, p. [415].</p> + +<p><i>Note</i>.—Part of the "Biblioteca Amena é Instructiva."</p> +</div> + + +<h3><span class="smcap">Collections Of Dramas</span>.</h3> + +<h6>I.</h6> + +<p>Dramas/ By/ Lord Byron./ In Two Volumes./ Vol. I./ +London:/ John Murray, Albemarle Street./ 1837./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. 403.</p> + +<p>Vol. II.: pp. 391.</p> + +<p><i>Note</i>.—Vol. I. contains <i>Manfred</i>; <i>Marino Faliero</i>; +<i>Heaven and Earth</i>; <i>Sardanapalus</i>. +Vol. II. contains <i>The Two Foscari</i>; <i>Cain</i>; +<i>The Deformed Transformed</i>; <i>Werner</i>. +The Title-vignette +on the illustrated Title-page of Vol. I. is "Fall of the Staubach," +engraved by E. Finden, from a drawing by G. Bulmer from a +sketch by Mrs. Somerville. These volumes, together with the +<i>Miscellanies</i>, <i>Tales</i>, etc., were bound in green cloth, +with Lord +Byron's arms with supporters stamped in gold on one side.</p> +</div> + +<h6>II.</h6> + +<p>Dramas./ By Lord Byron./ In Two Volumes.—Vol. I./ +Containing/ Manfred./ Marino Faliero./ Heaven and +Earth./ Sardanapalus./ London:/ John Murray, Albemarle +Street./ 1853./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. 325. The Imprint (<i>Bradbury & Evans, Printers, +Whitefriars</i>.) is at the foot of p. 325.</p> + +<p><span class='pagenum'><a name="Page_169" id="Page_169">[169]</a></span> +Vol. II.: pp. 318. The Imprint (<i>London: Bradbury & Evans, +Printers, Whitefriars</i>.) is at the foot of p. 318.</p> + +<p><i>Note</i>.—Vol. II. contains <i>The Two Foscari</i>, +<i>Cain</i>, <i>The Deformed Transformed</i>, and <i>Werner</i>.</p> +</div> + + + +<h3><span class="smcap">Translations of Collections of Dramas</span>.</h3> + + +<h5>German.</h5> + +<p>Lord Byrons/ Dramatische Werke./ Deutsch/ von/ W. +Grüzmacher./ Manfred. Kain. Himmel und Erde. +Sardanapal./ Hildburghausen./ Verlag des Bibliographischen +Instituts./ 1870./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 323 + Inhalt, p. [324].</p> + +<p><i>Note</i>.—No. 112 of the "Bibliothek Ausländischer Klassiker."</p> +</div> + + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p>Marino Faliero/ E/ I Due Foscari/ Tragedie/ di/ Lord G. +Byron/ Versione dall' originale inglese/ del/ P. G. B. +Cereseto/ Delle scuole pie./ Savona 1845./ Presso +Luigi Sambolino/ Editore-librajo./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 304.</p> +</div> + +<h6>II.</h6> + +<p>Tragedie/ di/ Giorgio Lord Byron/ Traduzione/ del/ Cav. +Andrea Maffei./ Sardanapalo.—Marino Faliero./ I Due +Foscari./ Firenze./ Felice Le Monnier./ 1862./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 493 + Indice, p. [495].</p> +</div> + + +<h5>Spanish.</h5> + +<p>Poemas dramáticos/ De Lord Byron/ Caín.—Sardanápalo.—Manfredo./ +Traducidos en verso castellano/ Por +D. José Alcalá Galiano/ con una carta prólogo de/ D. +Marcellino Menéndez y Pelayo/ Madrid/ Imprenta de +A. Pérez Dubrull/ Flor Baja, núm. 22./ 1886./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxxvi. + 382.</p> + +<p><i>Note</i>.—Vol. 45 of the "Coleccion de Escritores Castellanos."</p> +</div> + +<p><span class='pagenum'><a name="Page_170" id="Page_170">[170]</a></span></p> + +<h3><span class="smcap">Poems, Dramas, and Collections Of Poems</span>.</h3> + +<h4>The Age of Bronze.</h4> + +<p>The/ Age of Bronze;/ or,/ Carmen Seculare et Annus Haud +Mirabilis./ "Impar <i>Congressus</i> Achilli."/ London, 1823:/ +Printed for John Hunt,/ 22, Old Bond street./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>London: Printed by C. H. Reynell, Broad +Street, Golden Square</i>./), pp. 1, 2; Title, one leaf, pp. 3, 4; +Text, pp. 5-36. The Imprint (<i>London:/ C. H. Reynell, Printer, +45, Broad-Street, Golden-Square</i>.) is at the foot of p. 36.</p> + +<p><i>Note</i>.—The Second and Third Editions are identical with the +First, save that in the Third Edition the Imprint at the foot of p. 36 +runs thus: <i>London:/ Printed by C. H. Reynell, Broad Street, +Golden-Square</i>. +A page of advertisements ("<i>Works about to be published +by</i> Mr. John Hunt, 22, <i>Old Bond Street</i>") follows p. 36 in the +Second Edition. The <i>Age of Bronze</i> was reissued by John Hunt +in 1825 and in 1830 (the Miscellaneous Works, Part II. pp. 1-35), +and by (?) W. Dugdale, 1824, together with other poems; and, +in France, by A. and W. Galignani, Paris, 1823 (12º.), but was +not included in any of John Murray's Collected Editions till 1831.</p> +</div> + + +<h4>Beppo.</h4> + +<h6>I.</h6> + +<p>Beppo,/ A Venetian Story./ <span class="smcap">Rosalind</span>. Farewell, Monsieur +Traveller: Look, you lisp, and wear/ Strange suits; +disable all the benefits of your own country; be out +of love/ with your Nativity, and almost chide God for +making you that countenance/ you are; or I will scarce +think that you have swam in a <span class="smcap">Gondola</span>./ <span class="smcap">As You Like +It</span>, Act iv. Sc. 1./ <i>Annotation of the Commentators</i>./ +That is, been at <i>Venice</i>, which was much visited by the +young English/ gentlemen of those times, and was then +what <i>Paris</i> is <i>now</i>—the seat of all dissoluteness. S.A./ +Second Edition./ London:/ John Murray, Albemarle-Street./ +1818./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 49. The Imprint (<i>T. Davison, Lombard-Street, Whitefriars, +London</i>./) is at the foot of the Reverse of the Half-title.</p> + +<p><i>Note</i> (1).—The Text numbers 95 stanzas.</p> + +<p><i>Note</i> (2).—"Beppo, a Venetian Story. [Quotation.] London: +<i>John Murray, Albemarle Street</i>. 1818. 8vo. Pp. 49" (the +First Edition), is included in the catalogue of the <i>Rowfant Library</i>, +1886, p. 146.</p> +</div> + +<p><span class='pagenum'><a name="Page_171" id="Page_171">[171]</a></span></p> + +<h6>II.</h6> + +<p>Beppo,/ A Venetian Story./ By Lord Byron./ [Motto, nine +lines, as above.] Fifth Edition./ London:/ John Murray, +Albemarle-Street./ 1818./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 51. The Imprint, as above, is at the foot of p. 51. The +Imprint (<i>T. Davison, Lombard-Street, Whitefriars</i>./) is at the foot +of the Reverse of the Half-title.</p> + +<p><i>Note</i>.—The Text numbers 99 stanzas. Byron sent four additional +stanzas, viz. stanzas xxviii., xxxviii., xxxix., lxxx., to +Murray <i>circ.</i> March 9, 1818. A Second Edition of Beppo, <i>vide +supra</i>, was published March 12, 1818, and the fifth, May 30, +1818. The intervening editions, third and fourth, were not +advertised in the <i>Morning Chronicle</i>, <i>Morning Post</i>, +<i>Courier</i>, and, +in the absence of direct evidence, it may be conjectured that the +additional stanzas first appeared in the Fifth Edition. A Sixth +Edition, and a Seventh Edition identical with the Fifth Edition, +were issued in 1818.</p> +</div> + +<h6>III.</h6> + +<p><i>Beppo; a Venetian Story</i>. Boston. 1818. [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 36.</p> +</div> + +<h6>IV.</h6> + +<p><i>Beppo, A Venetian Story</i>. Paris, A. and W. Galignani. +1821. [12º.</p> + +<p class="auth">[Quérard, 1827.]</p> + + +<h4>Translations of Beppo.</h4> + +<h5>Dutch.</h5> + +<p>Vertalingen/ En/ Navolgingen/ In Poezy/ door/ Mr. J. Van +Lennep./ [Motto, seven lines.] Te Amsterdam, bij/ P. Meljer +Warnars./ 1834./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Beppo,/ Eine Venetiansche/ Vertelling./ Naar het Engelsch/ +van/ Lord Byron./ pp. 119-159.</p> + +<p><i>Note</i>.—The Title-vignette is the Muse of Poetry with Cupids +and scrolls labelled Walter Scott, Moore, Byron, and Shakespeare.</p> +</div> + + +<h5>French.</h5> + +<p>S. Clogenson/ Beppo/ Poëme/ de Byron/ Traduit en vers +français, avec texte anglais en regard/ Paris,/ Michel<span class='pagenum'><a name="Page_172" id="Page_172">[172]</a></span> +Lévy frères, libraires éditeurs/ Rue Vivienne, 2 bis, et +boulevard des Italiens, 15/ à la librairie-nouvelle./ 1865./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 159 + Notes, pp. [161, 162].</p> +</div> + + +<h5>Russian.</h5> + +<p><span title='Beppo ... per. D. Minaeva'>Беппо ... пер. Д. Минаева.</span> +["<span title='Sovremennik"'>Современникъ</span>," 1863. No. 8.]</p> + + +<h5>Spanish.</h5> + +<p><i>Beppo, novela veneciana</i>, por L.B. traduccion castellana. +Paris, 1830. [8º.</p> + +<p class="auth">[<i>Le Moniteur</i>, etc., 1845.]</p> + + +<h5>Swedish.</h5> + +<p>Beppo,/ En Venetiansk Historia/ AF/ Lord Byron./ Af +Lord Byron./ Öfversättning/ Af/ Talis Qualis./ Stockholm,/ +J. L. Brudins Förlag./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 48. (A Preliminary Note, <i>n.p.</i>, on fly-leaf.)</p> + +<p><i>Note</i>.—Part (No. 5) of "Byron's Poetiska Berättelser," 1853, etc.</p> +</div> + + +<h4>Bride of Abydos.</h4> + +<h6>I.</h6> + +<p>The/ Bride of Abydos./ A Turkish Tale./ By Lord Byron./ +Had we never loved so kindly,/ Had we never loved so +blindly,/ Never met or never parted,/ We had ne'er been +broken-hearted./ Burns./ London/ <i>Printed by T. Davison, +Whitefriars</i>, For John Murray, Albemarle-Street./ 1813./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf; Dedication, one leaf; Text, pp. 1-60; Notes, +pp. 61-72. The Imprint (<i>T. Davison, Lombard Street,/ +Whitefriars, London/</i>) is at the foot of p. 72.</p> + +<p><i>Note</i>.—Canto I. numbers 483 lines; Canto II., 724 lines +(<i>not</i>, as numbered, 722 lines, line 492 being numbered 490).</p> +</div> + +<h6>II.</h6> + +<p>The/ Bride of Abydos./ A Turkish Tale./ By Lord Byron./ +[Motto, five lines, as above.] Second Edition./ London:/ +<i>Printed by T. Davison, Whitefriars,/</i> For John Murray, +Albemarle-Street./ 1813./ [8º.</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_173" id="Page_173">[173]</a></span><i>Collation</i>—</p> + +<p><i>Vide supra</i>.</p> + +<p><i>Note</i>.—Canto II. numbers 730 lines (not, as numbered, 724). +On p. 45, after line 401, six additional lines ("Blest as the +Muezzin's, ... long-loved voice endears") are inserted; but +line 414 is numbered 410, and the wrong enumeration of the +First Edition is repeated. A Third Edition is identical with +the Second.</p> +</div> + +<h6>III.</h6> + +<p>The/ Bride of Abydos,/ etc. Fourth Edition,/ etc. 1813./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p><i>Vide supra</i>.</p> + +<p><i>Note</i>.—Canto II. numbers 732 lines. The additions in the +Fourth Edition are lines 662, 663 (p. 157), "Hark—— to the +hurried," etc. The enumeration of the lines is correct. A Fifth +Edition is identical with the Fourth.</p> +</div> + +<h6>IV.</h6> + +<p>The/ Bride of Abydos,/ etc. Sixth Edition,/ etc. 1814./ [8º.</p> + +<div class="cocono"> +<p>This edition is identical with the Second and Third Editions. +Lines 622, 623 are omitted. Seventh, Eighth, and Tenth Editions, +issued in 1814, are identical with the Fourth. An Eleventh +Edition was issued in 1815.</p> +</div> + +<h6>V.</h6> + +<p>The Bride of Abydos./ A Turkish Tale./ By Lord Byron./ +Had we never loved so kindly,/ Had we never loved so +blindly,/ Never met or never parted,/ We had ne'er been +broken-hearted./ Burns./ Philadelphia:/ Published by +Moses Thomas,/ No. 52 Chestnut-Street./ William Fry, +Printer./ 1814./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 72.</p> +</div> + +<h6>VI.</h6> + +<p>The Bride of Abydos:/ A Turkish Tale,/ By Lord Byron./ +[Motto.] [London, 1844.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 1-39.</p> + +<p><i>Note</i>.—Part of "Clarke's Home Library."</p> +</div> +<p><span class='pagenum'><a name="Page_174" id="Page_174">[174]</a></span></p> + +<h4>Translations of Bride of Abydos.</h4> + + +<h5>Bohemian.</h5> + +<p>Lorda Byrona/ Nevěsta z Abydu./ Pověst turecká./ Z anglického +prěložil/ Josef V. Frič./ V Praze./ Tisk a náklad +Jaroslava Pospíšila./ 1854./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 66.</p> +</div> + + +<h5>Bulgarian.</h5> + +<p><span title='Abidonska Neviesta, pobolgaril" N.D. Katramov".'>Абидонска Невѣста, поболгарилъ Н.Д. Катрамов'</span> +<span title='Moskva'>Москва</span>, 1850.</p> + + +<h5>Dutch.</h5> + +<p>De/ Abydeensche/ Verloofde./ Uit het Engelsch van/ Lord +Bijron/ door/ Mr. J. Van Lennep./ Te Amsterdam, bij/ +P. Meijer Warnars./ 1826./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. iv. + 67.</p> + +<p><i>Note</i>.—The Title-vignette represents a pillar with skull and +cross-bones struck by lightning. The "ghastly-turbaned head" +(line 1208) hovers above. There is a Half-title, with Motto and +Transl., on the Reverse.</p> +</div> + + +<h5>French.</h5> + +<h6>I.</h6> + +<p><i>Zuleika et Selim, on la vierge d'Abydos</i>: par lord Byron: +trad, de l'anglais par Léon Thiessé; et suivi de notes augmentées +du <i>Fare Thee Well</i>, et autres morceaux du même +auteur. A Paris, chez Plancher. 1816. [12º.</p> + +<p class="auth">[<i>B. de la France</i>, Oct. 5, 1816.]</p> + +<h6>II.</h6> + +<p><i>La Fiancée d'Abydos</i>, poëme en 11 chants, avec des notes; +imité de l'angl. par Aug. Clavareau, Gand, Houdin. 1823. [8º.</p> + +<p class="auth">[Quérard, 1827.]</p> + + +<h5>German.</h5> + +<h6>I.</h6> + +<p><i>Die Braut von Abydos</i>. Deutsch. v. Dr. J. v. Adrian. Frankfurt-a-M., +Sauerländer. 1819. [8º.</p> + +<p class="auth">[<i>Centralblatt</i>, 1890, vii. 456.]</p> + +<p><span class='pagenum'><a name="Page_175" id="Page_175">[175]</a></span></p> + +<h6>II.</h6> + +<p><i>Die Braut von Abydos</i>, eine türkische Sage. Getreu in's +Deutsche übers. u. seinen Schülern gewidmet von Finck +de Bailleul. Landau. 1843. [8º.</p> + +<p class="auth">[Kayser, 1848.]</p> + +<h6>III.</h6> + +<p><i>Die Braut von Abydos</i>. Aus der engl. in freie, deutsche +Dichtg. übertrag. von Frdr. Kley. Halle, Schmidt. 1884. [8º.</p> + +<p class="auth">[Kayser, 1887.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 62.</p> +</div> + + +<h5>Hungarian.</h5> + +<p><i>Az abydoszi ara</i>. [<i>The Bride of Abydos</i>, transl. by Tercsi.] +Hangok a multból és Byrontol énekek. pp. 25-66. B'pest. 1884.</p> + +<p class="auth">[<i>Egyetemes Philologiai Közlöny</i>, 1901, xxv. 227.]</p> + + +<h5>Italian.</h5> + +<p><i>La fidanzata d'Abido</i>. Traduzione di Giov. Giovio. Milano, +Guglielmini. 1854. [8º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + + +<h5>Polish.</h5> + +<p><i>Dziewica z Abydos, poema</i>. Prezkt. Wł. hr. Ostrowskiego. +Warszawa, Glücksberg. 1818. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 94.</p> +</div> + + +<h5>Russian.</h5> + +<h6>I.</h6> + +<p><span title='Abidosskaya Neviesta. Turetskaya poviest". M. Kachenovskiĭ.'>Абидосская НевѢста. Турецкая повѢстъ М. Каченовскій.</span> +<span title='Vyibor" iz" sochineniye lorda Bairona.'>Выборъ изъ сочиненій лорда Байрона.</span> 1821.</p> + +<div class="cocono"> +<p><i>Note</i>.—<i>Bride of Abydos</i>, pp. 177-255.</p> +</div> + +<h6>II.</h6> + +<p><span title='Neviesta Abidosskaya. Turetskaya poviest" lorda Bairona.'>Невѣста Абидосская. Турецкая повѢстъ лорда Байрона.</span> +<span title='Perevel" s" angliyeskago Ivan" Kozlov".'>Перевелъ съ англійскаго Иванъ Коэловъ.</span></p> + +<div class="cocono"> +<p>pp. i.-x. 1-92. +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1826. 8º.</p> +</div> + +<p>Second Edition +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1831. 16º.</p> + +<p><span class='pagenum'><a name="Page_176" id="Page_176">[176]</a></span></p><h6>III.</h6> + +<p><span title='Abidosskaya Neviesta ... Perediellana ... M. Politkovskoye.'>Абидосская Невѣста ... Передѣлана ... М. Политковской</span> +<span title='Moskva'>Москва</span>, 1859.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 1-57.</p> +</div> + + +<h5>Swedish.</h5> + +<p>Bruden Från Abydos,/ En Turkisk Berättelse/ Af/ Lord +Byron./ Öfversättning./ Stockholm,/ J. L. Brudins Förlag./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 72.</p> + +<p><i>Note</i>.—No. 7 of "Byron's Poetiska Berättelser," 1853, etc.</p> +</div> + + +<h4>Cain.</h4> + +<div class="cocono"> +<p>[<i>Note</i>.—<i>Cain, A Mystery</i> was published by John Murray, +together with <i>Sardanapalus, A Tragedy</i>, and <i>The Two Foscari, +A Tragedy</i>, Dec. 21, 1821; <i>vide post, Sardanapalus, A Tragedy</i>, +<a href="#Page_293">No. i.</a> (p. 293).]</p> +</div> + +<h6>I.</h6> + +<p>Cain;/ A Mystery./ By the author of Don Juan./ "Now +the Serpent was more subtil than any beast of/ the field +which the Lord God had made."/ Gen. iii. I./ London:/ +<i>Printed for the Booksellers</i>,/ By W. Benbow, Castle-Street, +Leicester-Square./ 1822./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vii. + 8-93.</p> +</div> + +<h6>II.</h6> + +<p>Cain;/ A Mystery./ By Lord Byron./ To which is added/ +a Letter from the Author/ To/ Mr Murray, the original +Publisher./ "Now the Serpent was more subtil than any +Beast of the Field which the Lord/ God had made."/ +Gen. iii. I./ Second Edition./ London:/ Printed and +Published by R. Carlile, 55, Fleet Street./ 1822./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. iv. + 5-23 + Letter, etc., p. [24].</p> +</div> + +<h6>III.</h6> + +<p>Cain;/ A Mystery./ By Lord Byron./ "Now the Serpent +was more subtil than any beast of the/ field which the +Lord God had made."/ Gen. iii. I./ London:/ Printed +for the Booksellers,/ <i>By H. Gray, No. 2, Barbican.</i>/ 1822./ +[12º. +<span class='pagenum'><a name="Page_177" id="Page_177">[177]</a></span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vii. + 8-72.</p> +</div> + +<h6>IV.</h6> + +<p><i>Cain, A Mystery</i>. New York. 1822. [24.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 100.</p> +</div> + +<h6>V.</h6> + +<p><i>Cain, a Mystery</i>. Paris, A. and W. Galignani. 1822. [12º.</p> + +<p class="auth">[Quérard, 1827.]</p> + +<h6>VI.</h6> + +<p>Cain,/ A Mystery./ By Lord Byron./ "Now the Serpent +was more subtil than any beast of the/ field which the +Lord God had made."/ Gen. iii. I./ London:/ Printed +for the Booksellers,/ Published by W. Benbow, 252, High +Holborn./ 1824./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vii. + 8-85.</p> +</div> + +<h6>VII.</h6> + +<p>Lord Byron's/ Cain, A Mystery:/ with/ Notes:/ Wherein +the/ Religion of the Bible/ Is considered, in reference to +acknowledged/ Philosophy and Reason./ By Harding +Grant;/ <i>Author of "Chancery Practice."</i>/ "Judge Righteous +Judgment,"/ "Prove all things."/ "Justify the ways of +God."/ London:/ William Crofts, 19, Chancery Lane./ +1830./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xvi. + 432.</p> +</div> + +<h6>VIII.</h6> + +<p>Cain;/ A Mystery./ By Lord Byron./ "Now the Serpent +was more subtil than any beast of the field/ which the +Lord God had made."—Gen. iii. I./ To which is added/ +A Letter from the Author/ To/ Mr. Murray, the original +Publisher./ London:/ J. Watson, 33, Windmill Street,/ +Finsbury./ 1832./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. iv. + 5-47 + Letter, etc., p. [48].</p> +</div> + +<p><span class='pagenum'><a name="Page_178" id="Page_178">[178]</a></span></p> + +<h6>IX.</h6> + +<p><i>Cain, a Mystery</i>. Breslau, Kern. 1840. [16º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>X.</h6> + +<p>Cain./ By/ Lord Byron./ "I tread on air, and sink not; +yet I fear to sink."/ New and Complete +Edition.—Price +One Penny./ London: J. Dicks, 313, Strand; and all +Booksellers./ New York Samuel French & Son, 122, +Nassau Street—Sole Agents./ 1883, etc./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 143-160.</p> + +<p><i>Note</i>.—No. 203 of "Dicks' Standard Plays."</p> +</div> + + + +<h4>Translations of Cain.</h4> + + +<h5>Bohemian.</h5> + +<p>Kain/ Dramatická Báseň/ Lorda Byrona/ Prěložil/ Jose Durdík/ +V Praze/ Tisk a náklad dra. Ed. Grégra/ 1871/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 117.</p> +</div> + + +<h5>French.</h5> + +<p>Caïn,/ Mystère dramatique/ En trois actes,/ De Lord +Byron,/ Traduit en vers français,/ Et réfuté dans une +suite de remarques philosophiques/ et critiques;/ Précédé/ +d'une lettre adressée à Lord Byron, sur les motifs/ +et le but de cet ouvrage,/ Par Fabre d'Olivet./ à Paris,/ +Chez Servier, libraire,/ rue de L'Oratoire, No. 6./ 1823./ +[8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 248 + p. [249], Table (R. "Fautes à corriger").</p> +</div> + + +<h5>German.</h5> + +<h6>I.</h6> + +<p><i>Cain, ein Mysterium</i>. Deutsch v. G. Parthey. Berlin, +Nicola'ische Buchh. 1831. [12º.</p> + +<p class="auth">[<i>Centralblatt</i>, vii. 468.]</p> + +<h6>II.</h6> + +<p><i>Cain. Ein Mysterium</i>. Von Lord Byron. Frei übers. v. +Adf. Seubert. Leipzig. 1871-1876.</p> + +<p class="auth">[Kayser, 1877.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 70.</p> + +<p><i>Note</i>.—No. 779 of <i>Universal Bibliothek</i>.</p> +</div> + +<p><span class='pagenum'><a name="Page_179" id="Page_179">[179]</a></span></p> + +<h5>Hebrew.</h5> + +<p style="text-align:right;"> +<span title="Kine, shir-chizayon al-pi kitvey hakodesh / me'et / Lord Byron / tirgem me'anglit">קין, שיר-חזיון על-פי כתבי הקדש/מאת/לורד בירון/תרגם מאנגלית </span> +<br /> +<span title="le'ivrit / David Frishman / Varsha TR''S">לעברית/דוד פרישמן/ווארשא תר"ס </span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xl. + 44.</p> +</div> + + +<h5>Hungarian.</h5> + +<h6>I.</h6> + +<p><i>Kain</i>. [<i>Cain</i>, transl. by Ilona Györy.] Franklin-Társulat +1895.</p> + +<p class="auth">[<i>Eg. Phil. Köz</i>., 1901, xxv. 222.]</p> + +<h6>II.</h6> + +<p><i>Kain</i>. [<i>Cain</i>, transl. by Lajos Mikes.] (<i>Magyar Könyvtár</i>, +p. 128.) B'pest, Lampel. 1898.</p> + +<p class="auth">[<i>Eg. Phil. Köz</i>., 1901, xxv. 224.]</p> + + +<h5>International Language.</h5> + +<p>Kain./ Mistero/ de/ Lord Byron/ (Bajron)./ Tradukis A. +Kofman./ Nurnbergo./ Presejo de W. Tümmel./ 1896./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. ix. + 102.</p> +</div> + + +<h5>Italian.</h5> + + +<p><i>Caino: mistero</i>, tradotto da Andrea Maffei. Milano, Pirola. +1852-6. [8º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + + +<h5>Polish.</h5> + +<p>Kain./ Poemat Dramatyczny/ Lorda Bajrona/ W trzech +aktach/ przełożyl/ Adam Pajgert./ A waż był chytrzejszy +nad wszystkie/ zwierzęta polne, które uczynił Pan Bóg./ +Genezis R. III. w. I./ Lwów/ Nakładem Wydawnictwa +Dziennika Literackiego./ 1868./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 125.</p> +</div> + + +<h5>Russian.</h5> + +<h6>I.</h6> + +<p><span title='Kain" ... Perevod" Efrena barysheva.'>Каинъ ... Переводъ Ефрена Барышева.</span> +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1881.</p> + +<p><span class='pagenum'><a name="Page_180" id="Page_180">[180]</a></span></p> +<h6>II.</h6> + +<p><span title='Kain" ... Perevod" P.A. Kalenova. Moskva'>Каинъ ... Переводъ П.А. Каленова. Москва</span>, 1883.</p> + +<h4>Childe Harold's Pilgrimage.</h4> + +<h6>I.</h6> + +<p>Childe Harold's Pilgrimage./ A Romaunt./ By/ Lord +Byron./ L'univers est une espèce de livre, dont on n'a lu +que la première page quand on n'a vu que son pays./ J'en ai +feuilleté un assez grand nombre, que j'ai trouvé également +mauvaises. Cet examen ne m'a point/ été infructueux. +Je haïssais ma patrie. Toutes les impertinences des +peuples divers, parmi lesquels j'ai vécu,/ m'ont réconcilié +avec elle. Quand je n'aurais tiré d'autre bénéfice de mes +voyages que celui-là, je n'en re/gretterais ni les frais, ni les +fatigues./ <i>Le Cosmopolite</i>./ London:/ Printed for John +Murray, 32, Fleet-Street;/ William Blackwood, Edinburgh; +and John Cumming, Dublin./ <i>By Thomas +Davison, White-Friars./</i> 1812./ [4º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one page, pp. i., ii.; Preface, pp. iii.-vi.; Cont. +(<i>Errata</i> on Reverse); Sec. Half-title, pp. 1, 2; Text, pp. 3-226 ++ two pages of publisher's advertisements, pp. [227, 228]. The +Imprint (<i>T. Davison, Lombard Street,/ Whitefriars, London./</i>) is +at the foot of p. [228].</p> + + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Childe Harold's Pilgrimage, Canto I</td><td class="pn">p. 1</td></tr> +<tr><td>Childe Harold's Pilgrimage, Canto II</td><td>p. 59</td></tr> +<tr><td>Notes to Canto I</td><td>p. 111</td></tr> +<tr><td>Notes to Canto II</td><td>p. 119</td></tr> +<tr><td>Poems—</td><td> </td></tr> +<tr><td>I. Written in an Album</td><td>p. 165</td></tr> +<tr><td>II. To...</td><td>p. 166</td></tr> +<tr><td>III. Stanzas</td><td>p. 169</td></tr> +<tr><td>IV. Stanzas</td><td>p. 171</td></tr> +<tr><td>V. Written at Athens</td><td>p. 177</td></tr> +<tr><td>VI. Written after Swimming, etc.</td><td>p. 178</td></tr> +<tr><td>VII. Song</td><td>p. 181</td></tr> +<tr><td>VIII. Translation of a Greek War Song</td><td>p. 183</td></tr> +<tr><td>IX. Translation of a Romaic Song</td><td>p. 186</td></tr> +<tr><td>X. Written Beneath a Picture</td><td>p. 189</td></tr> +<tr><td>XI. On Parting</td><td>p. 190</td></tr> +<tr><td>XII. To Thyrza</td><td>p. 192</td></tr> +<tr><td>XIII. Stanzas</td><td>p. 195</td></tr> +<tr><td>XIV. To Thyrza</td><td>p. 197</td></tr> +<tr><td>Appendix—</td><td> </td></tr> +<tr><td>Romaic Books and Authors</td><td>p. 203</td></tr> +<tr><td>Specimens of the Romaic</td><td>p. 207</td></tr> +<tr><td>Fac Simile of a Romaic Letter [inserted between Cont. and Half-title]</td><td> </td></tr> +</table> +</div> + +<p><span class='pagenum'><a name="Page_181" id="Page_181">[181]</a></span></p> + +<h6>II.</h6> + +<p>Childe Harold's Pilgrimage./ A Romaunt./ By/ Lord +Byron./ [Motto from <i>Le Cosmopolite</i>, seven lines.] The +Second Edition./ London:/ Printed for John Murray, +Fleet Street;/ William Blackwood, Edinburgh; and John +Cumming,/ Dublin./ <i>By Thomas Davison, White-Friars.</i>/ +1812./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title; Title, one leaf; Preface; Cont., pp. i.-xii.; Note +on the Errors in the Inscriptions at Orchomenus, <i>n.p.</i>; Text, +pp. 1-300. The Imprint (<i>T. Davison</i>,/ <i>Lombard Street, Whitefriars, +London</i>./) is at the foot of p. 300.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Childe Harold's Pilgrimage, Cantos I. (93 stanzas), II. (88 stanzas) (N.)</td><td class="pn">pp. 3-201</td></tr> +<tr><td><i>Poems</i> (as in First Ed., Nos. I.-XIV.)</td><td>pp. 205-237</td></tr> +<tr><td>XV. Euthanasia</td><td>p. 241</td></tr> +<tr><td>XVI. Stanzas ("And thou art dead," etc.)</td><td>p. 244</td></tr> +<tr><td>XVII. Stanzas ("If sometimes," etc.)</td><td>p. 249</td></tr> +<tr><td>XVIII. On a Cornelian Heart, etc.</td><td>p. 252</td></tr> +<tr><td>XIX. To a Youthful Friend</td><td>p. 253</td></tr> +<tr><td>XX. To —— ("Well! thou art happy")</td><td>p. 260</td></tr> +<tr><td>Appendix</td><td>p. 267</td></tr> +<tr><td>Specimens of the Romaic</td><td>p. 273</td></tr> +<tr><td>Fac Simile of a Romaic Letter</td><td>[inserted between Half-title and Title]</td></tr> +</table> +</div> + +<h6>III.</h6> + +<p>Childe Harold's Pilgrimage,/ A Romaunt: and/ Other +Poems./ By/ Lord Byron./ [Motto from <i>Le Cosmopolite</i>, +six lines.] Third Edition./ London: <i>Printed by T. +Davison, Whitefriars.</i>/ For John Murray, Fleet Street;/ +W. Blackwood, Edinburgh; and J. Cumming, Dublin./ +1812./ [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—Collation and Cont. are identical with those of the +Second Edition. The Note on the Errors in the Inscriptions at +Orchomenus is omitted. The Fac Simile of a Romaic Letter is +inserted at the end of the volume, after p. 300.</p> +</div> + +<h6>IV.</h6> + +<p>Childe Harold's Pilgrimage,/ a Romaunt:/ and/ Other +Poems./ By Lord Byron./ [Motto from <i>Le Cosmopolite</i>, +six lines.] Fourth Edition./ London:/ <i>Printed by T. +Davison, Whitefriars</i>,/ For John Murray, Fleet Street;/ +William Blackwood, and J. Ballantyne and Co. Edin-/ +Burgh; and J. Cumming, Dublin./ 1812./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. iii., iv.; Preface, pp. v.-ix.; Addition to +the Preface, pp. ix.-xii.; Cont., pp. xi., xii. (<i>sic</i>); +Text, pp. 1-300.<span class='pagenum'><a name="Page_182" id="Page_182">[182]</a></span> +The Imprint is at the foot of p. 300.</p> + +<p><i>Note</i>.—The Cont. are identical with those of the Second +Edition. The Fac Simile of the Romaic Letter is inserted at the +beginning of the volume (in a bound copy between pp. 184, 185).</p> +</div> + +<h6>V.</h6> + +<p>Childe Harold's Pilgrimage,/ A Romaunt:/ and/ Other +Poems./ By/ Lord Byron./ [Motto from <i>Le Cosmopolite</i>, +six lines.] Fifth Edition./ London:/ <i>Printed by T. +Davison, Whitefriars</i>,/ For John Murray, (<i>removed to</i>) +Albemarle-Street;/ William Blackwood, Edinburgh; and +J. Cumming,/ Dublin./ 1812./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, pp. iii., iv.; Title, one leaf, pp. v., vi.; Preface, +pp. vii.-xi.; Addition to the Preface, pp. xi.-xiv.; Cont., pp. xv.-xvi.; +Text, pp. 1-300. The Imprint is at the foot of p. 300.</p> + +<p><i>Note</i>.—The Cont. are identical with those of the Second +Edition; but the Fac Simile of the Romaic Letter is not mentioned +in the Table of Cont. nor inserted in the volume.</p> +</div> + +<h6>VI.</h6> + +<p>Childe Harold's Pilgrimage,/ A Romaunt:/ and/ Other +Poems./ By Lord Byron./ [Motto—<i>Le Cosmopolite</i>.] +The First American Edition./ Philadelphia:/ Published +by Moses Thomas,/ No. 52, Chestnut-Street./ William +Fry, Printer. 1812./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 179.</p> + +<p><i>Note</i>.—"For sale in Philadelphia, by the publisher, M. Carey, +and Bradford and Inskip; in New York, by Inskip and Bradford, +and J. Eastburn; in Boston, by Munroe and Francis, and +West and Blake; and in Baltimore, by F. Lucas, Junr. William +Fry, Printer. 1812."</p> +</div> + +<h6>VII.</h6> + +<p>Childe Harold's Pilgrimage,/ A Romaunt:/ And/ Other +Poems./ By/ Lord Byron./ [Motto from <i>Le Cosmopolite</i>, +six lines.] The Sixth Edition./ London:/ <i>Printed by +T. Davison, Whitefriars</i>,/ For John Murray, Bookseller +to the Admiralty,/ And to the Board of Longitude,/ 50, +Albemarle-Street./ 1813./ [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—The Collation and Cont. are identical with those of the +Fifth Edition; but in the Table of Cont. the words "Fac Simile +of a Romaic Letter" occur as in the Fourth Edition; but in the +copy belonging to the British Museum the letter is not inserted. +In the Sixth Edition the words <i>Childe Harold's Pilgrimage</i> are +printed in Roman type, and the words <i>A Romaunt</i> in Gothic +type, whereas in all other editions <i>Childe</i>, etc., is in Gothic, and +<i>A Romaunt</i> in Roman type. +<span class='pagenum'><a name="Page_183" id="Page_183">[183]</a></span></p> +</div> + +<h6>VIII.</h6> + +<p>Childe Harold's Pilgrimage,/ A Romaunt:/ And/ Other +Poems./ By/ Lord Byron./ [Motto from <i>Le Cosmopolite</i>, +six lines.] Seventh Edition./ London:/ <i>Printed by +Thomas Davison, Whitefriars</i>,/ For John Murray, +Albemarle-Street,/1814./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title; Title, one leaf; Preface, etc.; Cent., pp. iii.-xvi.; +Text, pp. 1-296. The Imprint (<i>T. Davison, Lombard-Street,/ +Whitefriars, London</i>./) is at the foot of p. 296. The Fac Simile of +the Romaic Letter is inserted between pp. 294, 295.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>To Ianthe</td><td>p. 3</td></tr> +<tr><td>Childe Harold's, etc., Canto I. (93 stanzas)</td><td class="pn">p. 6</td></tr> +<tr><td>Childe Harold's, etc., Canto II. (98 stanzas)</td><td>p. 65</td></tr> +<tr><td>Notes to Canto I.</td><td>p. 121</td></tr> +<tr><td>Notes to Canto II.</td><td>p. 125</td></tr> +<tr><td>Poems—</td><td> </td></tr> +<tr><td>Nos. I.-XX. as in Eds. II.-VI.</td><td>p. 191</td></tr> +<tr><td>XXI. From the Portuguese</td><td>p. 245</td></tr> +<tr><td>XXII. Impromptu in Reply to a Friend</td><td>p. 246</td></tr> +<tr><td>XXIII. Address to Drury-Lane Theatre</td><td>p. 246</td></tr> +<tr><td>XXIV. To Time</td><td>p. 250</td></tr> +<tr><td>XXV. Translation of a Romaic Love Song</td><td>p. 252</td></tr> +<tr><td>XXVI. A Song ("Thou art not false," etc.)</td><td>p. 255</td></tr> +<tr><td>XXVII. Origin of Love</td><td>p. 257</td></tr> +<tr><td>XXVIII. Remember him</td><td>p. 257</td></tr> +<tr><td>XXIX. Lines inscribed upon a Cup formed from a Skull</td><td>p. 261</td></tr> +<tr><td>Romaic Books and Authors</td><td>p. 264</td></tr> +<tr><td>Specimen of the Romaic</td><td>p. 271</td></tr> +</table> +</div> + +<h6>IX.</h6> + +<p>Childe Harold's Pilgrimage,/ A Romaunt:/ And/ Other +Poems./ By/ Lord Byron./ [Motto from <i>Le Cosmopolite</i>, +five lines.] Eighth Edition./ London:/ Printed for John +Murray, Albemarle-Street:/ <i>By Thomas Davison, +Whitefriars</i>./ 1814./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>— +Title, one leaf, pp. i., ii.; Preface, pp. iii.-vii.; Addition to the +Preface, pp. vii.-x; Cont., pp. xi., xii.; Text, pp. 1-296.</p> + +<p><i>Note</i>.—The Cont. are identical with those of the Seventh +Edition.</p> +</div> + +<p><span class='pagenum'><a name="Page_184" id="Page_184">[184]</a></span></p> + +<h6>X.</h6> + +<p>Childe Harold's Pilgrimage,/ A Romaunt:/ And/ Other +Poems./ By/ Lord Byron./ [Motto from <i>Le Cosmopolite</i>, +five lines.] Tenth Edition./ London:/ Printed for John +Murray; Albemarle-Street,/ 1815./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>— +Title (R. <i>T. Davison, Lombard street/ Whitefriars, London./</i>), +pp. i., ii.; Preface, pp. iii.-vii.; Addition to the Preface, pp. +vii.-x.; Cont., pp. xi., xii.; Text, pp. 1-302. The Imprint +(<i>T. Davison, Lombard-Street, /Whitefriars, London.</i>/) is in the +centre of p. [304].</p> + +<p><i>Note</i>.—The Cont. are identical with those of the Seventh +Edition, save for the insertion of a thirtieth (No. XXX., p. 263) +poem, "On the Death of Sir Peter Parker."</p> +</div> + +<h6>XI.</h6> + +<p>Childe Harold's Pilgrimage./ Canto the Third./ By Lord +Byron./ "Afin que cette application vous forçât de penser +à autre chose; il n'y a/ en vérité de remède que celui-là +et le temps."/ Lettre du Roi de Prusse à D'Alembert, +Sept. 7, 1776./ London:/ Printed for John Murray, +Albemarle-Street./ 1816./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>— +Half-title (R. Published <span class="smcap">This Day</span> in 8vo. 5<i>s</i>.6<i>d</i>./ +<span class="smcap">The Prisoner Of Chillon</span>;/ <span class="smcap">A Dream</span>;/ And Other Poems./ +By the Right Hon. Lord Byron./ <i>T. Davison, Lombard Street,/ +Whitefriars, London.</i>/); Title, one leaf; Text, pp. 1-79.</p> + +<p><i>Note</i> (1).—The Imprint, as above, is at the foot of p. 79; and +on the reverse of p. 79, "List of the Poems," etc.</p> + +<p><i>Note</i> (2).—<i>Childe Harold's Pilgrimage</i>, Canto III., was +published at Boston, 1817, 16º, pp. 72; and, together with <i>The +Prisoner of Chillon</i> and other Poems, at Philadelphia, 1817, 16º.</p> +</div> + +<h6>XII.</h6> + +<p>Childe Harold's Pilgrimage./ Canto the Fourth./ By Lord +Byron./ Visto ho Toscana, Lombardia, Romagna,/ Quel +Monte che divide, e quel che serra/ Italia, e un mare e +l'altro, che la bagna./ Ariosto, Satira iii./ London:/ +John Murray, Albemarle-Street./ 1818./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>— +Title, pp. i., ii.; Dedication, pp. iii.-xiv.; Cont., <i>n.p.</i>; Text, +pp. 1-257. The Imprint (<i>T. Davison, Lombard-Street, +Whitefriars, London</i>.) is at the foot of p. [259].</p> + +<p><span class='pagenum'><a name="Page_185" id="Page_185">[185]</a></span><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Childe Harold's, etc., Canto IV. [N.]</td><td class="pn">p. 3</td></tr> +<tr><td>Poems. <i>Romance</i>, etc.</td><td>p. 240</td></tr> +<tr><td>Translation</td><td>p. 241</td></tr> +<tr><td>Per Monaca. Sonetto di Vittorelli</td><td>p. 256</td></tr> +<tr><td>Translation</td><td>p. 257</td></tr> +</table> + +<p><i>Note</i> (1).—In another copy, Cont., <i>n.p.</i>, +precedes the Dedication.</p> + +<p><i>Note</i> (2).—<i>Childe Harold's Pilgrimage</i>, Canto IV., to which +are added <i>Beppo</i>, and other Poems, was published at Philadelphia +in 1818, 24º, pp. 270.</p> +</div> + +<h6>XIII.</h6> + +<p>Childe Harold's/ Pilgrimage./ Canto the Fourth./ By +Lord Byron./ [Motto—Ariost., Sat. iii., four lines.] New +York:/ Published by James Eastburn and Co./ At the +Literary Rooms, Broadway./ Clayton & Kingsland, +Printers./ 1818./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 143.</p> +</div> + +<h6>XIV.</h6> + +<p>Childe Harold's Pilgrimage,/ A Romaunt:/ And/ Other +Poems./ By/ Lord Byron./ [Motto from <i>Le Cosmopolite</i>, +six lines.] Eleventh Edition./ London:/ John Murray, +Albemarle-Street./ 1819./ [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—The Collation of the preliminary matter is identical +with that of the Tenth Edition. The Cont. are also identical, +save that on p. 274 a note headed "Conclusion" (on pp. 301, 302 +of the Tenth Edition) is omitted. The Imprint (<i>London:/ Printed +by Thomas Davison, Whitefriars./</i>) is at the foot of p. 274.</p> +</div> + +<h6>XV.</h6> + +<p>Childe Harold's/ Pilgrimage./ A Romaunt,/ In Four +Cantos./ By the Right Honourable/ Lord Byron./ In +Two Volumes./ Vol. I./ [Vol. II.] Containing Cantos +I., II./ London:/ John Murray,/ Albemarle-Street./ 1819./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: Title (R. <i>London:/ Printed by T. Davison, Whitefriars./</i>), +pp. iii., iv.; Half-title (R. Motto, <i>Le Cosmopolite</i>, eight +lines), pp. v., vi.; Preface, pp. vii.-xiv.; Cont., one leaf; Text, +pp. 1-218. The Imprint (<i>T. Davison, Lombard Street,/ Whitefriars, +London./</i>) is in the centre of p. [220].</p> + +<p>Vol. II.: Title (R. Imprint, as above); Cont., one leaf; Text, +pp. 1-273; Advt. of <i>Historical Illustrations</i> +(R. Imprint, <i>London:/ +Printed by Thomas Davison, Whitefriars</i>), pp. [275, 276].</p> +</div> + +<p><span class='pagenum'><a name="Page_186" id="Page_186">[186]</a></span></p> +<h6>XVI.</h6> + +<p><i>Childe Harold's Pilgrimage</i>. [Two vols.] Leipzig, Brockhaus. +1820. [8º.</p> + +<p class="auth">[Kayser, 1834.]</p> + +<h6>XVII.</h6> + +<p>Childe Harold's/ Pilgrimage./ A Romaunt./ By Lord +Byron./ London:/ Printed and Published by W. Dugdale,/ +Russell Court, Drury Lane./ 1825./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vi. + 7-182.</p> +</div> + +<h6>XVIII.</h6> + +<p><i>Childe Harold's Pilgrimage</i>. [Two vols.] Paris, A. and +W. Galignani. 1825. [32º.</p> + +<h6>XIX.</h6> + +<p>Childe Harold's/ Pilgrimage,/ A Romaunt:/ By Lord +Byron./ London:/ Printed and Published by W. Dugdale/ +23, Russell Court, Drury Lane./ 1826./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vi. + 1-162.</p> +</div> + +<h6>XX.</h6> + +<p>Childe Harold's/ Pilgrimage;/ A Romaunt./ In Four +Cantos./ By Lord Byron./ London:/ Printed for Thomas +Colmer,/ 2, Bell-Isle, Battle Bridge./ 1827./ [24º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vi. + 161.</p> +</div> + +<h6>XXI.</h6> + +<p><i>Childe Harold's Pilgrimage</i>, a poem by Lord Byron. [Two +vols.] Paris. 1827. [16º.</p> + +<p class="auth">[<i>Le Moniteur</i>; etc., 1845.]</p> + +<h6>XXII.</h6> + +<p>Childe Harold's Pilgrimage./ A Romaunt./ By the/ Right +Hon. Lord Byron./ London:/ John Buncombe, 19, +Little Queen Street,/ Holborn./ [1831?] [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 9-270.</p> + +<p><i>Note</i>.—The Front. is "Lord Byron," by T. Phillips, R.A., +engraved by R. Page.</p> +</div> + +<p><span class='pagenum'><a name="Page_187" id="Page_187">[187]</a></span></p> + +<h6>XXIII.</h6> + +<p>Childe Harold's/ Pilgrimage./ A Romaunt/ By/ Lord +Byron./ Campe's Edition./ Nuremberg and New York./ +Printed and Published by/ Frederick Campe and Cº/ [1831.] [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 333.</p> +</div> + +<h6>XXIV.</h6> + +<p>Childe Harold's/ Pilgrimage./ A Romaunt./ By Lord +Byron./ London:/ John Murray, Albemarle Street./ 1837. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 329. The Imprint (<i>London:/ Printed by A. Spottiswoode,/ +New-Street-Square.</i>) is in the centre of p. [330].</p> + +<p><i>Note</i>.—The Front., "Byron," is engraved by E. Finden, from +the portrait by E. Sanders. The Vignette, or illustrated Title, +is the "Lake of Geneva," engraved by E. Finden from a drawing +by G. Stainfield, R.A. This edition is bound in green cloth, +stamped with coat-of-arms, uniform with <a href="#Page_156">No. xiv.</a> of Miscellaneous Poems.</p> +</div> + +<h6>XXV.</h6> + +<p><i>Childe Harold's Pilgrimage</i>. Mannheim, Hoffmann. 1837. [12º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>XXVI.</h6> + +<p>Childe Harold's Pilgrimage./ A Romaunt./ By Lord Byron./ +London:/ John Murray, Albemarle Street./ 1841. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. Motto from <i>Le Cosmopolite</i>, seven lines), pp. i., ii.; +Title (R. <i>Bradbury and Evans, Printers extraordinary to the +Queen, Whitefriars.</i>), pp. iii., iv.; Preface, and Addition to +Preface, pp. v.-viii.; List of Embellishments, pp. ix.-xi.; Half-title, +pp. xiii., xiv.; To Ianthe, pp. xv., xvi.; Text, pp. 1-320. +The Imprint, as above, is at the foot of p. 320.</p> + +<p><i>Note</i>.—The Front. is a portrait of "Lord Byron, in his +Albamanian Dress," by T. Phillips, R.A., engraved by W. Finden. The +Title-vignette on illustrated title is the "Monument of Lysicrates," +drawn by H. Warren, engraved by W. Finden. There are fifty-nine other +"embellishments," and, inserted between pp. [228], +[229], a Map of Lord Byron's Route through Spain, Portugal, +Holland, etc., with "Picturesque Border."</p> +</div> + +<p><span class='pagenum'><a name="Page_188" id="Page_188">[188]</a></span></p> + +<h6>XXVII.</h6> + +<p><i>Childe Harold's Pilgrimage</i>, with Notes by Lord Byron, +Carton demi rel. Jolie éd. London. 1842. [12º.</p> + +<p class="auth">[<i>Le Moniteur</i>, etc., 1845.]</p> + +<h6>XXVIII.</h6> + +<p>Childe Harold's Pilgrimage./ A Romaunt./ By Lord +Byron./ London:/ John Murray, Albemarle Street./ +1853./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xii. (To Ianthe, pp. xi., xii.) + 311. The Imprint (<i>London:/ +Bradbury and Evans, Printers, Whitefriars./</i>) is in the centre of +P. [312].</p> +</div> + +<h6>XXIX.</h6> + +<p><i>Childe Harold herausg. von Aug. Mommsen</i>. Hamburg, Th. +Niemeyer. 1853. [Hamburg, 1869.] [8º.</p> + +<p class="auth">[Kayser, 1860.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. iv. + 189.</p> +</div> + +<h6>XXX.</h6> + +<p><i>Childe Harold's/ Pilgrimage</i>,/ von/ Lord Byron./ [Two +Vols.] Erklärt/ von/ Ferd. Brockerhoff./ Erstes Bändchen./ +Berlin./ Verlag von Th. Chr. Fr. Enslin./ 1854./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 163.</p> + +<p><i>Note</i>.—Bdchn. of <i>Sammlung englischer Schriffsteller</i>. Berlin, +Th. Enslin. 1853-1855. "Siebentes Bändchen" contains +Cantos I., II.; "Neuntes Bändchen" (pp. 214), published in +1855, contains Cantos III., IV.</p> +</div> + +<h6>XXXI.</h6> + +<p>Childe Harold's Pilgrimage/ A Romaunt/ By Lord Byron/ +Illustrated From Original Sketches/ London:/ John +Murray, Albemarle Street./ 1859./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (R. Motto, <i>Le Cosmopolite</i>, six lines; Note, two lines); +Vignette, "Newstead Abbey" (R. The Illustrations drawn on +Wood by Percival Skelton./ Engraved by J. W. Whymper and +J. Cooper./); List of Illustrations, four pages; Text, pp. 1-329. +The Imprint (<i>Printed by R. and R. Clark, Edinburgh</i>) is at the +foot of p. 329.</p> + +<p><i>Note</i>.—This edition was reissued in 1869.</p> +</div> + +<p><span class='pagenum'><a name="Page_189" id="Page_189">[189]</a></span></p> + +<h6>XXXII.</h6> + +<p>Childe Harold's Pilgrimage./ A Romaunt./ By Lord +Byron./ New Edition./ London:/ John Murray, Albemarle +Street./ 1860./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 192. The Imprint (<i>London: Printed by William Clowes +and Sons, Stamford Street</i>) is at the foot of p. 192.</p> + +<p><i>Note</i>.—Murray's Complete Edition. Price One Shilling. The +Front. is "The Earliest Portrait of Byron. Taken at the age of +7 years, from an original by Kay, Edinburgh," engraved by +E. Finden.</p> +</div> + +<h6>XXXIII.</h6> + +<div class="cocono"> +<p>Childe Harold's Pilgrimage./ A Romaunt./ By Lord +Byron./ A New Edition./ London:/ John Murray, +Albemarle Street./ 1860./ [8º.</p> + +<p><i>Collation</i>—</p> + +<p>Pp. 60. The Imprint (<i>London: Printed by William Clowes +and Sons, Stamford Street,/ And Charing Cross./</i>) is on Reverse +of Title.</p> + +<p><i>Note</i>.—"Murray's Complete Edition." Price Sixpence. The +Front. is a lithograph of the portrait of Lord Byron, by T. +Phillips, R.A.</p> +</div> + +<h6>XXXIV.</h6> + +<p><i>Childe Harold's Pilgrimage</i>. A Romaunt. Leipzig, B. +Tauchnitz. 1862. [16º.</p> + +<p class="auth">[Kayser, 1865.]</p> + +<h6>XXXV.</h6> + +<p>Childe Harold's/ Pilgrimage/ A Romaunt/ By/ Lord +Byron/ With a Memoir/ By/ William Spalding, A.M./ +Professor of Logic and Rhetoric in the University of Saint +Andrews/ Illustrated/ London/ Charles Griffin and +Company/Stationer's Hall Court/ [1866] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 180.</p> + +<p><i>Note</i>.—The Front, is an engraving of the medallion by E. W. Wyon.</p> +</div> + +<h6>XXXVI.</h6> + +<p><i>Childe Harold's Pilgrimage</i>. A Romaunt. Mit erläut. +Anmerkungen zum Schul-u. Privatunterricht bearb. von +P. Weeg. 1867. [8º.</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_190" id="Page_190">[190]</a></span><i>Note</i>.—No. V., Sammlung gediegener u. interessanter Werke +der englischen Litteratur. Münster, Brunn's Verl. 1868-1870. +[Kayser, 1871.]</p> +</div> + +<h6>XXXVII.</h6> + +<p>Byron's/ Childe Harold's/ Pilgrimage/ A Romaunt/ With +Notes/ W. & R. Chambers/ London and Edinburgh/ +1877/ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 180.</p> +</div> + +<h6>XXXVIII.</h6> + +<p>Lord Byron/ Childe Harold's/ Pilgrimage/ Édition classique/ +Par/ James Darmesteter/ Docteur ès-Lettres/ +Directeur-Adjoint à l'École des Hautes Études/ Paris/ +librairie Ch. Delagrave/ 15, rue Soufflot, 15/ 1882/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxxv. + 342.</p> +</div> + +<h6>XXXIX.</h6> + +<p><i>Childe Harold's Pilgrimage</i>. Texte anglais, revu et annoté +par l'abbé A. Julien. Paris, Poussielque frères. 1883. [12º.</p> + +<p class="auth">[Lorenz, 1886.]</p> + +<h6>XL.</h6> + +<p>Clarendon Press Series/ Byron/ Childe Harold/ Edited/ +With Introduction and Notes/ By/ H. F. Tozer, M.A./ +Fellow and Tutor of Exeter College, Oxford/ At the +Clarendon Press/ 1885/ [<i>All rights reserved</i>]/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 336.</p> +</div> + +<h6>XLI.</h6> + +<p><i>Childe Harold's Pilgrimage</i>. Illustrated. London, Chatto. +1885. [8º.</p> + +<p class="auth">[<i>Eng. Cat.</i>, 1891.]</p> + +<h6>XLII.</h6> + +<p>Lord Byron,/ Childe Harold's/ Pilgrimage./ A Romaunt./ +Erklärt/ von/ August Mommsen./ Berlin./ Weidmannsche +Buchhandlung./ 1885./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxxvi. + 367.</p> +</div> + +<p><span class='pagenum'><a name="Page_191" id="Page_191">[191]</a></span></p> + +<h6>XLIII.</h6> + +<p>Cassell's National Library./ Childe Harold's/ Pilgrimage./ +By/ Lord Byron./ Cassell & Company, Limited:/ London, +Paris, New York & Melbourne./ 1886./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 192.</p> +</div> + +<h6>XLIV.</h6> + +<p>Childe Harold's/ Pilgrimage/ A Romaunt/ By Lord +Byron/ Illustrated/ Boston/ Ticknor and Company/ 1886/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 236.</p> +</div> + +<h6>XLV.</h6> + +<p><i>Childe Harold's Pilgrimage</i>: edited with Notes by W. J. +Rolfe, Philadelphia. 1886. [16º.</p> + +<p class="auth">[Detroit Public Library.]</p> + +<h6>XLVI.</h6> + +<p><i>Childe Harold's Pilgrimage</i>. Leipzig, Gressner & Schramm. +1886. [16º.</p> + +<p class="auth">[Kayser, 1887.]</p> + +<h6>XLVII.</h6> + +<p><i>Childe Harold's Pilgrimage</i>. By Lord Byron. Im Auszuge +m. Anmerkgn. zum Schulgebrauch hrsg. v. Mart. Krummacher. +Mit Anmerkgn. unter dem Text.</p> + +<div class="cocono"> +<p><i>Note</i>.—No. 13 of "English Authors." Bielefeld, Velhagen, +and Klasing. 1885-1886. [Kayser, 1887.]</p> +</div> + +<h6>XLVIII.</h6> + +<p>Childe Harold's/ Pilgrimage/ A Romaunt/ By/ Lord +Byron/ London/ George Routledge and Sons/ Broadway, +Ludgate Hill/ Glasgow and New York/ 1888/ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 9-320.</p> + +<p><i>Note</i>.—Part of "Routledge's Pocket Library."</p> +</div> + +<h6>XLIX.</h6> + +<p><i>Childe Harold's Pilgrimage</i>. Im Auszuge hrsg. v. Mart. +Krummacher. 1891. [Reissued in 1893.] [12º.</p> + +<div class="cocono"> +<p><i>Note</i>.—Part of "English Authors," <i>vide supra</i>, No. xlvii.</p> +</div> + +<p><span class='pagenum'><a name="Page_192" id="Page_192">[192]</a></span></p> + +<h6>L.</h6> + +<p>Sir John Lubbock's Hundred Best Books/ 29/ Childe +Harold's/ Pilgrimage/ A Romaunt/ By/ Lord Byron/ +London/ George Routledge and Sons, Limited/ Broadway, +Ludgate Hill/ Manchester and New York/ 1892/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. x. + 11-249.</p> +</div> + +<h6>LI.</h6> + +<p>Byron's/ Childe Harold/ With Introduction and Notes/ +By/ H. G. Keene, Hon. M.A. Oxon.,/ Fellow of Calcutta +University, Author of "A Manual of/ French Literature," +etc./ London/ George Bell & Sons, York St., Covent +Garden/ And New York/ 1893/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xx. + 255.</p> +</div> + +<h6>LII.</h6> + +<p>Byron/ Childe Harold/ Texte Anglais/ Publié avec une +Notice, des Arguments/ Et des Notes en Français/ Par +Émile Chasles/ Inspecteur général de l'Instruction +publique/ Paris/ Librairie Hachette et C'ie/ 79, Boulevard +Saint-Germain, 79/ 1893/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxvi. + 261.</p> + +<p><i>Note</i>.—This edition was reissued in 1894.</p> +</div> + +<h6>LIII.</h6> + +<p><i>Childe Harold's Pilgrimage: a Romaunt</i>. New York, T. Y. +Crowell & Co. 1894.</p> + +<p class="auth">[<i>Amer. Cat.</i>, 1895.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 9 + 283.</p> +</div> + +<h6>LIV.</h6> + +<p>Arnold's British Classics for Schools/ General Editor:/ +J. Churton Collins, M.A./ Childe Harold's/ Pilgrimage/ +Edited by/ The Rev. E. C. Everard Owen, M.A./ Late +Fellow of New College, Oxford; Assistant Master/ In +Harrow School./ Edward Arnold/ London/ 37 Bedford +Street/ New York/ 70 Fifth Avenue/ [1897] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. lxii. + 236.</p> +</div> + +<p><span class='pagenum'><a name="Page_193" id="Page_193">[193]</a></span></p><h6>LV.</h6> + +<p>Childe/ Harold/ A Romaunt/ George/ Gordon/ Lord/ +Byron/ 1898. Published. by. J. M. Dent. / And. +Co.. Aldine. House. London. E.C./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xii. + 310 + Note (one leaf) by Editor, I.G., October 1, +1898.</p> + +<p><i>Note</i>.—Part of the "Temple Classics," edited by Israel +Gollmer, M.A. The Front. is a photogravure of the portrait of +"George Gordon Lord Byron," by T. Phillips, R.A.</p> +</div> + +<h6>LVI.</h6> + +<p>Childe Harold's/ Pilgrimage/ A Romaunt by Lord Byron/ +Cantos I. and II./ Edited with Notes and an Introduction +by/ Edward E. Morris/ Professor of English in the +University of Melbourne/ London/ Macmillan and Co., +Limited/ New York: The Macmillan Company/1899/ +<i>All rights reserved/</i> [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxxvi. + 115.</p> +</div> + +<h6>LVII.</h6> + +<p>Childe Harold's/ Pilgrimage/ A Romaunt by Lord Byron/ +Cantos III. and IV./ Edited with Notes and an Introduction +by/ Edward E. Morris/ Professor of English in +the University of Melbourne/ London/ Macmillan and +Co., Limited/ New York: The Macmillan Company/ +1899/ <i>All rights reserved/</i> [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxxvi. + 168.</p> + +<p><i>Note</i>.—The Introduction (pp. vii.-xxxvi.) is a repetition of the +Introduction to the preceding volume.</p> +</div> + +<h6>LVIII.</h6> + +<p><i>Childe Harold's Pilgrimage: a Romaunt</i>. Cantos 1, 2, 3, +and 4; Edited with Notes and Introduction by E. Morris. +New York, The Macmillan Co. [Two vols.] 1899. [8º.</p> + +<p class="auth">[<i>Amer. Cat.</i>, 1900.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. 36 + 115.</p> + +<p>Vol. II.: pp. 36 + 168.</p> + +<p><i>Note</i>.—Part of "Macmillan's English Classics."</p> +</div> + +<p><span class='pagenum'><a name="Page_194" id="Page_194">[194]</a></span></p> + +<h6>LIX.</h6> + +<p><i>Childe Harold's Pilgrimage: a Romaunt</i>. Edited with +Introduction and Notes by Andrew J. George. New +York., The Macmillan Co. 1899. [16º.</p> + +<p class="auth">[<i>Amer. Cat.</i>, 1900.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 34 + 282.</p> + +<p><i>Note</i>.—Part of "Macmillan's Pocket English Classics."</p> +</div> + +<h6>LX.</h6> + +<p><i>Childe Harold's Pilgrimage</i>. New York, Cassell. 1900.</p> + +<p class="auth">[<i>Amer. Cat.</i>, 1901.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 192.</p> + +<p><i>Note</i>.—Part of "Cassell's National Library," N.S.</p> +</div> + +<h6>LXI.</h6> + +<p>Lord Byron/ Childe Harold's/ Pilgrimage/ Canto II./ +Edited by/ John Downie, M.A./ Editor of Macaulay's +Lives of Johnson and Goldsmith, Etc. Etc./ London/ +Blackie and Son, Limited, 50 Old Bailey, E.C./ Glasgow +and Dublin/ 1901/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 47.</p> +</div> + +<h6>LXII.</h6> + +<p>Lord Byron/ Childe Harold's/ Pilgrimage/ Canto III./ +Edited by/ John Downie, M.A./ [etc., <i>vide supra</i>, No. lxi.] +1901/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 47.</p> + +<p><i>Note</i>.—This and the preceding volume form part of "Blackie's +English Classics."</p> +</div> + + +<h4>Translations of Childe Harold's Pilgrimage.</h4> + +<h5>Armenian.</h5> + +<p>Lord Byron/ Childe Harold's Pilgrimage/ Italy/ [Canto +IV.] Venice/ Printed/ at the Armenian Monastery of +S. Lazarus/ 1872/ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 147.</p> + +<p><i>Note</i>.—The Armenian verse, translated by Gheuond Alíshanian, +accompanies the English original. The Notes are in the Armenian +language. +<span class='pagenum'><a name="Page_195" id="Page_195">[195]</a></span></p> +</div> + + +<h5>Bohemian.</h5> + +<p><i>Childe Haroldova pout'</i> Prelozila El. Krásnohorská [in +Kabinetní Knihovna]. 1890.</p> + + +<h5>Danish.</h5> + +<p>Junker Harolds Pilgrimsfart./ Et Romantisk Kvad./ Af/ +Byron./ Oversat af/Adolf Hansen/Kjøbenhavn./ Forlagt +af J. H. Schubothes Boghandel./ Græbes Bogtrykkerei. +1880/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 237.</p> +</div> + + +<h5>French.</h5> + +<h6>I.</h6> + +<p><i>Le Pélerinage de Childe Harold</i>, poème romantique de lord +Byron, traduit en vers français par l'auteur des <i>Helléniennes</i> +et des <i>Mélodies poétiques</i>. Paris, Dupont. 1828. [18º.</p> + +<p class="auth">[Quérard, 1846.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 288.</p> +</div> + +<h6>II.</h6> + +<p><i>Le Pélerinage de Childe Harold</i>, traduit par P.A. Deguer. +Paris, Ponthieu. 1828. [18º.</p> + +<p class="auth">[Quérard, 1846.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 84.</p> +</div> + +<h6>III.</h6> + +<p>Le Pélerinage/ de/ Childe Harold/ Traduction en vers +français/ Par/ Eugène Quiertant./ [Motto, <i>Le Cosmopolite</i>, +nine lines.] Paris/ Librairie de Ch. Blériot,/ rue +Bonaparte, 25. 1861./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 266 + "Note de L'Éditeur," one leaf.</p> + +<p><i>Note</i>.—Le premier chant de cette traduction avail déja été +publié en 1852. [Lorenz, 1867.]</p> +</div> + +<p><span class='pagenum'><a name="Page_196" id="Page_196">[196]</a></span></p> + +<h6>IV.</h6> + +<p>Childe Harold/ Poëme de Lord Byron/ Traduit en vers +français/ Par/ Lucien Davésiès de Pontès./ Tome +premier./ Paris/ E. Dentu, libraire-éditeur,/ Galerie +D'Orléans, Palais-Royal./ 1862./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. lv. + 232.</p> + +<p>Vol. II.: pp. 334 + "Errata," one leaf, p. [335].</p> +</div> + +<h6>V.</h6> + +<p><i>Le Pélerinage de Childe Harold</i>, traduit en vers d'après +l'édition anglaise de 1812; précédé de Marie-Magdaleine, +poëme, et de diverses poésies, par Victor Robert Jones, +Saint-Quentin, <i>imprimerie Monreau</i>. 1862. [12º.</p> + +<p class="auth">[Lorenz, 1867.]</p> + +<h6>VI.</h6> + +<p><i>Childe Harold</i>, poëme de lord Byron, traduit en vers français +par Lucien Davésiès de Pontès, 2<sup>e</sup> édition revue et corrigée +par le bibliophile Jacob. Paris, <i>Amyot</i>. 1870. [12º.</p> + +<p class="auth">[Lorenz, 1876.]</p> + +<h6>VII.</h6> + +<p><i>Childe Harold</i>. Expliqué littéralement, traduit en français +et annoté par H. Bellet. Paris, <i>Hachette et Cie</i>. 1881. [12º.</p> + +<p class="auth">[Lorenz, 1886.]</p> + +<h6>VIII.</h6> + +<p><i>Childe Harold's Pilgrimage</i>. Traduction française littérale, +par l'Abbé A. Julien. Paris, <i>Poussielque frères</i>. 1883. [12º.</p> + +<p class="auth">[Lorenz, 1886.]</p> + +<h6>IX.</h6> + +<p><i>Childe Harold</i>, Édition classique, précédée d'une notice +littéraire, par M. A. Elwall. Paris, <i>Delalain frères</i>. 1892. [12º.</p> + +<p class="auth">[Lorenz, 1900.]</p> + +<h6>X.</h6> + +<p><i>Childe Harold</i>, Édition classique, avec une notice biographique et littéraire, un appendice et des notes par +Douglas Gibb. Paris, <i>Belin frères</i>. 1892. [12º.</p> + +<p class="auth">[Lorenz, 1900.]</p> + +<p><span class='pagenum'><a name="Page_197" id="Page_197">[197]</a></span></p> + +<h5>German.</h5> + +<h6>I.</h6> + +<p><i>Harold, der Verwiesene</i>. Aus. d. Engl. v. Karl Baldamus. +Leipzig, Hartmann. 1835. [8º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>II.</h6> + +<p>Ritter Harold's Pilgerfahrt./ Aus dem Englischen/ des/ Lord +Byron./ Im Versmass des Originals übersetzt/von/ Zedlitz:/ +Stuttgart und Tübingen,/ Verlag der J. GJ. G. Cotta'schen +Buchhandlung. 1836./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xvi. + 381 + Berichtungen, p. [382].</p> +</div> + +<h6>III.</h6> + +<p><i>Jungherrn Harold's Pilgerfahrt</i>. Aus d. Engl. ins Deutsche +übersetzt von Dr. Herm. v. Pommer Esche. Stralsund, +Löffler'sche Buch. 1839. [8º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>IV.</h6> + +<p><i>Erster Gesang des Childe Harald</i>. Freie Uebertragung in +Reimen v. C. D. Ansbach, Dollfuss. 1845. [12º.</p> + +<p class="auth">[Kayser, 1848.]</p> + +<h6>V.</h6> + +<p>Byron's/ Ritter Harold/ von/ Adolf Böttger/ Diamantausgabe./ +Leipzig./ Druck und Verlag von Otto Wigand./ 1846./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 194.</p> + +<p><i>Note</i>.—The Front. is a portrait of "Byron" (by G. Sanders), +engraved by A. H. Payne.</p> +</div> + +<h6>VI.</h6> + +<p>Childe Harold's/ Pilgerfahrt/ von/ Lord George Gordon +Byron./ Aus dem Englischen im Versmass des Originals/ +übersetzt/ von/ Alexander Büchner./ Frankfurt a/ M./ +Verlag von Meidinger Sohn und Cie./ 1853./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxiii. + 342.</p> + +<p><i>Note</i>.—The translation was reissued in 1855.</p> +</div> + +<p><span class='pagenum'><a name="Page_198" id="Page_198">[198]</a></span></p> + +<h6>VII.</h6> + +<p>Harold's/ Pilgerfahrt./ Aus dem Englischen des Lord +Byron./ Uebersetzt von/ Erich von Monbart./ Köln, +1865./ Druck, Franz Greven, Burgmauer-Ecke 113. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 143.</p> +</div> + +<h6>VIII.</h6> + +<p>Childe Harold's/ Pilgerfahrt/ von/ Lord Byron./ Deutsch/ +von/ A. H. Janert./ Hildburghausen./ Verlag des +Bibliographischen Instituts./ 1868./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 191.</p> + +<p><i>Note</i>.—No. 87 of the "Bibliothek ausländischer Klassiker."</p> +</div> + +<h6>IX.</h6> + +<p>Jung Harold's/ Pilgerfahrt./ Von Byron./ Aus dem Englischen +metrisch übersetzt/ von/ Ferdinand Schmidt./ +Berlin./ Verlag von W. O. H. Stempelmann./ 1869./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 132 + "Anmerkungen," pp. [133, 134].</p> +</div> + +<h6>X.</h6> + +<p><i>Ritter Harold's Pilgerfahrt</i>. Eine Romanze v. Lord Byron. +Frei ubers. v. Adf. Seubert. [16º.</p> + +<p class="auth">[Kayser, 1877.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 224.</p> + +<p><i>Note</i>.—Nos. 516, 517 of the "Universal Bibliothek," Leipzig, +1871-76.</p> +</div> + +<h6>XI.</h6> + +<p><i>Childe Harold's Pilgerfahrt</i>. Ein Epos. Übertr. v. F. +Dobbert. 1893. [8º.</p> + +<p class="auth">[Kayser, 1894.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vi. + 192.</p> + +<p><i>Note</i>.—Part of the "Bibliothek der Gesammtlitteratur d. In u. +Auslandes."</p> +</div> + +<p><span class='pagenum'><a name="Page_199" id="Page_199">[199]</a></span></p> + +<h5>Hungarian.</h5> + +<p>Childe Harold/ Byron/ után/ anya nyelvéböl magyarra +forditotta/ Bickersteth Johanka/ Nyomtatta <span class="smcap">Puky Miklos</span> +Genfben/ 1857/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 211. [Line-borders.]</p> +</div> + + + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p>L'Italia,/ Canto IV./ del pellegrinaggio/ di Childe H<i>A</i>Rold,/ +Scritto/ da Lord Byron,/ E tradotto/ da Michele Leoni./ +Italia,/ 1819./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 77.</p> +</div> + +<h6>II.</h6> + +<p><i>Il pellegrinaggio del Giovine Aroldo</i>: poema di Lord +Byron, tradotto dá Giuseppe Gazzino genovese. Genova, +tipografia arcivescovile, 1836. [8º.</p> + +<p class="auth">[<i>Bibl. Ital.</i>, Nov.-Dec., 1836.]</p> + +<h6>III.</h6> + +<p>L'Italia/ Canto/ di Lord Byron/ Accomodato/ All' indole +del verso italiano/ da/ Melchior Missirini/ Publicato +per cura/ del professore/ Francesco Longhena./ Milano/ +Coi tipi di Vincenzo Guglielmini/ 1848/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 95.</p> +</div> + +<h6>IV.</h6> + +<p><i>Il pellegrinaggio del giovane Aroldo</i>: poema recato in +italiano da Fr. Armenio. Napoli, 1858. [8º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<h6>V.</h6> + +<p><i>Il pellegrinaggio del giovane Aroldo</i>: con la traduzione +armena. Ultimo canto. Venezia. t.s. Lazard, 1860. [8º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<p><span class='pagenum'><a name="Page_200" id="Page_200">[200]</a></span></p> + +<h6>VI.</h6> + +<p>Byron/ Pellegrinaggio D'Aroldo/ Traduzione/di/Giovanni +Giovio/ [Then something on poetry/] Schak./ Milano/ +Giuseppe Bernardoni/ Tipografo-editore/ 1866/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxxiii. + 122 + "Note," pp. [125, 126].</p> +</div> + +<h6>VII.</h6> + +<p>Italia/ Canto di Giorgio Byron/ Tradotto/ da/ Andrea +Maffei./ Firenze,/ Successori le Monnier./ 1872./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 190.</p> + +<p><i>Note</i>.—This edition was reissued in 1874 and in 1897.</p> +</div> + +<h6>VIII.</h6> + +<p>Il pellegrinaggio/ D'Aroldo./ Poema/ di Lord Byron/ Tradotto/ +da Carlo Faccioli./ [Emblem, rose and butterfly, +with motto, "<i>Non Bramo Altr' Esca.</i>"] Firenze,/ G. +Barbèra, editore./ 1873./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xii. + 249 + Indice, p. [251].</p> +</div> + + + +<h5>Polish.</h5> + +<h6>I.</h6> + +<p><i>Poezye w tłumaczeniu polskiém</i>. Tom. I. (przez Michała +Budzyúskiego): Wedrówki Czaild Harolda. pp. 256. +<i>M. Wolf: Petersburg</i>, 1857. [8º.</p> + +<h6>II.</h6> + +<p><i>Pielgrzymka Czajlda Harolda</i> ... z=polszczone przez Wiktora +z Baworowa, <i>etc. we Lwowie</i>, 1857. [12º.</p> + +<h6>III.</h6> + +<p><i>Wędrówki Czaild-Harolda</i> ...Przełożył Frederyk Krauze. 1865-71.</p> + +<h6>IV.</h6> + +<p><i>Wędrówki Rycerza Harolda</i> ...Przekład Jana Kasprowicza. +<i>Warszawa</i>, 1895.</p> + +<p><span class='pagenum'><a name="Page_201" id="Page_201">[201]</a></span></p> + +<h6>V.</h6> + +<p><i>Wędrówki Czaild-Harolda</i> ... Tłómaczony ... przez A. A. +K[rajewskiego], <i>Kraków</i>, 1896.</p> + + +<h5>Russian.</h5> + +<h6>I.</h6> + +<p><span title='Chaild-Garold... per. D. Minaeva.'>Чайльдъ-Гарольдъ ... пер. Д. Минаева.</span> +["<span title='Russkoe Slovo'>Русское Слово</span>," 1864.]</p> + +<h6>II.</h6> + +<p><span title='Chaild-Garold ... per. P.A. Kozlova.'>Чайльдъ-Гарольдъ ... пер. П.А. Козлова.</span> +["<span title='Russkaya Miesl'>Русская Мыслъ</span>," 1890. No. 1, 2, 11.]</p> + +<h5>Swedish.</h5> + +<p>Childe Harolds/ Pilgrimsfärd/ Af/ Lord Byron./ Öfversatt +Af/ A. F. Skjöldebrand./ Stockholm./ Tryckt Hos +Johan Hörberg,/ 1832./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 192.</p> +</div> + + +<h4>The Corsair.</h4> + +<h6>I.</h6> + + +<p>The Corsair,/ A Tale./ By Lord Byron./ "—— I suoi +pensieri in lui dormir non ponno."/ Tasso, <i>Canto decimo, +Gerusalemme Liberata</i>./ London:/ <i>Printed by Thomas +Davison, Whitefriars</i>, For John Murray, Albemarle-Street./ +1814./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf, pp. i., ii.; Title, one leaf, pp. iii., iv.; +Dedication, "To Thomas Moore, Esq.," pp. v.-xi.; Text (and +Notes), pp. 1-100.</p> + +<p><i>Note</i>.—The Text numbers 1863 lines, the half-lines 154, 159, +669 being reckoned as whole lines. Other half-lines are not so +reckoned, and the First Edition actually numbers 1860 lines.</p> +</div> + +<h6>II.</h6> + +<p>The Corsair,/ A Tale./ By Lord Byron./ "—— I suoi +pensieri in lui dormir non ponno."/ Tasso, <i>Canto decimo, +Gerusalemme Liberata</i>./ Second Edition./ London:/ +<i>Printed by Thomas Davison, Whitefriars</i>,/ For John +Murray, Albemarle-Street./ 1814./ [8º.</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_202" id="Page_202">[202]</a></span><i>Collation</i>—</p> + +<p>Half-title, etc. (<i>vide supra</i>); Text, with Notes and Six Poems, +pp. 1-108. The Imprint (<i>T. Davison, Lombard Street,/ Whitefriars, +London./</i>) is at the foot of p. 108.</p> + +<p><i>Poems</i>—</p> + +<table summary="Contents"> +<tr><td>To a Lady weeping</td><td class="pn">p. [101]</td></tr> +<tr><td>From the Turkish</td><td>p. 102</td></tr> +<tr><td>Sonnet, To Genevra ("Thine eyes," etc.)</td><td>p. 104</td></tr> +<tr><td>Sonnet, To Genevra ("Thy cheek," etc.)</td><td>p. 105</td></tr> +<tr><td>Inscription on the Monument of a Newfoundland Dog</td><td>p. 106</td></tr> +<tr><td>Farewell ("Farewell! if ever," etc.)</td><td>p. 108</td></tr> +</table> +</div> + +<h6>III.</h6> + +<p>The Corsair,/ A Tale./ ... Third Edition./ ... 1814./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p><i>Vide supra</i>, No. 1. The Imprint (<i>Printed by T. Davison, +Lombard-Street,/ Fleet Street.</i>/) is at the foot of p. 100.</p> + +<p><i>Note</i>.—The Poems which were inserted in the Second Edition +pp. [101]-108, were omitted in the Third Edition.</p> +</div> + +<h6>IV.</h6> + +<p>The Corsair,/ A Tale./ ... Fourth Edition.... 1814./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p><i>Vide supra</i>, the Second Edition, No. ii.</p> + +<p><i>Note</i>.—The Poems inserted in the Second, and omitted in the +Third, are included in the Fourth Edition.</p> +</div> + +<h6>V.</h6> + +<p>The Corsair,/ A Tale./ By Lord Byron./ [Motto as above, No. i.] +Fifth Edition./ London:/ Printed for John +Murray, Albemarle-Street;/ <i>By Thomas Davison, +Whitefriars</i>,/ 1814./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p><i>Vide supra</i>, the Second Edition, No. ii.</p> +</div> + +<h6>VI.</h6> + +<p>The Corsair,/ A Tale./ ... Sixth Edition./ ... 1814./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>For Title, <i>vide supra</i>, the Fifth Edition, No. v.</p> +</div> + +<h6>VII.</h6> + +<p>The Corsair,/ A Tale./ ... Seventh Edition./ ... 1814./ [8º.</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_203" id="Page_203">[203]</a></span><i>Collation</i>—</p> + +<p><i>Vide supra</i>, Second Edition, No. ii.</p> + +<p><i>Note</i>.—In this edition the last four lines of Canto I. stanza xi. +("The first may turn ... still it stings!") were added, together +with the Note, to Canto II., p. 33, line 18, "It has been +objected," etc. The poem numbers 1863 lines, the additional +lines not being included in the numeration.</p> +</div> + +<h6>VIII.</h6> + +<p>The Corsair,/ A Tale./ By Lord Byron./ [Motto as above.] +From the Fifth London Edition./ New-York:/ Published +by Eastburn, Kirk, and Co./ Literary Rooms, Corner of +Wall and Nassau Streets./ 1814./ [6º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xi. + 108.</p> + +<p><i>Note</i>.—<i>The Corsair</i> was also published in Philadelphia in 1814, 16º.</p> +</div> + +<h6>IX.</h6> + +<p>The Corsair;/ A Tale./ By Lord Byron./ [Motto as +above.] Ninth Edition./ London:/ Printed for John +Murray, Albemarle-Street./ 1815./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf, pp. i., ii.; Title, one leaf, pp. iii., iv.; +Dedication, pp. v.-xi.; Text, with Notes, pp. 1-112. The +Imprint (<i>T. Davison, Lombard-Street,/ Whitefriars, London.</i>/) +is at the foot of p. 112.</p> + +<p><i>Note</i>.—The poem numbers 1864 lines, the four new lines at the +end of Canto I. stanza xi. being included in the numeration. +Pp. 101-104 contain "Note 17, p. 95, last line," on the Pirates +of Barataria, and (secondly) on Archbishop Blackbourne.</p> +</div> + +<h6>X.</h6> + +<p>The Corsair,/ A Tale./ By Lord Byron./ [Motto as above.] +Tenth Edition./ London:/ John Murray, Albemarle-Street./ 1818./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>London:/ Printed by T. Davison, Whitefriars</i>./), +pp. 1, 2; Title, one leaf, pp. 3, 4; Dedication, pp. 5-9; Text, +pp. 11-96; Notes, pp. 97-105; Poems, pp. [107]-114.</p> + +<p><i>Note</i>.—The poem is (incorrectly) numbered 1873 lines, line +1506 being numbered 1511.</p> +</div> + +<h6>XI.</h6> + +<p>The Corsair./ A Tale./ By Lord Byron./ [Motto as above.] +London: Printed and Published by W. Dugdale,/ +<i>23, Russell Court, Drury Lane</i>./ 1825./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 72.</p> +</div> + +<p><span class='pagenum'><a name="Page_204" id="Page_204">[204]</a></span></p> + +<h6>XII.</h6> + +<p>The Corsair./ A Tale./ By Lord Byron./ "—— I suoi +pensieri in lui dormir non ponno"—Tasso./ [London, 1844.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. iv. + 5-48.</p> + +<p><i>Note</i>.—Part of "Clarke's Home Library."</p> +</div> + +<h6>XIII.</h6> + +<p>The Corsair:/ A Tale./ By/ Lord Byron./ London: +Archd. K. Murray & Co.,/ 30 Queen Square, W.C.:/ +Glasgow: 243 Parliamentary Road./ 1867./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 122.</p> + +<p><i>Note</i>.—Part of "Murray's Standard Poets."</p> +</div> + + +<h4>Translations of The Corsair.</h4> + + +<h5>German.</h5> + +<h6>I.</h6> + +<p><i>Der Korsar</i>, eine Erzählung. [Deutsch v.] F. L. von +Tschirsky. Berlin, Maurer. 1816. [12º.</p> + +<p class="auth">[<i>Centralblatt, etc.</i>, 1890, vol. vii, p. 472.]</p> + +<h6>II.</h6> + +<p><i>Der Korsar</i>, eine Erzählung. [Deutsch von] Elise von +Hohenhausen. Altona, Hammerich. 1820. [8º.</p> + +<p class="auth">[<i>Centralblatt, etc.</i>, 1890, vii. 461.]</p> + +<h6>III.</h6> + +<p><i>Der Korsar</i>. Erzählung. Aus d. Engl. übers. v. Friederike +Friedmann. Leipzig, Brockhaus. 1852. [16º.</p> + +<p class="auth">[Kayser, 1853.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 90.</p> +</div> + +<h6>IV.</h6> + +<p><i>Der Corsar</i>. Gedicht, Aus d. Engl. von Viet. v. Arentsschild. +Mainz, Iabern. 1852. [16º.</p> + +<p class="auth">[Kayser, 1853.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 139.</p> +</div> + +<p><span class='pagenum'><a name="Page_205" id="Page_205">[205]</a></span></p> + +<h6>V.</h6> + +<p><i>Der Korsar</i>. Eine Erzählg. v. Lord Byron. Frei übers. v. +Adf. Seubert. Leipzig, Ph. Reclam, jr. [1871-76.] [16º. +[Kayser, 1877.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 69.</p> + +<p><i>Note</i>.—No. 406 of the "Universal-Bibliothek."</p> +</div> + + +<h5>Hungarian.</h5> + +<p>A Kalóz./ Irta/ Lord Byron./ Angolból Forditotta/ +Kacziány Géza./ Budapest./ Franklin-Társulat/ Magyar +Irod. Intézet és Könyvnyomda./ 1892./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 74.</p> +</div> + + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p>Il Corsaro/ Novella/ di/ Lord Byron/ Versione in prosa/ +di L. C./ Torino/ Vedova Pomba e figli/ 1819/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. v. + 131.</p> + +<p><i>Note</i>.—The Front. is a lithograph of the portrait of "Giorgio +Byron," by G. H. Harlow. A translation, "Al Tempo," +"Time on whose arbitrary wing," pp. [129], 131, follows the +Notes to the <i>Corsair</i>. The translation includes the four additional +lines at the end of Canto I. stanza xi., but not the Note on the +"Pirates of Barataria."</p> +</div> + +<h6>II.</h6> + +<p>Il Corsaro/ Novella/ di/ Lord Byron/ Versione in prosa/ +di L.C./ Seconda edizione riveduta dall' autore./ +Milano/ Presso Rodolfo Vismara/ 1820/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 4 + 5-123.</p> + +<p><i>Note</i>.—For Front., <i>vide supra</i>, No. i.</p> +</div> + +<h6>III.</h6> + +<p><i>Il Corsaro</i>, novella di lord Byron. Traduzione dall' inglese +di Giuseppe Nicolini. Milano, tip. di Giovanni Silvestri. +1842. [16º.</p> + +<p class="auth">[<i>Bibl. Ital.</i>, June, 1842.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xlviii. + 106.</p> +</div> + +<p><span class='pagenum'><a name="Page_206" id="Page_206">[206]</a></span></p> + +<h6>IV.</h6> + +<p><i>Il Corsaro</i>, novella Inglese, tradotta da Eritreo Migdonio. +Firenze, 1842, tipografia Piatti.</p> + +<p class="auth">[<i>Bibl. Ital.</i>, July, 1843.]</p> + +<h6>V.</h6> + +<p>Il/ Corsaro/ di/ Lord Byron/ Versione del Cavaliere/ Luigi +Serenelli Honorati/ Già Presid. di Corte d'Appello/ +Bologna/ Tip. Mareggiani All' Insegna di Dante/ <i>1797, +Via Malcontenti</i>, 1797/ 1870/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 95.</p> +</div> + +<h6>VI.</h6> + +<p>II Corsaro/ Novella di Lord Byron/ Versione/ di/ Carlo Rosnati/ [1879] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 96 + Sonnet, "Santa Rosa," p. [97].</p> +</div> + + +<h5>Russian.</h5> + +<p><span title='Morskoye razboynik. Perevod B. Olina (B prozye).'>Морской разбойникъ Переводъ В. Олина (Въ прозѣ).</span> +<span title='S.-Peterburg'>С.-Петербургъ</span>, 1827.</p> + + +<h5>Spanish.</h5> + +<h6>I.</h6> + +<p><i>El Corsario</i>. Por el Byron, traducido en castellano por +M.... Imp. de David à Paris. A Paris, rue du Temple, +N. 69. 1827. [18º.</p> + +<p class="auth">[<i>Bibl. de le France</i>, Aug. 22, 1827.]</p> + +<h6>II.</h6> + +<p><i>El</i>/ <i>Corsario</i>/ Por/ Lord Byron./ Valencia:/ Imprenta de +Cabrerizo./ 1832./ [32º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 272.</p> +</div> + + +<h5>Swedish.</h5> + +<p>Corsaren./ Af/ Lord Byron./ [Motto as above.] Stockholm,/ +Tryckt Hos Joh. Beckman, 1868./</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 96.</p> + +<p><i>Note</i>.—"Ofversattning af Talis Qualis."</p> +</div> + +<p><span class='pagenum'><a name="Page_207" id="Page_207">[207]</a></span></p> + +<h4>The Curse of Minerva.</h4> + +<h6>I.</h6> + +<p>The Curse of Minerva./ London:/ Printed by T. Davison, +Lombard Street, Whitefriars./ 1812./ [4º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. 1, 2; Text, pp. 3-25. The Imprint +(<i>Printed by T. Davison, Lombard Street,/ Whitefriars, London</i>./) +is in the centre of p. [27].</p> + +<p><i>Note</i>.—The pages of the Text measure 280 x 220.</p> +</div> + +<h6>II.</h6> + +<p>The/ Curse of Minerva./ A Poem,/ By the Right Honourable/ +Lord Byron/—— Pallas te hac [<i>sic</i>] vulnere, +Pallas/ Immolat, et poenam scelerato ex sanguine sumit./ +Philadelphia:/ Printed for De-Silver and Co./ 1815./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 24.</p> + +<p><i>Note</i>.—It is probable that this edition, which closely resembles +the later separate issues of the <i>Corsair</i>, the <i>Bride of Abydos</i>, and +the <i>Giaour</i>, was printed in London.</p> +</div> + +<h6>III.</h6> + +<p>The/ Curse of Minerva./ A Poem./ By the Right Honourable/ +Lord Byron./—— Pallas te hac [<i>sic</i>] vulnere, +Pallas/ Immolat, et poenam scelerato ex sanguine sumit./ +Third Edition./ Paris./ Published by Galignani/ at the +French, English, Italian, German and Spanish/ Library, +No. 18, Rue Vivienne./ 1818./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf, pp. 1, 2; Title, one leaf, pp. 3, 4; Text, +pp. 5-[21]. The Imprint (<i>Printed by A. Belin</i>) is at the foot of +P. [21].</p> + +<p><i>Note</i> (1).—A Fourth Edition, identical with the Third, was +issued by Galignani in 1820. Quérard (1827) records the issue +of a Second Edition, published by A. and W. Galignani in 1818.</p> + +<p><i>Note</i> (2).—<i>The Curse of Minerva</i> (full text) is +included in the +fifth volume of the edition of Byron's Works published by Louis +and Baudry in 1825 (see W. <a href="#Page_98">No. xviii.</a>); in the first volume of +the Fifth Edition, in sixteen volumes, published by A. and W. +Galignani in 1822 (see W. No. xix.), but was not published, in +its entirety, in England till 1831 (see W. <a href="#Page_110">No. xliii.</a>).</p> + +<p>For a bibliographical note on <i>The Curse of Minerva</i>, first +published as <i>The Malediction of Minerva, or The Athenian +Marble Market</i> (111 lines), in the <i>New Monthly Magazine</i>, +April, 1818, vol. iii. p. 240, and often reprinted in a mutilated +form, see <i>Poetical Works</i>, 1898, i. 452.<span class='pagenum'><a name="Page_208" id="Page_208">[208]</a></span></p> +</div> + + +<h4>The Deformed Transformed.</h4> + +<h6>I.</h6> + +<p>The/ Deformed Transformed;/ A Drama. By the/ Right +Hon. Lord Byron./ London, 1824:/ Printed for J. and +H. L. Hunt,/ Bond Street, and Tavistock Street./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>London:/ Printed by C. H. Reynell, Broad Street, +Golden Square./</i>), pp. 1, 2; Title, pp. 3, 4; Author's Advt., +p. 6; <i>Dramatis Personæ</i>, one leaf, pp. 7, 8; Text, pp. 9-88. +The Imprint, as above, is at the foot of p. 88.</p> + +<p><i>Note</i>.—A Second and Third Editions, identical with the First, +were issued in 1824.</p> +</div> + +<h6>II.</h6> + +<p><i>The Deformed Transformed</i>, a drama by the Right hon. +lord Byron. Impr. de A. Belin, à Paris, chez A. et W. +Galignani, 1824. [12º.</p> + +<p class="auth">[<i>Bibl. de le France</i>, March 27, 1824.]</p> + +<div class="cocono"> +<p><i>Note</i>.—<i>La Metamorphose du Bossu</i> forms part (pp. 1-103) of +Tome Quinzième of <i>Oeuvres Complètes</i> de Lord Byron. Paris, +Ladvocat/ 1824./ (See Transl. of Coll. Ed. No. i.)</p> +</div> + +<h6>III.</h6> + +<p>The/ Deformed Transformed./ By/ Lord Byron./ [Illustration, +"What do I see?"] New and Complete Edition. +—Price one Penny./ London: J. Dicks, 313, Strand; +all Booksellers./ [1883, etc.] [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 583-597.</p> + +<p><i>Note</i>.—The <i>Deformed Transformed</i> is No. 113 of "Dicks' +Standard Plays."</p> +</div> + + +<h4>Translation.</h4> + + +<h5>Hungarian.</h5> + +<p>Budapesti/ Árvizkönyv./ etc. Szerkeszti/ B. Eötvös József./ +Negyedik Rötet./ Pesten,/ Kiadja Heckenast Gusztáv./ +1840./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Lord Byron'/ Elváltoztatott Idomtalanjából/ Töredek,/ +Lukács Móricztól./ pp. 111-140.</p> +</div> +<p><span class='pagenum'><a name="Page_209" id="Page_209">[209]</a></span></p> +<h4>Don Juan.</h4> + +<h4>Cantos I., II.</h4> + +<h6>I.</h6> + +<p>Don Juan./ "Difficile est proprie communia dicere."/ Hor. +<i>Epist. ad Pison.</i>/ London:/ Printed by Thomas Davison, +Whitefriars./ 1819./ [4º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf; Title, one leaf; Second Half-title, pp. 1, +2; Text, pp. 3-227. The Imprint (<i>London:/ Printed by Thomas +Davison, Whitefriars./</i>) is in the centre of p. [228].</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Canto I.</td><td class="pn">p. 3</td></tr> +<tr><td>Notes to Canto I.</td><td>p. [115]</td></tr> +<tr><td>Canto II.</td><td>p. [119]</td></tr> +</table> + +<p><i>Note</i> (1).—The following lines and stanzas are omitted: +Canto I. stanzas xv,, cxxix. lines 7, 8, cxxx. lines 7, 8, cxxxi. The +omissions were first included in the Text in the edition of 1833. +(See vol. xv. p. 40.)</p> + +<p><i>Note</i> (2).—For the "Dedication" in pamphlet form, +<i>vide post</i>, p. 304.</p> +</div> + +<h6>II.</h6> + +<p>Don Juan./ "Difficile est proprie communia dicere."/ Hor. +<i>Epist. ad Pison.</i>/ A New Edition./ London:/ Printed +by Thomas Davison, Whitefriars./ 1819./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf; Title, one leaf; Second Half-title, pp. 1, 2; +Text, pp. 3-227. The Imprint, as above, is in the centre of +p. [228].</p> + +<p><i>Note</i>.—For omitted lines and stanzas, <i>vide supra</i>, No. i. +"A New Edition," identical with that of 1819, was issued in 1820.</p> +</div> + +<h6>III.</h6> + +<p>Don Juan./ "Difficile est," etc. Hor. <i>Epist. ad Pison</i>./ +An exact Copy from the Quarto Edition./ London./ +Published by J. Onwhyn, No. 4, Catherine-Street./ +Strand./ Price Four Shillings./ 1819./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, pp. 1, 2; Half-title, pp. 3, 4; Text, pp. 5-117. The +Imprint (<i>E. Thomas, Printer, Denmark-Court, Strand</i>) is at the +foot of p. 117.</p> +</div> + +<p><span class='pagenum'><a name="Page_210" id="Page_210">[210]</a></span></p> + +<h6>IV.</h6> + +<p>Don Juan./ "Difficile est," etc./ Hor. <i>Epist. ad Pison.</i>/ +London:/ Printed by Thomas Davison, Whitefriars./ +1820./ [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—This edition is identical with the "New Edition" of +1820, but is in smaller type, and the size is crown, not post, octavo.</p> +</div> + +<h6>V.</h6> + +<p>Don Juan./ "Difficile," etc./ Hor. <i>Epist. ad Pison.</i>/ An +exact copy from the Quarto Edition./ London:/ Printed +for Sherwin and Co. Paternoster Row./ Price Four +Shillings./ 1820./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf, pp. 1, 2; Title, one leaf, pp. 3, 4; Text, +pp. 5-117. The Imprint (<i>Sherwin and Co. Printers, Paternoster +Row</i>.) is at the foot of p. 117.</p> +</div> + +<h6>VI.</h6> + +<p>Don Juan./ "Difficile est proprie communia dicere."/ Hor. +<i>Epist. ad Pison.</i>/ A New Edition./ London:/ Printed +by Thomas Davison, Whitefriars./ 1822./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>London:/ Printed by Thomas Davison, +Whitefriars.</i>/); Title, one leaf, etc., <i>vide supra</i>, No. ii.</p> + +<p><i>Note</i>.—The "New Edition" of 1822, with the exception of the +first Half-title, is identical with the "New Edition" of 1819.</p> +</div> + + + +<h4>Cantos III., IV., V.</h4> + +<h6>I.</h6> + +<p>Don Juan,/ Cantos III, IV, and V./ "Difficile est," etc./ +Hor. <i>Epist. ad Pison</i>./ London: Printed by Thomas +Davison, Whitefriars./ 1821./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf; Title, one leaf; Second Half-title, pp. 1,2; +Text, pp. 3-218. The Imprint, as above, is in the centre of p. [220].</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Canto III.</td><td class="pn">p. 3</td></tr> +<tr><td>Notes to Canto III.</td><td>p. 65</td></tr> +<tr><td>Canto IV.</td><td>p. 71</td></tr> +<tr><td>Notes to Canto IV.</td><td>p. 131</td></tr> +<tr><td>Canto V.</td><td>p. 135</td></tr> +<tr><td>Notes to Canto V.</td><td>p. 215</td></tr> +</table> + +<p><i>Note</i>.—Canto V. stanza lxi. is omitted. This edition of Cantos +III., IV., V. was issued in post and in crown octavo.</p> +</div> + +<p><span class='pagenum'><a name="Page_211" id="Page_211">[211]</a></span></p> + +<h6>II.</h6> + +<p>Don Juan./ "Difficile est," etc./ Hor. <i>Epist. ad Pison</i>./ +Cantos III. IV. and V./ London:/ Printed for Sherwin +and Co. Paternoster Row./ Price Four Shillings./ 1821./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, pp. 3, 4; Text, pp. 5-114. The Imprint (<i>Printed by +Sherwin and Co./ Paternoster-Row./</i>) is at the foot of p. 114.</p> +</div> + +<h6>III.</h6> + +<p>Don Juan./ Cantos III, IV, and V./ "Difficile est," etc. +Hor. <i>Epist. ad Pison.</i>/ Fifth Edition,/ Revised and Corrected./ +London:/ Printed by Thomas Davison, Whitefriars./ 1822./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf; Title, one leaf; Second Half-title, pp. +1, 2; Text, pp. 3-222. The Imprint (<i>London:/ Printed by +Thomas Davison, Whitefriars</i>) is in the centre of p. [224].</p> + +<p><i>Note</i>.—The additional matter consists of the citations and +corrections of ten of Bacon's apophthegms, and a defence of the +literary merits of Voltaire, pp. 217-222, which was omitted from +the First Edition (see letter to Murray, August 21, 1821, <i>Letters</i>, +1901, v. 351).</p> +</div> + + + +<h4>Cantos I.-V.</h4> + +<h6>I.</h6> + +<p>Don Juan./ A/ Poem,/ By/ Lord Byron./ London./ +Printed & Sold by W. Benbow./ At the Lord Byron's +Head./ 9, Castle Street, Leicester Square./ 1822./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>[Cantos I.-V.], pp. 214 + Notes to Canto First, etc., pp. +[215]-[220]. The Imprint (<i>Sudbury, Printer, High Holborn</i>) is +at the foot of p. [220].</p> +</div> + +<h6>II.</h6> + +<p>Don Juan./ "Difficile est," etc./ Hor. <i>Epist. ad Pison.</i>/ +With/ A Preface,/ By a Clergyman./ London:/ Printed +by and for Hodgson & Co.,/ 10, Newgate Street./ 1822./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, pp. i., ii.; Title, pp. iii., iv.; Publisher's Preface, +pp. v.-x.; Text, pp. 3-226. The Imprint (<i>Printed by Hodgson +and Co. 10, Newgate Street, London</i>.) is at the foot of p. 226.</p> + +<p><i>Note</i>.—The Front. is a lithograph of "Lord Byron." This<span class='pagenum'><a name="Page_212" id="Page_212">[212]</a></span> +edition was reissued in 1823 with another Front., a lithograph of +"Lord Byron," after the portrait by G. Harlow.</p> +</div> + +<h6>III.</h6> + +<p>Don Juan./ In Five Cantos./ A New Edition, with Notes./ +[Title-vignette,? Newstead Abbey.] And/ Three Engravings +after Corbould./ London:/ Printed by and for +Peter Griffin,/ Tabernacle Walk,/ and sold by all Booksellers +in Town and Country./ [1823.] [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf; Title (R. <i>Arliss. Typ. London</i>); Second +Half-title, with motto, "Difficile est," etc./ Hor./; Cont.; +Text [Cantos I.-V.], pp. 1-180.</p> + +<p><i>Note</i>.—A paper cover with ornamental border bears the date MDCCCXXIII.</p> +</div> + +<h6>IV.</h6> + +<p>Don Juan./ "Difficile est," etc./ Hor. Epist. ad Pison./ +A Correct Copy from the original edition./ London:/ +Printed by G. Smeeton, St. Martin's Church Yard,/ +Charing Cross./ [1826?] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. 1, 2; Text, pp. 3-215 + Notes to Canto I., +etc., pp. [217]-[228]. The Imprint (<i>Printed by G. Smeeton, +St. Martin's Church Yard</i>.) is at the foot of p. [228].</p> + +<p><i>Note</i>.—There is an illustrated Title (Don Juan/ Cantos 1 to 5/ +London./ Printed by G. Smeeton St. Martins Church Yard./) +with Title-vignette, head of Lord Byron encircled with bay leaves, +and six coloured illustrations by I. R. Cruikshank.</p> +</div> + + + +<h4>Cantos VI., VII, VIII.</h4> + +<h6>I.</h6> + +<p>Don Juan./ Cantos VI.—VII.—And VIII./ "Dost thou +think because thou art virtuous, there shall be no more/ +Cakes and Ale?"—"Yes, by St. Anne; and Ginger shall +be hot i' the/ mouth too!"—<i>Twelfth Night, or What +you Will.</i>/ Shakespeare./ London, 1823:/ Printed for +John Hunt,/ 38, Tavistock Street, Covent Garden, And/ +22, Old Bond Street./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (R. London:/ <i>Printed by C. H. Reynell, Broad Street, +Golden Square.</i>/), pp. i., ii.; Preface to Cantos VI.—VII.—and VIII., +pp. [iii.]-vii.; Second Half-title, one leaf; Text, pp. 1-184; +"Publications by John Hunt ... July, 1823," pp. [185], [186].</p> + +<p><i>Note</i>.—Notes to Canto VIII. are on pp. [183], 184. This<span class='pagenum'><a name="Page_213" id="Page_213">[213]</a></span> +edition was reissued in 1825—Printed for Hunt and Clarke,/ +Tavistock Street, Covent Garden./ The pagination, etc., is +identical with that of the edition of 1823. The Imprint (<i>London:/ +Printed by C. H. Reynell, Broad Street, Golden Square.</i>/) is on +p. [186].</p> +</div> + +<h6>II.</h6> + +<p>Don Juan./ Cantos VI.—VII.—VIII./ "Dost thou think," +etc. [Motto, four lines]./ London: Printed and Published +by W. Dugdale, 19, Tower Street, Seven Dials./ 1823./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. i., ii.; Preface, pp. iii., iv.; Text, pp. 1-221 ++ Notes to Cantos IX. X. XI., pp. [223], [224]. The +Imprint (<i>Benbow, Printer, 9, Castle-Street, Leicester-square, +London.</i>) is at the foot of p. [224].</p> + +<p><i>Note</i>.—This edition includes Cantos IX., X., XI.</p> +</div> + +<h6>III.</h6> + +<p>Don Juan./ Cantos VI.—VII.—VIII./ "Dost thou think," +etc. [Motto, four lines]./ London: 1823./ Printed for +John Hunt, 22, Old Bond-Street, and 38, Tavistock-/ +Street, Covent Garden./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (R. <i>London:/ Printed by C. H. Reynell, Broad Street, +Golden Square.</i>/), pp. i., ii.; Preface, pp. iii.-vi.; Text, pp. 7-97. +The Imprint, as above, is at the foot of p. 97.</p> +</div> + +<h4>Cantos IX., X., XI.</h4> + +<h6>I.</h6> + +<p>Don Juan./ Cantos IX.—X.—And XI./ "Dost thou think +because thou art virtuous, there shall be no more/ Cakes +and Ale?"—"Yes, by St. Anne; and Ginger shall be hot +i' the/ mouth too!"—<i>Twelfth Night</i>, or What you Will./ +Shakspeare./ London, 1823:/ Printed for John Hunt,/ +38, Tavistock Street, Covent Garden, And/ 22, Old Bond +Street./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. 1, 2; Half-title, pp. 3, 4; Text, pp. 5-151. +The Imprint (<i>London;/ Printed by C. H. Reynell, Broad Street, +Golden Square.</i>/) is in the centre of p. [152].</p> + +<p><i>Note</i> (1).—The Notes to Canto IX. are on pp. [49], 50; the +Notes to Canto X. on pp. [97]-99; and the Notes to Canto XI. +on pp. [149]-151. Canto XI. stanza lvii. lines 5-8 and stanza lviii. +are omitted.<span class='pagenum'><a name="Page_214" id="Page_214">[214]</a></span></p> + +<p><i>Note</i> (2).—The motto is here given in full; and note "Shakspeare," +not "Shakespeare," as before.</p> +</div> + +<h6>II.</h6> + +<p>Don Juan./ Cantos IX.—X.—XI./ "Dost thou think," +etc. [Motto, four lines]./ Shakespeare./ London, 1823:/ +Printed for John Hunt, 38, Tavistock Street, Covent/ +Garden; and 22, Old Bond Street./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (R. <i>Printed by G. H. Reynell,/ 45, Broad-Street, +Golden-Square</i>,/), pp. 1, 2; Text, pp. 3-72.</p> +</div> + + +<h4>Cantos XII., XIII., XIV.</h4> + +<h6>I.</h6> + +<p>Don Juan./ Cantos XII.—XIII.—And XIV./ [Motto as +above, three lines.] Shakspeare./ London, 1823:/ Printed +for John Hunt,/ 38, Tavistock Street, Covent Garden, and/ +22, Old Bond-Street./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (R. <i>London./ Printed by C. H. Reynell, Broad Street, +Golden Square./</i>), pp. 1, 2; Half-title, pp. 3, 4; Text, pp. 5-168. +The Imprint, as above, is at the foot of p. 168.</p> + +<p><i>Note</i>.—The Notes to Canto XII. are on pp. [51], 52; the +Notes to Canto XIII. on pp. [111], 112; and the Notes to Canto +XIV. on pp. [167], 168.</p> +</div> + +<h6>II.</h6> + +<p>Don Juan./ Cantos XII.—XIII.—XIV./ "Dost thou +think," etc. [Motto, four lines]./ London, 1823:/ Printed +for John Hunt, 38, Tavistock Street, Covent/ Garden: +and 22, Old Bond-Street./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (R. <i>Printed by G. H. Reynell,/ 45, Broad-Street, +Golden-Square./</i>), +pp. 1, 2; Text, pp. 3-83 + six pages of "Publications +by John Hunt," dated December, 1823. This edition is bound +in a paper cover with ornamental border—Don Juan./ Cantos/ +XII. XIII. XIV./ Price One Shilling./</p> +</div> + +<h6>III.</h6> + +<p>Don Juan./ Cantos XII.—XIII.—XIV./ "Dost thou +think," etc. [Motto, four lines (Shakspeare)]./ London:/ +Printed for the Booksellers./ 1823./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—<span class='pagenum'><a name="Page_215" id="Page_215">[215]</a></span></p> + +<p>Title (R. <i>Sudbury, Printer, 252, High Holburn</i>.), pp. 1, 2; +Text, pp. 3-83. The Imprint, as above, is at the foot of p. 83.</p> +</div> + +<h6>IV.</h6> + +<p>Don Juan,/ Cantos XII, XIII, XIV./ "Dost thou think," +etc. [Motto, four lines (Shakespeare)]./ Paris:/ Published +by A. and W. Galignani,/ at the French, English, Italian, +German, and Spanish Library,/ No. 18, Rue Vivienne./ +1824./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>Paris: Printed by A. Belin</i>.); Title, one leaf; +Half-title, with Motto, pp. 1, 2; Text, pp. 3-162 + Notes to +Canto XIV., pp. [163], [164].</p> +</div> + +<h4>Cantos XV., XVI.</h4> + +<h6>I.</h6> + +<p>Don Juan./ Cantos XV. And XVI./ [Motto as above, +three lines.] Shakspeare./ London, 1824:/ Printed for +John and H. L. Hunt,/ Tavistock Street, Covent Garden. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (R. Imprint as above), pp. 1, 2; Half-title, pp. 3, 4; +Text, pp. 5-125; [Works] Published by John and H. L. Hunt, +... March, 1824, pp. [131], [132]. The Imprint, as above, is +in the centre of p. [130].</p> + +<p><i>Note</i>.—The Notes to Canto XV. are on pp. [55]-57; the Notes +to Canto XVI. on pp. [127]-129. The following note is on +p. [126]: ["The errors of the press in this Canto,—if there be +any,—are not to be attributed to the Author, as he was deprived +of the opportunity of correcting the proof-sheets."]</p> +</div> + +<h6>II.</h6> + +<p>Don Juan./ Cantos XV. and XVI./ "Dost thou think," +etc. [Motto, three lines]. Shakspeare./ London, 1824:/ +Printed for John and H. L. Hunt,/ Tavistock Street, +Covent Garden./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (R. <i>London:/ Printed by C. H. Reynell, Broad Street, +Golden Square./</i>), pp. 1, 2; Half-title, one leaf, pp. 3, 4; Text, +pp. 5-130. The Imprint, as above, is at the foot of p. 130.</p> +</div> + +<h6>III.</h6> + +<p>Don Juan./ Cantos XV. and XVI./ "Dost thou think," +etc. [Motto, four lines]./ Shakspeare./ London:/ Printed +for the Booksellers./ 1824./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i><span class='pagenum'><a name="Page_216" id="Page_216">[216]</a></span></p> + +<p>Title (R. <i>Sudbury, Printer, 252, High Holborn</i>.), pp. 1, 2; +Text, pp. 3-62. The Imprint, as above, is at the foot of p. 62.</p> +</div> + +<h6>IV.</h6> + +<p>Don Juan./ Cantos XV. and XVI./ "Dost thou think," +etc. [Motto, three lines]./ Shakspeare./ London, 1824:/ +Printed for John Hunt, 38, Tavistock-Street, Covent/ +Garden; and 22, Old Bond-Street./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (R. <i>Printed by G. H. Reynell/ 45, Broad-Street, +Golden-Square./</i>), pp. 1, 2; Text, pp. 3-62.</p> + +<p><i>Note</i>.—The Title-page and setting of the Notes, and the quality +of the paper of this edition differ from that of the preceding, but +the text appears to have been set up from the same type.</p> +</div> + +<h6>V.</h6> + +<p>Don Juan,/ Cantos XV, XVI./ "Dost thou think," etc. +[Motto, four lines]./ Paris: Published by A. and W. +Galignani,/ At the French, English, Italian, German, and +Spanish Library,/No. 18, Rue Vivienne./ 1824./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>Paris: Printed by A. Belin</i>.); Title, one page; +Second Half-title, with Motto, pp. 1, 2; Text, pp. 3-125.</p> +</div> + + +<h4>Full Text.</h4> + +<h6>I.</h6> + +<p>Don Juan./ By/ Lord Byron./ Cantos I. To VI./ "Difficile +est proprie communia dicere."/ Hor./ Vol. I./ +[Vol. II.] London: Printed for the Booksellers./ +MDCCCXXVI./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: General Title (The/ Works/ of/ Lord Byron./ +Vol. XII./ London:/ Printed for the Booksellers./ 1826); +Title (R. <i>Thomas White, Printer,/ Johnson's Court./</i>); Text, pp. +1-353. The Imprint, as above, is at the foot of p. [354].</p> + +<p>Vol. II.: General Title (<i>The/ Works</i>,/ etc. Vol. XIII./ etc.); +Title (Don Juan./ By/ Lord Byron./ Cantos VII. To XVI./ +"Dost thou think," etc. [Motto, three lines]./ Shakspeare./ +Vol. II., etc.) (R. Imprint as above); Half-title, pp. 1, 2; Text, +PP. 3-398.</p> +</div> + +<h6>II.</h6> + +<p>Don Juan:/ In/ Sixteen Cantos./ By Lord Byron./ +"Difficile est proprie communia dicere."/ <i>Hor. Epist. ad +Pison.</i>/ Complete in one volume./ London:/ Printed +for William Clark,/ 60, Paternoster-Row./ 1826./ [16º.<span class='pagenum'><a name="Page_217" id="Page_217">[217]</a></span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (R. <i>W. Wilson, Printer,/ 57, Skinner-Street, London./</i>), +pp. i., ii.; Biographical Notice, pp. iii.-xii.; Text, pp. 1-432. +The Imprint (<i>W. Wilson, Printer, 57, Skinner-Street, London</i>.) +is at the foot of p. 452.</p> +</div> + +<h6>III.</h6> + +<p>Don Juan:/ In/ Sixteen Cantos./ By the/ Right Hon. +Lord Byron./ Difficile est proprie communia dicere./ +Hor. Epist. ad Pison./ Complete in one volume./ With +a short Biographical Memoir of the/ Author./ [Title-vignette, +the Royal Arms.] London:/ Printed for T. and +J. Allman,/ Great Queen-Street, Lincoln's Inn Fields./ 1827./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf; Title (R. <i>Doncaster:/ Printed by C. and +J. White, Baxter-Gate./</i>), pp. i., ii.; Biographical Memoir, pp. +iii.-ix.; Text, pp. 1-537. The Imprint, as above, is at the foot +of p. 537.</p> + +<p><i>Note</i>.—The Front. (dated 1828) is a portrait of Lord Byron by +T. Phillips, R.A., engraved by W. Wise.</p> +</div> + +<h6>IV.</h6> + +<p>Don Juan./ "Difficile est proprie communia dicere."/ Hor. +<i>Epist. ad Pison.</i>/ In Two Volumes./ Vol. I./ London:/ +Thomas Davison, Whitefriars./ 1828./ [8º.</p> + +<p>Don Juan./ "Dost thou think, because thou art virtuous, +there shall be/ no more cakes and ale?—Yes, by St. Anne; +and ginger/ shall be hot i' the mouth too!"—<i>Twelfth +Night; or What/ you Will./</i> Shakspeare./ In Two +Volumes. Vol. II./ London:/ Thomas Davison, Whitefriars./ +1828./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: Half-title, one leaf; Title, one leaf; Text, pp. 1-343. +The Imprint (<i>London:/ Printed by Thomas Davison, Whitefriars./</i>) +is in the centre of p. [344].</p> + +<p>Vol. II.: Half-title, one leaf; Title, one leaf; Text, pp. 1-371. +The Imprint, as above, is in the centre of p. [372].</p> + +<p><i>Note</i>.—The Front. to Vol. I. is "Don Juan, C. ii. St. 89," +drawn by R. Westall, R.A., and engraved by E. Finden; the +Front. to Vol. II. is "Don Juan, Canto II. St. 144," by the +same artist and engraver.</p> +</div> + +<p><span class='pagenum'><a name="Page_218" id="Page_218">[218]</a></span></p> + +<h6>V.</h6> + +<p>Don Juan./ By/ Lord Byron./ Cantos I. To VI./ "Difficile +est proprie communia dicere."/ Hor./ Vol. I./ +London:/ Printed for the Booksellers./ 1828./ [8º.</p> + +<p>Don Juan./ By/ Lord Byron./ Cantos VII. To XVI./ +"Dost thou think," etc. [Motto, three lines]./ Shakespeare./ +Vol. II./ London: Printed for the Booksellers./ +1828./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: Half-title, one leaf; Title (R. <i>Hamblin, Printer</i>, 63, +<i>Upper Thames Street</i>.); Text, pp. 1-351. The Imprint, as above, +is at the foot of p. [352].</p> + +<p>Vol. II.: Half-title, one leaf; Title (R. Imprint as above); +Second Half-title, one leaf, pp. 1, 2; Text, pp. 3-392. The +Imprint, as above, is at the foot of p. 392.</p> +</div> + +<h6>VI.</h6> + +<p><i>Don Juan in 16 Cantos</i>. Campe's Edition. Nuremberg +and New York, Campe and Co. 1832. [12º.</p> + +<p class="auth">[Kayser, 1834.]</p> + +<h6>VII.</h6> + +<p>Don Juan,/ In/ Sixteen Cantos,/ With Notes;/ By Lord +Byron./ "Difficile est," etc./ Horace./ "Dost thou +think," etc. [Motto, three lines. "Shaks."]/ London: +Printed for Scott and Webster,/ 36, Charter-House +Square./ 1833./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. 1, 2; Text, pp. 3-359. The Imprint +(<i>C. Morris, Printer, 20, Sydney Grove, Sydney St.</i>) +is at the foot of p. 359.</p> + +<p><i>Note</i>.—The Front. is "Don Juan and Julia," by H. Corbould, +engraved by C. Heath. The Title-vignette of the illustrated Title +(Don Juan:/ Complete./ By Lord Byron./ London:/ Engraved +for the English Classics,/ Published by Scott & Webster./) is +from a drawing by H. Corbould, engraved by C. Heath.</p> +</div> + +<h6>VIII.</h6> + +<p>Don Juan,/ In/ Sixteen Cantos,/ With Notes;/ By Lord +Byron./ "Difficile est," etc./ Horace./ "Dost thou +think," etc. [Motto, three lines. "Shaks."]./ London/ +Printed for the Booksellers. 1835./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p><i>Vide supra</i>, No. vii.</p> + +<p><i>Note</i>.—The Front. and illustrated Title are omitted.</p> +</div> + +<p><span class='pagenum'><a name="Page_219" id="Page_219">[219]</a></span></p> + +<h6>IX.</h6> + +<p>Don Juan./ By/ Lord Byron./ In Two Volumes./ Vol. I./ +[Vol. II.] London:/ John Murray, Albemarle Street./ +1837./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. 376. The Imprint (<i>London</i>:/ Printed by +<i>A. Spottiswoode,/ New-Street-Square</i>./) is at the foot of p. 376.</p> + +<p>Vol. II.: pp. 395. The Imprint, as above, is in the centre of +p. [396].</p> + +<p><i>Note</i>.—The Title-vignette of illustrated Title of Vol. I. is +"Cape Colonna Sunium," engraved by E. Finden from a drawing +by T. Helpman. The Title-vignette of illustrated Title of Vol. II. +is "The Brig of Balgownie near Aberdeen," engraved by E. +Finden from a drawing by G. Bulmer. The vols. are bound in +green cloth, with coat-of-arms in gold.</p> +</div> + +<h6>X.</h6> + +<p><i>Don Juan</i>. Mannheim, Hofmann. 1838. [16º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>XI.</h6> + +<p>Don Juan:/ In/ Sixteen Cantos./ By/ Lord Byron./ +"Difficile est," etc./ <i>Hor. Epist. ad Pison.</i>/ London: +H. G. Bohn, York Street, Covent Garden./ 1849./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. 1, 2; Text, pp. 3-438.</p> + +<p><i>Note</i>.—The Front. is "The Siesta of Haidée and Juan." The +Title-vignette on illustrated Title (Don Juan,/ etc. London. +MDCCCXLVI./ (<i>sic</i>)) is Newstead Abbey from the Lake.</p> +</div> + +<h6>XII.</h6> + +<p>Don Juan/ By Lord Byron/ Complete Edition with Notes/ +"Dost thou think," etc. [Motto, three lines]/ London and +New York/ George Routledge and Sons/ [1874] [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf, pp. 1, 2; Title (R. <i>Charles Dickens and +Evans,/ Crystal Palace Press</i>./), pp. 3, 4; Text, pp. 5-431. The +Imprint, as above, is in the centre of p. [432].</p> +</div> + +<h6>XIII.</h6> + +<p>Don Juan./ By/ Lord Byron./ "Difficile est," etc./ "Dost +thou think," etc. [Motto, three lines (Shakespeare)]./ +London: Chatto & Windus, Piccadilly./ 1875./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—<span class='pagenum'><a name="Page_220" id="Page_220">[220]</a></span></p> + +<p>Half-title, one leaf; Title, one leaf; List of Cantos, pp. 1, 2; +Text, pp. 3-359.</p> + +<p><i>Note</i>.—Part of "The Golden Library."</p> +</div> + +<h6>XIV.</h6> + +<p>Don Juan/ By/ Lord Byron/ "Difficile est," etc./ Complete +Edition, with Notes/ London/ George Routledge +and Sons/ Broadway, Ludgate Hill/ New York: 9 Lafayette +Place/ 1886/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf; Title (R. Advt. of Routledge's Large +Type Three-Volume Classics.); Text, pp. 1-476. The Imprint +(<i>R. Clay and Sons, London and Bungay</i>.) is at the foot of p. 476.</p> + +<p><i>Note</i>.—The Front. is "Don Juan," from Canto IV. stanza xvii. +The same issue without the Front. forms part of Routledge's +"Excelsior Series."</p> +</div> + + +<h4>Translations of Don Juan.</h4> + +<h5>Danish.</h5> + +<h6>I.</h6> + +<p>Don Juan.... Metrisk bearbeidet efter den engelske +Original af H. Schou. 1. Hefte Fredericia. 1854. [4º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 16.</p> + +<p><i>Note</i>.—No more published. Without Title-page; the above +Title appears on the wrapper.</p> +</div> + +<h6>II.</h6> + +<p>Byron: Don Juan./ Oversat Paa Dansk/ Af/ Holger +Drachmann./ Med Indledningsdigt Af Oversaetteren./ +KjøBenHavn./ Forlagt Af J. H. Schubothes Boghandel./ +Groebes Bogtrykkeri./ 1880./ [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—The translation was issued in parts. The first volume, +containing Cantos I.-VI. pp. 1-437, was completed in 1882. A +second volume (1890-1902) contains Cantos VII.-XVI. pp. 1-465.</p> +</div> + + +<h5>French.</h5> + +<h6>I.</h6> + +<p>Don Juan, poeme héroï-comique en 16 chants, traduit et +précédé de la vie de Lord Byron [par A.P.] avec notes +et commentaires. Tomes i. et ii. Deux Volumes. Impr. +de P. Renouard à Paris. A Paris, rue Poupée, n. 16. +1827. [Tome III. was issued Sept. 15.] [18º.</p> +<p><span class='pagenum'><a name="Page_221" id="Page_221">[221]</a></span></p> +<p class="auth">[<i>Bibl. de la France</i>, June 2, 1827.]</p> + +<h6>II.</h6> + +<p><i>Don Juan</i>. Traduit en vers français. 2 vol. Paris, +<i>Librairie centrale</i>. 1866. [12º.</p> + +<p class="auth">[Lorenz, 1876.]</p> + +<h6>III.</h6> + +<p>Paul Lehodey./ Don Juan/ de/ Lord Byron,/ Traduction +nouvelle, précédée d'une préface/ de M. Legouvé,/ de +l'Académie française./ Paris,/ DeGorge-Cadot, libraire-éditeur,/ +37, rue Serpente./ [1869.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xi. + 450 + Table des Matières, p. [451].</p> +</div> + +<h6>IV.</h6> + +<p><i>Don Juan</i>. Traduit en vers français par Adolphe Fauvel. +Troisiéme Édition, entièrement revue et corrigée, 1878. +Paris, Lemerre. [8º.</p> + +<p class="auth">[Lorenz, 1886.]</p> + +<div class="cocono"> +<p><i>Note</i>.—La I<sup>re</sup> édition de cette traduction est de 1866, +la 2<sup>e</sup> de 1868.</p> +</div> + + +<h5>German.</h5> + +<h6>I.</h6> + +<p><i>Don Juan, aus d. Engl.</i> Im Versmass des Originals übersetzt +von Ad. v. Marées. Essen, Bädeker. 1839. [12º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>II.</h6> + +<p>Byron's/ Don Juan/ übersetzt/ von/ Otto Gildemeister./ +"Difficile est proprie communia dicere."/ Horatius./ +"Vermeinst du, weil du tugendhaft," etc. [Motto, six lines]./ +Shakspeare./ Bremen./ Druck und Verlag von Carl +Schünemann./ 1845./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. 314.</p> + +<p>Vol. II.: pp. 276.</p> +</div> + +<p><span class='pagenum'><a name="Page_222" id="Page_222">[222]</a></span></p> + +<h6>III.</h6> + +<p>Byron's/ Don Juan/ von/ Adolf Böttger./ Diamantausgabe./ +Leipzig,/ Verlag von Otto Wigand./ 1849./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 413.</p> + +<p><i>Note</i>.—The Front. is "Haidie." This edition was reissued in 1858.</p> +</div> + +<h6>IV.</h6> + +<p>Byron's/ Don Juan./ Deutsch/ von/ Wilhelm Schäffer./ +Erster Theil./ Erster und Zweiter Gesang./ Hildburghausen./ +Verlag des Bibliographischen Instituts./ 1867./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. 124.</p> + +<p>Vol. II. (Cantos III.-VI.): pp. 152.</p> + +<p><i>Note</i>.—Nos. 47, 48 of the "Bibliothek ausländischer Klassiker."</p> +</div> + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p><i>Don Giovanni</i>: poema, tradotto da Ant. Caccia. Torino, +1853. [16º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<h6>II.</h6> + +<p><i>Don Giovanni</i> ridotto in 8<sup>a</sup> rima da Antonietta Sacchi, +Milano, Guglielmini, 1865. [8º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<h6>III.</h6> + +<p>Giorgio Byron/ Aidea/ Episodio del don Giovanni/ Saggio +d'una traduzione completa/ di/ Vittorio Betteloni/ +Verona/ Stabilimento tipografico di G. Civelli/ 1875/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 119.</p> +</div> + +<h6>IV.</h6> + +<p>Il/ Don Juan/ di/ Lord Byron/ Recato/ In altrettante +stanze italiane/ dal cavaliere/ Enrico Casali/ Milano/ +Natale Battezzati editore/ 1876/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 548 + Indice, p. [549].</p> +</div> + +<p><span class='pagenum'><a name="Page_223" id="Page_223">[223]</a></span></p> + +<h6>V.</h6> + +<p><i>Don Giovanni</i>. Traduzione di Vitt. Betteloni, Milano, +Ottino, 1880. [8º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + + +<h5>Polish.</h5> + +<h6>I.</h6> + +<p>Don Żuan./ Lorda Bajrona./ Pieśń/ Pierwsza/ przełożona/ +przez/ Wiktora z Baworowa. Tarnopol./ Drukiem Józefa +Pawłowskiego./ 1863./ Na dochód Rannych./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. v. + 60.</p> + +<p><i>Note</i>.—This edition was issued during the last Polish +insurrection, for the benefit of the wounded.</p> +</div> + +<h4>(Part of Canto II.)</h4> + +<h6>II.</h6> + +<p>Ustęp z drugiéj pieśni Don Żuana, przełożył Wiktor z Baworowa. +pp. 28. <i>Druk. "Czasu." Kraków, 1877</i>. [8º.</p> + + +<h4>(Canto III.)</h4> + +<h6>III.</h6> + +<p><i>Don Żuan</i>, pieśń trzecia, przekład Wiktora z Baworowa. +pp. 35. <i>redak. "Przeglądu Polskiego," Druk. "Czasu." +Kraków, 1877.</i> [8º.</p> + + +<h4>(Cantos II., III., IV.—Haida.)</h4> + +<h6>IV.</h6> + +<p><i>Don Żuan</i>, pieśń druga, trzecia i czwarta. Opowiadanie o +Haidzie; przekład Wiktora z Baworowa. pp. 118. viii. +<i>Tow. Bratniéj Pomocy Słuchaczów Wszechn. Lwowskiéj: +Tarnopol, 1879</i>. [8º.</p> + +<h6>V.</h6> + +<p><i>Don Żuan</i> ... Przekład Edwarda Porębowicza. <i>Warszawa</i>, 1885.</p> + + +<h5>Roumanian.</h5> + +<p>Don Juan/ dela/ Lord Byron./ Poema epica./ Tradusa de +I. Eliade./ [Emblem—Cupid and Mask.]/ <i>Eliade: +Bucurescĭ</i>./ In tipograsia lui Eliade./ 1847./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 183.</p> +</div> + +<p><span class='pagenum'><a name="Page_224" id="Page_224">[224]</a></span></p> + +<h5>Russian.</h5> + +<h6>I.</h6> + +<p><span title='Don" Zhuan" ... Perevod" I. Zhandra.'>Донъ-Жуанъ ... Переводъ И. Жандра.</span> +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1846. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 1-91.</p> +</div> + +<h6>II.</h6> + +<p><span title='Don Zhuan" ... Volnyĭ perevod" B. Liubich"-Romanovicha.'>Донъ-Жуанъ ... Вольный переводъ В. Любичъ-Романовича.</span> +<span title='S.-Peterburg"'>С.-Петербургъ</span>, [1847.] 2 vols. [12º.</p> + +<h6>III.</h6> + +<p><span title='Don" Zhuan" ... Glava pervaia. Perevod" N.A. Markevicha.'>Донъ-Жуанъ ... Глава первая. Переводъ Н.А. Маркевича.</span> +<span title='Leĭpzig"'>Лейпзигъ</span>, 1862. [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 164.</p> +</div> + +<h6>IV.</h6> + +<p><span title='Don" Zhuan" ... Perev. D. Minaeva.'>Донъ-Жуанъ ... Перев. Д. Минаева.</span> +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1866, 67.</p> + +<h6>V.</h6> + +<p><span title='Don" Zhuan" ... Perevod" P. Kozlova.'>Донъ-Жуанъ ... Переводъ П. Козлова.</span> +<span title='Izdanīe 2-e, s" primiechanīiami P. Veĭnberga.'>Иэданіе 2-e с примѣчаніями П. Вейнберга.</span> +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1889. 2 vols.</p> + +<h6>VI.</h6> + +<p><span title='Don" Zhuan" ... Perevod" A. Kozlova.'>Донъ-Жуанъ ... Переводъ А. Козлова.</span> +2 <span class="smcap">tom</span>. +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1892.</p> + + +<h5>Servian.</h5> + +<p><span title='Don-Zhuan" ... Perevod u prozi Okitse Glushcheviya'>Дон-Жуанъ ... Перевод у прози Окице Глушчевиѣа</span> +<span title='2 sves. Beograd'>2 свес. Београд</span>, 1888.</p> + +<h5>Spanish.</h5> + +<h6>I.</h6> + +<p><i>Don Juan, novela</i>. Por lord Byron. Deux Volumes. Impr. +de Decourchant, à Paris, A Paris rue du Temple, N. 69. +1829. [18º.</p> + +<p class="auth">[<i>Bibl. de le France</i>, January 24, 1829.]</p> + +<h6>II.</h6> + +<p>Don Juan/ Poema/ de/ Lord Byron./ Traduccion de/ F. +Villalva/ Difficile est proprie communia dicere./ Horacio. +<i>Epistola á los Pisones.</i>/ Tomo 1/ Madrid/ Librería de +Leocadio Lopez/13—Calle del Cármen—13/ 1876/ [8º.<span class='pagenum'><a name="Page_225" id="Page_225">[225]</a></span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. xv. + 384 + Indice, p. [385].</p> + +<p>Vol. II.: pp. 420 + Indice, p. [421].</p> +</div> + + +<h5>Swedish.</h5> + +<h6>I.</h6> + +<p>Don Juan/ Af/ Lord Byron./ Första Sången./ Med upplysande +och utwalde Noter./ Öfversatt ifrån Engelska +Originalet./ Stockholm,/ Nordströmska Boktryckeriet,/ 1838./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 80.</p> +</div> + +<h6>II.</h6> + +<p>Don Juan/ Af/ Lord Byron./ Förra Delen./ Sångerna +I-VI./ Stockholm,/ J. L. Brudins Förlag. [1857.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. 349.</p> + +<p>Vol. II.: [Sednare Delen. Sångerna VII.-XVI.—1862], pp. 384.</p> + +<p><i>Note</i>.—This edition ("Öfversättning Af Carl. Wilh. Aug. +Strandberg") was issued in paper covers with vignette portrait of +Lord Byron.</p> +</div> + + + +<h4>English Bards, and Scotch Reviewers.</h4> + +<h6>I.</h6> + +<p>The/ British Bards,/ A Satire./ [1808.] [4º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>No Title-page. Pp. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, +14, 15, 16 [pp. 17, 18, 19, 20, proof-sheets of 84 lines:—(line 1), +"Health to Immortal Jeffrey! once in name;"—(line 84), "Her +son, and vanish'd in a Scottish mist" + p. 21, proof-sheet uniform +with pp. 1-16, of 20 lines:—(line 1), "Illustrious Holland! hard +would be his lot;"—(line 20), "Reforms each error, and refines +the whole"], pp. 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29.</p> + +<p>Signature C is at the foot of p. 5; D, p. 9; E, p. 13; G, p. 21; +H, p. 25.</p> + +<p>Pp. 1-16 contain 284 lines: (line 1), "Time was, e'er yet in +these degenerate days;" (line 284), "Of Jefferies! monarch of +the Scourge and, chain." (Lines 281-284 are erased.)</p> + +<p>Pp. 19-29 contain 200 lines: (line 1), "Now to the drama +turn, oh! motley sight;" (line 200), "And urge thy bards, to +gain a name like thine." The last line of p. 29 is numbered 520, +and the date 1808 is subscribed.<span class='pagenum'><a name="Page_226" id="Page_226">[226]</a></span></p> + +<p><i>Note</i>.—The page measures 278 X 218. The water-mark on +the last page (p. 29) is 1807; the water-mark on the original +wrapper, "J. W. & B. B. 1806." A wrapper of the original +sheets is inscribed, "This is the original Satire which L<sup>d</sup> B. put +into my hands. It was printed in the Country, where he had +been staying. He added 110 lines before it was published. +R.C.D." (<i>B.M.</i>, E.G. 2028.)</p> +</div> + +<h6>II.</h6> + +<p>English Bards,/ And/ Scotch Reviewers./ A Satire./ I had +rather be a kitten, and cry, mew!/ Than one of these +same metre ballad-mongers./ Shakspeare./ Such shameless +Bards we have; and yet 'tis true,/ There are as mad, +abandon'd Critics too./ Pope./ London:/ Printed for +James Cawthorn, British Library,/ No. 24, Cockspur +Street./ [1809.] [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf, pp. i., ii.; Title (R. <i>T. Collins, Printer, +No. 1, Harvey's Buildings, Strand</i>), pp. iii., iv.; Preface, pp. v., +vi.; Text (696 lines), pp. 1-54. The Imprint (<i>T. Collins, +Printer, Harvey's Buildings, Strand</i>) is at the foot of p. 54.</p> + +<p><i>Note</i>.—The words "Scotch Reviewers" on the Title are in +Gothic characters. Facsimile of the Title-page faces p. xiv. of +<i>Poetical Works</i>, 1898, vol. i.</p> +</div> + +<h6>III.</h6> + +<p>English Bards,/ And/ Scotch Reviewers;/ A Satire./ By/ +Lord Byron./ I had rather be a kitten, and cry, mew!/ +Than one of these same metre ballad-mongers./ Shakspeare./ +Such shameless Bards we have; and yet 'tis +true,/ There are as mad, abandon'd Critics too./ Pope./ +Second Edition,/ With/ Considerable Additions and +Alterations./ London:/ Printed for James Cawthorn, +British Library, No. 24,/ Cockspur Street./ 1809./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf, pp. i., ii.; Title (R. <i>Printed by Deans & +Co. Hart-Streeet, Covent Garden</i>./), pp. iii., iv.; Preface to the +Second Edition, pp. v.-vii.; Text (1050 lines), pp. 1-82; Postscript, +pp. 83-85. The Imprint, as above, is at the foot of p. 85. +The Advt. (<i>In the Press,/ And speedily will be published</i>,/ +<span class="smcap">Henry Count de Kolinsky</span>, a Polish Tale./) +is in the centre of p. [86].</p> + +<p><i>Note</i>.—The words "A Satire" on the Title, and the words +"Scotch Reviewers" on the Half-title, are in Gothic characters.</p> +</div> + +<p><span class='pagenum'><a name="Page_227" id="Page_227">[227]</a></span></p> + +<h6>IV.</h6> + +<p>English Bards,/ And/ Scotch Reviewers;/ A Satire./ By/ +Lord Byron./ I had rather be a kitten, and cry, mew!/ +Than one of these same metre ballad-mongers./ Shakspeare./ +Such shameless Bards we have; and yet 'tis +true,/ There are as mad, abandon'd Critics too./ Pope./ +Third Edition./ London:/ Printed for James Cawthorn, +British Library, No. 24,/ Cockspur Street./ 1810./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf, pp. i., ii.; Title (R. Printed by <i>T. Collins, +Harvey's Buildings, Strand, London</i>.), pp. iii., iv.; Preface to the +Third Edition, pp. v.-vii.; Text (1050 lines), pp. 1-82; +Postscript, pp. 83-85 + Advt. of "Books Published by James +Cawthorn," etc., pp. [86]-[88]. The Imprint (<i>Printed by T. Collins, +No. 1, Harvey's Buildings, Strand, London</i>.) is at the foot of +p.[88].</p> + +<p><i>Note</i>.—The Advt. of "The British Circulating Library, 24 +Cockspur Street," etc., is dated March 30, 1810. The words +"A Satire" and "London" on the Title, and the words +"English Bards" on Half-title, are in Gothic characters.</p> +</div> + +<h6>V.</h6> + +<p>English Bards,/ And/ Scotch Reviewers;/ A Satire./ By/ +Lord Byron./ I had rather be a kitten, and cry, mew!/ +Than one of these same metre ballad-mongers./ Shakspeare./ +Such shameless Bards we have; and yet 'tis +true,/ There are as mad, abandon'd Critics too./ Pope./ +Fourth Edition./ London:/ Printed for James Cawthorn, +British Library, No. 24,/ Cockspur Street./ 1810./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf, pp. i., ii.; Title (R.<i>Printed by T. Collins, +Harvey's Buildings, Strand, London</i>.), pp. iii., iv.; Preface to +the Third Edition, pp. v.-vii.; Text (1050 lines), pp. 1-82; +Postscript, pp. 83-85 + "Books Published by James Cawthorn," +etc., pp.[86]-[88]. The Imprint (<i>Printed by T. Collins, No. 1, +Harvey's Buildings, Strand, London</i>) is at the foot of p.[88].</p> + +<p><i>Note</i>.—The Advt. of the "British Circulating Library, 24, +Cockspur Street," etc., is dated March 30, 1810. The words +"Satire" and "London" on the Title, and the words "English +Bards" on the Half-title, are in Gothic characters.</p> +</div> + +<h6>VI.</h6> + +<p>English Bards,/ And/ Scotch Reviewers;/ A Satire./ By/ +Lord Byron./ I had rather be a kitten, and cry, mew!/ +Than one of these same metre ballad-mongers./ +<i>Shakespeare</i>/ Such shameless Bards we have; and yet 'tis +true,/ There are as mad, abandon'd Critics too./ Pope./<span class='pagenum'><a name="Page_228" id="Page_228">[228]</a></span> +Fourth Edition./ London:/ Printed for James Cawthorn, +British Library, No. 24,/ Cockspur Street; and Sharpe +and Hailes, Piccadilly./ 1811./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf, pp. i., ii.; Title (R. <i>Printed by Cox, Son, +and Baylis, Gt. Queen Street, London</i>.), pp. iii., iv.; Preface, +pp. v.-vii.; Text (1052 lines), pp. 1-82; Postscript, pp. 83-85 + +"Books published by James Cawthorn," etc., pp. [87], [88]. +The Imprint (<i>Printed by Cox, Son, and Baylis, Great Queen +Street, Lincoln's-Inn-Fields</i>./) is at the foot of p. 85.</p> + +<p><i>Note</i>.—On the Title-page of another copy of this edition there +is a period instead of a comma after "James Cawthorn." The +word "Satire" on the Title, and the words "Scotch Reviewers" +on the Half-title, are in Gothic characters.</p> +</div> + +<h6>VII.</h6> + +<p>[Fifth Edition.] [8º.</p> + +<p>[For Title-page, <i>vide supra</i>, Fourth Edition, 1811, No. vi. +No special Title-page for a Fifth Edition was printed.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Text, pp. 1-83. [Signature B, p. [1]; C, p. 17; D, p. 33; +E, p. 49; F, p. 65; G, p. 81.] There is no Imprint on pp. [1], +83, or on p. [84]. The Text numbers 1070 lines.</p> + +<p><i>Note</i> (1).—The Half-title prefixed to the Title-page of the +Fourth Edition of 1811, which precedes the Museum copy of +the Fifth Edition, bears the MS. signature, "R. C. Dallas," and +a blank leaf the following note: "This is one of the very few +copies preserved of the suppressed edition, which would have +been the Fifth. No Title-page was printed—the one prefixed +was taken from the preceding edition."</p> + +<p><i>Note</i> (2)—Mr. S. Leicester Warren (Lord de Tabley) records +the following MS. notes inscribed in a copy of the Fifth Edition, +which had formerly belonged to James Boswell, jun., and was +then in the possession of Mr. J. R. P. Kirby, of Bloomsbury Street:—</p> + +<p>A. A note on the abortive duel between Jeffrey and Moore is +dated November 4, 1811.</p> + +<p>B. A note on the fly-leaf in the handwriting of James Boswell, jun.—</p> + +<p>"This copy purports on the title-page to be the fourth edition, +but is in truth the fifth. Having pointed out to Murray, the +bookseller, a variation between the copy of the fifth edition and +this, he borrowed it from me, that he might show it to Lord +Byron to have the circumstance explained; that his lordship told +him he had printed the fifth edition, but, before its publication, +having repented of the work altogether, he determined to destroy +the whole impression. But the printer, as he observed, must have +retained at least this one copy, and, by putting a false title-page, +had sold it as the fourth edition," etc.—<i>Notes and Queries</i>, +1887, Series V. vol. vii. pp. 203, 204.<span class='pagenum'><a name="Page_229" id="Page_229">[229]</a></span></p> + +<p>Mr. Murray's copy of the Fifth Edition contains, on the fly-leaves +at the beginning of the volume, MS. versions of (1) <i>The +Curse of Minerva</i>, pp. [i.]-[xi.]; (2) The Answer to Fitzgerald's +Epigram, written at the "Alfred," on <i>English Bards, etc.</i>, +p. [xv.]; and on p. xvi. the following MS. Title-page:—</p> + +<p>English Bards/ and Scotch Reviewers; a/ Satire/ By Lord +Byron./ I had rather be a kitten, and cry, mew!/ Than one of +these same metre ballad-mongers./ Shakspere./ Such shameless +Bards we have; and yet 'tis true,/ There are as mad, abandon'd +critics too./ Pope./ Fifth Edition,/ Unpublished; with +considerable additions./ London:/ Printed for James Cawthorne,/ +Cockspur Street./ 1812./</p> + +<p>At the end of the volume a MS. version of "Lines on the +Removing Lady Jersey's Portrait from the Gallery of Beauties," +is on pp. [85], [86], and a MS. version of "On a Recent +Discovery, 1813," on p. [89].</p> + +<p>P. xiv. is headed by the following MS. note: "Lord Byron +has two copies of this work, R. C. Dallas, Esq., has likewise +two copies, and Mr. Leigh Hunt one."</p> +</div> + +<h6>VIII.</h6> + +<p><i>English Bards, etc.; a Satire</i>. 1st Amer. from 3rd London +Ed. Philadelphia. 1811. [8º.</p> + +<p class="auth">[Cat. of Boston Athenæum Library, 1874.]</p> + +<h6>IX.</h6> + +<p><i>English Bards, and Scotch Reviewers; A Satire</i>. By Lord +Byron. Charleston: Moxford, Wellington & Co., 1811. [8º.</p> + +<h6>X.</h6> + +<p><i>English Bards, and Scotch Reviewers</i>. Boston. 1814. [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 72.</p> +</div> + +<h6>XI.</h6> + +<p>English Bards/ And/ Scotch Reviewers;/ A Satire./ By +Lord Byron./ From the last London Edition./ I had +rather be a kitten, and cry mew!/ Than one of these same +metre ballad-mongers./ Shakspeare./ Such shameless +bards we have; and yet 'tis true/ There are as mad, +abandon'd critics too./ Pope./ New York:/ Published +by A. T. Goodrich & Co., 124 Broad-/Way, Corner of +Cedar-Street./ <i>I. Seymour, print.</i>/ 1817;./ [12º.</p> +<p> +<span class='pagenum'><a name="Page_230" id="Page_230">[230]</a></span> +</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. i., ii.; Preface to the Third Edition, pp. +iii., iv.; Text, pp. 5-54.</p> + +<p><i>Note</i>.—The text numbers 1050 lines, but lacks the Postscript. +The misprint "ingenious" for "ingenuous youth," in footnote +(p. 7) to line 56, which belongs to the Fourth Edition of 1811, +and was corrected by Byron for the Fifth Edition, occurs in this edition.</p> +</div> + +<h6>XII.</h6> + +<p>English Bards, And/ Scotch Reviewers;/ A Satire./ Ode +to the Land of the Gaul.—Sketch/ From Private Life.—Windsor/ +Poetics, Etc./ By/ The Right Honorable/ Lord +Byron./ Second Edition./ Paris:/ Published by Galignani/ +At the French, English, Italian, German, and +Spanish/ Library, No. 18, Rue Vivienne./ 1818./ [12º.</p> + + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf; Second Half-title, pp. 1, 2; Preface, pp. 3-5; +Text, pp. 7-70; Postscript, pp. 71-73; Ode, etc., pp. 75-84.</p> + +<p><i>Note</i>.—The Text numbers 1052 lines. This edition follows the +Fourth Edition of 1811. The misprint "ingenious" for "ingenuous" +is in a footnote, p. 10. A Third Edition, identical +with the Second, was issued in 1819.</p> +</div> + +<h6>XIII.</h6> + +<p>English Bards,/ And/ Scotch Reviewers;/ A Satire./ With +Notes and Preface,/ By/ Lord Byron./ Brussels,/ Published +at the English Repository of Arts, No. 602,/ Rue de +L'Impératrice./ Printed by Demanet, Rue des Bogards./ 1819./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf; Half-title with Mottoes, pp. 1, 2; Preface, +pp. [3]-[5]; Text, pp. 7-62; Postscript, pp. 63, 64.</p> + +<p><i>Note</i>.—The Front. is "Lord Byron," "<i>lith. par Toland</i>." +The Text numbers 1052 lines. This edition follows the Fourth +Edition of 1811. The misprint "ingenious" is at the foot of p. 10.</p> +</div> + +<h6>XIV.</h6> + +<p>English Bards,/ And/ Scotch Reviewers;/ A Satire./ By/ +The Right Honorable/ Lord Byron./ I had rather be a +kitten, and cry, mew!/ Than one of these same metre +ballad-mongers./ <i>Shakspeare</i>./ Such shameless Bards +we have; and yet 'tis true,/ There are as mad, abandon'd +Critics too./ <i>Pope</i>./ Geneva:/ Published by P. G. +Ledouble,/ No. 24, Rue de la Cité./ 1820./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—<span class='pagenum'><a name="Page_231" id="Page_231">[231]</a></span></p> + +<p>Half-title (R. Advt. of Joseph Forsyth's Remarks on Antiquities, +etc., and Imprint, <i>Printed by Sestié Fils</i>.); Title, one leaf, +pp. 1, 2; Preface, pp. 3-5; Text, pp. 1-66; Postscript, pp. 67, 68.</p> + +<p><i>Note</i>.—The Text numbers 1052 lines. This edition follows the +Fourth Edition of 1811.</p> +</div> + +<h6>XV.</h6> + +<p>English Bards,/ and/ Scotch Reviewers./ A Satire./ By +Lord Byron./ I had rather be a kitten, and cry, Mew!/ +Than one of these same metre ballad-mongers./ <i>Shakespeare</i>./ +Such shameless Bards we have; and yet, 'tis +true,/ There are as mad, abandon'd Critics too./ <i>Pope</i>./ +London:/ Benbow, Printer and Publisher, Byron's Head,/ +Castle-Street, Leicester-Square./ 1823,/ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. v. + [7]-61. The Imprint (<i>W. Benbow, Printer, Castle-st. +Leicester-sq.</i>) is at the foot of p. 61.</p> + +<p><i>Note</i>.—The Text numbers 1050 lines. This edition follows the +Third Edition of 1810.</p> +</div> + +<h6>XVI.</h6> + +<p>English Bards/ And/ Scotch Reviewers;/ A Satire./ By +Lord Byron./ [Mottoes as above, six lines.] A New +Edition,/ With a Life of the Author./ To which is added/ +Fare Thee Well, A Poem./ Glasgow:/ Printed by James +Starke,/ and sold by All the Booksellers./ 1824./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xiv. + 15-52 + Fare Thee Well! pp. [53], [54].</p> + +<p><i>Note</i>.—The Text numbers 1050 lines, as in the Third Edition. +The misprint "ingenious" for "ingenuous" occurs in a footnote +to p. 16.</p> +</div> + +<h6>XVII.</h6> + +<p>English Bards/ and/ Scotch Reviewers:/ A Satire./ By +Lord Byron./ [Mottoes as above, six lines ("Shakspeare").] +A New Edition,/ With a life of the Author./ +To which is added/ Fare Thee Well, A Poem./ Glasgow:/ +Printed for M'Intosh & Co./ And sold by All the Booksellers./ +1825./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xiv. + 34.</p> + +<p><i>Note</i>.—The Text numbers 1050 lines. This edition is differently +paginated from the preceding, and the Notes are reset (the +misprint "ingenious" is corrected), but the Text, Preface, and the<span class='pagenum'><a name="Page_232" id="Page_232">[232]</a></span> +"Life of the Author" seem to have been set up from the same type.</p> +</div> + +<h6>XVIII.</h6> + +<p>English Bards/ and/ Scotch Reviewers;/ A Satire,/ By +Lord Byron./ London:/ Printed and Published by W. +Dugdale,/ <i>23, Russell Court, Drury Lane</i>./ 1825./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 50.</p> + +<p><i>Note</i>.—The Text numbers 1050 lines. The Notes are printed +after the text, pp. 35-50. In Note 3 the misprint "ingenious" +is retained. <i>The English Bards, and Scotch Reviewers</i> (Third +Edition, of 1050 lines) was included in the <i>British Satirist</i>, +Glasgow, 1826, 12º, pp. 1-46, and formed part (pp. 139-178) of +a collection of Satires, Gilford's <i>Baviad and Mæviad</i>, etc., +published by J. F. Dove, London, 1827, 12º. The misprint +"ingenious" has been corrected in both these issues.</p> +</div> + +<h6>XIX.</h6> + +<p>English Bards,/ And/ Scotch Reviewers,/ A Satire./ By/ +Lord Byron./ I had rather be a kitten, and cry, mew,/ +Than one of these same metre ballad-mongers./ <i>Shakspeare</i>./ +Such shameless bards we have; and yet, 'tis +true,/ There are as mad abandoned critics too. <i>Pope</i>./ +A New Edition./ London:/ Printed by T. Kay, at the +Egyptian Press, 1, Welbeck Street,/ Cavendish Square, +For the Booksellers./ 1827./ [8º</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, pp. i., ii.; Title, pp. iii., iv.; Preface, pp. v.-vii.; +Text, pp. 1-78; Postscript (<i>sic</i>), pp. [79]-80. The Imprint +(<i>Printed +by T. Kay, 1, Welbeck Street, Cavendish Square</i>.) is at the foot of +p. 80.</p> + +<p><i>Note</i>.—The Text follows the Third Edition of 1810. The +misprint "ingenious" occurs in a footnote to p. 4. The words +"A Satire," "Shakspeare," and "Pope" on the Title-page are +in Gothic characters.</p> +</div> + +<h4>Fare Thee Well</h4> + +<h6>I.</h6> + +<p><i>Fare Thee Well</i>. First Version, consisting of Thirteen +Stanzas, dated March 18, 1816. [249 x 190.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. [1]-[3].</p> +</div> + +<p><span class='pagenum'><a name="Page_233" id="Page_233">[233]</a></span></p> + +<h6>II.</h6> + +<p><i>Fare Thee Well</i>! [Printed and distributed, April 4, 1816.] [4º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. [1]-3. P. [4] is blank. A copy of this pamphlet in the +British Museum is marked as "Privately printed for Lord Byron," +and measures 237 x 173. The watermark is "<span class="smcap">J. Green</span>, 1815."</p> + +<p><i>Note</i>.—The Text numbers 60 lines. Lines 1-24 are on p. [1]; +lines 25-56 on p. 2; and lines 57-60 on p. 3. In line 28 "may" +is printed "ḿay." <i>Fare Thee Well</i> was first published in <i>The +Champion</i>, Sunday, April 14, 1816.</p> +</div> + +<h6>III.</h6> + +<p><i>Fare Thee Well</i>. Second Version, consisting of Sixty Lines, +dated Monday, "April 7, 1816." [250 x 190.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 1-3.</p> +</div> + +<h6>IV.</h6> + +<p><i>A Sketch from Private Life</i>, consisting of 104 lines, dated +March 30th, 1816. [250 x 190.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. [1]-4.</p> +</div> + +<h6>V.</h6> + +<p><i>A Sketch, etc.</i> Another copy, dated March 30, 1816, and +endorsed, "Correct with most particular care, and print +off 50 copies, and keep standing. 1816, April 2."</p> + +<h6>VI.</h6> + +<p><i>Fare Thee Well</i>!—A Sketch, etc.—Napoleon's Farewell.—On +the Star of the Legion of Honour.—An Ode. By Lord +Byron. London: <i>Printed for Sherwood, Neely and Jones, +Paternoster Row</i>, 1816. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 27.</p> + +<p><i>Note</i>.—"Original blue paper cover."—<i>Catalogue of Rowfant +Library</i>, 1886, p. 146.</p> +</div> + +<h6>VII.</h6> + +<p>Fare Thee Well,/ A Poem./ A Sketch/ From Private Life,/ +A Poem,/ By Lord Byron./ Bristol:/ Printed for Barry +& Son, High-Street./ 1816./ [8º.</p> +<p> +<span class='pagenum'><a name="Page_234" id="Page_234">[234]</a></span> +</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, pp. 1, 2; Title (R. <i>Barry & Son, Printers</i>.), pp. +3, 4; Text (<i>Fare Thee Well</i>), pp. 5-7; (A Sketch, etc.), pp. 8-12. +The Imprint, as above, is at the foot of p. 12.</p> + +<p>The Text is identical with that of the pamphlet.</p> +</div> + +<h6>VIII.</h6> + +<p>Fare Thee Well!/ And/ Other Poems./ By Lord Byron./ +Edinburgh:/ Printed for John Robertson,/ 132, High +Street./ 1816./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. 1, 2; Text, pp. 3-32. The Imprint +(<i>Walker and Greig, Printers</i>) is at the foot of p. 32.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Fare Thee Well</td><td class="pn">p. 3</td></tr> +<tr><td>A Sketch</td><td>p. 7</td></tr> +<tr><td>Napoleon's Farewell</td><td>p. 13</td></tr> +<tr><td>On the Star of "The Legion of Honour"</td><td>p. 15</td></tr> +<tr><td>Ode from the French</td><td>p. 18</td></tr> +<tr><td>Ode ("Oh, shame to thee," etc.)</td><td>p. 25</td></tr> +<tr><td>Madame Lavalette</td><td>p. 30</td></tr> +</table> + +<p><i>Note</i>.—An editorial note (p. 24) states that the Ode "Oh, shame +to thee" was first published in the <i>Morning Chronicle</i>, July 31, +1815, under the signature "Brutus." "It has been ascribed by +many to the Author of the <i>Pleasures of Hope</i>." A second note +(p. 30) apologizes for the inclusion of "Madame Lavalette" [first +published in the <i>Examiner</i>, January 21, 1816], which "has +appeared in some other Editions of these Poems."</p> +</div> + + +<h4>The Giaour.</h4> + +<h6>I.</h6> + +<p>The Giaour,/ A Fragment of/ A Turkish Tale./ By Lord Byron./ +"One fatal remembrance—one sorrow that throws/ +"Its bleak shade alike o'er our joys and our woes—/ +"To which Life nothing brighter nor darker can bring,/ +"For which joy hath no balm—and affliction no sting."/ +Moore./ London:/ <i>Printed by T. Davison, Whitefriars</i>,/ +For John Murray, Albemarle-Street./ 1813./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf; Title, one leaf; Dedication, "To Samuel +Rogers, Esq.;" Text, pp. 1-41. The Imprint (<i>T. Davison, +Lombard-Street,/ Whitefriars, London</i>./) is in the centre of p. [42].</p> + +<p><i>Note</i>.—The First Edition of the <i>Giaour</i> (June 5, 1813) +numbers 685 lines.</p> +</div> + +<h6>II.</h6> + +<p>The Giaour,/ A Fragment of/ A Turkish Tale./ By Lord +Byron./ "One fatal remembrance—one sorrow that +throws/ "Its bleak shade alike o'er our joys and our<span class='pagenum'><a name="Page_235" id="Page_235">[235]</a></span> +woes— / "O'er which Life nothing brighter nor darker can +fling,/ "For which joy hath no balm—and affliction no +sting." / Moore./ A New Edition, with some Additions./ +London:/ <i>Printed by T. Davison, Whitefriars</i>,/ For John +Murray, Albemarle-Street./ 1813./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf; Title, one leaf; Dedication as above; +Advt., "The tale," etc.; Text, pp. 1-47. The Imprint, as +above (No. i.), is in the centre of p. [48].</p> + +<p><i>Note</i>.—The Second Edition of the <i>Giaour</i>, published at the +end of June or the beginning of July, numbers 816 lines. Note +the misprints in third line of the motto, "O'er which" for "To +which," and "fling" for "bring." The first edition of the +Song, <i>A Selection of the Irish Melodies</i>, 1807, i. 45, and other +editions read "bring."</p> +</div> + +<h6>III.</h6> + +<p>The Giaour,/ A Fragment of/ A Turkish Tale./ By Lord +Byron./ "One fatal remembrance," etc. [Motto, four +lines, as in the Second Edition]./ Moore./ Third +Edition,/ With Considerable Additions./ London:/ +<i>Printed by T. Davison, Whitefriars</i>,/ For John Murray, +Albemarle-Street./ 1813./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. Advt. of "Madame de Stael's Long Suppressed +Work" [<i>De L'Allemagne</i>]); Title, one leaf; Dedication; Advt., +pp. 1, 2; Text, pp. 3-53 + Advt. of "Books Lately Published +by John Murray," pp. [54]-[56]. The Imprint (<i>T. Davison, +Lombard Street,/ Whitefriars, London</i>./) is at the foot of p. [56].</p> + +<p><i>Note</i>.—The Text numbers 950 lines. The numbers 5, 10, etc., +are printed on the margin. The First and Second Editions are +not numbered.</p> +</div> + +<h6>IV.</h6> + +<p>The Giaour,/ A Fragment of/ A Turkish Tale./ By Lord +Byron./ "One fatal remembrance—one sorrow that +throws/ It's bleak shade alike o'er our joys and our +woes—/ O'er which Life nothing brighter nor darker can +fling,/ For which joy hath no balm—and affliction no +sting."/ Moore./ From the Third London Edition./ +Boston:/ Printed by John Eliot,/ No. 5, Court Street./ +1813.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 72.</p> + +<p><i>Note</i>.—The <i>Giaour</i> was also published at Philadelphia in 1813, +53 pp. 24º.</p> +</div> + +<p><span class='pagenum'><a name="Page_236" id="Page_236">[236]</a></span></p><h6>V.</h6> + +<p>The Giaour,/ A Fragment of/ A Turkish Tale./ By Lord +Byron./ "One fatal remembrance," etc. [Motto, four lines, +as in Second Edition]./ Moore./ Fifth Edition,/ With +Considerable Additions./ London:/ <i>Printed by T. +Davison, Whitefriars</i>,/ For John Murray, Albemarle +Street./ 1813./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf; Title, one leaf; Advt.; Text, pp. 1-66.</p> + +<p><i>Note</i>.—The Text numbers 1215 lines. The concluding note, +"The circumstance," etc., is enlarged (p. 66) by nine lines: "I +do not know"—"Hall of Eblis." The Dedication is wanting +in the copy of the Fifth Edition in the British Museum.</p> +</div> + +<h6>VI.</h6> + +<p>The Giaour,/ etc./ Sixth Edition,/ etc./ 1813./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf; Dedication; Advt.; Text, pp. 1-66.</p> + +<p><i>Note</i>.—The Text numbers 1215 lines. The Half-title is missing +in the Museum copy.</p> +</div> + +<h6>VII.</h6> + +<p>The Giaour,/ A Fragment of/ A Turkish Tale./ By Lord +Byron./ "One fatal remembrance," etc. [Motto, four +lines, as in the First Edition, "bring" for "fling," etc.]./ +Moore./ Seventh Edition, With some Additions./ +London:/ <i>Printed by Thomas Davison, Whitefriars</i>,/ +For John Murray, Albemarle Street./ 1813./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf; Title, one leaf; Dedication; Advt.; +Text, pp. 1-75. The Imprint (<i>T. Davison, Lombard Street</i>,/ +Whitefriars, London./) is in the centre of p. [76].</p> + +<p><i>Note</i>.—The Text numbers 1334 lines. The Notes are printed +at the end (pp. 65-75) of the volume.</p> +</div> + +<h6>VIII.</h6> + +<p>The Giaour,/ etc./ The Ninth Edition,/ etc./ 1814./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p><i>Vide supra</i>, No. vi.</p> + +<p><i>Note</i>.—The Half-title is missing in the Museum copy.</p> +</div> + +<h6>IX.</h6> + +<p>The Giaour,/ etc./ The Tenth Edition,/ etc./ 1814./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—<span class='pagenum'><a name="Page_237" id="Page_237">[237]</a></span></p> + +<p><i>Vide supra</i>, No. vi.</p> + +<p><i>Note</i>.—Four pages of "Interesting Works Published in +February, 1814, By John Murray, Bookseller of the Admiralty, +and Board of Longitude," etc., are bound up with the Tenth +Edition.</p> +</div> + +<h6>X.</h6> + +<p>The Giaour,/ etc./ The Eleventh Edition,/ etc./ 1814./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p><i>Vide supra</i>, No. vi.</p> + +<p><i>Note</i>.—The Half-title is missing in the Museum copy.</p> +</div> + +<h6>XI.</h6> + +<p>The Giaour,/ etc./ The Twelfth Edition./ London:/ +Printed for John Murray, Albemarle-Street:/ <i>By Thomas +Davison, Whitefriars</i>./ 1814./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p><i>Vide supra</i>, No. vi.</p> +</div> + +<h6>XII.</h6> + +<p>The Giaour,/ etc./ The Fourteenth Edition./ London:/ +Printed for John Murray, Albemarle-Street./ 1815./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf; Title (R. <i>T. Davison, Lombard-Street</i>,/ +<i>Whitefriars, London</i>,/); Dedication; Advt.; Text, pp. 1-75. +The Imprint, as above, is in the centre of p. [76].</p> + +<p><i>Note</i>.—Four pages of Advts., dated "Albemarle—Street, +London, January, 1818," are bound up with the Fourteenth Edition.</p> +</div> + +<h6>XIII.</h6> + +<p>The Giaour;/ A Fragment of/ A Turkish Tale./ [Motto, +four lines.] Moore./ London:/ Printed and Published +by W. Dugdale,/ <i>23, Russell Court, Drury Lane</i>./ 1825./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 51. The Imprint (<i>W. Dugdale, Printer, 23, Russell Court, +Drury Lane</i>) is at the foot of p. [52].</p> +</div> + +<h6>XIV.</h6> + +<p>The Giaour:/ A/ Fragment of a Turkish Tale./ By/ Lord +Byron./ London: John Murray, Albemarle Street./ Sold +also by/ Tilt and Bogue, Fleet Street:/ Edinburgh, +Oliver and Boyd: Dublin, John Gumming./ 1842./ [12º.<span class='pagenum'><a name="Page_238" id="Page_238">[238]</a></span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 67. The Imprint (<i>London:/ Printed by A. Spottiswoode,/ +New-Street-Square</i>./) is in the centre of p. [68].</p> +</div> + +<h6>XV.</h6> + +<p>The Giaour:/ A Fragment of a Turkish Tale,/ By Lord +Byron./ [Motto, four lines.] Moore./ [1844.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 40. The Imprint (<i>H. G. Clarke and Co., 66, Old Bailey</i>) +is at the foot of p. 40.</p> + +<p><i>Note</i>.—Part of "Clarke's Home Library."</p> +</div> + +<h4>Translations of The Giaour</h4> + +<h5>French.</h5> + +<p><i>Le Giaour</i>, fragments d'un cante turc, poème traduit de +l'anglais de lord Byron, par J. M. H. Bigeon, Paris, +Ponthieu, Ledoyen, 1828. [18º.</p> + +<p class="auth">[Quérard, 1846.]</p> + + +<h5>German.</h5> + +<h6>I.</h6> + +<p><i>Der Gauer</i>, Bruchstück einer türkischen Erzählung, nach +der 7. englischen Ausgabe im Deutschen metrisch bearbeitet. +Berlin, F. Dümmler. 1819. [12º.</p> + +<p class="auth">[<i>Centralblalt, etc.</i>, 1890, vol. vii. p. 456.]</p> + +<h6>II.</h6> + +<p><i>Der Gjaur</i>. In deutsche Verse übersetzt v. Arthur v. +Nordstern. Mit d. engl. Text zur Seite. Leipzig, Göschen. +1820. [8º.</p> + +<p class="auth">[Kayser, 1834.]</p> + +<h6>III.</h6> + +<p><i>Der Gjaur</i>. Bruchstück e. türk. Erzählg. v. Lord Byron. +Frei übers. v. Adf. Seubert. Leipzig. 1871-76. [16º.</p> + +<p class="auth">[Kayser, 1877.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 48.</p> + +<p><i>Note</i>.—No. 669 of the <i>Universal-Bibliothek</i>.</p> +</div> + +<p><span class='pagenum'><a name="Page_239" id="Page_239">[239]</a></span></p> + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p><i>Il Giaurro</i>, frammento di novella turca; recato dall' ingl. +in versi ital. da Pellegrino Rossi. Genova e Parigi, +Paschoud, 1817. [12º.</p> + +<p class="auth">[Quérard, 1827.]</p> + +<h6>II.</h6> + +<p><i>Il Giaurro</i>. Traduzione di Andrea Maffei. Milano, Hoepli. +1884. [64º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + + +<h5>Polish.</h5> + + +<h6>I.</h6> + +<p><i>Giaur</i>, ułomki powieści tureckiéj, poema ... Przeldadania +Władysl. hr. Ostrowskiego. pp. 83. +<i>W drukarni bibliotecznéj; Puławy</i>, 1830. [8º.</p> + +<h6>II.</h6> + +<p><i>Giaur</i>, Ułamki powieści tureckiéj, tłum. Adam Mickiewicz, +<i>Ksiegarnia Katol.</i>: Paryż, 1834 [<i>Wrocław</i>, 1835]. [8º.</p> + + +<h5>Romaic.</h5> + +<h6>I.</h6> + +<p><span title="Poiêmata Byrônos / ho Gkiaour / temachion / tourkikou Diêgêmatos / Metaphrasis /">Ποιηματα Βυρωνος / ὁ Γκιαουρ / τεμαχιον / τουρκικου Διηγηματος / Μεταφρασις </span> +<span title="Ai)katerinês k. Dosiou / E)kdidetai to Deuteron / HYpo / A)r. K. Dosiou /">Αἰκατερινης κ. Δοσιου / Ἐκδιδεται το Δευτερον / Ὑπο / Ἀρ. Κ. Δοσιου / </span> +<span title="A)thênêsi / Tupois A)ndreou Koromêla /">Ἀθηνησι / Τυποις Ἀνδρεου Κορομηλα / </span> +/ 1873/ [4º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf; Title, one leaf; Translator's Advt.; +<span title="Prologos">Προλογος </span>, pp. +<span title="a'-i'">ά-ί </span> ++ Text, pp. 1-69 + +<span title="Paroramata">Παροραματα </span>, p. [70].</p> +</div> + +<h6>II.</h6> + +<p><span title="Sakellariou Bibliothêkê tou Laou / Poiêmata Burônos / ho Gkiaour /">Σακελλαριου Βιβλιοθηκη του Λαου / Ποιηματα Βυρωνος / ὁ Γκιαουρ / </span> +<span title="temachion / tourkikou / Diêgêmatos / Metaphrasis / Ai)katerinês k. Dosiou /">τεμαχιον / τουρκικου / Διηγηματος / Μεταφρασις / Αἰκατερινης κ. Δοσιου / </span> +<span title="E)n A)thênais / Tupois kai A)nalômasi P.D. Sakellariou /">Ἐν Ἀθηναις / Τυποις και Ἀναλωμασι Π. Δ. Σακελλαριου / </span> +[1898?] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 91. The Imprint +(<span title="Typographeion P.D. Sakellariou e)n A)thênais">Τυπογραφειον Π. Δ. Σακελλαριου ἐν Ἀθηναις </span>) is in the centre of p. [92].</p> +</div> + + +<p><span class='pagenum'><a name="Page_240" id="Page_240">[240]</a></span></p> + +<h5>Russian.</h5> + +<h6>I.</h6> + +<p><span title='Dzhiaur". Otryvki iz" odnoĭ turetskoĭ poviesti.'>Джяуръ. Отрывки изъ одной турецкой повѣсти.</span> +" +<span title='Vybor" izh sochinenīĭ lorda Bairona'>Выборъ из сочиненій лорда Байрона</span> +" +<span title='M. Kachenvekago.'>М. Каченвекаго.</span> +pp. 107-176. 1821.</p> + +<h6>II.</h6> + +<p><span title='Dzhiaur". Otryvki. ... turetskoĭ poviesti Perevod" N.R.'>Джяуръ. Отрывки турецкой повѣсти. ... Переводъ Н.Р.</span> +pp. 31. +<span title='Moskva'>Москва</span>, 1822. [8º.</p> + +<h6>III.</h6> + +<p><span title='Gayur" ... Perevel" E. Mishel.'>Гяуръ ... Перевелъ Е. Мишель.</span> +[In prose.] +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1862. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> +<p>Pp. 49.</p> +</div> + +<h6>IV.</h6> + +<p><span title='Gayur" ... Perev. razmierom" podlinnika V. Petrov".'>Гяуръ ... Перев. размѣромъ подлинника В. Петровъ.</span> +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1873.</p> + +<h6>V.</h6> + +<p><span title='Gayur" Baĭrona Kryemskie sonety Minkevicha.'>Гяуръ Байрона и Крымскіе сонеты Минкевича.</span> +<span title='Perevel" V.A. Petrov" Izdanie 2-oe.'>Перевелъ В.А. Петровъ. Изданіе 2-ое.</span> +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1874.</p> + + +<h5>Servian.</h5> + +<p><span title='Djaur lorda Bairona. Sroski od Ats. Popovidja'>Ђаур лорда Бајрона. Сроски од Ац. Поповиђа</span>. pp. 67. +<span title='D. Khipts: u Novot-Sadu'>Д. Хипц: у Новот-Саду,</span>, 1860. [12º.</p> + + +<h5>Spanish.</h5> + +<p><i>El Giaur ó el infiel</i>, por lord Byron. Traduccion Castellana. +Paris, 1828: Madrid, lib. Europea. [12º. +[<i>Dicc. Gen. de Bibl. Esp</i>. por D. Dion. Hidalgo, 1862.]</p> + +<h5>Swedish.</h5> + +<p>Giaurn,/ Ett. Stycke Af en Turkish Berättelse,/ Af/ Lord +Byron./ Öfversättning / Stockholm./ J. L. Brudins Förlag./ 1855./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 80.</p> + +<p><i>Note</i>.—No. 6 of "Byron's Poetiska Berattelser," translated by +Talis-Qualis.</p> +</div> + +<p><span class='pagenum'><a name="Page_241" id="Page_241">[241]</a></span></p> + +<h4>Heaven and Earth.</h4> + +<h6>I.</h6> + +<div class="cocono"> +<p><i>[Note</i>.—For the First Edition of <i>Heaven and Earth</i>, +see <i>The Liberal</i>, No. II., pp. 165-206 (London, L. Hunt, 1822).]</p> +</div> + +<p>Heaven and Earth,/ A Mystery;/ Founded on the Following +Passage in Genesis,/ Chap. vi./ "And it came to +pass ... that the sons of God saw the/ daughters of men +that they were fair; and they took them/ wives of all +which they chose."/ "And woman wailing for her Demon +lover."/ Coleridge./ London:/ Benbow, Printer and +Publisher, 252, High Holborn./ 1824./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 35 + "Benbow's Catalogue of Books," p. [36]. The +Imprint (<i>Benbow, Printer, 9, Castle Street, Leicester Square, +London</i>) is at the foot of p. [36].</p> +</div> + +<h6>II.</h6> + +<p><i>Heaven and Earth, a Mystery</i>, Paris, Galignani, 1823. [12º.</p> + +<p class="auth">[Quérard, 1827.]</p> + +<h6>III.</h6> + +<p><i>Heaven and Earth, etc.</i> [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 36.</p> + +<p><i>Note</i>.—This edition, printed by (?) W. Dugdale in (?) 1825, +bears neither Title-page nor Imprint, and is bound up with <i>The +Bride of Abydos</i>, printed for Thomas Wilson in 1825, and <i>The +Corsair</i>, printed and published by W. Dugdale in 1825.</p> +</div> + + +<h4>Translations of Heaven and Earth.</h4> + +<h5>French.</h5> + +<p>Essai/ Sur Le Génie et Le Caractère/ de Lord Byron,/ Par +A.P.... T.;/ etc./ Paris./ Ladvocat, Libraire, Palais- +Royal,/ Galerie de Bois, No. 195./ 1824/ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, Le Ciel/ Et La Terre./ Mystère/ Fondé sur ce +Passage de La Genèse:/ (Chap. VI)/: "Et il arriva ... que les +fils de Dieu virent que les filles des/ hommes étaient belles; et +ils prirent pour femmes/ celles d'entre elles qu'ils choisirent./ +"La femme regrettant son dèmon bien-aimé."/ (Coleridge.)/ (R. +<i>Personnages</i>.), pp. [195], [196] + Text, pp. 197-252.</p> +</div> + +<h5>Italian.</h5> + +<p><span class='pagenum'><a name="Page_242" id="Page_242">[242]</a></span><i>Cielo e terra</i>: mistero, tradotto da Andrea Maffei. Milano, +Gnocchi, 1853. [16º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + + +<h5>Russian.</h5> + +<p><span title='Nebo i Zemlya. N.V. Gerbel,'>Небо и Земля. Н.В. Гербель,</span> +" +<span title='Polnoe sobranie stikhotvoreniĭ'>Полное собраніе стихотвореній.</span> +" <span class="smcap">Tom. i.</span></p> + + +<h4>Hebrew Melodies.</h4> + +<h6>I.</h6> + +<p>A Selection of/ Hebrew Melodies/ Ancient and Modern/ +with appropriate Symphonies and accompaniments/ By/ +I: Braham & I: Nathan/ the Poetry written expressly +for the work/ By the Right Hon<sup>ble</sup>/ Lord Byron/ ent<sup>d</sup> +at Sta<sup>rs</sup> Hall/ [Title-vignette, angel holding crown] 1<sup>st</sup> +Number/ Published and Sold by I: Nathan No. 7 Poland +Street Oxford Str<sup>t</sup> / and to be had at the principal Music +and Booksellers/ Price one Guinea/ [1815] [fol.</p> + +<div class="cocono"> +<p>[The Title-page is enclosed in an ornamental border, and below +the words, "<i>Drawn by Edward Blore</i>" is the signature "I. +Braham;" and below the words, "<i>Engraved by W. Lowry</i>," the +signature "I. Nathan."]</p> + +<p><i>Collation</i>—</p> + +<p>Part I.: Illuminated Dedication "To Her Royal Highness +the Princess Charlotte of Wales," one leaf; Preface, signed +"I. Braham, I. Nathan," and dated "London, April, 1815," one +leaf; Index to the First Number, one leaf; Music and Words, pp. 1-64.</p> + +<p>Part II.: Title (A Selection of,/ etc.... By the Right +Honorable Lord Byron.)/ [Motto], "The harp the Monarch +Minstrel swept," etc., five lines./ See Page 4./ Lord Byron./ +2<sup>nd</sup> Number, Price 1 Guinea./ Ent<sup>d</sup> at Stationers' Hall./ +Published and Sold, etc./ <i>Prickett scrip. et sculp.</i>/ +[The Title-vignette is King David playing a harp with angel +and tripod, engraved by H. Moses.] The title is signed "I. Nathan."</p> + +<p><i>Collation</i>—</p> + +<p>Title, one leaf; Dedication, as above, one leaf; Index to the +Second Number, one leaf; Music and Words, pp. 65-133.</p> + +<p><i>Contents</i>—Part I.—</p> + +<table summary="Contents"> +<tr><td>She walks, etc.</td><td class="pn">p. 1</td></tr> +<tr><td>The Harp, etc.</td><td>p. 5</td></tr> +<tr><td>If that high World</td><td>p. 14</td></tr> +<tr><td>The wild Gazelle</td><td>p. 19</td></tr> +<tr><td>Oh, weep for those</td><td>p. 25</td></tr> +<tr><td>On Jordan's Banks</td><td>p. 29</td></tr> +<tr><td>Jephtha's Daughter</td><td>p. 36</td></tr> +<tr><td>Oh, snatch'd away</td><td>p. 41</td></tr> +<tr><td>My Soul is dark</td><td>p. 44</td></tr> +<tr><td>I saw thee weep</td><td>p. 49</td></tr> +<tr><td>Thy days are done</td><td>p. 52</td></tr> +<tr><td>It is the Hour</td><td>p. 63</td></tr> +</table> + +<p>Part II.—<span class='pagenum'><a name="Page_243" id="Page_243">[243]</a></span></p> + +<table summary="Contents"> +<tr><td>Warriors and Chiefs</td><td class="pn">p. 65</td></tr> +<tr><td>We sate down and wept</td><td>p. 71</td></tr> +<tr><td>Vision of Belshazzar</td><td>p. 75</td></tr> +<tr><td>Herod's Lament</td><td>p. 83</td></tr> +<tr><td>Were my Bosom</td><td>p. 86</td></tr> +<tr><td>The Destruction of Sennacherib</td><td>p. 91</td></tr> +<tr><td>Thou whose spell</td><td>p. 97</td></tr> +<tr><td>When Coldness wraps</td><td>P. 107</td></tr> +<tr><td>Fame, Wisdom, Love</td><td>p. 111</td></tr> +<tr><td>From the last Hill</td><td>p. 115</td></tr> +<tr><td>Francisca</td><td>p. 120</td></tr> +<tr><td>Sun of the Sleepless</td><td>p. 129</td></tr> +</table> + +<p><i>Note</i>.—For a reissue, with additions, of this collection, see +<i>Fugitive Pieces and Reminiscences of Lord Byron, etc.</i>, by I. +Nathan, 1829, <a href="#Page_254">No. xii., p. 254.</a></p> +</div> + +<h6>II.</h6> + +<p>Hebrew Melodies./ By Lord Byron./ London:/ Printed +for John Murray, Albemarle-Street./ 1815./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (Hebrew Melodies. <i>T. Davison, Lombard-Street,/ +Whitefriars, London</i>./), one leaf; Title, one leaf; Advt.; Cont.; +Text (<i>Hebrew Melodies</i>), pp. 1-53.</p> + +<p><i>Note</i>.—The Cont. are identical with the preceding, save that +the lines, "Francisca," a variant of <i>Parisina</i> (lines 15-28), are +omitted; the lines <i>From Job</i> are inserted pp. 49, 50; and the +stanzas "On the Death of Sir Peter Parker" (pp. 51-53) are +printed at the end of the volume.</p> +</div> + +<h6>III.</h6> + +<p><i>Hebrew Melodies</i>. Boston. 1815. [24º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 2 + 43.</p> +</div> + +<h6>IV.</h6> + +<p><i>Hebrew Melodies</i>. Philadelphia. 1815. [16º.</p> + +<h6>V.</h6> + +<p>Hebrew Melodies./ By the Right Honourable/ Lord Byron./ +London: Printed and Published by W. Dugdale,/ <i>Green +Street, Leicester Square</i>./ 1823./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 36. The Imprint (<i>Printed by W. Dugdale, Great Street, +Leicester Square</i>./) is at the foot of p. 36.</p> + +<p><i>Note</i>.—The lines "It is the Hour" (<i>Parisina</i>, 1-14) and +"Francisca" (<i>ibid.</i>, lines 15-28) are omitted.</p> +</div> + +<h6>VI.</h6> + +<p><span class='pagenum'><a name="Page_244" id="Page_244">[244]</a></span></p> +<p>Hebrew Melodies./ By Lord Byron./ London:/ Printed +and Published by W. Dugdale,/ <i>23, Russell Court, Drury +Lane</i>./ 1825./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 22. The Imprint (<i>Printed by W. Dugdale, 23, Russell +Court, Drury Lane</i>.) is at the foot of p. 22.</p> + +<p><i>Note</i>.—For Cont., <i>vide supra</i>, No. v.</p> +</div> + +<h4>Translations of Hebrew Melodies.</h4> + +<h5>Bohemian.</h5> + +<p><i>Hebrcjské melodie</i>. Přeložili Jaroslen Vrchlický a J. V. +Sládek. <i>v Praze</i>, 1890.</p> + + +<h5>Danish.</h5> + +<p>Lord Byron:/ Jødiske sange./ oversatte/ af/ F. Andresen +Halmrast/ Christiania./ Jacob Dybwads forlag./ 1889./</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 41 + Indhold, pp. [43], [44].</p> +</div> + + +<h5>German.</h5> + +<h6>I.</h6> + +<p>Hebräische Gesänge./ Aus dem Englischen/ des Lord +Byron/ von/ Franz Theremin./ Mit beigedrucktem englischen +Text./ Berlin./ Verlag von Dunker und +Humblot./ 1820./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 3-87.</p> +</div> + +<h6>II.</h6> + +<p><i>Hebräische Gesänge</i>. Aus d. Engl. übersetzt von Jos. Emn. +Hitscher. Mit gegenüberstehendem Originale. Laibach, +1833. [8º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>III.</h6> + +<p>Germanische/ Melodien./ Theilweise/ frei nach Lord +Byron's hebräischen Melodien/ von/ Hugo Oelbermann./ +Bonn./ Rheinische Verlags-Anstalt./ 1862./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 49.</p> +</div> + +<h6>IV.</h6> + +<p><span class='pagenum'><a name="Page_245" id="Page_245">[245]</a></span>Lord Byron's/ Hebräische Gesänge./ Aus dem Englischen/ +übertragen/ und mit sachlichen Einleitungen und Bemerkungen/ +versehen/ von/ Eduard Nickles./ Karlsruhe./ +Druck und Verlag von Friedrich Gutsch./ 1863./</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 105 + Anmerkung, p. 106 + Anhang, pp. 107-112.</p> + +<p><i>Note</i>.—The English text is printed over against the German. +The "Anhang" contains translations of "In the valley," etc., +and "They say that hope," etc.</p> +</div> + +<h6>V.</h6> + +<p>Hebräischer Gesänge./ Aus d. Engl. übers. von Heinr. +Stadelmann. Memmingen. 1866. Hartwig in Comm. [16º.</p> + +<p class="auth">[Kayser, 1871.]</p> + + +<h5>Hebrew.</h5> + +<p>Hebrew Melodies/ of/ Lord Byron/ Translated by/ Dr. S. +Mandelkern./ Leipzig./ 1890./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 45 + Cont. (Hebrew character) (R. Advt. of Hebrew +Poems (with vowel points) of Dr. S. Mandelkern), pp. [47], [48].</p> + +<p><i>Note</i>.—The Hebrew translation is over against the English +text. The Title-page, which is in Hebrew and English, is +enclosed in an arabesque border.</p> +</div> + + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p>Melodie ebraiche/ di/ Lord G. Byron/ Versione/ di P. P. +Parzanese/ Napoli/ dalla tipografia all' insegna di Tasso/ +via Concezione a Toledo No. 3./ 1837/</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 47.</p> + +<p><i>Note</i>.—Printed on green paper.</p> +</div> + +<h6>II.</h6> + +<p><i>Le Melodie ebree</i>, coll' aggiunta di alcuni altri poemetti. +Ivrea, 1855. [16º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + + +<h5>Russian.</h5> + +<p><span title='Evreĭskiya merevod" P. Kozlova.'>Еврейскія мереводъ П. Козлова.</span> +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1860.</p> + +<h5>Swedish.</h5> + +<p><span class='pagenum'><a name="Page_246" id="Page_246">[246]</a></span>Hebreiska Melodier/ af/ Lord Byron./ Öfversatta/ af/ +Theodor Lind./ Helsingfors,/ Theodor Sederholms +Forlag./ [1862.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 41 + Innehåll, p. [43].</p> +</div> + + +<h4>Fugitive Pieces and Minor Poems.</h4> + +<p>Fugitive Pieces By/ George Gordon Lord Byron/ A Facsimile +Reprint of/ The Suppressed/ Edition of/ 1806/ +[Title-vignette, Venus Anadyomene in shell with attendant +Cupids.] London/ Printed for Private Circulation/ 1886/ [4º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p> +Advt. of issue (No. 22 of 100 numbered copies) +of—<i>Printers</i>,/ +<i>Chiswick Press</i>, <i>Tooks Court</i>,/ <i>Chancery Lane, London</i>./ signed +(MS.) "Charles Whittingham & Co.," pp. i., ii.; Half-title +(<span class="smcap">Byron's Fugitive Pieces</span>), pp. iii., iv.; Title, one leaf, pp. +v., vi.; Preface (editorial of facsimile), pp. vii.-x. + blank leaf + +Half-title (<span class="smcap">Fugitive Pieces</span>), one leaf + Dedication—"To/ +Those Friends,/ At/ Whose Request They were printed,/ For +whose/ Amusement or Approbation/ They are/ Solely Intended;/ +These <span class="smcap">Trifles</span> are respectfully Dedicated,/ by the/ Author."/ +(R. As these <span class="smcap">Poems</span> were never intended to meet the public eye, no +apology is necessary for the form in which they now appear. +They are printed merely for the perusal of a few friends to whom +they are dedicated; who will look upon them with indulgence; +and as most of them were composed between the age of 15 and +17, their defects will be pardoned or forgotten, in the youth and +inexperience of the <span class="smcap">Writer</span>.) + Text, pp. [1]-66; (the Imprint +(<i>Printed by S. and J. Ridge, Newark</i>.) is at the foot of p. 66) + +p. [67] (emblem-heraldic lion with shield and monogram, subscribed +with the Imprint, <i>Chiswick Press:—C. Whittingham and +Co., Tooks Court,/ Chancery Lane./</i>). +</p> + +<p>Contents-</p> +<table summary="Contents"> +<tr><td>On Leaving N...st...d</td><td class="pn">p. [i]</td></tr> +<tr><td>To E.</td><td>p. 3</td></tr> +<tr><td>On the Death of Young Lady, Cousin to the Author and very Dear to him</td><td>p. 4</td></tr> +<tr><td>To D.</td><td>p. 5</td></tr> +<tr><td>To...</td><td>p. 6</td></tr> +<tr><td>To Caroline</td><td>p. 7</td></tr> +<tr><td>To Maria ——</td><td>p. 10</td></tr> +<tr><td>Fragment of School Exercises, From the Prometheus Vinctus of Oeschylus(<i>sic</i>)</td><td>p. 11</td></tr> +<tr><td>Lines in "Letters of an Italian Nun," etc.</td><td>p. 12</td></tr> +<tr><td>Answer to the above, addresse'd to Miss ——</td><td>p. 13</td></tr> +<tr><td>On a change of Masters, At a Great Public School</td><td>p. 14</td></tr> +<tr><td>Epitaph on a Beloved Friend ... p. 15</td></tr> +<tr><td>Adrian's Address to his Soul, when dying</td><td>p. 16</td></tr> +<tr><td>Translation</td><td>p. 16</td></tr> +<tr><td>To Mary</td><td>p. 17</td></tr> +<tr><td>"When to their airy hall, my father's voice"</td><td>p. 19</td></tr> +<tr><td>To ——</td><td>p. 20</td></tr> +<tr><td>"When I hear you express an, affection so warm"</td><td>p. 21</td></tr> +<tr><td>On a distant view of the Village and School of Harrow on The Hill. 1806.</td><td>p. 23</td></tr> +<tr><td>Thoughts Suggested by a College Examination</td><td>p. 25</td></tr> +<tr><td>To Mary, on Receiving her Picture</td><td>p. 28</td></tr> +<tr><td>On the Death of Mr. Fox, the following illiterate Impromptu appeared in the <i>Morning Post</i></td><td>p. 30</td></tr> +<tr><td>To which the Author of these Pieces sent the subjoined Reply, for insertion in the <i>Morning Chronicle</i></td><td>p. 30</td></tr> +<tr><td>To a Lady, who presented the Author a Lock of Hair, etc.</td><td>p. 31</td></tr> +<tr><td>To a Beautiful Quaker</td><td>p. 33</td></tr> +<tr><td>To Julia</td><td>p. 36</td></tr> +<tr><td>To Woman</td><td>p. 38</td></tr> +<tr><td>An Occasional Prologue, etc.</td><td>p. 39</td></tr> +<tr><td>To Miss E. P.</td><td>p. 41</td></tr> +<tr><td>To Tear</td><td>p. 43</td></tr> +<tr><td>Reply to some verses of J. M. B. Pigot, Esq., on the Cruelty of His Mistress</td><td>p. 46</td></tr> +<tr><td>Granta, A Medley</td><td>p. 49</td></tr> +<tr><td>To the Sighing Strephon</td><td>p. 54</td></tr> +<tr><td>The Cornelian</td><td>p. 57</td></tr> +<tr><td>To A ——</td><td>p. 59</td></tr> +<tr><td>As the Author was discharging his Pistols in a Garden, Two Ladies, etc.</td><td>p. 61</td></tr> +<tr><td>Translation form Catullus: Ad Lesbiam</td><td>p. 63</td></tr> +<tr><td>Translation of the Epitaph on Virgil and Tibullus by Domitius Marsus</td><td>p. 64</td></tr> +<tr><td>Imitation of Tibullus "Sulpitia ad Cerintum" Lib. Quart.</td><td>p. 64</td></tr> +<tr><td>Translation from Cattulus: Luctus de Morte Passeris</td><td>p. 65</td></tr> +<tr><td>Imitated from Catullus. To Anna</td><td>p. 66</td></tr> +</table> +<p><span class='pagenum'><a name="Page_247" id="Page_247">[247]</a></span></p> + +<p><i>Note</i>.—The original volume measures 8¾ ins. x 7½ ins. The +wrapper is of plain greenish-grey paper. The full Titles are +given in the Table of Cont. or in the heading of the Poems in +<i>Poetical Works</i>, 1898, vol. i. pp. xviii., etc. In the original issue +the pages are numbered on the head of each page, and subscribed +with a double rule. "Ornaments" are to be found on pp. [1], +3, 13, 14, 16, 40, 58, 60, 64, 66.</p> + +<p>The signatures B (p. [1]) to S (p. 65) are in due sequence. The +numbers at the head of the pages are subscribed with a double rule.</p> + +</div> + +<h6>II.</h6> + +<p>Poems/ On/ Various Occasions./ <span class="smcap">Virginibus Puerisque Canto</span>./ +Hor. Lib. 3. Od. 1./ Newark: Printed by S. & J. Ridge./ MDCCCVII./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 12 + 144—Half-title, one leaf, pp. [1], [2]; Title, one +leaf, pp. [3], [4]; Dedication (as above), pp. [5], [6]; Author's +Advt., dated December 23, 1806, pp. [7], [8]; Cont., pp. [9]-11; +Text, 1-144. The Imprint (<i>Printed by S, and J. Ridge, +Newark</i>.) is at the foot of p. 144.</p> + +<p><i>Contents</i>—</p> +<p><span class='pagenum'><a name="Page_248" id="Page_248">[248]</a></span></p> +<table summary="Contents"> +<tr><td>On leaving Newstead</td><td class="pn">p. 1</td></tr> +<tr><td>On a distant view, etc.</td><td>p. 4</td></tr> +<tr><td>To D.</td><td>p. 7</td></tr> +<tr><td>Epitaph on a beloved Friend</td><td>p. 8</td></tr> +<tr><td>A Fragment</td><td>p. 10</td></tr> +<tr><td>Fragments of School Exercises</td><td>p. 11</td></tr> +<tr><td>To E.</td><td>p. 13</td></tr> +<tr><td>Reply to some verses of J. M. B. Pigot, Esq., etc.</td><td>p. 14</td></tr> +<tr><td>To the sighing Strephon</td><td>p. 17</td></tr> +<tr><td>The Tear</td><td>p. 21</td></tr> +<tr><td>To Miss ——</td><td>p. 26</td></tr> +<tr><td>Lines written in "Letters," etc.</td><td>p. 28</td></tr> +<tr><td>Answer to the foregoing</td><td>p. 29</td></tr> +<tr><td>The Cornelian</td><td>p. 30</td></tr> +<tr><td>On the Death of a Young Lady</td><td>p. 33</td></tr> +<tr><td>To Emma</td><td>p. 35</td></tr> +<tr><td>To M. S. G.</td><td>p. 38</td></tr> +<tr><td>To Caroline</td><td>p. 41</td></tr> +<tr><td>To Caroline</td><td>p. 43</td></tr> +<tr><td>To Caroline</td><td>p. 46</td></tr> +<tr><td>Stanzas to a Lady with the Poems of Camoens</td><td>p. 48</td></tr> +<tr><td>To Mary, on receiving her Picture</td><td>p. 50</td></tr> +<tr><td>To Lesbia</td><td>p. 52</td></tr> +<tr><td>To Woman</td><td>p. 55</td></tr> +<tr><td>To M.</td><td>p. 57</td></tr> +<tr><td>Lines addressed to a Young Lady</td><td>p. 59</td></tr> +<tr><td>To M. S. G.</td><td>p. 62</td></tr> +<tr><td>To a beautiful Quaker</td><td>p. 64</td></tr> +<tr><td>To a Lady who presented the Author with a Lock of her hair</td><td>p. 67</td></tr> +<tr><td><span class="smcap">Translations And Imitations</span>.</td><td> </td></tr> +<tr><td>Adrian's Address to his Soul</td><td>p. 73</td></tr> +<tr><td>Translation</td><td>p. 74</td></tr> +<tr><td>Translation from Catullus</td><td>p. 75</td></tr> +<tr><td>Translation of the Epitaph on Virgil, etc.</td><td>p. 77</td></tr> +<tr><td>Imitation from Tibullus</td><td>p. 78</td></tr> +<tr><td>Translation from Catullus</td><td>p. 79</td></tr> +<tr><td>Imitation from Catullus</td><td>p. 81</td></tr> +<tr><td>Fragment from Horace</td><td>p. 82</td></tr> +<tr><td>Translation</td><td>p. 83</td></tr> +<tr><td>Fragment of a Translation from Virgil</td><td>p. 85</td></tr> +<tr><td><span class="smcap">Fugitive Pieces</span>.</td><td> </td></tr> +<tr><td>On a change of Masters, etc.</td><td>p. 89</td></tr> +<tr><td>Thoughts suggested, etc.</td><td>p. 91</td></tr> +<tr><td>An occasional Prologue</td><td>p. 95</td></tr> +<tr><td>On the Death of Mr. Fox .</td><td>p. 97</td></tr> +<tr><td>Granta, a Medley</td><td>p. 100</td></tr> +<tr><td>The first kiss of Love</td><td>p. 107</td></tr> +<tr><td>Childish Recollections</td><td>p. 109</td></tr> +<tr><td>Answer to some verses from Montgomery</td><td>p. 121</td></tr> +<tr><td>Love's last Adieu</td><td>p. 125</td></tr> +<tr><td>Lines addressed to the Rev. J. T. Becher</td><td>p. 128</td></tr> +<tr><td>Reply to a Friend</td><td>p. 131</td></tr> +<tr><td>Elegy on Newstead Abbey</td><td>p. 134</td></tr> +</table> + +<p><i>Note</i>.—The Title measures 193 X 113. The first signature, C, +is on p. 9; M, on p. 81; O (<i>not</i> N), on p. 89; Q, on p. 105; +U, on p. 137. Signature P is omitted on p. 97.</p> + +<p>The "ornaments" of the Quarto reappear on pp. [1], 9, 25, +32. The numbers at the head of the pages are subscribed with a +double rule. A facsimile of the Title-page faces p. x. of vol. i. +of the <i>Poetical Works</i>, 1898.</p> +</div> + +<p><span class='pagenum'><a name="Page_249" id="Page_249">[249]</a></span></p> +<h6>III.</h6> + +<p>Hours of Idleness,/ A/ Series of Poems,/ Original/ And/ +Translated,/ By George Gordon, Lord Byron,/ A Minor./ +<span title="Mêt' ar me mal' ainee mête ti neikei">Μητ' αρ με μαλ' αινεε μητε τι νεικει </span>. +/ Homer. Iliad, 10./ +Virginibus puerisque Canto;/ Horace./ He whistled as +he went for want of thought./ Dryden./ Newark: Printed +and sold by S. and J. Ridge;/ Sold also by B. Crosby +and Co. Stationer's Court;/ Longman, Hurst, Rees, and +Orme, Paternoster-/Row; F. and C. Rivington, St. Paul's +Church-/Yard; and J. Mawman, In the Poultry,/ London./ +1807./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (Hours/ of/ Idleness.), one leaf, pp. i., ii.; Title, one +leaf, pp. iii., iv.; Preface, pp. [v.]-xiii. (R. <i>Errata</i>); Text, pp. +[1]-187. The Imprint (<i>Printed by S. and F. Ridge, Newark</i>.) is +at the foot of p. 187.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>On leaving Newstead</td><td class="pn">p. 1</td></tr> +<tr><td>On a distant view, etc.</td><td>p. 4</td></tr> +<tr><td>Epitaph on a Friend</td><td>p. 7</td></tr> +<tr><td>A Fragment</td><td>p. 9</td></tr> +<tr><td>The Tear</td><td>p. 10</td></tr> +<tr><td>An occasional Prologue</td><td>p. 15</td></tr> +<tr><td>On the Death of Mr. Fox</td><td>p. 17</td></tr> +<tr><td>Stanzas ... with the Poems of Camoens</td><td>p. 20</td></tr> +<tr><td>The first Kiss of Love</td><td>p. 22</td></tr> +<tr><td>To M——</td><td>p. 25</td></tr> +<tr><td>To Woman</td><td>p. 27</td></tr> +<tr><td>To M. S. G.</td><td>p. 29</td></tr> +<tr><td>To a beautiful Quaker</td><td>p. 31</td></tr> +<tr><td>To ——</td><td>p. 34</td></tr> +<tr><td>To Mary, on receiving her Picture</td><td>p. 37</td></tr> +<tr><td>Love's last Adieu</td><td>p. 39</td></tr> +<tr><td>Damætas</td><td>p. 43</td></tr> +<tr><td>To Marion</td><td>p. 44</td></tr> +<tr><td>Oscar of Alva</td><td>p. 47</td></tr> +<tr><td><span class="smcap">Translations And Imitations</span>.</td><td> </td></tr> +<tr><td>Adrian's Address, etc.</td><td>p. 71</td></tr> +<tr><td>Translation</td><td>p. 72</td></tr> +<tr><td>Translation from Catullus</td><td>p. 73</td></tr> +<tr><td>Translation from the Epitaph of Virgil, etc.</td><td>p. 75</td></tr> +<tr><td>Translation from Catullus</td><td>p. 76</td></tr> +<tr><td>Imitation from Catullus</td><td>p. 78</td></tr> +<tr><td>Translation from Anacreon. To the Lyre</td><td>p. 79</td></tr> +<tr><td>Translation from Anacreon. Ode 3</td><td>p. 81</td></tr> +<tr><td>Fragments of School Exercises</td><td>p. 84</td></tr> +<tr><td>Episode of Nisus and Euryalus</td><td>p. 86</td></tr> +<tr><td>Translation from the Medea of Euripides</td><td>p. 106</td></tr> +<tr><td><span class="smcap">Fugitive Pieces</span>.</td><td> </td></tr> +<tr><td>Thoughts suggested by a College Examination</td><td>p. 113</td></tr> +<tr><td>Answer to some elegant Verses, etc.</td><td>p. 118</td></tr> +<tr><td>Granta, a Medley</td><td>p. 121</td></tr> +<tr><td>Lachin Y Gair</td><td>p. 129</td></tr> +<tr><td>To Romance</td><td>p. 133</td></tr> +<tr><td>Elegy on Newstead Abbey</td><td>p. 137</td></tr> +<tr><td>Childish Recollections</td><td>p. 148</td></tr> +<tr><td>The Death of Calmar and Orla</td><td>p. 169</td></tr> +<tr><td>To E. N. L., Esq.</td><td>p. 173</td></tr> +<tr><td>To ——</td><td>p. 184</td></tr> +</table> +<p><span class='pagenum'><a name="Page_250" id="Page_250">[250]</a></span> +<i>Note</i> (1).—A facsimile of the Title-page (2) faces p. xii. of vol. i. +of the <i>Poetical Works</i>, 1898. It has been alleged that large-paper +copies of this edition were issued from the Newark press. It is +certain that large copies (a copy in the British Museum, cut for +binding, measures 220 X 122), printed on paper bearing a water-mark +dated 1806, were thrown upon the market at an early +period, but it has not been ascertained at what date or in what +place they were printed. They are undoubtedly deliberate +forgeries. They purport, even in respect of <i>errata</i>, to be identical +with the genuine issue of 1807; but they were not set up +from the same type, and it is inconceivable that a second issue, +set up from different type and with slightly different ornaments, +was printed by Ridge for piratical purposes. To cite a few +obvious differences—in the title of the large-paper copies the +first A of the word "TRANSLATED" is printed +<span title='L'>Λ</span>, and the +Greek +<span title='n'>ν </span> in +<span title='ainee'>αινεε</span> +and +<span title='neikei'>νεικει</span> +appears as +<span title='u'>υ </span> +(not +<span title='n'>ν</span> +reversed); in the +Errata on the reverse of p. xiii., [Page] "153 Note" is incorrectly +given as "163 Note," and this slip on the part of the +<i>falsarius</i> is more remarkable, as two other errata in the Errata +are carefully reproduced; in the Greek motto on p. 22 the letter +<span title='r'>ρ</span> +twice appears as +<span title='s'>ς </span>; and, finally, the ornaments on pp. 1 and 187, +though intended to be, are not identical. In the Museum copy a +portrait of "Lord Byron, from a sketch taken on his leaving +England," engraved by I. West, and "Published by V. Hone, +Ludgate Hill, 1819," precedes the title-page, and, together with +the binding, affords good, if not conclusive, proof that this copy +was printed before 1820.</p> + +<p>See, for a correspondence on these L.P. copies of 1807, the +<i>Athenæum</i>, June, 1898, pp. 694, 695.</p> + +<p>See, too, for further interesting and conclusive evidence that +the ornament on p. 187 of the L.P. copies was not printed from +the Newark block, <i>Newark as a Publishing Town</i>, by T. M. +Blagg, 1898, pp. 28-30.</p> + +<p><i>Note</i> (2).—An autograph note, dated May 20th, 1812, signed +"Byron," is inserted on the fly-leaf of a large-paper copy in the +Rowfant Library (<i>Catalogue</i>, 1886, p. 144).</p> +</div> + +<h6>IV.</h6> + + +<p>Poems/ Original and Translated,/ By/ George Gordon, Lord Byron./ +<span title="Mêt' ar' me mal' ainee mête ti neikei">Μητ' αρ' με μαλ' αινεε μητε τι νεικει </span>. / Homer. +Iliad, 10./ He whistled as he went for want of thought./ +Dryden./ Second Edition./ Newark:/ Printed and sold +by S. and J. Ridge;/ Sold also by B. Crosby and Co. +Stationer's Court;/ Longman, Hurst, Rees, and Orme, +Paternoster-/Row; F. & C. Rivington, S<sup>t</sup> Paul's Church-/ +Yard, and J. Mawman, in the/ Poultry, London./ 1808./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>[? a Half-title]; Title, one leaf, pp. ii., iii.; Dedication (To +The Right Honourable/ Frederick,/ Earl of Carlisle,/ Knight of +the Garter,/ etc., etc./ The Second Edition/ Of/ These Poems is +inscribed,/, By/ His Obliged Ward,/ And/ Affectionate Kinsman,/ +The Author.), pp. iv., v.; Cont, pp. [vi.]-viii. (R. <i>Errata</i>); +<span class='pagenum'><a name="Page_251" id="Page_251">[251]</a></span> +Text, pp. [1]-174. The Imprint (<i>Printed by S. and J. Ridge, +Newark-upon-Trent</i>) is at the foot of p. 174.</p> + +<p><i>Contents</i>—</p> + + +<table summary="Contents"> +<tr><td>On leaving Newstead Abbey</td><td class="pn">p. 1</td></tr> +<tr><td>Epitaph on a Friend</td><td>p. 5</td></tr> +<tr><td>A fragment</td><td>p. 7</td></tr> +<tr><td>The Tear</td><td>p. 8</td></tr> +<tr><td>An occasional Prologue</td><td>p. 13</td></tr> +<tr><td>On the death of Mr. Fox</td><td>p. 15</td></tr> +<tr><td>Stanzas ... with the Poems of Camoens</td><td>p. 18</td></tr> +<tr><td>To M.</td><td>p. 20</td></tr> +<tr><td>To Woman</td><td>p. 22</td></tr> +<tr><td>To M. S. G.</td><td>p. 24</td></tr> +<tr><td>Song</td><td>p. 26</td></tr> +<tr><td>To ——</td><td>p. 30</td></tr> +<tr><td>To Mary, on receiving her picture</td><td>p. 33</td></tr> +<tr><td>Damætas</td><td>p. 36</td></tr> +<tr><td>To Marion</td><td>p. 38</td></tr> +<tr><td>Oscar of Alva</td><td>p. 41</td></tr> +<tr><td>To the Duke of D.</td><td>p. 62</td></tr> +<tr><td><span class="smcap">Translations And Imitations</span>.</td><td> </td></tr> +<tr><td>Adrian's address, etc.</td><td>p. 71</td></tr> +<tr><td>Translation</td><td>p. 72</td></tr> +<tr><td>Translation from Catullus</td><td>p. 73</td></tr> +<tr><td>Translation of the Epitaph, etc.</td><td>p. 75</td></tr> +<tr><td>Translation from Catullus</td><td>p. 76</td></tr> +<tr><td>Imitated from Catullus</td><td>p. 78</td></tr> +<tr><td>Translation from Anacreon. To his Lyre</td><td>p. 79</td></tr> +<tr><td>Translation from Anacreon. Ode 3</td><td>p. 81</td></tr> +<tr><td>Fragments of School Exercises</td><td>p. 84</td></tr> +<tr><td>Episode of Nisus and Euryalus</td><td>p. 86</td></tr> +<tr><td>Translation from the Medea of Euripides</td><td>p. 105</td></tr> +<tr><td><span class="smcap">Fugitive Pieces</span>.</td><td> </td></tr> +<tr><td>Thoughts suggested by a College Examination</td><td>p. 111</td></tr> +<tr><td>To the Earl of ——</td><td>p. 116</td></tr> +<tr><td>Granta, a Medley</td><td>p. 123</td></tr> +<tr><td>Lachin y Gair</td><td>p. 131</td></tr> +<tr><td>To Romance</td><td>p. 135</td></tr> +<tr><td>Elegy on Newstead Abbey</td><td>p. 140</td></tr> +<tr><td>The death of Calmar and Orla</td><td>p. 151</td></tr> +<tr><td>To E. N. L., Esq.</td><td>p. 160</td></tr> +<tr><td>To ——</td><td>p. 165</td></tr> +<tr><td>Stanzas</td><td>p. 168</td></tr> +<tr><td>Lines written beneath an Elm, in the Churchyard of Harrow on the Hill</td><td>p. 172</td></tr> +</table> + +<p> +<i>Note</i>.—The Front. is a lithograph of Harrow-on-the-Hill, with +quotation—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Ida! blest spot, where Science holds her reign!<br /></span> +<span class="i0">How joyous once I join'd thy youthful train!"<br /></span> +</div></div> + +<p>A facsimile of the Title-page faces p. xii. of vol. i. of the +<i>Poetical Works</i>, 1898.</p> +</div> + +<h6>V.</h6> + +<p>Imitations and Translations/ From the / Ancient and Modern +Classics,/ Together with/ Original Poems/ Never Before +Published./ Collected by/ J. C. Hobhouse, B.A./ of +Trinity College, Cambridge./ "Nos hæc novimus esse +nihil."/ London:/ Printed for Longman, Hurst, Rees, +and Orme,/ Paternoster-Row./ 1809./ [8º.<span class='pagenum'><a name="Page_252" id="Page_252">[252]</a></span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title with Imprint (T. Davison, <i>Whitefriars,/ London</i>.), +pp. i., ii.; Title, one leaf, pp. iii., iv.; Preface, pp. v.-xi.; +Cont., pp. xiii.-xv. (R. "Errata."); Text, pp. 1-255. The +Imprint, as above, is in the centre of p. [256].</p> + +<p><i>Note</i>.—Lord Byron contributed nine poems (signed L.B.; see +Preface, p. xi., to this volume) to this volume, viz.: (i.) <i>To a +Youthful Friend</i> ("Few years have past," etc.), p. 185; (ii.) +<i>Inscription on the Monument of a Favourite Dog</i>, p. 190; (iii.) +<i>To——</i> ("Well! thou art happy," etc.), p. 192; (iv.) +<i>The Farewell +To a Lady</i> ("When man expell'd," etc.), p. 195; (v.) <i>A Love +Song to ——</i> ("Remind me not," etc.), p. 197; (vi.) <i>Stanzas To +the Same</i> ("There was a time," etc.), p. 200; (vii.) <i>To the Same</i> +("And wilt thou weep," etc.), p. 202; (viii.) <i>Song</i> ("Fill the +goblet again," etc.), p. 204; (ix.) <i>Stanzas to —— on leaving +England</i> ("'Tis done," etc.), p. 227.</p> +</div> + +<h6>VI.</h6> + +<p>Hours of Idleness;/ A/ Series of Poems,/ Original and +Translated,/ By George Gordon, Lord Byron,/ A Minor./ +<span title="Mêt' ar' me mal' ainee mête ti neikei">Μητ' αρ' με μαλ' αινεε μητε τι νεικει </span>. +/ Homer. Iliad, 10./ +He whistled as he went for want of thought./ Dryden./ +Second Edition./ Paris:/ Published by Galignani,/ At +the French, English, Italian, German, and Spanish/ +Library, No. 18, Rue Vivienne./ 1819./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf; Title, one leaf; Advt.; Dedication; +Cont.; Text, pp. 1-149 + "Critique ... <i>Ed. Rev</i>., No. 22," +etc., pp. [150]-158.</p> + +<p><i>Note</i>.—A reproduction of <i>Poems Original and Translated</i>, +Newark, 1808.</p> +</div> + +<h6>VII.</h6> + +<p>Hours of Idleness:/ A Series of Poems,/ Original and Translated./ By/ +Lord Byron./ +<span title="Mêt' ar' me mal' ainee mête ti neikei">Μητ' αρ' με μαλ' αινεε μητε τι νεικει </span>. +/ Homer. Iliad, 10./ He whistled as he went +for want of thought./ Dryden./ London:/ Printed for +Sherwin and Co. 24, Paternoster Row./ 1820./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, pp. i., ii.; Title, pp. iii., iv.; Dedication, pp. v., +vi.; Cont., pp. vii., viii.; Text, pp. 1-160. The Imprint +(<i>Sherwin and Co., Printers,/ Paternoster Row./</i>) is at the foot of +p. 160.</p> + +<p><i>Note</i>.—A reproduction of <i>Poems Original and Translated</i>, +Newark, 1808. The Front. (a sketch of Harrow-on-the-Hill) is<span class='pagenum'><a name="Page_253" id="Page_253">[253]</a></span> +engraved by Eastgate from a painting by H. Halsted, Esq. It +is a reproduction (re-touched) of the Front. to the Newark Edition +of 1808.</p> + +<p>There were two issues of this edition (A and B). In A (Printed +for Sherwin and Co. 24 Paternoster Row) the Front. is without +letters; the past tenses and participles are printed "bloom'd," +"mail-cover'd," etc.; and on p. 160 the Imprint, as above, is at +the foot of p. 160. In B (Printed for W. T. Sherwin, etc.) the +Front. is subscribed with the name of painter and engraver; the +past tenses are printed "bloomed," etc., in full; and the Imprint +(<i>Sherwin, Printer,/ Paternoster Row./</i>) is at the foot of p. 160.</p> +</div> + +<h6>VIII.</h6> + +<p>Hours of Idleness;/ etc./ Third Edition./ Paris: Published +by Galignani,/ etc./ 1820./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>This edition is identical with that of 1819, <a href="#Page_252">No. vi. p. 252</a>. The +Cont. are printed at the end of the volume.</p> +</div> + +<h6>IX.</h6> + +<p>Hours of Idleness,/ A Series/ Of Poems,/ Original and +Translated./ By a Noble Author./ Virginibus puerisque +Canto./ Horace./ He whistled as he went for want of +thought./ Dryden./ London:/ Benbow, Printer and +Publisher, Castle Street,/ Leicester Square. 1822./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, pp. i., ii.; Preface, pp. iii.-viii. + Cont. + Text, pp. 9-183.</p> + +<p><i>Note</i>.—A reissue of <i>Hours of Idleness</i>, Newark, 1807.</p> +</div> + +<h6>X.</h6> + +<p>Hours of Idleness:/ A/ Series of Poems,/ Original and +Translated./ By George Gordon, Lord Byron./ A Minor./ +Paris:/ Published by A. and W. Galignani,/ At the +French, English, Italian, German, and Spanish Library, +No. 18, Rue Vivienne./ 1822./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>Printed by A. Belin</i>), one leaf; Title, one leaf; +Cont.; Text (including Second Half-title and Dedication), pp. +1-152 + <i>Critique</i>, etc., pp. [153]-168.</p> + +<p><i>Note</i>.—A reissue of the Newark edition of 1808, but a distinct +edition from those published by Galignani in 1819, 1820.</p> +</div> + +<h6>XI.</h6> + +<p>Hours of Idleness,/ A/ Series of Poems,/ Original and<span class='pagenum'><a name="Page_254" id="Page_254">[254]</a></span> +Translated./ By Lord Byron./ Virginibus puerisque +canto.—Horace./ He whistled as he went, for want of +thought.—Dryden./ A New Edition./ Glasgow.—Printed +by J. Starke./ 1825./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf; Preface, pp. i.-iii. (R. Cont.); Text, pp. 1-84.</p> + +<p><i>Note</i>.—This edition, a reissue of <i>Hours of Idleness</i>, Newark, +1807, was bound in a paper wrapper with ornamental border, +uniform with "<i>English Bards, and Scotch Reviewers</i>—price +sixpence."</p> +</div> + +<h6>XII.</h6> + +<p>Fugitive Pieces/ and/ Reminiscences/ of/ Lord Byron:/ Containing +an entire new Edition of/ The Hebrew Melodies,/ +With the Addition of/ Several never before Published;/ +The whole illustrated with/ Critical, Historical, Theatrical, +Political, and Theological/ Remarks, Notes, Anecdotes, +Interesting Conversations,/ And Observations, made by +that Illustrious Poet;/ Together with his Lordship's Autograph;/ +also some/ Original Poetry, Letters and Recollections/ of/ +Lady Caroline Lamb./ By I. Nathan,/ Author +of an Essay on the History and Theory of Music,/ The +Hebrew Melodies, etc., etc./ "Pascitur in vivis Livor, +post Fata quiescit:"/ "Tune (<i>sic</i>) suus, ex merito, +quemque tuetur Honos." Ovid./ London:/ Printed for +Whittaker, Treacher, and Co./ Ave Maria Lane./ 1829./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xxxvi. + 196. The Imprint (<i>Plummer and Brewis, +Printers, Love Lane, Eastcheap</i>.) is at the foot of p. 191.</p> + +<p><i>Note</i>.—The Fugitive Pieces include the two selections from +<i>Parisina</i> included in <i>Hebrew Melodies</i> <a href="#Page_246">No. i.</a>, and +three "original +pieces of Lord Byron, which have never before appeared in +print;" viz. "I speak not—I trace not," etc., "In the valley of +waters," and "They say that hope is happiness."</p> +</div> + +<h4>Poems.</h4> + +<p>Poems./ By Lord Byron./ Second Edition/ London:/ +Printed for John Murray, Albemarle-Street;/ By W. +Bulmer and Co. Cleveland-Row, St. James's,/ 1816./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, one leaf, pp. i., ii.; Title, one leaf, iii., iv.; Advt., +pp. v., vi.; Cont., pp. vii., viii.; Text, pp. 9-39 + Notes, +p. [40]. The Imprint (<i>London: Printed by W. Bulmer and Co./ +Cleveland-row, St. James's./</i>) is at the foot of p. [40].</p> + +<p><i>Contents</i>—<span class='pagenum'><a name="Page_255" id="Page_255">[255]</a></span></p> + +<table summary="Contents"> +<tr><td>To —— ("When all around," etc.)</td><td class="pn">p. 9</td></tr> +<tr><td>Bright be the place</td><td>p. 13</td></tr> +<tr><td>When we two parted</td><td>p. 14</td></tr> +<tr><td>Stanzas for Music ("There's not a joy," etc.)</td><td>p. 16</td></tr> +<tr><td>Stanzas for Music ("There be none," etc.)</td><td>p. 19</td></tr> +<tr><td>Fare Thee Well</td><td>p. 21</td></tr> +<tr><td>Ode (We do not curse," etc.)</td><td>p. 25</td></tr> +<tr><td>From the French</td><td>p. 31</td></tr> +<tr><td>On the Star, etc.</td><td>p. 34</td></tr> +<tr><td>Napoleon's Farewell</td><td>p. 37</td></tr> +<tr><td>To Samuel Rogers, Esq.</td><td>p. 39</td></tr> +<tr><td>Notes</td><td>p. 40</td></tr> +</table> + +<p><i>Note</i>.—The motto from Coleridge's <i>Christabel</i> +("Alas! they had +been friends in youth") (14 lines) is on p. 20.</p> +</div> + +<h4>Poems on His Domestic Circumstances.</h4> + +<h6>I.</h6> + +<p>Poems/ on His/ Domestic/ Circumstances./ I. Fare Thee +Well!/ II. A Sketch From Private Life./ By Lord +Byron./ With the/ Star of the Legion of Honour,/ And +other Poems./ London:/ Printed for W. Hone, 55, Fleet +Street./ 1816./ Price One Shilling./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. 3, 4; Text, pp. 5-31 + Note ("The first +two Poems were last produced.—The other/ five follow in the +order wherein they were written."/ April, 1816.), p. [32]. The +Imprint (<i>Hay and Turner, Printers, Newcastle Street, Strand</i>.) is +at the foot of p. [40].</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Fare Thee Well</td><td class="pn">p. 5</td></tr> +<tr><td>A Sketch, etc.</td><td>p. 9</td></tr> +<tr><td>Ode ("Oh, shame to thee," etc.)</td><td>p. 15</td></tr> +<tr><td>Fare Well to France</td><td>p. 20</td></tr> +<tr><td>Madame Lavalette</td><td>p. 22</td></tr> +<tr><td>Waterloo</td><td>p. 24</td></tr> +<tr><td>On the Star, etc.</td><td>p. 29</td></tr> +</table> + +<p><i>Note</i>.—The Half-title is missing in the Museum copy. The +Note prefixed to "Waterloo" in the <i>Morning Chronicle</i> (March +15, 1816) is reprinted, together with the heading, "Said to be +done into English Verse by R. S****, P.L. P.R. +Master of the Royal Spanish Inqn.—etc., etc., etc."</p> +</div> + +<h6>II.</h6> + +<p>Poems/ on His/ Domestic Circumstances,/ etc./ With The/ +Star of the Legion of Honour,/ And Four Other Poems./ +Second Edition./ London:/ Printed for W. Hone, 55, +Fleet Street,/ And Sold by J. M. Richardson, No. 23, +Cornhill;/ J. Blacklock, Royal Exchange; G. Hebert, +36,/ Poultry; Simpkin and Marshall,/ Stationers'/ Court; +W. Reynolds, 137, Oxford Street; and by/ All other +Booksellers./ 1816./ [8º.</p> +<p><span class='pagenum'><a name="Page_256" id="Page_256">[256]</a></span></p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Gen. Half-title (New/ Poems,/ By/ Lord Byron./) (R. <i>Hay & +Turner, Printers, Newcastle-Street, Strand</i>.), pp. 1, 2; Title, one +leaf, pp. 3, 4; Text, pp. 5-31. The Note and Imprint, as above, +are on p. [32].</p> +</div> + +<h6>III.</h6> + +<p>Poems,/ etc./ By Lord Byron./ With the/ Star of the +Legion of Honour,/ etc., etc./ Sixth Edition./ Containing +Eight Poems./ London:/ Printed for W. Hone, 55, Fleet +Street,/ etc., etc. 1816./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (Imprint as above), pp. 1, 2; Text, pp. 3-31. The Note +(altered to "The other Six follow," etc.) and the Imprint, as +above, are on p. [32].</p> + +<p><i>Note</i>.—The additional poem is the <i>Adieu to Malta</i> on pp. 12- +14. The lines <i>Fare Thee Well</i>, which are printed in the First +and Second Editions in stanzas, are in the Sixth Edition printed +continuously.</p> +</div> + +<h6>IV.</h6> + +<p>Poems,/ etc./ By Lord Byron./ With His/ Memoirs and +Portrait./ Eighth Edition./ Containing/ Nine Poems./ +Fare Thee Well!/ A Sketch From Private Life./ On +the Star of "The Legion of Honour."/ Adieu to Malta./ +The/ Curse of Minerva./ Waterloo./ And Three Others./ +London:/ Printed for W. Hone, 55, Fleet Street,/ etc./ +1816./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (R. Imprint as above), pp. 1, 2; Memoirs, etc., pp. 3-6; +Text, pp. 7-32.</p> + +<p><i>Note</i>.—The additional poem is the mutilated version of <i>The +Curse of Minerva</i> (111 lines). The Front. is a lithograph of +"Lord Byron," after F. Sieurac.</p> +</div> + +<h6>V.</h6> + +<p>Poems/ etc./ By Lord Byron,/ etc./ Fifteenth Edition./ +Containing/ Nine Poems,/ etc./ London:/ Printed for +W. Hone, 55, Fleet Street,/ etc./ 1816./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (R. Imprint as above), pp. 1, 2; Memoirs, etc., pp. 3-8 ++ Text, pp. 8-40.</p> + +<p><span class='pagenum'><a name="Page_257" id="Page_257">[257]</a></span> +<i>Note</i>.—The Text of the Fifteenth Edition is identical with the +Text of the Sixth Edition (pp. 3-[32]), including Note and +Imprint on p. [32]. <i>The Curse of Minerva</i> is on pp. 33-40. The +Imprint, as above, is repeated on the foot of p. 40.</p> +</div> + +<h6>VI.</h6> + +<p>Lord Byron's/ Poems,/ on His Own/ Domestic +Circumstances./ Fare Thee Well./ Dublin:/ Printed by W. +Espy, 59, Dame-Street./ 1816./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>— +Half-title (Poems, etc./ Entered at Stationers'-Hall./), one +leaf, pp. 1, 2; Title, one leaf, pp. 3, 4; Preface, pp. 5, 6; +Text, pp. 7-15.</p> + +<p><i>Note</i>.—The edition contains <i>Fare Thee Well</i>, and +<i>A Sketch</i>, etc., +without the other poems published by Hone.</p> +</div> + +<h6>VII.</h6> + +<p>Poems/ on His/ Domestic Circumstances,/ etc. etc./ By/ +Lord Byron./ Second Edition./</p> +<ol> +<li> Fare Thee Well</li> +<li> A Sketch from Private Life</li> +<li> On the Star of "The Legion of Honour"</li> +<li> Ode</li> +<li> Waterloo</li> +<li> Madame Lavalette</li> +<li> Farewell to France</li> +<li> Adieu to Malta</li> +<li> The Curse of Minerva</li> +<li> Farewell to England</li> +<li> To my Daughter, etc</li> +<li> To the Lily of France.</li> +<li> Ode to the Island of St. Helena.</li> +<li> To ——.</li> +<li> Bright be the Place to thy Soul!</li> +<li> Stanzas for Music.</li> +<li> To ——.</li> +<li> Stanzas for Music.</li> +<li> To ——.</li> +<li> On Reading Lord Byron's Farewell to England.</li> +</ol> +<p>To which is Prefixed,/ Memoirs of His Life./ Bristol:/ +<i>Printed for W. Sheppard, Exchange</i>,/ And may be had +of all the Booksellers./ 1816./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. i., ii.; Memoirs, etc., pp. iii.-vi.; On +Reading Lord Byron's Farewell to England, pp. i.-iii. (R. Cont.); +Text, pp. 1-50. The Imprint (<i>Mary Bryan, Printer,(51)Corn-Street, +Bristol</i>.) is at the foot of p. 50.</p> + +<p><i>Note</i>.—This edition contains the nine poems published by Hone +(1816), four forgeries, six of the <i>Poems</i> published by Murray in +1816, and, with a separate pagination, the lines <i>On Reading Lord +Byron's Farewell to England</i> ("——Still my bosom's indignation").</p> +</div> + +<p><span class='pagenum'><a name="Page_258" id="Page_258">[258]</a></span></p> +<h6>VIII.</h6> + +<p><i>Poems on His Domestic Circumstances</i>, etc. Boston. 1816. [24º.</p> + +<p class="auth">[Catalogue of the Boston Athenæum Library.]</p> + +<h6>IX.</h6> + +<p>Poems,/ etc./ By Lord Byron,/ etc./ Twenty-Third Edition./ +Containing/ Nine Poems,/ etc./ London:/ Printed for +W. Hone,/ 55, Fleet Street, and 67, Old Bailey,/ (<i>Three +Doors from Ludgate Hill</i>,)/ And Sold By J. M. Richardson,/ +etc./ 1817/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 32.</p> +</div> + +<h6>X.</h6> + +<p>Poems,/ on His/ Domestic Circumstances,/ By/ The Right +Honourable/ Lord Byron:/ To which are added,/ Several +Choice Pieces from His Lordship's Works./ "Lord +<span class="smcap">Biron</span>.—By heaven I do love; and it hath taught me/ +to rhyme, and to be melancholy; and here is part of my +rhyme,/ and here my melancholy."/ <span class="smcap">Shakespeare's +Love's Labour Lost</span>./ London:/ Printed for J. Limbird, +355, Strand, (East End/ of Exeter 'Change),/ By W. Sears, +45, Gutter Lane, Cheapside./ 1823/ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vi. + 48. The Imprint (<i>Printed by W. Sears, 45, Gutter +Lane, Cheapside, London</i>.) is at the foot of p. 48.</p> + +<p><i>Note</i>.—The collection contains twenty-four poems, including +the forgeries, <i>To my Daughter</i>, etc.; <i>Farewell to England</i>; <i>Ode</i> +("Oh, shame to thee," etc.); and <i>Madame Lavalette</i>.</p> +</div> + +<h6>XI.</h6> + +<p>Miscellaneous Poems,/ Including those on His/ Domestic +Circumstances./ By Lord Byron./ To which are prefixed/ +Memoirs of the Author, and a Tribute/ To his Memory/ +By Sir Walter Scott./ London:/ Printed for John +Bumpus, 85, Newgate Street;/ And R. Griffin, & Co., +Glasgow./ 1824/</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xx. + 21-72. The Imprint (<i>Printed by A. Hancock, Middle +Row Place, Holborn</i>.) is at the foot of p. 72.</p> + +<p><i>Note</i>.—The collection numbers twenty-five poems, including +the forgeries, <i>Ode</i> ("Oh, shame to thee," etc.); +<i>Madame Lavalette</i>; +<i>Farewell to England</i>; +<i>To my Daughter</i>, etc.; <i>Ode to—S<sup>t</sup> Helena</i>; +<span class='pagenum'><a name="Page_259" id="Page_259">[259]</a></span> +<i>To the Lily of France</i>; <i>The Enigma</i> [H.]; and three (genuine) +stanzas from the lines, "Well, thou art happy," here entitled +<i>Song to Inez</i>; and the lines <i>To Jessy</i>.</p> +</div> + +<h6>XII.</h6> + +<p>Miscellaneous Poems/ on His Domestic and Other/ Circum- +stances./ By Lord Byron./ London:/ Printed By and +for William Cole,/ 10 Newgate-Street./ 1825./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 54. The Imprint (<i>Printed by William Cole, 10, Newgate +Street</i>.) is at the foot of p. 54.</p> + +<p><i>Note</i>.—The edition contains twenty-nine pieces, viz. the +twenty-five +poems published by John Bumpus in 1824 (<a href="#Page_258">No. xl.</a>), +together with <i>The Isles of Greece</i>; <i>Were my Bosom</i>, etc.; <i>Herod's +Lament</i>, etc.; and <i>Lord Byron's Latest Verses</i> ("On this day I +complete my thirty-sixth year").</p> +</div> + +<h4>Hints from Horace.</h4> + +<div class="cocono"> +<p><i>Note</i>.—Two sets of proofs of a portion of <i>Hints from Horace</i>, +formerly the property of R. C. Dallas, are preserved in the British +Museum (<i>Eg</i>. 2029). Proof A consists of 100 lines of the English +translation (lines 173-272); Proof B, pp. [87]-128, consists of +272 lines of the English translation (lines 1-272) and (on opposite +pages) 188 lines of the original Latin. These proof-sheets, which +must have followed proofs of the Fifth Edition of <i>English Bards</i>, +<i>etc</i>., are preceded by a Half-title, <i>Hints from Horace</i> (Gothic +characters), and by the following subsidiary title:—</p> + +<p>Hints from Horace:/ Being a/ Partial Imitation, in English +Verse, of the Epistle,/ "Ad Pisones de Arte Poetica;"/ And +intended as a Sequel to/ English Bards and Scotch Reviewers./ +[Gothic characters.] "Ergo fungar vice Cotis, acutum/ Reddere +quæ ferrum valet, exsors ipsa secandi."/ Hor. De Arte Poet. +304-5./ "Rhymes are difficult things; they are stubborn things, +sir."/ Fielding's Amelia, Vol. III./ Book and Chap. V./ +Athens, Franciscan Convent,/ March 12, 1811./</p> + +<p>The publication of <i>Hints from Horace</i> had been entrusted by +Dallas to Cawthorn in July-August, 1811. It may be gathered +from various sources (<i>Letters</i>, 1898, ii. 24, 54, 56) that Byron was +at work on the proofs as late as September 4; that by October 11 +he had resolved to defer the publication of the <i>Hints</i>; and that, +accordingly on October 13, 1811, "they stood still." It was not, +however, till after the appearance of <i>Childe Harold's</i>, <i>etc</i>. +(May-June, 1812) that Byron determined to suppress the already printed +Fifth Edition of <i>English Bards</i>, and at the same time to abandon +the publication of his two other Satires. At this time, says +Dallas (<i>Recollections of the Life of Lord Byron</i>, 1898, p. 241), +"the <i>Hints from Horace</i> was far advanced." In his <i>Recollections, +etc</i>. (pp. 104-113), he gives, by way of a "fair specimen," 156 +<span class='pagenum'><a name="Page_260" id="Page_260">[260]</a></span> +"lines of the still-unpublished poem; and, as these extracts are +taken from the first 211 lines, and his text corresponds with +proof B (see Poetical Works, 1898, i. 390, variants ii., iii.), it may +be inferred that Dallas transcribed them from his fragmentary +proof-sheets, and that the press was stopped at line 272. In 1830, +in his <i>Notices of the Life of Lord Byron</i> (vol. i. pp. 263-269), +Moore printed 165 lines of the "Paraphrase;" but his selections +are drawn from lines 1-458, and it is evident that he had access +to an original MS. (<i>MS. M.</i>), which is now in Mr. Murray's +possession. The full text, which follows the same MS., was first +published in vol. v. pp. 273-327 of the six-volume edition of 1831 +(<i>vide ante</i>, <a href="#Page_110">No. xliii.</a> of "Collected Editions").</p> +</div> + +<h4>The Irish Avatar</h4> + +<div class="cocono"> +<p>Byron wrote the <i>Irish Avatar</i> at Ravenna, September 16, 1821. +On the 17th he sent a copy of the verses to Moore, then resident +at Paris; and on September 20 he desired Moore to get "twenty +copies of the whole carefully and privately printed off." A copy +is in the possession of Mr. H. Buxton Forman, C.B., and I am +indebted to his kindness for the following description: "The +pamphlet consists of four 8vo leaves, viz. half-title ('The Irish +Avatar,' in bold capitals, with blank verse), pp. [1], [2] + Text, +pp. 3-8. The poem begins on the third page with a dropped head, +'The Irish Avatar' again, and the first four verses. Pp. 4-7 contain +six verses each, and p. 8 the remaining four, making up thirty-two +in all. The date at the end of p. 8 is 'September 16, 1821.' +There is no title-page proper; a headline, 'The Irish Avatar,' +occurs on pp. 4-8, which pages are numbered in Arabic figures in +the outside corners, and the thirty-two stanzas are also numbered +in Arabic figures. The poem is printed on a half-sheet of a +peculiar fine-ribbed paper." Twenty stanzas of <i>The Irish Avatar</i> +were printed by Medwin in <i>Conversations of Lord Byron</i>, 1824, +pp. 216-220, and in a second edition, 1824, pp. 332-338. In a +"new edition" of the <i>Conversations, etc.</i>, 1824, pp. 264-270, the +entire poem, numbering thirty-two stanzas, was published for the +first time in England (see <i>Athenæum</i>, July 27, 1901). <i>The Irish +Avatar</i> was first published by Murray in 1831 (Works, vi. 419-425).</p> +</div> + +<h4>The Island</h4> + +<h6>I.</h6> + +<p>The Island,/ or/ Christian and His Comrades./ By the/ +Right Hon. Lord Byron./ London, 1823:/ Printed for +John Hunt,/ 22, Old Bond Street./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>London: Printed by C. H. Riynell, Broad-Street, +Golden-Square</i>), pp. 1, 2, Title, one leaf, pp. 3, 4; Author's +Advt., p. 6; Text, pp. 7-79 + Appendix, pp. 81-94. The<span class='pagenum'><a name="Page_261" id="Page_261">[261]</a></span> +Imprint, as above, is at the foot of p. 94.</p> + +<p><i>Note</i>.—A Second and a Third Edition, identical with the First, +were published by John Hunt in 1823. <i>The Island</i> forms part +(pp. 193-244) of a collection of Miscellaneous Poems, <i>Hebrew +Melodies, The Deformed Transformed</i>, etc., printed and published +by W. Dugdale, 23, Russell Court, Drury Lane, in 1825.</p> +</div> + +<h6>II.</h6> + +<p>The Island;/ or/ Christian and His Comrades./ By The +Right Hon. Lord Byron./ Paris:/ Published by A. and +W. Galignani,/ At the French, English, Italian, German, +and Spanish Library,/ No. 18, Rue Vivienne./ 1823/ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>Paris: Printed by A. Belin</i>), one leaf; Title, +one leaf; Second Half-title, pp. 1, 2; Author's Advt., pp. 3, 4; +Text + App., pp. 5-95.</p> +</div> + +<h6>III.</h6> + +<p><i>The Island, or Christian and His Comrades</i>. New York. +1823. [12º.</p> + +<p class="auth">[Cat. of Books in Bates Hall of Pub. Library of Boston.]</p> + +<h4>Translations of The Island.</h4> + +<h5>German.</h5> + +<p><i>Die Insel</i>, ober Christian u. seine Kameraden. Aus d. Engl. +(v. F. L. Breuer). Mit gegenübersteh. Originaltext. +Leipzig, Brockhaus. 1827. [8º.</p> + +<p class="auth">[Kayser, 1834.]</p> + +<h5>Italian.</h5> + +<p><i>L'Isola</i>, poema di lord Byron, traduzione di Morrone. +Napoli, tipographia di De Muro, 1840. [8º.</p> + +<p class="auth">[<i>Bibliographia Italiana</i>, Oct., 1840.]</p> + +<h5>Polish.</h5> + +<p>Wyspa czyli Chrystyan i jego towarzysze ...Przekład Adama +Pajgerta. pp. 62, <i>druk. "Czasu": Kraków</i>, 1859. [8º.</p> + +<h5>Swedish.</h5> + +<p><span class='pagenum'><a name="Page_262" id="Page_262">[262]</a></span>Ön/ Eller/.. Christian och Hans Stallbröder./ Af/ Lord +Byron./ Öfversättning. [Af/ Talis Qualis.] Stockholm,/ +J. L. Brudins Förlag./ [1856.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 88.</p> + +<p><i>Note</i>.—No. 8 of "Byron's Poetiska Berättelser."</p> +</div> + +<h4>The Lament of Tasso.</h4> + +<h6>I.</h6> + +<p>The/ Lament of Tasso./ By Lord Byron./ London:/ John +Murray, Albemarle-Street./ 1817./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. 3, 4; Note (on MSS., etc.), pp. 5, 6; +Text, pp. 7-19 + p. [20], Advt. of Poems. The Imprint (<i>T. +Davison, Lombard-Street,/ Whitefriars, London./</i>) is at the foot of +p. [20].</p> + +<p><i>Note</i>.—The Half-title (? missing) is not in the Museum copy.</p> +</div> + +<h6>II.</h6> + +<p>The/ Lament of Tasso./ By Lord Byron./ Second Edition./ +London:/ John Murray, Albemarle-Street./ 1817/./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. 3, 4; Advt., pp. 5, 6; Text, pp. 7-18.</p> +</div> + +<h6>III.</h6> + +<p>The/ Lament of Tasso./ etc./ Third Edition,/ etc./ 1817./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p><i>Vide supra</i>, No. i.</p> +</div> + +<h6>IV.</h6> + +<p>The/ Lament of Tasso,/ etc./ Fourth Edition,/ etc./ 1817./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (The Lament,/ etc./ Fourth Edition./ 1 s. 6 d.) +(<i>R. T. Davison, Lombard-Street, Whitefriars, London</i>.), pp. 1, 2, +etc. <i>Vide supra</i>, No. i.</p> + +<p><i>Note</i>.—The Imprint (<i>T. Davison, Lombard-Street,/ Whitefriars, +London./</i>) is at the foot of p. [20]. Twelve pp. of "Books +Printed for John Murray," dated "August, 1817," are bound up +with the Fourth Edition.</p> +</div> + +<p><span class='pagenum'><a name="Page_263" id="Page_263">[263]</a></span></p> + +<h6>V.</h6> + +<p>The Lament,/ etc./ Sixth Edition./ 1818./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>— +<i>Vide supra</i>, No. iv. +<i>Note</i>.—Four pp. of Advts., dated "Albemarle-Street, London, +January, 1818," are bound up with the Sixth Edition.</p> +</div> + +<h4>Translations of The Lament of Tasso.</h4> + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p>Lamento/ del/ Tasso/ di Lord Byron/ Recato in italiano/ +Da Michele Leoni/ Pisa/ Presso Niccolò Capurro/ co' +caratteri di F. Didot/ 1818/ [4º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. ix. + <i>1-27</i> + Nota dell' Autore, p. [28].</p> + +<p><i>Note</i>.—The Front, is "Tasso in the Hospital of Sant' Anna," +drawn by C. Meritoni, and engraved by Lasinio Figlio. The +Italian translation is printed on opposite pages to the English Text.</p> +</div> + +<h6>II.</h6> + +<p>La/ Magion del Terrore/ ... La Fantasia e il Disinganno/ +ed altri metrici componimenti/ di Gaetano Polidori/ colle +sue traduzioni/ Del Lamento del Tasso/ di Lord Byron/ +... Londra 1843./ Impresso da J. Wilson e W. Ward +nella pri-/vata stamperia dell' autore al numero 15 di/ +Park Village East, Regent's Park./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 112-133.</p> +</div> + +<h6>III.</h6> + +<p>Guglielmo Godio/ II Lamento di Tasso/ Versione da +Byron/ [Six other pieces.] Torino/ Tipografia di Vincenzo +Bona/Via Ospedale, 3 e Lagrange, 7/ 1873./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 21 + 23-47, <i>Estri Lontani</i>, etc.</p> +</div> + +<h4>Lara.</h4> + +<h6>I.</h6> + +<p>Lara,/ A Tale./ Jacqueline,/ A Tale./ London:/ Printed +for J. Murray, Albemarle-Street,/ <i>By T. Davison, Whitefriars./</i> +1814./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p><span class='pagenum'><a name="Page_264" id="Page_264">[264]</a></span>Half-title (Poems), one leaf; Title, one leaf; Advt.; Cont. +(R. Note. Canto I., page 3, line 1, <i>The Serfs</i>, etc.); Second +Half-title; Text, pp. 3-128 (<i>Lara</i>, pp. 1-93; <i>Jacqueline</i>, pp. +95-128) + "Books Printed for John Murray," etc., pp. [129]-[132]. +The Imprint (<i>T. Davison, Lombard-street,/ Whitefriars, +London.</i>/) is at the foot of p. [132].</p> + +<p><i>Note</i>.—This edition was issued in blue-paper boards with green +back, the title-label being Lara/ Jacqueline/ 7s. 6d./ The +pages measure 170 x 105.</p> +</div> + +<h6>II.</h6> + +<p>Lara,/ A Tale./ By Lord Byron./ Fourth Edition./ +London:/ Printed for John Murray, Albemarle-Street./ +1814./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (Lara); Imprint (<i>T. Davison, Lombard Street,/ +Fleet-street</i>.), +one leaf; Title, one leaf; Second Half-title; Text, pp. +8-70. The Imprint (<i>T. Davison, Lombard-street,/ Whitefriars, +London</i>./) is in the centre of p. [72]. In other copies the Text +ends at p. 70, and a note on Section xxiv., Canto II. pp. 71-74, +concludes the volume. The Imprint is not repeated.</p> +</div> + +<h6>III.</h6> + +<p><i>Lara</i>. Boston. 1814. [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. iv. + 8-98.</p> +</div> + +<h6>IV.</h6> + +<p><i>Lara</i>. New York. 1814. [24º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 136.</p> +</div> + +<h6>V.</h6> + +<p>Lara,/ A Tale./ By Lord Byron./ Fifth Edition./ London:/ +John Murray, Albemarle-Street./ 1817./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>T. Davison, Lombard-street, Whitefriars, +London</i>.); Title, one leaf; Text, pp. 1-74 + Advt. of "Poems +By the Right Hon. Lord Byron" (R. <i>T. Davison, Lombard-street,/ +Whitefriars, London</i>./), pp. [75], [76].</p> + +<p><i>Note</i>.—The additional pages (pp. 71-74) contain a note on +"The event in section 24, Canto 2d, suggested by the death, or +rather burial, of the Duke of Gandia."</p> + +<p><i>Note</i>.—"Lara./ A Tale./ By Lord Byron."/forms part (pp. +135-174) of a volume "Printed for Thomas Wilson, Oxford +Street. 1825. 12º." The Imprint (<i>Printed by W. Dugdale</i>, etc.) +is at the foot of p. 174.<span class='pagenum'><a name="Page_265" id="Page_265">[265]</a></span></p> +</div> + +<h6>VI.</h6> + +<p>Lara,/ a Tale by/ Lord Byron:/ Illustrated by C. B. Birch,/ +Art-Union of London./ MDCCCLXXIX./ [fol.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Text, pp. 1-12. The Imprint (<i>Harrison and Sons, Printers in +Ordinary to Her Majesty, S. Martin's Lane</i>.) is at the foot of +p. 12. The Text is followed by twenty plates.</p> +</div> + +<h4>Translations of Lara.</h4> + +<h5>Bohemian.</h5> + +<p><i>Lara</i> ... Přeložil Č. Ibla. [In "Poesie Světová."] <i>v Praze</i>, +1885. [8º.</p> + +<h5>German.</h5> + +<p><i>Lara</i>. Übers. v. W. Schäffer u. A Strodtmann. 1886. +Leipzig, Bibl. Institut. [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 91.</p> + +<p><i>Note</i>.—No. 88 of "Meyer's Volksbücher."</p> +</div> + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p>Il Lara/ di Lord Byron/ Tradotto dal signor/ Girolamo +C<sup>o</sup> Bazoldo,/ Maggiore di S.M. Britannica re d'Annover./ +con giunta/ di tre altre traduzioni dall' inglese, una dal +tedesco,/ e tre canzoni dell' autore./ [Title-vignette, +Cupid with harp.] Parigi./ Dai Torchi di Pillet Maggiore,/ +In via des Grands-Augustins, N'o. 7./ 1828./ [24º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 1-83 + <i>Il Pensieroso</i>, etc., pp. 85-138 + Indice, p. [139].</p> + +<p><i>Note</i>.—This edition was issued in green-paper covers.</p> +</div> + +<h6>II.</h6> + +<p><i>Lara</i>. Traduzione di Andrea Maffei, Milano, Hoepli, 1882. [64º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<h5>Polish.</h5> + +<p><span class='pagenum'><a name="Page_266" id="Page_266">[266]</a></span><i>Lara</i>, poemat w 2 pieśniach, przekład Jul. Korsaka. pp. 70 +<i>druk. J. Zawadzkiego: Wilno</i>, 1833. [8º.</p> + +<h5>Servian.</h5> + +<p><span title="Lara lorda Bajrona. Srbski od Ats. Popovidja.">Лара лорда Бајрона. Србски од Ац. Поповиђа</span>. pp. 72. +<span title='D. Khipts: u Novot-Sadu,'>Д. Хипц: у Новот-Саду,</span> +1860. 12º.</p> + +<h5>Spanish.</h5> + +<p><i>Lara</i>, novela española. Por lord Byron, traducida al +castellano, Paris. 1828. [18º.</p> + +<p class="auth">[<i>B. de la France</i>, May 17, 1828.]</p> + +<h5>Swedish.</h5> + +<p>Lara/ Af/ Lord Byron./ Stockholm,/ Tryckt Hos Joh. +Beckman./ 1869./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 5-64.</p> + +<p><i>Note</i>.—"Öfversättning Af Tails Qualis"—a pseudonym of +Carl Wilhelm August Strandberg.</p> +</div> + +<h4>Manfred.</h4> + +<h6>I.</h6> + +<p>Manfred,/ A/ Dramatic Poem./ By Lord Byron./ London:/ +John Murray, Albemarle-Street./ 1817./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (Manfred) (R. <i>T. Davison, Lombard-Street, +Whitefriars, London</i>), pp. 1, 2; Title, one leaf, pp. 3, 4; Dramatis +Personæ, pp. 5, 6; Text, pp. 7-75; Notes, pp. [79]-80. The +Imprint (<i>T. Davison, Lombard-Street,/ Whitefriars, London./</i>) is +at the foot of p. 80.</p> + +<p><i>Note</i>.—The First Edition was issued with another title-page +(B): Manfred,/ A/ Dramatic Poem./ "There are more things +in heaven and earth, Horatio,/"Than are dreamt of in your +philosophy."/ By Lord Byron./ London:/ John Murray, +Albemarle-Street./ 1817./ 8º.</p> + +<p>There is no half-title in the Museum copy of this alternative +First Edition.</p> +</div> + +<h6>II.</h6> + +<p>Manfred,/ etc./ Second Edition,/ etc./ 1817./ [8º.</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_267" id="Page_267">[267]</a></span><i>Note</i>.—The Second Edition is identical with the alternative +form (B) of the First Edition. There is no Imprint on p. 80. +An Advt. of "Poems by the Right Hon. Lord Byron" is on p. [82].</p> +</div> + +<h6>III.</h6> + +<p>Manfred,/ A/ Dramatic Poem./ "There are more things in +heaven and earth, Horatio,/ Than are dreamt of in your +philosophy."/ By Lord Byron./ Philadelphia:/ Published by +M. Thomas./ J. Maxwell, Printer./ 1817./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 72.</p> + +<p><i>Note</i>.—<i>Manfred</i> was also published at New York in +1817, 24º, pp. 70.</p> +</div> + +<h6>IV.</h6> + +<p>Manfred./ A Dramatic Poem./ By Lord Byron./ "There +are more things," etc. [Motto, two lines]./ London:/ +Printed and Published by W. Dugdale,/ <i>23, Russell Court, +Drury Lane</i>./ 1824./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>pp. 55 + "Notes to Manfred," p. [56]. The Imprint (<i>Printed +by W. Dugdale, Russell Court, Drury Lane, London</i>) is at the +foot of p. [56].</p> + +<p><i>Note</i>.—Manfred./ A Dramatic Poem./ By Lord Byron./forms +part (pp. 175-[216]) of a volume Printed for Thomas Wilson, +Oxford Street./ 1825. 12º. The Imprint (<i>Printed by W. +Dugdale</i>, etc.), as above, is at the foot of p. [216].</p> +</div> + +<h6>V.</h6> + +<p>Manfred,/ A/ Dramatic Poem./ "There are more things in +heaven and earth,/ Horatio,/ "Than are dreamt of in your +philosophy."/ By Lord Byron./ Brussels:/ Printed at +the British Press./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. 3, 4; Dramatis Personæ, pp. 5, 6; Text, +pp. 7-72; Notes, pp. [73], 74; Observations, pp. [75]-81.</p> +</div> + +<h6>VI.</h6> + +<p>Manfred./ A Choral Tragedy,/ In Three Acts,/ By/ Lord +Byron./ Thomas Hailes Lacy,/ 89, Strand, London./ +[1863.] [12º.</p> + +<p><i>Collation</i>—</p> + +<p>Pp. 1-41 + "Costumes," p. [42]. The Imprint (<i>Printed by +Thomas Scott, Warwick Court, Holborn</i>.) is at the foot of p. 41.</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_268" id="Page_268">[268]</a></span> +<i>Note</i>.—Vol. 60 of Lacy's "Acting Edition Plays." Pp. 2-6 +contain the playbill of Manfred "As Performed at the Theatre +Royal, Drury Lane (under the Management of Messrs. Edmund +Falconer and F. B. Chatterton), on Saturday, October 10th, 1863."</p> +</div> + +<h6>VII.</h6> + +<p>Manfred./ Lord Byron./ [Title-vignette, "Hear me, hear +me—Astarte."] New and Complete Edition.—Price one +Penny./ London. J. Dicks, 313 Strand; all Booksellers./ +[1883, etc.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 161-173.</p> + +<p><i>Note</i>.—No. 59 of "Dicks' Standard Plays."</p> +</div> + +<h4>Translations of Manfred.</h4> + +<h5>Bohemian.</h5> + +<p><i>Manfred</i> ... Přelozil Jos. V. Frič. <i>Praze</i>, 1882.</p> + +<h5>Danish.</h5> + +<h6>I.</h6> + +<p>Manfred,/ af/ Lord Byron./ Oversat/ af/ P. F. Wulff./ +There are more things, etc. [Motto, two lines.]/ Hamlet./ +Kjøbenhavn, 1820./ Forlagt af Universitets-Boghandler +Brummer./ Trykt i der Poppske Bogtrykkerie./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 107 + Rettelse, p. [108].</p> +</div> + +<h6>II.</h6> + +<p>Manfred./ Et Dramatisk Digt/ af/ Byron./ Oversat/ af/ +Edvard Lembcke./ Kjøbenhavn 1843./ I Commission +hos C. A. Reikel./ Trykt hos Bianco Luno./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 109.</p> +</div> + +<h5>Dutch.</h5> + +<h6>I.</h6> + +<p>Manfred./ Een Dramatisch Gedicht/ Naar/ Lord Byron,/ +Door/ Johan Rudolph Steinmetz./ Amsterdam,/ H. J. +Van Kesteren./ 1857./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xv. + 59 + "Aanteekenigen," pp. [60]-[63] + +"Verbeteringen," p. [64].</p> +</div> + +<h6>II.</h6> + +<p><span class='pagenum'><a name="Page_269" id="Page_269">[269]</a></span>Byron's/ Manfred./ Een Dramatisch Gedicht./ Metrische +Vertaling./ (Toegewijd <span class="smcap">Aan</span> Mr. C. Vosmaer)/ Van/ +W. Gosler./ Heusden.-H. Wuijster./ 1882./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>— +Pp. vii. + 78.</p> + +<p><i>Note</i>.—The Front, is a photograph of "Ernst Possart in de rol +van Manfred" (Verg: <i>lllustrirte Zeitung</i> van 12 Nov. 1881).</p> +</div> + +<h5>French.</h5> + +<h6>I.</h6> + +<p>Manfred/ Poëme dramatique/ Par/ Lord Byron,/ Traduit/ +Par madame la comtesse de Lalaing/ Née comtesse de +Maldeghem./ Horatio, il est dans le ciel et sur la terre/ +plus de choses que n'en peut concevoir/ votre philosophie./ +Hamlet./ Seconde édition./ Bruxelles./ Imprimerie de +J. Stienon,/ Faubourg de Louvain, 19./ 1852/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>— +Pp. 61 + "Notes," p. [63].</p> +</div> + +<h6>II.</h6> + +<p>Manfred/ Poème dramatique de Byron/ Adaptation +nouvelle, en vers/ de/ Émile Moreau/ Paris/ Paul +Ollendorff, éditeur/ 28 <i>bis</i>, rue de Richelieu, 28 <i>bis</i>/ +1887/ Tous droits réservés/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>— +Pp. vii. + 28. The Imprint (<i>Paris,—Typ. G. Chamervi, 19, +Rue des Saints Pêres—20832</i>) is at the foot of p. 28.</p> +</div> + +<h6>III.</h6> + +<p>Lord Byron/ Manfred/ Poème dramatique en 3 actes/ +Traduction en vers/ Par/ C. Trèbla/ Toulouse/ Edouard +Privat, éditeur, rue des Tourneurs/ 1888/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xiii. + 15-89 + Errata, p. [91]. The Imprint (<i>Montauban, +Imp. et Lith. Ed. Forestiè, rue du Vieux-Palais, 23</i>) is in the +centre of p. [90].</p> +</div> + +<h5>German.</h5> + +<h6>I.</h6> + +<p>Manfred./ A Tragedy/ By/ Lord Byron./ Leipzig:/ F. A. +Brockhaus./ 1819./</p> + +<p>Manfred./ Trauerspiel von Lord Byron./ Teutsch/ von/ +Adolf Wagner./ Leipzig:/ F. A. Brockhaus./ 1819./</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_270" id="Page_270">[270]</a></span> +<i>Collation</i>—</p> + +<p>English Title, as above, p. 2; German Title, as above, pp. 3, +4; Half-title (R. Dramatis Personæ), pp. 5, 6; <i>Personen</i>, p. 7; +English and German Texts, pp. 8-209; Anmerkungen, pp. 211-239. +The Imprint (<i>Druck und papier von Friedrick Vieweg</i>/ <i>In +Braunschweig</i>/) is in the centre of p. 240.</p> + +<p><i>Note</i>.—I am indebted to the kindness of Mr. Leonard L. +Mackall, of Berlin, for the substance of the following note on this +work:—</p> + +<p>"Pages 213-233 of the Anmerkungen" are devoted to an essay +on the play as a whole. This essay is evidently the "Appendix to +an English Work," to which Byron refers in the letter accompanying +the suppressed Dedication to <i>Marino Faliero</i>. "In the Appendix +to an English Work, lately translated into German, and published +at Leipzig, a judgment of yours upon English poetry is quoted as +follows: 'That in English poetry great genius, universal power, +a feeling of profundity, with sufficient tenderness and force are to +be found, but that altogether these do not constitute poets,'" etc., +etc. (see <i>Poetical Works</i>, 1901, v. 340, 341, and <i>Letters</i>, 1900, v. +100-103). The originals of the Dedication and Letters were conveyed +to Goethe by John Murray the third, in 1830 (? 1831) (see +<i>Goethe-Jahrbuch</i>, 1899, xx. pp. 31-35, where the "Dedication" +is printed in full for the first time), and are preserved at Weimar in +the "red portfolio" (cf. <i>Eckermann</i>, March 26, 1826), in which +Goethe kept all his papers connected with Byron. The "judgments" +quoted by Byron through "an Italian abstract" from +Wagner's Appendix (pp. 217-218) there read <i>inaccurately</i> as +follows: "In der Englischen Poesie," sagt Goethe, "man findet +durchaus einen grossen, tüchtigen, weltgeübten Verstand, ein tiefes, +zartes, Gemüth, ein vortreffliches Wollen, ein leidenschaftliches +Wirken ... das alles zuzammengenommen macht noch keinen +Poeten ... nach dieser Ansicht zeigen die meisten Englischen +Gedichte einen düstern Ueberdruss des Lebens." These sentences, +which should be read in the light of the context, will be found in +Goethe's <i>Dichtung und Wahrheit</i>, Th. iii. Buch. 13 (1814, now +Wirke, Weimar ed. xxviii. 213, 214), the book (<i>Aus meinem Leben, +Dichtung und Wahrheit</i>), which is held up to ridicule in the +<i>Edinburgh Review</i>, June, 1816, vol. xxvi. pp. 304-317.</p> +</div> + +<h6>II.</h6> + +<p><i>Manfred</i>, übersetzt von Thdr. Armin, Göttingen, Kübler, +1836. [8º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>III.</h6> + +<p>Byron's Manfred./ Einleitung, Uebersetzung und/ Anmerkungen./ +Ein Beitrag/ zur Kritik der gegenwärtigen +deutschen dramatischen/ Kunst und Poesie./ von/ +<span class='pagenum'><a name="Page_271" id="Page_271">[271]</a></span> +Posgarn./ [<i>i.e.</i> G. F. W. Suckow] Breslau,/ im Verlage +bei Josef Mar und Komp./ 1839./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 212.</p> +</div> + +<h6>IV.</h6> + +<p><i>Manfred</i>, Ein dramat. Gedicht übers. v. O.S. Seeman. +Berlin, Weidle, 1843. [8º</p> + +<p class="auth">[Kayser, 1848.]</p> + +<h6>V.</h6> + +<p>Lord Byron's/ Manfred./ Deutsch/ von/ Hermann von +Kösen./ "Mehr Dinge giebt's im Himmel und auf Erden/ +Als eure Weisheit sich wohl träumen lässt."/ (Hamlet.)/ +Leipzig,/Voigt & Günther./ 1858./ [16º</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title, Title, and "Zueignung," 8 pp.; Text, pp. 1-86. +The Imprint (<i>Druck von Giesecke & Devrient</i>) is at the foot of +p. 86.</p> +</div> + +<h6>VI.</h6> + +<p>Byron's/ Manfred./ Erklärt und übersetzt/ von/ L. Freytag./ +Berlin./ Verlag von Gebrüder Pætel./ 1872./ [16º</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 158. The Imprint (<i>Druck von G. Bernstein in Berlin</i>) is +at the foot of p. 158.</p> +</div> + +<h6>VII.</h6> + +<p><i>Manfred</i>, dramat. Gedicht v. Lord Byron. Frei übers. v. +Adf. Seubert. [16º.</p> + +<p class="auth">[Kayser, 1877.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 47.</p> + +<p><i>Note</i>.—No. 586 of the Universal-Bibliothek, Leipzig, 1871-76.</p> +</div> + +<h6>VIII.</h6> + +<p>Manfred./ Dramatische Dichtung in drei Abtheilungen/ +von/ Lord Byron./ Musik von Robert Schumann./ Jeder +Nachdruck dieses Textbuches, auch von Seiten der Theater-directionen +für/ ihre Aufführungen, ist verboten./ Leipzig,/ +Druck und Verlag von Breitkopf und Härtel./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 36.</p> + +<p><i>Note</i>.—No. 66 of Serie III., Breitkopf und Härtel's +<i>Textbibliothek</i>, 1879-90.</p> +</div> + +<h6>IX.</h6> + +<p><span class='pagenum'><a name="Page_272" id="Page_272">[272]</a></span><i>Manfred</i>. Ein dramatisches Gedicht. Freie Uebersetzung +von Thierry Preyer. Frankfurt, Neumann, 1883. [4º.</p> + +<p class="auth">[Kayser, 1883.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 59.</p> +</div> + +<h5>Hungarian.</h5> + +<h6>I.</h6> + +<p>Byron Lord'/ Élete's Munkái/ Irta/ Petrichevich Horváth +Lázár./ Második Rész./ Pesten./ Nyomtatta Landerer +és Heckenast./ 1842./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xi. + 134 + Jegyzések Manfredhez, pp. [135], [136] + +Sajtó-hibák, p. [137].</p> +</div> + +<h6>II.</h6> + +<p>Manfred./ Drámai Költemény 3 Felvonásban./ Irta:/ +Lord Byron György./ Angolból forditotta:/ D<sup>r</sup>. Kludik +Imre./ Byron és a Világfájdalom./ Irta: D<sup>r</sup>. Kludik +Imre./ Ára: 40 kr./ Második Kiadás./ Szolnok, 1884./ +Nyomatott Bakos Istvánnál./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Manfred, pp. 1-65 + Byron és a Világfájdalom, pp. 69-112.</p> +</div> + +<h6>III.</h6> + +<p>Manfred/ Lord Byron Drámai Költeménye/ Forditotta/ +Ábrányi Emil./ Budapest 1891/ Singer és Wolfher +Könyvkereskedése./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 98.</p> +</div> + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p><i>Manfredo</i>. Traduzione di Marcello Mazzoni. Milano, P. M. +Visaj. 1832. [8º.</p> + +<p class="auth">[Library of Congress, Washington, 1880.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 91.</p> +</div> + +<h6>II.</h6> + +<p><span class='pagenum'><a name="Page_273" id="Page_273">[273]</a></span>Tragedie/ di/ Silvio Pellico/ Francesca da Rimini/ [etc., five +lines] Manfredo,/ Poema drammatico di Lord Byron,/ +(versione in prosa)./ Firenze./ Felice le Monnier./ +1859./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>— +Manfredo, etc., pp. 437-473.</p> +</div> + +<h6>III.</h6> + +<p><i>Manfredo</i>: poema drammatico. Traduzione di Andrea +Maffei. Firenze, Le Monnier, 1870. [16º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xi. + 100</p> +</div> + +<h5>Polish.</h5> + +<h6>I.</h6> + +<p><i>Manfred</i>, poemat dramatyczny, przekład Edm. Stan. +Bojanowskiego. <i>W. G. Korn: Wrocław</i>, 1835. [12º.</p> + +<h6>II.</h6> + +<p><i>Manfred</i>, poemat ... Przekład wolny na wiersz polski przez +Michała Chodźke ... Z4 obrazkami, wyrysował Kossak, etc. +pp. 89. <i>w drukarni L, Martinet: Paryż</i>, [1859]. [8º. +[<i>Published also by Schmidt at Halle</i>.]</p> + +<h5>Romaic.</h5> + +<p><span title="O Mamphred / Dramatikon Poiêma / tou / Lordou Byrônos./">O Μαμφρεδ / Δραματικον Ποιημα / του / Λορδου Βυρωνος. /</span> +<span title="Metaphrasis /Eppikou Gkrên. / ho ou)rano\s, HOra/ti), e)/cheiplei/onak)ê(gn / par) ho/sa ohi philo/sophoi phanta / zesthe"> Μεταφρασις / Εππικου Γκρην. / ὁ οὐρανὸς, Ὁράτἰ, ἔχειπλείονακ' ἡ γν / παῤ ὅσα οἱ φιλόσοφοι φαντάζεσθε</span> +/ Shakspere. / +<span title="En Patrais / tupographeion kai Bibliopôleion">Εν Πατραις / τυπογραφειον και Βιβλιοπωλειον</span> +<span title="Eustathiou P. Christodoulou. / Para\ tên hodo HErmou=">Ευσταθιου Π. Χριστοδουλου. / Παρὰ τὴν ὁδὸν Ἑρμοῠ.</span> +/ 1864./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 79 + +<span title="Paroramata">Παροραματα </span>, p. [80].</p> +</div> + +<h5>Roumanian.</h5> + +<p><i>Stoenescu</i> (Th.M.) Teatru ... Manfred, dupe Lord Byron. +<i>Editura "Revisteĭ Literare:" Bucurescĭ</i>, 1896. [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p><i>Manfred</i>, pp. 173-228.</p> +</div> + +<p><span class='pagenum'><a name="Page_274" id="Page_274">[274]</a></span></p> + +<h5>Russian.</h5> + +<h6>I.</h6> +<p> +<span title='Manphred. Dramatitseskaya poema v" trekh" dyĭstviyakh'>Манфредъ. Драматическая поема въ трехъ дѢйствіяхъ</span> +<span title='Perevod" M. Vronchenko.'>Переводъ М. Вронченко.</span> +</p> + +<h6>II.</h6> +<p> +<span title='Manphred ... Perevod A. Borodina.'>Манфредъ ... Переводъ А. Бородина</span> +[" <span title='Panteon"'>Пантеонъ</span>," 1841. No. 2.] +</p> + +<h6>III.</h6> + +<p> +<span title='Manphred" ... Perev. E. Zarina'>Манфредъ ... Перев. Е. Зарина.</span> +[" +<span title='Biblioteka dlya Chteniya'>Библіотека для Чтенія.</span> +[<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1858, No. 8.] +</p> + +<h6>IV.</h6> + +<p> +<span title='Manphred ... Perebod" D. Minaeva.'>Манфредъ ... Переводъ Д. Минаева</span> +["<span title='Russkoe Slovo'>Русское Слово</span>," 1863. No. 4.] +</p> + +<h5>Spanish.</h5> + +<h6>I.</h6> + +<p><i>Manfredo, drama en tres actos</i>. Por lord Byron. Imp. +de Decourchant à Paris. A Paris, rue du Temple, n. 69. +1829. [18º</p> + +<p class="auth">[<i>Bibl. de la France</i>, October 17, 1829.]</p> + +<h6>II.</h6> + +<p>Manfredo,/ Poema dramático/ de/ Lord Byron./ Traducido +en verso directamente del inglés al castellano/ Por/ +D. José Alcalá Galiano/ y Fernandez de las Peñas./ +Madrid:/ Imprenta de A. Vicente, Preciados, 74./ 1861./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xiii. + 85.</p> +</div> + +<h6>III.</h6> + +<p>Lord Byron./ Manfredo/ y/ Oscar de Alva/ Version castellana/ +de Ángel R. Chaves./ Madrid,/ Imprenta de +Eduardo Martinez,/ Calle del príncipe, número, 25./ +1876./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xix. + Manfredo, 1-54 + Oscar de Alva, pp. 55-78 + Indice, p. [79].</p> +</div> + +<h4>Marino Faliero.</h4> + +<p><span class='pagenum'><a name="Page_275" id="Page_275">[275]</a></span></p><h6>I.</h6> + +<p>Marino Faliero,/ Doge of Venice./ An Historical Tragedy,/ +In Five Acts./ With Notes./ The Prophecy of Dante,/ +A Poem./ By Lord Byron./ London: John Murray, +Albemarle-Street./ 1821./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>London:/ Printed by Thomas Davison, Whitefriars</i>) +pp. i., ii.; Title, one leaf, pp. iii., iv.; Cont., pp. v., vi.; +Half-title, with Motto ("<i>Dux</i> inquieti turbidus Adriæ."/ +Horace./), pp. vii., viii.; Preface, pp. ix.-xxi.; Text, pp. 1-261. +The Imprint, as above, is in the centre of p. [262].</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Marino Faliero</td><td class="pn">p. 1</td></tr> +<tr><td>Notes</td><td>p. 169</td></tr> +<tr><td>Appendix</td><td>p. 173</td></tr> +<tr><td>Prophecy of Dante</td><td>p. 209</td></tr> +<tr><td>Notes</td><td>p. 257</td></tr> +</table> +</div> + +<h6>II.</h6> + +<p>Marino Faliero, etc./ Second Edition, etc./ 1821./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p><i>Vide supra</i>, No. i. Note that in some copies of the First +Edition lines 500-507, act v. sc. 1, do not appear. In the Second +Edition and in other copies of the First Edition they have been +inserted. (See <i>Poetical Works</i>, 1901, iv. 447.)</p> + +<p><i>Note</i>.—Another edition (pp. xxi. + 261), in small octavo, was +issued by John Murray in 1823.</p> +</div> + +<h6>III.</h6> + +<p><i>Marino Faliero, Doge of Venice</i>. 179 pp. Philadelphia, M. +Carey and Sons. 1821. [8º. +[Library of Congress, Washington, 1880.]</p> + +<h6>IV.</h6> + +<p><i>Marino Faliero, doge of Venice</i>, an historical tragedy in +five acts, with notes. By the right hon. lord Byron. +Impr. de Belin à Paris—A Paris chez Galignani. [12º. +[<i>Bibl. de la France</i>, June 29, 1821.]</p> + +<h6>V.</h6> + +<p>Marino Faliero,/ Doge of Venice:/ An Historical Tragedy,/ +In Five Acts./ By/ Lord Byron./ "Dux inquieti turbidus +Adriæ."—Horace./ London:/ John Murray, Albemarle +Street./ Sold also by/ Tilt and Bogue, Fleet Stree +nburgh, Oliver and Boyd: Dublin, John Cumming./ +1842./ [12º.</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_276" id="Page_276">[276]</a></span><i>Collation</i>—</p> + +<p>Title (R. <i>London:/ Printed by H. Spottiswoode,/ +New-Street-Square</i>./); +Text, pp. 3-162. The Imprint, as above, is at the foot of p. 162.</p> +</div> + +<h6>VI.</h6> + +<p>Marino Faliero./ By/ Lord Byron./ [Title-Vignette, "The +Gory Head rolls down the Giant's steps!"]/ New and +Complete Edition.—Price one Penny./ London J. Dicks +313 Strand; All Booksellers./ [1883, etc.] [8º.</p> +<div class="cocono"> + +<p><i>Collation</i>—</p> + +<p>Pp. 461-492.</p> + +<p><i>Note</i>.—No. 153 of "Dicks' Standard Plays."</p> +</div> + +<h4>Translations of Marino Faliero.</h4> + +<h5>German.</h5> + +<h6>I.</h6> + +<p>Marino Faliero/ Doge von Venedig./ Geschichtliche +Tragödie/ von/ Lord Byron./ Freie Übersetzung/ von/ +Thierry Preyer./ Frankfurt am Main./ Alfred +Neumann'sche Buchhandlung./ 1883./ [4º.</p> + +<div class="cocono"> +<p><i>Collation</i>— +Title, one leaf; Personen; Vorrede, 8 pp. + Text, pp. 1-147. +The Imprint (<i>C. Naumann's Druckerei, Frankfurt a. M.</i>) is in the +centre of p. [148].</p> +</div> + +<h6>II.</h6> + +<p>Lord Byron's/ Marino Faliero./ Für das herzoglich +Sachsen-Meiningen'sche Hoftheater/ übersetzt und bearbeitet/ +von A. Fitger./ Oldenburg./ Schulzesche +Hof-Buchhandlung und Hof-Buchdruckerei./ (A. Schwartz.)/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title (R. <i>Alle Rechte Vorbehalten</i>); Vorwort (R. "Personen"); +Text, pp. 1-84.</p> +</div> + +<h4>Mazeppa</h4> + +<h6>I.</h6> + +<p>Mazeppa,/ A Poem./ By Lord Byron./ London:/ John +Murray, Albemarle-Street./ 1819./ [8º.</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_277" id="Page_277">[277]</a></span><i>Collation</i>—</p> + +<p>Half-title (R. <i>London:/ Printed by Thomas Davison, Whitefriars</i>.); +Title, one leaf; Half-title (Mazeppa), pp. 1, 2; Advt. +(quotation from Voltaire, <i>Hist, de Charles XII.</i>, pp. 196, 216), +pp. 3, 4; Text, pp. 5-69. The Imprint, as above, is in the +centre of p. [70] + "Lord Byron's Poems," etc., p. 71.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Mazeppa</td><td class="pn">p. 5</td></tr> +<tr><td>Ode ("Oh Venice! Venice!")</td><td>p. 47</td></tr> +<tr><td>A Fragment (Augustus Darvell)</td><td>p. 57</td></tr> +</table> +</div> + +<h6>II.</h6> + +<p>Mazeppa, A Poem./ By Lord Byron./ Second Edition./ +Paris:/ Published by Galignani,/ At the French, English, +Italian, German, and Spanish/ Library, Nº 18, Rue +Vivienne./ 1819 [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>Printed by A. Belin</i>), pp. 1, 2; Title, one leaf, +pp. 3, 4; Second Half-title, pp. 5, 6; Advt., pp. 7, 8; Text, pp. 9-69.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Mazeppa</td><td class="pn">p. 9</td></tr> +<tr><td>Ode ("Oh Venice!" etc.)</td><td>p. 47</td></tr> +<tr><td>A Fragment</td><td>p. 57</td></tr> +</table> +</div> + +<h6>III.</h6> + +<p><i>Mazeppa</i>, a poem [with fragments]. Boston. 1819. [24º.</p> + +<p class="auth">[Cat. of Books in Bates Hall of Pub. Lib. of Boston, 1866.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 56.</p> +</div> + +<h6>IV.</h6> + +<p><i>Mazeppa, a Poem</i>. Paris, Galignani, 1822. [12º.</p> + +<p class="auth">[Quérard, 1827.]</p> + +<h6>V.</h6> + +<p>Mazeppa,/ A Poem./ By Lord Byron./ London:/ Printed +and Published by W. Dugdale,/ <i>52 Russell Court, Drury +Lane</i>, 1824./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. ii. + 5-35. The Imprint (<i>Printed by W. Dugdale, Russell +Court, Drury Lane, London</i>.) is at the foot of p. 35.</p> +</div> + +<h6>VI.</h6> + +<p><span class='pagenum'><a name="Page_278" id="Page_278">[278]</a></span><i>Mazeppa. a Poem</i>. Mit Worterklärung u. einer Lebenskizze +des Dichters, von H. M. Melford. Braunschweig, Vieweg. 1834. [12º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>VII.</h6> + +<p>Mazeppa,/ or the/ Wild Horse/ of the/ Ukraine,/ A Poem, +by/ Lord Byron./ London:/ T. Goode, 30, Aylesbury-st.,/ +Clerkenwell./ [1854?] [32º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 48.</p> + +<p><i>Note</i>.—The Front, (lithograph of Lord Byron) is on p. 1. The +Title is printed on the wrapper (black glazed paper) in gold +letters. The volume measures 60 X 40.</p> +</div> + +<h4>Translations of Mazeppa.</h4> + +<h5>Danish.</h5> + +<p>Mazeppa./ <span class="smcap">AF</span> / Lord Byron./ Öfversättning. [Af Talis +Qualis.] Stockholm,/Alb. Bonniers Förlag./ [1853.] [8º.</p> + +<div class="cocono"> +<p>Part of "Byron's Poetiska Berättelser."</p> +</div> + +<h5>German.</h5> + +<h6>I.</h6> + +<p><i>Mazeppa. Ein Gedicht</i>. Aus d. Engl. treu übertragen v. +Th. Hell. Nebst beigedr. Urschrift. Leipzig, Hinrichs. 1820. [8º.</p> + +<p class="auth">[Kayser, 1834.]</p> + +<h6>II.</h6> + +<p><i>Mazeppa</i>, übers. im Versmass des Originals v. D<sup>r</sup>. jur. +Everhard Brauns. Herausg. von D<sup>r</sup>. jur. Engelbrecht, +Göttingen, Kübler. 1836. [8º.</p> + +<p class="auth">[Kayser, 1841.]</p> + +<h6>III.</h6> + +<p>Nachgelassenes/ von/ Ferdinand Freiligrath./ Mazeppa,/ +nach Lord Byron./ der Eggesterstein,/ Erzählung./ +Stuttgart./ G. J. Göschen'sche Verlagshandlung./ 1883./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 88.</p> +</div> + +<h5>Hungarian.</h5> + +<p><span class='pagenum'><a name="Page_279" id="Page_279">[279]</a></span>Byron Lord'/ Élete's munkái./ Irta/ Petrichevich Horváth +Lázár./ Harmadik Rész./ Pesten./ Nyomtatta Landerer +és Heckenast. 1842./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf; Half-title, one leaf; Dedication; Figyelmezletés +(Advt.); Second Half-title; Text (Mazeppa), pp. <i>1</i>-[80] + +Oda, etc., pp. [81]-154 + Sajtó-hibák, p. [155].</p> +</div> + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p><i>Il Mazeppa</i>. Versione di Ant. Arioti. Palermo, Lo +Bianco. 1847. [16º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<h6>II.</h6> + +<p>Mazeppa./ Traduzione/ da/ Georgio Byron./ Di/ I. Virzì./ +Palermo,/Luigi Pedone Lauriel/ Editore/ 1876./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 63.</p> +</div> + +<h6>III.</h6> + +<p><i>Mazeppa</i>. Traduzione di Andrea Maffei. Milano, Hoepli. +1886. [64º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<h5>Polish.</h5> + +<h6>I.</h6> + +<p><i>Mazepa</i>, poemat. Przekład wolny na wiersz polski przez +Michała Chodźkę. pp. 39. +<i>Schmidt: w Hali</i>, 1860. [8º.</p> + +<h6>II.</h6> + +<p class="center">(Together with Lamartine's <i>Death of Jonathan</i>.)</p> + +<p><i>Mazepa</i>, poemat, przekład wolny na wiersze polskie przez +Michała Chodźkę, wydanie ozdobione rycinami, <i>etc.</i> +pp. 66. <i>Księg. polska: Paryź</i> [1860]. [8º.</p> + +<p><span class='pagenum'><a name="Page_280" id="Page_280">[280]</a></span></p> + +<h5>Russian.</h5> + +<h6>I.</h6> + +<p> +<span title='Viebor" iz" sochineniye lorda Bairona. M. Kachenovskago.'>Выборъ изъ сочиненій лорда Байрона. М. Каченовскаго.</span> +1821.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p><i>Mazepa</i>, pp. 69-107.</p> + +<p><i>Note</i>.—In Prose.</p> +</div> + +<h6>II.</h6> + +<p><span title='Mazepa. Iz" sochineniye lorda Bairona. A. Boeikova'>Мазепа. Изъ сочиненій лорда Байрона. А. Воейкова</span> +"<span title='Novosti literatyry'>Новости литературы</span>," 1824. +<span title='kn.'>кн.</span> +x. pp. 9-33.</p> + +<div class="cocono"> +<p><i>Note</i>.—In Prose.</p> +</div> + +<h6>III.</h6> + +<p><span title='Mazepa ...per. D. Mikhailovskago.'>Мазепа ... пер. Д. Михайловскаго</span> +["<span title='Sovremennikh'>Современнихъ</span>," 1858. No. 5.]</p> + +<h6>IV.</h6> + +<p><span title='Mazepa ... Perev. I. Gognieva.'>Мазепа ... Перев. И. Гогніева.</span> +["<span title='Dramaticheskiye Sbornik"'>Драматическій Сборникъ</span>." +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1860, +<span title='kn.'>кн.</span> 4.]</p> + +<h5>Spanish.</h5> + +<p><i>Mazeppa</i>, novela, por L.B. traducida al castellano. Paris, +1830. [18º.</p> + +<p class="auth">[<i>Moniteur</i>, etc., 1845.]</p> + +<h4>Monody, etc.</h4> + +<h6>I.</h6> + +<p>Monody/ On the Death of/ The Right Honourable/ R. B. +Sheridan,/ Written at the Request of a Friend,/ To be +spoke at/ Drury Lane Theatre./ London: Printed for +John Murray, Albemarle Street./ 1816./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (Monody./ [Price One Shilling.]/ Entered at +Stationers' Hall) (<i>R. London: Printed by C. Roworth, Bell-yard, +Temple-bar</i>.), pp. 1, 2; Title, one leaf, pp. 3, 4; Text, pp. 5-11 ++ pp. [13]-[15], Advts. of Books published by John Murray. The +Imprint, as above, is at the foot of p. [15].</p> +</div> + +<h6>II.</h6> + +<p>Monody/ on the Death of/ The Right Honourable/ R. B. +Sheridan./ Spoken at/ Drury Lane Theatre./ By Lord +<span class='pagenum'><a name="Page_281" id="Page_281">[281]</a></span> +Byron./ New Edition./ London:/ Printed for John +Murray, Albemarle-Street./ 1817./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title as above (R. <i>T. Davison, Lombard-street, Whitefriars, +London</i>.), pp. 1, 2; Title, one leaf, pp. 3, 4; Text, pp. 5-11 + +List of the Poems, etc., p. [12]. The Imprint (<i>T. Davison, +Lombard-Street</i>,/ <i>Whitefriars, London</i>./) is at the foot +of p. [12].</p> +</div> + +<h6>III.</h6> + +<p>Monody,/ etc./ New Edition,/ etc./ 1818./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>London:/ Printed by T. Davison, Whitefriars</i>.), +pp. 1, 2; Title, one leaf, pp. 3, 4; Text, pp. 5-11 + "Lord +Byron's Poems," etc., p. [12]. The Imprint, as above, is at the +foot of p. [12].</p> + +<p><i>Note</i>.—Four pp. of Advts., dated "Albemarle-Street, London, +May, 1818," are bound up with this edition.</p> +</div> + +<h4>An Ode to the Framers of the Frame Bill.</h4> + +<p>A Political/ Ode/ By/ Lord Byron/ Hitherto Unknown +as His Production./ London/ John Pearson 46 Pall +Mall./ 1880./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. [One hundred copies privately printed.]), pp. 1, +2; Title, one leaf, pp. 3, 4; Note, pp. 5, 6; [Copy of Lord +Byron's Letter ... March 1, 1812], pp. 7, 8; Text, pp. [9], [10], 11.</p> +</div> + +<h4>Ode From the French.</h4> + +<h4>Translation.</h4> + +<h5>French.</h5> + +<p>Traduction de l'Ode/ de/ Lord Byron,/ Sur/ La bataille de +Waterloo./ Par Aristide Guilbert./ Londres:/ Hunt et +Clark,/ 38, Tavistock Street./ MDCCCXXVI./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vii. + 9-28. The Imprint (<i>De l'Imprimerie de Thomas +Davison</i>,/ 10, Duke Street, Smithfield, London./) is at the foot of +p. 28.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Preface</td><td class="pn">p. v.</td></tr> +<tr><td>Ode</td><td>p. 9.</td></tr> +<tr><td>Notes</td><td>p. 17</td></tr> +</table> +</div> +<p><span class='pagenum'><a name="Page_282" id="Page_282">[282]</a></span></p> +<h4>Ode to Napoleon Buonaparte.</h4> + +<h6>I.</h6> + +<p>Ode/ To/ Napoleon Buonaparte./ "Expende Annibalem:— +quot libras in duce summo/ Invenies?"—— / Juvenal, +Sat. X./ The Second Edition./ London:/ Printed for +John Murray, Albemarle-Street,/ By W. Bulmer and Co. +Cleveland-Row,/St James'./ 1814/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (Ode, etc./ Entered at Stationers' Hall./), pp. 1, 2; +Title, one leaf, pp. 3, 4; Note from Gibbon's <i>Decl. and Fall</i> +(vol. 6, p. 220), pp. 5, 6; Text (xv. stanzas), pp. 7-14 + Advt. +of books "By the Right Hon. Lord Byron," p. [15]. The Imprint +(<i>Printed by W. Bulmer and Co</i>./ <i>Cleveland-Row, +St James's</i>./) is at the foot of p. [15].</p> + +<p><i>Note</i>.—The First Edition of the <i>Ode</i> is in the +Rowfant Library Catalogue, 1886, p. 145.</p> +</div> + +<h6>II.</h6> + +<p><i>An Ode to Napoleon Bonaparte</i>. From the 3d Lond. ed. +Philadelphia, E. Earle. 1814. [8º.</p> + +<p class="auth">[Catalogue of Library of Congress, 1880.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 11.</p> + +<p><i>Note</i>.—The <i>Ode to Napoleon Buonaparte</i> was also published at +Boston, 1814, 8º, pp. 13; and at New York, 1814, 8º, pp. 13.</p> +</div> + +<h6>III.</h6> + +<p><i>Ode to Napoleon Buonaparte</i>. Sixth Edition. London. 1814. [8º.</p> + +<p class="auth">[Cat. of Manchester Free Library, 1864.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 17.</p> +</div> + +<h6>IV.</h6> + +<p><i>Ode to Napoleon Buonaparte</i>. Ninth Edition. London, +M. 1814. [8º.</p> + +<p class="auth">[Library of the University, St. Andrews, N.B.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 17.</p> +</div> + +<h6>V.</h6> + +<p>Ode/ To/ Napoleon Buonaparte./ By Lord Byron./ etc./ +Twelfth Edition./ London:/ Printed for John Murray, +Albemarle-Street./ 1816./ [8º.</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_283" id="Page_283">[283]</a></span> +<i>Collation</i>—</p> + +<p> +Half-title (Ode, etc.) (<i>R. T. Davison, Lombard-street,/ Whitefriars, +London</i>./), pp. 1, 2; Title, one leaf, pp. 3, 4; Note, pp. +5, 6; Second Half-title, pp. 7, 8; Text (xvi. stanzas), pp. 9-17 ++ Advt. of books "By the Right Hon. Lord Byron," p. [19]. +The Imprint, as above, is at the foot of p. [19].</p> +</div> + +<h6>VI.</h6> + +<p>Ode,/ etc./ Thirteenth Edition./ London:/ John Murray, +Albemarle-Street./ 1818./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p><i>Vide supra</i>, No. i.</p> +</div> + +<h4>Translation of the Ode to Napoleon Buonaparte.</h4> + +<h5>Spanish.</h5> + +<p><i>Odas a Napoleon</i>. Por Lord Byron. Imp. de Decourchant, +à Paris. 1829. A Paris, rue du Temple, n. 69. [18º.</p> + +<p class="auth">[<i>Bibl. de la France</i>, October 17, 1829.]</p> + +<h4>Parisina</h4> + +<div class="cocono"> +<p>[For First Edition of <i>Parisina</i>, <i>vide infra</i>, +<i>The Siege of Corinth</i>, <a href="#Page_296">No. i.</a>]</p> +</div> + +<h4>Translations.</h4> + +<h5>Danish.</h5> + +<p>Parisina./ Af/ Lord Byron./ Öfversättning. [Af Talis Qualis.] +Stockholm, J. W. Brudins Förlag. [1854.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 36. No. 4 of "Byron's Poetiska Berättelser."</p> +</div> + +<h5>French.</h5> + +<p>Adolphe Krafft/ Parisina/ Poème/ de Lord Byron/ et fragment de/ +Nicolas de Ferrare/ Drame/ Tiré des documents historiques/ +Avec commentates et notices./ Paris/ +Ernest Leroux, éditeur/ 28, rue Bonaparte, 28/ 1900 +Tous droits réservés./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xiv. + 55 + Errata, p. [57] + Table des Matières, p. [59].</p> + +<p><i>Note</i>.—The Text of <i>Parisina</i> is on pp. 8-26.</p> +</div> + +<h5>German.</h5> + +<p>Gedichte/ von/ Jacob Vinc. Cirkel./ Mit übersetzungen/ +von W. Scott's Feld von Waterloo und Byrons/ Parisina +etc./ Münster,/ in Commission der Coppenrathschen +Buch-und Kunsthandlung./ 1825./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—<span class='pagenum'><a name="Page_284" id="Page_284">[284]</a></span> +Pp. 159. The Imprint (<i>Münster, gedruckt mit Coppenrathschen +Schriften</i>) is on p. [160].</p> + +<p><i>Note</i>.—The Text of <i>Parisina, etc.</i>, is on pp. 127-156.</p> +</div> + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p>Parisina/ Poema/ di/ Lord Byron/ Traduzione italiana +in versi./ Milano/ Da Placido Maria Visaj/ Stampatore-Librajo +nei Tre Re/ 1821./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 27.</p> +</div> + +<h6>II.</h6> + +<p><i>Parisina</i>: poema tradotto da Andrea Maffei. Milano, Gnocchi. +1853. [16º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 40.</p> +</div> + +<h6>III.</h6> + +<p><i>Parisina</i>. Traduzione di Carlo Dall'Oro. Mantova, Negretti. 1854. [8º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<h6>IV.</h6> + +<p><i>Parisina</i>, Traduzione in versi sciolti di Paolo Pappalardo. +Palermo. 1855. [8º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<h6>V.</h6> + +<p><i>Parisina</i>. Traduzione di Ant. Canepa. Geneva, Artisti tip. +1864. [16º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 24.</p> +</div> + +<h5>Russian.</h5> + +<p><span title='Paritsina ... Perevod V. Verderevskago.'>Паризина ... Переводъ В. Вердеревскаго.</span> +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1827</p> + +<h5>Spanish.</h5> + +<p><span class='pagenum'><a name="Page_285" id="Page_285">[285]</a></span> +<i>Parisina</i>, novela. For L. B. Imp. de Decourchant, à Paris. +1830. [18º.</p> + +<p class="auth">[<i>Bibl. de la France</i>, October 17, 1829.]</p> + +<h4>The Prisoner of Chillon.</h4> + +<h6>I.</h6> + +<p>The/ Prisoner of Chillon,/ And/ Other Poems./ By Lord Byron./ +London:/ Printed for John Murray, Albemarle-Street./ 1816./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (The/ Prisoner of Chillon,/ etc./) (R. Advt. of Third +Canto of Childe Harold, and Imprint, +<i>T. Davison, Lombard-street,/ Whitefriars, London</i>./), one leaf; +Title, one leaf; Cont.; ext, pp. 1-60.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Sonnet on Chillon</td><td class="pn">p. 1</td></tr> +<tr><td>The Prisoner of Chillon</td><td>p. 3</td></tr> +<tr><td>Poems—</td><td> </td></tr> +<tr><td>Sonnet</td><td>p. 23</td></tr> +<tr><td>Stanzas to ——</td><td>p. 24</td></tr> +<tr><td>Darkness</td><td>p. 27</td></tr> +<tr><td>Churchill's Grave</td><td>p. 32</td></tr> +<tr><td>The Dream</td><td>p. 35</td></tr> +<tr><td>The Incantation</td><td>p. 46</td></tr> +<tr><td>Prometheus</td><td>p. 50</td></tr> +<tr><td>Notes</td><td>p. 55</td></tr> +</table> + +<p><i>Note</i>.—On p. 3 the Text is headed "The Prisoner of Chillon. A Fable."</p> +</div> + +<h6>II.</h6> + +<p>The/ Prisoner of Chillon./ A Poem/ By Lord Byron./ +Lausanne./ Hignou & Company. Book-sellers./ 1818./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. 1, 2; Text, pp. 8-29.</p> + +<p><i>Note</i>.—The Front, is a lithograph of "Chillon." The seven +poems are not included in this edition.</p> +</div> + +<h6>III.</h6> + +<p>The/ Prisoner/ of/ Chillon,/ By Lord Byron,/ London:/ +Printed by W. Chubb, Fetter Lane./ 1824./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 35. The Imprint (<i>W. P. Chubb, Printer, Fetter Lane, +London</i>.) is at the foot of p. 35.</p> +</div> + +<h6>IV.</h6> + +<p>The/ Prisoner of Chillon,/ By Lord Byron./ [n.d.? 1825.] [12º.</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_286" id="Page_286">[286]</a></span> +<i>Collation</i>—</p> + +<p>Pp. 1-18.</p> + +<p><i>Note</i>.—This edition, which is without a separate Title-page and +bears no Imprint, is bound up with <i>The Bride of Abydos</i>, etc., +Printed for Thomas Wilson, Oxford Street. 1825.</p> +</div> + +<h6>V.</h6> + +<p>The/ Prisoner/ of/ Chillon./ By Lord Byron./ Geneva./ +Published by Barbezat and Delarue,/ Booksellers, 177, +Rue du Rhône./ 1830/ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>Printed by Barbezat and Dalarue</i>.), pp. 1, 2; +Title, one leaf, pp. 3, 4; Sonnet on Chillon, pp. 5, 6; Text, pp. 7-32.</p> + +<p><i>Note</i>.—The volume with the above title is bound in pink +paper cover with title-vignette (helmet, spear, and wreath of +bay-leaves), and dated M.DCCC'XVIII.</p> +</div> + +<h6>VI.</h6> + +<p>The/ Prisoner of Chillon/ By/ Lord Byron/ Le prisonnier +de Chillon/ Par/ Lord Byron/ précédé d'une/ Notice +historique sur le château de Chillon/ Par/ D. +Martignier/ Lausanne/ Librairie Martignier et Chavannes/ +1857/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Half-title (R. <i>Lausanne.—Printed by Corbaz and Rouiller sen</i>.), +pp. 1, 2; Title, one leaf, pp. 3, 4; Notice, etc., pp. 5-7; Hist. +de Chillon, pp. 8-21; Text and Notes, pp. 25-46. The seven +poems are not included in this edition.</p> +</div> + +<h6>VII.</h6> + +<p>The/ Prisoner/ of/ Chillon<br /> +Poem/ By/ Lord Byron./ Illuminated by/ W. & G. Audsley./ +Architects./ 1865 [4º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Illuminated Half-title; Title; 17 pp. of Text with illuminated +borders, etc. + p. 18 (Chromo-lithographed/ By/ W. R. Tymms./ +Printed & Published by/ Day & Son,/ [Limited],/ London)./</p> +</div> + +<h6>VIII.</h6> + +<p>Byron's/ Prisoner of Chillon./ With Notes for Teachers +and Scholars./ London:/ T. J. Allman, 463, Oxford +Street./ [1874.] [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 32.</p> + +<p><i>Note</i>.—No. 8 of "Allman's English Classics for Elementary +Schools."</p> +</div> + +<h6>IX.</h6> + +<p><span class='pagenum'><a name="Page_287" id="Page_287">[287]</a></span>Byron's/ Prisoner of Chillon./ With Life, Notes,/ +Grammatical & Miscellaneous Questions,/ etc., etc./ By R. S. +Davies,/ Head Master of Holy Trinity Schools, Hull./ +Hull: A. Brown, Scholastic Publisher./ London: Simpkin, +Marshall, & Co./ Leeds: Arnold; Bean & Son./ +Darlington: The Education Depot./ Price Twopence./ +[1877-] [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 24.</p> + +<p><i>Note</i>.—Part of "Brown's Series of English Classics."</p> +</div> + +<h6>X.</h6> + +<p>The/ Prisoner of Chillon./ By/ Lord Byron./ With Prefatory +and Explanatory Notes./ [Monogram, with Motto, +<i>Lucem Libris Disseminamus</i>.] London: Blackie & Son, +49 & 50 Old Bailey, E.C./ Glasgow, Edinburgh, and +Dublin./ 1879./ [6º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 32.</p> + +<p><i>Note</i>.—Part of "Blackie's School Classics."</p> +</div> + +<h6>XI.</h6> + +<p>Byron's/ Prisoner of Chillon:/ With Life and Notes./ For +Pupil Teachers and the Upper Standards in/ Schools./ +Manchester: J. B. Ledsham, 31, Corporation Street;/ +London: Simpkin, Marshall & Co./ [1879.] [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 35.</p> + +<p><i>Note</i>.—Part of the "World School Series."</p> +</div> + +<h6>XII.</h6> + +<p>The/ Prisoner of Chillon/ By/ Lord Byron/ And Part of/ +The 3rd Canto of Child [<i>sic</i>] Harold/ With a Short Description +of the Castle/ And a Notice of the Chief Historical +Events/ and Legends connected with its History/ Selected +from authentic sources by an English resident./ Fourth +Edition/ Vevey/ Loertscher & Son, Editors/ 1880/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 59. The Text of <i>The Prisoner of Chillon</i> is on pp. 43-53.</p> +</div> + +<h6>XIII.</h6> + +<p><i>The Prisoner of Chillon. A Fable</i>. Erklärt v. F. Fischer. +Berlin, Weidmann. 1884. [8º.</p> + +<p class="auth">[Kayser, 1887.]</p> +<p><span class='pagenum'><a name="Page_288" id="Page_288">[288]</a></span></p> + +<h6>XIV.</h6> + +<p><i>The Prisoner of Chillon</i>, with introduction and explanatory +notes by Th. C. Cann, Firenze, Bencini, 1885. [16º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<h6>XV.</h6> + +<p><i>Byron's Prisoner of Chillon</i> and Part of Mazeppa. With +Life and Notes. London and Edinburgh. 1894.</p> + +<p class="auth">[Kölbing, p. 257.]</p> + +<div class="cocono"> +<p><i>Note</i>.—Part of "Chambers' Reprints of English Classics."</p> +</div> + +<h6>XVI.</h6> + +<p><i>The Prisoner of Chillon, by Lord Byron</i>. Special Subject. +London. Stewart & Co., The Holborn Viaduct Steps, +E.C. Edinburgh and Glasgow: Menzies & Co.</p> + +<p class="auth">[Kölbing, p. 257.]</p> + +<h6>XVII.</h6> + +<p>The/ Prisoner of Chillon/ By/ Lord Byron/ With Notes/ +Explanatory, Analytical, and Grammatical/ Embracing/ +Figures of Speech, and Metre/ By the/ Rev. Henry +Evans, D.D./ Commissioner of National Education/ +Dublin/ Blackie & Son, Limited, 89 Talbot Street/ London +and Glasgow/ 1896/ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 36.</p> + +<p><i>Note</i>—Part of "English Classics for Intermediate Schools and +Colleges."</p> +</div> + +<h6>XVIII.</h6> + +<p>Byron./ The Prisoner of Chillon./ A Fable./ With Life, +Introduction, Notes, etc./ Dublin:/ Fallon & Co., 16 +Lower Sackville Street./ [Copyright. All Rights +Reserved.] [1896.] [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 36.</p> + +<p><i>Note</i>.—Part of "School and College Series. Edited by Rev. +T. A. Finlay, M.A., F.R.U.I. Price Sixpence, Net."</p> +</div> + +<h6>XIX.</h6> + +<p>The/ Prisoner of Chillon/ And/ Other Poems/ By/ Lord +Byron/ In kritischen Texten/ Mit/ Einleitung und +Anmerkungen/ Herausgegeben/ von Eugen Kölbing/ +Weimar/ Verlag von Emil Felber/ 1896/ [8º.</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_289" id="Page_289">[289]</a></span><i>Collation</i>—</p> + +<p>Pp. ix. + 450.</p> +</div> + +<h4>Translations of The Prisoner of Chillon.</h4> + +<h5>Dutch.</h5> + +<p><i>De Gevangene van Chillon</i>; in: Gedichten van K. L. +Ledeganck' met eene Levensschets des Dichters door J. F. J. +Heremans. Gent, 1856.</p> + +<p class="auth">[Kölbing, p. 265.]</p> + +<h5>French.</h5> + +<h6>I.</h6> + +<p><i>Le Prisonnier de Chillon</i>, Poème de Lord Byron librement +traduit en vers blancs, précédé d'une notice historique et +descriptive du château de Chillon. Vevey. G. Blanchoud, +libraire-éditeur.</p> + +<p class="auth">[Kölbing, p. 264.]</p> + +<h6>II.</h6> + +<p>Bonnivard/ A/ Chillon/ <i>Souviens-toi du temps d'autrefois</i>./ +(Deut. xxxii. 7.)/ Drame historique/ En un acte et trois +tableaux/ Suivi d'une notice historique et du poème de +lord Byron, intitulé: Le Prisonnier de Chillon/ Par un +Huguenot/ Genève/ Imprimerie Wyss et Duchêne, rue +Verdaine/ 1892/ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 96. There is a prose translation of <i>The Prisoner of Chillon</i>, +pp. 74-85.</p> + +<p><i>Note</i>.—The Front, is a lithograph of "Chillon."</p> +</div> + +<h5>German.</h5> + +<h6>I.</h6> + +<p><i>Lord Byron's Gefangener von Chillon</i> (am Genfer See). Aus +dem Englischen metrisch übertragen von G. Kreyenberg. +Lausanne, 1861.</p> + +<p class="auth">[Kölbing, p. 261.]</p> + +<h6>II.</h6> + +<p>Der/ Gefangene von Chillon./ Dichtung/ von/ Lord Byron./ +In deutscher Uebersetzung mit historischer Einleitung / von / +<span class='pagenum'><a name="Page_290" id="Page_290">[290]</a></span> +/ M. von der Marwitz./ Vevey & Lausanne,/ Richard +Lesser./ [1865.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xi. + 16.</p> + +<p><i>Note</i>.—The Front, is a "Photog. de R. Lesser & Cie., +Vevey," of four female figures supporting a mirror reflecting the +dungeon of Chillon.</p> +</div> + +<h6>III.</h6> + +<p><i>Der Gefangene von Chillon</i>. Eine Fabel von Georg Gordon +Lord Byron. Wortgreteu nach H. R. Mecklenburgs +Gründsatzen in deutsche Prosa übersetzt und eingehend +erläutert von D'. phil. R.T. Berlin, 1886.</p> + +<p class="auth">[Kölbing, p. 262.]</p> + +<h6>IV.</h6> + +<p>Der/ Gefangene von Chillon./ Von/ Lord Byron./ Uebersetzt +von J. G. Hagmann./ S'. Gallen & Leipzig/ Verlag +von Busch & Co./ [1892.] [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 29.</p> + +<p><i>Note</i>.—The Front, is a lithograph of "Chillon."</p> +</div> + +<h5>Italian.</h5> + +<h6>I.</h6> + +<p><i>Il prigionero di Chillon</i>, poema romantico trad. in prosa +italiana. In <i>Indicatore Livornese</i>, N. 44, del II Gennaio +del 1830.</p> + +<p class="auth">[<i>Saggio di Bibliografie</i>, Milano, Levino Robecchi, 1887.]</p> + +<h6>II.</h6> + +<p><i>Il prigionero di Chillon</i>: Traduzione di Andrea Maffei, +Milano, Gnocchi, 1853. [16º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<h5>Russian.</h5> + +<p><span title='Shilonskiye Uznik", nozma lorda Bairona.'>Шильонскій Узникъ, нозма лорда Байрона.</span> +<span title='Perevod" s" angliyeskago V. Zhykovskago.'>Переводъ съ англійскаго В. Жуковскаго.</span> +pp. i.-viii. 1-24. +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1822. 8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. i.-viii. + 1-24.</p> +</div> + +<h5>Spanish</h5> + +<p><span class='pagenum'><a name="Page_291" id="Page_291">[291]</a></span> +<i>El preso de Chillon</i>, novela. For lord Byron, traduccion +castellana. Imp. de Decourchant, à Paris. 1829. [18º.</p> + +<p class="auth">[<i>Bibl. de la France</i>, Oct. 17, 1829.]</p> + +<h5>Swedish.</h5> + +<p>Fangen <span class="smcap">Pa</span> Chillon,/ En Dikt/ Af/ Lord Byron./ +Öfversättning./ [Af/ Talis Qualis.]/ Stockholm,/ Albert Bonniers +Förlag./ [1853, etc.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 30.</p> + +<p><i>Note</i>.—No. 3 of "Byron's Poetiska Berättelser."</p> +</div> + +<h4>The Prophecy of Dante.</h4> + +<div class="cocono"> +<p><i>Note.—The Prophecy of Dante</i> was first published in the same +volume with <i>Marino Faliero</i>, 1821. See <a href="#Page_275">No. i. (p. 275)</a>.</p> +</div> + +<h6>I.</h6> + +<p><i>The Prophecy of Dante</i>. Philadelphia. 1821. [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 48.</p> +</div> + +<h6>II.</h6> + +<p><i>The Prophecy of Dante</i>. Paris, Galignani, 1821. [12º.</p> + +<p class="auth">[Quérard, 1827.]</p> + +<h6>III.</h6> + +<p>The/ Prophecy of Dante./ A Poem./ By Lord Byron./ +"'Tis the sunset of life gives me mystical lore,/ "And +coming events cast their shadows before."/ Campbell./ +London:/ Printed and Published by W. Dugdale,/ 23, +Russell Court, Drury Lane./ 1825/ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vi. + 7-32. The Imprint <i>(W. Dugdale, Printer, 23, +Russell Court, Drury Lane.)</i> is at the foot of p. 32.</p> +</div> + +<h6>IV.</h6> + +<p>The/ Prophecy of Dante./ (Cantos I., 11.)/ By/ Lord +Byron./ With Critical and Explanatory Notes,/ By L. +W. Potts,/ Lecturer on History at the Birkbeck Institute, +London./ London:/ Blackie & Son, 49 & 50 Old Bailey, +E.C./ Glasgow, Edinburgh, and Dublin./ 1879./ [16º.</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_292" id="Page_292">[292]</a></span> +<i>Collation</i>—</p> + +<p>Pp. 32. The Imprint (<i>Glasgow: W. G. Blackie and Co., +Printers, Villafield</i>.) is at the foot of p. 32.</p> + +<p><i>Note</i>.—Part of "Blackie's School Manuals."</p> +</div> + +<h4>Translations of The Prophecy of Dante.</h4> + +<h5>French.</h5> + +<p>Oeuvres de Dante Alighieri. La Divine Comédie, Traduction +A. Brizeux. La Vie Nouvelle, Traduction E. J. +Delécluze. Paris, Charpentier, libraire-éditeur. 29, +rue de Seine. 1842. [8º.</p> + + <div class="cocono"> + +</div> +<h5>Italian.</h5> + +<h6>I.</h6> + +<p><i>Profezia di Dante Alighieri</i>, scritta da lord Byron, e tradotta +dell'inglesc. Impr. de Clò, à Paris. Paris, chez Barrois +aîné, 1821. [8º.</p> + +<p class="auth">[<i>Bibl. de la France</i>, October 26, 1821.]</p> + +<h6>II.</h6> + +<p>La Profezia di Dante. Di Lord Byron. Tradotta in +terza rima da L. Da Ponte. Nuova-Jorca: Publicata +da R. E. W. A. Bartow, 250 Pearl-St. Gray & Bunce, +Stampatori. 1821. [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 72.</p> + +<p><i>Note</i>.—The Italian is printed over against the English. There +is a double Dedication (pp. 3-7), "A Madamgella Giulia +Livingston," and "A Lord Byron."</p> +</div> + +<h6>III.</h6> + +<p><i>La Profezia di Dante</i>: poema, reso in versi italiani da Giov. +Giovio, Milano, Bernardoni, 1856. [8º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<h6>IV.</h6> + +<p><i>La Profezia di Dante</i>: poema accommodate all'indole del +verso italiano da Melchiorre Missirini, publicato da Fr. +Longhena, Milano Guglielmini, 1858. [8º.</p> + +<p class="auth">[Pagliaini, 1901.]</p> + +<h5>Spanish.</h5> + +<p><span class='pagenum'><a name="Page_293" id="Page_293">[293]</a></span> +La Profecia del Dante./ Poema escrito y dedicado/ à la/ +Condesa Guiccioli/ En 1819,/ Por lord Byron,/ al visitar +en Ravena la tumba de aquel./ Traducido del Frances/ +Por/ Antonio Maria Vizcayno,/ y dedicado a su bien +amigo/ El Sr. Lic. D. Jose Agustin de Escudero./ +Magistrado del supremo tribunal de guerra y marina./ +Mexico: 1850./ Imprenta de J. M. Lara, calle de la +Palma núm. 4./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, etc., 6 pp. + Text, pp. 28.</p> +</div> + +<h4>Sardanapalus.</h4> + +<h6>I.</h6> + +<p>Sardanapalus,/ A Tragedy./ The Two Foscari,/ A Tragedy./ +Cain,/ A Mystery./ By Lord Byron./ London:/ John +Murray, Albemarle-Street./ 1821./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. viii. + 439. Half-title (R. <i>London: Printed by Thomas +Davison, Whitefriars</i>.), pp. i., ii.; Title, one leaf, pp. iii., iv.; +Cont., pp. v., vi.; Preface, pp. vii., viii.; Text, pp. 1-439. The +Imprint, as above, is on p. [440].</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>Sardanapalus, A Tragedy</td><td class="pn">p. 1</td></tr> +<tr><td>Notes</td><td>p. 171</td></tr> +<tr><td>The Two Foscari, A Tragedy</td><td>p. 175</td></tr> +<tr><td>Appendix</td><td>p. 305</td></tr> +<tr><td>Cain, A Mystery</td><td>p. 331</td></tr> +</table> +</div> + +<h6>II.</h6> + +<p><i>Sardanapalus, a Tragedy</i>; <i>The Two Foscari, a Tragedy</i>; +<i>Cain, a Mystery</i>. Boston. 1822. [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 309.</p> +</div> + +<h6>III.</h6> + +<p>Sardanapalus:/ A Tragedy./ By/ Lord Byron./ London:/ +John Murray, Albemarle Street,/ 1829./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. 1, 2; Half-title, one leaf, pp. 3, 4; +Dedication, pp. 5, 6; Author's Note, pp. 7, 8; Dramatis Personæ, +<i>n.p.</i>; Text, pp. 9-134.</p> + +<p><i>Note</i>.—The Dedication to "The illustrious Goëthe," which +was omitted from the edition of 1821 (No. i.), is inserted.</p> +</div> + +<h6>IV.</h6> + +<p><span class='pagenum'><a name="Page_294" id="Page_294">[294]</a></span> +<i>Sardanapalus</i>: A Tragedy by Lord George Gordon Byron. +Arnsberg, Ritter. 1849. [16º.</p> + +<p class="auth">[Kayser, 1854.]</p> + +<div class="cocono"> +<p><i>Note</i>.—Part of "Sammlung Englischer Schauspiele der neuesten +Zeit."</p> +</div> + +<h6>V.</h6> + +<p>Sardanapalus,/ King of Assyria./ A Tragedy./ In Five +Acts./ By/ Lord Byron./ Adapted for Representation +by/ Charles Kean./ Thomas Hailes Lacy,/ Wellington +Street, Strand,/ London./ [1853.] [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 56.</p> + +<p><i>Note</i>.—No. 155 of "Lacy's Acting Edition of Plays."</p> +</div> + +<h6>VI.</h6> + +<p>Lord Byron's/ Historical Tragedy/ of/ Sardanapalus./ +Arranged for Representation,/ In Three [<i>sic</i>] Acts,/ By +Charles Calvert./ Manchester: John Heywood, 141 and +143, Deansgate./ [1877?] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. vii. + 56.</p> + +<p><i>Note</i>.—A list of "Opinions of the Press" +(see <i>Poetical Works</i>, 1901, v. 9) +is printed on p. 56 and on the inner leaf of the paper cover.</p> +</div> + +<h6>VII.</h6> + +<p>Sardanapalus./ By/ Lord Byron./ [Title-vignette, "Myrrha, +Embrace me: yet once more—yet once more."] New +and Complete Edition.—Price One Penny./ London: +J. Dicks, 313, Strand: All Booksellers./ [1883, etc.] [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 495-524.</p> + +<p><i>Note</i>.—No. 50 of "Dicks' Standard Plays."</p> +</div> + +<h4>Translations of Sardanapalus.</h4> + +<h5>Bohemian.</h5> + +<p><i>Sardanapal</i> ... Přeložil František Krsek. ("Sborník světové +poesie." svaz. 3.) pp. 204. <i>Otto: v Praze</i>, 1891. [8º. +<span class='pagenum'><a name="Page_295" id="Page_295">[295]</a></span></p> + +<h5>French.</h5> + +<p><i>Sardanapale</i>,/ Tragédie,/ Imitée de Lord Byron,/ par L. Alvin,/ +Et représentée pour la première fois sur le +Théatre Royal/ de Bruxelles, Le 11 Janvier 1834./ +Bruxelles,/ Gambier, libraire, rue des Éperonniers Nº 16./ +et chez tous les libraires de royaume./ 1834./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. xviii. + 122.</p> +</div> + +<h5>German.</h5> + +<h6>I.</h6> + +<p><i>Sardanapal</i>./ Trauerspiel in fünf Akten. Aus dem Engl. +übers. von Emma Herz. Posen, Merzbach. 1854. [16º.</p> + +<p class="auth">[Kayser, 1860.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 214.</p> +</div> + +<h6>II.</h6> + +<p>Sardanapal./ Trauerspiel in fünf Aufzügen/ von/ Lord +Byron./ Bühnenbearbeitung/ Nach der Uebersetzung von +Adolf Böttger/ mit einem/ "Vorspiel"/ von/ Max Zerbst./ +Jena 1888./ Friedr. Mauke's Verlag./ (A. Schenk.)/ [1888.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 117.</p> +</div> + +<h6>III.</h6> + +<p>Lord Byron's/ Sardanapal/ Eine Tragödie/ frei übertragen +und für die Bühne bearbeitet/ von/ Josef Kainz/ Berlin +W/ F. Fontane & Co./ 1897/</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 214.</p> +</div> + +<h5>Italian.</h5> + +<p>Sardanapalo/ Tragedia in 5 atti/ di/ G. Byron/ Milano/ +Edoardo Sonzogno, editore/ 14.—Via Pasquirolo.—14./ 1884./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 91.</p> + +<p><i>Note</i>.—No. 77 of the "Biblioteca Universale."</p> +</div> + +<p><span class='pagenum'><a name="Page_296" id="Page_296">[296]</a></span></p> +<h5>Polish.</h5> + +<p><i>Sardanapal</i>, tragedya, przekład Fryderyka Krauzégo. +pp. 132. <i>wyd. red.</i> "<i>Biblioteki Warszawskiéj</i>": +<i>Warszawa</i>, 1872. [8º.</p> + +<h5>Romaic.</h5> + +<p><span title="Sardanapalos, / Tragô|dia tou Lordou Burô|nos / Metaphrastheisa e)k tou A)gglikou,">Σαρδαναπαλος, / Τραγῳδια του Λορδου Βυρῳνος / Μεταφρασθεισα ἐκ τοῦ Ἀγγλικοῦ, </span> +<span title="o / uios tês Doulês / kai / Eugenia / upo / Chrêstou A. Parmenidou.">ο / υιος της Δουλης / και / Ευγενια / υπο / Χρηστου Α. Παρμενιδου. </span> +<span title="En Athênais, / ek tou tupographeiou Ermou.">Εν Αθηναις, / εκ του τυπογραφειου Ερμου. </span> +(<span title="kata\ tê hodo Perikle/ous, e)n tê~| oi)ki/a| N. Mukoni/ou">κατὰ τὴν ὁδὸν Περικλέους, ἐν τῇ οἰκίᾳ Ν. Μυκονίου</span>.)</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. +<span title='ê'>η </span> +<span style="margin-left: 0.5em;">+ 400 +</span> +<span title='Pinax tôn Periechomenôn'>Πιναξ των Περιεχομενων </span>, p. [401].</p> + +<p><i>Note</i>.—The translation of <i>Sardanapalus</i> is on pp. 1-150; the +translation of <i>The Dream</i> ( +<span title="To E)nupnion. Ek tôn tou Burônos">Το Ἐνυπνιον. Εκ των του Βυρωνος </span>), on pp. 171-184.</p> +</div> + +<h5>Russian.</h5> + +<h6>I.</h6> + +<p><span title='Sardanapal" ... Perevod" E. Zorina.'>Сарданапалъ ... Переводъ Е. Зорина.</span> +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1860. 8º.</p> + +<h6>II.</h6> + +<p><span title='Sardanapal" ... Per. O.N. Chyuminoie.'>Сарданапалъ ... пер. О.Н. Чюминой.</span> +<span title='"Artist", 1890, kn. 9 i 10.'>"Артистъ," 1890, кн. 9 и 10.</span>," 1890.</p> + +<h5>Swedish.</h5> + +<p>Sardanapalus./ Sorgespel I Fem Akter/ Af/ Byron./ Försvenskadt +och För Scenen Behandladt/ Af/ Nils Arfvidsson./ +Första gängen uppfördt à Kongl. Stora Theatern den 17 +Nov. 1864./ Stockholm, 1864./ P. A. Norstedt & Söner,/ +Kongl. Boktryckare./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 154 + Rättelser, p. [155].</p> +</div> + +<h4>The Siege of Corinth.</h4> + +<h6>I.</h6> + +<p>The/ Siege of Corinth./ A Poem./ Parisina./ A Poem./ +London:/ Printed for John Murray. Albemarle-Street./ +1816/ [8º.</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_297" id="Page_297">[297]</a></span><i>Collation</i>—</p> + +<p>Half-title (R. <i>T. Davison, Lombard street,/ Whitefriars, +London</i>.); Title, one leaf; Second Half-title, with Motto +("Guns," etc.), pp. 1, 2; Dedication, pp. 3, 4; Advt., pp. 5, 6; +Text, pp. 7-89 + Notes, p. [91] (R. Imprint as above).</p> + +<p><i>Note</i>.—<i>The Siege of Corinth</i> is on pp. 7-57; +<i>Parisina</i>, pp. 59-[91].</p> + +<p><i>Note</i>.—A Second and a Third Edition were issued in 1816. +The Museum copy of the First Edition is without the Half-title.</p> +</div> + +<h6>II.</h6> + +<p>The/ Siege of Corinth:/ A Poem./ Parisina:/ A Poem./ +By Lord Byron./ New-York:/ Printed and Published by +Van Winkle & Wiley,/ No. 3 Wall-Street./ 1816./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 94.</p> +</div> + +<h6>III.</h6> + +<p>The/ Siege of Corinth./ A Poem./ By Lord Byron./ +"Guns, Trumpets, Blunderbusses, Drums, and Thunder."/ +London:/ Printed and Published by W. Dugdale,/ <i>23, +Russell Court, Drury Lane</i>./ 1824./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 44. The Imprint (<i>Printed by W. Dugdale; Russell-Court, +Drury Lane</i>.) is at the foot of p. 44.</p> +</div> + +<h6>IV.</h6> + +<p><i>The Siege of Corinth</i>. Für den Schul. u. Privatgebrauch +abgedr. nach der Pariser Ausg. (1835, Galignani.) Lüneburg, +Engel. 1854. [8º.</p> + +<p class="auth">[Kayser, 1860.]</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 51.</p> +</div> + +<h6>V.</h6> + +<p>Lines from the Poets/ With Notes/ For use in Elementary +and Secondary Schools/ Adapted to the requirements of +the New Code and the/ Oxford and Cambridge Local +Examinations/ No. 4/ Byron's 'Siege of Corinth'/ +London/ National Society's Depository/ Broad Sanctuary, +Westminster/ 1879/ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 62.</p> +</div> + +<h6>VI.</h6> + +<p><span class='pagenum'><a name="Page_298" id="Page_298">[298]</a></span> +Byron's/ Siege of Corinth./ Mit/ Einleitung und Anmerkungen/ +Herausgegeben/ von/ Eugen Kölbing./ Berlin./ +Verlag von Emil Felber./ 1893./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. lx. + 155. The Imprint (<i>Druck von G. Uschmann in +Weimar</i>.) is at the foot of p. 155.</p> +</div> + +<h6>VII.</h6> + +<p>The Siege of Corinth. Mit Anmerkgn. zum Schulgebrauch +hrsg. v. K. Bandow. [12º.</p> + +<p class="auth">[Kayser, 1891.]</p> + +<div class="cocono"> +<p><i>Note</i>.—Part of "English Authors." Bielefeld, Velhagen & +Klasing. 1885-1890.</p> +</div> + +<h4>Translations of The Siege of Corinth.</h4> + +<h5>Dutch.</h5> + +<p>Het/ Beleg van Corinthe,/ Uit Het Engelsch van/ Lord +Byron./ Door/ Mr. I. Van Lennep./ [Title-vignette, +phantom appearing to Alp.] Te Amsterdam bij/ P. +Meijer Warnars./ 1831./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 59. The Imprint (<i>Gedrukt Bij C.A. Spin.</i>) is at the foot +of p. 59.</p> +</div> + +<h5>French.</h5> + +<p><i>Le Siége de Corinthe</i>, par lord Byron; traduit de l'anglais +par Ch. Mancel. Impr. de Guîraudet, à Paris. A Paris, +chez Delaunay; chez Pillet aîné. 1820. [12º.</p> + +<p class="auth">[<i>Bibl. de la France</i>, September 16, 1820.]</p> + +<h5>German.</h5> + +<h6>I.</h6> + +<p><i>Die Belagerung von Korinth</i>. [Deutsch. v.] A. Wollheim. +Hamburg. Lübbers & Schubert. (?) 1817. [12º.</p> + +<p class="auth">[<i>Centralblatt</i>, 1890, vii. 472.]</p> + +<h6>II.</h6> + +<p><i>Die Belagerung von Korinth</i>. Mit gegeniibergedrucktem +Originaltext. Leipzig, Brockhaus. 1820. [8º.</p> + +<p class="auth">[<i>Centralblatt</i>, 1900, vii. 458.]</p> + +<div class="cocono"> +<p><i>Note</i>.—<i>Britische Dichterproben</i>, ii. I.</p> +</div> + +<p><span class='pagenum'><a name="Page_299" id="Page_299">[299]</a></span></p> +<h6>III.</h6> + +<p><i>Die Belagerung von Korinth</i>. [Deutsch. v.] G. E. Schumann. +Hamburg, Nestler & Melle. 1827. [8º.</p> + +<p class="auth">[<i>Centralblatt</i>, 1890, vii. 471.]</p> + +<h5>Italian.</h5> + +<p><i>L'Assedio di Corinto</i>, di Giorgio lord Byron, Versione di +Vincenzo Padovan. Venezia, coi tipi del Gondoliere, 1838. [8º.</p> + +<p class="auth">[<i>Bibliografia Italiana</i>, March, 1838.]</p> + +<h5>Spanish.</h5> + +<p>El Sitio/ de/ Corinto./ Por/ Lord Byron./ Traducido del +Francés Al Castellano./ [Title-vignette, Athene with +owl.] Paris, Libreria americana,/ Calle del Temple, +Nº 9./ 1828./ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 85.</p> +</div> + +<h5>Swedish.</h5> + +<p>Belägringen Af Korinth./ Af/ Lord Byron./ Öfversättning./ +[Af/ Talis Qualis./ Stockholm,/ Albert Bonniers Förlag./] +[1854.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 60.</p> + +<p><i>Note</i>.—No. 2 of "Byron's Poetiska Berättelser."</p> +</div> + +<h4>The Two Foscari.</h4> + +<h6>I.</h6> + +<div class="cocono"> +<p>[<i>Note</i>.—For the First Edition of <i>The Two Foscari</i>, +<i>vide ante</i>, <i>Sardanapalus</i>, <a href="#Page_293">No. i.</a>]</p> +</div> + +<p><i>The Two Foscari</i>. New York. 1822. [24º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 114.</p> +</div> + +<h6>II.</h6> + +<p><i>The Two Foscari</i>, an historical tragedy. By the right hon. +lord Byron. Impr. de Belin, à Paris. A Paris chez +Galignani, 1822. [12º.</p> + +<p class="auth">[<i>Bibl. de la France</i>, March 9. 1822.]</p> + +<h6>III.</h6> + +<p><span class='pagenum'><a name="Page_300" id="Page_300">[300]</a></span> +The Two Foscari./ By/ Lord Byron./ [Title-vignette, +Death of Jacopo Foscari—"Touch it not, Dungeon Miscreants!——"] +New and Complete Edition.—Price One +Penny./ London: J. Dicks, 313, Strand. All Booksellers./ +[1883, etc.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 525-546.</p> + +<p><i>Note</i>.—No. 73 of "Dicks' Standard Plays."</p> +</div> + +<h4>Translations of The Two Foscari.</h4> + +<h5>Russian.</h5> + +<p><span title='Dvoye Foskari ... per. E. Zarina.'>Двое Фоскари ... пер. Е. Зарина.</span> +["<span title='Biblioteka dlya Chteniya'>Библіотека для Чтенія</span>," 1861. No. 11.]</p> + +<h5>Spanish.</h5> + +<p>Los dos Fóscaris. Drama histórico en cinco actos y en +verso por D. Manuel Çañete, representado en el teatro de +la Cruz, a beneficio de D. Juan Lombia, en el mes de +noviembre de 1846.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 24.</p> + +<p><i>Note</i>.—Part of "Biblioteca Dramatica,"/ etc./ Madrid, 1846./ +Imprenta de Don Vicente de Lalama, Editor,/ Calle del Duque +de Alba, n. 13./ 4º.</p> +</div> + +<h4>The Vision of Judgment.</h4> + +<div class="cocono"> +<p><i>Note</i>.—For the First Edition of <i>The Vision of Judgment</i>, see +<i>The Liberal</i>, 1822, No. I., pp. 3-39.</p> +</div> + +<h6>I.</h6> + +<p><i>Vision of Judgment</i>. Paris, Galignani, 1822. [12º.</p> + +<p class="auth">[Quérard, 1827.]</p> + +<h6>II.</h6> + +<p>The/ Two Visions;/ or,/ Byron v. Southey./ Containing/ +The Vision of Judgment,/ By Dr. Southey, L.L.D./ Poet-Laureate +and Esquire; Republican and Royalist:/ Also +Another/ Vision of Judgment,/ By Lord Byron./ London: +Printed and Published by W. Dugdale, 19, Tower/ Street, +Seven Dials./ 1822./</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 72.</p> + +<p><i>Note</i>.—The Text of Lord Byron's <i>Vision of Judgment</i> is on pp. +35-72.</p> +</div> + +<h4>The Waltz.</h4> + +<p><span class='pagenum'><a name="Page_301" id="Page_301">[301]</a></span></p><h6>I.</h6> + +<p>Waltz:/ An Apostrophic Hymn./ By/ Horace Hornem, Esq./ +"Qualis in Eurotæ ripis, aut per juga Cynthi/ +Exercet <span class="smcap">Diana</span> choros."—Ovid./ London: Printed by +S. Gosnell, Little Queen Street, Holborn,/ For Sherwood, +Neely, and Jones, Paternoster Row./ 1813./ (<i>Price +Three Shillings</i>.)/ [4º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Title, one leaf, pp. [1], [2]; To the Publisher, pp. 3-6; Text, +pp. 7-27. The Imprint (<i>S. Gosnell, Printer, Little Queen Street, +London</i>.) is at the foot of p. 27.</p> + +<p><i>Note</i>.—The pages of the Text measure 280 X 220.</p> +</div> + +<h6>II.</h6> + +<p>Waltz:/ An/ Apostrophic Hymn./ By/ Horace Hornem, +Esq./ (<i>The Author of Don Juan</i>.)/ Qualis in Eurotæ +ripis, aut per juga Cynthi/ Exercet <span class="smcap">Diana</span> choros./ Virgil./ +Such on <i>Eurotas</i>' banks, or Cynthia's height,/ <i>Diana</i> +seems; and so she charms the sight,/ When in the dance +the graceful goddess leads/ The Quire of Nymphs, and +overtops their heads./ Dryden's Virgil./ London:/ +Benbow, Printer and Publisher, Castle Street,/ Leicester +Square./ 1821./ [12º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. v. + (Text) 7-36.</p> + +<p><i>Contents</i>—</p> + +<table summary="Contents"> +<tr><td>To the Publisher</td><td class="pn">p. iii.</td></tr> +<tr><td>The Waltz</td><td>p. 7</td></tr> +<tr><td>Notes</td><td>p. 19</td></tr> +<tr><td>To Jessy [attrib. to Lord Byron]</td><td>p. 27</td></tr> +<tr><td>"My Boat is on the shore" [attrib. to Lord Byron]</td><td>p. 29</td></tr> +<tr><td>Lines ... to Mr. Hobhouse [attrib. to Lord Byron]</td><td>p. 30</td></tr> +<tr><td>On the Star of "The Legion of Honour"</td><td>p. 31</td></tr> +<tr><td>Adieu to Malta</td><td>p. 34</td></tr> +</table> + +<p><i>Note</i>.—The two last poems are not attributed to Lord Byron.</p> +</div> + +<h4>Werner</h4>. + +<h6>I.</h6> + +<p>Werner,/ A Tragedy./ By Lord Byron./ London:/ John +Murray, Albemarle-Street./ 1823-/ [8º.</p> + +<div class="cocono"> +<p><span class='pagenum'><a name="Page_302" id="Page_302">[302]</a></span> +<i>Collation</i>—</p> + +<p>Half-title (R. <i>London:/ Printed by Thomas Davison, Whitefriars</i>.), +pp. i., ii.; Title, one leaf, pp. iii., iv.; Dedication, one +leaf ("To/ The Illustrious Goëthe,/ By One of His Humblest +Admirers,/ This Tragedy is dedicated./"), pp. v., vi.; Preface, +pp. vii., viii.; Text, pp. 1-188. The Imprint, as above, is at +the foot of p. 188.</p> +</div> + +<h6>II.</h6> + +<p><i>Werner, a Tragedy</i>. Paris, Galignani. 1823. [12º.</p> + +<p class="auth">[Quérard, 1827.]</p> + +<h6>III.</h6> + +<p>Werner./ A Tragedy/ In Five Acts./ By Lord Byron./ +With the Stage Business, Casts of Characters,/ Costumes, +Relative Positions, etc./ New York:/ M. Douglas, 11 +Spruce Street./ And for Sale by all Booksellers./ 1848./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. v. + 6-75.</p> + +<p><i>Note</i>.—No. lxviii. of "Modern Standard Drama." Edited by +John W. S. Hows.</p> +</div> + +<h6>IV.</h6> + +<p>The/ British Drama./ Illustrated./ Vol. III./ London:/ +Published by John Dicks, 313, Strand./ 1865./ [8º.</p> + +<div class="cocono"> +<p><i>Note</i>.—The Text of "Werner./ A Tragedy, In Five Acts.—By +Lord Byron./" is on pp. 767-789.</p> +</div> + +<h6>V.</h6> + +<p>Werner./ By Lord Byron./ [Title-vignette [<i>Sieg.</i>]—"Liar +and Fiend! But you shall not be slain."—[<i>Act</i> v. <i>Scene</i> 1.]/] +New and Complete Edition.—Price One Penny./ London: +J. Dicks, 313, Strand; All Booksellers./ [1883, etc.] [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. 767-789.</p> + +<p><i>Note</i>.—No. 3 of "Dicks' Standard Plays."</p> +</div> + +<h6>VI.</h6> + +<p>Werner/ or/ The Inheritance/ A Tragedy/ By/ Lord +Byron/ London/ George Routledge And Sons/ Broadway, +Ludgate Hill/ Glasgow and New York/ 1887/ [16º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Pp. ix. + 10-256. The Imprint (<i>Ballantyne Press: Edinburgh +and London</i>.) is at the foot of p. 256.</p> +</div> + +<h4>Translations of Werner.</h4> + +<p><span class='pagenum'><a name="Page_303" id="Page_303">[303]</a></span></p><h5>Russian.</h5> + +<h6>I.</h6> + +<p><span title='Verner" ... per. Neizviestnago.'>Вернеръ ... пер. Неизвѣстнаго.</span> +<span title='S.-Peterburg"'>С.-Петербургъ</span>, 1829.</p> + +<h6>II.</h6> + +<p><span title='Don"-Djuan" ia ostrov" pirata. Perev. D. Mina'>Донъ-Жуанъ иа островѣ пирата. Перев. Д. Мина</span> +<span title='Moskva'>Москва</span>, 1881.</p> + +<h4>The Liberal.</h4> + +<p>The/ Liberal./ Verse and Prose From The/ South./ Volume +the First./ London, 1822:/ Printed by and for John +Hunt,/ 22, Old Bond Street./ [8º.</p> + +<div class="cocono"> +<p><i>Collation</i>—</p> + +<p>Vol. I.: pp. xii. + 3-399 + Cont., p. [401] (R. "Errata," +p. [402]). The Imprint (<i>London</i>:/ <i>C. H. Reynell, Printer,/ 45, +Broad-Street, Golden-Square</i>.) is at the foot of p. [402].</p> + +<p>Vol. II.: [The/ Liberal,/ etc./ Volume The Second./ London, +1823:/ Printed for John Hunt,/ 22, Old Bond Street./], pp. viii. ++ 1-377 + Cont. of No. iv., p. [379]. The Imprint (<i>London:/ +Printed by C. H. Reynell, Broad Street, Golden-Square</i>.) is at the +foot of p. [380].</p> + +<p><i>Contents</i> [Lord Byron's contributions]—</p> + +<p>Vol. I.: <i>The Liberal</i>, No. 1. The Vision of Judgment. By +Quevedo Redivivus. Suggested by the Composition so entitled +by the Author of "Wat Tyler." "A Daniel come to judgment! +yea, a Daniel! I thank thee, Jew, for teaching me that word." +Pp. 8-39; Letter to the Editor of "My Grandmother's Review," +pp. 41-50; Epigrams on Lord Castlereagh, p. 164.</p> + +<p><i>The Liberal</i>, No. II. Heaven and Earth, A Mystery, Founded +on the Following Passage in Genesis, Chap. vi.: "And it came +to pass ... that the sons of God saw the daughters of men that +they were fair; and they took them wives of all which they chose." +"And woman wailing for her demon lover."—Coleridge. Part I., +etc., pp. 165-206. From the French ("Ægle, beauty and poet," +etc.), p. 396; Martial.—Lib. I. Epig. I (Translation), p. 398; +New Duet ("Why how now, saucy Tom?"), <i>ibid.</i></p> + +<p>Vol. II.: <i>The Liberal</i>, No. III. <i>The Blues, A Literary +Eclogue</i>, "Nimium ne crede colori."—<span class="smcap">Virgil</span>. O trust not, ye +beautiful creatures, to hue, Though your <i>hair</i> were as <i>red</i> +as your +stockings are <i>blue</i>. Eclogue the First, etc., pp. 1-21.</p> + +<p><i>The Liberal</i>, No. IV. Morgante Maggiore di Messer Luigi +Pulci, pp. 193-249.</p> + +<p><i>Note</i>.—The text of the original Italian is printed after the +English translation.</p> +</div> + +<p><span class='pagenum'><a name="Page_304" id="Page_304">[304]</a></span></p> +<h4>Dedication of Don Juan.</h4> + +<div class="cocono"> +<p>The following note was attached to the "Dedication" which +was prefixed to the First Canto in 1833 (<i>Works</i>, 1833, xv. 101):—</p> + +<p>"Note(1). [This 'Dedication' was suppressed in 1819, with +Lord Byron's reluctant consent; but, shortly after his death, its +existence became notorious, in consequence of an article in the +<i>Westminster Review</i>, generally ascribed to Sir John Hobhouse, +and for several years the verses have been selling in the streets as +a broadside. It could therefore serve no purpose to exclude them +on the present occasion.]" See, too, <i>Poetical Works</i>, 1903, vi. 3.</p> + +<p>I am indebted to the kindness of Mr. H. Buxton Forman, +C.B., for the following description of one of these "broadsides," +now in his possession:—</p> + +<p>"Single sheet foolscap 8vo, consisting of Half-title, 'Dedication/ +to/Don Juan,/' with Imprint on verso ('London:/ printed +by C. and W. Reynell, Broad Street,/ Golden Square'); Title-page, +'Dedication/ to/ Don Juan./ by/ Lord Byron./ London:/ +Published by Effingham Wilson,/Royal Exchange./ 1833./' On +the verso of this is a note—</p> + +<p>"'[<i>Why the following Dedication did not appear with the two +first published Cantos of the Poem cannot be explained—unless the +connection between</i> Mr. <span class="smcap">Murray</span> <i>and</i> +Mr. <span class="smcap">Southey</span> <i>sufficiently explains it</i>.]'</p> + +<p>"The first page of the Text (p. 5, but not numbered) contains +the dropped head 'Don Juan./ Dedication.' and one stanza. +Pp. 6-10 contain two stanzas each, and p. 11 one. The headline +'Don Juan' runs from p. 6 to p. 11, and the stanzas are numbered +in Roman capital figures. P. 12 is blank, and is followed by a +Half-title, 'Notes,' with a blank verso. The Notes occupy +pp. 15 and 16, of which 15 is not numbered, but has a dropped +head, 'Notes.' Page 16 is numbered, and has the headline +'Notes.'"</p> +</div> + +<div class="center"> +<a name="Illus_Diadem_Hill" id="Illus_Diadem_Hill"/> +<img src="images/diadem-hill.png" alt="Diadem Hill (Annesley Park), Where Lord Byron Parted From Mary Chaworth." title="Diadem Hill (Annesley Park), Where Lord Byron Parted From Mary Chaworth."/> +<p class="center">Diadem Hill (Annesley Park), Where Lord Byron Parted From Mary Chaworth.</p> +</div> +<p><span class='pagenum'><a name="Page_305" id="Page_305">[305]</a></span></p> + +<hr style="width:75%;margin-bottom:4em;" /> + +<h2>NOTES. +</h2> +<div class="center"><img src="images/decoration.png" alt="typographical flourish" title="typographical flourish" /></div> + +<h3 style="letter-spacing:0;"><i>Note</i> (1).—<span class="smcap">On Genuine and Spurious Issues +of "English Bards, and Scotch Reviewers</span>."</h3> + +<div class="cocono"> + +<p>Among the first who called attention to the "inextricable tangle" +of the several editions of <i>English Bards, and Scotch Reviewers</i> was +Mr. Leicester Warren, better known as Lord de Tabley, who communicated +some notes in 1877 to <i>Notes and Queries</i> (Series V. +vol. vii. pp. 145, etc.); but it was reserved to the late Mr. Dykes +Campbell, Mr. Bertram Dobell, and other correspondents to the +<i>Athenæum</i> (May 5 to July 7, 1894), to point out that the problem +was still farther complicated by the existence of spurious issues of at +least three out of the five or six distinct editions of the Satire.</p> + +<p>All editions, genuine or spurious, claim as their publisher "James +Cawthorn, British Library, No. 24 Cockspur Street," but different +printers were employed. The First Edition bears the imprint of +"T. Collins, Printer, No. 1, Harvey's Buildings, Strand;" the +Second Edition, that of "Deans and Co. Hart Street, Covent +Garden;" the Third Edition, that of "T. Collins," etc.; the Fourth +Edition of 1810, that of "T. Collins," etc.; the Fourth +Edition of 1811 ("James Cawthorn and Sharpe and Hailes"), that +of "Cox, Son, and Baylis, Great Queen Street, London." No +printer's name was attached to the suppressed Fifth Edition of 1812.</p> + +<p>Genuine First Editions have the water-mark, "E. and P. 1804," +or "E. and P. 1805," or, possibly, no water-mark at all. A copy +of the spurious First Edition, in Mr. Murray's possession, has the +water-mark, "S. and C. Wise, 1812." In addition to at least eleven +variants in punctuation, the spurious copy prints (p. 5, line 47) +"Wizzard" (p. 20 <i>n</i>.), "M<i>e</i>deira," and, in the same note, +"Anna d'Afert;" whereas the genuine copies print correctly "Wizard," +"Madeira," and "Anna d'Arfet."</p> + +<p>A genuine copy of the Second Edition, which belonged to the +late Mr. Dykes Campbell, bears the water-mark "Budgen and +Willmot, 1808." On p. 80, line 1007, "Abedeen" is misprinted for +"Aberdeen;" and the same misprint occurs in a copy of the Second +Edition in the British Museum. In all probability there was no +spurious issue of the Second Edition.</p> + +<p>Of the Third Edition (1810), copies bearing the water-mark, +"E.&P. 1804," or "G.&R.T.," may be regarded as genuine—rare +exceptions among a host of forgeries +<span class='pagenum'><a name="Page_306" id="Page_306">[306]</a></span> +which either lack a water-mark +altogether or bear water-marks of a later period. Mr. Gilbert R. +Redgrave, in an article (<i>The Library</i>, December 1, 1899, Series II. +vol. i. pp. 18-25), notes two distinct and divergent forgeries bearing +the water-mark "Pine, and Thomas, 1812." Forgery A prints +"myse" for "muse" (line 4), "rove" for "rave" (line 384), etc.; +while forgery B, in a footnote to p. 30, prints "Bowle'ss" for +"Bowles's," and, at the end of p. 85, "we" for "me," and +"farther" for "further." Other copies bear the water-marks, +"Allnutt, 1816," "Smith & Allnutt, 1816," "Ivy Mills, 1817," and +"I.&R. Ansell, 1818." A copy of a spurious issue of the Third +Edition in the British Museum prints "crawl" for "scrawl" (line +47), and "p. 73" for "p. 85."</p> + +<p>It has been surmised, but conclusive proof is not forthcoming, +that a so-called Fourth Edition of 1810 (1050 lines), which purports +to have been published by James Cawthorn, and bears the imprint, +"<i>Printed by J. Collins, Harvey's Buildings, Strand, London</i>," is a +spurious issue. It is practically a reprint of the Third Edition; but +in some copies there are misprints not to be found in other +piracies—<i>e.g.</i> "crouds" for "crowds" (line 269), +and "alter" for "altar"(line 285).</p> + +<p>Copies of the Fourth Edition of 1810, which may possibly be +genuine, bear a water-mark, "G.&R.T.," or are on plain paper. +Copies which are manifestly forgeries bear the water-marks, "J.X. +1810" and "W. Pickering, 1816."</p> + +<p>A second Fourth Edition (1052 lines), published by "James Cawthorn +and Sharp & Hailes, 1811," and printed by "Cox, Son, & +Baylis," was certainly recognized by Byron as a genuine Fourth +Edition, and must have passed through his hands, or been subject +to his emendation, before it was sent to press. Copies of this edition +bear his MS. emendations of 1811-1812, and marginal notes of +1816. Genuine copies (<i>e.g.</i> Leigh Hunt's copy, now in the Forster +Collection at the South Kensington Museum) are printed on paper +bearing a water-mark, "J. Whatman, 1805." There was, however, +another issue of the Fourth Edition of 1811, printed on plain paper. +Mr. Redgrave notes certain minute differences between these two +issues. In the edition on plain paper there is a hyphen to "Cockspur-Street" +on the title-page, and the word "Street" is followed by a +comma instead of a semicolon. Again, in the plain-paper copies +"Lambe" is spelt with an <i>e</i>, and in the water-mark copies the word +is correctly spelt "Lamb." In the plain-paper copies the misprint +"Postcript" for "Postscript" is repeated, and in the copies bearing +a water-mark the word is correctly spelt "Postscript." There are +other differences in the advertisements at the end of the volume.</p> + +<p>A spurious Fourth Edition in Mr. Murray's possession, which has +been enriched with a series of prints of persons and places, bears the +water-marks, "1811," "1814." Each page has been inserted into +a folio sheet bearing the water-mark, "J. Whatman, 1816." A +full-sized octavo, in small print (B.M. 11645 P. 15), which purports +<span class='pagenum'><a name="Page_307" id="Page_307">[307]</a></span> +to be the Fourth Edition of 1811, is probably spurious. It is the +survival of a distinct issue from other genuine or spurious copies of +the Fourth Edition.</p> + +<p>The spurious issues of the Third and Fourth Editions, whether +they were printed in Ireland or were secretly thrown upon the +market by James Cawthorn after Byron had definitely selected +Murray as his publisher, were designed for the general reader and +not for the collector. The issue of a spurious First Edition after +the improved and enlarged editions of 1809-11 were published, +must have been designed for the Byron enthusiast, if not the collector +of First Editions.</p> + +<p>The Grangerized Fourth Editions prepared by Mr. W. M. Tartt +and Mr. Evans in 1819, 1820, and a Third, by John Murray at +about the same period, and, more remarkable still, a copy of the +Fourth Edition of 1811, prefaced by a specially printed "List of +Names mentioned in the <i>English Bards, and Scotch Reviewers</i>" +interleaved with the additions made in the Fifth Edition (B.M.), +point to the existence of a circle of worshippers who were prepared +to treat Byron's <i>Juvenilia</i> as seriously as the minute critics of the +present generation. They seem to have been sufficiently numerous +to make piracy, if not forgery, profitable.</p> +</div> + +<h3 style="letter-spacing:0;"><i>Note</i> (2).—<span class="smcap">Correspondence Between the First Edition as +Numbered and the Present Issue as Numbered</span>.</h3> + +<div class="cocono"> + +<table style="text-align:center;" summary="Correspondences"> +<tr><td><i>First Edition</i> (696 lines).</td><td> </td><td><i>Fifth (Present) Edition</i> (1070 lines).</td></tr> +<tr><td>1-26</td><td>=</td><td>103-128</td></tr> +<tr><td>27-246</td><td>=</td><td>143-362</td></tr> +<tr><td>247-262</td><td>=</td><td>Hobhouse's lines, omitted in<br /> Edition 2.</td></tr> +<tr><td>263-372</td><td>=</td><td>418-528</td></tr> +<tr><td>373-470</td><td>=</td><td>540-637</td></tr> +<tr><td>471-522</td><td>=</td><td>707-758</td></tr> +<tr><td>523-526</td><td>=</td><td>761-764</td></tr> +<tr><td>527-586</td><td>=</td><td>799-858</td></tr> +<tr><td>587-654</td><td>=</td><td>881-948</td></tr> +<tr><td>655-667</td><td>=</td><td>961-972</td></tr> +<tr><td>668-696</td><td>=</td><td>981-1010</td></tr> +<tr><td><i>Second, Third, Fourth</i> (<i>a</i>)<br /><i>Editions</i> (1050 lines).</td><td> </td><td><i>Fifth</i> (<i>Present</i>) <i>Edition</i><br />(1070 lines).</td></tr> +<tr><td>1-96</td><td>=</td><td>1-96</td></tr> +<tr><td>97-521</td><td>=</td><td>103-527</td></tr> +<tr><td>522-740</td><td>=</td><td>540-758</td></tr> +<tr><td>741-1050</td><td>=</td><td>761-1070</td></tr> +<tr><td><i>Fourth</i> (<i>b</i>) <i>Edition</i><br />(1052 lines).</td><td> </td><td><i>Fifth</i> (<i>Present</i>) <i>Edition</i><br />(1070 lines).</td></tr> +<tr><td>1-96</td><td>=</td><td>1-96</td></tr> +<tr><td>97-521</td><td>=</td><td>103-528</td></tr> +<tr><td>522-1052</td><td>=</td><td>540-1070</td></tr> +</table> + +<p><span class='pagenum'><a name="Page_308" id="Page_308">[308]</a></span></p> + +<h4>Additions in the Second, Third, and Fourth (a) Editions.</h4> + +<p class="center">[The lines are numbered as in the Second, Third, and Fourth Editions.]</p> + +<table style="text-align:right;" summary="Additions"> +<tr><td>1-96</td><td style="text-align:left;padding-left:1em;">Still must I hear ... as you read.</td><td>96</td></tr> +<tr><td>123-136</td><td style="text-align:left;padding-left:1em;">Thus saith the Preacher ... to grovelling Stott.</td><td>14</td></tr> +<tr><td>357-411</td><td style="text-align:left;padding-left:1em;">But if some new-born whim ... lumbering back again.</td><td>55</td></tr> +<tr><td>620-688</td><td style="text-align:left;padding-left:1em;">Or, hail at once ... virtue must apply.</td><td>69</td></tr> +<tr><td>745-778</td><td style="text-align:left;padding-left:1em;">When some brisk youth ... thy pay for coats.</td><td>34</td></tr> +<tr><td>839-860</td><td style="text-align:left;padding-left:1em;">And here let Shee ... and God-like men.</td><td>22</td></tr> +<tr><td>929-940</td><td style="text-align:left;padding-left:1em;">Yet what avails ... blazes, and expires.</td><td>12</td></tr> +<tr><td>953-960</td><td style="text-align:left;padding-left:1em;">There Clarke, still ... libel on mankind.</td><td>8</td></tr> +<tr><td>991-1050</td><td style="text-align:left;padding-left:1em;">Then, hapless Britain, ... unjustly, none declare</td><td>60</td></tr> +<tr><td> </td><td> </td><td>——</td></tr> +<tr><td> </td><td> </td><td>370</td></tr> +</table> + +<p class="center" style="margin-top:0.5em;">696 – 16 (Hobhouse's lines) = 680 + 370 = 1050.</p> + +<p class="center" style="margin-top:0.5em;"><i>Addition in Fourth Edition</i> (1811).</p> + +<table style="text-align:right;" summary="Additions"> +<tr><td>741-742</td><td style="text-align:left;padding-left:1em;">Through Crusca's bards ... columns still.</td><td>2</td></tr> +</table> + +<p class="center" style="margin-top:0.5em;">1050 + 2 = 1052.</p> + +<p class="center" style="margin-top:0.5em;"><i>Additions in the Fifth (Present) Edition</i>.</p> + +<table style="text-align:right;" summary="Additions"> +<tr><td>97-102</td><td style="text-align:left;padding-left:1em;">'But hold!' exclaims ... shine with Pye.</td><td>6</td></tr> +<tr><td>528-539</td><td style="text-align:left;padding-left:1em;">Then, prosper, Jeffrey ... inspires thy pen.</td><td>12</td></tr> +<tr><td> </td><td> </td><td>——</td></tr> +<tr><td> </td><td> </td><td>18</td></tr> +</table> + +<p class="center" style="margin-top:0.5em;">1052 + 18 = 1070.</p> + +<h4>Emendations of the Text of the Fourth Edition (b) included in the +text of the Fifth and Present Edition.</h4> + +<p><i>Fourth Edition</i>.<span style="position:absolute;right:10%;"><i>Fifth Edition</i>.</span></p> +<table summary="Contents"> +<tr><td style="width:2.5em;"><span style="font-size:smaller">Line</span>.</td><td> </td><td style="width:2.5em;"><span style="font-size:smaller">Line</span>.</td></tr> +<tr><td>28</td><td><i>And men through life her willing slaves obey</i>.</td><td> </td></tr> +<tr><td> </td><td>Obeyed by all who nought beside obey.</td><td>28</td></tr> +<tr><td>30</td><td><i>Unfolds her motley store to suit the time</i>.</td><td> </td></tr> +<tr><td> </td><td>Bedecks her cap with bells of every clime.</td><td>30</td></tr> +<tr><td>32</td><td><i>When Justice halts, and Right begins to fail</i>.</td><td> </td></tr> +<tr><td> </td><td>And weigh their Justice in a golden scale.</td><td>32</td></tr> +<tr><td>71</td><td><i>Fear not to lie, 'twill seem a lucky hit</i>.</td><td> </td></tr> +<tr><td> </td><td>Fear not to lie,'twill seem a <i>sharper</i> hit.</td><td>71</td></tr> +<tr><td>173</td><td><i>Low may they sink to merited contempt</i>,</td><td> </td></tr> +<tr><td>174</td><td><i>And scorn remunerate the mean attempt</i>.</td><td> </td></tr> +<tr><td> </td><td>Still for stern Mammon may they toil in vain!</td><td>179</td></tr> +<tr><td> </td><td>And sadly gaze on Gold they cannot gain.</td><td>180</td></tr> +<tr><td>257</td><td><i>How well the subject suits his noble mind</i>!</td><td> </td></tr> +<tr><td>258</td><td><i>"A fellow feeling makes us wondrous kind</i>."</td><td> </td></tr> +<tr><td> </td><td>So well the subject suits his noble mind,</td><td>263<span class='pagenum'><a name="Page_309" id="Page_309">[309]</a></span></td></tr> +<tr><td> </td><td>He brays, the Laureate of the long-eared kind.</td><td>264</td></tr> +<tr><td>303</td><td><i>In many marble-covered volumes view</i></td><td> </td></tr> +<tr><td>304</td><td><i>Hayley, in vain attempting something new</i>:</td><td> </td></tr> +<tr><td>305</td><td><i>Whether he spin his comedies in rhyme</i>,</td><td> </td></tr> +<tr><td>306</td><td><i>Or scrawl, as Wood and Barclay walk, 'gainst time</i>.</td><td> </td></tr> +<tr><td> </td><td>Behold—Ye Tarts!—one moment spare the text!</td><td>309</td></tr> +<tr><td> </td><td><span class="smcap">Hayley's</span> last work, and worst—until his next;</td><td>310</td></tr> +<tr><td> </td><td>Whether he spin poor couplets into plays,</td><td>311</td></tr> +<tr><td> </td><td>Or damn the dead with purgatorial praise.</td><td>312</td></tr> +<tr><td>323</td><td><i>And shows, dissolved in thine own melting tears</i>.</td><td> </td></tr> +<tr><td> </td><td>And shows, still whimpering thro' threescore of years. 329</td></tr> +<tr><td>327</td><td><i>Whether in sighing winds thou seek'st relief</i></td><td> </td></tr> +<tr><td>328</td><td><i>Or consolation in a yellow leaf</i>.</td><td> </td></tr> +<tr><td> </td><td>Whether thou sing'st with equal ease and grief,</td><td>333</td></tr> +<tr><td> </td><td>The fall of empires or a yellow leaf.</td><td>334</td></tr> +<tr><td>385</td><td><i>Fresh fish from Helicon! Who'll buy! Who'll buy</i>?</td><td> </td></tr> +<tr><td> </td><td>Fresh fish from Hippocrene! who'll buy? who'll buy?</td><td>391</td></tr> +<tr><td>387</td><td><i>Too much in turtle Bristol's sons delight</i>,</td><td> </td></tr> +<tr><td>388</td><td><i>Too much o'er bowls of Rack prolong the night</i>.</td><td> </td></tr> +<tr><td> </td><td>Your turtle-feeder's verse must needs be flat,</td><td>393</td></tr> +<tr><td> </td><td>Though Bristol bloat him with the verdant fat.</td><td>394</td></tr> +<tr><td>502</td><td><i>First in the ranks illustrious shall be seen</i>.</td><td> </td></tr> +<tr><td> </td><td>First in the oat-fed phalanx shall be seen.</td><td>508</td></tr> +<tr><td>511</td><td><i>As he himself was damned, shall try to damn</i>.</td><td> </td></tr> +<tr><td> </td><td>Damned like the Devil—Devil-like will damn.</td><td>517</td></tr> +<tr><td>532</td><td><i>And grateful to the founder of the feast</i>,</td><td> </td></tr> +<tr><td>533</td><td><i>Declare his landlord can translate, at least</i>,</td><td> </td></tr> +<tr><td> </td><td>And, grateful for the dainties on his plate,</td><td>550</td></tr> +<tr><td> </td><td>Declare his landlord can at least translate.</td><td>551</td></tr> +<tr><td>552</td><td><i>While Kenny's World just suffered to proceed</i>,</td><td> </td></tr> +<tr><td>553</td><td><i>Proclaims the audience very kind indeed</i>.</td><td> </td></tr> +<tr><td> </td><td>While <span class="smcap">Kenney's</span> "World"—ah! where is <span class="smcap">Kenney's</span> wit?—</td><td>570</td></tr> +<tr><td> </td><td>Tires the sad gallery, lulls the listless Pit.</td><td>571</td></tr> +<tr><td>563</td><td><i>Let Comedy resume her throne again</i>.</td><td> </td></tr> +<tr><td> </td><td>Let Comedy assume her throne again.</td><td>581</td></tr> +<tr><td>569</td><td><i>Where</i> <span class="smcap">Garrick</span> <i>trod, and</i> <span class="smcap">Kemble</span> <i>lives to tread</i>.</td><td> </td></tr> +<tr><td> </td><td>Where <span class="smcap">Garrick</span> trod, and <span class="smcap">Siddons</span> lives to tread.</td><td>587</td></tr> +<tr><td>614</td><td><i>Raise not your scythe, Suppressors of our Vice</i>.</td><td> </td></tr> +<tr><td> </td><td>Whet not your scythe, Suppressors of our Vice.</td><td>632</td></tr> +<tr><td>625</td><td><i>The Arbiter of pleasure and of play</i>.</td><td> </td></tr> +<tr><td> </td><td>Our arbiter of pleasure and of play.</td><td>643</td></tr> +<tr><td>661</td><td><i>And, kinder still, a</i> <span class="smcap">Paget</span> <i>for your wife</i>.</td><td> </td></tr> +<tr><td> </td><td>And, kinder still, two <span class="smcap">Pagets</span> for your wife.</td><td>679</td></tr> +<tr><td>728</td><td><i>Want your defence, let Pity be your screen</i>.</td><td> </td></tr> +<tr><td> </td><td>Want is your plea, let Pity be your screen.</td><td>746</td></tr> +<tr><td>742</td><td><i>Some stragglers skirmish round their columns still</i>.</td><td> </td></tr> +<tr><td> </td><td>Some stragglers skirmish round the columns still.</td><td>760</td></tr> +<tr><td>815</td><td><i>The spoiler came; and all thy promise fair</i></td><td> </td></tr> +<tr><td>816</td><td><i>Has sought the grave, to sleep for ever there</i>.</td><td> </td></tr> +<tr><td> </td><td>The Spoiler swept that soaring Lyre away,</td><td>834<span class='pagenum'><a name="Page_310" id="Page_310">[310]</a></span></td></tr> +<tr><td> </td><td>Which else had sounded an immortal lay.</td><td>835</td></tr> +<tr><td>891</td><td><i>The native genius with their feeling given</i>.</td><td> </td></tr> +<tr><td> </td><td>The native genius with their being given.</td><td>909</td></tr> +<tr><td>903</td><td><i>Let</i> <span class="smcap">Moore</span> <i>be lewd; let</i> <span class="smcap">Strangford</span> <i>steal from Moore</i>.</td><td> </td></tr> +<tr><td> </td><td>Let <span class="smcap">Moore</span> still sigh; let <span class="smcap">Strangford</span> steal from <span class="smcap">Moore</span>.</td><td>921</td></tr> +<tr><td>922</td><td><i>For outlawed</i> <span class="smcap">Sherwood's</span> <i>tales of</i> <span class="smcap">Robin Hood</span>.</td><td> </td></tr> +<tr><td> </td><td>For <span class="smcap">Sherwood's</span> outlaw tales of <span class="smcap">Robin Hood</span>.</td><td>940</td></tr> +<tr><td>946</td><td><i>And even spurns the great Seatonian prize</i>.</td><td> </td></tr> +<tr><td> </td><td>Even from the tempting ore of Seaton's prize.</td><td>964</td></tr> +<tr><td>965</td><td><i>So sunk in dullness and so lost in shame</i>,</td><td> </td></tr> +<tr><td>966</td><td><i>That</i> <span class="smcap">Smythe</span> <i>and</i> <span class="smcap">Hodgson</span> <i>scarce redeem thy fame</i>.</td><td> </td></tr> +<tr><td> </td><td>So lost to Phoebus, that nor Hodgson's verse</td><td>983</td></tr> +<tr><td> </td><td>Can make thee better, nor poor Hewson's worse.</td><td>984</td></tr> +<tr><td>969</td><td><i>On her green banks a greener wreath is wove</i>.</td><td> </td></tr> +<tr><td> </td><td>On her green banks a greener wreath she wove.</td><td>987</td></tr> +<tr><td>972</td><td><i>And modern Britons justly praise their Sires</i>.</td><td> </td></tr> +<tr><td> </td><td>And modern Britons glory in their Sires.</td><td>990</td></tr> +<tr><td>984</td><td><i>Earth's chief Dictatress, Ocean's mighty Queen</i>.</td><td> </td></tr> +<tr><td> </td><td>Earth's chief Dictatress, Ocean's lovely Queen.</td><td>1002</td></tr> +<tr><td>1005</td><td><i>But should I back return, no lettered rage</i></td><td> </td></tr> +<tr><td>1006</td><td><i>Shall drag my common-place book on the stage</i>:</td><td> </td></tr> +<tr><td>1007</td><td><i>Let vain</i> <span class="smcap">Valentia</span> <i>rival luckless</i> <span class="smcap">Carr</span>,</td><td> </td></tr> +<tr><td>1008</td><td><i>And equal him whose work he sought to mar</i>.</td><td> </td></tr> +<tr><td> </td><td>But should I back return, no tempting press</td><td>1023</td></tr> +<tr><td> </td><td>Shall drag my Journal from the desk's recess;</td><td>1024</td></tr> +<tr><td> </td><td>Let coxcombs, printing as they come from far,</td><td>1025</td></tr> +<tr><td> </td><td>Snatch his own wreath of Ridicule from Carr.</td><td>1026</td></tr> +<tr><td>1016</td><td><i>I leave topography to classic</i> <span class="smcap">Gell</span>.</td><td> </td></tr> +<tr><td> </td><td>I leave topography to rapid <span class="smcap">Gell.</span></td><td>1034</td></tr> +<tr><td>1018</td><td><i>To stun mankind with Poesy or Prose</i>.</td><td> </td></tr> +<tr><td> </td><td>To stun the public ear—at least with Prose.</td><td>1036</td></tr> +<tr><td>1049</td><td><i>Thus much I've dared to do; how far my lay</i>.</td><td> </td></tr> +<tr><td> </td><td>Thus much I've dared: if my incondite lay.</td><td>1067</td></tr> +</table> + +<h3 style="letter-spacing:0;"><i>Note</i> (3).—<span class="smcap">The Annotated Copies of the Fourth Edition of 1811</span>.</h3> + +<p>Two annotated copies of the genuine Fourth Edition of <i>English +Bards, etc.</i> [1811], with MS. corrections in Byron's handwriting, +are extant—one in Mr. Murray's possession, and a second in the +Forster Library at the South Kensington Museum. The former, +which contains the marginal comments marked "B. 1816," has +been assumed to have been prepared as a press copy for the Fifth +Edition; but, as the following collation reveals, the latter, which +belonged to Leigh Hunt, represents a fuller and later, though not +<span class='pagenum'><a name="Page_311" id="Page_311">[311]</a></span> +a final revision. The half-title bears the inscription, "Byron, +Dec. 31<sup>st</sup>, 1811. +N—d. A<sup>y</sup> [<i>i.e.</i> Newstead Abbey] B. +</p> +<div class="blockquot"> +"<i>Dum relego—scripsisse pudet—quia plurima cerno—</i><br /> +<i>Me quoque—qui feci—judice digna lini</i>—B. J<sup>y</sup> 20, 1812." +</div> +<p> +and the verso the words, "Given me by the author on my birthday, Oct. 19, 1815. Leigh Hunt." +</p> +<p><span style="margin-left: 4.5em;">u</span></p> +<p>P. 5. ingen<span class="struck"> i </span>ous. [The misprint is a note of a genuine copy.]<br /> +</p> + +<p style="margin-top:0.5em;">Lines 173, 174.</p> +<p><span style="margin-left: 6em;"><span class="struck">Low may they sink to merited contempt</span></span><br /> +<span style="margin-left: 6em;"><span class="struck">And scorn remunerate the mean attempt.</span></span><br /> +<span style="margin-left: 4em;">Still for stern Mammon may they toil in vain,</span><br /> +<span style="margin-left: 4em;">And sadly gaze on Gold they cannot gain.</span> +</p> + +<p style="margin-top:0.5em;">[This emendation is not given in the Murray copy.]</p> + +<p style="margin-top:0.5em;">Lines 257, 258.</p> + +<p> +<span style="margin-left: 4em;">So</span><br /> +<span style="margin-left: 4em;"><span class="struck">How</span> well the subject suits his noble mind!</span><br /> +<span style="margin-left: 4em;"><span class="struck">"A fellow feeling makes us wond'rous kind,"</span></span><br /> +<span style="margin-left: 4em;">He brays the Laureat of the long-eared kind!</span><br /> +</p> + +<p style="margin-top:0.5em;">[The Murray copy, which amends line 258 as above, leaves the +"How" unerased, but the Fifth Edition prints "So."]</p> + +<p style="margin-top:0.5em;">Lines 323-328.</p> + +<p> +<span style="margin-left: 3em;">And shows, <span class="struck">dissolved in thine own tears</span>.</span><br /> +<span style="margin-left: 8em;">still whimpering through threescore years.</span><br /> +<span style="margin-left: 3em;"><span class="struck">Whether in sighing-winds thou seek'st relief,</span></span><br /> +<span style="margin-left: 3em;"><span class="struck">Or consolation in a yellow leaf.</span></span><br /> +<span style="margin-left: 3em;">Whether in equal strains thou vent'st thy grief</span><br /> +<span style="margin-left: 3em;">O'er falling Empires or a yellow leaf.</span><br /> +</p> + +<p style="margin-top:0.5em;">[The Murray copy gives no emendation. The Fifth Edition +adopts the first correction, but, for the variant in lines 327, 328, +reads—<br /> +<span style="margin-left: 4em;">Whether thou sing'st with equal ease and grief</span><br /> +<span style="margin-left: 4em;">The fall of Empires or a yellow leaf.]</span><br /> +</p> + +<p style="margin-top:0.5em;"> +Line 336. All love thy <span class="struck">strain</span><br /> +<span style="margin-left: 9.5em;">rhyme</span> +</p> + +<p style="margin-top:0.5em;"> +Line 385. Fresh fish from <span class="struck">Helicon</span><br /> +<span style="margin-left: 11em;">Hippocrene</span><br /> +</p> + +<p style="margin-top:0.5em;">[The Murray copy adds a note: "The Fifth Edition reads Hippocrene."]</p> + +<p style="margin-top:0.5em;">Lines 387, 388.<br /> +<span style="margin-left: 4em;"><span class="struck">Too much in turtle Bristol's sons delight,</span></span><br /> +<span style="margin-left: 4em;"><span class="struck">Too much o'er bowls of Rack prolong the night.</span></span><br /> +<span style="margin-left: 4em;">Your turtle-feeder's verse must needs be flat,</span><br /> +<span style="margin-left: 4em;">Though Bristol bloat him with the verdant fat.</span><br /> +</p> + +<p style="margin-top:0.5em;">[The Murray copy does not contain this emendation, which was +adopted in the Fifth Edition.</p> + +<p><span class='pagenum'><a name="Page_312" id="Page_312">[312]</a></span></p> + +<p>P. 36 <i>n.</i> The Hunt copy gives in MS. the note concerning +Moore—"I am informed," etc.—which is printed in the Fifth +Edition. There is no similar annotation in the Murray copy.</p> + +<p>Line 502. For <span class="struck">"ranks illustrious"</span> both annotated copies read +"oat-fed phalanx."]</p> + +<p style="margin-top:0.5em;">Lines 532, 533.<br /> +<span style="margin-left: 4em;">And grateful <span class="struck">to the founder of the feast,</span></span><br /> +<span style="margin-left: 4em;">Declare his landlord <span class="struck">can translate, at least.</span></span><br /> +<span style="margin-left: 4em;">And grateful for the dainties on his plate,</span><br /> +<span style="margin-left: 4em;">Declare his landlord can at least translate.</span><br /> +</p> + +<p style="margin-top:0.5em;">[The amended lines, which appeared in the Fifth Edition, are not +in the Murray copy.]</p> + +<p>Lines 552, 553.<br /> +<span style="margin-left: 3em;">While Kenny's World <span class="struck">just suffered to proceed,</span></span><br /> +<span style="margin-left: 3em;"><span class="struck">Proclaims the audience very kind indeed.</span></span><br /> +<span style="margin-left: 3em;">While Kenny's World—ah where is Kenny's wit?</span><br /> +<span style="margin-left: 17em;">listless</span><br /> +<span style="margin-left: 3em;">Tires the sad Gallery—lulls the <span class="struck">listening</span> pit.</span><br /> +</p> + +<p style="margin-top:0.5em;">[The emendation is given in both annotated copies; but the +substitution of "listless" for "listening," which is adopted in the +Fifth Edition, does not appear in the Murray copy,]</p> + +<p style="margin-top:0.5em;"> +Line 563. Let Comedy <span class="struck"> re </span>sume<br /> +<span style="margin-left: 12em;">ass</span><br /> +</p> + +<p style="margin-top:0.5em;">[The correction is not given in the Murray copy.]</p> + +<p style="margin-top:0.5em;"> +Line 569. and <span class="struck">Kemble</span> lives to tread.<br /> +<span style="margin-left: 8em;">Siddons</span><br /> +</p> + +<p>[The substitution of "Siddons" for "Kemble," which dates +from the Fifth Edition, is not given in the Murray copy.]</p> + +<p style="margin-top:0.5em;">Line 728.<br /> +<span style="margin-left: 4em;">Want your <span class="struck">defence</span>, let Pity be your screen</span><br /> +<span style="margin-left: 9em;">plea</span><br /> +<span style="margin-left: 4em;">Want is your plea, let Pity be your screen.</span><br /> +</p> + +<p style="margin-top:0.5em;">Lines 815, 816.<br /> +<span style="margin-left: 4em;">The spoiler <span class="struck">came; and all thy promise fair</span></span><br /> +<span style="margin-left: 4em;"><span class="struck">Has sought the grave, to sleep for ever there.</span></span><br /> +<span style="margin-left: 4em;">The Spoiler swept that soaring Lyre away,</span><br /> +<span style="margin-left: 4em;">Which she had sounded an immortal lay.</span><br /> +</p> + +<p style="margin-top:0.5em;">[The emendation appears in both the annotated copies.]</p> + +<p style="margin-top:0.5em;"> +L. 903. Let Moore <span class="struck">be lewd</span><br /> +<span style="margin-left: 10em;">still sigh</span><br /> +</p> + +<p><span class='pagenum'><a name="Page_313" id="Page_313">[313]</a></span> +[This emendation does not appear in the Murray copy, but the +words ["be lewd"] have been underscored with a pencil, and a <b>X</b> +placed against them.]</p> + +<p style="margin-top:0.5em;">Line 946.<br /> +<span style="margin-left: 4em;"><span class="struck">And even spurns the great Scatonian prize.</span></span><br /> +<span style="margin-left: 4em;">Even from the tempting ore of Seaton's prize.</span><br /> +</p> + +<p style="margin-top:0.5em;">[This emendation is given in both the annotated copies.]</p> + +<p style="margin-top:0.5em;">Lines 965, 966.<br /> +<span style="margin-left: 4em;">So sunk in dullness <span class="struck">and so lost in shame</span></span><br /> +<span style="margin-left: 4em;"> <span class="struck">That <span class="smcap">Smythe</span> and <span class="smcap">Hodgson</span> scarce redeem thy fame.</span></span><br /> +<span style="margin-left: 4em;">So sunk in dullness that nor Hodgson's verse</span><br /> +<span style="margin-left: 4em;">Can make thee better—nor poor Hewson's worse.</span><br /> +</p> + +<p style="margin-top:0.5em;">[This emendation is not in the Murray copy. The Fifth Edition +adopts the further correction, "So lost to Phoebus" for "So sunk +in dullness."]</p> + +<p style="margin-top:0.5em;"> +Line 969. <span class="struck">"is</span> wove,<br /> +<span style="margin-left: 6em;">she wove.</span><br /> +</p> + +<p>[This correction is not in the Murray copy.]</p> + +<p style="margin-top:0.5em;"> +Line 972. ——<span class="struck">justly praise</span> their sires.<br /> +<span style="margin-left: 4.5em;">——glory in their sires.</span><br /> +</p> + +<p>[This emendation is not given in the Murray copy.</p> + +<p>The Leigh Hunt copy gives twenty MS. emendations (besides +"Death" for "death," in line 820, and the alteration of "rapid" +to "rabid" in the note on Hewson Clarke, line 962) including +the note on Moore. The Murray copy gives nine MS. emendations, +of which six are identical with those in the Hunt copy. Three +emendations are peculiar to the Murray copy—]</p> + +<p style="margin-top:0.5em;">(1) Lines 303-306.<br /> +<span style="margin-left: 3em;">Behold!—ye tarts! etc. (<i>vide ante</i>, p. 309).</span></p> +<p style="margin-top:0.5em;">(2) Line 614. <span class="struck">Raise</span> not your scythe.<br /> +<span style="margin-left: 7em;">Whet not your scythe.</span></p> +<p>(3) Line 661. ——"<span class="struck">a Paget</span> for your wife.<br /> +<span style="margin-left: 7em;">——two Pagets for your wife.</span></p> + +</div> + +<p><span class='pagenum'><a name="Page_314" id="Page_314">[314]</a></span></p> + +<h2>APPENDIX TO BIBLIOGRAPHY. +</h2> +<div class="center"><img src="images/decoration.png" alt="typographical flourish" title="typographical flourish" /></div> + +<h3>ILLUSTRATIONS OF LORD BYRON'S <i>POETICAL WORKS</i>.</h3> + +<p><i>Note</i>.—The following catalogue of "illustrations of Lord +Byron" has been extracted from pp. 88, 89, 94-96 of "<i>The +Prisoner of Chillon, etc.</i> Herausgegeben von Eugen Kölbing, +Weimar. 1896."</p> + +<h6>I.</h6> + +<p>Compositions in outline from Lord Byron's "Manfred" and +"Prisoner of Chillon," by Frederick Thrupp, sculptor. London, +Pub<sup>d</sup> by Ackermann and Co., Strand.</p> + +<h6>II.</h6> + +<p>The Pocket Magazine of classic and polite literature. With engravings, +illustrative of Lord Byron's Works. Vols. I., II. +London: Printed and published by John Arliss. 1818.</p> + +<h6>III.</h6> + +<p>Forty illustrations of Lord Byron; by George Cruikshank. Published +by J. Robins and Co., Ivy Lane, Paternoster Row. [June 12, 1824.]</p> + +<h6>IV.</h6> + +<p>Six vignettes pour les Oeuvres de lord Byron, d'après les tableaux +de MM. Alfred et Tony Johannot, graveés par MM. Koenig, +Markl, Maulet, Pourvoyeur, Mauduit. Paris. Furne, libraire-éditeur. 1832.</p> + +<h6>V.</h6> + +<p>The Byron Gallery; a series of historical embellishments to illustrate +the poetical works of Lord Byron. London: published by +Smith, Elder and Co. 65 Cornhill. 1833. +<span class='pagenum'><a name="Page_315" id="Page_315">[315]</a></span></p> + +<h6>VI.</h6> + +<p>Finden's Illustrations of the Life and Works of Lord Byron. With +original and selected information on the subjects of the engravings, +by W. Brockedon. Vols. I.-III. London: John Murray, Albemarle +Street: sold also by Charles Tilt, Fleet Street. 1833-1834.</p> + +<h6>VII.</h6> + +<p>Oeuvres de Lord Byron, gravures à l'eau-forte, par Réveil, d'après +les dessins de A. Colin. Paris. Audot, éditeur du Musée de +peinture. 1833.</p> + +<h6>VIII.</h6> + +<p>Historical Illustrations of Lord Byron's Works in a series of etchings +by Réveil, from original paintings by A. Colin. London, Charles +Tilt, 86, Fleet Street. 1834.</p> + +<h6>IX.</h6> + +<p>Galerie des dames de Byron. Trente-neuf planches. Paris: Charpentier-éditeur. +1836.</p> + +<h6>X.</h6> + +<p>Illustrations of the Works of Lord Byron, consisting of a portrait +after Saunders, a vignette title-page after Stothard, engraved by +Blanchard, two facsimiles of handwriting of Byron, and twenty +etchings on steel by Réveil, from original drawings by A. Colin; +to which are added the select passages in English and French, +which form the subject of the engravings. Adapted to all editions. +Paris, Baudry, European Library, etc. 1837.</p> + +<h6>XI.</h6> + +<p>Les dames de Byron; or portraits of the principal female characters +in Lord Byron's poems. Engraved from original paintings by +eminent artists. Under the superintendence of W. and L. +Finden. London: Charles Tilt, 86, Fleet Street. 1837.</p> + +<h6>XII.</h6> + +<p>Finden's Beauties of Byron; or, portraits of the principal female +characters in Lord Byron's poems. Engraved from original +paintings by eminent artists. With extracts illustrating each +subject. London: Charles Tilt, Fleet-street, and Thomas +Wardle, Philadelphia.</p> + +<h6>XIII.</h6> + +<p>Cabinet of Poetry and Romance. Female portraits from the writings +of Byron and Scott. With poetical illustrations by Charles +Swain. London: David Bogue, 86, Fleet Street. 1845. +<span class='pagenum'><a name="Page_316" id="Page_316">[316]</a></span></p> + +<h6>XIV.</h6> + +<p>Illustrations to the Works of Lord Byron. The drawings by +Chalon, Leslie, Harding, Herbert, Meadows, Stephanoff, E. +Corbould, Fanny Corbaux, Jenkins, and Westall. Engraved +under the superintendence of Mr. Charles Heath. A. Fullarton +& Co., 106, Newgate Street, London, etc.</p> + +<h6>XV.</h6> + +<p>The Byron Gallery of highly finished engravings, illustrating Lord +Byron's Works, with selected beauties from his poems. Elucidated +by historical and critical notices, together with a sketch of +his life, containing important and unpublished matter. By Robert +B. McGregor, Esq. New York: published by R. Martin, 46, +Anne-street.</p> + +<p><span class='pagenum'><a name="Page_317" id="Page_317">[317]</a></span></p> + +<h2>CONTENTS OF BIBLIOGRAPHY +</h2> +<div class="center"><img src="images/decoration.png" alt="typographical flourish" title="typographical flourish" /></div> + +<h3><span class="smcap">Collections Of Poems</span>.</h3> + +<table summary="Contents"> +<tr><td>Collected Editions, pp. <a href="#Page_89">89</a>-<a href="#Page_136">136</a>.</td></tr> +<tr><td>Collections of Dramas, pp. <a href="#Page_168">168</a>, <a href="#Page_169">169</a>.</td></tr> +<tr><td>Fugitive Pieces and Minor Poems, pp. <a href="#Page_246">246</a>-<a href="#Page_254">254</a>.</td></tr> +<tr><td><i>The Liberal</i>, p. <a href="#Page_303">303</a>.</td></tr> +<tr><td>Miscellaneous Poems, pp. <a href="#Page_152">152</a>-<a href="#Page_159">159</a>.</td></tr> +<tr><td>Poems, pp. <a href="#Page_254">254</a>, <a href="#Page_255">255</a>.</td></tr> +<tr><td>Poems on His Domestic Circumstances, pp. <a href="#Page_255">255</a>-<a href="#Page_259">259</a>.</td></tr> +<tr><td>Selections, pp. <a href="#Page_144">144</a>-<a href="#Page_149">149</a>.</td></tr> +</table> + +<h3><span class="smcap">Separate Poems And Dramas</span>.</h3> + +<table summary="Contents"> +<tr><td>Age of Bronze, p. <a href="#Page_170">170</a>.</td></tr> +<tr><td>Beppo, pp. <a href="#Page_170">170</a>, <a href="#Page_171">171</a>.</td></tr> +<tr><td>Bride of Abydos, pp. <a href="#Page_172">172</a>, <a href="#Page_173">173</a>.</td></tr> +<tr><td>Cain, pp. <a href="#Page_176">176</a>-<a href="#Page_178">178</a>.</td></tr> +<tr><td>Childe Harold's Pilgrimage, pp. <a href="#Page_180">180</a>-<a href="#Page_194">194</a>.</td></tr> +<tr><td>Corsair, pp. <a href="#Page_201">201</a>-<a href="#Page_204">204</a>.</td></tr> +<tr><td>Curse of Minerva, pp. <a href="#Page_207">207</a>, <a href="#Page_208">208</a>.</td></tr> +<tr><td>Deformed Transformed, p. <a href="#Page_208">208</a>.</td></tr> +<tr><td>Don Juan, pp. <a href="#Page_209">209</a>-<a href="#Page_220">220</a>.</td></tr> +<tr><td>English Bards, etc., pp. <a href="#Page_225">225</a>-<a href="#Page_232">232</a>.</td></tr> +<tr><td>Fare Thee Well! and A Sketch, etc., pp. <a href="#Page_232">232</a>-<a href="#Page_234">234</a>.</td></tr> +<tr><td>Giaour, pp. <a href="#Page_234">234</a>-<a href="#Page_238">238</a>.</td></tr> +<tr><td>Heaven and Earth, p. <a href="#Page_241">241</a>.</td></tr> +<tr><td>Hebrew Melodies, pp. <a href="#Page_242">242</a>-<a href="#Page_244">244</a>.</td></tr> +<tr><td>Hints from Horace, pp. <a href="#Page_259">259</a>, <a href="#Page_260">260</a>.</td></tr> +<tr><td>Irish Avatar, p. <a href="#Page_260">260</a>.</td></tr> +<tr><td>Island, pp. <a href="#Page_260">260</a>, <a href="#Page_261">261</a>.</td></tr> +<tr><td>Lament of Tasso, pp. <a href="#Page_262">262</a>, <a href="#Page_263">263</a>.</td></tr> +<tr><td>Lara, pp. <a href="#Page_263">263</a>-<a href="#Page_265">265</a>.</td></tr> +<tr><td>Manfred, pp. <a href="#Page_266">266</a>-<a href="#Page_268">268</a>.</td></tr> +<tr><td>Marino Faliero, pp. <a href="#Page_275">275</a>, <a href="#Page_276">276</a>.</td></tr> +<tr><td>Mazeppa, pp. <a href="#Page_276">276</a>-<a href="#Page_278">278</a>.</td></tr> +<tr><td>Monody on the Death of Sheridan, pp. <a href="#Page_280">280</a>, <a href="#Page_281">281</a>.</td></tr> +<tr><td>An Ode to the Trainers of the Frame Bill, pp. <a href="#Page_281">281</a>.</td></tr> +<tr><td>Ode to Napoleon Buonaparte, pp. <a href="#Page_282">282</a>, <a href="#Page_283">283</a>.</td></tr> +<tr><td>Prisoner of Chillon, pp. <a href="#Page_285">285</a>-<a href="#Page_289">289</a>.</td></tr> +<tr><td>Prophecy of Dante, pp. <a href="#Page_291">291</a>, <a href="#Page_292">292</a>.</td></tr> +<tr><td>Sardanapalus, pp. <a href="#Page_293">293</a>, <a href="#Page_294">294</a>.</td></tr> +<tr><td>Siege of Corinth, pp. <a href="#Page_296">296</a>-<a href="#Page_298">298</a>.</td></tr> +<tr><td>Two Foscari, pp. <a href="#Page_299">299</a>, <a href="#Page_300">300</a>.</td></tr> +<tr><td>Vision of Judgment, p. <a href="#Page_300">300</a>.</td></tr> +<tr><td>Waltz, p. <a href="#Page_301">301</a>.</td></tr> +<tr><td>Werner, pp. <a href="#Page_301">301</a>, <a href="#Page_302">302</a>.</td></tr> +</table> + +<p><span class='pagenum'><a name="Page_318" id="Page_318">[318]</a></span></p> + +<h3><span class="smcap">Translations</span>.</h3> + +<h4>Collections of Poems.</h4> + +<table summary="Contents"> +<tr><td>Collected Editions, pp. <a href="#Page_136">136</a>-<a href="#Page_144">144</a>.</td></tr> +<tr><td>Collections of Dramas, p. <a href="#Page_169">169</a>.</td></tr> +<tr><td>Miscellaneous Poems, pp. <a href="#Page_159">159</a>-<a href="#Page_168">168</a>.</td></tr> +<tr><td>Selections, pp. <a href="#Page_149">149</a>-<a href="#Page_152">152</a>.</td></tr> +</table> + +<h4>Separate Poems and Dramas.</h4> + +<table summary="Contents"> +<tr><td>Beppo, pp. <a href="#Page_171">171</a>, <a href="#Page_172">172</a>.</td></tr> +<tr><td>Bride of Abydos, pp. <a href="#Page_174">174</a>-<a href="#Page_176">176</a>.</td></tr> +<tr><td>Cain, pp. <a href="#Page_178">178</a>-<a href="#Page_180">180</a>.</td></tr> +<tr><td>Childe Harold's Pilgrimage, pp. <a href="#Page_194">194</a>-<a href="#Page_201">201</a>.</td></tr> +<tr><td>Corsair, pp. <a href="#Page_204">204</a>-<a href="#Page_206">206</a>.</td></tr> +<tr><td>Deformed Transformed, p, <a href="#Page_208">208</a>.</td></tr> +<tr><td>Don Juan, pp. <a href="#Page_220">220</a>-<a href="#Page_225">225</a>.</td></tr> +<tr><td>Giaour, pp. <a href="#Page_238">238</a>-<a href="#Page_240">240</a>.</td></tr> +<tr><td>Heaven and Earth, pp. <a href="#Page_241">241</a>, <a href="#Page_242">242</a>.</td></tr> +<tr><td>Hebrew Melodies, pp. <a href="#Page_244">244</a>-<a href="#Page_246">246</a>.</td></tr> +<tr><td>Island, pp. <a href="#Page_261">261</a>, <a href="#Page_262">262</a>.</td></tr> +<tr><td>Lament of Tasso, p. <a href="#Page_263">263</a>.</td></tr> +<tr><td>Lara, pp. <a href="#Page_265">265</a>, <a href="#Page_266">266</a>.</td></tr> +<tr><td>Manfred, pp. <a href="#Page_268">268</a>-<a href="#Page_274">274</a>.</td></tr> +<tr><td>Marino Faliero, p. <a href="#Page_276">276</a>.</td></tr> +<tr><td>Mazeppa, pp. <a href="#Page_278">278</a>-<a href="#Page_280">280</a>.</td></tr> +<tr><td>Ode from the French, p. <a href="#Page_281">281</a>.</td></tr> +<tr><td>Ode to Napoleon Buonaparte, p. <a href="#Page_283">283</a>.</td></tr> +<tr><td>Parisina, pp. <a href="#Page_283">283</a>-<a href="#Page_285">285</a>.</td></tr> +<tr><td>Prisoner of Chillon, pp. <a href="#Page_289">289</a>-<a href="#Page_291">291</a>.</td></tr> +<tr><td>Prophecy of Dante, pp. <a href="#Page_292">292</a>, <a href="#Page_293">293</a>.</td></tr> +<tr><td>Sardanapalus, pp. <a href="#Page_294">294</a>-<a href="#Page_296">296</a>.</td></tr> +<tr><td>Siege of Corinth, pp. <a href="#Page_298">298</a>, <a href="#Page_299">299</a>.</td></tr> +<tr><td>Two Foscari, p. <a href="#Page_300">300</a>.</td></tr> +<tr><td>Werner, p. <a href="#Page_303">303</a>.</td></tr> +</table> + +<p><span class='pagenum'><a name="Page_319" id="Page_319">[319]</a></span></p> + +<h2>SUMMARY OF BIBLIOGRAPHY. +</h2> +<div class="center"><img src="images/decoration.png" alt="typographical flourish" title="typographical flourish" /></div> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Poetical Works.</td><td>2 vols.</td><td>Philadelphia. 1813.</td></tr> +<tr><td align='right'>II.</td><td>P. Works.</td><td>2 v.</td><td>Boston. 1814.</td></tr> +<tr><td align='right'>III.</td><td>Works.</td><td>4 v.</td><td>London. <i>Murray</i>. 1815.</td></tr> +<tr><td align='right'>IV.</td><td>Works.</td><td>2 v.</td><td>London. <i>M</i>. 1815.</td></tr> +<tr><td align='right'>V.</td><td>P. Works.</td><td>3 v.</td><td>New York. 1815.</td></tr> +<tr><td align='right'>VI.</td><td>Works.</td><td>3 v.</td><td>Philadelphia. 1816.</td></tr> +<tr><td align='right'>VII.</td><td>Works.</td><td>5 v.</td><td>London. <i>M</i>. 1817.</td></tr> +<tr><td align='right'>VIII.</td><td>Poems.</td><td>1 v.</td><td>New York. 1817.</td></tr> +<tr><td align='right'>IV.</td><td>Works.</td><td>8 v.</td><td>London. <i>M</i>. 1818-1820.</td></tr> +<tr><td align='right'>X.</td><td>Works.</td><td>6 v.</td><td>Paris. 1818.</td></tr> +<tr><td align='right'>XI.</td><td>Works.</td><td>13 v.</td><td>Leipzig. 1818-1822.</td></tr> +<tr><td align='right'>XII.</td><td>Works.</td><td>3 v.</td><td>London. <i>M</i>. 1819.</td></tr> +<tr><td align='right'>XIII.</td><td>Works.</td><td>6 v.</td><td>Paris. 1819.</td></tr> +<tr><td align='right'>XIV.</td><td>Works.</td><td>6 v.</td><td>Zuickau. 1819.</td></tr> +<tr><td align='right'>XV.</td><td>Works.</td><td>7 v.</td><td>Brussels. 1819.</td></tr> +<tr><td align='right'>XVI.</td><td>Works.</td><td>4 v.</td><td>New York. 1820.</td></tr> +<tr><td align='right'>XVII.</td><td>Works.</td><td>5 v.</td><td>London. <i>M</i>. 1821.</td></tr> +<tr><td align='right'>XVIII.</td><td>Works.</td><td>5 v.</td><td>Paris. 1821.</td></tr> +<tr><td align='right'>XIX.</td><td>Works.</td><td>16 v.</td><td>Paris. 1822-1824.</td></tr> +<tr><td align='right'>XX.</td><td>Works.</td><td>4 v.</td><td>London. <i>M</i>. 1823.</td></tr> +<tr><td align='right'>XXI.</td><td>Works.</td><td>12 v.</td><td>Paris. 1822-1824.</td></tr> +<tr><td align='right'>XXII.</td><td>Works.</td><td>12 v.</td><td>Paris. 1823.</td></tr> +<tr><td align='right'>XXIII.</td><td>Works.</td><td>3 v.</td><td>[vols. v., vi., vii.] London. Knight and Lacy. 1824-1825.</td></tr> +<tr><td align='right'>XXIV.</td><td>Works.</td><td>8 v.</td><td>London. <i>M</i>. 1825.</td></tr> +<tr><td align='right'>XXV.</td><td>Works.</td><td>6 v.</td><td>[vols. v., vi.] London. <i>M</i>. 1825.</td></tr> +<tr><td align='right'>XXVI.</td><td>Complete Works.</td><td>7 v.</td><td>Paris. 1825.</td></tr> +<tr><td align='right'>XXVII.</td><td>Works.</td><td>8 v.</td><td>Philadelphia. 1825.</td></tr> +<tr><td align='right'>XXVIII.</td><td>Works.</td><td>8 v.</td><td>New York. 1825.</td></tr> +<tr><td align='right'>XXIX.</td><td>Works.</td><td>32 v.</td><td>Zuickau. 1825-1827.</td></tr> +<tr><td align='right'>XXX.</td><td>Works.</td><td>13 v.</td><td>Paris. 1826.</td></tr> +<tr><td align='right'>XXXI.</td><td>Works.</td><td>1 v.</td><td>Paris. 1826.</td></tr> +<tr><td align='right'>XXXII.</td><td>Works.</td><td>1 v.</td><td>Frankfort. 1826.</td></tr> +<tr><td align='right'>XXXIII.</td><td>Works.</td><td>6 v.</td><td>London. <i>M</i>. 1827.</td></tr> +<tr><td align='right'>XXXIV.</td><td>Works.</td><td>4 v.</td><td>London. <i>M</i>. 1828.</td></tr> +<tr><td align='right'>XXXV.</td><td>Works.</td><td>1 v.</td><td>Paris. 1828.</td></tr> +<tr><td align='right'>XXXVI.</td><td>Works.</td><td>1 v.</td><td>Frankfort. 1828.<span class='pagenum'><a name="Page_320" id="Page_320">[320]</a></span></td></tr> +<tr><td align='right'>XXXVII.</td><td>Works.</td><td>6 v.</td><td>London. <i>M</i>. 1829.</td></tr> +<tr><td align='right'>XXXVIII.</td><td>Works.</td><td>4 v.</td><td>London. <i>M</i>. 1829.</td></tr> +<tr><td align='right'>XXXIX.</td><td>Poetic Works.</td><td>2 v.</td><td>Philadelphia. 1829.</td></tr> +<tr><td align='right'>XL.</td><td>Works.</td><td>1 v.</td><td>Frankfort. 1829.</td></tr> +<tr><td align='right'>XLI.</td><td>Works.</td><td>4 v.</td><td>London. <i>M</i>. 1830.</td></tr> +<tr><td align='right'>XLII.</td><td>Complete Works,</td><td>1 v.</td><td>Paris. 1830.</td></tr> +<tr><td align='right'>XLIII.</td><td>Works.</td><td>6 v.</td><td>London. <i>M</i>. 1831.</td></tr> +<tr><td align='right'>XLIV.</td><td>Complete Works,</td><td>1 v.</td><td>Paris. 1831.</td></tr> +<tr><td align='right'>XLV.</td><td>Works.</td><td>1 v.</td><td>Philadelphia. 1831.</td></tr> +<tr><td align='right'>XLVI.</td><td>Works.</td><td>14 v.</td><td>(17 volume edition.) London. <i>M</i>. 1832-1833.</td></tr> +<tr><td align='right'>XLVII.</td><td>Complete Works.</td><td>4 v.</td><td>Paris. 1832.</td></tr> +<tr><td align='right'>XLVIII.</td><td>Works. (Verse and Prose.)</td><td>1 v.</td><td>New York. 1833.</td></tr> +<tr><td align='right'>XLIX.</td><td>Complete Works.</td><td>1 v.</td><td>Paris. 1835.</td></tr> +<tr><td align='right'>L.</td><td>Complete Works.</td><td>4 v.</td><td>Paris. 1835.</td></tr> +<tr><td align='right'>LI.</td><td>Works.</td><td>1 v.</td><td>London. <i>M</i>. 1837.</td></tr> +<tr><td align='right'>LII.</td><td>Complete Works.</td><td>1 v.</td><td>Paris. 1837.</td></tr> +<tr><td align='right'>LIII.</td><td>Works.</td><td>1 v.</td><td>London and Leipzig. 1837.</td></tr> +<tr><td align='right'>LIV.</td><td>Complete Works.</td><td>7 v.</td><td>Mannheim. 1837.</td></tr> +<tr><td align='right'>LV.</td><td>Complete Works.</td><td>1 v.</td><td>Paris. 1839.</td></tr> +<tr><td align='right'>LVI.</td><td>P. Works.</td><td>8 v.</td><td>London. M. 1839.</td></tr> +<tr><td align='right'>LVII.</td><td>Works.</td><td>5 v.</td><td>Leipzig. 1842.</td></tr> +<tr><td align='right'>LVIII.</td><td>Works.</td><td>4 v.</td><td>Philadelphia. 1843.</td></tr> +<tr><td align='right'>LIX.</td><td>Complete Works.</td><td>1 v.</td><td>Frankfort. 1846.</td></tr> +<tr><td align='right'>LX.</td><td>Works. (Verse and Prose.)</td><td>1 v.</td><td>Hartford. 1847.</td></tr> +<tr><td align='right'>LXI.</td><td>Works.</td><td>2 v.</td><td>Edinburgh. 1850.</td></tr> +<tr><td align='right'>LXII.</td><td>P. Works.</td><td>1 v.</td><td>Philadelphia. 1850.</td></tr> +<tr><td align='right'>LXIII.</td><td>P. Works,</td><td>1 v.</td><td>London. H. G. Bohn. 1851.</td></tr> +<tr><td align='right'>LXIV.</td><td>P. Works.</td><td>1 v.</td><td>Philadelphia. 1851.</td></tr> +<tr><td align='right'>LXV.</td><td>Complete Works.</td><td>1 v.</td><td>Frankfort. 1852.</td></tr> +<tr><td align='right'>LXVI.</td><td>The Illustrated Byron.</td><td>1 v.</td><td>London. H. Vizetelly, 1854-1855.</td></tr> +<tr><td align='right'>LXVII.</td><td>P. Works.</td><td>2 v.</td><td>Philadelphia. 1853.</td></tr> +<tr><td align='right'>LXVIII.</td><td>P. Works.</td><td>1 v.</td><td>London. C. Daly. 1854.</td></tr> +<tr><td align='right'>LXIX.</td><td>Works.</td><td>1 v.</td><td>Boston. 1854.</td></tr> +<tr><td align='right'>LXX.</td><td>P. Works.</td><td>6 v.</td><td>London. <i>M</i>. 1855.</td></tr> +<tr><td align='right'>LXXI.</td><td>P. Works.</td><td>1 v.</td><td>Edinburgh. 1857.</td></tr> +<tr><td align='right'>LXXII.</td><td>P. Works.</td><td>1 v.</td><td>New York. 1857.</td></tr> +<tr><td align='right'>LXXIII.</td><td>P. Works.</td><td>1 v.</td><td>London. <i>M</i>. 1857.</td></tr> +<tr><td align='right'>LXXIV.</td><td>P. Works.</td><td>1 v.</td><td>London. <i>M</i>. 1859.</td></tr> +<tr><td align='right'>LXXV.</td><td>P. Works.</td><td>1 v.</td><td>Philadelphia. 1859.</td></tr> +<tr><td align='right'>LXXVI.</td><td>P. Works.</td><td>1 v.</td><td>Leipzig. B. Tauchnitz. 1860.</td></tr> +<tr><td align='right'>LXXVII.</td><td>P. Works.</td><td>3 v.</td><td>Leipzig. 1860.</td></tr> +<tr><td align='right'>LXXVIII.</td><td>P. Works.</td><td>1 v.</td><td>Edinburgh. 1861.</td></tr> +<tr><td align='right'>LXXIX.</td><td>P. Works.</td><td>10 v.</td><td>Boston. 1861.</td></tr> +<tr><td align='right'>LXXX.</td><td>P. Works.</td><td>1 v.</td><td>Halifax. 1863.</td></tr> +<tr><td align='right'>LXXXI.</td><td>P. Works.</td><td>1 v.</td><td>Edinburgh. 1868.</td></tr> +<tr><td align='right'>LXXXII.</td><td>P. Works.</td><td>1 v.</td><td>London. F. Warne and Co. 1868.</td></tr> +<tr><td align='right'>LXXXIII.</td><td>P. Works.</td><td>1 v.</td><td>London. J. Dicks. 1869.</td></tr> +<tr><td align='right'>LXXXIV.</td><td>P. Works.</td><td>8 v.</td><td>London. <i>M</i>. 1870.</td></tr> +<tr><td align='right'>LXXXV.</td><td>P. Works.</td><td>1 v.</td><td>London. E. Moxon. 1870.<span class='pagenum'><a name="Page_321" id="Page_321">[321]</a></span></td></tr> +<tr><td align='right'>LXXXVI.</td><td>Complete P. Works.</td><td>1 v.</td><td>London. G. Routledge. 1874.</td></tr> +<tr><td align='right'>LXXXVII.</td><td>P. Works.</td><td>1 v.</td><td>London. Virtue and Co. 1874.</td></tr> +<tr><td align='right'>LXXXVIII.</td><td>P. Works.</td><td>1 v.</td><td>Boston. 1874.</td></tr> +<tr><td align='right'>LXXXIX.</td><td>P. Works.</td><td>1 v.</td><td>London. Ward, Lock, and Co. 1878.</td></tr> +<tr><td align='right'>XC.</td><td>P. Works.</td><td>1 v.</td><td>Boston. 1878.</td></tr> +<tr><td align='right'>XCI.</td><td>P. Works.</td><td>1 v.</td><td>London. Ward, etc. 1880.</td></tr> +<tr><td align='right'>XCII.</td><td>P. Works.</td><td>1 v.</td><td>London. F. Warne. 1881.</td></tr> +<tr><td align='right'>XCIII.</td><td>Complete P. Works.</td><td>1 v.</td><td>London. G. Routledge. 1883.</td></tr> +<tr><td align='right'>XCIV.</td><td>P. Works.</td><td>1 v.</td><td>Edinburgh. 1881.</td></tr> +<tr><td align='right'>XCV.</td><td>P. Works.</td><td>12 v.</td><td>London. Sultaby and Co. 1885.</td></tr> +<tr><td align='right'>XCVI.</td><td>P. Works.</td><td>1 v.</td><td>New York. 1886.</td></tr> +<tr><td align='right'>XCVII.</td><td>P. Works.</td><td>1 v.</td><td>London. W. Scott. 1886.</td></tr> +<tr><td align='right'>XCVIII.</td><td>P. Works.</td><td>1 v.</td><td>London. 1886.</td></tr> +<tr><td align='right'>XCIX.</td><td>Life and Works.</td><td>2 v.</td><td>London, Edinburgh, and Glasgow. 1888.</td></tr> +<tr><td align='right'>C.</td><td>Complete P. Works.</td><td>1 v.</td><td>London. G. Routledge. 1890.</td></tr> +<tr><td align='right'>CI.</td><td>P. Works.</td><td>1 v.</td><td>New York. 1890.</td></tr> +<tr><td align='right'>CII.</td><td>P. Works.</td><td>12 v.</td><td>London. Griffith, Farran, etc. 1891.</td></tr> +<tr><td align='right'>CIII.</td><td>P. Works.</td><td>3 v.</td><td>London. W. Gibbings. 1892.</td></tr> +<tr><td align='right'>CIV.</td><td>Works,</td><td>12 v.</td><td>Philadelphia. 1892.</td></tr> +<tr><td align='right'>CV.</td><td>Dramatic and P. Works.</td><td>1 v.</td><td>Philadelphia. 1898.</td></tr> +<tr><td align='right'>CVI.</td><td>P. Works.</td><td>4 v.</td><td>London. H. Frowde. 1896.</td></tr> +<tr><td align='right'>CVII.</td><td>P. Works.</td><td>1 v.</td><td>London. Bliss, Sands, and Co. 1897.</td></tr> +<tr><td align='right'>CVIII.</td><td>P Works.</td><td>1 v.</td><td>London. W. P. Nimme. 1897.</td></tr> +<tr><td align='right'>CIX.</td><td>P. Works.</td><td>4 v.</td><td>Philadelphia. 1897.</td></tr> +<tr><td align='right'>CX.</td><td>P. Works.</td><td>1 v.</td><td>London. G. Henny and Co. <i>n.d.</i></td></tr> +<tr><td align='right'>CXI.</td><td>P. Works.</td><td>1 v.</td><td>New York. <i>n.d.</i></td></tr> +<tr><td align='right'>CXII.</td><td>P. Works.</td><td>1 v.</td><td>New York. <i>n.d.</i></td></tr> +<tr><td align='right'>CXIII.</td><td>P. Works.</td><td>1 v.</td><td>New York. <i>n.d.</i></td></tr> +</table> + +<h4><span class="smcap">Translations of Collected Editions</span>.</h4> + +<h5>French</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>OEuvres Complètes.</td><td>15 tomes.</td><td>Paris. Ladvocat. 1821.</td></tr> +<tr><td align='right'>II.</td><td>OEuvres</td><td>C. 13 t.</td><td>P. Dondey-Dupré. 1830.</td></tr> +<tr><td align='right'>III.</td><td>OEuvres</td><td>C. 4 t.</td><td>P. Charpentier. 1836.</td></tr> +<tr><td align='right'>IV.</td><td>OEuvres.</td><td>2 t.</td><td>P. Chapelle. 1842.</td></tr> +<tr><td align='right'>V.</td><td>OEuvres.</td><td>3 t.</td><td>P. Daussin. 1845.</td></tr> +<tr><td align='right'>VI.</td><td>OEuvres C.</td><td>1 t.</td><td>P. Bry aîné. 1856.</td></tr> +<tr><td align='right'>VII.</td><td>OEuvres.</td><td>2 t.</td><td>Alphonse Lemerre. 1891.</td></tr> +</table> + +<h5>German.</h5> +<p><span class='pagenum'><a name="Page_322" id="Page_322">[322]</a></span></p> +<table summary="Contents"> +<tr><td align='right'>I.</td><td>Lord Bryon's Poesien.</td><td>31 B.</td><td>Zwickau. 1821-1828.</td></tr> +<tr><td align='right'>II.</td><td>L.B.'s sämmttiche Werke.</td><td>12 B.</td><td>Frankfurt a. M. 1830.</td></tr> +<tr><td align='right'>III.</td><td>Dichtungen v. L.B.</td><td>4 Sammnl.</td><td>Stuttgart. 1836-1839.</td></tr> +<tr><td align='right'>IV.</td><td>L.B.'s s. W.</td><td>1 B.</td><td>Leipzig. 1839.</td></tr> +<tr><td align='right'>V.</td><td>L.B.'s s. W.</td><td>10 B.</td><td>Pforzheim. 1842.</td></tr> +<tr><td align='right'>VI.</td><td>L.B.'s s. W.</td><td>8 B.</td><td>Berlin. 1865.</td></tr> +<tr><td align='right'>VII.</td><td>Dichtungen v. L.B.</td><td>8 B.</td><td>Hildburghausen. 1865.</td></tr> +<tr><td align='right'>VIII.</td><td>L.B.'s ausgewählte W.</td><td>4 B.</td><td>Leipzig. [1865-1812.]</td></tr> +<tr><td align='right'>IX.</td><td>L.B.'s s. W.</td><td>3 B.</td><td>Leipzig. 1874.</td></tr> +<tr><td align='right'>X.</td><td>L.B.'s W.</td><td>6 B.</td><td>Stuttgart. [1885-1890.]</td></tr> +<tr><td align='right'>XI.</td><td>L.B.'s p. W.</td><td>8 B.</td><td>Stuttgart. 1886.</td></tr> +<tr><td align='right'>XII.</td><td>L.B.'s W.</td><td>6 B.</td><td>Berlin. 1888.</td></tr> +<tr><td align='right'>XIII.</td><td>Byron's s. W.</td><td>8 B.</td><td>1901.</td></tr> +</table> + +<h5>Modern Greek.</h5> + +<p><span title='Ta Apanta tou Burônos'>Τα Απαντα του Βυρωνος </span>. 3 V. +<span title='En Athênais'>Εν Αθηναις </span>. 1895.</p> + +<h5>Italian.</h5> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>Opere complete di Lord Byron.</td><td>1 t.</td><td>Padova. 1842.</td></tr> +<tr><td align='right'>II.</td><td>Opere.</td><td>1 t.</td><td>Napoli. 1853.</td></tr> +<tr><td align='right'>III.</td><td>Opere.</td><td>1 t.</td><td>Napoli. 1857.</td></tr> +<tr><td align='right'>IV.</td><td>Opere.</td><td>1 t.</td><td>Napoli. 1886.</td></tr> +</table> + +<h5>Polish.</h5> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>Poezye Lorda Byrona.</td><td>Pt. 1.</td><td>Petersburg. 1857.</td></tr> +<tr><td align='right'>II.</td><td>Poezye L.B.</td><td>1 v.</td><td>Warszawa. 1885.</td></tr> +</table> + +<h5>Russian.</h5> + +<p>I. <span title='Sochineniya Lorda Bairona. 5 t. S-Peterburg".'>Сочиненіа Лорда Байропа. 5 т. С-Петербургъ.</span> +1864-66.</p> + +<p>II. <span title='Bairon". S-Peterburg".'>Байронъ. С-Петербургъ.</span> 1876.</p> + +<h5>Spanish.</h5> + +<p>Biblioteca Universal. Coleccion de Los Mejores Autores. +T. lxiii. Madrid. 1880.</p> + +<h5>Swedish.</h5> + +<p>Byron's Poetiska Berättelser. Stockholm. 1854-1856.</p> + +<h3>SELECTIONS.</h3> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>The Beauties of Byron.</td><td>London. J. Sudbury. 1823.</td></tr> +<tr><td align='right'>II.</td><td>The Beauties of B.</td><td>L<sup>n</sup>. J. Limbird. 1827.</td></tr> +<tr><td align='right'>III.</td><td>Life and Select Poems.</td><td>L<sup>n</sup>. 1828.</td></tr> +<tr><td align='right'>IV.</td><td>The Beauties of L.B.</td><td>Philadelphia. 1828.</td></tr> +<tr><td align='right'>V.</td><td>The Beauties of B.</td><td>Paris. 1829.</td></tr> +<tr><td align='right'>VI.</td><td>Lord B.'s Select Works. 3 v.</td><td>Frankfort a. M. 1831-1832.</td></tr> +<tr><td align='right'>VI.</td><td>Childe Harold's, etc.; The Giaour, etc.</td><td>Paris. 1832.</td></tr> +<tr><td align='right'>VIII.</td><td>L.B.'s Select P.W.</td><td>Paris and Lyons, 1835.</td></tr> +<tr><td align='right'>IX.</td><td>L.B.'s Select W.</td><td>London and Berlin. 1837.</td></tr> +<tr><td align='right'>X.</td><td>The Beauties of B.</td><td>L<sup>n</sup>. T. Tegg and Son. 1837.</td></tr> +<tr><td align='right'>XI.</td><td>The Beauties of B.</td><td>L<sup>n</sup>. <i>n.d.</i><span class='pagenum'><a name="Page_323" id="Page_323">[323]</a></span></td></tr> +<tr><td align='right'>XII.</td><td>B.'s Select W.</td><td>Paris, 1843.</td></tr> +<tr><td align='right'>XIII.</td><td>A Selection from L.B.'s P.W.</td><td>Marienwerder. 1846.</td></tr> +<tr><td align='right'>XIV.</td><td>Select P.W.</td><td>L<sup>n</sup>. Adam Scott. 1848.</td></tr> +<tr><td align='right'>XV.</td><td>L.B.'s Select W.</td><td>Oldenburg. 1848.</td></tr> +<tr><td align='right'>XVI.</td><td>Selections.</td><td>London. <i>M</i>. 1854.</td></tr> +<tr><td align='right'>XVII.</td><td>A Selection. IV. [A.C. Swinburne.]</td><td>L<sup>n</sup>. Moxon and Co. 1866.</td></tr> +<tr><td align='right'>XVIII.</td><td>Songs by L.B.</td><td>L<sup>n</sup>. Virtue and Co. 1872,</td></tr> +<tr><td align='right'>XIX.</td><td>Selections.</td><td>London. <i>M</i>. 1874.</td></tr> +<tr><td align='right'>XX.</td><td><i>Beautés de B</i>.</td><td>Paris. 1876.</td></tr> +<tr><td align='right'>XXI.</td><td>Favourite Poems.</td><td>Boston. 1877.</td></tr> +<tr><td align='right'>XXII.</td><td>Beauties of B.</td><td>Stuttgart. <i>n.d.</i></td></tr> +<tr><td align='right'>XXIII.</td><td>Poetry of B. (Matthew Arnold.)</td><td>L<sup>n</sup>. Macmillan and Co, 1881.</td></tr> +<tr><td align='right'>XXIV.</td><td>Gems from B. IV.</td><td>New York. 1886.</td></tr> +<tr><td align='right'>XXV.</td><td>Selections from the Poetry of L.B.</td><td>New York. 1900.</td></tr> +<tr><td align='right'>XXVI.</td><td>Poems of Lord Byron.</td><td>L<sup>n</sup>. A. and C. Black. 1901.</td></tr> +</table> + +<h4><span class="smcap">Translations of Selections.</span></h4> + +<h5>Armenian.</h5> + +<p>Lord B.'s Armenian Exercises and Poetry. Venice. 1886.</p> + +<h5>French.</h5> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>Choix de Poésies. 2t.</td><td>Genève et Paris. 1820.</td></tr> +<tr><td align='right'>II.</td><td>Les Beautés de L.B.</td><td>P. 1838.</td></tr> +<tr><td align='right'>III.</td><td>Écrin poétique de lit. angl.</td><td>P. 1841.</td></tr> +<tr><td align='right'>IV.</td><td>Chefs-d'oeuvre de L.B.</td><td>P. 1847.</td></tr> +<tr><td align='right'>V.</td><td>Rough Hewing of L.B. In French.</td><td>L<sup>n</sup>. J. W. Kolckmann. 1869.</td></tr> +<tr><td align='right'>VI.</td><td>Chefs-d'oeuvre de L.B. 2 t.</td><td>P. 1874.</td></tr> +</table> + +<h5>German.</h5> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>Byron's ausgewählte Dichtungen.</td><td>Leipzig. 1838.</td></tr> +<tr><td align='right'>II.</td><td>Byron-Anthologie.</td><td>Schwerin. 1866.</td></tr> +<tr><td align='right'>III.</td><td>Auswahl aus Byron.</td><td>1892.</td></tr> +</table> + +<h5>Italian.</h5> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>Poemi di Lord G.B.</td><td>Torino. 1827.</td></tr> +<tr><td align='right'>II.</td><td>Opere scelte.</td><td>Milano. 1852.</td></tr> +<tr><td align='right'>III.</td><td>A' Mici Arnici.</td><td>1873.</td></tr> +</table> + + +<h3>MISCELLANEOUS POEMS.</h3> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>An Ode. On the Star, etc.</td><td>New York. 1816.</td></tr> +<tr><td align='right'>II.</td><td>Three Poems.</td><td>London. E. Wilson. 1818.</td></tr> +<tr><td align='right'>III.</td><td>English Bards, etc., etc.</td><td>Paris. 1818.</td></tr> +<tr><td align='right'>IV.</td><td>The Works of the R.H.L.B., cont. Eng. Bards, etc., etc.</td><td>Philadelphia. 1820.</td></tr> +<tr><td align='right'>V.</td><td>Poems by the R. H. L. B.</td><td>L<sup>n</sup>. Jones and Co. 1825.<span class='pagenum'><a name="Page_324" id="Page_324">[324]</a></span></td></tr> +<tr><td align='right'>VI.</td><td>The Miscell. Poems.</td><td>L<sup>n</sup>. Benbow. 1825.</td></tr> +<tr><td align='right'>VII.</td><td>Don Juan, Complete; Eng. Bards, etc., etc.</td><td>L<sup>n</sup>. J. F. Dove. 1827.</td></tr> +<tr><td align='right'>VII.</td><td>Don Juan; Hours of Idleness, etc. 2 v.</td><td>L<sup>n</sup>. J. F. Dove. 1828.</td></tr> +<tr><td align='right'>IX.</td><td>The Miscell. Works.</td><td>L<sup>n</sup>. Hunt and Clarke. 1830.</td></tr> +<tr><td align='right'>X.</td><td>The Corsair—Lara.</td><td>Paris. 1830.</td></tr> +<tr><td align='right'>XI.</td><td>The Bride, etc. The Corsair, etc., etc.</td><td>Paris. 1832.</td></tr> +<tr><td align='right'>XII.</td><td>Manfred—Marino Faliero, etc.</td><td>Paris. 1832.</td></tr> +<tr><td align='right'>XIII.</td><td>Don Juan—The Age of Bronze, etc.</td><td>Paris. 1832.</td></tr> +<tr><td align='right'>XIV.</td><td>Miscellanies. 3 v.</td><td>London. <i>M</i>. 1837.</td></tr> +<tr><td align='right'>XV.</td><td>Tales. 2 v.</td><td>London. <i>M</i>. 1837.</td></tr> +<tr><td align='right'>XVI.</td><td>Lord Byron's Tales.</td><td>Halifax. 1845.</td></tr> +<tr><td align='right'>XVII.</td><td>The Giaour—The Bride, etc.—etc.</td><td>L<sup>n</sup>. H. G. Clarke and Co. 1848.</td></tr> +<tr><td align='right'>XVIII.</td><td>Miscellanies. 2 v.</td><td>London. <i>M</i>. 1853.</td></tr> +<tr><td align='right'>XIX.</td><td>Tales and Poems.</td><td>London. <i>M</i>. 1853.</td></tr> +<tr><td align='right'>XX.</td><td>Beppo and Don Juan. 2 v.</td><td>London. <i>M</i>. 1853.</td></tr> +<tr><td align='right'>XXI.</td><td>Poems by the R't. Hon. L.B.</td><td>L<sup>n</sup>. T. Nelson and Sons, 1855.</td></tr> +<tr><td align='right'>XXII.</td><td>Tales and Poems.</td><td>Leipzig. B. 1857.</td></tr> +<tr><td align='right'>XXIII.</td><td>Poems.</td><td>L<sup>n</sup>. G. Routledge. 1859.</td></tr> +<tr><td align='right'>XXIV.</td><td>Eastern Tales.</td><td>L<sup>n</sup>. D. Bogue. 1859.</td></tr> +<tr><td align='right'>XXV.</td><td>Byron's Siege, etc., etc.</td><td>Madras. 1876.</td></tr> +<tr><td align='right'>XXVI.</td><td>Poems.</td><td>L<sup>n</sup>. G. Routledge. 1880.</td></tr> +<tr><td align='right'>XXVII.</td><td>Poems of L.B. 2 v.</td><td>L<sup>n</sup>. Cassell and Co. 1886.</td></tr> +<tr><td align='right'>XXVIII.</td><td>Byron's Prisoner of Chillon and Siege of Corinth.</td><td>Halle. 1886.</td></tr> +<tr><td align='right'>XXIX.</td><td>The Corsair—Lara.</td><td>Boston. 1893.</td></tr> +</table> + +<h4><span class="smcap">Translations Of Miscellaneous Poems</span>.</h4> + +<h5>Bohemian.</h5> + +<p>Korsár. Lara. V Praze 1885.</p> + +<h5>Danish.</h5> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>Udvalgte Dramatiske Digte.</td><td>København. 1873.</td></tr> +<tr><td align='right'>II.</td><td>Byron—Manfred, etc.</td><td>København. 1889.</td></tr> +<tr><td align='right'>III.</td><td>Beppo. Dommedagssynet. Af L.B.</td><td>København. 1891.</td></tr> +</table> + +<h5>Dutch.</h5> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>Navolgingen van L.B.</td><td>Haarlem. 1848.</td></tr> +<tr><td align='right'>II.</td><td>Gedichten van L.B.</td><td>Leiden. 1870.</td></tr> +</table> + +<h5>French.</h5> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>Le Corsaire—Mazeppa.</td><td>Paris. 1848.</td></tr> +<tr><td align='right'>II.</td><td>Le Prisonnier, etc.—etc., etc.</td><td>P. 1862.</td></tr> +<tr><td align='right'>III.</td><td>Le Corsaire—etc., etc.</td><td>P. 1868.</td></tr> +<tr><td align='right'>IV.</td><td>Chefs-D'oeuvre de L.B. 2 v.</td><td>P. 1874.</td></tr> +<tr><td align='right'>V.</td><td>L.B. Les Deux Foscari, etc.</td><td>P. 1881.</td></tr> +<tr><td align='right'>VI.</td><td>Le Corsaire. Lara.</td><td>P. 1892.</td></tr> +</table> + +<p><span class='pagenum'><a name="Page_325" id="Page_325">[325]</a></span></p> + +<h5>German.</h5> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>Gefangener von Chillon u. Parisina.</td><td>Breslau. 1821.</td></tr> +<tr><td align='right'>II.</td><td>Manfred. Die Finsterniss.</td><td>Berlin. 1835.</td></tr> +<tr><td align='right'>III.</td><td>Der Giaur. Hebraische Gesänge.</td><td>1854.</td></tr> +<tr><td align='right'>IV.</td><td>Kain. Ein Mysterium. Mazeppa.</td><td>Leipzig. 1855.</td></tr> +<tr><td align='right'>V.</td><td>Manfred. Der Gef. v. Chillon. Heb. Ges.</td><td>Münster. 1857.</td></tr> +<tr><td align='right'>VI.</td><td>L.B. Mazeppa, Korsar, u. Beppo.</td><td>Leipzig. 1864.</td></tr> +<tr><td align='right'>VII.</td><td>Die Braut v. Ab. Der Traum.</td><td>Hamburg. 1872.</td></tr> +<tr><td align='right'>VIII.</td><td>Der Gefangene v. Chillon. Mazeppa.</td><td>Leipzig. 1871-1876.</td></tr> +<tr><td align='right'>IX.</td><td>Der Gef. v. Chillon. Parisina.</td><td>Halle. 1887.</td></tr> +</table> + +<h5>Hungarian.</h5> + +<p>Byron Lord' Élete's Munkái. Pesten. 1842.</p> + +<h5>Icelandic.</h5> + +<p>Bandinginn i Chillon og Dramurinn. Kaupmannahöfn, 1866.</p> + +<h5>Italian.</h5> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>Poemi di Lord G. Byron. 2 v.</td><td>Lugano. 1832.</td></tr> +<tr><td align='right'>II.</td><td>P. di Giorgio L.B.</td><td>Milano. 1834.</td></tr> +<tr><td align='right'>III.</td><td>P. di Giorgio L.B. 2 v.</td><td>Milano. 1842.</td></tr> +<tr><td align='right'>IV.</td><td>Poemi e novelle.</td><td>Milano. 1882.</td></tr> +<tr><td align='right'>V.</td><td>Opere ... di G. Casella. 2 v.</td><td>Firenze. 1884.</td></tr> +<tr><td align='right'>VI.</td><td>Misteri e canti.</td><td>Milano. 1886.</td></tr> +<tr><td align='right'>VII.</td><td>Misteri, novelle e liriche.</td><td>Firenze. 1890.</td></tr> +</table> + +<h5>Polish.</h5> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>Poemata i powieści.</td><td>Warszawa. 1820.</td></tr> +<tr><td align='right'>II.</td><td>Powieści.</td><td>Warszawa. 1831.</td></tr> +<tr><td align='right'>III.</td><td>Paryzyna, Kalmar i Orla.</td><td>Wilno. 1834.</td></tr> +<tr><td align='right'>IV.</td><td>Poezye Lorda B. W.</td><td>Paryzu. 1835.</td></tr> +<tr><td align='right'>V.</td><td>Tłomaczenia A.E.</td><td>Odyńca. W. Lipsku. 1838.</td></tr> +<tr><td align='right'>VI.</td><td>Tłomaczenia A.E.</td><td>Odyńca. W. Lipsku. 1841.</td></tr> +<tr><td align='right'>VII.</td><td>Poemata.</td><td>Warszawa. 1846.</td></tr> +<tr><td align='right'>VIII.</td><td>Pięć Poematów Lorda Birona.</td><td>Leszno. 1853.</td></tr> +<tr><td align='right'>IX.</td><td>Kruzer (Karol) Przekłady, etc. 5 t.</td><td>Warszawa. 1876.</td></tr> +</table> + +<h5>Portuguese.</h5> + +<p>Traducçōes Poeticas de F. J. Pinheiro Guimarāes. Rio de Janeiro. 1863.</p> + +<h5>Roumanian.</h5> + +<p>Din Scrierile Loui L.B. Boukouresti. 1834.</p> + +<p><span class='pagenum'><a name="Page_326" id="Page_326">[326]</a></span></p> +<h5>Spanish.</h5> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>Odas A Napoleon.</td><td>Paris. 1830.</td></tr> +<tr><td align='right'>II.</td><td>Poemas de L.B.</td><td>Barcelona. 1876.</td></tr> +<tr><td align='right'>III.</td><td>Cuatro Poemas de L.B.</td><td>New York. 1877.</td></tr> +<tr><td align='right'>IV.</td><td>D. Juan El Hijo de Doña Inés.</td><td>Barcelona. 1883.</td></tr> +</table> + +<h3>COLLECTIONS OF DRAMAS.</h3> + +<table summary="Contents"> +<tr><td align='right'>I.</td><td>Dramas by Lord Byron. 2 v.</td><td>London. <i>M.</i> 1837.</td></tr> +<tr><td align='right'>II.</td><td>Dramas by Lord Byron. 2 v.</td><td>London. <i>M.</i> 1853.</td></tr> +</table> + +<h4><span class="smcap">Translations Of Collections Of Dramas</span>.</h4> + +<h5>German.</h5> + +<p>Lord Byron's Dramatische Werke. Hildburghausen. 1870.</p> + +<h5>Italian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Marino Faliero e I Due Foscari.</td><td>Sayona. 1845.</td></tr> +<tr><td align='right'>II.</td><td>Tragedie di Giorgio Lord Byron.</td><td>Firenze. 1862.</td></tr> +</table> + +<h5>Spanish.</h5> + +<p>Poemas dramáticos de Lord Byron. Madrid. 1886.</p> + +<h3>POEMS, DRAMAS, AND COLLECTIONS OF POEMS.</h3> + +<h4 class="pt">The Age Of Bronze.</h4> + +<p>The Age of Bronze. L<sup>n</sup>. John Hunt. 1823.</p> + +<h4 class="pt">Beppo.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Beppo, A Venetian Story. Second Ed.</td><td>London. <i>M.</i> 1818.</td></tr> +<tr><td align='right'>II.</td><td>Beppo, etc. Fifth Ed.</td><td>London. <i>M.</i> 1818.</td></tr> +<tr><td align='right'>III.</td><td>Beppo.</td><td>Boston. 1818.</td></tr> +<tr><td align='right'>IV.</td><td>Beppo, etc.</td><td>P. A. and W. Galignani. 1821.</td></tr> +</table> + +<h4><span class="smcap">Translations Of Beppo</span></h4> + +<h5>Dutch.</h5> + +<p>Vertalingen en Navolgingen, etc. [Beppo Eine Venetiansche +Vertelling, pp. 119-159.] Amsterdam. 1824.</p> + +<h5>French.</h5> + +<p>Beppo, Poëme de Byron. Trad. p. S. Clogenson. P. +Michel Lévy f. 1865.</p> + +<h5>Russian.</h5> + +<p><span title='Beppo.'>Беппо</span>.</p> + +<p><span class='pagenum'><a name="Page_327" id="Page_327">[327]</a></span></p> + +<h5>Spanish.</h5> + +<p>Beppo, novela veneciana. P. 1830.</p> + +<h5>Swedish.</h5> + +<p>Beppo, En Venetiansk Historia. Stockholm. 1853, etc.</p> + +<h4 class="pt">Bride Of Abydos.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>The Bride of Abydos. A Turkish Tale.</td><td>London. <i>M</i>. 1813.</td></tr> +<tr><td align='right'>II.</td><td>The Bride, etc. Second Ed.</td><td>London. <i>M</i>. 181?.</td></tr> +<tr><td align='right'>III.</td><td>The Bride, etc. Fourth Ed.</td><td>London. <i>M</i>. 1813.</td></tr> +<tr><td align='right'>IV.</td><td>The Bride, etc. Sixth Ed.</td><td>London. <i>M</i>. 1814.</td></tr> +<tr><td align='right'>V.</td><td>The Bride, etc.</td><td>Philadelphia. 1814.</td></tr> +<tr><td align='right'>VI.</td><td>The Bride, etc.</td><td>London. 1844.</td></tr> +</table> + +<h4><span class="smcap">Translations Of Bride Of Abydos</span>.</h4> + +<h5>Bohemian.</h5> + +<p>Nevĕta z Abydu. V Praze. 1854.</p> + +<h5>Bulgarian.</h5> + +<p><span title='Abidonska Nevysta. Moskva'>Абидонска НевѢста. Москва</span>. 1850.</p> + +<h5>Dutch.</h5> + +<p>De Abydeensche Verloofde. Amsterdam. 1826.</p> + +<h5>French.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Zuleika et Selim.</td><td>P. Plancher. 1816.</td></tr> +<tr><td align='right'>II.</td><td>La Fiancée d'Abydos.</td><td>Gand, Houdin. 1823.</td></tr> +</table> + +<h5>German.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Die Braut von Abydos.</td><td>Frankfort-a-M. 1819.</td></tr> +<tr><td align='right'>II.</td><td>Die Braut, etc.</td><td>London. 1843.</td></tr> +<tr><td align='right'>III.</td><td>Die Braut, etc.</td><td>Halle. 1884.</td></tr> +</table> + +<h5>Hungarian.</h5> + +<p>Az abydoszi ara. B'pest. 1884.</p> + +<h5>Italian.</h5> + +<p>La fidanzata d'Abido. Milano. 1854.</p> + +<h5>Polish.</h5> + +<p>Dziewica z Abydos. Warszawa. 1818.</p> + +<p><span class='pagenum'><a name="Page_328" id="Page_328">[328]</a></span></p> + +<h5>Russian.</h5> + +<p>I. <span title='Abidosskaya Neviesta.'>Абидосская Невѣста.</span> 1821.</p> +<p>II. <span title='Neviesta Abidosskaya. S-Peterburg".'>Невѣста Абидосская. С-Петербургъ.</span> 1826. +Second edition. <span title='S-Peterburg".'>С-Петербургъ.</span> 1831.</p> +<p>III. <span title='Abidosskaya Neviesta. Moskva.'>Абидосская Невѣста. Москва.</span> 1859.</p> + +<h5>Swedish.</h5> + +<p>Bruden Från Abydos. Stockholm, 1853, etc.</p> + +<h4 class="pt">Cain.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Cain; A Mystery.</td><td>London. Benbow. 1822.</td></tr> +<tr><td align='right'>II.</td><td>Cain, etc.</td><td>L<sup>n</sup>. R. Carlile. 1822.</td></tr> +<tr><td align='right'>III.</td><td>Cain, etc.</td><td>L<sup>n</sup>. H. Gray. 1822.</td></tr> +<tr><td align='right'>IV.</td><td>Cain, A Mystery.</td><td>New York. 1822.</td></tr> +<tr><td align='right'>V.</td><td>Cain, etc.</td><td>P. A. and W. Galignani. 1822.</td></tr> +<tr><td align='right'>VI.</td><td>Cain, etc.</td><td>L<sup>n</sup>. Benbow. 1824.</td></tr> +<tr><td align='right'>VII.</td><td>Lord Byron's Cain, etc.</td><td>L<sup>n</sup>. William Crofts. 1830.</td></tr> +<tr><td align='right'>VIII.</td><td>Cain, etc.</td><td>L<sup>n</sup>. J. Watson. 1832.</td></tr> +<tr><td align='right'>IX.</td><td>Cain, etc.</td><td>Breslau. 1840.</td></tr> +<tr><td align='right'>X.</td><td>Cain.</td><td>J. Dicks. 1883, etc.</td></tr> +</table> + +<h4><span class="smcap">Translations Of Cain</span>.</h4> + +<h5>Bohemian.</h5> + +<p>Kain. V Praze. 1871.</p> + +<h5>French.</h5> + +<p>Caïn, Mystère dramatique. P. Servier. 1823.</p> + +<h5>German.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Cain, ein Mysterium.</td><td>Berlin. 1831.</td></tr> +<tr><td align='right'>II.</td><td>Cain. Ein Mysterium.</td><td>Leipzig. 1871-1876.</td></tr> +</table> + +<h5>Hebrew.</h5> + +<p style="text-align:right;"><span title="Kine, shir-chizayon al-pi kitvey hakodesh me'et Lord Byron tirgem me'anglit">קין, שיר-חזיון על-פי כתבי הקדש מאת לורד בירון תרגם מאנגלית </span> +<span title="le'ivrit David Frishman Varsha TR''S">לעברית דוד פרישמן ווארשא תר"ס </span></p> + +<h5>Hungarian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Kain.</td><td>Franklin-Társulat. 1895.</td></tr> +<tr><td align='right'>II.</td><td>Kain.</td><td>B'pest. 1898.</td></tr> +</table> + +<h5>International Language</h5> + +<p>Kain. Mistero de Lord Byron. Nurnbergo. 1896.</p> + +<h5>Italian.</h5> + +<p>Caino: mistero. Milano. 1852-6.</p> + +<p><span class='pagenum'><a name="Page_329" id="Page_329">[329]</a></span></p> +<h5>Polish.</h5> + +<p>Kain. Lwów. 1868.</p> + +<h5>Russian.</h5> + +<p>I. <span title='Kain". S-Peterburg".'>Каинъ. С-Петербургъ.</span> 1881.</p> + +<p>II. <span title='Kain". Moskva.'>Каинъ. Москва.</span> 1883.</p> + +<h4 class="pt">Childe Harold's Pilgrimage</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Childe Harold's Pilgrimage. A Romaunt.</td><td>London. <i>M.</i> 1812.</td></tr> +<tr><td align='right'>II.</td><td>Childe Harold's, etc. Second Ed.</td><td>London. <i>M.</i> 1812.</td></tr> +<tr><td align='right'>III.</td><td>Childe Harold's, etc. Third Ed.</td><td>London. <i>M.</i> 1812.</td></tr> +<tr><td align='right'>IV.</td><td>Childe Harold's, etc. Fourth Ed.</td><td>London. <i>M.</i> 1812.</td></tr> +<tr><td align='right'>V.</td><td>Childe Harold's, etc. Fifth Ed.</td><td>London.<i>M.</i> 1812.</td></tr> +<tr><td align='right'>VI.</td><td>Childe Harold's, etc. First Amer. Ed.</td><td>Philadelphia. 1812.</td></tr> +<tr><td align='right'>VII.</td><td>Childe Harold's, etc. Sixth Ed.</td><td>London. <i>M.</i> 1813.</td></tr> +<tr><td align='right'>VIII.</td><td>Childe Harold's, etc. Seventh Ed.</td><td>London. <i>M.</i> 1814.</td></tr> +<tr><td align='right'>IX.</td><td>Childe Harold's, etc. Eighth Ed.</td><td>London. <i>M.</i> 1814.</td></tr> +<tr><td align='right'>X.</td><td>Childe Harold's, etc. Tenth Ed.</td><td>London. <i>M.</i> 1815.</td></tr> +<tr><td align='right'>XI.</td><td>Childe Harold's, etc.</td><td>Canto the Third. London. <i>M.</i> 1816.</td></tr> +<tr><td align='right'>XII.</td><td>Childe Harold's, etc.</td><td>Canto the Fourth. London. <i>M.</i> 1818.</td></tr> +<tr><td align='right'>XIII.</td><td>Childe Harold's, etc.</td><td>Canto the Fourth. New York. 1818.</td></tr> +<tr><td align='right'>XIV.</td><td>Childe Harold's, etc.</td><td>Eleventh Ed. London. <i>M.</i> 1819.</td></tr> +<tr><td align='right'>XV.</td><td>Childe Harold's, etc.</td><td>2 v. London. <i>M.</i> 1819.</td></tr> +<tr><td align='right'>XVI.</td><td>Childe Harold's, etc.</td><td>2 v. Leipzig. 1820.</td></tr> +<tr><td align='right'>XVII.</td><td>Childe Harold's, etc.</td><td>L<sup>n</sup>. W. Dugdale. 1825</td></tr> +<tr><td align='right'>XVIII.</td><td>Childe Harold's, etc.</td><td>P. A. and W. Galignani. 1825.</td></tr> +<tr><td align='right'>XIX.</td><td>Childe Harold's, etc.</td><td>London. W. Dugdale. 1826.</td></tr> +<tr><td align='right'>XX.</td><td>Childe Harold's, etc.</td><td>London. T. Colmer. 1827.</td></tr> +<tr><td align='right'>XXI.</td><td>Childe Harold's, etc.</td><td>2 v. Paris. 1827.</td></tr> +<tr><td align='right'>XXII.</td><td>Childe Harold's, etc.</td><td>London. John Duncombe. 1831.</td></tr> +<tr><td align='right'>XXIII.</td><td>Childe Harold's, etc.</td><td>Nuremberg and New York. 1831.</td></tr> +<tr><td align='right'>XXIV.</td><td>Childe Harold's, etc.</td><td>London. <i>M.</i> 1837.</td></tr> +<tr><td align='right'>XXV.</td><td>Childe Harold's, etc.</td><td>Mannheim. 1837.</td></tr> +<tr><td align='right'>XXVI.</td><td>Childe Harold's, etc.</td><td>London. <i>M.</i> 1841.</td></tr> +<tr><td align='right'>XXVII.</td><td>Childe Harold's, etc.</td><td>London. 1842.<span class='pagenum'><a name="Page_330" id="Page_330">[330]</a></span></td></tr> +<tr><td align='right'>XXVIII.</td><td>Childe Harold's, etc.</td><td>London. <i>M.</i> 1853.</td></tr> +<tr><td align='right'>XXIX.</td><td>Childe Harold.</td><td>Damburg. 1853.</td></tr> +<tr><td align='right'>XXX.</td><td>Childe Harold's, etc. 2 v.</td><td>Berlin. 1854.</td></tr> +<tr><td align='right'>XXXI.</td><td>Childe Harold's, etc.</td><td>London. <i>M.</i> 1859.</td></tr> +<tr><td align='right'>XXXII.</td><td>Childe Harold's, etc. New Ed.</td><td>London. <i>M.</i> 1860.</td></tr> +<tr><td align='right'>XXXIII.</td><td>Childe Harold's, etc. New Ed.</td><td>London. <i>M.</i> 1860.</td></tr> +<tr><td align='right'>XXXIV.</td><td>Childe Harold's, etc.</td><td>Leipzig. 1862.</td></tr> +<tr><td align='right'>XXXV.</td><td>Childe Harold's, etc.</td><td>London. C. Griffin and Co. 1866.</td></tr> +<tr><td align='right'>XXXVI.</td><td>Childe Harold's, etc.</td><td>Münster. 1867.</td></tr> +<tr><td align='right'>XXXVIII.</td><td>Lord Byron's Childe Harold's, etc.</td><td>P. Lib. Ch. Delagrave. 1882.</td></tr> +<tr><td align='right'>XXXIX.</td><td>Childe Harold's, etc.</td><td>P. Poussielque f. 1883.</td></tr> +<tr><td align='right'>XL.</td><td>Clarendon Press Series. Childe Harold.</td><td>Oxford. 1885.</td></tr> +<tr><td align='right'>XLI.</td><td>Childe Harold's, etc.</td><td>London. Chatto. 1885.</td></tr> +<tr><td align='right'>XLII.</td><td>Lord Byron. Childe Harold's, etc.</td><td>Berlin. 1885.</td></tr> +<tr><td align='right'>XLIII.</td><td>Cassell's Nat. Lib. Childe Harold's, etc.</td><td>L<sup>n</sup>., P., N.Y., and Melbourne. 1886.</td></tr> +<tr><td align='right'>XLIV.</td><td>Childe Harold's, etc.</td><td>Boston. 1886.</td></tr> +<tr><td align='right'>XLV.</td><td>Childe Harold's, etc.</td><td>Philadelphia. 1886.</td></tr> +<tr><td align='right'>XLVI.</td><td>Childe Harold's, etc.</td><td>Leipzig. 1886.</td></tr> +<tr><td align='right'>XLVII.</td><td>Childe Harold's, etc.</td><td>Bielefeld. 1885-6.</td></tr> +<tr><td align='right'>XLVIII.</td><td>Childe Harold's, etc.</td><td>L<sup>n</sup>. G. Routledge and Sons. 1888.</td></tr> +<tr><td align='right'>XLIX.</td><td>Childe Harold's, etc.</td><td>Bielefeld. 1891.</td></tr> +<tr><td align='right'>L.</td><td>Sir J. Lubbock's Hundred Best Books. Childe Harold's, etc.</td><td>L<sup>n</sup>. G. Routledge and Sons. 1892.</td></tr> +<tr><td align='right'>LI.</td><td>Byron's Childe Harold.</td><td>L<sup>n</sup>. G. Bell and Sons. 1893.</td></tr> +<tr><td align='right'>LII.</td><td>Byron. Childe Harold.</td><td>P. Lib. Hachette et Cie. 1893.</td></tr> +<tr><td align='right'>LIII.</td><td>Childe Harold's, etc.</td><td>New York. 1894.</td></tr> +<tr><td align='right'>LIV.</td><td>Arnold's Brit. Classics. Childe Harold's, etc.</td><td>L<sup>n</sup>. Edw. Arnold. 1897.</td></tr> +<tr><td align='right'>LV.</td><td>Childe Harold.</td><td>L<sup>n</sup>. J. M. Dent. 1898.</td></tr> +<tr><td align='right'>LVI.</td><td>Childe Harold's, etc. Cantos I., II.</td><td>L<sup>n</sup>. Macmillan and Co. 1899.</td></tr> +<tr><td align='right'>LVII.</td><td>Childe Harold's, etc. Cantos III., IV.</td><td>L<sup>n</sup>. Macmillan and Co. 1899.</td></tr> +<tr><td align='right'>LVIII.</td><td>Childe Harold's, etc.</td><td>2 v. New York. 1899.</td></tr> +<tr><td align='right'>LIX.</td><td>Childe Harold's, etc.</td><td>New York. 1899.</td></tr> +<tr><td align='right'>LX.</td><td>Childe Harold's, etc.</td><td>New York. 1900.</td></tr> +<tr><td align='right'>LXI.</td><td>Lord Byron. Childe Harold's, etc.</td><td>Glasgow and Dublin. 1901.</td></tr> +<tr><td align='right'>LXII.</td><td>Lord Byron. Childe Harold's, etc.</td><td>Glasgow and Dublin. 1901.</td></tr> +</table> + +<h4><span class="smcap">Translations Of Childe Harold's Pilgrimage</span>.</h4> + +<h5>Armenian.</h5> + +<p>Childe Harold's, etc. Venice. 1872.</p> + +<h5>Bohemian.</h5> + +<p>Childe Haroldova pout'. 1890.</p> + +<h5>Danish.</h5> + +<p>Junker Harolds Pilgrimsfart. Kjøbenhavn. 1880.</p> + +<h5>French.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Le Pélerinage de C.H.</td><td>P. Dupont. 1828.</td></tr> +<tr><td align='right'>II.</td><td>Le Pélerinage de C.H.</td><td>P. Ponthieu. 1828.</td></tr> +<tr><td align='right'>III.</td><td>Le Pélerinage de C. II.</td><td>P. Lib. de Ch. Blériot. 1861.</td></tr> +<tr><td align='right'>IV.</td><td>C.H. Poëme de L. B.</td><td>P. E. Dentu. 1862.<span class='pagenum'><a name="Page_331" id="Page_331">[331]</a></span></td></tr> +<tr><td align='right'>V.</td><td>Le Pélerinage de C.H.</td><td>Saint-Quentin. 1862.</td></tr> +<tr><td align='right'>VI.</td><td>Childe Harold.</td><td>P. Amyot. 1870.</td></tr> +<tr><td align='right'>VII.</td><td>Childe Harold.</td><td>P. Hachette et Cie. 1881.</td></tr> +<tr><td align='right'>VIII.</td><td>Childe Harold's, etc.</td><td>P. Poussielque f. 1883.</td></tr> +<tr><td align='right'>IX.</td><td>Childe Harold.</td><td>P. Delalain f. 1892.</td></tr> +<tr><td align='right'>X.</td><td>Childe Harold.</td><td>P. Belin f. 1892.</td></tr> +</table> + +<h5>German.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Harold, der Verwiesene.</td><td>Leipzig. 1835.</td></tr> +<tr><td align='right'>II.</td><td>Ritter Harold's Pilgerfahrt.</td><td>Stuttgart. 1836.</td></tr> +<tr><td align='right'>III.</td><td>Jungherrn Harold's P.</td><td>Stralsund. 1839.</td></tr> +<tr><td align='right'>IV.</td><td>Erster Gesang des C.H.</td><td>Ansbach. 1845.</td></tr> +<tr><td align='right'>V.</td><td>Byron's Ritter Harold.</td><td>Leipzig. 1846.</td></tr> +<tr><td align='right'>VI.</td><td>Childe Harold's P.</td><td>Frankfurt a. M. 1853.</td></tr> +<tr><td align='right'>VII.</td><td>Harold's P.</td><td>Köln. 1865.</td></tr> +<tr><td align='right'>VIII.</td><td>Childe Harold's P.</td><td>Hildburghausen. 1868.</td></tr> +<tr><td align='right'>IX.</td><td>Jung Harold's P.</td><td>Berlin. 1869.</td></tr> +<tr><td align='right'>X.</td><td>Ritter Harold's P.</td><td>Leipzig. 1871-1876.</td></tr> +<tr><td align='right'>XI.</td><td>Childe Harold's P.</td><td>1893.</td></tr> +</table> + +<h5>Hungarian.</h5> + +<p>Childe Harold. Genfben. 1857.</p> + +<h5>Italian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>L'Italia, Canto IV. del pellegrinaggio di C.H.</td><td>1819.</td></tr> +<tr><td align='right'>II.</td><td>Il pellegrinaggio del Giovine Aroldo.</td><td>Geneva. 1836.</td></tr> +<tr><td align='right'>III.</td><td>L'Italia, Canto di L. B.</td><td>Milano. 1848.</td></tr> +<tr><td align='right'>IV.</td><td>Il pell. del giov. A.</td><td>Napoli. 1858.</td></tr> +<tr><td align='right'>V.</td><td>Il pell. del giov. A.</td><td>Venezia. 1860.</td></tr> +<tr><td align='right'>VI.</td><td>Byron. Pell. D'Aroldo.</td><td>Milano. 1866.</td></tr> +<tr><td align='right'>VII.</td><td>Italia C. di Gior. Byron.</td><td>Firenze. 1872.</td></tr> +<tr><td align='right'>VIII.</td><td>Il pell. D'Aroldo.</td><td>Firenze. 1873.</td></tr> +</table> + +<p><i>Polish</i></p> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Poezye ... Wędrówki Czaild Harolda.</td><td>Petersburg. 1857.</td></tr> +<tr><td align='right'>II.</td><td>Pielgrzymka C.H.</td><td>we Lwowie. 1857.</td></tr> +<tr><td align='right'>III.</td><td>Wędrówki C.H.</td><td>Prz. F. Krauze. 1865-1871.</td></tr> +<tr><td align='right'>IV.</td><td>Wędrówki Rycerza H.</td><td>Warszawa. 1895.</td></tr> +<tr><td align='right'>V.</td><td>Wędrówki C.H.</td><td>Krakow. 1896.</td></tr> +</table> + +<h5>Russian.</h5> + +<p>I. <span title='Chaĭld-Garold'>Чайльдъ-Гарольдъ</span></p> + +<p>II. <span title='Chaĭld-Garold'>Чайльдъ-Гарольдъ</span></p> + +<h5>Swedish.</h5> + +<p>Childe Harolds Pilgrimsfärd. Stockholm. 1832.</p> + +<p><span class='pagenum'><a name="Page_332" id="Page_332">[332]</a></span></p> +<h4 class="pt">The Corsair.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>The Corsair, A Tale.</td><td>London. <i>M.</i> 1814.</td></tr> +<tr><td align='right'>II.</td><td>The Corsair, etc. Second Ed.</td><td>London. <i>M.</i> 1814.</td></tr> +<tr><td align='right'>III.</td><td>The Corsair, etc. Third Ed.</td><td>London. <i>M.</i> 1814.</td></tr> +<tr><td align='right'>IV.</td><td>The Corsair, etc. Fourth Ed.</td><td>L<sup>n</sup>. <i>M.</i> 1814.</td></tr> +<tr><td align='right'>V.</td><td>The Corsair, etc. Fifth Ed.</td><td>London. <i>M.</i> 1814.</td></tr> +<tr><td align='right'>VI.</td><td>The Corsair, etc. Sixth Ed.</td><td>London. <i>M.</i> 1814.</td></tr> +<tr><td align='right'>VII.</td><td>The Corsair, etc. Seventh Ed.</td><td>London. <i>M.</i> 1814.</td></tr> +<tr><td align='right'>VIII.</td><td>The Corsair, etc.</td><td>New York. 1814.</td></tr> +<tr><td align='right'>IX.</td><td>The Corsair, etc. Ninth Ed.</td><td>London. <i>M.</i> 1815.</td></tr> +<tr><td align='right'>X.</td><td>The Corsair, etc. Tenth Ed.</td><td>London. <i>M.</i> 1818.</td></tr> +<tr><td align='right'>XI.</td><td>The Corsair, etc.</td><td>L<sup>n</sup>. W. Dugdale. 1825.</td></tr> +<tr><td align='right'>XII.</td><td>The Corsair, etc.</td><td>L<sup>n</sup>. 1844.</td></tr> +<tr><td align='right'>XIII.</td><td>The Corsair, etc.</td><td>Glasgow. 1867.</td></tr> +</table> + +<h4><span class="smcap">Translations of the Corsair</span>.</h4> + +<h5>German.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Der Korsar.</td><td>Berlin. 1816.</td></tr> +<tr><td align='right'>II.</td><td>Der Korsar.</td><td>Altona. 1820.</td></tr> +<tr><td align='right'>III.</td><td>Der Korsar.</td><td>Leipzig. 1852.</td></tr> +<tr><td align='right'>IV.</td><td>Der Corsar.</td><td>Mainz. 1852.</td></tr> +<tr><td align='right'>V.</td><td>Der Korsar.</td><td>Leipzig. 1871-1876.</td></tr> +</table> + +<h5>Hungarian.</h5> + +<p>A Kalóz. B'pest. 1892.</p> + +<h5>Italian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Il Corsaro.</td><td>Torino. 1819.</td></tr> +<tr><td align='right'>II.</td><td>Il Corsaro.</td><td>Milano. 1820.</td></tr> +<tr><td align='right'>III.</td><td>Il Corsaro.</td><td>Milano. 1842.</td></tr> +<tr><td align='right'>IV.</td><td>Il Corsaro.</td><td>Firenze, 1842.</td></tr> +<tr><td align='right'>V.</td><td>Il Corsaro. Bologna. 1870.</td></tr> +<tr><td align='right'>VI.</td><td>Il Corsaro.</td><td>V. di C. Rosnati. 1879.</td></tr> +</table> + +<h5>Russian.</h5> + +<p><span title='Morskoĭ razboĭnik". S.-Peterburg".'>Морской разбойникъ. С-Петербургъ.</span> +1827.</p> + +<h5>Spanish.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>El Corsario.</td><td>Paris. 1827.</td></tr> +<tr><td align='right'>II.</td><td>El Corsario.</td><td>Valencia. 1832.</td></tr> +</table> + +<h5>Swedish.</h5> + +<p>Corsaren. Stockholm. 1868.</p> + +<h4 class="pt">The Curse Of Minerva.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>The Curse of Minerva.</td><td>London. [4to.] 1812.</td></tr> +<tr><td align='right'>II.</td><td>The Curse, etc.</td><td>Philadelphia. [?] 1815.</td></tr> +<tr><td align='right'>III.</td><td>The Curse, etc.</td><td>P. Galignani. 1818.</td></tr> +</table> + +<p><span class='pagenum'><a name="Page_333" id="Page_333">[333]</a></span></p> +<h4 class="pt">The Deformed Transformed.</h4> +<table summary="Summary"> +<tr><td align='right'>I.</td><td>The Deformed Transformed.</td><td>London. J. and H. L. Hunt. 1824.</td></tr> +<tr><td align='right'>II.</td><td>The Def. Transf.</td><td>P.A. and W. Galignani. 1824.</td></tr> +<tr><td align='right'>III.</td><td>The Def. Transf.</td><td>Ln. J. Dicks. 1883, etc.</td></tr> +</table> + +<h4><span class="smcap">Translation of the Deformed Transformed</span>.</h4> + +<h5>Hungarian.</h5> + +<p>Budapesti Árvizkönyv., etc. Pesten. 1840.</p> + +<h4 class="pt">Don Juan.</h4> + +<h4>Cantos I., II.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Don Juan.</td><td>London. Printed by T. Davison. [4º] 1819.</td></tr> +<tr><td align='right'>II.</td><td>D. Juan.</td><td>L<sup>n</sup>. Pt. by T. Davison. 1819.</td></tr> +<tr><td align='right'>III.</td><td>D. Juan.</td><td>L<sup>n</sup>. J. Onwhyn. 1819</td></tr> +<tr><td align='right'>IV.</td><td>D Juan.</td><td>L<sup>n</sup>. Pt. by T. Davison. 1820</td></tr> +<tr><td align='right'>V.</td><td>D. Juan.</td><td>L<sup>n</sup>. Sherwin and Co. 1820</td></tr> +<tr><td align='right'>VI.</td><td>D. Juan.</td><td>L<sup>n</sup>. Pt. by T. Davison. 1822.</td></tr> +</table> + +<h4>Cantos III., IV., V.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>D. Juan.</td><td>L<sup>n</sup>. Pt. by T. Davison. 1821.</td></tr> +<tr><td align='right'>II.</td><td>D. Juan.</td><td>L<sup>n</sup>. Sherwin and Co. 1821.</td></tr> +<tr><td align='right'>III.</td><td>D. Juan. Fifth Ed,</td><td>L<sup>n</sup>. Pt. by T. Davison, 1822.</td></tr> +</table> + +<h4>Cantos I-V</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>D. Juan.</td><td>L<sup>n</sup>. W. Benbow. 1822.</td></tr> +<tr><td align='right'>II.</td><td>D. Juan.</td><td>L<sup>n</sup>. Hodgson and Co. 1822.</td></tr> +<tr><td align='right'>III.</td><td>D. Juan.</td><td>L<sup>n</sup>. Peter Griffin. 1823.</td></tr> +<tr><td align='right'>IV.</td><td>D. Juan.</td><td>L<sup>n</sup>. G. Smeeton. 1826.</td></tr> +</table> + +<h4>Cantos VI., VII., VIII.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>D. Juan.</td><td>L<sup>n</sup>. John Hunt. [8º] 1823.</td></tr> +<tr><td align='right'>II.</td><td>D. Juan.</td><td>L<sup>n</sup>. W. Dugdale. 1823.</td></tr> +<tr><td align='right'>III.</td><td>D. Juan.</td><td>L<sup>n</sup>. John Hunt.[12º] 1823.</td></tr> +</table> + +<h4>Cantos IX., X., XI.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>D. Juan.</td><td>L<sup>n</sup>. John Hunt. [8º] 1823.</td></tr> +<tr><td align='right'>II.</td><td>D. Juan.</td><td>L<sup>n</sup>. John Hunt. [12º] 1823.</td></tr> +</table> + +<h4>Cantos XII., XIII., XIV.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>D. Juan.</td><td>L<sup>n</sup>. John Hunt. [8º] 1823.</td></tr> +<tr><td align='right'>II.</td><td>D. Juan.</td><td>L<sup>n</sup>. John Hunt. [12º] 1823.</td></tr> +<tr><td align='right'>III.</td><td>D. Juan.</td><td>L<sup>n</sup>. Pt. for the Booksellers. 1823.</td></tr> +<tr><td align='right'>IV.</td><td>D. Juan.</td><td>P. A. and W. Galignani. 1824.</td></tr> +</table> + +<p><span class='pagenum'><a name="Page_334" id="Page_334">[334]</a></span></p> +<h4>Cantos XV., XVI.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>D. Juan.</td><td>L<sup>n</sup>. John and H. L. Hunt.</td><td>[8º]</td><td>1824.</td></tr> +<tr><td align='right'>II.</td><td>D. Juan.</td><td>L<sup>n</sup>. John and H. L. Hunt.</td><td>[12º]</td><td>1824.</td></tr> +<tr><td align='right'>III.</td><td>D. Juan.</td><td>L<sup>n</sup>. Pt. for the Booksellers.</td><td>1824.</td></tr> +<tr><td align='right'>IV.</td><td>D. Juan.</td><td>L<sup>n</sup>. Pt. for John Hunt.</td><td>1824.</td></tr> +<tr><td align='right'>V.</td><td>D. Juan.</td><td>P. A. and V. Galignani.</td><td>1824.</td></tr> +</table> + +<h4>Full Text.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>D. Juan. 2 v.</td><td>L<sup>n</sup>. Pt. for the Booksellers. 1826.</td></tr> +<tr><td align='right'>II.</td><td>D. Juan.</td><td>L<sup>n</sup>. W. Cla?? 1826.</td></tr> +<tr><td align='right'>III.</td><td>D. Juan.</td><td>L<sup>n</sup>. T. and J. Allman. 1827.</td></tr> +<tr><td align='right'>IV.</td><td>D. Juan. 2 v.</td><td>L<sup>n</sup>. T. Davison. 1828.</td></tr> +<tr><td align='right'>V.</td><td>D. Juan. 2 v.</td><td>L<sup>n</sup>. Pt. for the Booksellers. 1828.</td></tr> +<tr><td align='right'>VI.</td><td>D. Juan.</td><td>Nuremberg and New York. 1832.</td></tr> +<tr><td align='right'>VII.</td><td>D. Juan.</td><td>L<sup>n</sup>. Scott and Webster. 1833.</td></tr> +<tr><td align='right'>VIII.</td><td>D. Juan.</td><td>L<sup>n</sup>. Pt. for the Booksellers. 1835.</td></tr> +<tr><td align='right'>IX.</td><td>D. Juan. </td><td>2 v. London. <i>M.</i> 1837.</td></tr> +<tr><td align='right'>X.</td><td>D, Juan.</td><td>Mannheim. 1838.</td></tr> +<tr><td align='right'>XI.</td><td>D. Juan.</td><td>L<sup>n</sup>. H. G. Bohn. 1849.</td></tr> +<tr><td align='right'>XII.</td><td>D. Juan.</td><td>L<sup>n</sup>. and N.Y. 1874.</td></tr> +<tr><td align='right'>XIII.</td><td>D. Juan.</td><td>L<sup>n</sup>. Chatto and Windus. 1875.</td></tr> +<tr><td align='right'>XIV.</td><td>D. Juan.</td><td>L<sup>n</sup>. G. Routledge and Sons. 1886.</td></tr> +</table> + +<h4><span class="smcap">Translations of Don Juan</span></h4> + +<h5>Danish.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>D. Juan.</td><td>Fredericia. 1854.</td></tr> +<tr><td align='right'>II.</td><td>Byron. D. Juan.</td><td>Kjøbenhavn. 1880.</td></tr> +</table> + +<h5>French.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Don Juan. 2 v.</td><td>P. P. Renouard. 1827.</td></tr> +<tr><td align='right'>II.</td><td>D. Juan. 2 v.</td><td>P. <i>Lib. centrale</i>. 1866.</td></tr> +<tr><td align='right'>III.</td><td>D. Juan.</td><td>P. DeGorge-Cadot. 1869.</td></tr> +<tr><td align='right'>IV.</td><td>D. Juan.</td><td>P. Lemerre. 1878.</td></tr> +</table> + +<h5>German.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Don Juan.</td><td>Essen. 1839.</td></tr> +<tr><td align='right'>II.</td><td>Byron's D. Juan.</td><td>Bremen. 1845.</td></tr> +<tr><td align='right'>III.</td><td>Byron's D. Juan.</td><td>Leipzig. 1849.</td></tr> +<tr><td align='right'>IV.</td><td>Byron's D. Juan.</td><td>Hildburghausen. 1867.</td></tr> +</table> + +<h5>Italian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Don Giovanni.</td><td>Torino. 1853.</td></tr> +<tr><td align='right'>II.</td><td>D. Giovanni.</td><td>Milano. 1865.</td></tr> +<tr><td align='right'>III.</td><td>Gior. Byron. Aidea Epis. del don Giov.</td><td>Verona. 1875.</td></tr> +<tr><td align='right'>IV.</td><td>Il D. Juan.</td><td>Milano. 1876.</td></tr> +<tr><td align='right'>V.</td><td>D. Giovanni.</td><td>Milano. 1880.</td></tr> +</table> + +<p><span class='pagenum'><a name="Page_335" id="Page_335">[335]</a></span></p> +<h5>Polish.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Don Żuan.</td><td>Tarnopol. 1863.</td></tr> +<tr><td align='right'>II.</td><td>Ustęp z drugiéj pieśni Don Żuana.</td><td>Kraków. 1877.</td></tr> +<tr><td align='right'>III.</td><td>Don Żuan, pieśń trzecia.</td><td>Kraków. 1877.</td></tr> +<tr><td align='right'>IV.</td><td>Don Żuan, pieśń druga, trzecia i czwarta.</td><td>Tarnopol. 1879.</td></tr> +<tr><td align='right'>V.</td><td>Don Żuan.</td><td>Warszawa. 1885.</td></tr> +</table> + +<h5>Roumanian.</h5> + +<p>Don Juan dela Lord Byron. Bucurescĭ. 1847.</p> + +<h5>Russian.</h5> + +<p>I. <span title='Don" Zhuan". S. Peterburg".'>Донъ-Жуанъ. С.-Петербургъ.</span> 1846.</p> + +<p>II. <span title='Don" Zhuan". 2 v. S. Peterburg".'>Донъ-Жуанъ. 2 v. С.-Петербургъ.</span> [1847.]</p> + +<p>III. <span title='Don" Zhuan" ... Glava Pervaya. Leĭpzig.'>Донъ-Жуанъ. Глава первая. Лейпзигъ.</span> 1862.</p> + +<p>IV. <span title='Don" Zhuan". S. Peterburg".'>Донъ-Жуанъ. С.-Петербургъ.</span> 1866, 67.</p> + +<p>V. <span title='Don" Zhuan". 2 v. S. Peterburg".'>Донъ-Жуанъ. 2 v. С.-Петербургъ.</span> 1889.</p> + +<p>VI. <span title='Don" Zhuan". 2 t. S. Peterburg".'>Донъ-Жуанъ. 2 т. С.-Петербургъ.</span> 1892.</p> + +<h5>Servian</h5> + +<p><span title='Don" Zhuan" 2 sves. Beograd.'>Дон-Жуанъ. 2 свес. Београд.</span> 1888.</p> + +<h5>Spanish.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Don Juan, novela.</td><td>Paris. 1829.</td></tr> +<tr><td align='right'>II.</td><td>Don Juan.</td><td>Madrid. 1876.</td></tr> +</table> + +<h5>Swedish.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Don Juan.</td><td>Stockholm. 1838.</td></tr> +<tr><td align='right'>II.</td><td>Don Juan. 2 v.</td><td>Stockholm. 1857.</td></tr> +</table> + +<h4 class="pt">English Bards, and Scotch Reviewers.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>The British Bards, A Satire.</td><td>1808.</td></tr> +<tr><td align='right'>II.</td><td>English Bards, and Scotch Reviewers. First Ed.</td><td>L<sup>n</sup>. James Cawthorn. 1809.</td></tr> +<tr><td align='right'>III.</td><td>English B., etc. Second Ed.</td><td>L<sup>n</sup>. J. Cawthorn. 1809.</td></tr> +<tr><td align='right'>IV.</td><td>English B., etc. Third Ed.</td><td>L<sup>n</sup>. J. Cawthorn. 1810.</td></tr> +<tr><td align='right'>V.</td><td>English B., etc. Fourth Ed.</td><td>L<sup>n</sup>. J. Cawthorn. 1810.</td></tr> +<tr><td align='right'>VI.</td><td>English B., etc. Fourth Ed.</td><td>L<sup>n</sup>. J. Cawthorn. 1811.</td></tr> +<tr><td align='right'>VII.</td><td>English B., etc. Fifth Ed.</td><td>[L<sup>n</sup>. J. Cawthorn.] 1811.</td></tr> +<tr><td align='right'>VIII.</td><td>English B., etc. First Amer. Ed.</td><td>Philadelphia. 1811.</td></tr> +<tr><td align='right'>IX.</td><td>English B., etc.</td><td>Charleston. 1811.</td></tr> +<tr><td align='right'>X.</td><td>English B., etc.</td><td>Boston. 1814.</td></tr> +<tr><td align='right'>XI.</td><td>English B., etc.</td><td>New York. 1817.</td></tr> +<tr><td align='right'>XII.</td><td>English B., etc.</td><td>P. Galignani. 1818.</td></tr> +<tr><td align='right'>XIII.</td><td>English B., etc.</td><td>Brussels. 1819.</td></tr> +<tr><td align='right'>XIV.</td><td>English B., etc.</td><td>Geneva. 1820.</td></tr> +<tr><td align='right'>XV.</td><td>English B., etc.</td><td>L<sup>n</sup>. Benbow. 1823.</td></tr> +<tr><td align='right'>XVI.</td><td>English B., etc.</td><td>Glasgow. J. Starke. 1824.</td></tr> +<tr><td align='right'>XVII.</td><td>English B., etc.</td><td>Glasgow. M'Intosh and Co. 1825.<span class='pagenum'><a name="Page_336" id="Page_336">[336]</a></span></td></tr> +<tr><td align='right'>XVIII.</td><td>English B., etc.</td><td>L<sup>n</sup>. W. Dugdale. 1825.</td></tr> +<tr><td align='right'>XIX.</td><td>English B., etc.</td><td>L<sup>n</sup>. T. Kay. 1827.</td></tr> +</table> + +<h4 class="pt">Fare Thee Well! And a Sketch from Private Life.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Fare Thee Well!</td><td>March 18, 1816.</td></tr> +<tr><td align='right'>II.</td><td>Fare Thee Well!</td><td>April 4, 1816.</td></tr> +<tr><td align='right'>III.</td><td>Fare Thee Well! Second Version.</td><td>April 7, 1816.</td></tr> +<tr><td align='right'>IV.</td><td>A Sketch from Private Life.</td><td>March 30, 1816.</td></tr> +<tr><td align='right'>V.</td><td>A Sketch, etc. Another Copy.</td><td>April 2, 1816.</td></tr> +<tr><td align='right'>VI.</td><td>Fare Thee Well!—A Sketch, etc.</td><td>L<sup>n</sup>. Sherwood, Neely, and Jones. 1816.</td></tr> +<tr><td align='right'>VII.</td><td>Fare Thee Well.</td><td>Bristol. 1816.</td></tr> +<tr><td align='right'>VIII.</td><td>Fare Thee Well.</td><td>Edinburgh. 1816.</td></tr> +</table> + +<h4 class="pt">The Giaour.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>The Giaour, A Fragment of a Turkish Tale.</td><td>London. <i>M.</i> 1813.</td></tr> +<tr><td align='right'>II.</td><td>The Giaour, etc. A new Ed.</td><td>London. <i>M.</i> 1813.</td></tr> +<tr><td align='right'>III.</td><td>The Giaour, etc. Third Ed.</td><td>London. <i>M.</i> 1813.</td></tr> +<tr><td align='right'>IV.</td><td>The Giaour, etc.</td><td>Boston. 1813</td></tr> +<tr><td align='right'>V.</td><td>The Giaour, etc. Fifth Ed.</td><td>London. <i>M.</i> 1813.</td></tr> +<tr><td align='right'>VI.</td><td>The Giaour, etc. Sixth Ed.</td><td>L<sup>n</sup>. <i>M.</i> 1813.</td></tr> +<tr><td align='right'>VII.</td><td>The Giaour, etc. Seventh Ed.</td><td>London. <i>M.</i> 1813.</td></tr> +<tr><td align='right'>VIII.</td><td>The Giaour, etc. Ninth Ed.</td><td>London. <i>M.</i> 1814.</td></tr> +<tr><td align='right'>IX.</td><td>The Giaour, etc. Tenth Ed.</td><td>London. <i>M.</i> 1814.</td></tr> +<tr><td align='right'>X.</td><td>The Giaour, etc. Eleventh Ed.</td><td>London. <i>M.</i> 1814.</td></tr> +<tr><td align='right'>XI.</td><td>The Giaour, etc. Twelfth Ed.</td><td>London. <i>M.</i> 1814.</td></tr> +<tr><td align='right'>XII.</td><td>The Giaour, etc. Fourteenth Ed.</td><td>London. <i>M.</i> 1815.</td></tr> +<tr><td align='right'>XIII.</td><td>The Giaour, etc.</td><td>L<sup>n</sup>. W. Dugdale. 1825.</td></tr> +<tr><td align='right'>XIV.</td><td>The Giaour, etc.</td><td>London. <i>M.</i> (Tilt and Bogue, Edinb.) 1842.</td></tr> +<tr><td align='right'>XV.</td><td>The Giaour, etc.</td><td>London. 1844.</td></tr> +</table> + +<h4><span class="smcap">Translations of The Giaour</span>.</h4> + +<h5>French.</h5> + +<p>Le Giaour. P. J. M. H. Bigeon. 1828.</p> + +<h5>German.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Der Gauer.</td><td>Berlin. 1819.</td></tr> +<tr><td align='right'>II.</td><td>Der Gjaur.</td><td>Leipzig. 1820.</td></tr> +<tr><td align='right'>III.</td><td>Der Gjaur.</td><td>Leipzig. 1871-1876.</td></tr> +</table> + +<h5>Italian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Il Giaurro.</td><td>Genova e Parigi. 1817.</td></tr> +<tr><td align='right'>II.</td><td>Il Giaurro.</td><td>Milano. 1884.</td></tr> +</table> + +<p><span class='pagenum'><a name="Page_337" id="Page_337">[337]</a></span></p> +<h5>Polish.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Giaur.</td><td>Puławy. 1830.</td></tr> +<tr><td align='right'>II.</td><td>Giaur.</td><td>Paryż. 1834.</td></tr> +</table> + +<h5>Romaic.</h5> + +<p>I. <span title="Paiêmata Burônos ho Gkiaour. A)thênêsi">Παιηματα Βυρωνος ὁ Γκιαουρ. Ἀθηνησι </span>. 1873.</p> + +<p>II. <span title="Sakellariou Bibliothêkê t. Laou ... ho Gkiaour. E)n A)thênais.">Σακελλαριου Βιβλιοθηκη τ. Λαου ... ὁ Γκιαουρ. Ἐν Ἀθηναις. </span>. +1898.</p> + +<h5>Russian.</h5> + +<p>I. <span title='Dzhayur".'>Дҗяуръ.</span> 1821.</p> + +<p>II. <span title='Dzhayur". Moskva.'>Дҗяуръ. Москва.</span> 1822.</p> + +<p>III. <span title='Gayur". S-Peterburg".'>Гяуръ. С.-Петербургъ.</span> 1862.</p> + +<p>IV. <span title='Gayur". S-Peterburg".'>Гяуръ. С.-Петербургъ.</span> 1873.</p> + +<p>V. <span title='Gayur" Bairona. S-Peterburg".'>Гяуръ Ъайрона. С.-Петербургъ.</span> 1874.</p> + +<h5>Servian.</h5> + +<p><span title='Djaur lorda Bairona. u Novom-Sadu.'>Ђаур лорда Ъајрона. у Новом-Саду.</span> +1860.</p> + +<h5>Spanish.</h5> + +<p>El Giaur ó el infiel. Madrid. 1828.</p> + +<h5>Swedish.</h5> + +<p>Giaurn. Stockholm. 1855.</p> + +<h4 class="pt">Heaven and Earth.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Heaven and Earth, A Mystery.</td><td>L<sup>n</sup>. Benbow. 1824.</td></tr> +<tr><td align='right'>II.</td><td>Heaven and Earth, etc.</td><td>P. Galignani. 1823.</td></tr> +<tr><td align='right'>III.</td><td>Heaven and Earth, etc.</td><td>? W. Dugdale. 1825.</td></tr> +</table> + +<h4><span class="smcap">Translations of Heaven and Earth</span>.</h4> + +<h5>French.</h5> + +<p>Essai sur Le Génie, etc. P. Ladvocat. 1824.</p> + +<h5>Italian.</h5> + +<p>Cielo e terra. Milano. 1853.</p> + +<h5>Russian.</h5> + +<p><span title='Nebo n Zemlya. t. 1.'>Небо и Эемля. т. 1.</span></p> + +<h4 class="pt">Hebrew Melodies.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>A Selection of Hebrew Melodies.</td><td>L<sup>n</sup>. I. Nathan. 1815.</td></tr> +<tr><td align='right'>II.</td><td>Hebrew Melodies.</td><td>London. <i>M</i>. 1815.</td></tr> +<tr><td align='right'>III.</td><td>Hebrew Melodies.</td><td>Boston. 1815. 24º.<span class='pagenum'><a name="Page_338" id="Page_338">[338]</a></span></td></tr> +<tr><td align='right'>IV.</td><td>Hebrew Melodies.</td><td>Philadelphia. 1815. 16º.</td></tr> +<tr><td align='right'>V.</td><td>Hebrew Melodies.</td><td>L<sup>n</sup>. W. Dugdale. 1823.</td></tr> +<tr><td align='right'>VI.</td><td>Hebrew Melodies.</td><td>L<sup>n</sup>. W. Dugdale. 1825.</td></tr> +</table> + +<h4><span class="smcap">Translations of Hebrew Melodies</span>.</h4> + +<h5>Bohemian.</h5> + +<p>Hebrejské melodie. V Praze. 1890.</p> + +<h5>Danish.</h5> + +<p>Lord Byron: Jødiske Sange. Christiania. 1889.</p> + +<h5>German.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Hebräische Gesänge.</td><td>Berlin. 1820.</td></tr> +<tr><td align='right'>II.</td><td>Hebr. Gesän.</td><td>Laibach. 1833.</td></tr> +<tr><td align='right'>III.</td><td>Germanische Melodien.</td><td>Bonn. 1862.</td></tr> +<tr><td align='right'>IV.</td><td>Lord Byron's Heb. Gesän.</td><td>Karlsruhe. 1863.</td></tr> +<tr><td align='right'>V.</td><td>Heb. Gesän.</td><td>Memmingen. 1866.</td></tr> +</table> + +<h5>Hebrew.</h5> + +<p>Hebrew Melodies of Lord Byron. Leipzig. 1890.</p> + +<h5>Italian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Melodie Ebraiche.</td><td>Napoli. 1837.</td></tr> +<tr><td align='right'>II.</td><td>Le Mel. ebree.</td><td>Ivrea. 1855.</td></tr> +</table> + +<h5>Russian.</h5> + +<p><span title='Evreĭskiya Melodin. S.-Peterburg".'>Еврйскія мелодін. С.-Петерурбъ.</span> +1860.</p> + +<h5>Swedish.</h5> + +<p>Hebreiska Melodier. Helsingfors. 1862.</p> + +<h4 class="pt">Fugitive Pieces And Minor Poems</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Fugitive Pieces. A Facsimile Reprint of the Supp. Ed. of 1806.</td><td>1886.</td></tr> +<tr><td align='right'>II.</td><td>Poems on Various Occasions.</td><td>Newark. 1807.</td></tr> +<tr><td align='right'>III.</td><td>Hours of Idleness.</td><td>Newark. 1807.</td></tr> +<tr><td align='right'>IV.</td><td>Poems Original and Translated.</td><td>Newark. 1808.</td></tr> +<tr><td align='right'>V.</td><td>Imitations and Translations.</td><td>L<sup>n</sup>. Longman, etc. 1809.</td></tr> +<tr><td align='right'>VI.</td><td>Hours, etc.</td><td>P. Galignani. 1819.</td></tr> +<tr><td align='right'>VII.</td><td>Hours, etc.</td><td>L<sup>n</sup>. Sherwin and Co. 1820.</td></tr> +<tr><td align='right'>VIII.</td><td>Hours, etc. Third Ed.</td><td>P. Galignani. 1820.</td></tr> +<tr><td align='right'>IX.</td><td>Hours, etc.</td><td>L<sup>n</sup>. Benbow. 1822.</td></tr> +<tr><td align='right'>X.</td><td>Hours, etc.</td><td>P. A. and W. Galignani. 1822.</td></tr> +<tr><td align='right'>XI.</td><td>Hours, etc.</td><td>Glasgow. 1825.</td></tr> +<tr><td align='right'>XII.</td><td>Fugitive Pieces and Reminiscences of Lord Byron.</td><td>L<sup>n</sup>. Whittaker, Treacher, and Co, 1829.</td></tr> +</table> + +<p><span class='pagenum'><a name="Page_339" id="Page_339">[339]</a></span></p> + +<h4 class="pt">Poems.</h4> + +<p>Poems. Second Ed. London. <i>M</i>. 1816.</p> + +<h4 class="pt">Poems on His Domestic Circumstances.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Poems on His Domestic Circumstances.</td><td>London. W. Hone. 1816.</td></tr> +<tr><td align='right'>II.</td><td>Poems, etc. Second Ed.</td><td>L<sup>n</sup>. W. Hone. 1816.</td></tr> +<tr><td align='right'>III.</td><td>Poems, etc. Sixth Ed.</td><td>L<sup>n</sup>. W. Hone. 1816.</td></tr> +<tr><td align='right'>IV.</td><td>Poems, etc. Eighth Ed.</td><td>L<sup>n</sup>. W. Hone. 1816.</td></tr> +<tr><td align='right'>V.</td><td>Poems, etc. Fifteenth Ed.</td><td>L<sup>n</sup>. W. Hone. 1816.</td></tr> +<tr><td align='right'>VI.</td><td>L.B.'s Poems on His Own, etc.</td><td>Dublin. 1816.</td></tr> +<tr><td align='right'>VII.</td><td>Poems on His Domestic, etc. Second Ed.</td><td>Bristol. 1816.</td></tr> +<tr><td align='right'>VIII.</td><td>Poems on His Domestic, etc.</td><td>Boston. 1816.</td></tr> +<tr><td align='right'>IX.</td><td>Poems, etc. Twenty-third Ed.</td><td>L<sup>n</sup>. W. Hone. 1817.</td></tr> +<tr><td align='right'>X.</td><td>Poems, etc.</td><td>L<sup>n</sup>. J. Limbird. 1823.</td></tr> +<tr><td align='right'>XI.</td><td>Miscell. Poems, including those on His Domestic, etc.</td><td>L<sup>n</sup>. John Bumpus. 1824.</td></tr> +<tr><td align='right'>XII.</td><td>Miscell. Poems on His Domestic, etc.</td><td>L<sup>n</sup>. William Cole. 1825.</td></tr> +</table> + +<h4 class="pt">Hints from Horace.</h4> + +<h4 class="pt">The Irish Avatar.</h4> + +<h4 class="pt">The Island.</h4> + + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>The Island, or Christian and His Comrades.</td><td>L<sup>n</sup>. John Hunt. 1823.</td></tr> +<tr><td align='right'>II.</td><td>The Island, etc.</td><td>P. A. and W. Galignani. 1823.</td></tr> +<tr><td align='right'>III.</td><td>The Island, etc.</td><td>New York. 1823.</td></tr> +</table> + +<h4><span class="smcap">Translations of The Island</span>.</h4> + +<h5>German.</h5> + +<p>Die Insel, etc. Leipzig. 1827.</p> + +<h5>Italian.</h5> + +<p>L' Isola. Napoli. 1840.</p> + +<h5>Polish.</h5> + +<p>Wyspa czyli Chrystyan i jego towarzysze. Kraków. 1859.</p> + +<h5>Swedish.</h5> + +<p>Ön Eller Christian, etc. Stockholm. 1856.</p> + +<h4 class="pt">The Lament of Tasso.</h4> +<table summary="Summary"> +<tr><td align='right'>I.</td><td>The Lament of Tasso.</td><td>London. <i>M</i>. 1817.</td></tr> +<tr><td align='right'>II.</td><td>The Lament, etc. Second Ed.</td><td>London. <i>M</i>. 1817.</td></tr> +<tr><td align='right'>III.</td><td>The Lament, etc. Third Ed.</td><td>London. <i>M</i>. 1817.<span class='pagenum'><a name="Page_340" id="Page_340">[340]</a></span></td></tr> +<tr><td align='right'>IV.</td><td>The Lament, etc. Fourth Ed.</td><td>London. <i>M</i>. 1817.</td></tr> +<tr><td align='right'>V.</td><td>The Lament, etc. Sixth Ed.</td><td>London. <i>M</i>. 1818.</td></tr> +</table> + +<h4><span class="smcap">Translations of The Lament of Tasso</span>.</h4> + +<h5>Italian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Lamento del Tasso.</td><td>Pisa. 1818.</td></tr> +<tr><td align='right'>II.</td><td>La Magion del Terrore.</td><td>Londra. J. Wilson. 1843.</td></tr> +<tr><td align='right'>III.</td><td>Gugl. Godio. Il Lamento, etc.</td><td>Torino. 1873.</td></tr> +</table> + +<h4 class="pt">Lara.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Lara, A Tale. Jacqueline, A Tale.</td><td>London. <i>M</i>. 1814.</td></tr> +<tr><td align='right'>II.</td><td>Lara, etc. Fourth Ed.</td><td>London. <i>M</i>. 1814.</td></tr> +<tr><td align='right'>III.</td><td>Lara.</td><td>Boston. 1814.</td></tr> +<tr><td align='right'>IV.</td><td>Lara.</td><td>New York. 1814.</td></tr> +<tr><td align='right'>V.</td><td>Lara, etc. Fifth Ed.</td><td>London. <i>M</i>. 1817.</td></tr> +<tr><td align='right'>VI.</td><td>Lara, etc.</td><td>Art Union of London. 1879.</td></tr> +</table> + +<h4><span class="smcap">translations of Lara</span>.</h4> + +<h5>Bohemian.</h5> + +<p>Lara. V Praze. 1885.</p> + +<h5>German.</h5> + +<p>Lara. Leipzig. 1886.</p> + +<h5>Italian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Il Lara di L.B.</td><td>Parigi. 1828.</td></tr> +<tr><td align='right'>II.</td><td>Lara.</td><td>Milano. 1882.</td></tr> +</table> + +<h5>Polish.</h5> + +<p>Lara. Wilno. 1833.</p> + +<h5>Servian.</h5> + +<p><span title='Lara lorda Bairona. y Novom-Sady'>Лара лорда Бајрона. у Новом-Саду</span>. 1860.</p> + +<h5>Spanish.</h5> + +<p>Lara. Paris. 1828.</p> + +<h5>Swedish.</h5> + +<p>Lara. Stockholm. 1869.</p> + +<h4 class="pt">Manfred.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Manfred.</td><td>London. <i>M</i>. 1817.</td></tr> +<tr><td align='right'>II.</td><td>Manfred. Second Ed.</td><td>London. <i>M</i>. 1817.</td></tr> +<tr><td align='right'>III.</td><td>Manfred.</td><td>Philadelphia. J. Maxwell. 1817.</td></tr> +<tr><td align='right'>IV.</td><td>Manfred.</td><td>L<sup>n</sup>. W. Dugdale. 1824.<span class='pagenum'><a name="Page_341" id="Page_341">[341]</a></span></td></tr> +<tr><td align='right'>V.</td><td>Manfred.</td><td>Brussels. Printed at the British Press, <i>n.d.</i></td></tr> +<tr><td align='right'>VI.</td><td>Manfred. A Choral Tragedy.</td><td>L<sup>n</sup>. T. H. Lacy. 1863.</td></tr> +<tr><td align='right'>VII.</td><td>Manfred.</td><td>L<sup>n</sup>. J. Dicks. 1883, etc.</td></tr> +</table> + +<h4><span class="smcap">Translations of Manfred</span>.</h4> + +<h5>Bohemian.</h5> + +<p>Manfred. Praze. 1882.</p> + +<h5>Danish.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Manfred.</td><td>Kjøbenhavn. 1820.</td></tr> +<tr><td align='right'>II.</td><td>Manfred.</td><td>Kjøbenhavn. 1843.</td></tr> +</table> + +<h5>Dutch.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Manfred.</td><td>Amsterdam. 1857.</td></tr> +<tr><td align='right'>II.</td><td>Byron's Manfred.</td><td>Heusden. 1882.</td></tr> +</table> + +<h5>French.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Manfred.</td><td>Bruxelles. 1852.</td></tr> +<tr><td align='right'>II.</td><td>Manfred.</td><td>P. Paul Ollendorff. 1887.</td></tr> +<tr><td align='right'>III.</td><td>Lord Byron.</td><td>Manfred. Toulouse. 1888.</td></tr> +</table> + +<h5>German.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Manfred. A Tragedy.<br />Manfred. Trauerspiel. Teutsch v. A. Wagner.</td><td>Leipzig. 1819.<br />Leipzig. 1819.</td></tr> +<tr><td align='right'>II.</td><td>Manfred.</td><td>Göttingen. 1836.</td></tr> +<tr><td align='right'>III.</td><td>Byron's Manfred.</td><td>Breslau. 1839.</td></tr> +<tr><td align='right'>IV.</td><td>Manfred.</td><td>Berlin. 1843.</td></tr> +<tr><td align='right'>V.</td><td>Lord Byron's Manfred.</td><td>Leipzig. 1858.</td></tr> +<tr><td align='right'>VI.</td><td>Byron's Manfred.</td><td>Berlin. 1872.</td></tr> +<tr><td align='right'>VII.</td><td>Manfred.</td><td>Leipzig. 1871-1876.</td></tr> +<tr><td align='right'>VIII.</td><td>Manfred.</td><td>Leipzig. 1879-1890.</td></tr> +<tr><td align='right'>IX.</td><td>Manfred.</td><td>Frankfurt. 1883.</td></tr> +</table> + +<h5>Hungarian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I. II. III.</td><td>Byron Lord' Élete 's Munkái. Manfred. Manfred.</td><td>Pesten. 1842. Szolnok. 1884. Budapest. 1891.</td></tr> +</table> + +<h5>Italian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Manfredo.</td><td>Milano. 1832.</td></tr> +<tr><td align='right'>II.</td><td>Tragedie di Silvio Pellico. Manfredo.</td><td>Firenze. 1859.</td></tr> +<tr><td align='right'>III.</td><td>Manfredo.</td><td>Firenze. 1870.</td></tr> +</table> + +<h5>Polish.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Manfred.</td><td>Wrocław. 1835.</td></tr> +<tr><td align='right'>II.</td><td>Manfred.</td><td>Paryż. 1859.</td></tr> +</table> + +<p><span class='pagenum'><a name="Page_342" id="Page_342">[342]</a></span></p> +<h5>Romaic.</h5> + +<p><span title='O Mamphred. En Patrais'>Ο Μαμφρεδ. Εν Πατραις</span>. 1864</p> + +<h5>Roumanian.</h5> + +<p>Stoenescu (Th. M.) Teatru ... Manfred. Bucurescï. 1896.</p> + +<h5>Russian.</h5> + +<p>I. <span title='Manfred".'>Манфредъ.</span></p> + +<p>II. <span title='Manfred".'>Манфредъ.</span></p> + +<p>III. <span title='Manfred". S-Peterburg".'>Манфредъ. С.-Петербургъ</span> 1858.</p> + +<p>IV. <span title='Manfred".'>Манфредъ.</span></p> + +<h5>Spanish.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Manfredo.</td><td>P. De Decourchant. 1829.</td></tr> +<tr><td align='right'>II.</td><td>Manfredo.</td><td>Madrid. 1861.</td></tr> +<tr><td align='right'>III.</td><td>Lord Byron. Manfredo.</td><td>Madrid. 1876.</td></tr> +</table> + +<h4 class="pt">Marino Faliero.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Marino Faliero.</td><td>L<sup>n</sup>. <i>M</i>. 1821.</td></tr> +<tr><td align='right'>II.</td><td>Marino Faliero. Second Ed.</td><td>L<sup>n</sup>. <i>M</i>. 1821.</td></tr> +<tr><td align='right'>III.</td><td>Marino Faliero.</td><td>Philadelphia. 1821.</td></tr> +<tr><td align='right'>IV.</td><td>Marino Faliero.</td><td>P. Galignani. 1821.</td></tr> +<tr><td align='right'>V.</td><td>Marino Faliero.</td><td>L<sup>n</sup>. <i>M</i>. [Tilt and Bogue, Edinb.] 1842.</td></tr> +<tr><td align='right'>VI.</td><td>Marino Faliero.</td><td>L<sup>n</sup>. J. Dicks. 1883, etc.</td></tr> +</table> + +<h4><span class="smcap">Translations Of Marino Faliero</span>.</h4> + +<h5>German.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Marino Faliero.</td><td>Frankfurt am Main. 1883.</td></tr> +<tr><td align='right'>II.</td><td>Lord Byron's Marino Faliero.</td><td>Oldenburg, <i>n.d.</i></td></tr> +</table> + +<h4 class="pt">Mazeppa.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Mazeppa, A Poem.</td><td>London. <i>M</i>. 1819.</td></tr> +<tr><td align='right'>II.</td><td>Mazeppa, etc. Second Ed.</td><td>P. Galignani. 1819.</td></tr> +<tr><td align='right'>III.</td><td>Mazeppa.</td><td>Boston. 1819.</td></tr> +<tr><td align='right'>IV.</td><td>Mazeppa.</td><td>P. Galignani. 1822.</td></tr> +<tr><td align='right'>V.</td><td>Mazeppa.</td><td>L<sup>n</sup>. W. Dugdale. 1824.</td></tr> +<tr><td align='right'>VI.</td><td>Mazeppa.</td><td>Braunschweig. 1834.</td></tr> +<tr><td align='right'>VII.</td><td>Mazeppa.</td><td>L<sup>n</sup>. T. Goode. 1854.</td></tr> +</table> + +<h4><span class="smcap">Translations of Mazeppa</span>.</h4> + +<h5>Danish.</h5> + +<p>Mazeppa. Stockholm. 1853.</p> + +<p><span class='pagenum'><a name="Page_343" id="Page_343">[343]</a></span></p> + +<h5>German.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Mazeppa.</td><td>Leipzig. 1820.</td></tr> +<tr><td align='right'>II.</td><td>Mazeppa.</td><td>Göttingen. 1836.</td></tr> +<tr><td align='right'>III.</td><td>Mazeppa.</td><td>Stuttgart. 1883.</td></tr> +</table> + +<h5>Hungarian.</h5> + +<p>Byron Lord' Élete 's munkái. Pesten. 1842.</p> + +<h5>Italian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Il Mazeppa.</td><td>Palermo. 1847.</td></tr> +<tr><td align='right'>II.</td><td>Mazeppa.</td><td>Palermo. 1876.</td></tr> +<tr><td align='right'>III.</td><td>Mazeppa.</td><td>Milano. 1886.</td></tr> +</table> + +<h5>Polish.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Mazepa.</td><td>W. Hali. 1860.</td></tr> +<tr><td align='right'>II.</td><td>Mazepa.</td><td>Paryż. 1860.</td></tr> +</table> + +<h5>Russian.</h5> + +<p>I. <span title='Vybor" iz" sochneniĭ lorda Baĭrona.'>Выборъ изъ сочненій лорда Байрона.</span> 1821.</p> + +<p>II. <span title='Mazepa.'>Маэепа.</span></p> + +<p>III. <span title='Mazepa.'>Маэепа.</span></p> + +<p>IV. <span title='Mazepa. S.-Peterburg".'>Маэепа. С.-Петербургъ.</span> 1860.</p> + +<h5>Spanish.</h5> + +<p>Mazeppa, novela. Paris. 1830.</p> + +<h4 class="pt">Monody On The Death Of ... Sheridan.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Monody, etc.</td><td>L<sup>n</sup>. <i>M.</i> 1816.</td></tr> +<tr><td align='right'>II.</td><td>Monody, etc. New Ed.</td><td>L<sup>n</sup>. <i>M.</i> 1817.</td></tr> +<tr><td align='right'>III.</td><td>Monody, etc. New Ed.</td><td>L<sup>n</sup>. <i>M.</i> 1818.</td></tr> +</table> + +<h4 class="pt">An Ode to the Framers of the Frame Bill.</h4> + +<p>A Political Ode. L<sup>n</sup>. J. Pearson. 1880.</p> + +<h4 class="pt">Ode from the French.</h4> + +<h4><span class="smcap">Translation</span></h4> + +<h5>French.</h5> + +<p>Traduction de l'Ode. Londres. 1826.</p> + +<h4 class="pt">Ode to Napoleon Buonaparte.</h4> +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Ode to Napoleon Buonaparte.</td><td>London. <i>M.</i> 1814.</td></tr> +<tr><td align='right'>II.</td><td>An Ode to N.B.</td><td>Philadelphia. E. Earle. 1814.</td></tr> +<tr><td align='right'>III.</td><td>Ode to N.B. Sixth Ed.</td><td>London. <i>M</i>. 1814.<span class='pagenum'><a name="Page_344" id="Page_344">[344]</a></span></td></tr> +<tr><td align='right'>IV.</td><td>Ode to N.B. Ninth Ed.</td><td>London. <i>M</i>. 1814.</td></tr> +<tr><td align='right'>V.</td><td>Ode to N.B. Twelfth Ed.</td><td>London. <i>M</i>. 1816.</td></tr> +<tr><td align='right'>VI.</td><td>Ode to N.B. Thirteenth Ed.</td><td>London. <i>M</i>. 1818.</td></tr> +</table> + +<h4><span class="smcap">Translation Of The Ode To Napoleon Buonaparte</span>.</h4> + +<h5>Spanish.</h5> + +<p>Odas a Napoleon. P. De Decourchant. 1829.</p> + +<h4 class="pt">Parisina.</h4> + +<h4><span class="smcap">Translations</span>.</h4> + +<h5>Danish.</h5> + +<p>Parisina. Stockholm. 1854.</p> + +<h5>French.</h5> + +<p>Parisina. Adolphe Krafft. P. Ernest Leroux. 1900.</p> + +<h5>German.</h5> + +<p>Parisina. Gedichte von J. V. Cirkel. Münster. 1825.</p> + +<h5>Italian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Parisina.</td><td>Milano. 1821.</td></tr> +<tr><td align='right'>II.</td><td>Parisina.</td><td>Milano. 1853.</td></tr> +<tr><td align='right'>III.</td><td>Parisina.</td><td>Mantova. 1854.</td></tr> +<tr><td align='right'>IV.</td><td>Parisina.</td><td>Palermo. 1855.</td></tr> +<tr><td align='right'>V.</td><td>Parisina.</td><td>Genova. 1864.</td></tr> +</table> + +<h5>Russian.</h5> + +<p><span title='Parizina. S.-Peterburg".'>Паризина. С.-Петербургъ.</span> 1827.</p> + +<h5>Spanish.</h5> + +<p>Parisina. P. Imp. de Decoutchant. 1830.</p> + +<h4 class="pt">The Prisoner Of Chillon.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>The Prisoner of Chillon.</td><td>London. <i>M</i>. 1816.</td></tr> +<tr><td align='right'>II.</td><td>The P. of Chillon.</td><td>Lausanne. 1818.</td></tr> +<tr><td align='right'>III.</td><td>The P. of Chillon.</td><td>L<sup>n</sup>. W. Chubb. 1824.</td></tr> +<tr><td align='right'>IV.</td><td>The P. of Chillon.</td><td>L<sup>n</sup>. ? 1825.</td></tr> +<tr><td align='right'>V.</td><td>The P. of Chillon.</td><td>Geneva. 1830.</td></tr> +<tr><td align='right'>VI.</td><td>The P. of Chillon.</td><td>Lausanne. 1857.</td></tr> +<tr><td align='right'>VII.</td><td>The P. of Chillon. Illuminated.</td><td>L<sup>n</sup>. W. & G. Audsley. 1865.</td></tr> +<tr><td align='right'>VIII.</td><td>Byron's P. of Chillon.</td><td>L<sup>n</sup>. T. J. Allman. 1874.</td></tr> +<tr><td align='right'>IX.</td><td>Byron's P. of Chillon.</td><td>L<sup>n</sup>. Simpkin, Marshall, and Co. 1877.</td></tr> +<tr><td align='right'>X.</td><td>The P. of Chillon.</td><td>L<sup>n</sup>. Blackie and Son. 1879.<span class='pagenum'><a name="Page_345" id="Page_345">[345]</a></span></td></tr> +<tr><td align='right'>XI.</td><td>Byron's P. of Chillon.</td><td>L<sup>n</sup>. Simpkin, Marshall, and Co. 1879.</td></tr> +<tr><td align='right'>XII.</td><td>The P. of Chillon.</td><td>Vevey. 1880.</td></tr> +<tr><td align='right'>XIII.</td><td>The P. of Chillon.</td><td>Berlin. 1884.</td></tr> +<tr><td align='right'>XIV.</td><td>The P. of Chillon.</td><td>Firenze. 1885.</td></tr> +<tr><td align='right'>XV.</td><td>Byron's P. of Chillon.</td><td>L<sup>n</sup>. and Edinb. 1894.</td></tr> +<tr><td align='right'>XVI.</td><td>The P. of Chillon.</td><td>L<sup>n</sup>. Stewart and Co. <i>n.d.</i></td></tr> +<tr><td align='right'>XVII.</td><td>The P. of Chillon.</td><td>L<sup>n</sup>. and Glasg. Blackie and Son. 1896.</td></tr> +<tr><td align='right'>XVIII.</td><td>Byron. The Prisoner of Chillon.</td><td>Dublin. 1896.</td></tr> +<tr><td align='right'>XIX.</td><td>The P. of Chillon.</td><td>Weimar. 1896.</td></tr> +</table> + +<h4><span class="smcap">Translations Of The Prisoner Of Chillon</span></h4> + +<h5>Dutch.</h5> + +<p>De Gevangene van Chillon. Gent. 1856.</p> + +<h5>French.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Le Prisonnier de Chillon.</td><td>Vevey. <i>n.d.</i></td></tr> +<tr><td align='right'>II.</td><td>Bonnivard A Chillon.</td><td>Le P. de Ch. Genève. 1892.</td></tr> +</table> + +<h5>German.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Lord Byron's Gefangener von Chillon.</td><td>Lausanne. 1861.</td></tr> +<tr><td align='right'>II.</td><td>Der Gefangene von Chillon.</td><td>Vevey and Lausanne. 1865.</td></tr> +<tr><td align='right'>III.</td><td>Der Gefangene von Chillon.</td><td>Berlin. 1886.</td></tr> +<tr><td align='right'>IV.</td><td>Der Gefangene von Chillon.</td><td>St. Gallen and Leipzig. 1892.</td></tr> +</table> + +<h5>Italian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Il prigionero di Chillon.</td><td>Milano. 1830.</td></tr> +<tr><td align='right'>II.</td><td>Il prigionero di Chillon.</td><td>Milano. 1853.</td></tr> +</table> + +<h5>Russian.</h5> + +<p><span title='Shilonskiĭ Uznik". S.-Peterburg".'>Шильонскій Узникъ. С.-Петербургъ.</span> 1822.</p> + +<h5>Spanish.</h5> + +<p>El preso de Chillon. Paris. 1829.</p> + +<h5>Swedish.</h5> + +<p>Fången På Chillon. Stockholm. 1853.</p> + +<h4 class="pt">The Prophecy Of Dante.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>The Prophecy of Dante.</td><td>Philadelphia. 1821.</td></tr> +<tr><td align='right'>II.</td><td>The Pr. of Dante.</td><td>P. Galignani. 1821.</td></tr> +<tr><td align='right'>III.</td><td>The Pr. of Dante.</td><td>L<sup>n</sup>. W. Dugdale. 1825.</td></tr> +<tr><td align='right'>IV.</td><td>The Pr. of Dante.</td><td>L<sup>n</sup>. Blackie and Son. 1879.</td></tr> +</table> + +<p><span class='pagenum'><a name="Page_346" id="Page_346">[346]</a></span></p> + +<h4><span class="smcap">Translations Of The Prophecy Of Dante</span></h4> + +<h5>French.</h5> + +<p>OEuvres de Dante Alighieri. La Pr. du Dante. P. Charpentier. 1842.</p> + +<h5>Italian.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Profezia di Dante.</td><td>P. Barrois. 1821.</td></tr> +<tr><td align='right'>II.</td><td>La Profezia di Dante.</td><td>Nuova-Jorca. 1821.</td></tr> +<tr><td align='right'>III.</td><td>La Pr. di Dante.</td><td>Milano. 1856.</td></tr> +<tr><td align='right'>IV.</td><td>La Pr. di Dante.</td><td>Milano. 1858.</td></tr> +</table> + +<h5>Spanish.</h5> + +<p>La Profecia del Dante. Mexico. 1850.</p> + +<h4 class="pt">Sardanapalus.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Sardanapalus, ... The Two Foscari, ... Cain.</td><td>London. <i>M.</i> 1821.</td></tr> +<tr><td align='right'>II.</td><td>Sardanapalus, The Two Foscari, Cain.</td><td>Boston. 1822.</td></tr> +<tr><td align='right'>III.</td><td>Sardanapalus.</td><td>London. <i>M.</i> 1829.</td></tr> +<tr><td align='right'>IV.</td><td>Sardanapalus.</td><td>Arnsberg. 1849.</td></tr> +<tr><td align='right'>V.</td><td>Sardanapalus.</td><td>L<sup>n</sup>. T. H. Lacy. 1853.</td></tr> +<tr><td align='right'>VI.</td><td>L.B.'s Hist. Tragedy of Sardanapalus.</td><td>Manchester. 1877.</td></tr> +<tr><td align='right'>VII.</td><td>Sardanapalus.</td><td>L<sup>n</sup>. J. Dicks. 1883, etc.</td></tr> +</table> + +<h4><span class="smcap">Translations Of Sardanapalus</span></h4> + +<h5>Bohemian.</h5> + +<p>Sardanapal. V Praze. 1891.</p> + +<h5>French.</h5> + +<p>Sardanapale. Bruxelles. 1834.</p> + +<h5>German.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Sardanapal.</td><td>Posen. 1854.</td></tr> +<tr><td align='right'>II.</td><td>Sardanapal.</td><td>Jena. 1888.</td></tr> +<tr><td align='right'>III.</td><td>Lord Byron's Sardanapal.</td><td>Berlin. 1897.</td></tr> +</table> + +<h5>Italian.</h5> + +<p>Sardanapalo. Milano. 1884.</p> + +<h5>Polish.</h5> + +<p>Sardanapal. Warszawa. 1872.</p> + +<h5>Romaic.</h5> + +<p><span title='Sardanapalos. En Athênais'>Σαρδαναπαλος. Εν Αθεναις </span>. 1865.</p> + +<p><span class='pagenum'><a name="Page_347" id="Page_347">[347]</a></span></p> + +<h5>Russian.</h5> +<p>I. <span title='Sardanapal". S.-Peterburg".'>Сарданапалъ. С.-Петербургъ.</span> 1860.</p> +<p>II. <span title='Sardanapal".'>Сарданапалъ.</span></p> + +<h5>Swedish.</h5> + +<p>Sardanapalus, Stockholm. 1864.</p> + +<h4 class="pt">The Siege Of Corinth.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>The Siege of Corinth.</td><td>London. <i>M</i>. 1816.</td></tr> +<tr><td align='right'>II.</td><td>The Siege, etc.</td><td>New York. 1816.</td></tr> +<tr><td align='right'>III.</td><td>The Siege, etc.</td><td>L<sup>n</sup>. W. Dugdale. 1824.</td></tr> +<tr><td align='right'>IV.</td><td>The Siege, etc.</td><td>Lüneburg. 1854.</td></tr> +<tr><td align='right'>V.</td><td>The Siege, etc.</td><td>L<sup>n</sup>. Nat. Soc. Depository. 1879.</td></tr> +<tr><td align='right'>VI.</td><td>Byron's Siege of Corinth.</td><td>Berlin. 1893.</td></tr> +<tr><td align='right'>VII.</td><td>The Siege, etc.</td><td>Bielefeld. 1885-1890.</td></tr> +</table> + +<h4><span class="smcap">Translations Of The Siege Of Corinth</span></h4> + +<h5>Dutch.</h5> + +<p>Het Beleg van Corinthe. Amsterdam. 1831.</p> + +<h5>French.</h5> + +<p>Le Siége de Corinthe. P. Pillet aîné. 1820.</p> + +<h5>German.</h5> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Die Belagerung von Korinth.</td><td>Hamburg. 1817.</td></tr> +<tr><td align='right'>II.</td><td>Die Belagerung v. K.</td><td>Leipzig. 1820.</td></tr> +<tr><td align='right'>III.</td><td>Die Belagerung v. K.</td><td>Hamburg. 1827.</td></tr> +</table> + +<h5>Italian.</h5> + +<p>L'Assedio di Corinto. Venezia. 1838.</p> + +<h5>Spanish.</h5> + +<p>El Sitio de Corinto. P. Lib. Americana. 1828.</p> + +<h5>Swedish.</h5> + +<p>Belägringen Af Korinth. Stockholm. 1854.</p> + +<h4 class="pt">The Two Foscari.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>The Two Foscari.</td><td>New York. 1822.</td></tr> +<tr><td align='right'>II.</td><td>The Two Foscari.</td><td>P. Galignani. 1822.</td></tr> +<tr><td align='right'>III.</td><td>The Two Foscari.</td><td>L<sup>n</sup>. J. Dicks, etc. 1883.</td></tr> +</table> + +<h4><span class="smcap">Translations Of The Two Foscari</span></h4> + +<h5>Russian.</h5> + +<p><span title='Dvoe Foskari.'>Двое Фоскари.</span></p> + +<p><span class='pagenum'><a name="Page_348" id="Page_348">[348]</a></span></p> +<h5>Spanish.</h5> + +<p>Los dos Fóscaris. Biblioteca Dramatica. Madrid. 1846.</p> + +<h4 class="pt">The Vision Of Judgment.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Vision of Judgment.</td><td>P. Galignani. 1822.</td></tr> +<tr><td align='right'>II.</td><td>The Two Visions.</td><td>L<sup>n</sup>. W. Dugdale. 1822.</td></tr> +</table> + +<h4 class="pt">The Waltz.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Waltz: An Apostrophic Hymn.</td><td>L<sup>n</sup>. Printed by S. Gosnell. 1813.</td></tr> +<tr><td align='right'>II.</td><td>Waltz, etc.</td><td>L<sup>n</sup>. Benbow. 1821.</td></tr> +</table> + +<h4 class="pt">Werner.</h4> + +<table summary="Summary"> +<tr><td align='right'>I.</td><td>Werner, A Tragedy.</td><td>London. <i>M</i>. 1823.</td></tr> +<tr><td align='right'>II.</td><td>Werner.</td><td>P. Galignani. 1823.</td></tr> +<tr><td align='right'>III.</td><td>Werner.</td><td>New York. 1848.</td></tr> +<tr><td align='right'>IV.</td><td>The British Drama (Werner, Vol. iii. pp. 767-789).</td><td>L<sup>n</sup>. John Dicks. 1865.</td></tr> +<tr><td align='right'>V.</td><td>Werner.</td><td>L<sup>n</sup>. J. Dicks. 1883, etc.</td></tr> +<tr><td align='right'>VI.</td><td>Werner.</td><td>L<sup>n</sup>. George Routledge. 1887.</td></tr> +</table> + +<h4><span class="smcap">Translations Of Werner</span></h4> + +<h5>Russian.</h5> + +<p>I. <span title='Verner". S.-Peterburg".'>Вернеръ. С.-Петербургъ.</span> 1829.</p> + +<p>II. <span title='Don"-Zhuan". Moskva.'>Донъ-Жуанъ. Москва.</span> 1881.</p> + +<h4 class="pt">The Liberal.</h4> + +<p>The Liberal [Vols. I., II.]. L<sup>n</sup>. John Hunt. 1822, 1823.</p> + +<p>Dedication of Don Juan. L<sup>n</sup>. Effingham Wilson. 1833.</p> + +</div> + +<div class="center"> +<a name="Illus_Tassos_Cell" id="Illus_Tassos_Cell"/> +<img src="images/prison.png" alt="The Prison Called Tasso's Cell, in the Hospital of +Santa Anna, at Ferrara." title="The Prison Called Tasso's Cell, in the Hospital of +Santa Anna, at Ferrara."/> +<p class="center">The Prison Called Tasso's Cell, in the Hospital of +Santa Anna, at Ferrara.</p> +</div> + + + +<p><span class='pagenum'><a name="Page_349" id="Page_349">[349]</a></span></p> + +<hr style="width: 65%;" /> + +<h2><a name="FULLINDEX" id="FULLINDEX"></a>INDEX</h2> + +<p class="center"><i>The figures in italics refer to the notes only</i>.</p> + +<div id="index"> + + +<p><i>Abbot, The</i>, <i>vi. 440</i></p> + +<p>Abdalmalek, <i>iii. 120</i></p> + +<p>Abdera, <i>vi. 171</i></p> + +<p>Abderrahman, Hadgi, <i>vi. 160</i></p> + +<p>Abelard, v. 634</p> + +<p>Abencerrages, the, a Moorish tribe, v. 558</p> + +<p>Abenhamim, <i>iv. 530</i></p> + +<p>Aberdeen, "auld toun" of, <i>v. 609</i>; <i>vi. 405</i></p> + +<p>Aberdeen, George Hamilton Gordon, 4th Earl of, i. <i>305</i>, 378, 454; +ii. 170, 204; <i>An Inquiry into the Principles of Beauty in +Grecian Architecture</i>, i. 336</p> + +<p>Abernethy, John, vi. 412</p> + +<p>Aboukir, battle of, <i>ii. 459</i>; <i>vi. 14</i></p> + +<p>Abruzzi, the, iv. 288</p> + +<p>Abydos to Sestos, Byron's swim from, iii. 13</p> + +<p><i>Académie des Inscriptions</i> (Paris), <i>v. 603</i></p> + +<p>Acarnania, ii. 143</p> + +<p>Achelous (Aspropotamo) river, ii. 143, 182</p> + +<p>Acheron (Kalamas) river, ii. 131, 180-182</p> + +<p>Acherusia, Palus, ii. 129, 179</p> + +<p>Achilles, <i>i. 175, 398</i>; ii. 167, 462; <i>iii. 180</i>; +v. 488, 526, 535; vi. 117; +his tomb, vi. 204, 211</p> + +<p>Achmet II., Sultan, <i>iii. 454</i></p> + +<p>Achmet III., Sultan, <i>vi. 261</i></p> + +<p>Acre, siege of, <i>iii. 4</i>; <i>vi. 14</i></p> + +<p>Acroceraunian mountains, ii. 303</p> + +<p>Acropolis, Athens, ii. 100, 165; vi. 429</p> + +<p>Actium, battle of, ii. 126, 128, 179; iii. II; vi. 269</p> + +<p><i>Adagia</i> Variorum, <i>v. 396</i></p> + +<p>Adams, John, a carrier of Southwell, vii. <a href="#Page_1">1</a></p> + +<p>Adams, John, of Pitcairn Island +(Alexander Smith of the <i>Bounty</i>), v. 583, <i>588, 605, 625</i></p> + +<p>Adams, Mr., iii. 45</p> + +<p>Addison, Joseph, his relative Budgell, <i>i. 449</i>; +<i>Essay on Wit</i>, <i>i. 398</i>; +<i>Reflections on Westminster Abbey</i>, <i>ii. 133</i>; +<i>Cato</i>, ii. 325; vi. 485; +<i>Remarks on Several Parts of Italy</i>, ii. 384; +on Tasso and the Venetians, ii. 467; +quotes an Arabian tale in <i>Spectator</i>, iii. 98; +his "faint praise," vi. 602; +his publisher Tonson, <i>vii.</i> <i><a href="#Note_057">57</a></i></p> + +<p><i>Address intended to be recited at the Caledonian Meeting</i>, iii. 415</p> + +<p><i>Address spoken at the Opening of Drury Lane Theatre</i>, iii. 51</p> + +<p><i>Address to the Sun in Carthon</i>, <i>iii. 26</i></p> + +<p><i>Adieu, The, written under the impression that the Author would soon die</i>, +i. <i>192, 232</i>, 237; <i>ii. 458</i>; <i>iii. 48</i></p> + +<p>Adonis, <i>iv. 115</i></p> + +<p>Adramyttium, gulf of, <i>ii. 200</i></p> + +<p>Adrastus, ii. 519</p> + +<p><span class='pagenum'><a name="Page_350" id="Page_350">[350]</a></span> +Adrian (Hadrian), Emperor, i. 20, <i>462, 493</i>; +ii. 167, <i>411, 431, 436</i>, 440</p> + +<p><i>Adrian's Address to his Soul when dying</i>, i. 20</p> + +<p>Adriatic, wedding the, ii. 335</p> + +<p>Ægean Sea, i. 460; iii. 272</p> + +<p>Ægina, i. 457; ii. 362</p> + +<p>Ælian, <i>Var. Hist</i>., <i>v. 50</i></p> + +<p>Ælius, <i>ii. 437</i></p> + +<p>Æmilius Paulus, ii. 518</p> + +<p>Æneas, i. 153, 156, 157</p> + +<p>Æschylus, <i>Prometheus Vinctus</i>, i. 14, <i>430</i>; +<i>ii. 132</i>; iv. 48-50, 82, <i>94</i>; +v. 281, <i>554</i>; +<i>Eumenides</i>, v. 281, <i>296</i>; +<i>Septum contra Thebas, v. 403</i>; +<i>Persæ, vi. 169</i></p> + +<p>Æsopus, <i>ii. 405</i></p> + +<p>Æsyetes, <i>iii. 180</i></p> + +<p>Ætna, ii. 286</p> + +<p>Ætolia, ii. 143</p> + +<p>Africa, vi. 198</p> + +<p>Afshar tribe, <i>vi. 384</i></p> + +<p>Agamemnon, vi. 15</p> + +<p><i>Age of Bronze, The</i>, ii. <i>92, 151, 239, 397</i>; +v. 332, 333, <i>364, 405, 495</i>, 535-578, <i>606</i>; +Introduction to, v. 537</p> + +<p>Age of Gold, vi. 284</p> + +<p><i>Age of Waterloo, The</i>, <i>ii. 227</i></p> + +<p>Agesilaus, king of Sparta, <i>v. 619</i></p> + +<p>Agg, John, ii. 213</p> + +<p>Agilulf, Duke of Turin, ii. 489</p> + +<p>Agincourt, battle of, <i>ii. 459</i></p> + +<p>Agis, king of Sparta, iv. 455</p> + +<p>Aglietti, Dr. Francesco, ii. 324; <i>iv. 456, 457</i></p> + +<p>Agnadello, battle of, <i>v. 498</i></p> + +<p>Agostini, Leonard, ii. 490</p> + +<p>Agrarian Laws, vi. 407</p> + +<p>Agrippa, <i>ii. 436</i>; <i>vi. 139</i></p> + +<p>Aholibamah, v. 285</p> + +<p>Ahriman (Angra Mainyu), the Spirit of Evil, <i>iv. 112</i></p> + +<p>Aisha, Lilla, <i>vi. 160</i></p> + +<p>Aitken, G. A., his edition of Swift's <i>Journal of Stella</i>, <i>vi. 187</i></p> + +<p>Aix-la-Chapelle, Congress at, <i>v. 563</i></p> + +<p>Ajax, ii. 99, 167; vi. <i>117</i>, 204, 339</p> + +<p>Akenside, <i>iii. 452</i></p> + +<p>Alamanni, <i>Sat</i>., <i>iv. 459</i></p> + +<p>Alaric, king of the Visigoths, i. 462; ii. 109, 172, <i>390</i>, 512</p> + +<p>Alban hill, the, ii. 455, 522</p> + +<p>Albanese (or Arnaouts), the, ii. <i>169</i>, 174</p> + +<p>Albania, ii. 123, 173, 174</p> + +<p>Albanian (or Arnaout) dialect, specimen of, ii. 183</p> + +<p>Albanian war-dance, <i>vi. 151</i></p> + +<p>Albano, ii. 454</p> + +<p>Albano, Francesco, vi. 502</p> + +<p>Albany, Countess of, publishes Alfieri's <i>Opere Inediti</i>, <i>v. 211</i></p> + +<p>Albany, Duke of (Prince Leopold), <i>iii. 157</i></p> + +<p>Albion, its "chalky belt," vi. 419</p> + +<p>Albricus Phil., <i>De Imag. Deor</i>., <i>ii. 328</i></p> + +<p>Albrizzi, Isabella Teotochi, Countess, +<i>Ritratti di Uomini lllustri</i>, +ii. 324; iv. <i>456, 457, 536</i>, 570</p> + +<p>Albrizzi Giuseppino, <i>iv. 456, 457</i></p> + +<p>Albuera, battle of, ii. xi, 51, 81</p> + +<p>Alcantara, Martin de, <i>ii. 81</i></p> + +<p>Alcibiades, his beauty, and charm of his name, v. 485; vi. 547</p> + +<p>Alcina, v. 573</p> + +<p>Aid. Manut., <i>De Reatina Urbe Agroque</i>, <i>ii. 384</i></p> + +<p>Aldini, Professor, <i>i. 308</i>; <i>vi. 50</i></p> + +<p>Alemanni, the, ii. 298</p> + +<p>Alesia (Alise in Côte d'Or), siege of, iv. 331</p> + +<p>Alexander the Great (Iskander), i. 467; ii. 123, 174, 509; +<i>iii. 180</i>; v. <i>21, 24</i>, 542, 565; +vi. 226, 378, 562; and Mount Athos, vi. 479</p> + +<p>Alexander I. of Russia, i. <i>468</i>, 476, <i>489</i>; +v. 539, <i>551</i>, 553, 563, 564; +vii. <i><a href="#Note_027">27</a></i>, <a href="#Page_39">39</a>, <a href="#Page_40">40</a></p> + +<p>Alexander III., Pope, ii. 473</p> + +<p>Alexander IV., Pope, <i>iii. 369</i></p> + +<p>Alexander, Grand-Duke, <i>v. 564</i></p> + +<p>Alexander, George, as "Ulric" in <i>Werner</i>, v. 324</p> + +<p>Alexandra, Queen, MS. of <i>The Two Foscari</i>, <i>v. 113</i></p> + +<p>Alexandria (Ramassieh), battle of, <i>ii. 108</i></p> + +<p>Alexey, the Tzarovitch, <i>vi. 417</i></p> + +<p>Alexis I., <i>ii. 202</i><span class='pagenum'><a name="Page_351" id="Page_351">[351]</a></span></p> + +<p>Alfieri, Vittorio, ii. 324; iii. 503; iv. 325, 327; +his pilgrimage to Petrarch's tomb, <i>ii. 353</i>; +his grave in Santa Croce Church, ii. 369, 491; +<i>Autobiography</i>, <i>ii. 369</i>; <i>iv. 264</i>; +<i>Mirra</i>, iii. 150; <i>iv. 367, 368</i>; v. 5; +sonnet on the tomb of Dante, iv. 244; +<i>Abele</i>, v. 211</p> + +<p>Algiers, vi. 56</p> + +<p>Alhama, iv. 529-534</p> + +<p>Ali Coumourgi, Cumourgi, or Cumurgi, iii. 442, 455</p> + +<p>Ali Pasha, the original of Lambro in <i>Don Juan</i>, +ii. <i>127</i>, 129, 138-140, 146, 148, 174, 180; +ii. <i>199</i>, 205; <i>iii. 145 189</i>; <i>vi. 195, 234</i>; +<i>vii.</i> <i><a href="#Note_053">53</a></i></p> + +<p>Alighieri, Alighiero (Dante's father), <i>iv. 248</i></p> + +<p>Alighieri, Beatrice (Dante's daughter), <i>iv. 254</i></p> + +<p>Alighieri, Pietro (Dante's son), <i>iv. 254</i></p> + +<p>Alison, <i>History of Europe</i>, <i>v. 570, 575</i>; <i>vi. 374</i></p> + +<p><i>All is Vanity, saith the Preacher</i>, iii. 394</p> + +<p>"Alia Hu!" concluding words of the Muezzinn's call, +ii. 136; iii. 120, <i>481</i>; +Mussulman war-cry, vi. 332</p> + +<p>Allacci, L., <i>Drammaturgia</i>, vi. xvi.</p> + +<p>Allegra, Byron's natural daughter, <i>i. 208</i>; v. 469; <i>vi. 186, 297</i></p> + +<p>Allen, Edward Heron, <i>Rubáiyat of Omar Khayyām</i>, <i>iii. 109</i></p> + +<p>Allen, Dr. John, <i>i. 337</i></p> + +<p>Allen, Richard, <i>A Souvenir of Newstead Abbey</i>, <i>vi. 497</i></p> + +<p>Allied Army occupy Paris, iii. 431</p> + +<p>Allied Sovereigns, Congress at Verona of, v. 537-539; +at Vienna, <i>v. 562</i></p> + +<p>Allingham, <i>The Weathercock</i>, <i>i. 45</i></p> + +<p><i>All's Well that Ends Well</i>, <i>vi. 506</i></p> + +<p>Almachius, or Telemachus, an Eastern monk, ii. 520</p> + +<p>Almack's, i. 476; <i>vi. 431</i></p> + +<p><i>Almanack de Gotha</i>, <i>vi. 417</i></p> + +<p>Almas, Turkish dancing-girls, iii. 251</p> + +<p>Almonacid, <i>ii. 89</i></p> + +<p>Alp, "the Adrian renegade," iii. 454</p> + +<p>Alpheus river, ii. 182</p> + +<p>Alphonso I. of Tuscany, <i>ii. 354</i></p> + +<p>Alphonso II. of Tuscany, ii. <i>355</i>, 356</p> + +<p>Alphonso III., ii. 356; iii. 299; iv. 139, <i>145</i></p> + +<p>Alphonso X., king of Castile, <i>Tabulæ Alphonsinæ</i>, iv. 523</p> + +<p>Alpinula, Julia, ii. 256, 299</p> + +<p>Alpinus, Julius, ii. 299</p> + +<p>Alps, "the Palaces of Nature," ii. 254, 385; iv. 258</p> + +<p>Alpuxarras, the, <i>vi. 30</i></p> + +<p>Al-Sirat's arch, iii. 109</p> + +<p>Altada, a character in <i>Sardanapalus</i>, v. 12</p> + +<p>Alterkirchen, battle of, ii. 296</p> + +<p>Alvirt, L., <i>Sardanapale Tragédie Imitée de Lord Byron</i>, v. 2</p> + +<p>Alypius, prætor, ii. 520</p> + +<p>Amasis, king of Egypt, ii. 519</p> + +<p>Amaun, quarter or pardon, iii. 115</p> + +<p>Amazons, v. 526</p> + +<p>Amber, its perfume, iii. 181</p> + +<p>Ambition, ii. 241, 398; v. 488; vi. 78, 392, 456</p> + +<p>Ambracia, Gulf of, ii. 128; iii. 11</p> + +<p>Ambrosius, Mediolanensis Episcopus, <i>vi. 168</i></p> + +<p>Ameer Khan, <i>i. 468</i></p> + +<p>Amenhotep III., <i>v. 497</i></p> + +<p>America, Byron's eulogy of, iv. 197, 198</p> + +<p>American War of Independence, <i>i. 500</i>; <i>ii. 82</i>; +iv. 511, <i>516</i>; vi. <i>12</i>, 508</p> + +<p>Amiens Academy, <i>ii. 6</i></p> + +<p>Ammonians, the, iv. 259</p> + +<p>Amnani, Lilla, <i>vi. 160</i></p> + +<p>Ampère, M.J.J., <i>La Grèce, Rome, et Dante</i>, <i>iv. 317</i></p> + +<p>Amphion, i. 438</p> + +<p>Amstel, A. van (Johannes Christiaan Neuman), iv. 5</p> + +<p>Amulets, iii. 181</p> + +<p><span class='pagenum'><a name="Page_352" id="Page_352">[352]</a></span> +Amurath II., Sultan, <i>ii. 173</i>; <i>iii. 308</i></p> + +<p>Amycus, king of the Bebryces, <i>vi. 220</i></p> + +<p>Anacreon, <i>Odes</i>, i. 82, 109, 147, 149, 228; +ii. 139, <i>270</i>; vi. 26, 171</p> + +<p>Anacyndaraxes, Sardanapalus' father, v. 23, <i>24</i></p> + +<p>Anah, v. 285</p> + +<p><i>Analectic Magazine</i>, iii. 377; <i>iv.</i> 198</p> + +<p>Anatolia, plains of, <i>vi. 211</i></p> + +<p>Anaxarchus, the philosopher, <i>v. 543</i></p> + +<p>Anchialus, v. 23</p> + +<p>Andernach, ii. 296</p> + +<p>Anderson, <i>British Poets</i>, <i>i. 198</i>; <i>ii. 236</i>; +<i>iii. 129, 262, 405</i></p> + +<p>Anderson, the actor, as "Jacopo Foscari," v. 114</p> + +<p>Andreini, Giovanni Battista, <i>Adam, a Sacred Drama</i>, <i>v. 218</i></p> + +<p>Andrews, Miles Peter, <i>Better Late than Never</i>, i. 353</p> + +<p>Andromache, v. 577</p> + +<p>Andromachus, the senator, <i>ii. 513</i></p> + +<p><i>And wilt thou weep when I am low</i>? i. 266</p> + +<p>Anent, use of the word, vi. 440</p> + +<p>Angas, G. F., <i>Polynesia</i>, <i>v. 599-601</i></p> + +<p>Angelo, <i>Reminiscences</i>, <i>i. 322, 343</i></p> + +<p>Angiolina, Dogaressa, iv. 367</p> + +<p>Angiolini, Mdlle., i. <i>347</i>, 348</p> + +<p>Angling, "that solitary vice," vi. 513</p> + +<p>Angora, battle of, <i>iii. 312</i></p> + +<p>Anhalt Zerbst, Prince of, <i>vi. 388</i></p> + +<p>Anholt, <i>i. 488</i></p> + +<p>Anio river, Falls of the, ii. <i>384</i>, 523</p> + +<p>Anlace, a dagger, ii. 57</p> + +<p>Anne Boleyn, her remark on the scaffold, <i>iii. 265</i></p> + +<p>Anne, Empress of Russia, <i>vi. 417</i></p> + +<p>Annesley, hills of, i. 210</p> + +<p>Annesley Park and Hall, <i>iii. 311, 477</i>; iv. 31, 32, 36, 37</p> + +<p><i>Annual, The</i>, <i>i. 303</i></p> + +<p><i>Annual Anthology</i>, <i>iv. 521</i></p> + +<p><i>Annual Biography</i>, <i>v. 568</i>; <i>vi. 413</i></p> + +<p><i>Annual Biography and Obituary</i>, <i>vi. 265</i></p> + +<p><i>Annual Register</i>, <i>i. 495, 496</i>; <i>iii. 25</i>; <i>vii.</i> <i><a href="#Note_072">72</a></i></p> + +<p>Annuitants, alleged longevity of, vi. 100</p> + +<p><i>Another Simple Ballat</i>, vii. <a href="#Page_61">61</a></p> + +<p>Anselm, Pope, <i>i. 493</i></p> + +<p>Anson, Lady, <i>vi. 410</i></p> + +<p>Anson, Sir W., <i>Voyages</i>, <i>iv. 58</i>; +<i>Memoirs of Augustus Henry, Third Duke of Grafton</i>, <i>iv. 510</i></p> + +<p>Anster, <i>Faust</i>, iv. 85, <i>123</i>; <i>v. 493</i></p> + +<p>Anstey, Christopher, <i>New Bath Guide</i>, i. 114; vi. 587</p> + +<p><i>Answer to a Beautiful Poem, written by Montgomery, etc.</i>, i. 107</p> + +<p><i>Answer to some Elegant Verses sent by a Friend to the Author, etc.</i>, i. 114</p> + +<p><i>Answer to—— 's Professions of Affection</i>, vii. <a href="#Page_40">40</a></p> + +<p>Anteros, iv. 105</p> + +<p>Anthemocritus, the herald, <i>ii. 431</i></p> + +<p><i>Anthologia Græca</i>, <i>i. 490</i></p> + +<p>Anthony (Antony), ii. 179, <i>492</i>; v. 486; vi. 139</p> + +<p><i>Anthony and Cleopatra</i>, ii. 179</p> + +<p>Anthony Pasquin (Williams), <i>i. 304</i></p> + +<p><i>Antigallican Monitor</i>, iii. 535</p> + +<p>Antigonus, <i>v. 487</i></p> + +<p><i>Anti-Jacobin, or Weekly Examiner</i>, <i>i. 304</i>; iii. 304; +<i>vii.</i> <i><a href="#Note_049">49</a></i></p> + +<p><i>Anti-Jacobin, Poetry of the</i>, i. <i>315, 329</i>, 368; +<i>ii. 7, 30</i>; <i>iv. 482, 483</i></p> + +<p>Antilochus, <i>ii. 99</i>; <i>iii. 180</i></p> + +<p>Antimachus, <i>i. 404</i></p> + +<p>Antinomianism, <i>i. 417</i></p> + +<p>Antinous, ii. 167</p> + +<p>Antipater, Coelius, <i>Annales</i>, <i>ii. 378</i></p> + +<p>Anti-Paros, island of, <i>iii. 295</i></p> + +<p><i>Antiquary, The</i>, <i>i. 413</i>; iv. 524; <i>v. 377</i></p> + +<p>Antonina, Belisarius' wife, <i>vi. 139</i></p> + +<p>Antoninus Pius, <i>ii. 440, 514</i></p> + +<p>Aöus (Viosa, or Voioussa) river, ii. 182</p> + +<p>Apelles, iv. 270</p> + +<p>Apennines, the, ii. 385; iv. 253</p> + +<p>Apicius, vi. 562</p> + +<p><span class='pagenum'><a name="Page_353" id="Page_353">[353]</a></span> +Apollo Alexicacos, <i>ii. 446</i></p> + +<p>Apollo Belvidere, statue of, 446</p> + +<p>Apollo Boëdromios, <i>ii. 446</i></p> + +<p>Apollodorus, ii. 273</p> + +<p>Appian, ii. 179, <i>509</i></p> + +<p>Appleton's <i>Encyclopedia</i>, <i>vi. 349</i></p> + +<p>Aquileia, <i>iv. 386</i></p> + +<p>Aquinas, St. Thomas, <i>De Omnibus Rebus</i>; <i>De Quibusdam Aliis</i>, <i>ii. 163</i></p> + +<p>Arabs, their hatred of the Turks, <i>iii. 163</i></p> + +<p>Araktchèef, "the corporal of Gatchina," <i>v. 564</i></p> + +<p>Aranjuez, insurrection at, ii. 90</p> + +<p>Ararat, Mount, <i>v. 294</i></p> + +<p>Arbaces, the Mede, <i>v. 11, 13</i>; Governor of Media, v. 12</p> + +<p>Arcadia, ii. 189</p> + +<p>Arcadius, <i>vi. 8</i></p> + +<p>Archangels, the, v. 286</p> + +<p>Archenholtz, M. de, <i>Picture of Italy</i>, <i>iv. 470</i></p> + +<p>Archidamus, king of Sparta, <i>v. 619</i></p> + +<p>Archilochus, ii. 483</p> + +<p>Archimedes, vi. 538</p> + +<p><i>Archivio Veneto</i>, <i>iv. 457</i></p> + +<p>Ardennes, forest of, ii. 232, 293</p> + +<p>Ares, fountain of, <i>ii. 189</i></p> + +<p>Aretini, B. Accolti, <i>Dialogus de Præstantiâ Virorum sui Ævi</i>, <i>iv. 309</i></p> + +<p>Aretino, Lionardo (Leonardo Bruni), <i>Le Vite di Dante</i>, ii. 500; +iv. <i>253, 275</i>, 309; <i>Istoria Fiorentina</i>, iv. 287</p> + +<p>Argentière, Mount, ii. 300</p> + +<p>Argonauts, the, <i>vii.</i> <i><a href="#Note_010">10</a></i></p> + +<p>Argos, <i>iii. 447</i></p> + +<p>Argus, Ulysses' dog, <i>ii. 30</i>, vi. 149</p> + +<p>Argyle Rooms, i. 348</p> + +<p>Argyrocastro, ii. 174, 202</p> + +<p>Arici, Cesare, <i>La coltivazione degli Ulivi</i>; <i>Il Corallo</i>; +<i>La Pastorizia</i>, iv. 245</p> + +<p>Arimanes, Arimanius, etc., king of the Spirits, iv. 86, 112</p> + +<p>Ariosto, Lodovico, ii. 5, <i>65, 354</i>; +iv. 141, 239, <i>265, 480</i>; +<i>v. 615</i>; +vi. xviii, 176, 210; +<i>Satira</i>, ii. 309; <i>iv. 149</i>; +"The Southern Scott," ii. 311; +the gondoliers and, ii. <i>330</i>, 468; +<i>Orlando Furioso</i>, ii. 359; <i>iii. 243</i>; iv. <i>75, 266</i>, 283; +<i>v. 573</i>; +his bust, ii. 360, 486; +Titian's portrait of, <i>iv. 162</i></p> + +<p>Aristaenetus, ii. 199</p> + +<p>Aristippus, vi. 139</p> + +<p>Aristobulus, <i>v. 24</i></p> + +<p>Aristogeiton, ii. 228, 291</p> + +<p><i>Aristomenes</i>, iv. 566</p> + +<p>Aristophanes, <i>Clouds</i>, <i>v. 289</i></p> + +<p>Aristotle, <i>i. 398</i>; <i>ii. 196</i>; iv. 253; +<i>v. 13</i>, vi. 47, 73, 182</p> + +<p>Armada, Spanish, ii. 459</p> + +<p>Armida and Rinaldo, vi. 34</p> + +<p>Arminius, ii. 293</p> + +<p>Armstrong, John, laird of Gilnockie, ii. <i>25</i>, 295</p> + +<p>Armstrong, poet, <i>iii. 330</i></p> + +<p>Arnaout, or Albanian dialect, specimen of, ii. 183</p> + +<p>Arnaouts (or Albanese), ii. <i>169</i>, 174</p> + +<p>Arnaud, ii. 502</p> + +<p><i>Arno Miscellany</i>, <i>i. 358</i></p> + +<p>Arno river, ii. 364; vi. 402</p> + +<p>Arnold, Matthew, <i>ii. 370</i>; +<i>A Wish</i>, <i>iii. 39</i>, +<i>Poetry of Byron chosen and arranged by</i>, <i>v. 205, 254</i>; +Motto to <i>Poems</i>, <i>vi. 173</i>; +<i>A Picture of Newstead</i>, <i>vi. 496</i></p> + +<p>Arnold, Dr. Thomas, on <i>Cain</i>, <i>v. 224</i></p> + +<p>Arnulph, a Lombard, <i>ii. 390</i></p> + +<p>Arpenaz, Falls of, <i>ii. 383</i></p> + +<p>Arquà, ii. 312, 350; Petrarch's tomb at, ii. 482</p> + +<p>Arragonians, the, v. 560</p> + +<p>Arrian, <i>v. 24</i>; <i>Alexand. Anabasis</i>, <i>v. 543</i></p> + +<p>Arrowsmith, John, <i>Tractica Sacra</i>, <i>vi. 380</i></p> + +<p>Arsenalotti, the, <i>iv. 356, 358</i></p> + +<p>Arséniew, vi. 306, 332, <i>353</i></p> + +<p>Arsenius, Archbishop of Monembasia, <i>iii. 121, 122</i></p> + +<p>Art of Happiness, Horace's, vi. 490</p> + +<p>Arta, gulf of, <i>ii. 142, 145</i></p> + +<p>Artaxerxes Mnemon, v. 3, 4</p> + +<p>Artemidorus, <i>Oneirocritica</i>, <i>ii. 488</i></p> + +<p>Artemis, temples of, i. 467; <i>ii. 441</i></p> + +<p>Arthur's Seat, Edinburgh, i. 331, 334<span class='pagenum'><a name="Page_354" id="Page_354">[354]</a></span></p> + +<p>Arundel, Lord, <i>vi. 496</i></p> + +<p>Arvad, island-city of, v. 4</p> + +<p><i>As You Like It</i>, ii. 293, <i>399</i>, iv. 153; <i>v. 153</i>, vi. 466</p> + +<p>Ascanius, i. 157</p> + +<p>Ascham, Roger, <i>Schoolmaster</i>, iv. 153</p> + +<p>Asdrubal, <i>v. 606</i></p> + +<p>Ashburton, Lord, <i>iv. 513</i></p> + +<p>Ashpitel, F.S.A., Arthur, <i>vi. 497</i></p> + +<p>Askalon, i. 2</p> + +<p>Asma Sultana, <i>vi. 261</i></p> + +<p>Asmodeus, <i>i. 56</i>, iv. 516</p> + +<p>Aspasia, v. 5</p> + +<p>Asphaltites, lake, ii. 237, 294</p> + +<p>Aspropotamo (Aehelous), river, iv. <i>143</i>, 182</p> + +<p>Assyrians, the, v. 4</p> + +<p>Astarte, iv. 115</p> + +<p>Astley, Mrs., <i>vii.</i> <i><a href="#Note_059">59</a></i></p> + +<p>Astley's Theatre, iv. 203; vii. <a href="#Page_59">59</a></p> + +<p>Astoreth, the Phoenician, <i>iv. 115</i></p> + +<p>Astrea, the goddess of justice, i. 111</p> + +<p>Asturias, the, ii. 89; <i>v. 558</i></p> + +<p>Asurbanipal, king of Assyria, v. 4</p> + +<p>Asuretiliani, king of Assyria, v. 4</p> + +<p>Ataghan, long dagger, iii. 103</p> + +<p>Atalantis, vi. 453, <i>454</i></p> + +<p>Athanasian Creed, vi. 275</p> + +<p><i>Atheista Fulminalo</i>, the old Spanish play, <i>vi. 4</i></p> + +<p><i>Athenæum</i>, i. xiii; <i>ii. 36, 216</i>; <i>iv. 32, 36, 513</i>, v. 324</p> + +<p>Athenæus, <i>Deipnosophistæ</i>, <i>v. 11, 24, 103, 107</i></p> + +<p><i>Athenian Society, the</i>, <i>i. 336</i></p> + +<p>Athens, i. 376; +its works of Art plundered, i. 454-474; ii. 187-204; +besieged by the Venetians, ii. 165, <i>et seq.</i>, +treachery of the Greeks after capitulation of, v. 556</p> + +<p>Athos, Mount, ii. 116; iii. 18; vi. 479</p> + +<p>Atkinson, Miss, as "Josephine" in <i>Werner</i>, v. 324</p> + +<p><i>Atlantic Monthly Magazine</i>, v. 584; vii. <a href="#Page_3">3</a></p> + +<p>Atlas, Mount, ii. 386</p> + +<p>Atreus, i. 144</p> + +<p>"Attic Bee," vi. 585</p> + +<p>Attica, ii. 129; vi. 429</p> + +<p>Attila, the Hun, ii. 107, 298; <i>iii. 306</i>, iv. 386, 456; +v. 158; <i>vi. 321</i></p> + +<p>Atuahalpa, king of Quito, ii. 81</p> + +<p>Aubin, Commander Philip, sloop <i>Betsy</i>, <i>vi. 98, 102</i></p> + +<p>Aubrey, John, +<i>Miscellanies upon Various Subjects</i>, <i>iv. 524</i>, +<i>Letters and Lives of Eminent Persons</i>, <i>vi. 571</i></p> + +<p>Auchinleck, Lord, <i>vii.</i> <i><a href="#Note_035">35</a></i></p> + +<p>Auerstadt, battle of, <i>v. 550</i></p> + +<p><i>Augustini Cod.</i>, v. 118</p> + +<p><i>Augustini Cronaca</i>, v. 190</p> + +<p>Augustinian monks, <i>iv. 120</i></p> + +<p>Augustinus de Cremâ, <i>ii. 340</i>, <i>Confess., ii. 520</i></p> + +<p>Augustus, ii. 128, <i>336, 408</i>, 488, 509, 518; <i>v. 542</i></p> + +<p>Augustus, port of, vi. 179</p> + +<p>Aulus Cæcina, ii. 299</p> + +<p>Aulus Gellius, ii. 92; <i>Noct. Attic</i>., <i>vi. 379</i></p> + +<p>Aurelian, ii. 520</p> + +<p>Aurelius, column of, <i>ii. 410</i></p> + +<p>Aurora Borealis, vi. 479</p> + +<p>Austen, Sarah, translation of Ranke's <i>Popes of Rome</i>, <i>v. 520</i>; <i>vi. 208</i></p> + +<p>Austerlitz, battle of, i. 489, <i>495</i>; <i>ii. 342</i>; <i>v. 548</i>; <i>vi. 14, 351</i></p> + +<p>Austria, and Italy, ii. 363; iv. 456, 458; loan to, <i>v. 573</i></p> + +<p>Austrians, +restore St. Mark's Lions to Venice, <i>ii. 336</i>, +defeated by Dumouriez at Jemappes, <i>vi. 13</i>, +at battle of Leipsic, vii. <a href="#Page_23">23</a></p> + +<p>Ava, cava, or kava, a Tongan intoxicating drink, v. 600</p> + +<p>Avalanches in Switzerland, ii. 385</p> + +<p>Avarice, "a good old-gentlemanly vice," vi. 78</p> + +<p>Aventicum (Avenches), ii. 256, 298</p> + +<p>Avicenna, <i>iv. 523</i></p> + +<p>Avogadori di Commun (State advocates), iv. <i>346</i>, 361, <i>399</i>, 463, 465</p> + +<p>Ayesha, Mahomet's favourite wife, <i>vi. 139</i></p> + +<p>Ayliffe, <i>Parergon</i>, <i>v. 135</i></p> + +<p>Ayscough, Samuel, iv. 153</p> + +<p>Azâzêl, <i>v. 291</i><span class='pagenum'><a name="Page_355" id="Page_355">[355]</a></span></p> + +<p>Azrael, iii. 171</p> + +<p>Azzo V. (d'Este), of Tuscany, <i>ii. 354</i></p> + + +<p>B</p> + +<p>Baal, king of Tyre, v. 4, 18, 19, 36, 70, 95</p> + +<p>Babbage, Charles, <i>ii. 215</i></p> + +<p>Babel, Tower of, vi. 235</p> + +<p>Babylon, iii. 402-404; vi. 235, 236, 348</p> + +<p>Bacchus, vi. 129</p> + +<p>Bacci, O., <i>Manuale della Letteratura Italiana</i>, <i>iv. 536</i></p> + +<p>Bacon, Captain Anthony, <i>ii. 11</i></p> + +<p>Bacon, Friar (<i>The Famous Historie of</i>), his brazen head, vi. 78; +discovers gunpowder, vi. 340</p> + +<p>Bacon, Lady Charlotte Mary (<i>née</i> Harley), "Ianthe," ii. xii, 11</p> + +<p>Bacon, Lord, ii. 514; vi. 174, 548; +<i>Advancement of Learning</i>, <i>v. 228</i>; +<i>Essays</i>, <i>v. 489</i>; <i>vi. 259</i>; +<i>Nat. Hist.</i>, <i>vi. 518</i></p> + +<p>Bactria, v. 20</p> + +<p>Badajoz, capture of, <i>i. 496</i></p> + +<p>Baden, Franz, <i>v. 564</i></p> + +<p>Baffin's Bay, <i>vi. 51</i></p> + +<p>Bagehot, <i>Literary Studies</i>, <i>i. 303</i></p> + +<p>"Bagpipe," "pibroch" used for, i. 133</p> + +<p>Bailen, <i>ii. 54</i></p> + +<p>Bailli, Jean Sylvani, first Mayor of Paris, <i>iv. 454</i></p> + +<p>Baillie, Agnes, <i>vi. 412</i></p> + +<p>Baillie, Joanna, iv. 339; <i>vi. 412</i>; <i>De Montfort</i>, <i>iv. 338</i></p> + +<p>Baillie, Dr. Matthew, <i>vi. 21</i>, 412</p> + +<p>Bairâm, the Moslem Easter, iii. 96</p> + +<p>Baird, Sir David, <i>ii. 80</i></p> + +<p>Bajuzet, cage of, iii. 312</p> + +<p>Baker, H. Barton, <i>The London Stage</i>, v. 324</p> + +<p>Bakewell, T., <i>The Moorland Bard, etc</i>.; +<i>A Domestic Guide to Insanity</i>, i. 361</p> + +<p>Baldwin and Cradock, <i>vii.</i> <i><a href="#Note_050">50</a></i></p> + +<p>Balgownie, Brig o', vi. 405</p> + +<p><i>Ballad. To the Tune of "Sally in our Alley,"</i> vii. <a href="#Page_58">58</a></p> + +<p>Ballantyne, <i>i. 435</i>, 436</p> + +<p>Baltazhi-Mahomet, Grand-Vizier, <i>v. 564</i></p> + +<p>Bandelli, <i>iii. 505</i></p> + +<p>Banderillos, dart-throwers, ii. 67</p> + +<p>Bandusia, fountain of, ii. 524</p> + +<p>Bank tokens, <i>i. 495</i></p> + +<p>Bankes, William, i. xii, <i>84, 497</i>; iv. <i>162</i>, 279, 472</p> + +<p>Banks, Sir Joseph, ii. 7; v. 582</p> + +<p>Bannier, or Baner, Johan, Swedish general, v. 371</p> + +<p>Barataria, pirates of, <i>iii. 296</i></p> + +<p>Barbarelli, Giorgio (Giorgione), iv. 162</p> + +<p>Barbarigo, Doge Agostino, <i>v. 195</i></p> + +<p>Barbarigo, Doge Marco, <i>v. 195</i></p> + +<p>Barbarossa, Frederic, ii. 336, 390, 473</p> + +<p>Barbette, vi. 305</p> + +<p>Barbiera, R., <i>Poesie Veneziane, iv. 457</i></p> + +<p>Barbo, Pantaleone, <i>iv. 352</i></p> + +<p>Barclay, Captain Robert, <i>i. 321</i></p> + +<p>Bardela, ii. 523</p> + +<p>Barings, the, vi. 456</p> + +<p>Barker, Miss, <i>Lines addressed to a Noble Lord</i>, <i>iii. 488</i></p> + +<p>Barlow, Sir George, <i>i. 468</i></p> + +<p>Barnave, Antoine Pierre Joseph, vi. 13</p> + +<p>Barnet, Lewis, Sub-Dean of Exeter, <i>iii. 299</i></p> + +<p>Baronius, <i>Ann. Eccles.</i>, ii. 512, <i>513, 521</i></p> + +<p>Barossa, battle of, i. 469; ii. 81</p> + +<p>Barotti, ii. 487</p> + +<p>Barrett, Eaton Stannard ("Polypus"), <i>All the Talents</i>, i. 294, <i>337</i></p> + +<p>Barrey, Lodowick, <i>Ram Alley</i>, <i>i. 493</i></p> + +<p>Barrol, M. de Fallette, <i>iv. 367</i></p> + +<p>Barrow, Dr. Isaac, vi. 128</p> + +<p>Barrow, Sir John, <i>Memoir of the Life of Peter the Great</i>, <i>iv. 209, 505</i>, +<i>The Eventful History of the Mutiny of the Bounty, etc.</i>, v. 584, <i>588, 592, 594, 596</i>; +a <i>Q.R.</i> contributor, vii. <a href="#Page_76">76</a></p> + +<p>Barry, the actor, as "Werner," v. 324</p> + +<p><span class='pagenum'><a name="Page_356" id="Page_356">[356]</a></span> +Barry Cornwall. <i>See</i> Procter, B. W.</p> + +<p>Barthélémi; <i>i. 414</i>; <i>Anacharsis</i>, ii. 199</p> + +<p>Bartolini, Lorenzo, <i>vi. 360</i></p> + +<p>Barton, Catherine (Mrs. Conduit), <i>vi. 400</i></p> + +<p>Baruffaldi Giuniore, Abbé G., <i>La Vita di M. L. Ariosto</i>, ii. 486</p> + +<p>Baschet, Armand, <i>Les Archives de Vénise</i>, iv. 327, <i>364, 399</i></p> + +<p>Basejo, Pietro, <i>iv. 382</i></p> + +<p>Bashkirs, a Turco-Mongolian tribe, v. 565</p> + +<p>Basili, Byron's Albanian servant, ii. 175, 176</p> + +<p>Baskerville, <i>vi. 146</i></p> + +<p>Basle, Treaty of, ii. 90</p> + +<p>Basquiña or saya, the outer petticoat, vi. 116</p> + +<p>Bastille, the, <i>vi. 214</i></p> + +<p>Bathurst, Captain, <i>Salsette</i> frigate, <i>iii. 13</i></p> + +<p>Bathurst, Henry, Earl of, <i>v. 545, 546</i></p> + +<p>Batteux, M., <i>i. 402</i></p> + +<p>Bauer, Juliette, tr. of Klencke's <i>Alexander von Humboldt</i>, <i>vi. 216</i></p> + +<p>Baussière, Madame, <i>i. 493</i></p> + +<p>Bautzen, battle of, <i>iii. 431</i></p> + +<p>Baxter, Richard, i. 417</p> + +<p>Bayard, <i>i. 107</i>; ii. 7; <i>v. 498</i></p> + +<p><i>Bayart, Chronique de</i>, <i>v. 515</i></p> + +<p>Bayle, Pierre, <i>Historical and Critical Dictionary</i>, +ii. 502, <i>519</i>; <i>iii. 122</i>; <i>iv. 523</i>; +v. 202, <i>208, 226, 235, 250, 306, 634</i>; <i>vi. 571</i></p> + +<p>Beachey, Captain, <i>Narrative of a Voyage to the Pacific</i>, <i>v. 588, 605</i></p> + +<p>Beatrice (Portinari), Dante's, iv. 247, 248, 251; vi. 146</p> + +<p>Beattie, James H., <i>Minstrel</i>, ii. 5, <i>65, 82, 115, 123, 350</i>, 479; +<i>v. 615</i>; <i>vi. 78</i></p> + +<p>Beaufort, Duke of, <i>Driving</i>, <i>vii.</i> <i><a href="#Note_026">26</a></i></p> + +<p>Beauharnais, Eugène, Viceroy of Italy, iv. 458; <i>vi. 12</i></p> + +<p>Beaumont and Fletcher; i. <i>397</i>, 398, <i>489</i>; +<i>The Humorous Lieutenant</i>, <i>iv. 172</i></p> + +<p>Beaumont, i. 343, 398</p> + +<p>Beaumont, Lady (Margaret Willis), "Lady Bluemount" of <i>The Blues</i>, +iv. 569, 570, 585; <i>vi. 587</i></p> + +<p>Beaumont, Sir George, founder of the National Gallery, +iv. <i>341</i>, 570, <i>582</i>, 585; vii. <i><a href="#Note_063">63</a></i>, <a href="#Page_64">64</a></p> + +<p><i>Beauties of England and Wales</i>, <i>vi. 496, 497</i></p> + +<p>Bebryces, the, <i>vi. 220</i></p> + +<p>Becher, Lady (Elizabeth O'Neill), <i>iv. 338</i></p> + +<p>Becher, Rev. J. T., i. xi, 112, 247, <i>263</i></p> + +<p>Becket, Thomas à, <i>i. 116</i>; vi. 422, <i>495</i></p> + +<p>Beckford, William, <i>Childe Harold</i> on; ii. xi; +<i>Italy with Sketches of Spain and Portugal</i>, <i>ii. 35, 36, 43, 45</i>; +<i>Vathek</i>, ii. 37; +iii. <i>59, 76, 87, 105, 109, 110, 121, 145, 478</i>; +iv. <i>45, 89, 113</i>, 244; +"Dives," vii. <a href="#Page_7">7</a></p> + +<p>Becque, Henry, <i>Sardanapale, Opéra en Trois Actes</i>, v. 2</p> + +<p>"Bed of Ware," vi. 272</p> + +<p>Beddoes, Dr., <i>i. 307</i></p> + +<p>Bede, <i>Excerptis seu Collectaneis</i>, <i>ii. 435</i></p> + +<p>Bedford, Southey's letter to Mr., <i>vi. 3</i></p> + +<p>Bedford, Lucy, Countess of, iv. 239</p> + +<p>Bedlam, vi. 435</p> + +<p>Beechy, Lieutenant, <i>vi. 478</i></p> + +<p>Beethoven, iii. 376</p> + +<p>Begum of Oude, iv. 72</p> + +<p>Behmen or Boehm, Jacob, vi. 268</p> + +<p>Behn, Mrs., <i>v. 550</i></p> + +<p>Béjot, M., <i>ii. 481</i></p> + +<p>Belcher, Lady, <i>Mutineers of the Bounty</i>, <i>v. 588, 589, 622</i></p> + +<p>Beleses, Governor of Babylon, <i>v. 13</i></p> + +<p>Beleses, a Chaldæan and soothsayer (character in <i>Sardanapalus</i>), v. 12</p> + +<p>Belgrade, <i>ii. 153</i>; iv. 331</p> + +<p>Belisarius, vi. 139</p> + +<p>Bell, John, i. 357, <i>358</i></p> + +<p>Bellerophon, <i>vi. 255</i></p> + +<p>Bellingham, murderer of Mr. Perceval, <i>v. 477</i></p> + +<p>Belshazzar, iii. 396, 421; vi. 162</p> + +<p><span class='pagenum'><a name="Page_357" id="Page_357">[357]</a></span> +Beltramo Bergamasco, iv. 384, 430, 465</p> + +<p>Beltane Tree, a Highland festival, i. 142</p> + +<p>Belus, v. 25, 31</p> + +<p>Belvidere Apollo, the, ii. 446</p> + +<p>Bembo, Antonio, iii. 448</p> + +<p>Bembo, Bernardo, ii. 495</p> + +<p>Ben Nevis, <i>i. 192</i></p> + +<p>Benbow, W., iv. 482; v. 203; <i>vii.</i> <i><a href="#Note_046">46</a></i></p> + +<p>Bende, Niccolo dalle, iv. 464</p> + +<p>Bender river, <i>v. 551</i>, vi. 362</p> + +<p>Benedict XIV., Pope, <i>ii. 282</i></p> + +<p>Benengeli, Cid Hamet, i. 299</p> + +<p>Bentham, Jeremy, <i>vi. 267</i>; <i>vii.</i> <i><a href="#Note_032">32</a></i></p> + +<p>Bentinck, Lord William, <i>v. 158</i></p> + +<p>Bentley, Richard, i. 30; <i>iii. 209</i></p> + +<p>Bentotes, or Bendotes (Vendoti), +<span title='Lexiko Tri/glosson'>Λεξικὸν Τρίγλοσσον</span>, ii. 197; iii. 121</p> + +<p>Benvenuto Cellini, v. 471, <i>516, 518, 521</i></p> + +<p>Benzon, Marina Querini, +the heroine of <i>La Biondina in Gondoleta</i>, <i>iv. 456, 457</i></p> + +<p>Benzon, Vittore, <i>Nella</i>, <i>iv. 456, 457</i></p> + +<p>Benzon, Countess, iv. 471</p> + +<p><i>Beppo</i>, <i>i. 362</i>, ii. 313, <i>371, 374</i>, +iv. 153-189, 238, <i>241</i>, 279, <i>413</i>, 471, <i>517, 579</i>, +vi. xvi, xvii, <i>214, 287</i>, 390; +vii. <a href="#Page_51">51</a></p> + +<p>Béranger, J. P, de, <i>Chansons Inédites</i>, <i>vi. 235, 373</i></p> + +<p>Berenice, i. 69; <i>vi. 139</i></p> + +<p>Beresford, James, <i>Miseries of Human Life; +or, The Last Groans of Timothy Testy and Samuel Sensitive</i>, i. 338</p> + +<p>Beresford, Lord, <i>ii. 51</i></p> + +<p>Beresina, battle of, <i>iv. 207</i></p> + +<p>Bergami, Bartolommeo, vi. 236, <i>290</i></p> + +<p>Bergamo, v. 119, 138</p> + +<p>Bergk, <i>i. 19</i>, ii. 138</p> + +<p>Berkeley, D. D., Bishop George, <i>Principles of Human Knowledge</i>, vi. 427</p> + +<p>Berlan, Francesco, <i>I due Foscari, Memorie Storicho Critiche</i>, v. 117, 119, <i>121, 122, 133, 134</i></p> + +<p>Berlin, v. 550</p> + +<p>Berlinghieri, Andrea Vacca, ii. 324</p> + +<p>Bernadotte, king of Sweden, <i>v. 553</i></p> + +<p>Bernard, Edward, <i>Pedigree of George Gordon, Sixth Lord Byron</i>, <i>vi. 411</i></p> + +<p>Bernard, W. Bayle, adapts <i>Marino Faliero</i> for the stage, iv. 324</p> + +<p>Berners, Sir John Bourchier, Lord, +<i>The Bake of Duke Huon of Burdeux</i>, <i>v. 496</i></p> + +<p>Berni, Francesco, iv. 157, 283, 325; vi. xvi</p> + +<p>Bernis, Abbé de, iv. 334</p> + +<p>Bernstorff, Count, v. 539</p> + +<p>Berrí, Duc de, <i>iii. 435</i>; <i>v. 567</i></p> + +<p>Berry, Miss, <i>Journal</i>, iv. 569, 570, 587</p> + +<p>Bertrand, General, <i>iii. 312</i>; +<i>Campagnes d' Egypte et de Syrie</i>, <i>v. 550</i></p> + +<p>Bertuccio, Israel, iv. 340, 464</p> + +<p>Bestuchef, Count, <i>vi. 417</i></p> + +<p>Betham, William, <i>v. 588</i></p> + +<p>Bethlen Gabor, king of Hungary, <i>v. 349, 352</i></p> + +<p><i>Betsy</i>, wreck of the sloop, <i>vi. 98, 102</i></p> + +<p>Bettinelli, ii. 496</p> + +<p>Betty, William Henry West, "the young Roscius," i. 342</p> + +<p>Beuchot, editor of Voltaire's <i>Works, iv. 212</i></p> + +<p>Bevius, Canon of Padua, ii. 503</p> + +<p>Bewley, John H., of Buffalo, N.Y., <i>vii.</i> <i><a href="#Note_063">63</a></i></p> + +<p>Bey Oglou, the, iii. 166</p> + +<p>Bezborodky, <i>vi. 389</i></p> + +<p>Biagoli, <i>iv. 318</i></p> + +<p>Bianchi, ii. 494</p> + +<p>Bianconi, ii. 487</p> + +<p>Bibiena, Antonío Divizio da, <i>iv. 174</i></p> + +<p>Bibiena, Cardinal, <i>iv. 174</i></p> + +<p>Bibiena, Maria da, <i>iv. 174</i></p> + +<p><i>Bible, the</i>, ii. xiii; prophecies of, iv. 244</p> + +<p><i>Bibliographie Universelle</i>, <i>iv. 334</i></p> + +<p><i>Bibliotheca Teubneriana</i>, <i>iv. 213</i></p> + +<p><i>Bibliothèque de l' École des Hautes Études</i>, Paris, <i>ii. 412</i></p> + +<p><span class='pagenum'><a name="Page_358" id="Page_358">[358]</a></span> +<i>Bibliothèque Historique de la Revolution</i>, <i>vi. 13</i></p> + +<p>Bindi, V., <i>Monumenti Storici ed. Artistici degli Abruzzi</i>, <i>iv. 288</i></p> + +<p>Bindlose, Sir Francis, <i>i. 101</i></p> + +<p><i>Biographia Literaria</i> (Coleridge's), <i>i. 489</i>; <i>iii. 435</i></p> + +<p><i>Biographical Dictionary of Living Authors of Great Britain +and Ireland</i>, <i>iv. 341</i>; <i>vi. 443</i></p> + +<p><i>Biographie Universelles</i>, <i>vi. 246, 531</i></p> + +<p>Biondo, Niccolo, iv. 464</p> + +<p>Birch, Alderman, <i>i. 435</i></p> + +<p>Biren, Ernest John, vi. 417</p> + +<p>Biscay, Bay of, ii. 31</p> + +<p>Bishop, Sir Henry, iv. 78</p> + +<p>Bisognoso, bezonian, a rogue, vi. 347</p> + +<p>Black Friar of Newstead Abbey, the, vi. <i>576</i>, 578, <i>et seq.</i></p> + +<p>Black, John, "Maid of Athens'" husband, <i>iii. 16</i></p> + +<p>Black, John, <i>Life of Tasso</i>, <i>ii. 470, 485</i>; <i>iv. 145</i></p> + +<p>Black, Theresa (<i>née</i> Macri), "Maid of Athens," iii. 15; <i>vi. 280</i></p> + +<p>Black Sea, <i>iii. 4</i>; <i>vii.</i> <i><a href="#Note_010">10</a></i></p> + +<p>Blackbourne, Dr., Archbishop of York, <i>iii. 298</i></p> + +<p>Blacket, Joseph, i. <i>323</i>, 359, <i>442</i>, <i>443</i>; vii. <a href="#Page_11">11</a></p> + +<p>Blacklock, Dr., <i>ii. 5</i></p> + +<p>Blackmore, Sir Richard, <i>i. 314, 404</i></p> + +<p>Blackstone, <i>Commentaries</i>, i. 29</p> + +<p>Blackwood, William, iii. 444; <i>vii.</i> <i><a href="#Note_051">51</a></i></p> + +<p><i>Blackwoods Edinburgh Magazine</i>, +<i>iii. 182</i>; iv. 80, <i>119</i>, 139, <i>152</i>, 157, 203, 240, 329, <i>368</i>, <i>521</i>, 570; +v. 5, 204, 280, 282, 329; +vi. xix, <i>16, 213, 278, 445</i>; vii. <a href="#Page_51">51</a></p> + +<p>Blair, Dr., vi. 128</p> + +<p>Blake, Benjamin, barber, i. 422</p> + +<p>Blake, K. Jex-, <i>The Elder Pliny's Chapters on the History of Art</i>, <i>ii. 432</i></p> + +<p>Blanc, Mont, ii. 257, 299, 385</p> + +<p>Blanchard, E. L., <i>Life and Remains</i>, iv. 324</p> + +<p>Bland, Rev. Robert, <i>The Greek Anthology, etc.</i>, <i>i. 366</i>; +ii. 291; <i>iii. 32</i>; <i>v. 633</i></p> + +<p><i>Bland-Burges Papers</i>, <i>i. 416, 438</i></p> + +<p>Blank verse, "allied to tragedy," i. 398; +"prose poets like," vi. 73</p> + +<p>"Blatant beast," a figure for the mob, ii. 40</p> + +<p>Blenheim, battle of, <i>ii. 459</i>; iii. 57</p> + +<p>Blessington, Lady, <i>Conversations with Lord Byron</i>, <i>i. 337, 390</i>; +<i>ii. 236, 423</i>; iv. <i>63, 64</i>, 70, <i>538, 545, 549, 562</i>, 570; +<i>vi. 509</i>; vii. <i><a href="#Note_038">38</a></i>, <a href="#Page_82">82</a>; +Lawrence's portrait of, <i>iv. 64</i></p> + +<p>Blessington, Lord, <i>iv. 64</i>; <i>vi. 512</i>; vii. <a href="#Page_82">82</a></p> + +<p>Bligh, Lieutenant William, short account of, v. 587; +<i>A Narrative of the Mutiny and Seizure of the Bounty, etc</i>., +v. 581-583, 585, <i>588, 589, 591-595</i>; +<i>vi. 98-100, 105, 111</i></p> + +<p>Blondus, Flavius, <i>De Româ Instauratâ</i>, ii. 509</p> + +<p>Bloomfield, George, i. 360</p> + +<p>Bloomfield, Nathaniel, i. 300, 441, <i>442</i></p> + +<p>Bloomfield, Robert, <i>The Farmer's Boy</i>, i. <i>359</i>, 360, <i>442, 443</i></p> + +<p>Blore, Edward, architect, iii. 376</p> + +<p>Blount, Henry, "Good night to Marmion," i. 312</p> + +<p>Blücher, Marshal, <i>ii. 459</i>; <i>v. 553</i>; vi. <i>312</i>, 345; <i>vii.</i> <i><a href="#Note_039">39</a></i></p> + +<p>Blue-stockings, the, <i>iv. 176</i>; vi. 75</p> + +<p><i>Blues, The</i>, <i>i. 321, 362</i>; iv. 567-588; +vi. 357, <i>587</i>; <i>vii.</i> <i><a href="#Note_017">17</a></i></p> + +<p>Blunt, Lady Anna Isabella Scawen (<i>née</i> Noel), <i>ii. 215</i></p> + +<p>Blunt, Wilfrid Scawen, <i>ii. 215</i></p> + +<p>Boabdil, vi. 30</p> + +<p>Boatswain, Byron's dog, i. 280; ii. 30</p> + +<p>Boccaccio, Giovanni, ii. <i>353</i>, 373, 498, 500; +<i>iv. 248, 253, 254</i>; vi. 179; +"the Bard of Prose," ii. 371; +<i>Decameron</i>, ii. 495, 501, 502; +his burial-place, ii. 499; +his cenotaph at Arquà, ii. 503; +<i>Il Comento sopra la Com media</i>, iv. 316</p> + +<p>Bodleian Library, Oxford, <i>v. 302, 473</i></p> + +<p>Bodoni, ii. 472<span class='pagenum'><a name="Page_359" id="Page_359">[359]</a></span></p> + +<p>Boehm, Mrs., her masquerade, iv. 177</p> + +<p>Boeotia, ii. 66, 93</p> + +<p>Boethius, <i>De Consolat. Philos.</i>, <i>iv. 318</i></p> + +<p>Bogle, Scottish for goblin, vi. 449</p> + +<p>Bohemia, evacuated by the Swedish garrisons, <i>v. 371</i></p> + +<p>Bohours, ii. 485</p> + +<p>Boïardo, Matteo Maria, <i>Orlando Innamorato</i>, ii. 293, <i>354</i>, 485; +iv. 281, 283</p> + +<p>Boileau, <i>i. 402</i>; ii. 358, 484, <i>485</i></p> + +<p>Boissevain, P., editor of Dio Cassius' <i>Hist. Rom.</i>, <i>iv. 370</i></p> + +<p>Bolero, i. 492; iii. 3, <i>26</i>; vi. 526</p> + +<p>Boleyn, Anne, her remark on the scaffold, <i>iii. 265</i></p> + +<p>Bolingbroke, Lord, hires Mallet to traduce Pope, i. 326</p> + +<p>Bolivar, Simon (El Libertador), v. 555</p> + +<p>Bonar, James, <i>Malthus and his Work</i>, vi. 461</p> + +<p>Bonesani, Beccaria, <i>Dei Delitti e delle Pene</i>, <i>ii. 196</i></p> + +<p>Boniface VII., Pope, ii. 494</p> + +<p>Bonivard, Amblard de, iv. 14</p> + +<p>Bonivard, François de, Prior of St. Victor (Prisoner of Chillon), iv. 3-28, 327; +<i>Les Chroniques de Genève</i>, iv. 5; +<i>Mémoires, etc.</i>, <i>iv. 18</i></p> + +<p>Bonivard, Jean Aimé de, iv. 9, <i>20</i></p> + +<p>Bonivard, Louis de, iv. 9</p> + +<p>Bonn, vi. 419</p> + +<p>Boone, Colonel Daniel, <i>The Adventures of; +Containing a Narrative of the Wars of Kentucky</i>, vi. 348, 349</p> + +<p>Boone, George, of Exeter, <i>vi. 349</i></p> + +<p>Booth, G., <i>The Historical Library of Diodorus +the Sicilian</i>, <i>v. 11</i></p> + +<p>Booth's Theatre, New York, <i>Sardanapalus</i> at, v. 2</p> + +<p><i>Border Minstrelsy</i>, ii. 4, <i>25</i>, 295</p> + +<p>Borgia, Lucrezia, <i>ii. 354</i></p> + +<p>Borgo, Count Pozzo di, v. 539</p> + +<p>Bornou, <i>vi. 474</i></p> + +<p>Borysthenes (Dniéper) river, iv. 211</p> + +<p>Boscan, Juan, of Barcelona, <i>Leandro</i>; <i>The Allegory</i>, vi. 40</p> + +<p>Bosphorus, vi. <i>219</i>, 220; <i>vii.</i> <i><a href="#Note_010">10</a></i></p> + +<p>Bosquet de Julie, ii. <i>305</i>, 306</p> + +<p>Boswell, James, <i>Life of Johnson</i>, <i>i. 401, 409, 449</i>; +ii. <i>460</i>, 489; +<i>iv. 500, 573</i>; +<i>v. 592</i>; <i>vi. 247, 455, 482</i></p> + +<p>Botzaris, Marco, Suliote chief, ii. 180</p> + +<p>Boudot, M., <i>ii. 481</i></p> + +<p>Boufflers, Marshal, <i>ii. 297</i></p> + +<p>Boulanger, J. C., <i>De Terræ Motu et Fulminibus</i>, <i>ii. 488</i></p> + +<p><i>Bounty</i>, Mutiny of the, See also <i>The Island</i>, v. 581-584. +<i>See</i> also <i>The Island</i></p> + +<p>Bourbon, Connétable Charles de +(Comte de Montpensier, Dauphin d'Auvergne), <i>ii. 390</i>; +iv. 258; v. <i>495</i>, 498, 515-518, <i>520</i></p> + +<p>Bourbon, Susanne, Duchesse de, <i>v. 499</i></p> + +<p>Bourbons, the, iv. 334</p> + +<p>Bourdeille, Pierre de, <i>v. 520</i></p> + +<p>Bourne, H. R. Fox-, <i>Life of John Locke</i>, <i>ii. 353</i></p> + +<p>Bourrienne, M., <i>i. 489</i></p> + +<p>Bouveret, ii. 304; <i>iv. 18</i></p> + +<p>Bouwah! the Suliote war-cry, vii. <a href="#Page_83">83</a></p> + +<p>Bowles, Rev. William Lisle, <i>Strictures on Pope, etc.</i>, +i. 292, <i>305</i>, 323-327, 352, 370, 421, <i>435</i>; +<i>ii. 139</i>; +iii. 535; <i>iv. 555, 562</i>; +<i>Spirit of Discovery</i>, i. 324, 325, 404; +<i>The Missionary of the Andes</i>, vii. <a href="#Page_45">45</a>; +<i>The Invariable Principles of Poetry</i>, vii. <a href="#Page_74">74</a>, <a href="#Page_75">75</a></p> + +<p><i>Bowles and Campbell</i>, vii. <a href="#Page_74">74</a></p> + +<p>Bowring, E. A., <i>The Tragedies of Vittorio Alfieri</i>, <i>v. 211</i></p> + +<p>Boyd, Hugh, iv. 313, <i>513</i></p> + +<p>Boyer, J. B., <i>Lettres Juives</i>, <i>iii. 123</i></p> + +<p>Boyne, W., <i>i. 495</i></p> + +<p>"Boz," <i>Memoirs of Joseph Grimaldi</i>, <i>vi. 11</i></p> + +<p>Bracciolini, Poggio, <i>ii. 354</i></p> + +<p><span class='pagenum'><a name="Page_360" id="Page_360">[360]</a></span>Braemar, i. 173</p> + +<p>Braganza, vii. <a href="#Page_6">6</a></p> + +<p>Braham, John, <i>i., 347</i>; +music for <i>Hebrew Melodies</i>, iii. 375</p> + +<p>Bramante, first architect of St. Peter's, Rome, <i>iv. 270</i></p> + +<p>Brandenburgh, George William, Elector of, v. 373</p> + +<p>Brandl, Professor A., <i>Goethes Verhältuiss zu Byron</i>, iv. 82; +<i>Goethe-Jahrbuch</i>, <i>iv. 136</i></p> + +<p>Brandywine, battle of, <i>i. 500</i></p> + +<p>Brantôme, <i>Memoires de Messire Pierre de Bourdeille</i>, <i>v. 504, 520</i></p> + +<p>Brasidas, ii. 167, 335</p> + +<p>Brass, Corinthian, vi. 284</p> + +<p>Braziers, the, vii. <a href="#Page_72">72</a></p> + +<p>Bread-fruit (<i>Autocarpus incisa</i>), v. 596</p> + +<p>"Break squares," to, vi. 487</p> + +<p>Breitenfeld, battle of, <i>v. 371</i></p> + +<p>Brennus, iv. 258</p> + +<p>Brenta, the, ii. 349</p> + +<p>Brentano, M. Frantz Funck-, +<i>L'Homme au Masque de Velours Noir</i>, <i>iv. 514</i></p> + +<p>Brentford, ii. 66</p> + +<p>Brenton, E. P., <i>The Naval History of Great Britain</i>, <i>vi. 589</i></p> + +<p>Brescia, v. 119, 138</p> + +<p>Bret Harte, <i>The Society upon the Stanislaus</i>, <i>iv. 296</i></p> + +<p>Breuner, General, <i>iii. 455</i></p> + +<p>Brewster, Sir David, <i>Letters on Natural Magic</i>, <i>v. 483</i>; +<i>Memoirs, etc., of Sir Isaac Newton</i>, <i>vi. 400</i></p> + +<p>Briareus, vi. 276</p> + +<p><i>Bride of Abydos</i>, <i>i. 340</i>; +iii. <i>13, 17</i>, 80, 157-210, 217, 219, <i>275</i>, 319, <i>480</i>; +<i>iv. 56</i>; <i>vi. 204</i>; vii. <a href="#Page_55">55</a></p> + +<p>Bridge of Sighs, Venice, ii. 327, 465; iv. 364; v. 139</p> + +<p>Bristol, Countess of, <i>vi. 219</i></p> + +<p>"Britannicus," <i>Revolutionary Causes, etc., and A Postscript +containing Strictures on Cain, etc.</i>, v. 202</p> + +<p><i>British Album</i>, <i>i. 358, 383</i></p> + +<p><i>British Archæological Society</i>, <i>iii. 120</i></p> + +<p><i>British Bards, A Satire</i>, original title of +<i>English Bards, and Scotch Reviewers</i>, +i. xiv, 293, <i>303, 306, 307, 311-314, 316, 317, 321-325, 327, 332, 339-342, 344-346, 353-355, 357, 361, 366, 367, 371-373, 375, 376</i></p> + +<p><i>British Critic</i>, vi. xx</p> + +<p>British Museum, i. xiv, <i>108</i>; +<i>ii. 441</i>; +<i>v. 542, 548, 600</i>; <i>vii.</i> <i><a href="#Note_078">78</a></i>; +<i>Egerton MSS.</i>, i. <i>235</i>, 293, 387; +<i>MS., Proof b</i>, <i>i. 394-396, 398-401</i>; +<i>Childe Harold MS.</i>, <i>ii. 3-5</i>; <i>iii. 38</i>; +<i>MS.</i>, <i>vii.</i> <i><a href="#Note_087">87</a></i></p> + +<p><i>British Review</i> ("The Old Girl's Review;" +"My Grandmother's Review"), <i>iii. 128</i>; +iv. 578, 579; v. 204; vi. xx, 76</p> + +<p><i>British Theatre</i>, <i>iii. 158</i></p> + +<p>Brocken, German superstition about the, v. 483</p> + +<p>Brodribb, Rev. W. J., <i>Pliny's Letters</i>, <i>ii. 380</i></p> + +<p>Brossano, Petrarch's son-in-law, ii. 484</p> + +<p>Brougham, Lord, i. 293, <i>302, 306</i>, 338; +<i>iv. 195</i>; +<i>The Identity of Junius with a Distinguished Living +Character established</i>, <i>iv. 513</i>; +his Fabian tactics, vi. <i>67-70</i>; +"Parolles," vi. 506; +his critique of <i>Hours of Idleness</i>, <i>vi. 551</i></p> + +<p>Brown, Horatio F., <i>Venice, an Historical Sketch, etc.</i>, +ii. <i>338</i>, 340; +<i>iv. 356, 361, 399</i>; v. 119, <i>125</i>; +<i>Venetian Studies</i>, <i>iv. 427</i></p> + +<p>Brown, John, <i>The Kentucky Pioneers</i>, <i>vi. 349</i></p> + +<p>Brown, Rawdon, Preface to <i>Venetian Calendar of State Papers</i>, <i>iv. 447</i></p> + +<p>Browne, Felicia Dorothea (Mrs. Hemans), vii. <a href="#Page_70">70</a></p> + +<p>Browne, Isaac Hawkins, <i>The Fireside, a Pastoral Soliloquy</i>, <i>vi. 348</i></p> + +<p>Browne, Sir Thomas, <i>ii. 345</i>; +<i>Religio Medici</i>, <i>iii. 165</i></p> + +<p>Browning, Mrs. Elizabeth Barrett, <i>Casa Guidi Windows</i>, iv. 239, <i>250</i></p> + +<p>Browning, Oscar, <i>Peter the Great</i>, iv. 203; +<i>Charles XII.</i>, <i>iv. 208</i>; <i>vi. 363</i>; +<i>Dante</i>, <i>iv. 254</i></p> + +<p>Browning, Robert, <i>Poetical Works</i>, <i>ii. 346</i>; +<span class='pagenum'><a name="Page_361" id="Page_361">[361]</a></span> +<i>Christmas Eve</i>, <i>ii. 376, 441</i>; +<i>Never the Time, etc.</i>, <i>iii. 180</i>; +<i>Evelyn Hope</i>, <i>iii. 292</i>; +<i>Pippa Passes</i>, iii. 348; +<i>Confessions</i>, <i>iv. 217</i>; +and Macready, v. 114; +<i>Bishop Blougram's Apology</i>, <i>vi. 586</i></p> + +<p>Brownlow, Bishop of Winchester, vii. <a href="#Page_22">22</a></p> + +<p>Bruce, James ("Abyssinian Bruce"), +<i>Life and Travels</i>, <i>iii. 99</i>; <i>v. 302</i>; <i>vi. 122</i></p> + +<p>Bruchard, Henri de, <i>Notes sur le Don Juanisme</i>, vi. xx, <i>387</i></p> + +<p>Brue, Benjamin, <i>Journal de la Campagne en 1715</i>, iii. 442, <i>481</i></p> + +<p>Brummell, "Beau," <i>iv. 179</i>; vi. 451</p> + +<p>Brunck, Richard Franz Philippe, i. 30; +<i>Anthologia Græca</i>, i. 490; +<i>Gnomici Poetæ Græci</i>, <i>ii. 404</i></p> + +<p>Brunelleschi, <i>ii. 376</i></p> + +<p>Brunswick, Duchess of, <i>vii.</i> <i><a href="#Note_035">35</a></i></p> + +<p>Brunswick, Charles William Ferdinand, Duke of, <i>ii. 239</i>; +vi. 12, <i>312</i></p> + +<p>Brunswick, Frederick William, Duke of, ii. 230</p> + +<p>Brussels, the Waterloo ball at, ii. 228, 292</p> + +<p>Brutus, ii. 374, 392; iv. 370, <i>386</i>; <i>v. 560</i>; vii. <a href="#Page_37">37</a></p> + +<p>Bryant, Jacob, <i>iii. 179</i>; +<i>Dissertation concerning the War of Troy, etc.</i>, vi. 204, <i>211</i></p> + +<p>Bryant's <i>Dictionary of Painters</i>, <i>ii. 171</i></p> + +<p>Brydges, Sir E., <i>iv. 541</i></p> + +<p>Bucentaur, the Venetian State barge, ii. 335</p> + +<p>Buchan, fifth Earl of, <i>i. 429</i></p> + +<p>Buckhurst, Thomas Sackville, Lord, <i>Gorboduc</i>, i. 197</p> + +<p>Buckingham, George Villiers, second Duke of, <i>i. 197</i>; +<i>The Rehearsal</i>, i. <i>309, 401</i>, 423, 447; <i>vi. 52, 303</i></p> + +<p>Buckingham, John Sheffield, Duke of, <i>Essay upon Poetry</i>, i. 354</p> + +<p>Buda retaken from the Turks, iii. 458</p> + +<p>Budd, the publisher, <i>i. 356</i></p> + +<p>Budge, E. A. Wallis, <i>Life and Exploits of Alexander the Great</i>, <i>v. 543</i></p> + +<p>Budgell, Miss, <i>i. 449</i></p> + +<p>Budgell, Eustace, i. 448, 449</p> + +<p>Buffo, vi. 206</p> + +<p>Bulgarin, <i>Iwan Wizigin</i>, iv. 203</p> + +<p>Bull-fights, ii. 67-72</p> + +<p>Bulmer, W., printer, <i>i. 317</i>; iii. 301</p> + +<p>Bülow, Friedrich Wilhelm, Baron von, vi. 345</p> + +<p>Bulukof, Count, <i>vi. 260</i></p> + +<p>Bumpus, John, <i>i. 234</i></p> + +<p>Bunbury H., <i>The Little Grey Man</i>, <i>i. 317</i></p> + +<p>Bungay, Friar, <i>vi. 78</i></p> + +<p>Bunyan, John, <i>vi. 208</i></p> + +<p>Bunyan, William, <i>An Effectual Shove, etc.</i>, i. 417, <i>418</i></p> + +<p>Buonaparte, Jacopo, <i>Sacco di Roma, etc.</i>, iv. 258; +v. 471, <i>514, 516, 520, 521</i></p> + +<p>Buonaparte, Joseph, <i>iv. 458</i>; v. 533</p> + +<p>Buonaparte, Prince Lucien, ii. 522</p> + +<p>Buonaparte, Napoleon. <i>See</i> Napoleon Buonaparte</p> + +<p>Buratti (Bucati), Pietro, <i>iv. 456, 457</i></p> + +<p>Burchard, <i>Diar.</i>, <i>iii. 367-369</i></p> + +<p>Burdett, Sir Francis, <i>i. 435, 436</i>; vii. <a href="#Page_30">30</a>, <i><a href="#Note_040">40</a></i>, <i><a href="#Note_067">67</a></i>, <a href="#Page_68">68</a></p> + +<p>Burgage, or tenure in burgage, vi. 590</p> + +<p>Bürger, <i>Lenore</i>, <i>i. 305</i></p> + +<p>Burges, Elizabeth, Lady (<i>née</i> Noel), <i>i. 437</i></p> + +<p>Burges, Sir James Bland, <i>i. 314</i>; +<i>Richard the First</i>; <i>Exodiad</i>, <i>i. 436, 437</i></p> + +<p>Burgoyne, General John, vi. 12</p> + +<p>Burgundians, the, ii. 254, 297</p> + +<p>Burke, Edmund, <i>i. 416</i>; iv. 75, <i>513</i>; v. 592; +<i>Reflections on the Revolution in France</i>, <i>ii. 7</i>; +<i>iii. 513</i></p> + +<p>Burkitt, Thomas, able seaman on the <i>Bounty</i>, v. 583</p> + +<p>Burns, Robert, <i>Farewell to Ayrshire</i>, <i>i. 210</i>; +Lewis's <i>Tales of Terror</i>, <i>i. 317</i>; +referred to in <i>E. B. and S. R.</i>, i. 360, 362; +<i>Farewell to Nancy</i>, iii. 147; +<i>The Life and Age of Man</i>, <i>iii. 449</i>; +Dr. Currie's <i>Life of</i>, vi. 174;</p> + +<p><span class='pagenum'><a name="Page_362" id="Page_362">[362]</a></span> +Burrard, Sir Harry, <i>ii. 39</i></p> + +<p>Burton, Sir Richard F., <i>Arabian Nights</i>, <i>iii. 87, 104, 109, 113</i></p> + +<p>Burton, <i>Anatomy of Melancholy</i>, <i>ii. 236</i>; <i>v. 543</i></p> + +<p>Burun, Ralph de, <i>iv. 543</i>; <i>vi. 411</i></p> + +<p>Busaco, battle of, <i>i. 470</i></p> + +<p>Busby, Dr. Thomas, <i>A New and Complete Musical Dictionary</i>; +<i>The Age of Genius</i>; +Drury Lane <i>Address</i>, i. 481, 485; iii. 55-58; +translation of <i>Lucretius</i>, iii. 57</p> + +<p>Busingen, <i>iv. 97</i></p> + +<p>Bute, John Stuart, Earl of, iv. 501, 510</p> + +<p>Butler, A. J., <i>The Hell of Dante</i>; <i>iv. 245</i>; +translation of <i>Francesca da Rimini</i>, <i>iv. 320</i></p> + +<p>Butler, Dr., Headmaster of Harrow ("Pomposus"), +i. 17, 88, <i>89</i>, 90, 91, <i>93</i>, 94</p> + +<p>Butler, Rev. Alban, <i>Lives of the Saints</i>, <i>vi. 32, 33</i></p> + +<p>Butler, Samuel, <i>Hudibras</i>, <i>vi. 153, 404, 551</i></p> + +<p>Buxton, Fowell, <i>vi. 549</i></p> + +<p>Byng, George, M. P. ("the County Byng"), <i>vii.</i> <i><a href="#Note_067">67</a></i>, <i><a href="#Note_068">68</a></i></p> + +<p>Byng, Admiral John, ii. <i>40</i>, 41</p> + +<p>Byrne, editor of <i>Morning Post</i>, <i>i. 358</i></p> + +<p>Byrne. Mrs. (Charlotte Dacre), "Rosa Matilda," i. <i>306, 357</i>, 370; +<i>Hours of Solitude</i>, <i>i. 358</i></p> + +<p>Byron, Augusta Ada. <i>See</i> Lovelace, Lady</p> + +<p>Byron, Cecilie, Lady (widow of Sir Francis Bindlose), <i>i. 101</i></p> + +<p>Byron, Charlotte Augusta (Mrs. Christopher Parker), <i>iii. 417</i></p> + +<p>Byron, Elizabeth, Lady (<i>née</i> Chaworth), <i>iv. 542</i></p> + +<p>Byron, Hon. Mrs. Frances (<i>née</i> Levett), vi. 410</p> + +<p>Byron, Hon. George, <i>vi. 410</i></p> + +<p>Byron, George Anson, iii. xxi; vii. <a href="#Page_41">41</a></p> + +<p>Byron, Hon. Juliana, <i>iii. 381</i></p> + +<p>Byron, Lucy, Lady, <i>i. 101</i></p> + +<p>Byron, the Little Sir John, <i>i. 1, 3, 119</i></p> + +<p>Byron, Admiral the Hon. John, <i>iii. 381, 417</i>; +iv. 57; <i>vi. 410</i>; +<i>Narrative</i> of his shipwreck in the <i>Wager</i>; +<i>Voyage round the World</i>, <i>iv. 58</i>; vi. <i>102</i>, 121</p> + +<p>Byron of Rochdale, 1st Lord (Sir John Byron of Clayton), +i. <i>3, 101, 119</i>, 121; <i>vi. 294, 495</i></p> + +<p>Byron, Sir Nicholas, <i>i. 3</i></p> + +<p>Byron, Richard (2nd Lord), <i>i. 3, 101</i>; <i>iv. 14</i>; <i>vi. 294</i></p> + +<p>Byron, Sir Robert, <i>i. 101</i></p> + +<p>Byron, Sophia Maria, <i>vi. 410</i></p> + +<p>Byron, William (3rd Lord), <i>iv. 542</i></p> + +<p>Byron, William (5th Lord, "the wicked Lord Byron"), ii. 17; +<i>iv. 58, 542</i>; <i>vi. 121, 410, 497</i></p> + +<p>Byron, Hon. William, <i>iii. 381</i></p> + +<p>Byron, Sir William, <i>i. 121</i></p> + +<p>Byron, Lady (Miss Milbanke), <i>i. 260, 301, 359</i>; +ii. x, <i>74, 288, 427</i>; iii. 411, <i>449</i>, 499; +iv. <i>39</i>, 63, 184, <i>254, 492</i>; <i>vi. 22, 274</i>; +her transcription of <i>Parisina</i>, iii. 499; +"my moral Clytemnestra", <i>iv. 64</i>; +"a poetess—a mathematician—a metaphysician," iv. 576; +"Miss Lilac" of <i>The Blues</i>, iv. 570; +on Byron's lameness, v. 470; +<i>Remarks on Mr. Moore's Life, etc.</i>, <i>vi. 21</i>; +and M. Baillie, <i>vi. 412</i>; +patroness of the Charity Ball, vii. <a href="#Page_71">71</a></p> + +<p>Byron, Lord, <i>Diary</i> or <i>Journals</i> referred to, +<i>i. 5, 25, 30, 45, 103, 184, 303, 310, 362</i>; +<i>ii. 61, 187, 304</i>; +iii. <i>46, 50, 70, 105</i>, 149, 150, <i>157, 165, 210</i>, 218, 303, <i>305, 307, 308, 311, 314, 411, 495</i>; +v. <i>28, 61, 78, 159</i>, 199, <i>254, 477, 555, 615</i>; +vi. <i>18, 128, 146, 173, 197, 204, 240, 263, 421, 461, 504, 511</i>; +<i>vii.</i> <i><a href="#Note_051">51</a></i>, <i><a href="#Note_074">74</a></i>; +<i>My Dictionary</i>, <i>vi. 381</i></p> + +<p>Byron, Mrs. (mother), i. 269, <i>336</i>; +<i>iii. 449</i>; <i>iv. 543</i>; +Byron's letters to, <i>i. 125, 282, 351</i>; +ii. ix, <i>24, 27, 34, 42, 49, 59, 63, 100, 124, 128, 138</i>, 301; +iii. <i>4, 13</i>, 441, <i>450</i>; +<i>vi. 128, 195, 565</i>; +<i>furiosa</i>, vi. 30</p> + +<p><span class='pagenum'><a name="Page_363" id="Page_363">[363]</a></span> +"Byron's Pool," on the Cam, vi. 49</p> + +<p>"Byron's Tomb," at Harrow, <i>i. 26</i></p> + +<p>Byzantium, ii. 337</p> + + +<p>C</p> + +<p>Caballerías, the, ii. 47</p> + +<p>Caballero, <i>Victoires et Conquètes des Français</i>, ii. 94</p> + +<p>Cabot, Sebastian, <i>iv. 262</i></p> + +<p>Cabotto, or Gavotto, Giovanni, <i>iv. 262</i></p> + +<p>Cadiz, ii. 63, 67, 77, 93; iii. 1</p> + +<p>Cadmus, i. 148</p> + +<p>Cæcina, Aulus, ii. 299</p> + +<p>Cæsar, <i>i. 351, 422</i>; ii. 397; iv. 352; +<i>v. 560</i>; vi. 139, 339, 404; +<i>De Bello Gallico</i>, iv. 331</p> + +<p>Caia river, ii. 45</p> + +<p><i>Cain</i>, <i>iii. 32, 182</i>; <i>iv. 34, 48, 50</i>; +v. 5, <i>9</i>, 197-275, 279, <i>306</i>, 469; +vi. <i>385</i>, 444, <i>491</i>; <i>vii.</i> <i><a href="#Note_078">78</a></i>; +Introduction to, v. 199; +Dedication, v. 205; +Preface, v. 207</p> + +<p>Calderon, <i>El Mágico Prodigioso</i>, iv. 81; v. 470; +<i>Los Cabellos de Absalon</i>, <i>iv. 100</i></p> + +<p>Caledonian Meeting, the, iii. 415</p> + +<p><i>Caledonian Mercury</i>, <i>iii. 45</i></p> + +<p>Calendario, Filippo, a stone-cutter, iv. 382</p> + +<p>Calendario, Philip, a seaman, iv. 464</p> + +<p>Calenture, the, v. 159; vi. 586</p> + +<p>Calenus, A., <i>ii. 520</i></p> + +<p>Caligula, <i>ii. 408</i>; <i>iii. 455</i>; iv. 334; <i>v. 542</i>; vi. 276</p> + +<p>Caliriotes (Albanese women), <i>ii. 183</i></p> + +<p>Callcott, Lady (Mrs. Maria Graham), iii. 532; <i>vi. 206, 207</i></p> + +<p>Callimachus, ii. 173; <i>vi. 445</i></p> + +<p>Callistratus, ii. 291</p> + +<p>Calma, Abbé, <i>v. 211</i></p> + +<p>Calmana, Caimana, etc., Cain's twin sister, <i>v. 226</i></p> + +<p>Calmar, i. 177</p> + +<p>Calmet, Augustine, <i>Dissertations sur les Aparitions</i>, <i>iii. 123</i></p> + +<p>Caloyer, Greek monk, ii. 130, 181; iii. 123</p> + +<p>Calpac, centre part of Turkish headdress, iii. 119</p> + +<p>Calpe's rock (Gibraltar), i. 378; ii. 89, 113, 455</p> + +<p>Calprenède, M., <i>i. 398</i></p> + +<p>Calvert, Charles, actor, iv. 78; as "Sardanapalus," v. 2</p> + +<p>Calvin, i. 417</p> + +<p>Calvinism, Byron's, ii. 74</p> + +<p>Calypso, ii. 118</p> + +<p>Calypso's isle (Goza), ii. 118, 173; iii. 10</p> + +<p>Camarases, John, translation of Ocellus Lucanus' +<i>De Universi Natura</i>, ii. 198</p> + +<p>Cambridge, Duke of, <i>iii. 145</i></p> + +<p>Cambridge, Rev. O. P., <i>iii. 107</i></p> + +<p>Cambridge University, i. 373, 392; Whig Club at, vii. <i><a href="#Note_066">66</a></i>, <a href="#Page_68">68</a></p> + +<p>Cambyses, 2nd king of Persia, iv. 259</p> + +<p>Camel, "ship of the desert," v. 606</p> + +<p>Cameron of Fassieferne, John, ii. 292</p> + +<p>Cameron of Lochiel, Donald, ii. 232, 292</p> + +<p>Cameron, Sir Evan, ii. 232, 292</p> + +<p><i>Camerotti di sotto</i>, and <i>di soprà</i>, +(Venetian prisons), <i>iv. 364</i></p> + +<p>Camese, Albanian kilt, ii. 146</p> + +<p>Camillus, ii. 518</p> + +<p>Camoëns, Luis de, i. 78, 313, 320, 370</p> + +<p>Campbell, J. Dykes, <i>iii. 538</i></p> + +<p>Campbell, Thomas, <i>i. 331, 435</i>; vii. <a href="#Page_49">49</a>; +<i>Specimens of the British Poets</i>, <i>i. 198</i>; vii. <a href="#Page_74">74</a>, <a href="#Page_75">75</a>; +a true poet, <i>i. 306</i>; +<i>Pleasures of Hope</i>, i. 361; <i>ii. 169</i>; <i>iii. 459</i>; +<i>Gertrude of Wyoming</i>, <i>i. 429</i>; ii. xiii, <i>23, 113</i>; vi. 39; +<i>Hohenlinden</i>, <i>ii. 49</i>; +<i>Lochiel's Warning</i>, ii. 292; iv. 235; +<i>Elegy on Princess Charlotte's Death</i>, <i>ii. 450</i>; +<i>Battle of the Baltic</i>, <i>ii. 459</i>; +<i>Last Man</i>, <i>iv. 42</i>; +referred to in <i>Don Juan</i>, vi. 6, 75, 444</p> + +<p>Campo Formio, Peace of, <i>ii. 363</i></p> + +<p>Can Grande della Scala, v. 562</p> + +<p>Canaries, Isles of the Blest, <i>vi. 169</i></p> + +<p>Candia, ii. 340; <i>v. 127</i></p> + +<p>Cangas, battle of, <i>ii. 46</i><span class='pagenum'><a name="Page_364" id="Page_364">[364]</a></span></p> + +<p>Cannæ, battle of, ii. 255</p> + +<p>Canning, George, <i>New Morality</i>, i. <i>294</i>, 363; +Gifford's support of, <i>i. 304</i>; +his "colleagues hate him for his wit", i. 377; +M.P. for Liverpool, <i>i. 497</i>; +attempts to form coalition Ministry, <i>i. 497</i>; +his duel with Perceval, ii. 79; +<i>Needy Knife-Grinder</i> in <i>Anti-Jacobin</i>, <i>ii. 80</i>; +praises <i>Bride of Abydos</i>, iii. 151, <i>197</i>; +parodies Southey's <i>Elegy on H. Martin</i>, <i>iv. 482</i>; +Pitt's "The Pilot that weathered the Storm," v. 568, <i>vi. 482</i>; +and Roman Catholic Emancipation, v. 569; +Byron on, <i>vi. 482</i>; +Brougham and, <i>vi. 506</i>; +quotes Christianity to sanction slavery, <i>vi. 549</i>; +"the tall wit," vii. <a href="#Page_54">54</a>; +"for War," vii. <a href="#Page_30">30</a></p> + +<p>Canova, Antonio, ii. 324, <i>369</i>, 370; iv. 174, 536</p> + +<p>Cantabria, Favila, Duke of, <i>v. 558</i></p> + +<p>Cantemir, Demetrius, <i>History of the Growth and Decay of +the Othman Empire</i>, vi. 259, 277</p> + +<p>Canterbury, vi. 421, 422</p> + +<p>Canzani, Lambro, iii. 194, 219</p> + +<p>Cape de Verd Islands, <i>vi. 169</i></p> + +<p>Cape Gallo, iii. 248</p> + +<p>Capena, ii. <i>416</i>, 516</p> + +<p>Capo di Ferro, Cardinal, ii. 508</p> + +<p>Capo d'Istria, Count, President of Greece, v. 575</p> + +<p>Capote, Albanese cloak, ii. 132, 181; iii. 450</p> + +<p>Cappelletti, Giuseppe, +<i>Storia della Republica di Venisia</i>, iv. 327, <i>345, 427</i></p> + +<p>Capperonier, M., <i>ii. 481</i></p> + +<p>Caracalla, ii. 517, 521; <i>iii. 180</i></p> + +<p>Caracci, Hannibal, <i>ii. 437</i></p> + +<p>Caractacus, vi. 497</p> + +<p>Carapanos, Constantin, <i>Dodone et ses Ruines</i>, ii. <i>132</i>, 182</p> + +<p>Carasman (or Kara Osman), Oglou, iii. 166</p> + +<p>Caravaggio, vi. 502</p> + +<p>Carbonari, the, <i>vi. 259, 489</i>; v. 567</p> + +<p>Cardan, <i>De Consolatione</i>, <i>ii. 236</i></p> + +<p>Carew, Thomas, <i>Poems</i>, <i>iii. 17</i>; +<i>The Spark</i>, ii. 236</p> + +<p>Carey, Henry, <i>Chrononhotonthologos</i>; <i>Sally in our Alley</i>, i. 413; +<i>Namby Pamby, or a Panegyric on the New Versification</i>, <i>i. 418</i></p> + +<p>"Caritas Romana," ii. 437</p> + +<p>Carlisle, taken by the Highlanders, <i>vii.</i> <i><a href="#Note_025">25</a></i></p> + +<p>Carlisle, Frederick Howard, 5th Earl of, i. 354, 370, 383; +<i>ii. 23, 234</i>; <i>vii.</i> <i><a href="#Note_078">78</a></i></p> + +<p>Carlisle, Lady, v. 329</p> + +<p>Carlo Dolce, vi. 502</p> + +<p>Carlowitz plain, iii. 455</p> + +<p>Carlyle, Thomas, <i>i. 489</i>; +<i>French Revolution</i>, <i>iv. 13, 454</i>; +<i>History of Frederick the Great</i>, <i>iv. 334</i>; <i>vi. 337</i></p> + +<p>Carmagnola, v. 179, 180</p> + +<p>Carnarvon, 1st Earl of, <i>i. 336</i></p> + +<p>Caroline (of Anspach), Queen, <i>ii. 282</i></p> + +<p>Caroline (of Brunswick), Queen, i. <i>311</i>; +<i>ii. 230</i>; iv. 555; <i>v. 15, 206, 569</i>; +vi. <i>67</i>, 236, 275, <i>290</i>, 450, <i>451</i>; +vii. <a href="#Page_72">72</a>, <i><a href="#Note_078">78</a></i></p> + +<p>Carpenter, Dr. F. J., <i>Selections from the Poetry of Lord Byron</i>, <i>iv. 119</i></p> + +<p>Carr, Sir John (<i>Stranger in France</i>; <i>Travels</i>), i. <i>38</i>, 378, <i>379</i>; +ii. <i>65</i>, 78</p> + +<p>Carrara, Francesco Novello da (Signer of Padua), ii. 476, 482</p> + +<p>Carreno, José Maria, Commandant-General of Panama, <i>v. 602</i></p> + +<p>Carrer, Luigi, <i>iv. 456, 457, 536</i></p> + +<p>Carrer Museum, Venice, <i>iv. 457</i></p> + +<p><i>Cartaginense, Il</i>, <i>vi. 91</i></p> + +<p>Cartaret, Lord, <i>i. 418</i></p> + +<p>Carthage, iv. 251; vi. 348; burning of, v. 512</p> + +<p>Carthaginians and Irish, vi. 337</p> + +<p>Carttar, Joseph, coroner for Kent, vi. 265</p> + +<p>Carus, Rev. W., <i>Memoirs of the Life of the Rev. Mr. Simeon</i>, <i>i. 417</i></p> + +<p><span class='pagenum'><a name="Page_365" id="Page_365">[365]</a></span> +Carver, William, <i>vii.</i> <i><a href="#Note_022">22</a></i></p> + +<p>Gary, <i>New Pocket Plan of London, Westminster, and Southwark</i>, <i>vi. 434</i></p> + +<p>Gary, Rev. Henry Francis, <i>Dante</i>, iv. <i>23</i>, 313; +<i>Memoir of</i>, iv. 314</p> + +<p>Carysfort, John Joshua Proby, 1st Earl of, <i>i. 445</i></p> + +<p>Casaubon, <i>ii. 518</i></p> + +<p>Casemate, a, vi. 305</p> + +<p>Cash, power of, vi. 458</p> + +<p>Casimir V., king John, of Poland, iv. 201, 205, 211, 212</p> + +<p>Cassander, <i>v. 487</i></p> + +<p>Cassandra, <i>i. 377</i>; iv. 243</p> + +<p>Cassiodorus, <i>Tripartita</i>, ii. 521; <i>iii. 306</i>; <i>iv. 386</i></p> + +<p>Cassius, <i>ii. 374</i>; <i>iv. 120, 386</i></p> + +<p>Castelar, Emilio, <i>Life of Lord Byron</i>, <i>ii. 374</i></p> + +<p>Castellan, Antoine Louis, +<i>Lettres sur la Morée, etc.</i> <i>iii. 249, 270</i>; +<i>Moeurs des Ottomans</i>, <i>iii. 480</i></p> + +<p>Castelnau, Marquis Gabriel de, +<i>Essai sur L'Histoire ancienne et moderne de la Nouvelle Russie</i>, +vi. 264, <i>304, 305-307, 309-313, 315-317, 319, 320, 331-335, 340, 343, 344, 352, 356, 358, 359, 362, 365, 366-368</i></p> + +<p>Castéra, J. H., <i>Vie de Catherine II.</i>, <i>vi. 370, 392</i></p> + +<p>Casti, <i>Animali Parlanti</i>, iv. 156</p> + +<p>Castiglione, Marchesa, iv. 157</p> + +<p>Castlereagh, Lord, <i>ii. 342</i>; iv. 476; +vi. <i>4</i>, 7, 264, 389, 418, 450; +vii. <a href="#Page_20">20</a>, <a href="#Page_30">30</a>, <a href="#Page_65">65</a>, <a href="#Page_81">81</a></p> + +<p>Castri, village of, ii. <i>61</i>, 85, 92, 189</p> + +<p>Castriota, George (Scanderberg or Scander Bey), ii. 124, 173</p> + +<p>Catalani, Angelica, i. 346; <i>v. 562</i></p> + +<p>Cataneo, Maurizio, <i>iv. 150</i></p> + +<p>Cathay, vi. 457</p> + +<p>Cathcart, Lord, <i>i. 468, 488</i></p> + +<p>Catherine II. of Russia, ii. 193, 198, <i>200</i>, 282; +v. 550, 564; +vi. <i>313, 333</i>, 351, 370, 381, 383, 387-399, 406, 411, 413, 414, 439</p> + +<p>Catholic Claims, <i>iv. 561</i></p> + +<p>Catholic Emancipation, iv. 503; <i>v. 569</i>; vi. 506</p> + +<p>Catilina, <i>iii. 117</i></p> + +<p>Catinat, Maréchal Nicholas, <i>Mémoires</i>, <i>vi. 170, 514</i></p> + +<p>Cato, i. 449; ii. 514; <i>iv. 253</i>; v. 506; vi. 270, 303</p> + +<p>Catullus, <i>v. 613</i>; vi. 26, 139; vii. <a href="#Page_17">17</a>; +<i>Ad Lesbiam</i>, i. 72; +"Lugete Veneres, Cupidinesque," i. 74; +"Mellitos oculos tuos, Juventi," i. 75</p> + +<p>Caucasus, Mount, i. 378; v. 17, 30, 57, 294</p> + +<p>Causeus, <i>Museum Romanum</i>, <i>ii. 509</i></p> + +<p>Cava, the Helen of Spain, ii. 46, 89; iv. 334</p> + +<p>Cava, battle of, <i>vi. 14</i></p> + +<p>Cava, kava, or ava, a Tongan intoxicating drink, v. 600</p> + +<p>Cavalier, a military earthwork, vi. 352</p> + +<p>Cavalier Servente, iv. 165, 172</p> + +<p>Cavalli, Marquis Antonio, iv. 547</p> + +<p>Cawthorn, James, i. 294, 387, 453; ii. ix, x; <i>vii.</i> <i><a href="#Footnote_9_9">9</a></i></p> + +<p>Cayster river, ii. 182</p> + +<p>Ceccho, Captain, ii. 477</p> + +<p>Cecilia Metella, tomb of, ii. 402-405</p> + +<p>Cecrops, i. 462</p> + +<p>Cellini, Benvenuto, v. 471, <i>516, 518, 521</i></p> + +<p>Ceneda, Lorenzo, Count-bishop of, iv. 332</p> + +<p><i>Centaur</i>, H.M.S., wreck of, <i>vi. 90, 92, 94-96, 99, 110</i></p> + +<p><i>Century Dictionary</i>, <i>ii. 135</i>; <i>v. 135</i></p> + +<p><i>Century Magazine</i>, <i>iii. 435</i></p> + +<p>Cephalonia, <i>ii. 125</i>; vii. <a href="#Page_83">83</a></p> + +<p>Cephalus, ii. 178</p> + +<p>Cephisus river, i. 459; iii. 272</p> + +<p>Ceraunian mountains ("Chimera's Alps"), ii. 131, 181</p> + +<p>Cerement (searment), ii. 154</p> + +<p>Ceres, vi. 129; "fell with Buonaparte," vi. 383</p> + +<p>Cerigo, island of, ii. 167</p> + +<p>Certaldo, Boccaccio's tomb at, ii. <i>373</i>, 499</p> + +<p>Certosa Cemetery, <i>i. 21</i></p> + +<p>Cervantes, <i>Don Quixote</i>, <i>i. 299</i>; ii. 89, 178; vi. 303, 483</p> + +<p><span class='pagenum'><a name="Page_366" id="Page_366">[366]</a></span>Cesarotti, ii. 496; <i>iv. 457</i></p> + +<p>Cesi, Pietro, President of Romagna, <i>vi. 212</i></p> + +<p>Cevallos, Don Pedro de, <i>i. 338</i></p> + +<p>Chad, G. W. <i>vi. 374</i></p> + +<p>Chæronea, ii. 294.</p> + +<p>Chalmers, George, <i>iv. 513</i>; +<i>The Life of Mary Queen of Scots</i>, vii. <a href="#Page_53">53</a></p> + +<p>Chambrier, M., <i>iv. 514</i></p> + +<p><i>Champion, The</i>, iii. 532-535; vii. <i><a href="#Note_037">37</a></i>, <a href="#Page_38">38</a></p> + +<p>Champollion, Jean Franjois, <i>v. 603</i></p> + +<p>Chandler, Dr., <i>Travels in Greece</i>, ii. 172, 189</p> + +<p>Chantrey, Sir Francis, vii. <a href="#Page_49">49</a></p> + +<p>Chaponnière, J. J., editor of +<i>Advis et Devis de l'ancienne et nouvelle Police de Genève, etc.</i>, iv. 5</p> + +<p>Chappell, William, <i>Old English Popular Music</i>, <i>vi. 145</i></p> + +<p><i>Charity Ball, The</i>, vii. <a href="#Page_71">71</a></p> + +<p>Charlemagne, iv. 287-290; vi. 507</p> + +<p>Charlemont, Lady, <i>iii. 105</i>; iv. 569; vi. 215</p> + +<p>Charles I., i. <i>2, 3, 101</i>, 130,; <i>v. 560</i>; vii. <a href="#Page_35">35</a>, <a href="#Page_36">36</a></p> + +<p>Charles II., i. <i>2</i>, 123, <i>198</i>; <i>v. 487</i></p> + +<p>Charles III., Duke of Savoy, iv. 4, 10</p> + +<p>Charles IV. of Spain (Connétable de Bourbon, Comte de Montpensier), +<i>ii. 390</i>; iv. 258; v. 495, <i>498</i>, 515-516, <i>520</i></p> + +<p>Charles V. of Spain, <i>ii. 453</i>; iii. 308, 309; <i>v. 499, 549</i></p> + +<p>Charles VII. (Duke of Lorraine), <i>iii. 458</i></p> + +<p>Charles VIII. of France, ii. 504</p> + +<p>Charles IX. of Sweden, <i>v. 371</i></p> + +<p>Charles XII. of Sweden, <i>i. 107</i>; +iv. 202, 207, 233; v. 551; vi. 362, <i>363</i></p> + +<p>Charles of Anjou, ii. 494</p> + +<p>Charles of Saxony, Prince, <i>vi. 605</i></p> + +<p>Charles the Bold, ii. 297</p> + +<p>Charles, Prince (the Pretender), <i>i. 173</i></p> + +<p>Charles Edward, Prince, <i>ii. 369</i></p> + +<p>Charles, R. H., +translation of Dillman's <i>Ethiopic Text</i> (<i>Book of Enoch</i>), <i>v. 302</i></p> + +<p>Charlotte, Princess, wife of Tzarovitch Alexey, <i>vi. 417</i></p> + +<p>Charlotte of Wales, Princess, ii. 313, 450; iii. 45, 376; vii. <i><a href="#Note_035">35</a></i>, <a href="#Page_78">78</a></p> + +<p>Charlotte, Queen, <i>iii. 4</i></p> + +<p>Charrière, E., <i>La Vie vaillant Bertran du Guesclin</i>, <i>v. 549</i></p> + +<p>Chateaubriand, François Réné, Vicomte de; <i>ii. 190</i>; +<i>iii. 195, 431</i>; v. 538, 539; +<i>Les Aventures du dernier Abencerrage</i>, <i>v. 558</i>; +<i>Congress, etc.</i> v. <i>562, 567</i>, 575; +<i>Les Martyrs ou le Triomphe de la religion chrétienne</i>, v. 575</p> + +<p>Châteauneuf-de-Randon (Lozère), <i>v. 549</i></p> + +<p>Chatham, Earl of, i. 113; <i>iv. 510</i>; vi. 478; vii. <a href="#Page_28">28</a></p> + +<p>Chaucer, mentioned in <i>Hints from Horace</i>, i. 395; +his use of the word <i>lemman</i>, <i>ii. 22</i>; +<i>Canterbury Tales</i> <i>ii. 155</i>; +the nightingale's "merry note," <i>iii. 170</i>; +<i>terza rima</i>, iv. 313; +<i>Compleint to his Lady</i>, iv. 239; +<i>Wife of Bath</i>, iv. 484</p> + +<p>Chaumont, Treaty of, <i>v. 550</i></p> + +<p>Chaworth, George, Viscount, <i>iv. 542</i></p> + +<p>Chaworth, Mary Ann (Mrs. Chaworth-Musters), +i. 52, 189, <i>192</i>, 210, 329, <i>277</i>, 282, 283, 285, 475; +ii. 18, <i>29</i>. 421; +iv. 31, 32, 35, 36, 39, <i>542</i>; +Byron's "bright morning star of Annesley," iv. 38</p> + +<p>Chaworth, William, <i>i. 189</i>; <i>ii. 17</i>; <i>iv. 542</i></p> + +<p>Cheltenham, <i>v. 609</i></p> + +<p>Chemnitz, battle of, <i>v. 371</i></p> + +<p>Cheops, king, vi. 79</p> + +<p>Cherbuliez, J. L. A., <i>vi. 461</i></p> + +<p>Chermside, Sir Herbert Charles, Governor of Queensland, <i>vi. 497</i></p> + +<p>Chermside, Lady (<i>née</i> Webb), <i>vi. 497</i></p> + +<p>Cherry, Andrew, <i>The Travellers</i>; <i>Peter the Great</i>, i. <i>306</i>, 345</p> + +<p>Cherubim, the, v. 228</p> + +<p><span class='pagenum'><a name="Page_367" id="Page_367">[367]</a></span> +Cherubini, his opera <i>Les Abencerages</i>, <i>v. 558</i></p> + +<p><i>Chester Mysteries</i>, <i>vi. 551</i></p> + +<p><i>Chester Plays</i>, v. 200, <i>207</i></p> + +<p>Chesterfield, 4th Earl of, <i>Letters</i>, i. 415; vi. 525</p> + +<p>Chesterfield, Philip Henry, 5th Earl of, President of the Four-Horse Club, vii. <a href="#Page_26">26</a></p> + +<p>Chetsum, Rev. David, <i>ii. 283</i></p> + +<p>Chevalier, Le, <i>iii. 13</i></p> + +<p>Chezy, A. L., Jāmā's <i>Medjnoun and Leila</i>, <i>iii. 160</i></p> + +<p>Chiaus, a Turkish messenger, iii. 113</p> + +<p>Chichester, Lady, <i>ii. 23</i></p> + +<p>Chichester, Mrs., <i>i. 350</i></p> + +<p><i>Childe Harold</i>, +Introduction to Cantos I. and II., ii. ix-xv; +Notes on the MSS. of, ii. xvi-xx; +Itinerary, ii. xxi-xxiv; +Preface to Cantos I. and II. ii. 3-8; +Canto I., ii. 15-84; +Notes on Canto I., ii. 85-95; +Canto II., ii. 99-163; +Notes on Canto II., ii. 165-208; +Introduction to Canto III., ii. 211-214; +Canto III., ii. 215-289; +Notes on Canto III., ii. 291-307; +Introduction to Canto IV., ii. 311-315; +Original Draft Canto IV., ii. 316-319; +Dedication of Canto IV., ii. 321-326; +Canto IV., ii. 327-463; +Notes on Canto IV., ii. 465-525; +referred to, +i. <i>5, 232, 277, 282, 324, 355, 366, 368, 379</i>, 387, 453-455; +iii. xix, <i>1, 2, 4</i>, 5, 7, 8, 11, 12, <i>13</i>, 14, <i>19</i>, 21, 23, 24, <i>90, 91, 96, 107, 120, 121, 123, 129, 134, 145, 165, 168, 210</i>, 225, <i>336, 395, 417, 450, 459, 460, 470, 480, 485, 495</i>, 499, <i>521</i>; +iv. 6, <i>34, 40, 41, 53-59, 62, 63, 65</i>, 79, <i>87, 100, 104, 105, 127, 131, 132, 139</i>, 155, <i>162, 166, 173, 193, 194, 196</i>, 238, 244, <i>257, 266, 271, 275, 304, 364, 397, 404, 413, 422, 425, 426, 446, 456</i>, 471, <i>529, 536, 578, 580</i>; +v. <i>27, 73, 126, 139, 149, 153, 157, 163</i>, 333, <i>365, 408, 500, 556, 607, 610, 612, 615</i>; +vi. xv, xvii, <i>12, 13, 48, 74, 84, 116, 149, 186, 200, 212, 234, 303, 382, 384, 419, 424, 434, 476, 539, 558</i>; +vii. <i><a href="#Footnote_7_7">7</a></i>, <i><a href="#Note_037">37</a></i>, <i><a href="#Note_049">49</a></i>, <a href="#Page_51">51</a>, <i><a href="#Note_055">55</a></i>, <i><a href="#Note_058">58</a></i></p> + +<p><i>Childe Harold's Good Night</i>, ii. 26; <i>vii</i>. 6</p> + +<p><i>Childish Recollections</i>, i. <i>17</i>, 84-106; +ii. 8, <i>12</i>, 95; <i>iii. 324</i></p> + +<p><i>Children of Apollo</i>, i. 294, <i>342, 445</i></p> + +<p>Childs, George W., <i>vii.</i> <i><a href="#Note_063">63</a></i></p> + +<p>Chili, Independence of, v. 556</p> + +<p>Chillon, Castle of, ii. <i>303</i>, 304; iv. 3, 4, 18</p> + +<p>Chimariot mountains, ii. 131, 181</p> + +<p>Chinazzo, David, <i>The War of Chioza</i>, ii. <i>338</i>, 477</p> + +<p>Chioggia (Chioza), war of, ii. 338, 476, 497</p> + +<p>Chisholm, G. G., ii. xxiv</p> + +<p><i>Chiswick Press</i>, i. xi</p> + +<p>Choiseul-Gouffier, Count, <i>Voyage Pittoresque de la Grèce</i>, +<i>ii. 168</i>; <i>iii. 295</i>; <i>vi. 151</i></p> + +<p>Chouet, <i>i. 414</i></p> + +<p>Chrematoff, vi. 307</p> + +<p>Christian, Charles, <i>v. 622</i></p> + +<p>Christian, Edward, Chief justice of Ely, <i>v. 588</i>; +editor of <i>Blackstone's Commentaries</i>, <i>v. 622</i></p> + +<p>Christian, Fletcher, mate of the <i>Bounty</i>, v. 581-584, <i>588</i>; +short account of, v. 622</p> + +<p><i>Christian Observer</i>, iii. 377</p> + +<p>Christians of Ewanrigg, the, <i>v. 622</i></p> + +<p>Christodoulos, an Acarnanian, +<span title='Peri\ Philoso/phou, k.t.l.'>Περὶ Φιλοσόφου, κ.τ.λ.</span>, ii. 198</p> + +<p>Christopher Caustic's <i>Terrible Tractoratian, etc.</i>, <i>i. 307</i></p> + +<p><i>Chronique de Bayart</i>, <i>v. 515</i></p> + +<p>Chryseus, <i>ii. 462</i></p> + +<p>Chrysostom, vi. 28</p> + +<p>Chulos, footmen, <i>ii. 67, 71</i></p> + +<p>Church, Rev. A., <i>Pliny's Letters</i>, <i>ii. 380</i></p> + +<p>Churchill, Charles, iv. 45, <i>51</i>; +v 337; +<i>Prophecy of Famine</i>, <i>iv. 14</i>; +<i>The Times</i>, <i>iv. 21</i>; +<i>The Candidate</i>, iv. 46; +<i>The Farewell</i>, <i>iv. 174</i></p> + +<p>Churchill, Charles, master-at-arms on the <i>Bounty</i>, v. 583</p> + +<p><span class='pagenum'><a name="Page_368" id="Page_368">[368]</a></span> +<i>Churchill's Grave</i>, iv. 45, <i>51, 71, 230, 266</i>; +v. 337; <i>vi. 401</i></p> + +<p>Cibber, Colley, <i>The Provoked Husband</i>, <i>i. 399</i>; <i>Lives</i>, <i>iii. 280</i></p> + +<p>Cicero, "Tully's fire," i. 29; +Addison on his puns, <i>i. 398</i>; +Sulp. Severus' letter to, <i>ii. 133</i>; +<i>In Verrem</i>, <i>ii. 168</i>; +speeches in the Forum, ii. 301, 413; +<i>De Finibus</i>, <i>ii. 345</i>; +<i>Epist. ad Familiares</i>, ii. 362; +<i>Epist. ad Atticum</i>, ii. <i>384</i>, 509; +"Alas, for Tully's voice," ii. 392; +<i>In Catilinam</i>, ii. <i>396</i>, 510; +<i>Academ</i>., <i>ii. 399</i>; +Middleton's <i>Life</i> quoted, <i>ii. 408</i>; +site of his villa, ii. 455, 522; +Romans and the theatre, ii. 492; +<i>De Divinat</i>., ii. 510; <i>vi. 585</i>; +<i>De Suo Consulatu</i>, ii. 510; +<i>De Legibus</i>, <i>ii. 519</i>; +<i>De Naturâ Deorum</i>, <i>iv. 115</i>; +<i>Epist</i>., <i>iv. 120</i>; +<i>Pro Sexto Roscio, Amerino</i>, <i>iv. 438</i>; +Diodorus Siculus contemporary with, v. 3; +"the topical memory of the ancients," <i>vi. 16</i></p> + +<p>Cicisbeo, origin of the word, iv. 171</p> + +<p>Cicogna, E. A., <i>Personaggi illustri della Venezia patrizia gente</i>, <i>iv. 457</i>; +<i>Inscrizioni Veneziane</i>, <i>v. 123</i></p> + +<p>Cicognara, Leopoldo, Conte de, ii. 324, 472; <i>iv. 456, 457</i></p> + +<p>Cicognini, Giacinto Andrea, <i>Convitato di Pietra</i>, vi. xvi</p> + +<p>Cid Hamet Benengeli, i. 299</p> + +<p>Cilicia, v. 4, <i>24</i></p> + +<p>Cimon, <i>iv. 108</i></p> + +<p>Cincinnatus, iii. 314; v. 571</p> + +<p>Cinna, <i>ii. 393</i></p> + +<p>Cintio Giraldi, <i>Nouvelles</i>, v. 471</p> + +<p>Cintra, Convention of, ii. xi, 38, 39, <i>65</i>, 86; +mountain, ii. 31, 34; +Royal Palace at, ii. 37</p> + +<p>Circassia (Franguestan), iii. 111; <i>vi. 279</i></p> + +<p>Circe, <i>v. 573</i></p> + +<p>Cisternes, Raoul de, <i>Le Duc de Richelieu</i>, <i>vi. 333</i></p> + +<p>Ciudad Real, <i>ii. 89</i></p> + +<p>Ciudad Rodrigo, fall of, <i>i. 496</i>; <i>vi. 69</i></p> + +<p>Civil Wars, the, <i>i. 3</i></p> + +<p>Civitella, village of, ii. 523</p> + +<p>Civran, <i>iv. 331</i></p> + +<p>Claiborne, W. C. C., Governor of Louisiana, <i>iii. 297, 298</i></p> + +<p>Clairmont, Jane (her transcription of <i>Childe Harold</i>, Canto III.), +ii. <i>145</i>, 211, 214, <i>216, 217, 230, 232, 288, 304</i>; +iv. 3, 70</p> + +<p>Clancarty, Lord, <i>vi. 374</i></p> + +<p>Clare, John Fitzgibbon, 1st Earl of, i. 100</p> + +<p>Clare, John Fitzgibbon, 2nd Earl of ("Lycus"), +i. xi, 96, 98-100, <i>128</i>, 200, 222</p> + +<p>Clarence, Duke of, vi. 60, <i>451</i></p> + +<p>Clarendon, <i>History of the Rebellion</i>, <i>i. 3</i></p> + +<p>Clarens, ii. 277, 304; <i>iv. 18</i></p> + +<p>Clark, J. W., Cambridge, <i>vi. 433</i></p> + +<p>Clarke, Edward Daniel, <i>Travels in Various Countries</i>, i. 455; +ii. <i>168</i>, 172, 204; +iii. 75, <i>94</i>, 151, <i>272, 295</i>; +vi. <i>171, 204, 211</i>; +<i>The Tomb of Alexander, etc.</i>, <i>v. 542</i></p> + +<p>Clarke, Hewson, i. 373-375, 383; ii. 213</p> + +<p>Clarke, John, <i>i. 406</i></p> + +<p>Clarke, J. S., <i>Memoir of William Falconer</i>, <i>ii. 169</i></p> + +<p>Clarke, Mary Anne, <i>i. 391</i></p> + +<p>Claude Lorraine, <i>ii. 168</i>; vi. 502</p> + +<p>Claudian, ii. 412; +<i>In Ruffin.</i>, <i>v. 289</i>; +<i>Epigrammata</i>, <i>v. 562</i></p> + +<p>Claudius, ii. 520</p> + +<p>Clayton, Sir Richard, +<i>Critical Enquiry into the Life of Alexander the Great</i>, <i>vi. 226</i></p> + +<p>Clement XII., Pope, <i>ii. 389, 432</i>; <i>v. 521</i></p> + +<p>Cleon, ii. 190</p> + +<p>Cleonice, <i>iv. 108</i></p> + +<p>Cleopatra, i. 490; ii. 397; iii. 11; v. 484; vi. 269; +her mummy in the British Museum, v. 542</p> + +<p>Clermont, Mrs., <i>vi. 22</i></p> + +<p>Cleveland, Duchess of, <i>iv. 541</i></p> + +<p>Clinton, George, <i>Memoirs of the Life and Writings of Lord Byron</i>, +iii. 443, <i>447</i>; v. 581</p> + +<p>Clitumnus river, ii. 379-381</p> + +<p>Clodius, i. 351; <i>iv. 352</i>; <i>vi. 139</i></p> + +<p>Clootz, Jean Baptiste, Baron de (Anacharsis Clootz), vi. xviii, 13</p> + +<p>Club, Byron's definition of a, i. 407<span class='pagenum'><a name="Page_369" id="Page_369">[369]</a></span></p> + +<p>Clusium, iv. 334</p> + +<p>Clytemnestra, <i>ii. 426</i></p> + +<p>Clytus, <i>ii. 124</i></p> + +<p>Coalition Ministry, the, <i>i. 500</i></p> + +<p>Cobbett, William, <i>i. 297</i>; ii. 40; +<i>v. 572</i>; <i>vi. 380</i>; vii. <a href="#Page_65">65</a>, <i><a href="#Note_067">67</a></i>, <a href="#Page_68">68</a></p> + +<p><i>Cobbett's Weekly Register</i>, v. 540, <i>572</i>; <i>vi. 266</i></p> + +<p>Cochineal, kermes, vi. 575</p> + +<p>Cochrane, Thomas, Lord, iv. 111; <i>vi. 67</i></p> + +<p>Cockburn, Admiral Sir George, <i>ii. 239</i></p> + +<p>Cockburn, Mrs. Robert (Mary Duff), <i>i. 192</i></p> + +<p>Cocker, <i>Arithmetic</i>, vi. 601</p> + +<p>Cockney School, the, <i>iv. 339</i></p> + +<p>Coehoorn, Baron Menno van, a Dutch military engineer, vi. 344</p> + +<p>Coelius Antipater, <i>Annales</i>, <i>ii. 378</i></p> + +<p>Cohen, Francis (afterwards Sir F. Palgrave), +translation of <i>Old Chronicle</i> (Marino Faliero); +<i>Rise and Progress of the English Constitution</i>; <i>History +of the Anglo-Saxons</i>, iv. 46</p> + +<p>Coke on Littleton, vi. 568</p> + +<p>Colbleen mountain, i. 194</p> + +<p>Cole, W., boatswain on the <i>Bounty</i>, v. 583</p> + +<p><i>Coleorton, Memorials of</i>, <i>iv. 585</i></p> + +<p>Coleridge, Miss Edith, <i>iii. 454</i></p> + +<p>Coleridge, Hartley, <i>Essays</i>, <i>ii. 331</i>; +<i>First Visit to the Theatre in London</i>, <i>v. 474</i></p> + +<p>Coleridge, H. N., <i>Study of the Classics</i>, <i>vi. 117</i></p> + +<p>Coleridge, Sara, <i>i. 489</i></p> + +<p>Coleridge, Mrs. S. T., <i>iv. 521</i></p> + +<p>Coleridge, Samuel Taylor, <i>The Devils Walk</i>, <i>i. 31</i>; <i>vii.</i> <i><a href="#Note_021">21</a></i>; +Byron and, <i>i. 305, 365</i>; iii. 444; vi. 74; +nitrous oxide, <i>i. 307</i>; +<i>Poems</i>, <i>i. 315, 316</i>; <i>ii. 22</i>; +referred to in <i>English Bards, and Scotch Reviewers</i>, i. 316, 369; +on Monk Lewis, <i>i. 138</i>; +<i>Letters of</i>, <i>i. 318</i>; <i>ii. 401</i>; +<i>iv. 225, 585</i>; <i>v. 175, 544</i>; +<i>vi. 350, 421</i>; +<i>Table Talk of</i>, <i>i. 318</i>; iv. <i>318, 339</i>, 485; +<i>v. 175</i>; <i>vi. 152</i>; +Cottle's <i>Early Recollections of</i>, <i>i. 329</i>; +<i>Anima Poetæ</i>, <i>i. 367</i>; <i>ii. 113, 236</i>; +<i>iv. 587</i>; <i>vi. 91</i>; +and Charles Lloyd, <i>i. 368</i>; +<i>Frost at Midnight</i>, <i>i. 369</i>; +Sir J. Bland Burges, <i>i. 437</i>; +on dancing in Germany, i. 475; +on Kotzebue, <i>i. 489</i>; +<i>Biographia Literaria</i>, <i>i. 489</i>; <i>iii. 435</i>; +vi. <i>4</i>, 39, <i>167, 168, 175</i>; +<i>Ancient Mariner</i>, <i>ii. 22</i>; +iv. <i>22</i>, 27, <i>104, 225, 230, 506</i>; +<i>vi. 106, 114</i>; +Lamb's apology for, <i>ii. 22</i>; +<i>Christabel</i>, <i>ii. 134, 274, 360</i>; +iii. 443, <i>471, 476, 511, 519</i>, 537; +<i>iv. 20</i>, 82, <i>224</i>; v. 281; vi. <i>243</i>, 279; vii. <a href="#Page_45">45</a>; +<i>Hymn before Sunrise in the Valley of Chamouni</i>, <i>ii. 254</i>; +<i>iv. 110</i>; +<i>Dejection: An Ode</i>, <i>ii. 264</i>; <i>vi. 39</i>; +<i>The Friend</i>, ii. <i>281</i>, 301; <i>vi. 174</i>; +<i>Lines to Nature</i>, ii. 302; <i>vi. 179</i>; +"Oh for one hour of <i>The Recluse</i>," <i>ii. 337</i>; +Boccaccio, <i>ii. 374</i>; +<i>Essays on His Own Times</i>, <i>ii. 397, 401</i>; +a Parliamentary reporter, <i>ii. 401</i>; +<i>Kubla Khan</i>, <i>ii. 416, 418, 447</i>; +<i>iv. 267</i>; v. <i>73</i>, 277; +<i>Israel's Lament</i>, <i>ii. 450</i>; +his influence on Rogers, iii. 320; +<i>Lines to a Gentleman</i>, <i>iii. 336</i>; +Byron's letters to, iii. 441; <i>iv. 338</i>; +Byron's beneficiary, iii. 444; +"Apostacy and Renegadoism," <i>iii. 488</i>; +<i>Songs of the Pixies</i>, <i>iii. 524</i>; +<i>Zapolya</i>, <i>iv. 24</i>; +<i>Sibylline Leaves</i>, <i>iv. 42</i>; +<i>Religions Musings</i>, <i>ibid</i>.; +depreciates Voltaire, <i>iv. 184</i>; +"No more my visionary soul shall dwell," <i>iv. 225</i>; +on Walpole's <i>Mysterious Mother</i>, <i>iv. 339</i>; +author of the libel on Shelley? iv. 475; +<i>The Plot Discovered, etc.</i>, <i>iv. 512</i>; +<i>Miscellanies, etc.</i>, <i>iv. 515</i>; +Hazlitt on, <i>iv. 518</i>; +the result of pantisocracy, <i>iv. 521</i>; +on Southey's <i>Life of Wesley</i>, <i>iv. 522</i>; +translates Schiller's <i>Piccolomini</i>, <i>iv. 566</i>; +<i>Lectures of 1811-1812</i>, <i>iv. 575</i>; +<span class='pagenum'><a name="Page_370" id="Page_370">[370]</a></span> +his visit to the Beaumonts, <i>iv. 585</i>; +<i>Pains of Sleep</i>, <i>v. 78</i>; +on Keats and Adam Steinmetz, "There is death in that hand," <i>v. 175</i>; +and Pitt's description of Napoleon, <i>v. 544</i>; +<i>Critique</i> on Maturin's <i>Bertram</i>, vi. xvii, <i>4</i>; +<i>Morning Post</i>, vi. 175; +his marriage, <i>ibid.</i>; +"hath the sway," vi. 445; +<i>Literary Remains</i>, <i>vi. 576</i>; +his note-books, <i>vii.</i> <i><a href="#Note_018">18</a></i>; +Mackintosh on, <i>vii.</i> <i><a href="#Note_032">32</a></i></p> + +<p>Coligny, <i>vi. 246</i></p> + +<p>Coliseum (or Colosseum), Rome, ii. 423-435; iv. 131</p> + +<p>Collegio dei Signore di notte al Criminal, <i>iv. 427</i></p> + +<p>Colleoni, Battolommeo, iv. 336, 392</p> + +<p>Collier, Jeremy, <i>Short View of the Immorality and Profaneness of +the English Stage</i>, i. 416; +<i>Shakespeare</i>, <i>vi. 502</i></p> + +<p>Collignon, Maximo, +<i>Histoire de la Sculpture Grecque</i>, <i>ii. 365, 432, 445</i></p> + +<p>Collini, Mdlle., i. 348</p> + +<p>Collins, <i>Ode to Pity</i>, <i>ii. 34</i>; +<i>How Sleep the Brave</i>, <i>ii. 50</i>; +<i>Ode on the Death of Mr. Thomson</i>, iii. 50; +<i>Irish Eclogues</i>, iii. 224</p> + +<p>Collins, <i>Peerage</i>, <i>vi. 410</i></p> + +<p>Colman the younger, George, i. <i>306</i>, 343; <i>iv. 75</i>; +<i>The Iron Chest</i>; <i>Heir-at-Law</i>, i. 343; +<i>John Bull, or An Englishman's Fireside</i>, i. 343, 400; +<i>The Review, or the Wags of Windsor</i>, iii. 435; +<i>Love Laughs at Locksmiths</i>, vi. 308</p> + +<p>Cologne, <i>vi. 419</i></p> + +<p>Colonna, Cape, ii. 156, 169; iii. 86, <i>134</i></p> + +<p>Colonna de' Francesi, La (Ravenna), vi. 212</p> + +<p>Colonna, Vittoria, <i>iv. 262</i></p> + +<p>Columbia, Republic of, <i>v. 555</i>; vi. 456</p> + +<p>Columbus, Christopher, iii. 76; <i>iv. 262</i>; vi. 552</p> + +<p>Columella, <i>De Re Rustica</i>, <i>ii. 488</i></p> + +<p>Comboloio, a Turkish rosary, iii. 181, 275</p> + +<p>Commodus, iv. 334</p> + +<p>Comnena, Anna, <i>Alexiad</i>, ii. 202</p> + +<p><i>Complaint, The</i>, <i>iv. 220</i></p> + +<p>Compostelli, Pietro de, <i>iv. 448, 467</i></p> + +<p>Conan the Jester, v. 209</p> + +<p>"Concision" used for "conciseness," vi. 550</p> + +<p>Condé, Prince de, iv. 262</p> + +<p><i>Condolatory Address to Sarah, Countess of Jersey, +on the Prince Regents returning her Picture to Mrs. Mee</i>, vii. <a href="#Page_37">37</a></p> + +<p>Condorcet, Marie Jean Antoine, Marquis de, +President of Legislative Assembly in 1792, vi. 13</p> + +<p>Conduit, Mrs. (Catherine Barton), <i>vi. 400</i></p> + +<p>Congreve, i. <i>198</i>, 306, <i>349, 416</i>; vi. 510</p> + +<p>Congreve, Sir William, inventor of "Congreve rockets," vi. 50</p> + +<p><i>Conquest, The</i>, vii. <a href="#Page_82">82</a></p> + +<p>Consiglio Minore (Venice), <i>iv. 345</i></p> + +<p>Consiglio dei Dieci. <i>See</i> Council of Ten</p> + +<p>Constable, Archibald, <i>i. 310, 436</i></p> + +<p>Constans, ii. 520</p> + +<p>Constant, Henri Benjamin de Rebecque, v. 566, <i>567</i></p> + +<p>Constantine, Emperor, ii. <i>336</i>, 520</p> + +<p>Constantine, Grand-Duke, <i>v. 564</i></p> + +<p>Constantinople (Istambol, +<span title='HEpta/lophos'>Ἑπτάλοφος</span>), i. 378; +ii. 152, 194; iii. 17, 21; vi. 219</p> + +<p><i>Constitutionel, Le</i>, v. <i>566</i>, 577</p> + +<p>Contarini, Doge Andrea, ii. 477, 497</p> + +<p>Contarini (afterwards Foscari), Lucrezia, v. 115, 130</p> + +<p>Conti, <i>v. 371</i></p> + +<p>Contrario, Ugoccion, <i>iii. 506</i></p> + +<p>Cook, Captain, i. 325; v. 582; <i>vi. 19</i>; +voyage in the <i>Resolution</i>, <i>v. 588, 605</i></p> + +<p>Cook, Dutton, <i>A Book of the Play</i>, <i>i. 414</i></p> + +<p>Cooke, George Frederick, i. 46, <i>344</i>; <i>iv. 338</i></p> + +<p>Cookery, science of, vi. 561</p> + +<p>Cooper, actor, iv. 324</p> + +<p>Copenhagen, bombardment of, i. 468; <i>v. 588</i></p> + +<p><span class='pagenum'><a name="Page_371" id="Page_371">[371]</a></span> +Copernicus, <i>i. 402</i></p> + +<p>Copet, <i>iv. 53</i>; vii. <a href="#Page_50">50</a></p> + +<p>Coray, Diamant or Adamantius, <i>Bibliothèque Hellénique</i>, ii. 196-199, 203</p> + +<p>Corday, Charlotte, <i>vi. 14</i></p> + +<p>Cordoba, <i>ii. 54</i></p> + +<p>Corfu, ii. 193</p> + +<p>Corfu, Giovanni da, iv. 464</p> + +<p>Corinth, ii. 363; iii. 440-496; Gulf of, <i>ii. 60</i></p> + +<p>Corinthian brass, vi. 284</p> + +<p><i>Corinthians</i>, <i>v. 262</i></p> + +<p><i>Coriolanus</i>, <i>ii. 388, 452</i>; <i>iv. 338</i>; <i>v. 27</i></p> + +<p>Cork Convent, ii. 35, 86</p> + +<p>Cork and Orrery, 8th Earl of, <i>vi. 504</i></p> + +<p>Cork and Orrery, Mary, Countess of ("Countess Crabby"), vi. 504</p> + +<p>Cornaro, Flaminio, <i>Ecclesiæ Venetæ</i>, <i>v. 123</i></p> + +<p>Cornaro, Marco, iv. 402, 465</p> + +<p>Cornelia, daughter of Metellus Scipio, and widow of P. Crassus, <i>iv. 264</i></p> + +<p><i>Cornelian, The</i>, i. 66, <i>240</i>; iii. 48</p> + +<p>Cornwall, Barry. See Procter, B. W.</p> + +<p>Cornwall wreckers, ii. 141, 182</p> + +<p>Coron, or Corone (the ancient Colonides), iii. 249</p> + +<p><i>Corresponding Society, The</i>, iv. 516</p> + +<p><i>Corsair</i>, i. 388, <i>457</i>; +<i>ii. 252</i>; iii. xix, <i>46, 49</i>, 217-229, 303, 319-321, <i>409</i>; +v. 584; <i>vi. 132</i></p> + +<p>Corsi, Cardinal, ii. 495</p> + +<p>Cortejo, Spanish, vi. 55</p> + +<p>Cortes, v. 555</p> + +<p>Cosmo II., ii. 499</p> + +<p>Costerden, Elizabeth, <i>vi. 294</i></p> + +<p>Costerden, William, <i>vi. 294</i></p> + +<p>Cotta, v. 81, 108</p> + +<p>Cottle, Amos, <i>Translation of the Edda of Sæmund</i>, +i. <i>314</i>, 328, <i>329, 403</i></p> + +<p>Cottle, Joseph, <i>Alfred</i>; <i>The Fall of Cambria</i>, i. 328, <i>436</i>; +<i>Early Recollections of Coleridge</i>, <i>i. 329</i></p> + +<p>Cotton, Mrs., of Worcester, <i>iii. 209</i></p> + +<p>Couch of Hercules, <i>vi. 220</i></p> + +<p>Coulman, M. J. J., <i>iv. 543</i></p> + +<p>Council of Ten (Il Consiglio dei Dicci), +iv. <i>363, 366, 385</i>, 399, <i>441, 448</i>, 465, 470; v. 115-118, 169</p> + +<p><i>Courier, The</i>, <i>i. 423, 436</i>; ii. xii; +iii. <i>45</i>, 377, <i>488</i>, 534; +iv. 477-479, <i>482</i>; v. 203; vi. <i>4</i>, 12</p> + +<p>Courland, Anne, Duchess of (Empress of Russia), vi. 417</p> + +<p>Courland, Frederick William, Duke of, vi. 417</p> + +<p>Courland, James, 3rd Duke of, vi. 417</p> + +<p>Courlande, Pierre, last Duc de, <i>vi. 417</i></p> + +<p><i>Courrier</i>, <i>v. 566, 577</i></p> + +<p>Courtney Melmoth. <i>See</i> Pratt, Samuel Jackson</p> + +<p>Courtney, W. P., <i>English Whist</i>, <i>vi. 507</i></p> + +<p>Coutts, Mrs., <i>iv. 541</i>; +Byron's "Mrs. Rabbi;" <i>Vivian Grey's</i> "Mrs. Million," vi. 504</p> + +<p>Covent Garden Theatre, O.P. riots at, <i>i. 347</i>; <i>vi. 11</i>; +<i>Manfred</i> at, iv. 78; +Lee's <i>The Three Strangers</i> at, <i>v. 337</i></p> + +<p>Cowley, Abraham, <i>i. 403</i>; <i>vi. 166</i>; +<i>Davideis</i>, <i>i. 436</i></p> + +<p>Cowley, Henry Wellesley, 1st Baron, <i>ii. 79</i></p> + +<p>Cowley, Mrs. Hannah (<i>née</i> Parkhouse), <i>i. 314</i>; +<i>The Belle's Stratagem</i>, <i>i. 358, 403</i>; +<i>Siege of Acre</i>, <i>i. 436</i></p> + +<p>Cowley, W. D., translation of Parrot's <i>Journey to Ararat</i>, <i>v. 294</i></p> + +<p>Cowper, Joseph Meadows, <i>Memorial Inscriptions, etc.</i>, <i>vi. 422</i></p> + +<p>Cowper, Lady (afterwards Palmerston), <i>i. 301</i></p> + +<p>Cowper, William, mentioned in <i>English Bards, and Scotch Reviewers</i>, i. 362; +<i>The Task</i>, iv. 174; vi. 348; +Hayley's biography of, <i>i. 321</i>; +<i>Milton</i>, <i>v. 218</i></p> + +<p>Coxe, William, Archdeacon of Wilts, <i>Trav. Switz.</i>, <i>ii. 385</i>; +<i>Memoirs of John, Duke of Marlborough</i>, vi. 174</p> + +<p><span class='pagenum'><a name="Page_372" id="Page_372">[372]</a></span> +Crabbe, George, i. <i>306</i>, 365; vi. 6, 75; vii. <a href="#Page_49">49</a>; +<i>Resentment</i>, iii. 128</p> + +<p>"Crane," to, vi. 524</p> + +<p>Crashaw, Richard, vi. 166</p> + +<p>Crassus, ii. 405; <i>iv. 264</i></p> + +<p>Creech, Thomas, <i>Translation of Horace</i>, vi. 247</p> + +<p>Cremâ, v. 138</p> + +<p>Cremâ, Augustinus de, <i>ii. 340</i></p> + +<p>Creon, king of Corinth, <i>i. 170</i></p> + +<p>Crespan, Gio., <i>Della Vita e delle lettere di Luigi Carrer</i>, <i>iv. 457</i></p> + +<p>Crespi, the tenor, <i>vi. 206</i></p> + +<p>Cressy, battle of, i. 2</p> + +<p>Crete, <i>v. 127</i></p> + +<p>Creusa, i. 159</p> + +<p>Crib, i. 466</p> + +<p><i>Critical Review</i>, iii. <i>473</i>, 499, <i>518</i>; +iv. 6, <i>13, 27</i>, 81, <i>99</i></p> + +<p>Croesus, iii. 519</p> + +<p>Croker, John Wilson, <i>ii. 4, 187</i>; iii. <i>157</i>, 217; +iv. <i>74</i>, 157, <i>339</i>; <i>v. 546</i>; +<i>vi. 482</i>; vii. <a href="#Page_49">49</a>; +article on Keats in <i>Q.R.</i>, <i>vi. 445</i>; <i>vii.</i> <i><a href="#Note_076">76</a></i></p> + +<p>Croly, D. D., Rev. George, <i>Paris in 1815</i>; <i>Catiline</i>; +<i>Salathiel</i>; <i>The Angel of the World</i>, vi. 444, <i>445</i></p> + +<p>Cromwell, Oliver, i. 122, 123; ii. 292, 394, <i>453</i>; +iv. 334; <i>v. 560</i>; vi. 174; <i>vii.</i> <i><a href="#Note_035">35</a></i></p> + +<p><i>Cronaca Augustini</i>, <i>v. 190</i></p> + +<p><i>Cronaca Dolfin</i>, v. 117, 118, <i>121, 172</i></p> + +<p>Crosby and Co., B., i. xii, <i>234</i></p> + +<p><i>Crosby's Magazine</i>, <i>i. 368</i></p> + +<p>Crossing the Line, v. 616</p> + +<p>Croupade, ii. 70</p> + +<p>Crousaz-Crétet, Léon de, <i>vi. 264</i></p> + +<p>Cruikshank, drawing of Jackson's rooms, <i>i. 434</i>; +frontispiece to Rowfant Library Catalogue, <i>iv. 508</i></p> + +<p>Crusaders, the, <i>i. 117</i></p> + +<p>Cruscanti, the, <i>iv. 152</i></p> + +<p>Crusius, Martinus, <i>Turco-Græcia</i>, <i>iii. 122</i></p> + +<p>Ctesias of Cnidos, <i>Persica</i>, v. 3, 4, <i>11</i>; <i>vi. 122</i></p> + +<p>Ctesilaus, <i>ii. 431</i></p> + +<p>Cuba, <i>iii. 296</i></p> + +<p>Cuesta, ii. 89</p> + +<p>Culloden, battle of, i. 173; ii. 292; <i>vi. 12</i></p> + +<p>Cumberland, Ernest Augustus, Duke of, and King of Hanover, +gazetted Field-Marshal 1813, vii. <a href="#Page_31">31</a></p> + +<p>Cumberland, William Augustus, Duke of, vi. 12</p> + +<p>Cumberland, Princess Olive of, <i>iv. 541</i></p> + +<p>Cumberland, Richard, <i>Wheel of Fortune</i>, i. 45, <i>344</i>; +referred to in <i>English Bards, and Scotch Reviewers</i>, +i. <i>306, 314</i>, 343; +<i>The West Indian</i>; <i>The Jew</i>, <i>i. 344</i>; +and Townsend, <i>i. 403</i>; +<i>Observer</i>, <i>i. 414</i>; <i>iii. 85</i>; +<i>Exodiad</i>; <i>Calvary</i>, <i>i. 436</i></p> + +<p>Cumourgi (Courmourgi or Cumurgi), Ali, iii. 442, 455</p> + +<p>Cunningham, Allan, <i>vi. 3</i></p> + +<p>Curll, a bookseller, i. 220, 326</p> + +<p>Curran, John Philpot, <i>ii. 236</i>; iv. 561; vi. 450; +<i>Life of</i>, iv. 555; +"Longbow from Ireland," vi. 509</p> + +<p>Currie, M.D., James, +<i>Works of Robert Burns, with an Account of his Life, etc</i>., vi. 174</p> + +<p><i>Curse of Minerva</i>, i. <i>378</i>, 451-474; +ii. ix, <i>33, 106, 107, 168, 192, 252, 366</i>; iii. 270</p> + +<p>Curtis, Sir William, v. 578; <i>vii.</i> <i><a href="#Note_068">68</a></i></p> + +<p>Curtius, Q., <i>Hist. Alexand.</i>, <i>vi. 226</i></p> + +<p>Curwens of Workington Hall, the, <i>v. 622</i></p> + +<p>Curzon, <i>Visits to Monasteries of the Levant</i>, ii. 294</p> + +<p>Cuvier, le Bon G., <i>Recherches sur les Ossemens Fossiles</i>, etc., +v. 210; vi. 385, 415</p> + +<p>Cyanean Symplegades, <i>vii.</i> <i><a href="#Note_010">10</a></i></p> + +<p>Cyanometer, <i>vi. 216</i></p> + +<p>Cyaxares, <i>v. 107</i></p> + +<p>Cybele, ii. 328</p> + +<p>Cyclades, vi. 118, 203</p> + +<p>Cymar, or simar, a shroud, iii. 143</p> + +<p><i>Cymbeline</i>, <i>vi. 487</i></p> + +<p>Cypress tree, "the only constant mourner o'er the dead," iii. 99</p> + +<p>Cyprus, iv. 400</p> + +<p><span class='pagenum'><a name="Page_373" id="Page_373">[373]</a></span> +Cyrus, king of Persia, v. 5; vi. 572</p> + +<p>Czaplinski, Governor of Poland, <i>iv. 211</i></p> + + +<p>D</p> + +<p>d'Abrantés, Duke (Junot), <i>ii. 39, 40</i></p> + +<p>d'Acerenza, François Pignatelli de Belmonte, Duc, <i>vi. 417</i></p> + +<p>d'Acerenza, Jeanne Catherine, Duchesse, <i>vi. 417</i></p> + +<p>Dacians, the, <i>ii. 412</i></p> + +<p>Dacier, M., i. 402; <i>Aristotle</i>, <i>vi. 182</i></p> + +<p>Dacre, Charlotte. <i>See</i> Byrne, Mrs.</p> + +<p>Dacre, Lady (Mrs. Wilmot), vii. <a href="#Page_48">48</a></p> + +<p>D'Alembert, Jean-le-Rond, ii. 209; <i>v. 554</i>; <i>vi. 63</i></p> + +<p>Dalkeith, Countess of, <i>i. 310</i></p> + +<p>Dallas, Rev. Alexander, i. 387; ii. xvi</p> + +<p>Dallas, Judge, <i>i. 495</i></p> + +<p>Dallas, R. C., +his copy of <i>British Bards</i>, i. xiv, 293, <i>298</i>, 322; +Byron's letters to, i. 294, <i>347, 359, 404</i>; +ii. xi, xii, xiv, xviii, <i>15, 24, 30, 32, 37, 65, 73, 83</i>, 95, <i>104, 105, 161-163</i>, 208; +<i>iii. 129</i>; <i>iv. 125</i>; <i>vii.</i> <i><a href="#Footnote_9_9">9</a></i>; +Fitzgerald's and Byron's <i>jeux d'esprit</i>, <i>i. 298</i>; +<i>Recollections of the Life of Lord Byron</i>, i. <i>305</i>, 387; +ii. ix-xii, xiv, xv, 89, <i>104, 120, 176</i>; <i>iii. 107</i>; iv. 446; +<i>MS. of Childe Harold</i>, ii. xvi, <i>15</i>, 16, 17, 19, 22-24, 27, 29, 30, 32, 33, 37, 38, 41-43, 45, 46, 48-52, 54, 56, 57, 60, 62, 64, 66, 82, 83, 100-102, 105-107, 110, 112-116, 126, 131, 135, 138-140, 146, 147, 149, 150, 155, 157, 159-162, 328, 329, 336, 341, 342, 352, 370, 373, 382, 385, 413, 419, 421, 443, 451, 458, 460; +a suppressed Note on Spain and Portugal, ii. 87; +on <i>Cain</i>, v. 199; +certain "ludicrous stanzas" of <i>The Island</i>, <i>v. 615</i>; +MS. <i>of The Island</i>, v. 587, 589, 590, 592, 595-597, 600-604, 611, 612, 615, 621, 625, 632, 636, 637, 639; +<i>Don Juan MS</i>., vi. 143, 144, 150, 159, 167, 168, 170; +"Yes! wisdom shines in all his mien," vii. <a href="#Page_12">12</a>; +MS. of <i>On a Royal Visit, etc.</i>, <i>vii.</i> <i><a href="#Note_036">36</a></i></p> + +<p>Dallas, Robert, <i>iii. 18</i></p> + +<p>Dallaway, Rev. James, <i>Constantinople Ancient and Modern</i>, <i>iii. 90, 166</i></p> + +<p>Dalrymple, Sir Hew, <i>ii. 39, 40</i></p> + +<p>dal Sale, Alberto, <i>iii. 506</i></p> + +<p>Dalzell, Sir George, <i>Shipwrecks and Disasters at Sea</i>, vi. <i>87, 89-92, 94-96</i>, 99, <i>102-110, 112</i></p> + +<p>Damætus, i. 128</p> + +<p>Damas d'Antigny, Joseph Elizabeth Roger, Comte de, vi. 312</p> + +<p>Damascus, <i>ii. 151</i></p> + +<p>Damon, <i>i. 175</i></p> + +<p>Dampier, discoverer of the bread-fruit, <i>v. 596</i></p> + +<p>d'Ancona, A., <i>Manuale della Letteratura Italiana</i>, <i>iv. 536</i></p> + +<p>Dandies, the, iv. 176</p> + +<p>Dandolo, Doge Andrea, iv. 352, <i>366, 438, 459</i></p> + +<p>Dandolo, Giovanni, <i>iv. 356</i></p> + +<p>Dandolo, Doge Henry, ii. <i>329, 336</i>, 337, 475</p> + +<p>Dandolo, Conte Girolamo Antonio, <i>Sui Quattro Cavalli, etc.</i>; +<i>La Caduia della Repubblica di Venezia</i>, <i>iv. 456, 457</i></p> + +<p>Danes at battle of Copenhagen, <i>i. 468</i></p> + +<p>Daniel, <i>To the Lady Lucy, Countess of Bedford</i>, iv. 239</p> + +<p>Daniel, prophecies of, <i>ii. 78</i>; +the writing on the wall, iii. 398; +in the lions' den, vi. 235; +<i>Book of</i>, <i>vi. 504</i></p> + +<p>Dante, ii. 355, 375, 494, 503; iv. 237-276; v. 562; vi. 146, 212, 213, 303; +his tomb, ii. 371, 494; iv. 237, 244; +Ricci's monument to, <i>ii. 375</i>; +<i>Inferno</i>, iii. 227, 249, 270; +iv. <i>23</i>, 238, 245, <i>254, 272</i>, 314, 316; +vi. <i>36, 37, 105</i>, 289, 408, 606; +<i>Div. Commedia</i>, iv. 237, 570; +<i>Paradiso</i>, <i>iv. 347</i>; +<i>La Vita Nuova</i>, <i>iv. 248, 253</i>; +<i>Sonnet</i>, <i>iv. 249, 253</i>; +<i>Il Convito</i>, <i>iv. 253, 256, 274, 318</i>; +<span class='pagenum'><a name="Page_374" id="Page_374">[374]</a></span> +<i>Purgatorio</i>, <i>iv. 256, 263, 272</i>; <i>vi. 181</i>; +<i>Epistola IX. Amico Florentino</i>, iv. 276</p> + +<p>Danton, Georges Jacques, vi. 13</p> + +<p>Danube, vi. 304, 306, 331, 368</p> + +<p>Dardanelles, the, <i>iii. 13</i>; vi. 208</p> + +<p>d'Argens, Marquis, <i>Lettres Juives</i>, <i>iii. 123</i></p> + +<p><i>Darkness</i>, iv. 42; <i>v. 315</i></p> + +<p>Darmesteter, James (<i>Notes to Childe Harold</i>), +<i>ii. 67, 106, 115, 134, 149, 236, 325, 345, 358, 419</i>; +translation of <i>Zend-Avesta</i>, <i>iv. 112</i></p> + +<p>Darnley, Lord, <i>vii.</i> <i><a href="#Note_029">29</a></i></p> + +<p>Daru, P., <i>Histoire de la République de Vénise</i>, +iv. 332, <i>471</i>; v. 115, <i>124, 179, 188, 190, 195</i>; vi. 199; +<i>Histoire de la République Française</i>, <i>v. 196</i></p> + +<p>Darwin, Charles Robert, <i>i. 367</i></p> + +<p>Darwin, Erasmus, <i>The Botanic Garden</i>; <i>The Temple of Nature</i>, +i. <i>306</i>, 367</p> + +<p>Davenport, actor, as "Ulric" in <i>Werner</i>, v. 324</p> + +<p>David, i. 490</p> + +<p>Davies, Scrope B., ii. 211, 212; <i>iv. 179</i>; +<i>Parisina</i> dedicated to, iii. 501</p> + +<p>Davies, Thomas, <i>Massinger</i>, <i>i. 304</i>; +<i>Life of Garrick</i>, <i>i. 409, 428</i></p> + +<p>Davis, Henry Edward, <i>ii. 283</i></p> + +<p>Davison, Mrs., iv. 70</p> + +<p>Davison, T., printer, i. 452, 453; <i>iii. 259, 315, 323</i>; <i>vii.</i> <i><a href="#Note_058">58</a></i></p> + +<p>Davoust, General, <i>v. 550</i></p> + +<p>Davy, Lady (Mrs. Apreece), <i>iv. 541</i></p> + +<p>Davy, Sir H., <i>i. 307</i>; iv. 472, 570, 586; +his safety-lamp, vi. 51</p> + +<p>Davy, Martin, Master of Caius College, Cambridge, <i>iii. 170</i></p> + +<p>Dead Sea, ii. 237, 294</p> + +<p><i>Death of Calmar and Orla</i>, i. 177</p> + +<p>Debora, or Azzrum, Cain's sister, <i>v. 226</i></p> + +<p>Decies, Lord, Archbishop of Tuam, <i>i. 390</i></p> + +<p>Dee river, Aberdeenshire, i. 193, 238</p> + +<p><i>Deformed Transformed, The</i>, <i>ii. 423, 483</i>; <i>iv. 15</i>; +<i>v. 72, 371</i>, 469-534, <i>606</i>; <i>vi. 500</i></p> + +<p>d'Egville, <i>Don Quichotte, ou les Noces de Gamache</i>, <i>i. 347</i></p> + +<p>de la Bastie, M. le Bimard, Baron, <i>Mémoires de l'Académie, etc.</i>, +ii. 480, 481, <i>482</i></p> + +<p>De la Berge, <i>Essai sur le règne de Trajan</i>, <i>ii. 412</i></p> + +<p>de la Croix, Sieur, <i>i. 493</i></p> + +<p>Delacroix, Ferdinand Victor Eugène, painter, <i>iv. 461</i></p> + +<p>de la Guilletière, Le Sieur, <i>Lacedémone Ancienne et Nouvelle</i>, <i>iii. 122</i></p> + +<p>de la Houssaie, Sieur Amelott, <i>History of the Government of Venice</i>, <i>iv. 358</i></p> + +<p>de la Motraye, Aubrey, <i>Voyages</i>, <i>vi. 295, 296</i></p> + +<p>Delano, Amasa, <i>Narrative of Voyages, etc.</i>, <i>v. 622</i></p> + +<p>De la Pryme, Charles, <i>iv. 46</i></p> + +<p>De La Rose, Pierre, <i>vii.</i> <i><a href="#Footnote_3_3">3</a></i></p> + +<p>Delavigne, Casimir Jean François, +<i>Marino Faliero, tragédie en cinq actes</i>, iv. 329, <i>367</i></p> + +<p>Delawarr, George John, 5th Earl of ("Euryalus"), i. 7, 100; <i>ii. 22</i></p> + +<p>Delawarr, Thomas, 3rd Earl of, <i>i. 101</i></p> + +<p>Delbora, or Awina, Abel's sister, <i>v. 226</i></p> + +<p>Delhis, or delis, Turkish bravos, "Forlorn Hope," +ii. 136, 149; iii. 168, 459; vi. 312</p> + +<p>Della Cruscan School, i. <i>304, 323</i>, 357, <i>358, 441, 444</i>; +Academy (Florence), <i>i. 358</i>; ii. <i>357</i>, 485</p> + +<p>della Scala, Francesco can Grande, v. 562</p> + +<p>Delort, M., <i>iv. 514</i></p> + +<p>Delphi, i. 425; ii. 15, <i>60, 61</i>, 85, 92</p> + +<p>Delphin, <i>Martial</i>, <i>vi. 27</i></p> + +<p>Delpini, Charles Anthony, <i>Don Juan; or, The Libertine destroyed</i>, +vi. xvi, <i>11</i></p> + +<p>Del Pinto, vi. 227, 228</p> + +<p>Delvinachi (Illyria), ii. <i>134</i>, 174, 177, 202</p> + +<p>Demeter, <i>v. 570</i></p> + +<p><span class='pagenum'><a name="Page_375" id="Page_375">[375]</a></span> +Demetrius, Byron's servant, <i>ii. 75</i></p> + +<p>Demetrius Poliorcetes, v. 486</p> + +<p>Democracy, "an Aristocracy of Blackguards," <i>vi. 381</i></p> + +<p>Democritus, i. 422</p> + +<p>Demosthenes, i. 29; ii. 301</p> + +<p>Denham, Clapperton, and Oudney, <i>Narrative of Travels ... in Northern +and Central Africa</i>, <i>vi. 474</i></p> + +<p>Denman, Lord, i. <i>366</i>; ii. 291</p> + +<p>Dennis, John, i. 220, 326; <i>iii. 279</i>; +<i>Essay on the Operas after the Italian manner, etc.</i>, i. 410</p> + +<p>Dent, <span class="smcap">M.P.</span>, John ("Dog Dent"), vii. <a href="#Page_49">49</a></p> + +<p>Denvil ("Manfred Denvil"), the actor, iv. 78</p> + +<p>d'Epinay, Madame, <i>ii. 266</i></p> + +<p><i>De Principatibus Italiæ Tractatus Varii</i>, <i>ii. 478</i></p> + +<p>Derby, Lord, <i>Homer's Iliad</i>, <i>vi. 339</i></p> + +<p>d'Erceville, Rolland, <i>Recherches sur les Prérogatives des Dames +chez les Gaulois, etc.</i>, ii. 6</p> + +<p>Deropoli, plain of, ii. 134</p> + +<p>Dervish Tahiri, ii. 175, 176; <i>iii. 134, 450</i></p> + +<p>Dervishes, the, i. 492; iii. 254</p> + +<p>Derwentwater, <i>iv. 525</i></p> + +<p>Desaix de Voygoux, Louis Charles Antoine, vi. 14</p> + +<p>Descamisados, or Sansculottes of the Spanish Revolution, vi. 456</p> + +<p>Deshayes, ballet-master at the King's Theatre, i. 347</p> + +<p>De Silver and Co., i. 452, 453</p> + +<p>des Issarts, Marquis de Forbin, <i>v. 566</i></p> + +<p>Desmoulins, Camille, <i>vi. 14</i></p> + +<p>d'Este, Marquis, of Tuscany, ii. 354; iii. 503</p> + +<p>d'Este, Alfonso, <i>ii. 486</i></p> + +<p>d'Este II., Alfonso, Duke of Ferrara, iv. 266</p> + +<p>d'Este, Borso, <i>ii. 354</i></p> + +<p>d'Este, Ercolo, <i>ii. 354</i></p> + +<p>d'Este, Hugo, iii. 503</p> + +<p>d'Este, Leonora, <i>ii. 355</i>; iv. 145, 147, 148, 151, 152</p> + +<p>d'Este, Lionel, <i>ii. 354</i></p> + +<p>d'Este, Luigi, Cardinal, <i>ii. 486</i>; <i>iv. 146</i></p> + +<p>d'Este, Niccolo, Marquis, <i>iii. 505-507</i></p> + +<p>d'Este, Ugo, <i>iii. 505-507</i></p> + +<p><i>Destruction of Sennacherib, The</i>, iii. 404</p> + +<p><i>Detached Thoughts</i>, <i>i. 99, 205</i>; <i>ii. 301</i>; +<i>iv. 75, 179, 562, 580, 584</i>; <i>v. 485</i>; <i>vi. 270, 360, 509</i></p> + +<p>Dettingen, battle of, <i>vi. 12</i></p> + +<p><i>Deuteronomy</i>, ii. 294; <i>iv. 499</i></p> + +<p><i>Devil's Drive, The</i>, <i>i. 30</i>; vii. <a href="#Page_19">19</a>-<a href="#Page_34">34</a></p> + +<p>Devonshire, Elizabeth, Duchess of, <i>ii. 410</i>; <i>iii. 31</i>; <i>vi. 70, 488</i></p> + +<p>Devonshire, Georgiana, Duchess of, v. 329, <i>378</i></p> + +<p>Devonshire, William Spencer, 6th Duke of (Byron's "Duke of Dash"), vi. 50</p> + +<p>Dewick and Clarke, printers, <i>vii.</i> <i><a href="#Footnote_3_3">3</a></i></p> + +<p>D'Herbelot, <i>Bibliothèque Orientale</i>, <i>ii. 149</i>; +iii. 76, <i>109, 120, 145, 173</i>; <i>iv. 113</i>; v. 280; <i>vi. 292</i></p> + +<p>d'Houdetot, Comtesse, ii. 265, 300</p> + +<p>Diana, <i>vi. 151</i></p> + +<p>Dibdin, Thomas John, i. 341; <i>iv. 338</i>; +<i>The Jew and the Doctor</i>; <i>Mother Goose</i>, i. 345, 346; +<i>The Grinders, or more Grist to the Mill</i>, <i>vii.</i> <i><a href="#Note_061">61</a></i></p> + +<p>Dickens, Charles, v. 114; <i>vi. 208</i>; +<i>Tale of Two Cities</i>, <i>vi. 435</i></p> + +<p><i>Dictionary of Antiquities</i>, <i>vi. 151</i></p> + +<p><i>Dictionary of National Biography</i>, <i>ii. 25, 280</i>; +<i>iv. 501, 503, 513</i>; <i>v. 589</i>; <i>vi. 67</i></p> + +<p>Diderot, <i>ii. 266</i></p> + +<p>Dido, i. 157</p> + +<p>Diez, <i>iv. 171</i></p> + +<p>Digentia river, ii. 523</p> + +<p><i>Dilettanti Society</i>, i. <i>378</i>, 379, 454; ii. xi, 109</p> + +<p>Dillman, Professor, <i>Ethiopic Text of Book of Enoch</i>, <i>v. 302</i></p> + +<p>Dillon, Charles, actor, iv. 78</p> + +<p>Dinner-bell, "the Tocsin of the Soul," vi. 232</p> + +<p>Diocletian, <i>iii. 308</i></p> + +<p>Diocletian's (Pompey's) Pillar, v. 548</p> + +<p><span class='pagenum'><a name="Page_376" id="Page_376">[376]</a></span> +Diodati, Villa, ii. <i>257</i>, 300</p> + +<p>Diodorus Siculus, <i>Bibliothecæ Historicæ</i>, v. 3-5, 11, <i>14, 21, 81, 106, 405, 543</i></p> + +<p>Diogenes, ii. 241; v 565; vi. 303, 436</p> + +<p>Diogenes Laertius, i. 18, <i>414</i>; +<i>De Vitâ et Sententiis</i>, vi. 585</p> + +<p>Dion Cassius, ii. 179; +<i>Hist. Rom.</i>, ii. <i>411</i>, 510, <i>511</i>, 512; <i>iv. 370</i></p> + +<p>Dionisus, G. J., <i>Canonico di Verona</i>, <i>ii. 496</i></p> + +<p>Dionysius, ii. 413; <i>Antiq. Rom.</i>, ii. 510, 512, 513, 518</p> + +<p>Dionysius the Areopagite, <i>Celestial Hierarchy</i>, <i>v. 286</i></p> + +<p>Dionysius of Halicarnassus, <i>ii. 497</i></p> + +<p>Dionysius the Younger, <i>iii. 311</i></p> + +<p>Dionysus, India occupied by, v. 21</p> + +<p>Dirce river, ii. 189</p> + +<p>Disdar, ii. 187</p> + +<p>Disraeli, Benjamin, <i>Vivian Grey</i>, <i>vi. 504, 506</i></p> + +<p>Disraeli, Isaac (<i>Curiosities of Literature</i>), ii. 468, 470; +iii. 217, 499; <i>vi. 555</i></p> + +<p>d'Istria, Count Capo, v. 575</p> + +<p>Djerrid, or jerreed, Turkish javelin, iii. 97</p> + +<p>Dniéper river, vi. 201, 202, <i>208</i>, 211, <i>233</i></p> + +<p>Dniester river, <i>vi. 362</i></p> + +<p>Dodona, site of, ii. 132</p> + +<p>Dodsley, A., <i>The Ordinary</i>, <i>ii. 17</i>; +<i>Description of the Leasowes</i>, <i>iii. 41</i>; +<i>Plays</i>, v. 200</p> + +<p>Dodwell, E., <i>Classical Tour</i>, i. 455; iii. 272; +<i>Tour through Greece</i>, <i>vi. 151</i></p> + +<p>Dog-tax Bill, 1796, <i>vii.</i> <i><a href="#Note_049">49</a></i></p> + +<p>D'Ohsson, Mouradja, <i>Tableau générale de l'Empire Othoman</i>, +ii. <i>136</i>, 206; <i>iii. 176, 206</i></p> + +<p>Dolabella, <i>ii. 405</i></p> + +<p>Dolce, Carlo, vi. 502</p> + +<p><i>Dolfin Cronaca</i>, v. 117, 118, <i>121, 172</i></p> + +<p>Dolfino, Doge Giovanni, ii. 475</p> + +<p>d'Olivet, M. l'Abbé (Thoulier), <i>Histoire de l'Académie Française</i>, ii. 485</p> + +<p>Dolman, Miss Maria, iii. 41</p> + +<p><i>Domestic Pieces (Poems)</i>, <i>ii. 247, 426</i></p> + +<p>Domitian, <i>ii. 408</i>; iv. 334</p> + +<p>Domitius Marsus, i. 73</p> + +<p>Don, brig of, vi. 405</p> + +<p><i>Don Juan</i>, <i>i. 260, 203, 362, 403, 434</i>; +<i>ii. 30, 59, 139, 149, 227, 281, 332, 342, 366, 372, 374, 441</i>; +<i>iii. 13, 397, 463, 481, 488, 490, 494, 495</i>; +iv. <i>16, 17, 47, 60, 125, 132, 165</i>, 184, <i>195, 226, 232</i>, 238, <i>243</i>, 279, 280, 475-477, <i>566</i>, 570, <i>578</i>; +v. <i>159</i>, 202-204, <i>351, 396, 497, 568</i>, 584; +vi. entire; <i>vii.</i> <i><a href="#Footnote_9_9">9</a></i>, <i><a href="#Note_025">25</a></i>, <i><a href="#Note_076">76</a></i>, <i><a href="#Note_077">77</a></i></p> + +<p>Don Quixote, i. 490</p> + +<p>Donati, Corso, <i>iv. 253</i></p> + +<p>Donati, Gemma, iv. 253</p> + +<p>Donate, Andrea, <i>v. 123</i></p> + +<p>Donate, Ermolao (or Almoro), v. 116, 134</p> + +<p>Donatus, Tib. Cl., <i>ii. 514</i>; <i>Life of Virgil</i>, <i>ii. 407</i></p> + +<p>Donne, Dr., vii. <a href="#Page_19">19</a></p> + +<p>Donoughmore, Earl of, +Byron's speech on motion for Committee on Roman Catholic claims, <i>iv. 561</i></p> + +<p>Doomsday Book, <i>vi. 411</i></p> + +<p>Dorchester, Lady, ii. 319; iv. 548, <i>566</i>; <i>vi. 608</i></p> + +<p>Doria, Paganino, <i>iv. 356</i></p> + +<p>Doria, Pietro (Genoese admiral), ii. 338, 476, 497</p> + +<p>Doria, transcript of Sanudo's <i>Diaries</i>, iv. 326</p> + +<p>Doroshénko, Peter, President of the Western Ukraine, iv. 201</p> + +<p>Dorotheus of Mitylene, Archbishop of Monembasia, <i>Univ. Hist.</i>, ii. 198</p> + +<p>D'Orsay, Count Alfred, "Cupidon déchaîné," vi. <i>507</i>, 526, 547</p> + +<p>Dorset, Charles Sackville, Earl of, <i>To all you Ladies, etc.</i>, +i. 198, <i>418</i></p> + +<p>Dorset, George John Frederick, 4th Duke of, i. 194; iii. <i>423</i>, 425</p> + +<p>Douce, Francis, edition of Holbein's <i>Dance of Death</i>, <i>vi. 555</i></p> + +<p>Dover, vi. 420</p> + +<p><span class='pagenum'><a name="Page_377" id="Page_377">[377]</a></span> +Dover, Lord, preface to Walpole's <i>Letters to Sir H. Mann</i>, <i>iv. 339</i></p> + +<p>Dowden, Edward, <i>Life of Shelley</i>, ii. <i>145, 258</i>, 300; iv. 475</p> + +<p>Downie, Commodore, <i>iv. 198</i>; <i>vi. 508</i></p> + +<p>Drachenfels, Castle of, ii. 249, 295; vi. 419</p> + +<p>Dramali, Turkish general, <i>v. 556</i></p> + +<p>"Drapery misses," vi. 442</p> + +<p>Drayton, Michael, <i>The Barons' Wars</i>, <i>iii. 405</i></p> + +<p><i>Dream, The</i>, <i>i. 210</i>; <i>ii. 219, 220, 260, 332</i>; +iv. 31-41, <i>63, 404, 544</i></p> + +<p>Dresden, re-entered by Napoleon, v. 553; battle of, <i>vi. 14</i></p> + +<p>Drexel Institute, <i>vii.</i> <i><a href="#Note_063">63</a></i></p> + +<p>Dromedary, "ship of the desert," v. 606</p> + +<p>Drouineau, Gustave, <i>Rienzo</i>, <i>ii. 415</i></p> + +<p>Druid oak, Newstead Abbey, vi. 497</p> + +<p>"Druids," the, i. 443; ii. 213</p> + +<p>Drummond, Sir William, iv. 337; +<i>A Review of the Government of Athens and Sparta</i>; +<i>Herculanensia</i>, ii. 204 +<i>Academical Questions</i>, <i>ii. 422</i>; <i>vi. 528</i></p> + +<p>Drury Lane Theatre, burnt, i. 417; +<i>Byron's Address</i>, iii. 51; iv. 69; +<i>Manfred</i> at, iv. 78; +<i>Marino Faliero at</i>, iv. 324, 328; +the sub-Committee, <i>iv. 338, 584</i>; +<i>Sardanapalus</i> at, v. 2; +<i>The Two Foscari</i> at, v. 114; +<i>Werner</i> at, v. 324; +Lee's <i>The New Peerage</i> at, <i>v. 337</i>; +<i>Don Juan: or, The Libertine</i> at, <i>vi. 11</i>; +<i>Nourjahad</i> at, <i>vii.</i> <i><a href="#Note_033">33</a></i> +<i>Manuel</i>; <i>Ina</i> at, <i>vii.</i> <i><a href="#Note_048">48</a></i></p> + +<p>Drury, Henry, <i>i. 25, 84, 88</i>; +ii. xvii, <i>100</i>; <i>iii. 13, 27</i>; <i>vi. 280</i>; <i>vii.</i> <i><a href="#Footnote_8_8">8</a></i>, <i><a href="#Note_010">10</a></i></p> + +<p>Drury, Dr. Joseph, Headmaster of Harrow ("Probus"), +i. <i>15</i>, 16, <i>17, 25, 86</i>, 89, 90, 94, 103; ii. 387</p> + +<p>Drury, Mark, <i>i. 17, 89</i></p> + +<p>Dryden, John, on the Earl of Dorset, <i>i. 198</i>; +his <i>Virgil</i>, i. 220, 477; +referred to in <i>English Bards, and Scotch Reviewers</i>, i. 305, 306, 312; +Byron's support of, <i>i. 368</i>; +a translator, <i>i. 375</i>; +in <i>Hints from Horace</i>, i. 395, 397; +<i>Almanzor</i>, i. 398; +a caricature of, <i>i. 401</i>; +<i>Alexander's Feast</i>, <i>ii. 123</i>; <i>iv. 446</i>; +<i>Absalom and Achitophel</i>, <i>ii. 420</i>; <i>vi. 482</i>; +<i>Cymon and Iphigenia</i>, iii. 59; +"the ponderous ball expires," <i>iii. 493</i>; +<i>Palamon and Arcite</i>, <i>iv. 26</i>; +Georgics, <i>iv. 208</i>; +a borrower from Boccaccio, <i>iv. 316</i>; +to "partake," <i>iv. 362</i>; +"Thou shall believe in," vi. 74; +<i>Indian Emperor</i>, <i>vi. 178</i>; +<i>Theodore and Honoria</i>, <i>vi. 180</i>; +"Dedication" of the <i>Æneis</i>, <i>vi. 182</i>; +his publisher Tonson, <i>vii.</i> <i><a href="#Note_057">57</a></i></p> + +<p><i>Dublin Examiner</i>, <i>iii. 473</i></p> + +<p><i>Dublin University Magazine</i>, iv. 82; vi. xx</p> + +<p>Dubois, Edward, <i>My Pocket-Book, etc.</i>, <i>i. 378, 379</i></p> + +<p>Dubost, i. 390</p> + +<p>Dubourdieu, Admiral, <i>iii. 25</i></p> + +<p>Ducange, <i>Glossarium ad Scriptores Med., etc.</i>, <i>ii. 435</i></p> + +<p>Ducato, Cape (Leucadia's Cape), ii. 125</p> + +<p><i>Duel, The</i>, iv. 542</p> + +<p>Duff, Mary (Mrs. Robert Cockburn), <i>i. 192</i></p> + +<p>Duff, Sir M. E. Grant, <i>Notes from a Diary</i>, i. 293</p> + +<p>Dufferin, Lady, <i>i. 343</i></p> + +<p>Dugdale, <i>Monasticon</i>, v. 200, <i>207</i></p> + +<p>Dugdale, Sir William, <i>A Short View of the Late Troubles in England</i>, <i>vi. 174</i></p> + +<p><i>Duke William</i>, wreck of the transport, <i>vi. 95</i></p> + +<p>Dulauloy, General, <i>vii.</i> <i><a href="#Note_024">24</a></i></p> + +<p>Dumarsais, <i>i. 402</i></p> + +<p>Dumouriez (Dumourier), General Charles François Duperier, <i>Memoirs</i>, vi. 12, <i>13</i></p> + +<p>Dunbar, battle of, <i>ii. 394</i></p> + +<p>Duncan, <i>vi. 14</i></p> + +<p>Dunning, John, <i>iv. 513</i></p> + +<p>Dupaty, President, ii. 508</p> + +<p><span class='pagenum'><a name="Page_378" id="Page_378">[378]</a></span> +Dupont, Marshal, <i>ii. 54</i></p> + +<p>Duppa, R., <i>Life of Michael Angelo</i>, <i>iv. 272, 273</i></p> + +<p>Dupré, F., <i>v. 554</i></p> + +<p>Dura, in Assyria, vi. 504</p> + +<p>Duran, H., <i>Romancero General</i>, <i>iv. 529</i></p> + +<p>Duris, the historian, <i>v. 11</i></p> + +<p>Dwarfs, vi. 242</p> + +<p>Dyce, Rev. Alexander, <i>iii. 348</i>; +<i>Friar Bacon and Friar Bungay</i>, <i>vi. 78</i></p> + +<p>Dyer, George, <i>Country Walk</i>, <i>iii. 330</i>; +<i>Sketch of Southey</i>, <i>vi. 175</i></p> + +<p>Dying gladiator, statue of the, ii. 432</p> + + +<p>E</p> + +<p><i>E Nihilo Nihil; or, An Epigram Bewitched</i>, vii. <a href="#Page_55">55</a></p> + +<p><i>Earl of Abergavenny</i>, wreck of the ship, <i>vi. 91</i></p> + +<p>Early English Text Society, <i>v. 207, 496</i></p> + +<p><i>Early Poems from Various Sources</i>, i. 210-285</p> + +<p>Earthquakes, ii. 377, 505</p> + +<p>East India Co., <i>i. 377</i>; <i>vi. 236</i></p> + +<p>Eastlake, Sir C. L., his picture "Byron's Dream," <i>iv. 37</i></p> + +<p><i>Eccentric Review</i>, <i>i. 322</i></p> + +<p><i>Ecclesiastes</i>, i. 307; vi. 303</p> + +<p><i>Ecclesiasticus</i>, <i>ii. 155</i></p> + +<p>Eckermann, <i>Conversations with Goethe</i>, iv. 157, 327, 328; +v. 119, <i>122</i>, 199, 204</p> + +<p>Eckersall, Harriet (Mrs. T. R. Malthus), <i>vi. 461</i></p> + +<p>Eckersall, John, <i>vi. 461</i></p> + +<p><i>Eclectic Review</i>, i. <i>379</i>, 430, <i>431, 432</i>; +iii. 444, <i>493</i>, 500; iv. 6, 158, 203, 240; v. 204, 329; vi. 162</p> + +<p>Edgcumbe, or Edgcombe, Richard, <i>ii. 430</i>; <i>iii. 72</i>; <i>iv. 15</i></p> + +<p>Edgeworth, Maria, vi. 18</p> + +<p><i>Edinburgh Annual Register</i>, <i>i. 435, 436</i></p> + +<p><i>Edinburgh Evening Post</i>, <i>i. 430</i></p> + +<p><i>Edinburgh Monthly Magazine</i>, +afterwards <i>Blackwood's Edinburgh Magazine</i>, <i>q.v.</i></p> + +<p><i>Edinburgh Review</i>, +i. xiv, 202, 292, 294, <i>301-303, 305, 310, 330, 331, 336-341</i>, 382, 392, 395, <i>429, 432</i>; +ii. xv, <i>109</i>, 196, 201, 204, 213, 315, <i>360</i>; +iii. 77, 151, 219, 377; +iv. 6, <i>48</i>, 80, 158, 239, 313, 329, <i>342, 513, 574</i>; +v. 5, 119, 204, 280, 282, <i>338, 551</i>; +vi. xx, <i>9, 51, 67</i>, 76, <i>172, 175, 403, 445, 459, 551</i>; +<i>vii.</i> <i><a href="#Note_032">32</a></i></p> + +<p><i>Edinburgh Weekly Journal</i>, vi. xix</p> + +<p>Edleston (Byron's "Cornelian"), i. 66; <i>ii. 104</i></p> + +<p>Edom, Sea of, <i>vi. 122</i></p> + +<p>Edu, Rajah of Ellichpur, <i>v. 631</i></p> + +<p>Edward the Black Prince, <i>i. 107</i>; vi. 422</p> + +<p>Edward III., <i>vi. 496</i></p> + +<p>Edward VI., <i>iv. 542</i></p> + +<p>Edwards, Captain, of the <i>Pandora</i> frigate, v. 584</p> + +<p>Edwards, Dr., Master of Sidney Sussex Coll., Cambridge, <i>i. 417</i></p> + +<p>Egan, Pierce, <i>Life in London</i>, <i>i. 321, 434</i>; <i>vi. 431-433</i>; +<i>Anecdotes of the Turf</i>, <i>vi. 433</i></p> + +<p>Egeria, ii. <i>454</i>, 515; Grotto of, ii. 416</p> + +<p><i>Egerton MSS.</i>, in British Museum, i. <i>235</i>, 293, 387; ii. xvi</p> + +<p>Eginhard, <i>iv. 288</i></p> + +<p><i>Egotism. A Letter to J. T. Becher</i>, i. 247</p> + +<p>Egripo, the Negropont, iii. 173</p> + +<p>Egypt, evacuated by the French, <i>ii. 108</i>; the Pyramids of, v. 550</p> + +<p>Ehrenbreitstein, ii. 251, 297</p> + +<p>Eiger, the Grosse, <i>iv. 129</i></p> + +<p>Ekenhead, Lieutenant, <i>iii. 13</i></p> + +<p>Elam, v. 4</p> + +<p>Elchingen, Michel Ney, Duke of, <i>vi. 373</i></p> + +<p>Eldon, John Scott, Earl of, ii. 213; +iv. 328, 482; v. 203; vi. <i>460</i>, 569; vii. <a href="#Page_13">13</a>, <a href="#Page_29">29</a></p> + +<p>Elector Palatine, the, <i>i. 2</i></p> + +<p>Electric telegraph, invention of the, iv. 505</p> + +<p><span class='pagenum'><a name="Page_379" id="Page_379">[379]</a></span> +<i>Elegiac Stanzas</i>, <i>i. 5</i></p> + +<p><i>Elegiac Stanzas on the Death of Sir Peter Parker, Bart.</i>, iii. xix, 417</p> + +<p><i>Elegy</i>, vii. <a href="#Page_75">75</a></p> + +<p><i>Elegy on Newstead Abbey</i>, i. 116</p> + +<p>Elena, Duchess, <i>iv. 367</i></p> + +<p>Elgin, Lady, i. 452</p> + +<p>Elgin, Lord, and the Elgin Marbles, i. 378, 452-474; +ii. x, xi, <i>100, 106</i>, 108-110, 167, 168, 172, 188</p> + +<p>Elizabeth, Princess, <i>i. 437</i></p> + +<p>Elizabeth, Queen, <i>i. 197</i>; <i>ii. 453</i></p> + +<p>Ellenborough, Lord, vi. 265; vii. <a href="#Page_29">29</a></p> + +<p>Ellice, <i>v. 555</i></p> + +<p>Ellis, A. G. (British Museum), <i>iii. 95</i></p> + +<p>Ellis, F. S., ed. <i>Golden Legend</i>, <i>iv. 494</i>; <i>vi. 33, 230, 273</i></p> + +<p>Ellis, George Agar, <i>i. 396</i>; ii. xiii; +iii. 77, <i>94</i>, 151, 219, 321; <i>iv. 514</i></p> + +<p>Elliston, Robert W., iii. 51; <i>iv. 338</i>; <i>Memoirs of</i>, iv. 328</p> + +<p>Elmsley, Professor, <i>vii.</i> <i><a href="#Note_052">52</a></i></p> + +<p>Eloïsa, v. 634</p> + +<p>Elze, Karl, <i>Life of Lord Byron</i>, i. xi, <i>4, 18</i>; +<i>ii. 248, 352</i>; <i>iv. 14, 543</i></p> + +<p>Encina, Juan del, <i>Teatro Completo</i>, <i>v. 207</i></p> + +<p><i>Encyclopædia Biblica</i>, v. 4, 219, 491</p> + +<p><i>Encyclopædia Britannica</i>, <i>iii. 107, 130</i>; <i>v. 558</i></p> + +<p><i>Encyclopædia Metropolitana</i>, <i>ii. 415</i></p> + +<p><i>Encyclopédie, La Grande</i>, <i>v. 566</i></p> + +<p>Endor, witch of, iii. 392; iv. 108</p> + +<p><i>Endorsement to the Deed of Separation, in the April of 1816</i>, vii. <a href="#Page_41">41</a></p> + +<p>Engen, battle of, <i>vi. 14</i></p> + +<p>Englaender, Dr. D., <i>Lord Byron's Mazeppa</i>, <i>iv. 214, 220</i></p> + +<p><i>Englische Studien</i>, iv. <i>214</i>, 324, 329</p> + +<p><i>English Bards, and Scotch Reviewers</i>, +i. xiv, <i>128, 203</i>, 289-384, 387, <i>406, 409, 431, 443, 448</i>, 453, 454; +ii. ix, x, <i>108, 109, 202, 304, 205, 366</i>; +<i>iii. 32, 196, 210, 324, 435</i>; +<i>iv. 21, 182, 244, 519, 555</i>; +v. 537, 540; <i>vi. 50, 67, 292, 587</i>; <i>vii.</i> <i><a href="#Footnote_6_6">6</a></i>, <i><a href="#Note_015">15</a></i></p> + +<p><i>Enigma on the Letter I</i> (spurious), iii. xxi</p> + +<p>Ennui, "the best of friends," vi. 176; +"a growth of English root," vi. 512</p> + +<p><i>Enoch, Book of</i>, v. 281, <i>286, 291</i>, 302, <i>311</i></p> + +<p>Ensor, Miss Fanny, as "Myrrha" in <i>Sardanapalus</i>, v. 2</p> + +<p>Eos (Dawn), <i>v. 497</i></p> + +<p>Epaminondas, ii. 155; vi. 376</p> + +<p><i>Ephesians</i>, <i>v. 233</i></p> + +<p>Epicurus, vi. 139</p> + +<p><i>Epigram</i>, vii. <a href="#Page_65">65</a></p> + +<p><i>Epigram. From the French of Rulhières</i>, vii. <a href="#Page_62">62</a></p> + +<p><i>Epigram on an Old Lady who had some curious notions respecting the Soul</i>, vii. <a href="#Page_1">1</a></p> + +<p><i>Epigram on the Braziers' Address to be presented in armour by the Company +to Queen Caroline</i>, vii. <a href="#Page_72">72</a></p> + +<p><i>Epigrams</i>, vii. <a href="#Page_81">81</a></p> + +<p><i>Epilogue</i>, vii. <a href="#Page_63">63</a></p> + +<p>Epirus, <i>ii. 127</i></p> + +<p><i>Episode of Nisus and Euryalus</i>, i. xii, 151, <i>177</i></p> + +<p><i>Epistle from Mr. Murray to Dr. Polidori</i>, vii. <a href="#Page_47">47</a></p> + +<p><i>Epistle to a Friend in answer to some lines, etc.</i>, ii. <i>163</i>; iii. 28</p> + +<p><i>Epistle to Augusta</i>, <i>ii. 247, 456, 457</i>; +iv. <i>56</i>, 57, <i>152</i>; <i>vi. 498</i></p> + +<p><i>Epistle to Mr. Murray</i>, vii. <a href="#Page_51">51</a></p> + +<p><i>Epitaph</i>, vii. <a href="#Page_65">65</a></p> + +<p><i>Epitaph for Joseph Blacket, late Poet and Shoemaker</i>, <i>i. 359</i>; vii. <a href="#Page_11">11</a></p> + +<p><i>Epitaph for William Pitt</i>, vii. <a href="#Page_64">64</a></p> + +<p><i>Epitaph on a Beloved Friend</i>, i. 18; <i>ii. 137</i></p> + +<p><i>Epitaph on John Adams of Southwell</i>, vii. <a href="#Page_1">1</a></p> + +<p>Erasmus, ii. 281; <i>Naufragium</i>, <i>vi. 93</i></p> + +<p>Eratosthenes of Cyrene, <i>Catasterismi</i>, <i>ii. 439</i></p> + +<p>Eratostratus, i. 467</p> + +<p>Erechtheum, the, <i>i. 463</i>; <i>ii. 106</i></p> + +<p>Erechtheus, ii. 102</p> + +<p>Erizzo, Nicolas, ii. 472; v. 117, 134</p> + +<p>Erneis, or Ernysius, vi. 410, <i>411</i></p> + +<p>Ernst, W., <i>Memoirs of the Life of Lord Chesterfield</i>, <i>vi. 525</i></p> + +<p>Eros, iv. 105</p> + +<p><span class='pagenum'><a name="Page_380" id="Page_380">[380]</a></span> +Erskine, Thomas, Lord ("Strongbow from Tweed"), i. 429; +iii. 45; vi. 509, 596; <i>vii.</i> <i><a href="#Note_066">66</a></i></p> + +<p>Esarhaddon, v. 4</p> + +<p>Esau, <i>v. 285</i></p> + +<p>Eschinard, <i>Descrizione di Roma, etc.</i>, <i>ii. 516, 517</i></p> + +<p>Esdaile, Mrs. (Shelley's eldest daughter), <i>ii. 13</i></p> + +<p>Espadas, or matadors, ii. 68</p> + +<p>Éspinasse, F., <i>Life of Voltaire</i>, <i>ii. 282</i></p> + +<p>Essling, battle of, <i>vi. 14</i></p> + +<p>Este. <i>See</i> d'Este</p> + +<p>Esterhazy, Prince, v. 539</p> + +<p>Eteocles, v. 403</p> + +<p>Ethiopians, <i>Book of Enoch</i> preserved by the, <i>v. 302</i></p> + +<p>Etna, v. 55</p> + +<p>Eton, William, <i>A Survey of the Turkish Empire</i>, ii. 191, 194</p> + +<p>Etruria, king of, ii. 90</p> + +<p>Eucrates, <i>ii. 393</i></p> + +<p>Euganean hills, ii. 483</p> + +<p>Eugene, Prince, <i>Mémoires</i>, <i>iii. 256, 455</i>; iv. 331</p> + +<p>Eunapius Sardianus, +<i>Vitæ Philosophorum et Sophistarum, Philostratorum, etc.</i>, <i>iv. 105</i></p> + +<p>Euphrates, river, v. 15, 108</p> + +<p>Euripides, <i>Medea</i>, i. 168; vii. <a href="#Page_10">10</a>; <i>Hippolytus</i>, <i>v. 496</i></p> + +<p><i>European Magazine</i>, <i>i. 343</i>; iii. 444, 500; +<i>iv. 99, 490</i>; v. 329</p> + +<p>Eurotas' banks (Laconia), ii. 150</p> + +<p>Euryalus, i. 151, <i>175</i>; <i>ii. 387</i></p> + +<p>Eurystheus, <i>ii. 431</i></p> + +<p>Eusebius, ii. 513; v. 281; <i>Chron.</i>, <i>v. 107</i></p> + +<p>Eustace, <i>Classical Tour in Italy</i>, i. 452; ii. <i>440</i>, 500, 516, <i>524</i></p> + +<p>Euthanasia, iii. 39</p> + +<p>Eutropius, <i>Hist. Rom. Brev.</i>, <i>ii. 411</i>; the Eunuch, vi. 8</p> + +<p>Euxine Sea, ii. 455; vi. 219, 220</p> + +<p>Evans, Mr., Master at Harrow, <i>i. 25, 89</i></p> + +<p>Eve's curse, v. 271</p> + +<p><i>Evening Statesman</i>, <i>i. 319</i></p> + +<p><i>Examiner</i>, <i>ii. 215</i>; +iii. xx, 304, <i>389, 427, 428, 436, 438</i>, 532-534, <i>538</i>; +iv. 478; v. 204, 540; vi. xx; vii. <a href="#Page_17">17</a>, <i><a href="#Note_040">40</a></i></p> + +<p>Eyre, trunk-maker, <i>i. 437</i></p> + +<p>Ezekiel, <i>iv. 43</i></p> + + +<p>F</p> + +<p>Fabius, i. 220</p> + +<p>Fabricius, <i>Script. Gr. Var.</i>, <i>iii. 122</i></p> + +<p>Facciolati, ii. 92</p> + +<p>Fagiono, Stefano, iv. 464</p> + +<p>Fagiuolo, Niccolo, iv. 464</p> + +<p>Fagniani, Maria (Lady Yarmouth), <i>i. 501</i></p> + +<p>Fairburn, John, <i>The Stripling Bard; or, The Apostate Lartreate</i>, <i>iv. 521</i></p> + +<p>Fairfax, Edward, translation of Tasso's <i>Ger. Lib.</i>, +<i>iii. 362</i>; <i>iv. 296</i></p> + +<p>Falbowski, the <i>pane</i> (Lord), iv. 201, <i>212</i></p> + +<p>Falconer, William, <i>The Shipwreck</i>, ii. 169</p> + +<p>Faliero, Dogaressa Aluica, <i>iv. 448</i></p> + +<p>Faliero, Bertuccio, iv. 346, <i>367</i>, 464</p> + +<p>Faliero, Lucia, <i>iv. 365</i></p> + +<p>Faliero, Marino, iv. 239, 240; +story of, iv. 462; +Petrarch on the Conspiracy of, iv. 468</p> + +<p>Faliero, Doge Ordetafo, iv. 336, 390</p> + +<p>Faliero, Doge Vitale, iv. 336, <i>390</i></p> + +<p>Falkland, Charles John Cary, 9th Viscount, i. 351</p> + +<p>Falkland, Lucius Cary, Lord, i. 121, <i>128, 432</i>; <i>iv. 21</i></p> + +<p>Falkner, Mr., i. xii</p> + +<p>Fandango, the, i. 492</p> + +<p>Fanshawe, Harriet, <i>Enigma on the Letter H.</i>, iii. xx</p> + +<p><i>Fare Thee Well</i>, iii. 537</p> + +<p><i>Farewell! if ever fondest prayer</i>, iii. 409</p> + +<p><i>Farewell Petition to J. C. H., Esq.</i>, vii. <a href="#Page_7">7</a></p> + +<p><i>Farewell to England</i> (spurious), iii. xx</p> + +<p><i>Farewell to Malta</i>, iii. 24</p> + +<p><i>Farewell to the Muse</i>, i. 254</p> + +<p>Farish, Rev. W., <i>i. 417</i></p> + +<p>Farquhar, <i>The Beaux' Stratagem</i>, i. 415; iv. 481; +<i>Recruiting Officer</i>, ii. 88</p> + +<p><span class='pagenum'><a name="Page_381" id="Page_381">[381]</a></span> +Fas, or Fez, vi. 197, 198</p> + +<p>Faucit, Helen, as "Angiolina" in <i>Marino Faliero</i>, iv. 324; +as "Marina" in <i>The Two Foscari</i>, v. 114; +as "Josephine" in <i>Werner</i>, v. 324</p> + +<p>Faunus, Lucius, <i>De Antiq. Urb. Rom.</i>, ii. 510-513</p> + +<p>Fauvel, M., ii. <i>99</i>, 168, 187, 190</p> + +<p>Favell, <i>iv. 225</i></p> + +<p>Favila, Duke of Cantabria, <i>v. 558</i></p> + +<p>Fazillac, M. Roux-, <i>iv. 514</i></p> + +<p>Fazzioli, Venetian kerchiefs, vi. 83</p> + +<p>Fea, the Abbate, <i>Spiegazione dei Rami Storia, etc.</i>, <i>ii. 518</i></p> + +<p>Feere, consort or mate, ii. 22</p> + +<p>"Feeble" used for "foible," vi. 550</p> + +<p>Feinagle, Gregor von, vi. 16</p> + +<p>Fellowes, Henry Wallop, <i>vi. 569</i></p> + +<p>Fénélon, <i>Télémaque</i>, <i>ii. 118</i>; vi. 303</p> + +<p>Fennell, C. A. M., <i>Ancient Marbles in Great Britain</i>, i. 455</p> + +<p>Fenwick, John, translation of <i>Dumourier's Memoirs</i>, <i>vi. 13</i></p> + +<p>Ferdinand and Isabella, <i>ii. 47</i></p> + +<p>Ferdinand V. of Spain, <i>vi. 212</i></p> + +<p>Ferdinand VII. of Spain, ii. 54, 55, <i>78</i>, 90, 91; v. 538, 558</p> + +<p>Ferdousi, <i>i. 353</i></p> + +<p>Ferney, <i>iv. 53</i></p> + +<p>Ferrand, M., <i>Histoire des Trois Démembremens de la Pologne</i>, <i>v. 551</i></p> + +<p>Ferrara, ii. 312, 354, 503, <i>505</i>; iv. 141</p> + +<p>Ferrara, Alfonso d'Este II., Duke of, iv. 266; <i>vi. 212</i></p> + +<p>Ferrari, Girolamo, iii. 441</p> + +<p>Festus, <i>De Verb. Signif.</i>, <i>ii. 437</i></p> + +<p>Fewterel, the prize-fighter, <i>i. 433</i></p> + +<p>Fiandra, Comte Baldovino di, <i>iv. 352</i></p> + +<p>Ficino, <i>ii. 365, 495</i>; iv. 280</p> + +<p>Fielding, Beau, <i>iv. 541</i></p> + +<p>Fielding, <i>The Tragedy of Tragedies, or the Life and Death of +Tom Thumb the Great</i>, i. 313, <i>389, 392, 436</i>; +<i>Amelia</i>, i. 385; +<i>The Golden Rump</i>, <i>i. 414</i>; +<i>Jonathan Wild</i>, ii. 171; iv. 284; +<i>Tom Jones</i>, <i>ii. 386</i>; iv. 284, 332; +<i>History of the Adventures of Joseph Andrews</i>, iv. 284; +vi. <i>254</i>, 511; +<i>Journey from this World to the Next</i>, iv. 483, <i>518</i>; +his "superior grossness," vi. xviii, 210; +his use of "was," <i>vi. 208</i></p> + +<p>Fielding, Sir John, Bow Street magistrate, <i>i. 416</i></p> + +<p>Figuranti, vi. 207</p> + +<p>Fiji, v. 599</p> + +<p>Filicaja, <i>Poesie Toscaine</i>, ii. 312, <i>361</i></p> + +<p><i>Fill the goblet again</i>, i. 283</p> + +<p>Finden, <i>Illustrations of the Life and Works of Lord Byron</i>, <i>ii. 11</i></p> + +<p>Fingall, Arthur James Plunkett, 8th Earl of, iv. 559</p> + +<p>Finlay, <i>History of Greece</i>, +ii. <i>107, 139, 140, 146</i>, 165, <i>175</i>, 180, <i>193</i>, 441; +<i>v. 556</i>; <i>vi. 168</i>; +<i>Greece under Othoman and Venetian Domination</i>, +<i>iii. 166, 194, 195, 481</i></p> + +<p>Finley, John, the pioneer, <i>vi. 349</i></p> + +<p><i>First Kiss of Love, The</i>, i. 82</p> + +<p>Fitger, Arthur, iv. 324</p> + +<p>Fitzgerald, Colonel, iv. 157</p> + +<p>Fitzgerald, Edward, translation of <i>Rubáiyát</i> of Omar Khayyám, +iii. 87, <i>109</i></p> + +<p>Fitzgerald, Lord Edward, iv. 548</p> + +<p>Fitzgerald, Percy, <i>Life of George IV.</i>, <i>i. 416</i></p> + +<p>Fitzgerald, W. L., <i>The Tyrant's Downfall</i>, <i>iii. 435</i></p> + +<p>Fitzgerald, William Thomas +(<i>Nelson's Triumph</i>; <i>Tears of Hibernia</i>; <i>Nelson's Tomb</i>), +i. 297, <i>444</i>, 448, 481, 485; iii. 312; <i>iv. 549</i></p> + +<p>Fitzpatrick, Richard, <i>Dorinda: a Town Eclogue</i>, i. 500</p> + +<p>Flaminius, Consul, ii. 505, 508</p> + +<p>Flaminius Vacca, <i>Memorie</i>, ii. 508, 509, 511, 515</p> + +<p>Flash language, instances of, vi. 431-433</p> + +<p>Flavian Amphitheatre (Colosseum), Rome, ii. 423-435</p> + +<p>Fletcher, +<i>Rule a Wife and Have a Wife</i>, i. 415; +<i>The Two Noble Kinsmen</i>, <i>ii. 217</i></p> + +<p>Fletcher of Saltoun, Andrew, <i>An Account of a Conversation, etc.</i>, <i>v. 602</i></p> + +<p><span class='pagenum'><a name="Page_382" id="Page_382">[382]</a></span> +Fletcher, William (Byron's servant), ii. 28, <i>52</i>; <i>iii. 381</i>; +<i>iv. 367</i>; vii. <a href="#Page_6">6</a>, <a href="#Page_8">8</a></p> + +<p>Fletcher, Mrs. William, <i>vi. 22</i></p> + +<p>Florence, ii. 312; iv. 249; Uffizzi Gallery at, <i>ii. 365</i></p> + +<p><i>Florence Miscellany</i>, <i>i. 358</i></p> + +<p>Florentine nobility, the, ii. 365</p> + +<p>Florus, ii. 179</p> + +<p>Foix, Odet de, <i>v. 498</i></p> + +<p>Folger, Captain Mayhew, of the American ship <i>Topaz</i>, v. 582, <i>622</i></p> + +<p>Fontainebleau, Treaty of, ii. 90</p> + +<p>Fontenelle, Le Bovier de, <i>Entretiens sur la Pluralitè des Mondes</i>, +ii. 198; <i>iv. 523</i>; <i>vi. 246</i></p> + +<p>Fontenoy, battle of, <i>vi. 12</i></p> + +<p>Foote, Samuel, <i>The Mayor of Garratt</i>, i. 412</p> + +<p>Fop's Alley, i. 410; vii. <a href="#Page_58">58</a></p> + +<p>Forbes, Lady Adelaide; <i>ii. 447</i>; vi. 116</p> + +<p>Forbes, Sir W., <i>Life of Beattie</i>, <i>ii. 5, 479</i></p> + +<p>Forbin des Issarts, Marquis de, <i>v. 566</i></p> + +<p>Ford, John, <i>i. 304, 397</i>; +<i>'Tis Pity she's a Whore</i>, <i>iv. 377</i></p> + +<p>Fold, Richard, <i>Handbook for Spain</i>, +<i>ii. 54, 57, 68, 79</i>; <i>vi. 116</i></p> + +<p>Forli, <i>vi. 212</i></p> + +<p>Forman, Alfred, +<i>The Metre of Dante's Comedy discussed and exemplified</i>, iv. 239</p> + +<p>Forman, H. Buxton, i. xi; +<i>Prose Works of P. B. Shelley</i>, iv. 3, <i>18</i>, 100; vi. xix; +<i>The Metre of Dante's Comedy, etc.</i>, iv. 239</p> + +<p>Forster, John, v. 114</p> + +<p>Forster the murderer, <i>i. 308</i>; <i>vi. 50</i></p> + +<p>Forsyth, Joseph, <i>Remarks on Antiquities, etc., in Italy</i>, ii. <i>435</i>, 484</p> + +<p>Forsyth, William, <i>History of the Captivity of Napoleon</i>, <i>v. 544-546, 548</i></p> + +<p>Forteguerri, <i>Ricciardetto</i>, iv. 156, <i>166, 176, 319</i></p> + +<p><i>Fortunes of Nigel</i>, <i>i. 351</i></p> + +<p>Foscari, Doge Francesco, <i>ii. 327, 507</i>; iv. 459; v. 115, 117, 118; <i>vi. 199</i></p> + +<p>Foscari, Jacopo, v. 115</p> + +<p>Foscari, Lucrezia (<i>née</i> Contarini), v. 115, <i>130</i></p> + +<p>Foscari, Marco, v. 118</p> + +<p>Foscari, Maria, or Marina (<i>née</i> Nani), v. 115</p> + +<p>Foscari, Nicolò, v. 115</p> + +<p>Foscolo, Ugo, ii. 324, 496; +iv. 156, <i>166</i>, 281, <i>319, 367, 436, 457</i></p> + +<p>Foster, Augustus, iii. 31</p> + +<p>Foster, Vere, <i>The Two Duchesses</i>, <i>iii. 31</i>; vii. <a href="#Page_15">15</a></p> + +<p>Foston-le-Clay (Foston, All Saints) Vicarage, vi. 596</p> + +<p>Foulon, Joseph François, <i>vi. 435</i></p> + +<p>Four-Horse Club, the, <i>vii.</i> <i><a href="#Note_026">26</a></i></p> + +<p>Fox, C. J., i. 113; <i>vi. 9</i>; +Byron's <i>On the Death of Mr.</i>, i. 34; +<i>Monodies on</i>, i. 356; +his friend Fitzpatrick, i. 500; +one of "the wondrous Three," iv. 75; +"with Fox's lard was basting William Pitt," iv. 511; +<i>History of James II.</i>, iii. 170; +his grave in Westminster Abbey, v. 541</p> + +<p>Fox, Charles Richard, <i>ii. 80</i></p> + +<p>Fracassetti, Giuseppe, <i>Petrarch's Letters</i>, <i>ii. 351</i></p> + +<p><i>Fragment, A</i>, i. 21, <i>192</i>; iii. 123; +iv. <i>47</i>, 51, <i>193</i>, 203</p> + +<p><i>Fragment from the Monk of Athos</i>, iii. 18</p> + +<p><i>Fragment of an Epistle to Thomas Moore</i>, vii. <a href="#Page_39">39</a></p> + +<p><i>Fragment of a Novel by Byron</i>, <i>iv. 20</i></p> + +<p><i>Fragment of a Translation from the 9th Book of Virgil's Æneid</i>, +i. xii, <i>151</i></p> + +<p><i>Fragment—written shortly after the marriage of Miss Chaworth</i>, i. 210</p> + +<p><i>Fragments of School Exercises: from the "Prometheus Vinctus" of Æschylus</i>, i. 14</p> + +<p>Fragonard, his portrait of Franklin, <i>v. 554</i></p> + +<p>Frame Workers' Bill, <i>i. 412, 495</i></p> + +<p>France, v. 553</p> + +<p><i>Francesca of Rimini</i>, iv. 313-322</p> + +<p><span class='pagenum'><a name="Page_383" id="Page_383">[383]</a></span> +Francis I., Emperor of Austria, <i>i. 489</i>; +v. <i>498</i>, 503, 539, <i>573</i>, 576</p> + +<p>Francis Maria II., Duke of Rovere, ii. 498</p> + +<p>Francis, Sir Philip, <i>iv. 513</i></p> + +<p>Franguestan (Circassia), iii. 111</p> + +<p>Frankfort, i. 489</p> + +<p>Franklin, Benjamin, iv. 516; <i>Opinions and Conjectures concerning ... +Electrical Matter, etc.</i>, v. 554</p> + +<p>Fraser, Mrs. Susan, <i>Camilla de Florian</i>, iii. 26</p> + +<p><i>Fraser's Magazine</i>, <i>iv. 542</i>; v. 204</p> + +<p>Fraticelli, <i>Il Canzoniere di Dante</i>, <i>iv. 248</i></p> + +<p>Frederick the Great, <i>i. 107</i>; vi. 337</p> + +<p>Frederick II. of Prussia, ii. 209, <i>282</i>; iv. 334; <i>v. 637</i></p> + +<p>Frederick William III. of Prussia, v. 539, 550, 553, <i>577</i>; <i>vii.</i> <i><a href="#Note_039">39</a></i></p> + +<p>French, Waterloo and the, vi. 345</p> + +<p>French Revolution, ii. 82; <i>vi. 13, 14</i></p> + +<p>Frere, J. Hookham, <i>i. 395</i>; <i>ii. 327</i>, iii. 151; vii. <a href="#Page_48">48</a>, <a href="#Page_49">49</a>; +<i>The Rovers, or the Double Arrangement</i>, <i>ii. 7</i>; +British Minister, Spain, <i>ii. 79</i>; +<i>The Needy Knife-Grinder</i>, ii. 80; +his article in <i>Q.R.</i> on Lady Morgan's <i>France</i>, <i>ii. 187</i>; +<i>Whistlecraft</i>, iv. 155, 156, 279, 283; vi. xvi; vii. <a href="#Page_53">53</a>; +the <i>ottava rima</i>, iv. 238</p> + +<p>Fréron, Elie Catharine, <i>ii. 282</i></p> + +<p>Friar, the Black, at Newstead Abbey, vi. <i>576</i>, 578, <i>et seq.</i></p> + +<p>Fricker, Edith (Mrs. R. Southey), <i>iv. 521</i>; vi. 175</p> + +<p>Fricker, Mary (Mrs. Robert Lovell), <i>iv. 521</i></p> + +<p>Fricker, Sarah (Mrs. S. T. Coleridge), <i>iv. 521</i>; vi. 175</p> + +<p>Fricker, Stephen, <i>vi. 175</i></p> + +<p>Friendly Islands, the, v. 581</p> + +<p>Friuli's mountains (Julian Alps), ii. 348</p> + +<p>Frizzi, Antonio, <i>Memorie per la Storia di Ferrara</i>, <i>iii. 507</i></p> + +<p><i>From Anacreon</i>, i. 149</p> + +<p><i>From the French</i>, iii. 428; vii. <a href="#Page_76">76</a></p> + +<p><i>From the Portuguese</i> ("<i>Tu mi chamas</i>"), iii. 71</p> + +<p>Frosini, or Phrosine, iii. 145</p> + +<p>Frundsberg, George, leader of the Landsknechts, <i>v. 520</i></p> + +<p>Fry, Elizabeth, vi. 425</p> + +<p>Fryer, John, master of the <i>Bounty</i>, <i>v. 594</i></p> + +<p><i>Fugitive Pieces</i>, i. xi, 1-75, <i>213</i>; +<i>iii. 381, 383, 387, 388, 390, 400, 438</i>; iv. 584</p> + +<p>Fuller, <i>Worthies: Lincolnshire</i>, <i>vi. 596</i></p> + +<p>Fullerton, Lady Georgiana, v. 329</p> + +<p>Fulvius Ursinus, ii. 510, 517</p> + +<p>Funck-Brentano, M. Frantz, <i>L'Homme au Masque de Velours Noir</i>, <i>iv. 514</i></p> + +<p>Furius Leptinus, <i>ii. 520</i></p> + +<p>Furtwaengler, A., <i>Masterpieces of Ancient Greek Sculpture</i>, <i>ii. 446</i></p> + +<p>Fusina, <i>ii. 349</i>; <i>vii.</i> <i><a href="#Note_072">72</a></i></p> + + +<p>G</p> + +<p>Gabor, Bethlen, king of Hungary, iv. 331; <i>v. 349, 352</i></p> + +<p>Gabriel of Bergamo, Bishop, iv. 467</p> + +<p>Gaddi, Cardinal de', <i>v. 516</i></p> + +<p>Gail, Jean Baptiste, ii. 197</p> + +<p>Galahad, <i>iv. 320</i></p> + +<p>Galiffe, J. A., <i>Notices Généalogiques sur les Familles Genevoises</i>, iv. 5; +<i>Galignanis Gazette</i> (or <i>Messenger)</i>, i. 452; <i>iv. 338</i>; +v. 540; vii. <a href="#Page_80">80</a></p> + +<p>Galileo Galilei, ii. 369, 496; vi. 610</p> + +<p>Galiongee, or galiongi, Turkish sailor, iii. 184</p> + +<p>Gall, Richard, <i>i. 211</i>; <i>vi. 462</i></p> + +<p>Gallehault, <i>iv. 320</i></p> + +<p>Gallienus, <i>vi. 446</i></p> + +<p>Gallo, Cape, iii. 248</p> + +<p>Gallois, Léonard, <i>Historie de Napoléon d'après lui-même</i>, iii. 304</p> + +<p>Galt, John, +<i>Voyages and Travels</i>, i. 492; +<i>Life of Lord Byron</i>, iii. 150, <i>205</i>; <i>vi. 195</i></p> + +<p>Galvani, Professor, <i>i. 308</i>; <i>vi. 50</i></p> + +<p>Galvanism, i. 307; vi. 50</p> + +<p><span class='pagenum'><a name="Page_384" id="Page_384">[384]</a></span> +Gamba, Count, <i>vi. 179</i>, +<i>A Narrative of Lord Byron's Last Journey to Greece</i>, <i>vii.</i> <i><a href="#Note_086">86</a></i></p> + +<p>Gambas, the, <i>iv. 259</i></p> + +<p>Gambier, Admiral Lord, <i>i. 468</i></p> + +<p>Gandia, Duke of, <i>iii. 367</i></p> + +<p>Garcia, H. E. Don Juan, <i>vi. 437</i></p> + +<p>Garcilasso, or Garcias Lasso, de la Vega, vi. 40</p> + +<p>Gardiki sacked by Ali Pasha, <i>ii. 139</i> +Garnett, Dr. Richard (keeper of Printed Books in the British Museum), +<i>Italian Literature</i>, ii. <i>324, 351</i>, 370; iv. 281; <i>v. 535</i></p> + +<p>Garrick, David, i. 26, 344, <i>409</i>; iii. <i>51</i>, 52, 53; +<i>Lying Valet</i>, i. 400; +produces <i>Don Juan; or, The Libertine Destroyed</i>, +at Drury Lane Theatre, <i>vi. 11</i></p> + +<p>Garter, story of the, ii. 7</p> + +<p>Garth, <i>vi. 236</i></p> + +<p>Gas, nitrous oxide, i. 307</p> + +<p>Gas first used in London, vi. 434</p> + +<p>Gas Light and Coke Co., <i>i. 307</i></p> + +<p>Gascoigne, M.P. for Liverpool, i. 479</p> + +<p>Gaston de Foix, Due de Nemours, vi. 212</p> + +<p>Gastuni, <i>iii. 184</i></p> + +<p>Gates, General, <i>vi. 12</i></p> + +<p>Gauls, the, <i>ii. 413</i>; iv. 331, 334</p> + +<p>Gautier, Léon, <i>Voyage en Espagne</i>, <i>ii. 67</i>, +<i>Les Epopées Françaises</i>, <i>v. 496</i></p> + +<p>Gavotto, or Cabotto, Giovanni, <i>iv. 262</i> +Gay, <i>The Beggar's Opera, i. 416</i>, iv. 75; vii. <a href="#Page_74">74</a>; +<i>Trivia, iv. 160</i>, +<i>Epitaph</i>, vi. 561</p> + +<p>Gayarré, Charles Étienne Arthur, <i>History of Louisiana; +Fernando de Lemos, iii. 298</i></p> + +<p>Gayton, Miss, i. <i>347</i>, 348</p> + +<p><i>Gazette</i>, <i>i. 488</i></p> + +<p><i>Gazette Extraordinary</i>, iii. 303</p> + +<p><i>Gazetteer</i>, <i>iv. 542</i></p> + +<p><i>Gazetteer of the World</i>, ii. xxiv; <i>iii. 24</i></p> + +<p>Gebhart, Émile, <i>De l'Italie</i> (<i>Le Sac de Rome</i>), +v. 471, 472, <i>510, 515, 520</i></p> + +<p>Gebora, battle of, <i>i. 470</i></p> + +<p>Geddes, Rev. Alexander, +<i>Critical Remarks on the Hebrew Scriptures, v. 208</i></p> + +<p>Gelasius, <i>ii. 512</i></p> + +<p>Gell, Sir William, <i>Topography of Troy; Ithaca; +Itinerary of Greece</i>, i. <i>336</i>, 379; ii. 109, <i>189</i>, 204</p> + +<p>Gelo the tyrant, iv. 440</p> + +<p>Gemma, Dante's wife, iv. 253</p> + +<p><i>Genesis</i>, <i>iv. 127</i>; v. 197, 201, 207, 210, 277, 280, <i>285, 291, 300, 527</i></p> + +<p>Genest, <i>English Stage</i>, <i>ii. 331</i>; <i>iv. 573</i>; v. 324</p> + +<p>Geneva, <i>iv. 53</i></p> + +<p>Genlis, Stephanie Félicité Ducrest, Marquise de Sillery, Madame de, i. 494</p> + +<p>Genoa, <i>v. 158</i></p> + +<p>Genseric, king of the Vandals, <i>ii. 390, 408</i>; <i>iii. 233, 251</i></p> + +<p><i>Gentleman's Magazine</i>, <i>i. 337</i>; <i>ii. 11, 216</i>; +iv. <i>53</i>, 82, <i>99</i>, 139; v. 470, <i>578</i>; +<i>vi. 410, 508, 551</i>; <i>vii.</i> <i><a href="#Note_019">19</a></i>, <i><a href="#Note_027">27</a></i></p> + +<p>Geoffrey II., of Villehouardin, <i>iii. 185</i></p> + +<p>George I., <i>iii. 209, 299</i></p> + +<p>George II., <i>ii. 282</i>; <i>iv. 491</i>; <i>vi. 12, 496</i>; <i>vii.</i> <i><a href="#Note_076">76</a></i></p> + +<p>George III., i. <i>416, 425</i>, 486, <i>500</i>; <i>ii. 230</i>; +iv. 476, <i>556</i>; <i>v. 542, 560</i>; +vi. 77, 368, 451, <i>496</i>; +<i>vii.</i> <i><a href="#Note_031">31</a></i>, <i><a href="#Note_035">35</a></i>, <i><a href="#Note_076">76</a></i>; +in <i>Vision of Judgment</i>, iv. 485-525</p> + +<p>George IV., i. <i>319</i>, 487, <i>491</i>, 495, <i>497</i>, 500; +<i>ii. 360, 450</i>; iii. 45; iv. <i>74</i>, 548, <i>555</i>; +v. 204, <i>206</i>, 539, <i>569, 578</i>; +vi. <i>374</i>, 385, 425, <i>451</i>, 478; +vii. <a href="#Page_17">17</a>, 20, <i>22</i>, <i>27</i>, <i>29</i>, <i>32</i>, 35-37, <i>40</i>, 80</p> + +<p>George William, Elector of Brandenburgh, v. 373</p> + +<p>Georgia, i. 378; vi. 279</p> + +<p>Gérard, his portrait of Napoleon, <i>iii. 314</i></p> + +<p><i>G. Dict. Univ.</i>, <i>ii. 415</i></p> + +<p>Germantown, battle of, <i>i. 500</i>; <i>vi. 12</i></p> + +<p>Germany, "how much we owe to thee," i. 486</p> + +<p><span class='pagenum'><a name="Page_385" id="Page_385">[385]</a></span> +Gesner, +<i>Death of Abel</i>, <i>iii. 31, 32</i>; v. 200, 201, 208, <i>266</i>; +<i>Bibliotheca Univ.</i>, <i>iii. 122</i></p> + +<p>Ghibellines, the, <i>iv. 253</i></p> + +<p>Ghormezano, Signor, <i>ii. 99</i></p> + +<p>Ghosts, ii. 255</p> + +<p>Giaffir Pacha, iii. 189</p> + +<p>Giamschid, Sultan, iii. 108</p> + +<p>Giant's Grave (Bosphorus), vi. 219</p> + +<p>"Giants' Staircase" (Venice), iv. 325, 336</p> + +<p><i>Giaour, the</i>, <i>ii. 37, 135, 136</i>; +iii. <i>17</i>, 85-146, 149, 150, <i>183, 210</i>, 217, 225, <i>235, 254, 293, 384, 453, 464, 465, 481</i>; +<i>iv. 21, 38, 125</i>; <i>v. 428, 612</i>; <i>vi. 165, 244, 332</i></p> + +<p>Gibbon, Edward, as a translator, <i>i. 375</i>; +<i>Decline and Fall of the Roman Empire</i>, +ii. 174, 185, 202, <i>283</i>, 307, <i>350, 392, 434, 475</i>, 479, <i>482</i>, 508; +iii. <i>173, 251</i>, 301, <i>519</i>; +iv. 53, 141, <i>288, 386</i>; +vi. <i>8, 9, 139, 179</i>, 260, <i>279, 446</i>; +<i>Miscellaneous Works</i>, ii. 490; iii. <i>299</i>, 503; +<i>Antiquities of the House of Brunswick</i>, iii. 503</p> + +<p>Gibraltar (Calpe's Rock), i. 378; ii. 89, 113, 455, 525; +<i>v. 588</i>; vi. 344</p> + +<p>Gieta, Colonel, iv. 205, 208</p> + +<p>Gifford, William (editor of the <i>Quarterly Review</i>), +his edition of <i>Massinger</i>, i. 292, <i>304</i>; +his <i>Baviad and Mæviad</i>, i. 294, <i>304</i>, 362, 363; +short account of, i. 304; +<i>Epistle to Peter Pindar</i>; +edition of <i>Ben Jonson</i> and <i>Ford</i>, <i>i. 304</i>; +translation of <i>Juvenal</i>, <i>i. 304, 362, 375</i>; +<i>iii. 301</i>; <i>v. 63, 64, 613</i>; vi. <i>255</i>, 256; +of <i>Persius</i>, <i>i. 304</i>; +"a true poet," <i>i. 306</i>; +alludes in <i>Mæviad</i> to Kotzebue's <i>Pizarro</i>, <i>i. 344</i>; +describes Miles Peter Andrews in <i>Baviad</i>, <i>i. 353</i>; +referred to in <i>English Bards, and Scotch Reviewers</i>:—"his heavy hand, etc," i. 356; +"born beneath an adverse star," i. 360; +"bear witness, Gifford, Sotheby, Macneil," i. 362; <i>iv. 182</i>; +"Why slumbers Gifford?" i. 363; +attacks Delia Cruscans in <i>Baviad</i> and <i>Mæviad</i>, <i>i. 358</i>; +criticizes Jerningham in <i>Baviad</i>, <i>i. 383</i>; +on Weber, <i>i. 397</i>; +his patron, Lord Grosvenor, <i>i. 412</i>; +his "ultimus Romanorum," <i>i. 444</i>; +"Edwin's mewlings" in <i>Baviad</i>, <i>i. 444, 445</i>; +advises publication of <i>Childe Harold</i>, Canto I., ii. xi; +advises suppression of stanzas on Sir John Carr in <i>Childe Harold</i>, <i>ii. 65</i> +enthusiastic about <i>Childe Harold</i>, Canto III., ii. 211; +approves Canto IV., <i>ii. 327</i>; +on the <i>Giaour</i>, iii. 76; +Byron on <i>Bride of Abydos</i>, iii. 149; +on <i>Corsair</i>, iii. 217; +on <i>Siege of Corinth</i>, iii. 443; +his corrections of <i>Siege of Corinth</i>, +<i>iii. 467-470, 474, 479-482, 484-486, 489, 492, 494, 495</i>; +on <i>Parisina</i>, iii. 449; +on <i>Manfred</i>, iv. 79, <i>136</i>; +Murray's adviser, iv. 157; +on <i>Marino Faliero</i>, act i., <i>iv. 367</i>; +omits to correct Byron's bad grammar, <i>iv. 419</i>; +reviews <i>Lectures on the English Poets, etc.</i>, <i>iv. 575</i>; +his addition to <i>Two Foscari</i>, <i>v. 196</i>; +on <i>Cain</i>, v. 204; +revises <i>Heaven and Earth</i>, v. 279, <i>310</i>; +his note to <i>Don Juan</i> on Memnon Statue, <i>v. 497</i>; +"we've Gifford here reading MS.," vii. <a href="#Page_48">48</a></p> + +<p>Gight, <i>i. 336</i></p> + +<p>Gill, landlord of Byron's lodgings in Nottingham, <i>vii.</i> <i><a href="#Footnote_1_1">1</a></i></p> + +<p>Gillies, <i>History of Greece</i>, <i>iii. 90</i></p> + +<p>Gillray's <i>Caricatures</i>, i. <i>307</i>, 476; <i>iv. 509</i>; <i>vii.</i> <i><a href="#Note_029">29</a></i></p> + +<p>Gindely, Anton, <i>History of the Thirty Years' War</i>, <i>v. 352, 371, 416</i></p> + +<p>Ginguené, P. L., <i>Hist. Lit. d'Italie</i>, <i>iv. 459</i></p> + +<p>Giorgione (Giorgio Barbarelli), "Judgment of Solomon", iv. 162</p> + +<p>Giovanelli, Palazzo, <i>iv. 163</i></p> + +<p><i>Girl of Cadiz</i> (<i>To Inez</i>), <i>ii. 59, 75</i>; iii. 1; <i>vi. 82</i></p> + +<p><span class='pagenum'><a name="Page_386" id="Page_386">[386]</a></span> +Girondins, or Girondists, <i>vi. 13, 14</i></p> + +<p>Gisborne, v. 204</p> + +<p>Gisborne, Mrs., <i>iv. 100</i></p> + +<p>Giustiniani, Franceschino, <i>iv. 365</i></p> + +<p>Giustiniani, Pietro Giovanni, <i>v. 134, 179, 188, 195</i></p> + +<p>Glaciers, ii. 385</p> + +<p>Gladiators, ii. 431, 433, 520</p> + +<p>Gladstone, W. E., <i>iii. 157</i>; <i>vi. 26</i></p> + +<p>Gladwin, Francis, translation of Sa'di's <i>Gulistan</i>, <i>iii. 160</i></p> + +<p>Gleig, <i>History of the British Empire in India</i>, <i>i. 468</i></p> + +<p>Glenbervie, Sylvester Douglas, Lord, <i>Ricciardetto</i>, iv. 156, <i>176</i></p> + +<p>Glenesk, Lord, <i>MS. of Siege of Corinth</i>, +iii. 448, <i>451, 452, 454-467, 469-471, 473, 476, 477, 479, 482, 483, 487-489, 491-495</i></p> + +<p>Gloria, Maria da, of Portugal, <i>ii. 11</i></p> + +<p>Gloucester, Duke of, i. 498; <i>iv. 177</i></p> + +<p>Glover, <i>i. 317</i></p> + +<p>Gluck, music of <i>Don Juan; or, The Libertine Destroyed</i>, <i>vi. 11</i>; +<i>Armida and Rinaldo</i>, <i>vi. 34</i></p> + +<p>Gnatoo, or tappa cloth (Tonga Islands), v. 600</p> + +<p>Gneisnau, August Wilhelm Antonius Neidhart von, vi. 345</p> + +<p>Gobbi, <i>iv. 271</i></p> + +<p>Godfrey of Viterbo, <i>ii. 337</i></p> + +<p>Godoy, Manuel de, Duke of Alcudia, Principe de la Paz, ii. 54, 90</p> + +<p>Godwin, William, iii. 444; iv. 475; +Essay <i>Of Population</i>, <i>vi. 459</i></p> + +<p>Goethe, Johann Wolfgang von, and Monk Lewis, <i>i. 317</i>; +<i>Faust</i>, <i>i. 318</i>; iv. 80, 81, <i>85, 110</i>; +v. 201, <i>247</i>, 281, <i>294, 409</i>, 470, 471, 474, <i>493, 494</i>; vi. 483; +<i>Sorrows of Werther</i>, i. 494; +<i>Travels in Italy</i> ("Letters from Italy"), <i>ii. 330, 335, 424</i>; +<i>Kennst du das Land</i>, <i>iii. 157</i>; +review of <i>Mannfred</i> in <i>Kunst und Alterthum</i>, iv. <i>21</i>, 80-82, <i>340</i>; +translation of <i>Manfred</i>, <i>iv. 136</i>; <i>vii.</i> <i><a href="#Note_055">55</a></i>; +<i>Conversations of</i>, iv. 157, 327, 328; v. 119, <i>122</i>, 199, 204; +<i>Marino Faliero</i> dedicated to, iv. 328, <i>340-342</i>; <i>vi. 443</i>; <i>vii.</i> <i><a href="#Note_063">63</a></i>; +<i>Aus meinem Leben</i>, <i>iv. 342</i>; +on <i>Vision of Judgment</i>, <i>iv. 480</i>; +on <i>Irish Avatar</i>, <i>iv. 556</i>; +<i>Sardanapalus</i> dedicated to, v. 7; +on <i>The Two Foscari</i>, v. 119, <i>122</i>; +on <i>Cain</i>, v. 199, 204; +"The moment he reflects, he is a child," v. 279; +on <i>Heaven and Earth</i>, v. 281; +<i>Werner</i> dedicated to, v. 335; +on <i>Don Juan</i> in <i>Kunst und Alterthum</i>, vi. xix; +Madame de Staël on, vi. 168</p> + +<p><i>Goethe-Jahrbuch</i>, iv. 82, <i>136</i>; v. 282</p> + +<p>Goettlingius, C., <i>Hesiod Carm.</i>, <i>ii. 188</i></p> + +<p>Gold, vi. 455</p> + +<p>Goldau, <i>iv. 97</i></p> + +<p>Golden Fleece, vi. 158</p> + +<p>Goldoni, Carlo, iv. 157; +<i>Belisarus</i>; <i>Le Bourru Bianfaisant, etc.</i>, iv. 164; +<i>Mercanti</i>, <i>iv. 166</i></p> + +<p>Goldsmith, Edmund, <i>v. 289</i></p> + +<p>Goldsmith, Oliver, <i>Vicar of Wakefield</i>, i. 480; <i>vi. 145, 586</i>; +<i>Citizen of the World</i>, ii. 88, 323; +<i>Deserted Village</i>, vi. 471</p> + +<p>Golitsyn, Prince Basil, iv. 202</p> + +<p>Gondola, description of a, iv. 165</p> + +<p>Gondoliers of Venice, ii. 329, 468; iv. 165</p> + +<p>Gonzaga, Cardinal Luigi Valenti, ii. <i>371</i>, 495</p> + +<p>Gonzaga, Scipio, <i>iv. 143, 144</i></p> + +<p>Good, John Mason, <i>The Book of Job</i>, <i>iv. 498</i></p> + +<p>Goodman's Fields Theatre, <i>i. 414</i></p> + +<p>Goose, game of, vi. 471</p> + +<p>Gordianus III., Emperor, <i>ii. 423</i></p> + +<p>Gordon, Duchess of, <i>ii. 350, 479</i></p> + +<p>Gordon, Lord George, <i>i. 484</i></p> + +<p>Gordon, Pryse Lockhart, <i>Personal Memoirs, etc.</i>, +ii. <i>226, 227</i>, 294; iv. 156; +<i>Life of Alexander VI.</i>, <i>iii. 369</i></p> + +<p>Gordon, Mrs. P. L., <i>ii. 226</i></p> + +<p>Gordon, Thomas, <i>History of the Greek Revolution</i>, <i>v. 557</i>; vii. <a href="#Page_53">53</a></p> + +<p>Gordon, Sir William, <i>i. 173</i></p> + +<p><span class='pagenum'><a name="Page_387" id="Page_387">[387]</a></span> +Gordons, the, i. 172</p> + +<p>Gorrequer, Major, <i>v. 545</i></p> + +<p>Gorton, <i>Biog. Dict.</i>, <i>ii. 173</i></p> + +<p>Gosnell, S., printer, i. 478</p> + +<p>Gothenburg (Gottenburg). i. 487, <i>488</i></p> + +<p>Goths, Rome sacked by the, ii. 390</p> + +<p>Gottschall, Rudolph von, iv. 203</p> + +<p>Gouffier, Count Choiseul-, <i>Voyage Pittoresque de la Grèce</i>, +<i>ii. 168</i>; <i>iii. 295</i>; <i>vi. 151</i></p> + +<p>Gounod, his "Maid of Athens," <i>iii. 16</i></p> + +<p>Gouria, <i>ii. 143</i></p> + +<p>Gower, Hon. F. Leveson, his article in <i>Nineteenth Century</i>—"Did +Byron write <i>Werner</i>?" v. 329</p> + +<p>Goza (Calypso's Isle), ii. 118, 173; iii. 10</p> + +<p>Gozzi, Count Carlo, <i>Memoirs</i>, <i>ii. 120, 339</i></p> + +<p>Grabius, Joannes Ernestus, <i>Spicilegium SS. Patrum</i>, <i>v. 302</i></p> + +<p>Gracchus, Tiberius, vi. 407</p> + +<p>Gradenigo, Dogaressa Aluica, iv. 333, <i>377</i></p> + +<p>Gradenigo, Beriola, <i>iv. 377</i></p> + +<p>Gradenigo, Nicolò, <i>iv. 377</i></p> + +<p>Gradenigo, Doge Pietro, <i>iv. 360</i></p> + +<p>Grafton, Augustus Henry, 3rd Duke of, <i>iv. 177</i>; +<i>Autobiography</i> iv. 510</p> + +<p>Grafton, Duchess of, <i>iv. 177</i></p> + +<p>Graham, Mrs. (Lady Callcott), iii. 532; <i>vi. 206, 207</i></p> + +<p>Graham, General Thomas (Lord Lynedoch), <i>i. 469</i></p> + +<p>Grahame, Rev. James, <i>Sabbath Walks</i>; <i>Biblical Pictures</i>; +<i>British Georgics</i>, i. <i>305</i>, 323, 370, <i>429</i></p> + +<p>Granada, <i>ii. 46, 54</i>; <i>v. 558</i>; vi. 30</p> + +<p>Granard, George, 6th Earl of, <i>vi. 116</i></p> + +<p>Granby, John Manners, Marquis of, vi. 12</p> + +<p>Grand Council (Venice), v. 169</p> + +<p><i>Grande Encyclopédie, La</i>, <i>v. 566</i>; <i>vi. 313</i></p> + +<p>Grange, James, pastry-cook, Piccadilly, <i>i. 321</i>; <i>iv. 583</i></p> + +<p>Granger, <i>Biog. Hist. of England</i>, <i>iii. 298</i></p> + +<p>Grant, Harding, <i>Chancery Practice</i>; +<i>Lord Byron's Cain, etc., with Notes</i>, v. 203, 204</p> + +<p><i>Granta, A Medley</i>, i. 56; <i>iv. 516</i></p> + +<p>Granville, Lady, v. 329</p> + +<p>Granville, Lord, v. 329; <i>vii.</i> <i><a href="#Note_036">36</a></i></p> + +<p>Grattan, <i>i. 100</i>; iv. 556, 561; vi. 226, 450</p> + +<p>Graves, Oliver B., of Cambridge, Mass., <i>vii.</i> <i><a href="#Footnote_3_3">3</a></i></p> + +<p>Gray, May, Byron's nurse, <i>vii.</i> <i><a href="#Footnote_1_1">1</a></i></p> + +<p>Gray, Thomas, <i>Alcaic Fragment</i>, i. 49; +<i>The Fatal Sisters</i>, <i>i. 70</i>; <i>ii. 252</i>; +Lloyd's parodies on, i. 220; +Lewis' <i>Tales of Wonder</i>, <i>i. 317</i>; +"glance their many-twinkling feet," <i>i. 483</i>; +<i>Elegy</i>, <i>ii. 399</i>; <i>iii. 240</i>; vi. <i>181</i>, 503; +<i>Progress of Poesy</i>, <i>ii. 413</i>; +his lyric measure, <i>iii. 128</i>; +<i>Poemata</i>, <i>iii. 423</i></p> + +<p>Great Council (Maggior Consiglio), Venice, <i>iv. 360, 399</i></p> + +<p>Greatheed, Bertie, <i>i. 358</i></p> + +<p>Greece, i. 424; ii. 62, 109, 149, 154; iii. 90, 446; v. 555; vii. <a href="#Page_85">85</a>, <a href="#Page_87">87</a>; +Isles of, vi. 169</p> + +<p>Greek Committee, the, v. 331</p> + +<p>Greeks, the, ii. 191, 192; +defeat Turks at Lerna, v. 556</p> + +<p>Green, <i>Hist. English People</i>, <i>i. 468</i></p> + +<p>Green, poet, <i>iii. 330</i></p> + +<p>Greene, Robert, <i>Friar Bacon and Friar Bungay</i>, <i>vi. 78</i></p> + +<p>Greenwood, scene-painter, Drury Lane Theatre, i. 346</p> + +<p>Grenville, Lord, <i>i. 437, 470, 497</i>; <i>iii. 45</i></p> + +<p>Grenville, Lord George, <i>Portugal; a Poem</i>, <i>ii. 4</i></p> + +<p>Grete, river (Southwell), i. 239</p> + +<p>Greville, Charles, <i>vi. 451</i></p> + +<p>Greville, Colonel, i. 348</p> + +<p>Grey, Charles, 2nd Earl of, vi. 478</p> + +<p>Grey, Lord, <i>i. 497</i>; <i>iii. 45</i></p> + +<p>Grey, Mr., <i>iii. 170</i></p> + +<p>Grief, Martin, iv. 329</p> + +<p>Griffin, A., <i>i. 234</i></p> + +<p>Griffith, H. T., edition of Cowper's <i>Task</i>, etc., <i>vi. 348</i></p> + +<p><span class='pagenum'><a name="Page_388" id="Page_388">[388]</a></span> +Griffiths, Arthur, <i>Memorials of Millbank</i>, <i>vii.</i> <i><a href="#Note_034">34</a></i></p> + +<p>Griffiths, George Edward, <i>iv. 165</i></p> + +<p>Grillion's Hotel, Albemarle Street<i>vi. 437</i></p> + +<p>Grillo, Angelo, <i>iv. 146</i></p> + +<p>Grillparzer, <i>Sappho</i>, <i>v. 61</i></p> + +<p>Grimaldi, Joseph, <i>i. 345</i>; <i>vi. 11</i></p> + +<p>Grimm, Baron F. M., <i>Cor. Lit.</i>, <i>ii. 266</i></p> + +<p>Grindelwald, <i>iv. 110</i></p> + +<p>Gritti, Benedetto, <i>v. 116</i></p> + +<p>Grolierius (Grollier), Cæsar, <i>Historia Expugnatæ ...Urbis</i>, v. 471, <i>510</i></p> + +<p>Gronow, Captain, <i>Reminiscences</i>, <i>i. 345, 357, 476</i>; +<i>vi. 69, 276, 507, 508, 529</i></p> + +<p>Gropius, Karl Wilhelm, ii. 166, 171</p> + +<p>Grose, Captain Edward, 1st Life Guards, vi. 355</p> + +<p>Grose, Francis, <i>Classical Dictionary of the Vulgar Tongue</i>, <i>ii. 66</i>; <i>vi. 433</i></p> + +<p>Grosvenor, 1st Earl, i. 412</p> + +<p>Grosvenor, Robert, 2nd Earl (afterwards Marquis of Westminster), i. 412</p> + +<p>Grote, George, <i>History of Greece</i>, <i>ii. 102, 158, 341</i>; <i>iii. 311</i>; <i>iv. 566</i></p> + +<p>Grotta Ferrata, site of Cicero's villa, ii. 522</p> + +<p>Grouvelle, i. 402</p> + +<p>Gruterus, ii. 299</p> + +<p>Guadalquivir, <i>ii. 54</i>; vi. 112</p> + +<p>Guadiana river, ii. 46</p> + +<p>Gualandra hills, ii. 505-507</p> + +<p><i>Guardian</i>, <i>i. 418</i></p> + +<p>Guariglia, Signor, <i>vi. 205</i></p> + +<p>Guarini, <i>Pastor Fido</i>, iv. 141</p> + +<p>Guasti, <i>Tasso's Letters</i>, <i>ii. 355</i></p> + +<p>Guelphs, the, <i>iv. 253</i></p> + +<p>Guesclin, Bertrand du, v. 549</p> + +<p>Guhl, <i>ii. 441</i></p> + +<p>Guicciardini, Francesco (Luigi), <i>Sacco di Roma</i>, <i>iv. 258</i>; v. 471</p> + +<p>Guiccioli, Countess (<i>My Recollections of Lord Byron</i>), <i>i. 99</i>; +<i>ii. 289, 374</i>; iv. <i>119, 213</i>, 237, 241, <i>545, 547, 549, 563</i>, 570; +v. 5; vi. <i>52, 297</i>, 373</p> + +<p>Guiccioli, Palazzo, <i>ii. 372</i>; iv. 279</p> + +<p>Guido, fresco of the Aurora, vi. 526</p> + +<p>Guilford, Earl of, <i>iv. 143</i></p> + +<p>Guiscard, Robert, <i>ii. 390</i></p> + +<p>Gunpowder, discovered by Friar Bacon, vi. 340</p> + +<p>Gurney, Hudson, <i>The Golden Ass of Apuleius; +in English Verse, entitled Cupid and Psyche</i>, <i>vi. 165</i></p> + +<p>Gurney, William Brodie, vi. 66</p> + +<p>Gurwood, Colonel, <i>Wellington Dispatches</i>, vi. 266</p> + +<p>Gustavus Adolphus, king of Sweden, "The Lion of the North," v. 371, <i>373</i>, 553</p> + +<p><i>Guy Mannering</i>, <i>iv. 566</i></p> + +<p>Gwynne, Nell, <i>vi. 496</i></p> + +<p>"Gynocracy" used for "gynæcocracy," vi. 473, 588</p> + +<p>H</p> + +<p>Hachette, <i>iv. 14</i></p> + +<p>Hadrian, i. 20, <i>462, 493</i>; ii. 167, <i>411, 431, 436, 440</i></p> + +<p>Hadrian's Mole, ii. 439</p> + +<p>Hafiz. <i>See</i> Stott</p> + +<p>Hague, vi. 419</p> + +<p>Haivali (or Kidognis), ii. 200, 207</p> + +<p>Hales, Sir Matthew, vi. 610</p> + +<p>Halford, Bart., Sir H., +An Account of what appeared on Opening the Coffin of King Charles the First, <i>vii.</i> <i><a href="#Note_035">35</a></i></p> + +<p>Halgh of Halgh, George, <i>vi. 294</i></p> + +<p>Halifax, George Savile, Marquis of, <i>i. 413</i></p> + +<p>Hall, Captain Basil, <i>Narrative of a Voyage to Java, 1840</i>; +<i>Voyage to the Corea and the Loochoo Islands</i>; +<i>Extracts from a Journal written on the Coast of Chili, etc</i>., <i>v. 546, 548, 556</i></p> + +<p>Hallam, Henry, i. <i>306</i>, 340, 380; +<i>Middle Ages</i>, i. 337; <i>iv. 288</i>; vi. 464</p> + +<p>Hallet, midshipman on the <i>Bounty</i>, v. 588</p> + +<p><span class='pagenum'><a name="Page_389" id="Page_389">[389]</a></span> +Hamburg, i. 487, <i>488</i></p> + +<p>Hamet Benengeli, Cid, i. 299</p> + +<p>Hamilton, Anthony, Archdeacon of Colchester, <i>ii. 108</i></p> + +<p>Hamilton, Archibald, 9th Duke of, <i>i. 311</i></p> + +<p>Hamilton, Lady Anne, <i>Epics of the Ton</i>, +i. 294, <i>311, 330, 343</i>, 353, <i>468, 471</i>; +<i>Secret Memories of the Court of England</i>, <i>i. 311</i>; <i>vii.</i> <i><a href="#Note_078">78</a></i></p> + +<p>Hamilton, Sir William Richard ("Dark Hamilton"), Lord Elgin's +Secretary, <i>Memorandum on the Earl of Elgin's Pursuits in Greece</i>, +i. 455, <i>466</i>; ii. x, 108, 167, <i>168</i>, 204</p> + +<p><i>Hamlet</i>, i. 401; <i>ii. 64, 99, 103, 154, 418, 450</i>; +<i>iii. 543</i>; iv. 77, <i>95, 458</i>; <i>v. 25, 423</i>; +vi. <i>309</i>, 342, 386, 394, <i>432</i>, 456, 511, 550, 570-572</p> + +<p>Hammer-Purgstall, J. von, <i>Histoire de l'Empire Othoman</i>, +iii. <i>166, 312</i>, 441, <i>454, 455</i></p> + +<p>Hammond, George, iii. 217; iv. 472; vii. <a href="#Page_49">49</a></p> + +<p>Hamond, Mrs. (Miss Chaworth Musters), <i>i. 277</i></p> + +<p>Hampstead, ii. 66</p> + +<p><i>Handbooks</i> for—<i>Central Italy</i>, +<i>ii. 373, 380</i>; <i>iv. 275</i>; +<i>Greece</i>, <i>ii. 117, 127, 157, 166, 189</i>; +<i>Northern Italy</i>, <i>ii. 372</i>; <i>iv. 336, 392, 430</i>; <i>vi. 212</i>; +<i>Rome</i>, <i>ii. 389, 403</i>; <i>iv. 271, 273</i></p> + +<p>Hanmer, <i>vi. 487</i></p> + +<p>Hannibal, <i>i. 349, 493</i>; ii. <i>187, 459</i>, 505; +<i>iii. 301</i>; <i>v. 606</i></p> + +<p>Hansard, <i>Parliamentary Debates</i>, <i>iv. 482</i></p> + +<p>Hanson, Charles, <i>vi. 460</i></p> + +<p>Hanson, Hargreaves, <i>i. 86</i></p> + +<p>Hanson, John, <i>i. 25, 86</i>; <i>iii. 540</i>; <i>vi. 100</i></p> + +<p>Hanson, Mary Anne (Lady Portsmouth), <i>vi. 569</i></p> + +<p>Hanson, Newton, <i>i. 86</i></p> + +<p>Happiness, "was born a twin," vi. 130; Horace's Art of, vi. 490</p> + +<p>Haratch, Turkish capitation tax, <i>iii. 195</i></p> + +<p>Harcourt, General, <i>ii. 23</i></p> + +<p>Harcourt, Mrs., <i>ii. 23</i></p> + +<p>Hardinge, George ("Jeffries Hardsman"), Senior Justice of Brecon, etc., <i>vi. 508</i></p> + +<p>Hare, Francis ("Silent Hare"), <i>vi. 529</i></p> + +<p>Harley, Lady Charlotte Mary (afterwards Bacon), "Ianthe," ii. xii, 11</p> + +<p>Harmodius and Aristogeiton, ii. 228, 291; v. 556</p> + +<p>Harmonists, the, vi. 554</p> + +<p>Harness, Rev. W., <i>i. 66</i>; <i>ii. 204</i>; <i>iv. 575</i></p> + +<p>Harold, Baron de, <i>iii. 100</i></p> + +<p><i>Harper's New Monthly Magazine</i>, <i>vi. 349</i></p> + +<p>Harpocration, <i>vi. 169</i></p> + +<p>Harrison, John ("Longitude Harrison"), inventor of watch compensation, vi. 19</p> + +<p>"Harroviensis," <i>A letter to Sir Walter Scott, etc.</i>, v. 202</p> + +<p>Harrow, i. 15-20, 25, 84-106, 208, 222, 237, 259; ii. 66; vi. 49; +"Byron's Tomb" at, <i>i. 26</i>; +speech-day at, i. <i>86</i>, 102; +rebellion at, <i>i. 93</i>; +Byron's first English exercise at, <i>iv. 48</i></p> + +<p>Harrowby, Lord, vii. <a href="#Page_13">13</a></p> + +<p>Harte, Bret, <i>The Society upon the Stanislaus</i>, <i>iv. 296</i></p> + +<p>Hartford, <i>Works of Lord Byron, In verse and Prose</i>, iii. xxi; +<i>Remarkable Shipwrecks</i>, <i>vi. 98, 102, 103</i></p> + +<p>Harvard University Library, <i>vii.</i> <i><a href="#Footnote_3_3">3</a></i></p> + +<p>Harvey, <i>i. 405</i></p> + +<p>Hasell, E. J., <i>Tasso</i>, <i>ii. 356</i></p> + +<p>Hastings, Francis Rawdon, 1st Marquis of, <i>i. 497</i></p> + +<p>Hastings, Warren, impeachment of, iv. 72; <i>v. 542</i></p> + +<p>Hathaway, Miss, as "Zarina" in <i>Sardanapalus</i>, v. 2</p> + +<p>Havard, William, i. 428</p> + +<p>Hawarden, Lady, <i>i. 485</i></p> + +<p>Hawke, Admiral Edward, Lord, vi. 12</p> + +<p><span class='pagenum'><a name="Page_390" id="Page_390">[390]</a></span> +Hawkesbury, Lord, vii. <a href="#Page_13">13</a></p> + +<p>Hawksworth, <i>Voyages</i>, <i>ii. 7</i></p> + +<p>Hay, iii. 217</p> + +<p>Haydn, iii. 376</p> + +<p>Haydon, <i>Life of</i>, i. 456; "The Elgin Horse's Head," <i>ii. 336</i></p> + +<p>Hayley (or Hailey), William, +<i>The Triumph of Temper</i>; <i>The Triumph of Music</i>, +<i>i. 305</i>, 321, 322, 370; vi. 587; +translation of three cantos of Dante's <i>Inferno</i>, iv. 238, 244, 313; +<i>Essay on Epic Poetry</i>, iv. 244; +<i>Life of Milton</i>, <i>vi. 7</i></p> + +<p>Haymarket Theatre, <i>Werner</i> at, v. 324</p> + +<p>Hayter, Bishop of Norwich, <i>iii. 299</i></p> + +<p>Hayward, Peter, midshipman on the <i>Bounty</i>, <i>v. 588, 605</i></p> + +<p>Hazlitt, William, <i>ii. 17</i>; +<i>My First Acquaintance with Poets</i>, <i>iv. 518</i>; +"Scamp, the Lecturer," of <i>The Blues</i>, iv. 570; +<i>Lectures on the English Poets</i>, iv. 570, <i>586</i>; <i>vi. 12, 175</i>; +<i>Lectures of 1818</i>, iv. 575; +<i>The Spirit of the Age</i>, <i>vi. 506, 509</i></p> + +<p>Hearne, <i>Journey from Hudson's Bay</i>, <i>iv. 220</i></p> + +<p>Heath, James, <i>Flagellum</i>, <i>vi. 174</i></p> + +<p>Heath, Miss, actress, as "The Witch of the Alps," in <i>Manfred</i>, iv. 78; +as "Zarina" in <i>Sardanapalus</i>, v. 2</p> + +<p>Heathcote, Katherine Sophia Manners, Lady, vii. <a href="#Page_17">17</a></p> + +<p>Heathcote, Sir Gilbert, <i>vii.</i> <i><a href="#Note_017">17</a></i></p> + +<p><i>Heaven and Earth</i>, <i>iv. 50</i>; v. 277-321, 469, <i>527</i></p> + +<p>Heaviside, Dr., <i>i. 431, 432</i></p> + +<p>Heber, Richard, <i>Early English Poets</i>, <i>i. 396</i></p> + +<p>Heber, Reginald, Bishop of Calcutta, <i>i. 396</i>; iii. 151, 217; <i>v. 111</i>; +Reviews <i>Marino Faliero</i> in <i>Quarterly Review</i>, iv. 329; +reviews <i>Sardanapalus</i>, <i>Two Foscari</i>, and <i>Cain</i> +in <i>Quarterly Review</i>, v. 5, <i>111</i>, 119, 204; +on <i>Don Juan</i> in <i>Quarterly Review</i>, vi. xx</p> + +<p><i>Hebrew Melodies</i>, <i>ii. 273</i>; iii. xix, 382-406, <i>417</i>; v. 199, <i>231</i></p> + +<p>Hecatonnesi Islands, ii. 200</p> + +<p>Hecla (Iceland), vi. 569</p> + +<p>Hector, v. 488, 577</p> + +<p>Heinemann (G. Vuillier), <i>History of Dancing</i>, <i>i. 492</i></p> + +<p>Heiss, Baron, <i>iv. 514</i></p> + +<p>Helbig, <i>Guide to the Collection of Public Antiquities in Rome</i>, <i>ii. 432</i></p> + +<p>Helen, iv. 334; vi. 535</p> + +<p>Helena, Princess (Duchess of Albany), iii. 157</p> + +<p>Helicon, i. 373, 397</p> + +<p>Heligoland, i. 487, <i>488</i></p> + +<p>Hell, Byron's definition of a gambling, i. 407; vi. 436 +paved with good intentions, iv. 499; vi. 338</p> + +<p>Hellespont, iii. 13, 178, 179; vi. 112, 204</p> + +<p>Helps, <i>vi. 567</i></p> + +<p>Helvetii, the, ii. 299</p> + +<p>Helvoetsluys, vi. 419</p> + +<p>Hemans, Captain, <i>vii.</i> <i><a href="#Note_070">70</a></i></p> + +<p>Hemans, Mrs. Felicia Dorothea (<i>née</i> Browne), vii. <a href="#Page_70">70</a></p> + +<p>Henley, S., <i>Notes to Vathek</i>, iii. 76, <i>87, 105, 109, 110, 120</i>; <i>iv. 244</i></p> + +<p>Henley, "Orator," vi. 303</p> + +<p>Henry, John, <i>v. 560</i></p> + +<p>Henry, Patrick, one of the leaders of the American Revolution, v. 560</p> + +<p>Henry of Prussia, Prince, <i>v. 550</i></p> + +<p>Henry I., <i>i. 493</i></p> + +<p>Henry II., i. <i>1</i>, 116; <i>v. 495</i></p> + +<p>Henry IV., i. 399; <i>iii. 134, 432</i>; <i>iv. 13, 262, 407</i></p> + +<p><i>Henry IV.</i>, vi. 20, <i>48, 256</i>, 342, <i>347, 431</i>, 444, 453</p> + +<p>Henry IV., Emperor of Germany, <i>ii. 390</i></p> + +<p>Henry V., ii. <i>19</i>, 216</p> + +<p><i>Henry V.</i>, <i>vi. 487</i></p> + +<p><i>Henry VI.</i>, <i>vi. 347</i></p> + +<p><i>Henry VII</i>, <i>vi. 496</i></p> + +<p>Henry VII., Emperor of Germany, ii. <i>403</i>, 494</p> + +<p>Henry VIII., i. <i>1</i>, 119; <i>v. 499</i>; vii. <a href="#Page_35">35</a>, <a href="#Page_36">36</a></p> + +<p><i>Henry VIII.</i>, <i>vi. 495</i></p> + +<p><span class='pagenum'><a name="Page_391" id="Page_391">[391]</a></span> +Hephæstion, vi. 378</p> + +<p>Hephæstus, <i>v. 396</i></p> + +<p>Heraclidæ, the, <i>ii. 431</i></p> + +<p>Herbert, Baron, Austrian Ambassador, <i>iii. 4</i></p> + +<p>Herbert, George, <i>Jacula Prudentum</i>, <i>iv. 500</i></p> + +<p>Herbert, William, Dean of Manchester, <i>i. 306</i>; +<i>Horæ Scandicæ</i>, i. 336</p> + +<p>Hercules (Alcides), i. 144; v. 27; Couch of, <i>vi. 220</i></p> + +<p><i>Hercules</i>, wreck of American ship, <i>vi. 90</i></p> + +<p>Hermann, Mrs., as "Angiolina" in <i>Marino Faliero</i>, iv. 324</p> + +<p>Hero and Leander, iii. 14, 178</p> + +<p>Herod the Great, iii. 400</p> + +<p>Herod, king of Chalcis, <i>vi. 139</i></p> + +<p>Herodes Atticus, <i>ii. 416</i></p> + +<p>Herodias, i. 490</p> + +<p>Herodotus, <i>ii. 272</i>; <i>v. 107</i>; vi. <i>79</i>, 169, <i>572</i>; +<i>Cleobis and Biton</i>, vi. 186</p> + +<p><i>Herod's Lament for Mariamne</i>, iii. 400</p> + +<p>Herostratus, i. 467</p> + +<p>Herrick, Robert, <i>To Anthea</i>, <i>iv. 35</i></p> + +<p>Hertford, Marchioness of, <i>vii.</i> <i><a href="#Note_022">22</a></i></p> + +<p>Hervey, Lord ("Lord Fanny"), <i>Lines to the Imitator of Horace</i>, i. 326</p> + +<p>Hesiod, ii. 188; <i>Works and Days</i>, <i>vi. 169</i></p> + +<p>Hesperus, vi. 180</p> + +<p>Heterodoxy, vi. 267</p> + +<p>Hetman of the Cossacks, vii. <a href="#Page_39">39</a></p> + +<p>Heyne, Christian Gottlob, i. 490</p> + +<p>Hiero, a painter, <i>ii. 168</i></p> + +<p>Highgate, "swearing on the horns" at, ii. 66</p> + +<p>Highland Light Infantry, iii. 416</p> + +<p><i>Highland Society, the</i>, iii. 415</p> + +<p>Highland welcome, a, vi. 272</p> + +<p>Hildyard, Lieutenant J. T., +<i>Historical Record of the 71st Highland Light Infantry</i>, <i>iii. 416</i></p> + +<p>Hill, Rev. H., iv. 476; <i>vi. 4</i></p> + +<p>Hill, S. McCalmont, <i>iii. 18</i></p> + +<p><i>Hints from Horace</i>, i. <i>298, 303, 343, 359, 360</i>, 385-450, 453; +ii. ix, <i>108, 192, 196</i>; <i>iv. 517</i>; <i>vi. 433, 442</i></p> + +<p>Hippocrates, ii. 197</p> + +<p>Hippocrene, i. 328, 373</p> + +<p>Hippolytus, <i>vi. 255</i></p> + +<p>Hiron, <i>vi. 153</i></p> + +<p>Hispalis (Seville), ii. 52, 60, 93; vi. 15</p> + +<p><i>Historical Records of the Life Guards</i>, <i>i. 495</i></p> + +<p>Hita, Ginès Perez de, <i>Historia de las Guerras Civiles de Granada</i>, +<i>iv. 529, 530</i>; <i>v. 558</i></p> + +<p>Hoadley, <i>ii. 504</i></p> + +<p>Hoare, Rev. Charles James, i. 372</p> + +<p>Hobbes, Thomas, <i>v. 615</i>; vi. <i>195, 200</i>, 570; vii. <a href="#Page_32">32</a></p> + +<p>Hobhouse, John Cam (afterwards Lord Broughton de Gyfford), +<i>Imitations and Translations</i>, i. xiii, <i>264, 327</i>; +<i>ii. 30</i>; iii. xix; vi. 62, <i>142</i>; vii. <a href="#Page_8">8</a>; +his <i>lines</i> in <i>English Bards, and Scotch Reviewers</i>, +i. xiv, xv, 292; <i>Epistle to a Young Nobleman in Love</i>, <i>i. 267</i>; +on <i>Hints from Horace</i>, i. 388; +<i>Travels in Albania and other Provinces of Turkey, in 1809 and 1810</i>, +i. 454, <i>460</i>; ii. <i>15, 60</i>, 84, <i>100, 106, 125, 130, +131, 133, 136, 137, 142, 145, 148, 153, 157, 158, 169, 171</i>, 174, +182, <i>189, 194, 198, 200</i>, 208, <i>441, 461</i>; +<i>iii. 7, 8, 14, 20, 85, 93, 145, 173, 179, 180, 194, 272, 468</i>; +iv. 31; <i>vi. 151, 204, 208, 231, 261</i>; vii. <a href="#Page_9">9</a>; +"I don't remember any crosses here," <i>ii. 36</i>; +"one of the finest stanzas I ever read," <i>ii. 42</i>; +with Byron in Spain, <i>ii. 52</i>; +"said they were vultures," <i>ii. 61</i>; +<i>en route</i> for the Negroponte, <i>ii. 75</i>; +<i>Historical Illustrations to the Fourth Canto of Childe Harold</i>, +ii. 313-315, <i>358, 379, 380, 389, 390, 403, 408, 410, 412, 435, 437, 439, 486, 512, 524</i>; +<i>iv. 146, 245</i>; <i>v. 153</i>; <i>vi. 233</i>; +<i>Italy: Remarks made in Several Visits from the Year 1816 to 1854</i>, ii. 315; +<i>Childe Harold</i> dedicated to, ii. 321; +<span class='pagenum'><a name="Page_392" id="Page_392">[392]</a></span> +<i>Letters written by an Englishman resident in Paris, etc.</i>, ii. 326; <i>v. 545</i>; +the Abbé de Sade's <i>Mémoires</i>, <i>ii. 350, 351</i>; +<i>Notes to Childe Harold, Canto IV.</i>, ii. 465-525; +at Theodora Macri's, <i>iii. 16</i>; +the Giaour story, iii. 76; +an odd report about Byron, iii. 218; +<i>Siege of Corinth</i> dedicated to, iii. 445; +his parody of <i>Stanzas to Augusta</i>, <i>iv. 56</i>; +"went to the highest pinnacle," <i>iv. 95</i>; +"pelted with a snowball," <i>iv. 97</i>; +note on Dante, iv. 238; +<i>Essay on the Present Literature of Italy</i>, <i>iv. 245</i>; +on <i>Cain</i>, v. 204; +the MS. of <i>Werner</i>, v. 326; +"about morality," vi. xix; +the Zoili of Albemarle Street, vi. xix, 467; +his article in <i>Westminster Review</i> on <i>Don Juan</i>, <i>vi. 3</i>; +"this is so very pointed," <i>vi. 22</i>; +his remarks on <i>Don Juan</i>, <i>vi. 22, 26, 47, 50, 52, 59, 62, 78, 79, 98</i>; +MS. of <i>Don Juan</i>, <i>Canto XVII.</i>, given to, <i>vi. 608</i>; +on the Lisbon Packet, vii. <a href="#Page_6">6</a>; +<i>Farewell Petition to</i>, vii. <a href="#Page_7">7</a>; +<i>Miscellany</i>, vii. <a href="#Page_8">8</a>; +"will bring it safe in his portmanteau," vii. <a href="#Page_51">51</a>; +<i>My Boy Hubbie O!</i> vii. <a href="#Page_66">66</a>; +his pamphlet, +<i>A Trifling Mistake in Thomas Lord Erskine's recent Preface</i>, <i>vii.</i> <i><a href="#Note_066">66</a></i>; +M.P. for Westminster, vii. <a href="#Page_69">69</a>; +Byron's <i>Love and Death</i>, <i>vii.</i> <i><a href="#Note_085">85</a></i></p> + +<p>Hobhouse, Sir John, iii. 76</p> + +<p>Hobson, Captain, <i>vi. 146</i></p> + +<p>Hoche, General L., ii. 251, 296; vi. 14</p> + +<p>Hock, i. 486</p> + +<p>Hodgson, Rev. Francis, Byron on Boatswain's death, <i>i. 280</i>; +letters from Byron to, <i>i. 280, 282, 379</i>; +<i>ii. 29, 42, 63, 78, 104, 187, 192, 331</i>; +<i>iii. 35, 38, 449</i>; <i>vi. 182, 467</i>; <i>vii.</i> <i><a href="#Note_010">10</a></i>; +<i>Gentle Alterative for the Reviewers</i>, i. 295; +<i>Bland's Greek Anthology</i>, <i>i. 306, 366</i>; <i>iii. 32</i>; +translation of <i>Juvenal</i>, <i>i. 337</i>; +referred to in <i>English Bards, and Scotch Reviewers</i>, i. 375; +<i>Lines on a Ruined Abbey</i>, <i>ii. 20, 170</i>; +Byron's <i>Epistle to a Friend</i>, <i>ii. 163</i>; iii. 28-30; +<i>Lady Jane Grey</i>, <i>ii. 170</i>; +<i>Monitor of Childe Harold</i>, <i>ii. 360</i>; +on the <i>Giaour</i>, <i>iii. 137</i>; +on the <i>Bride of Abydos</i>, iii. 151; +"scribbler Mr. Hodgson," <i>iv. 165</i>; +and <i>Cain</i>, v. 199; +Byron's <i>Lines to—written on board the Lisbon Packet</i>, vii. <a href="#Page_4">4</a>; +MS. of <i>Devil's Drive</i>, <i>vii.</i> <i><a href="#Note_021">21</a></i>; +"principally to shock your neighbour," <i>vii.</i> <i><a href="#Note_042">42</a></i></p> + +<p>Hodgson, Rev. James T., <i>Life of the Rev. Francis Hodgson</i>, +<i>i. 375</i>; <i>ii. 288</i>; <i>iii. 28, 30</i></p> + +<p>Hofmann. <i>Lexicon Universale</i>, <i>ii. 156, 173, 261, 328, 390</i>; <i>iii. 181</i></p> + +<p>Hofmann, C., <i>Primavera y Flor de Romances</i>, <i>iv. 174, 529</i></p> + +<p>Hogarth, caricature of Wilkes, <i>iv. 508</i></p> + +<p>Hohenlinden, battle of, <i>vi. 14</i></p> + +<p>Hohenlohe, Prince, <i>v. 550</i></p> + +<p>Holbein, <i>Dance of Death</i>, vi. 555</p> + +<p>Hole, Rev. Richard, <i>Arthur; or, The Northern Enchantment</i>, <i>i. 314, 436</i></p> + +<p>Holford, Margaret, <i>Margaret of Anjou</i>, vii. <a href="#Page_44">44</a>, <a href="#Page_45">45</a>, <a href="#Page_59">59</a></p> + +<p>Holland, Henry Fox, 1st Lord, <i>ii. 40</i></p> + +<p>Holland, Henry Richard Vassall Fox, 2nd Lord, <i>ii. 80</i></p> + +<p>Holland, Henry Richard Vassall, 3rd Lord, +i. 294, <i>306, 337</i>, 338, 340, <i>356</i>, 380, <i>417</i>; +ii. xi, <i>51-54</i>; iii. 151, 155, <i>170</i>; +"Sir Richard Bluebottle" of <i>The Blues</i>, iv. 570; +his motion on Napoleon's treatment at St. Helena, <i>v. 545</i></p> + +<p>Holland, Elizabeth, Lady (née Vassall), i. 294, <i>355</i>, 380; +<i>ii. 80</i>; <i>vi. 541</i>; +<i>A Memoir of the Rev. Sydney Smith</i>, <i>vi. 596</i>; +Napoleon's snuff-box, vii. <a href="#Page_77">77</a></p> + +<p><span class='pagenum'><a name="Page_393" id="Page_393">[393]</a></span> +Holy Alliance, the, ii. 402; v. 538, 539, <i>564</i>; vi. 267</p> + +<p>Homer, i. 312, <i>379, 398, 404</i>; +vi. 73, 173, 177, <i>211</i>, 263, 327, <i>478</i>; vii. <a href="#Page_62">62</a>; +a punster, <i>i. 377</i>; +<i>Odyssey</i>, <i>i. 426</i>; ii. <i>100</i>, 173; <i>iv. 264</i>; +"and Homer (damn him) calls," <i>i. 427</i>; +in <i>Hints from Horace</i>, i. 432, 438; +the Homeric ghosts, <i>ii. 255</i>; +<i>v.</i> Ariosto, <i>ii. 359</i>; <i>iv. 266</i>; +<i>Iliad</i>, ii. 301, <i>452, 462</i>; <i>v. 488, 512, 573</i>; +vi. <i>117</i>, 218, 339, <i>513</i>, 534; +Dante superior to! ii. 495; +<span title='a)pei/rôn'>ἀπείρων</span>, <i>iii. 179</i>; +his Ocean stream, vi. 218; catalogue of ships, vi. 503</p> + +<p>Homunculi, v. 493</p> + +<p>Hone, W., publisher of +<i>Poems on his Domestic Circumstances</i>, i. 452, 453; iii. xx, <i>24</i>; +<i>Every Day Book</i>, <i>ii. 66</i>; publishes <i>Wat Tyler</i>, <i>iv. 521</i></p> + +<p>Honorius, ii. 35, 86, <i>440</i>, 521</p> + +<p>Hood and Sharpe, publishers, <i>i. 379</i></p> + +<p>Hook, James, <i>A Lass of Richmond Hill</i>, <i>vii.</i> <i><a href="#Note_059">59</a></i></p> + +<p>Hook, Theodore, i. <i>306</i>, 344; +<i>Tekeli</i>; <i>Fortress</i>; <i>Music Mad</i>, <i>i. 341</i>; +editor of <i>John Bull</i>, <i>v. 206</i></p> + +<p>Hoole's <i>Tasso</i>, <i>ii. 143</i></p> + +<p>Hooper, G., <i>Waterloo: The Downfall of the First Napoleon</i>, <i>ii. 234</i></p> + +<p>Hooper, W., <i>Rational Recreations</i>, <i>vi. 550</i></p> + +<p>Hope, Thomas, <i>Anastasius</i>, <i>i. 390</i>; +Byron omits stanzas in <i>Childe Harold</i> on, ii. xi; +<i>Household Furniture and Internal Decoration</i>, <i>ii. 108</i></p> + +<p>Hope, Mrs. Thomas (Louisa Beckford), <i>i. 390</i>; <i>iv. 580</i></p> + +<p>Hoppner, John, R.A., <i>vii.</i> <i><a href="#Note_054">54</a></i></p> + +<p>Hoppner, John William Rizzo, vii. <a href="#Page_54">54</a></p> + +<p>Hoppner, Richard Belgrave, English Consul at Venice, <i>ii. 351</i>; +iv. <i>15, 459</i>, 471, 472, <i>547</i>; vii. <a href="#Page_54">54</a>; +translation of Goethe's review of <i>Manfred</i>, iv. 82</p> + +<p>Horace, <i>Odes</i>, i. 81; <i>ii. 40, 76, 262, 387, 421, 448</i>; +iv. <i>197, 243</i>, 323; vi. <i>15, 77, 78</i>, 236, 453, 521; <i>vii.</i> <i><a href="#Note_073">73</a></i>; +<i>Satires</i>, i. 184; <i>ii. 405</i>; <i>v. 568</i>; vi. 391, <i>446</i>; +<i>Ars Poetica</i>, i. 385, <i>402, 409</i>; ii. ix, xiv; iv. 518; +"Farewell, Horace—whom I hated so," ii. 388; +his Sabine farm, ii. 455, 524; +<i>Epist.</i>, <i>v. 367</i>; vi. 246, <i>273</i>, 474, 490; +Louis XVIII.'s criticisms on Sanadon's translations of, <i>v. 567</i>; +<i>Epist. ad Pisones</i>, vi. <i>15</i>, 177, 505; +Scholar of Love, vi. 139; <i>Epodes</i>, vi. 378, 536; +his Art of Happiness, vi. 490</p> + +<p>Horistan Castle, Derbyshire, i. 2</p> + +<p>Homer, Francis, <i>i. 302, 470</i></p> + +<p>"Horns," "swearing on the," at Highgate, ii. 66</p> + +<p>Horsetails, a Pasha's standard, iii. 480</p> + +<p>Hortensius, vi. 270</p> + +<p>Horton, Eusebius, iii. 381</p> + +<p>Horton, Anne Beatrix, Lady Wilmot, origin of "She walks in beauty," +iii. 381; iv. 569, 570; vii. <i><a href="#Note_054">54</a></i>, <a href="#Page_61">61</a></p> + +<p>Horton, Sir Robert J. Wilmot, vii. <a href="#Page_54">54</a></p> + +<p>Hoste, Captain Sir William, iv. 456</p> + +<p>Hounslow Heath, i. 484</p> + +<p>Houris, ii. 60; iii. 110; vi. 364</p> + +<p><i>Hours of Idleness, and Other Early Poems</i>, i. xi-xiii, 1-288, +<i>303, 311, 374, 432</i>; <i>iii. 182</i>; <i>iv. 67</i></p> + +<p>Houson, Miss Anne, i. 70, 244, 246, 251, 253</p> + +<p>Houson, Rev. Henry, <i>i. 70</i></p> + +<p>Howard, Hon. Frederick, <i>i. 355</i>; ii. <i>11</i>, 234, 293</p> + +<p>Howatt, Hill, iv. 31</p> + +<p>Howe, Admiral Richard, Earl ("Black Dick"), <i>v. 588</i>; vi. 12, 14</p> + +<p>Howell, <i>iv. 167</i></p> + +<p>Hoyle, Rev. Charles, <i>Exodus</i>, i. 372, <i>430</i></p> + +<p>Hoyle, Edmund, <i>i. 372</i>; vi. 173</p> + +<p>Hroswitha, <i>Lapsus et Conversio Theophrasti Vice-domini</i>, iv. 81</p> + +<p><span class='pagenum'><a name="Page_394" id="Page_394">[394]</a></span> +Huascar, Supreme Inca of Peru, <i>ii. 82</i></p> + +<p>Hucknall Torkard Church, <i>i. 3, 70</i>; <i>ii. 334</i>; iv. <i>14</i>, 479</p> + +<p>Hughes, <i>iii. 16</i></p> + +<p>Hughes, Mrs., <i>vi. 496</i></p> + +<p>Hugo, Victor, <i>Les Feuilles d'Automne, ii. 358</i>; +<i>Le Rhin</i>, <i>iv. 14</i>; <i>Orientale</i>, iv. 202</p> + +<p>Hulme, Thomas, <i>Journal</i>, <i>vi. 554</i></p> + +<p><i>Humane Society</i>, vi. 50</p> + +<p>Humboldt, Baron Alexander von, v. 539; vi. 215</p> + +<p>Hume, David, <i>History of England</i>, <i>i. 374</i>; <i>ii. 266</i></p> + +<p>Hume, Joseph, <i>ii. 504</i></p> + +<p>Hungary, Bethlen Gabor, king of, iv. 331; <i>v. 349, 352</i></p> + +<p>Hunt, James Henry Leigh, +his copy of <i>Fourth Edition of Childe Harold</i>, i. xvi, <i>311, 334</i>; +Byron's letters to, iii. 218; v. 537, 582, 584; +<i>Lord Byron and Some of his Contemporaries</i>, <i>iii. 474</i>; +<i>Autobiography</i>, <i>iii. 509</i>; <i>vi. 26</i>; +the <i>Examiner</i>, iii. 532, <i>538</i>; +<i>Story of Rimini</i>, <i>iv. 36</i>; +<i>Stories from the Italian Poets</i>, iv. <i>275</i>, 281, 314; +<i>Morgante Maggiore</i>, <i>iv. 285</i>; +the <i>Liberal</i>, iv. 571; +in Horsemonger Lane Gaol, vii. <a href="#Page_16">16</a>; +"Blackguard Hunt," vii. <i><a href="#Note_067">67</a></i>, <a href="#Page_68">68</a></p> + +<p>Hunt, John, iv. 281, <i>285</i>, 478, 479; v. 279, 325, 537, 581; +publishes <i>The Deformed Transformed</i>, v. 472; +and <i>Don Juan</i>, vi. xvi</p> + +<p>Hunt, Dr., i. 455</p> + +<p>Hunter, <i>Imperial Gazetteer of India</i>, <i>v. 631</i></p> + +<p>Hunter, William, <i>vi. 412</i></p> + +<p><i>Huntingdon Peerage</i>, <i>ii. 215</i></p> + +<p>Huntly, George, 2nd Earl of, <i>i. 173</i></p> + +<p>Huon, of Bordeaux, v. 496</p> + +<p>Hussite, or Taborite, Crusade, <i>v. 549</i></p> + +<p>Hyde of land, a, vi. 411</p> + +<p>Hydra, Hydrea, or Idra, island, i. 457; iii. 270</p> + +<p>Hyginus, <i>Fabulæ</i>, <i>iv. 287</i>; <i>vi. 535</i></p> + +<p>Hymettus, i. 459; ii. 157; iii. 271</p> + +<p>Hypocrisy, vi. 410, 453</p> + +<p>Hypsilantes, <i>v. 556</i></p> + + +<p>I</p> + +<p><i>I saw thee weep</i>, iii. 390</p> + +<p><i>I would I were a careless child</i>, i. 205</p> + +<p>"Ianthe" ("Flower o' the Narcissus"). <i>See</i> Harley, Lady Charlotte M.</p> + +<p>Ibort, Jorge (Tio Jorge), ii. 94; v. 559</p> + +<p>Ibrahim Pasha, ii. 174</p> + +<p><i>Ich Dien</i> (<i>Windsor Poetics</i>), vii. <a href="#Page_36">36</a></p> + +<p>Idra, Hydra, or Hydrea, island, i. 457; iii. 270</p> + +<p>Iermolof, Catherine II.'s favourite, vi. <i>388</i>, 389</p> + +<p><i>If that high world</i>, iii. 383</p> + +<p>Ihne, <i>Hist. of Rome</i>, <i>ii. 377</i></p> + +<p>Ile de Paix, iv. 26</p> + +<p>Ilissus, <i>i. 459; iii. 272</i></p> + +<p>Illyria, ii. 129</p> + +<p><i>Imitated from Catullus</i>, i. xi, 75</p> + +<p><i>Imitation of Tibullus</i>, i. 74</p> + +<p><i>Imitations and Translations</i>, +i. <i>264, 266, 268, 272, 277, 281-283, 285, 287</i>, 288; <i>vi. 62</i></p> + +<p>Imlay, <i>North America</i>, <i>vi. 349</i></p> + +<p><i>Imperial Dictionary</i>, <i>ii. 137</i></p> + +<p><i>Imperial Gazetteer of India</i>, <i>v. 631</i></p> + +<p><i>Imperial Magazine</i>, <i>iv. 43</i></p> + +<p><i>Impromptu</i>, vii. <a href="#Page_82">82</a></p> + +<p><i>Impromptu, in reply to a friend</i>, iii. 69</p> + +<p><i>Incantation, the</i> (<i>Manfred</i>), iv. <i>15, 63, 64</i>, 79, <i>91</i></p> + +<p><i>Independent Whig</i>, iii. 534</p> + +<p>India, i. 468; conquered by Dionysus, v. 21; invaded by Nadir Shah, vi. 384</p> + +<p>Inglefield, Captain, H.M.S. <i>Centaur</i>, <i>vi. 90, 92, 94-96, 99</i></p> + +<p>Ingleston, George, "Brewer," <i>i. 433</i></p> + +<p>Innocent II., Pope, <i>ii. 389</i></p> + +<p>Inquisition, Spanish, v. 558</p> + +<p><i>Inscription on the Monument of a Newfoundland Dog</i>, i. 280; <i>ii. 30; vi. 304</i></p> + +<p><span class='pagenum'><a name="Page_395" id="Page_395">[395]</a></span> +Interlaken, <i>iv. 119</i></p> + +<p>Invercauld, <i>i. 171</i></p> + +<p>Ionian Islands, ii. 193</p> + +<p>Iphis, <i>ii. 13</i></p> + +<p>Irad, son of Enoch, <i>v. 285</i></p> + +<p>Ireland, W. H. ("Flagellum"), +<i>All the Blocks, an Antidote to All the Talents</i>, i. 294, 356</p> + +<p><i>Iris, The</i>, <i>i. 331</i>, ii. 383</p> + +<p>Irish and Carthaginians, vi. 337</p> + +<p><i>Irish Avatar</i>, iv. <i>49</i>, 555; vi. 368, <i>439</i></p> + +<p>Iron Mask, Man in the, iv. 514</p> + +<p>Irving, Sir Henry, iv. 78; as "Werner," v. 324</p> + +<p>Irving, Washington, +<i>Abbotsford and Newstead Abbey</i>, iv. 32, 38; <i>vi. 497</i>, +<i>Chronicle of the Conquest of Granada, vi. 30</i>, +<i>History of the Life and Voyages of Christopher Columbus, vi. 552</i></p> + +<p><i>Isaiah</i>, ii. 166, <i>398</i>, iii. 305</p> + +<p>Iskra, iv. 202</p> + +<p><i>Island, The; or, Christian and his Comrades</i>, <i>i. 173; +iii. 459, 467, 494</i>, v. 579-639; iv. <i>61</i>, 485; +<i>v. 514</i>, vi. xvi, <i>106, 193, 405</i></p> + +<p>Isles of Greece, vi. 169</p> + +<p>Ismail, siege of, vi. 264, 304-370</p> + +<p>Ismenus river, ii. 189</p> + +<p>Israello, Bertuccio, iv. <i>356</i>, 464</p> + +<p>Italy, ii. 361; iv. 256; vi. 8</p> + +<p>Ithaca, ii. 124, 177</p> + +<p>Itys, <i>iv. 287</i></p> + +<p>Ilulus, i. 159</p> + + +<p>J</p> + + + +<p>Jackals, vi. 382</p> + +<p>Jackson, General Andrew, <i>iii. 298</i></p> + +<p>Jackson, "Gentleman," i. 433; <i>iv. 303; vi. 433</i></p> + +<p>Jackson, James Grey, <i>Account of the Empire of Marocco and Suez ... to +which is added an account of Tombuctoo</i>, <i>vi. 51, 198</i></p> + +<p>Jackson, Lady, <i>The Court of the Tuileries</i>, <i>v. 567</i></p> + +<p>Jackson, Rev. Luke, <i>i. 70</i></p> + +<p>Jackson, William, a Keswick carrier, <i>vi. 177</i></p> + +<p>Jacobi, M., <i>i. 494</i></p> + +<p>Jacobinism, <i>v. 544</i></p> + +<p>Jacob's <i>Reports</i>, v. 204; <i>vi. 460</i></p> + +<p>Jacobs, <i>Epig. Græc</i>., i. 18</p> + +<p>Jamat-al-Aden, the Mussulman paradise, iii. 197</p> + +<p>Jamblichus, the philosopher, iv. 105; <i>v. 480</i></p> + +<p>James I., <i>i. 173, 198</i>, iv. 543</p> + +<p>James II., ii. <i>121</i>, 292; iv. <i>504</i></p> + +<p>James V., ii. 295</p> + +<p>Jāmā, <i>Medjnoun and Leila</i>, <i>iii. 160</i></p> + +<p>Janina, or Joannina (Yanina), lake of, ii. 129, 179, 189; +Archbishop of, <i>iii. 145</i></p> + +<p>Japhet, v. 284</p> + +<p>Jason, <i>i. 170</i>, vi. <i>177</i>, 521</p> + +<p>Jassy, Treaty of, <i>v. 551</i></p> + +<p>Jeaffreson, Cordy, <i>Real Lord Byron</i>, iv. 32</p> + +<p>Jefferies, Judge, i. 332</p> + +<p>Jefferson, Thomas, <i>iv. 159</i></p> + +<p>Jeffrey, Francis, Lord, +referred to in <i>English Bards, and Scotch Reviewers</i>, +i. xiv, 301, 302, 332, 333, 339; +Moore's duel with, i. <i>203</i>, 305, 333-335, 380; +"self-constituted Judge of Poesy," i. 301; +"his pay is just the sterling pound a sheet," i. 302; +founder of the <i>Edinburgh Review</i>, i. 302; <i>v. 338</i>; +reviews <i>Marmion</i> in <i>E.R.</i>, <i>i. 310</i>, +Montgomery's poems in <i>E.R.</i>, <i>i. 331</i>; +article on de Cavallos' work in <i>E.R.</i> by Brougham and, <i>i. 338</i>; +Byron accused of personality towards, i. 382; +"the Devil and Jeffrey," i. 429; +lines in <i>Hints from Horace</i> on, i. 430-433; +counsel for Sir F. Burdett v. William Scott, <i>i. 436</i>, +his articles in <i>E.R.</i> on:—<i>Childe Harold</i>, ii. 213; +<i>Giaour</i>, iii. 77; +<i>Corsair</i> and <i>Bride of Abydos</i>, iii. 151, 219; +<i>Hebrew Melodies</i>, iii. 377; +<i>Prisoner of Chillon</i>, iv. 6; +<i>Manfred</i>, iv. 80-82; <i>Beppo</i>, iv. 158; +<i>Prophecy of Dante</i>, and <i>Marino Faliero</i>, iv. 329; +<i>Sardanapalus</i>, <i>Two Foscari</i>, and <i>Cain</i>, v. 5, 119, 204; +<i>Heaven and Earth</i>, v. 282; +<span class='pagenum'><a name="Page_396" id="Page_396">[396]</a></span> +<i>Werner, v. 338</i>; <i>Don Juan</i>, vi. xx; +"refreshing," iv. 574; on Moore and Byron, v. 280; +on the Pantisocratic or Lake School, vi. 175; +on Byron's abuse of Southey, vi. 403; +"once my most redoubted foe," vi. 404; +his review of Barry Cornwall's <i>Sicilian Story</i>;—comparison +of <i>Don Juan</i> with <i>Diego di Montilla, vi</i>, <i>445</i>; +holds up Scott as an example to Byron, vi. 459</p> + +<p>Jehoshaphat, valley of, iv. 288</p> + +<p>Jekyll, Joseph, <i>Corr</i>., <i>i. 319</i>; <i>vi. 413, 504</i></p> + +<p>Jemappes, battle of, <i>vi. 13</i></p> + +<p>Jenner, Edward, <i>i. 307</i>; and vaccination, vi. 50</p> + +<p>Jephson, <i>Two Strings to your Bow</i>, <i>i. 345</i>; +<i>The Servant with Two Masters</i>, <i>i. 445</i></p> + +<p><i>Jephtha's Daughter</i>, iii. 387</p> + +<p><i>Jeremiah</i>, <i>iii. 312</i>; <i>iv. 43</i></p> + +<p>Jerningham, Edward, <i>The Nunnery</i>; <i>The Old Bard's Farewell</i>, i. 383</p> + +<p><i>Jerningham Letters</i>, <i>i. 383</i></p> + +<p>Jerningham, Sir George, Bart., <i>i. 383</i></p> + +<p>Jerreed, djerrid, jarīd, a Turkish javelin, in. 97, <i>168</i></p> + +<p>Jersey, Sarah, Countess of, <i>vi. 541</i>; vii. <a href="#Page_37">37</a>, <a href="#Page_40">40</a></p> + +<p>Jersey, Earl of, iv. 472</p> + +<p>Jerusalem, iii. 401</p> + +<p>Jesse, J. H., <i>Memoirs, etc., of George III.</i>, <i>vii.</i> <i><a href="#Note_031">31</a></i></p> + +<p>Jesuits, the, ii. 493; <i>v. 558</i></p> + +<p>Jesus Christ, vi. 267</p> + +<p><i>Jeux d'Esprit and Minor Poems, 1798-1824</i>, vii. <a href="#Page_1">1</a>-88</p> + +<p>Jews, v. 100, 236, 573</p> + +<p>Jex-Blake, K., <i>The Elder Pliny's Chapters on the History of Art</i>, <i>ii. 432</i></p> + +<p>Joan of Arc, i. 313</p> + +<p>João V., Don, ii. 87</p> + +<p><i>Job, Book of</i>, iii. 406; iv. 498; vi. 59, <i>605</i>; vii. <a href="#Page_34">34</a></p> + +<p>Joel, <i>iv. 43</i></p> + +<p><i>John Bull</i>, iv. <i>555</i>, 571; <i>v</i>. 206</p> + +<p><i>John Bull's Letter</i>, <i>iii. 280</i>; <i>vi. 75</i></p> + +<p>John, of Trocnow, surnamed Zižka, or the "One-eyed," v. 549</p> + +<p>John George, elector of Saxony, v. 373</p> + +<p>John II. of France, <i>v. 549</i></p> + +<p>John Casimir V., king of Poland, iv. 201, 205, 211, 212; <i>vi. 246</i></p> + +<p><i>John Keats</i>, vii. <a href="#Page_76">76</a></p> + +<p>Johnson, James, <i>Musical Museum</i>, <i>vi. 64</i></p> + +<p>Johnson, Miss, <i>iii. 45</i></p> + +<p>Johnson, Dr. Samuel, <i>Lives of the Poets</i>, <i>i. 220, 401, 416, 423</i>; +<i>Prologue to Irene</i>, <i>i. 400</i>; +Boswell's <i>Life of</i>, <i>i. 401, 409, 449</i>; <i>ii. 460, 489</i>; <i>vi. 247</i>; +<i>Rasselas</i>, <i>ii. 37</i>, iii. 145; vi. 574; +"Hell is paved with good intentions," iv. 499; +"brandy for heroes," <i>v. 592</i>; <i>Life of Milton</i>, vi. 174; +<i>Life of Dryden</i>, <i>vi. 182</i>; <i>Vanity of Human Wishes</i>, <i>vi. 183</i>; +on misers, <i>vi. 455</i>; "liked an honest hater," vi. 482; +<i>Dictionary</i>, <i>vi. 575</i>, +and Lord Auchinlech's reminder, <i>vii.</i> <i><a href="#Note_035">35</a></i></p> + +<p>Johnston, J., "the Cheapside impostor," ii. 212, 213; iii. xx</p> + +<p>Johnston, Major, leader of insurrection (1805) in N.S. Wales, <i>v. 588</i></p> + +<p>Johnstone, Sir James, <i>ii. 4</i></p> + +<p>Joncières, Victorini, v. 2</p> + +<p>Jones, Inigo, <i>iv. 161</i></p> + +<p>Jones, Sir William, <i>iii. 86</i>; +<i>A Grammar of the Persian Language</i>, <i>iii. 100</i>; +<i>Solima</i>, <i>iii. 110</i>; +<i>Asiatic Research</i>, <i>iv. 555</i></p> + +<p>Jonson, Ben, i. <i>304</i>, 398, 420; iv. 239; and Sylvester, <i>vi. 7</i>; +<i>Every Man in his Humour</i>, <i>vi. 68</i></p> + +<p>Jordan, Mrs., <i>i. 353</i></p> + +<p>Jordan, Professor, <i>ii. 413</i></p> + +<p>Jornandes, <i>De Getarum Origine</i>, iii. 235</p> + +<p>Joseph and Potiphar's wife, <i>vi. 255</i></p> + +<p>Joseph, king, ii. <i>53</i>, 89</p> + +<p>Joseph II., Emperor, <i>vi. 313. 414</i></p> + +<p>Josephus, <i>v. 208</i></p> + +<p>Joshua, grave of, <i>vi. 220</i></p> + +<p><span class='pagenum'><a name="Page_397" id="Page_397">[397]</a></span> +Joubert, Barthélémi Catherine, vi. 14</p> + +<p><i>Journal de Savants</i>, <i>iv. 578</i></p> + +<p><i>Journal de Trévoux</i>, iv. 578</p> + +<p><i>Journal des Economistes</i>, <i>vi. 461</i></p> + +<p><i>Journal in Cephalonia</i>, vii. <a href="#Page_83">83</a></p> + +<p><i>Journal of a Soldier of the 71st Regiment</i>, <i>vi. 376</i></p> + +<p><i>Journal of the Archæological Association</i>, <i>vi. 497</i></p> + +<p><i>Journals of the House of Lords</i>, <i>iv. 542</i></p> + +<p>Joy, Mr., iv. 472</p> + +<p>Juba, king of Mauretania, <i>vi. 236</i></p> + +<p><i>Judges</i>, <i>iii. 118</i></p> + +<p>Julia Alpinula, ii. 256, 299</p> + +<p><i>Julian</i> (<i>A Fragment</i>), iii. xxi, 419</p> + +<p>Julian Alps ("Friuli's mountains"), ii. 348</p> + +<p>Julian, Count, ii. 46, 89</p> + +<p>Julian the Apostate, vi. 9</p> + +<p>Juliet, i. 37, <i>38</i>; her tomb at Verona, <i>v. 562</i></p> + +<p>Julius Alpinus, ii. 299</p> + +<p>Julius Cæsar, ii. <i>375</i>, 392, 434, 490, 514, <i>520</i>; v. 476</p> + +<p><i>Julius Cæsar</i>, vi. 268</p> + +<p>Julius II., Pope, <i>iv. 271, 273</i>; <i>vi. 212</i></p> + +<p>Julius III., Pope, ii. 508</p> + +<p>Jungfrau, the, ii. 385; iv. 81, 82, 94, <i>102</i>, 109</p> + +<p>Junia, wife of Cassius, <i>ii. 374</i></p> + +<p><i>Junius, Letters of</i>, iv. 476, 480, 512-515</p> + +<p><i>Juno</i>, wreck of the, <i>vi. 105, 107, 108</i></p> + +<p>Junot (Duke d'Abrantés), <i>ii. 39, 40</i></p> + +<p>Jupiter, i. 14; vi. 130</p> + +<p>Jupiter Olympius, temple of, <i>i. 462</i>; ii. 167</p> + +<p>Jupiter Optimus Maximus, temple of, ii. 412</p> + +<p>Jura range, the, ii. 269, 273</p> + +<p>Justin Martyr, <i>ii. 513</i></p> + +<p>Justinian, <i>ii. 166</i></p> + +<p>Justinius, <i>Hist.</i>, <i>ii. 60</i>; <i>iv. 40</i>; <i>v. 79</i></p> + +<p><i>Juvenal</i>, <i>i. 297, 303, 304, 351</i>; +ii. <i>187</i>, 190, <i>416</i>, 516; +iii. <i>16</i>, 301; +<i>v. 63, 64, 543, 613</i>; vi. 27, <i>139, 254-256</i></p> + +<p><i>Juvenilia</i>, i. xi</p> + + +<p>K</p> + +<p>Kaff (Mount Caucasus), i. 378; vi. 292</p> + +<p>Kahn, Gustave, <i>Don Juan</i>, vi. xx</p> + +<p>Kalamas river (Acheron), ii. 131, 180, 181</p> + +<p>Kalamata, gulf of, <i>iii. 249</i></p> + +<p>Kaleidoscope, vi. 109</p> + +<p>Kamschatka, i. 492</p> + +<p>Kant, Professor Immanuel, vi. 418; <i>vii.</i> <i><a href="#Note_032">32</a></i></p> + +<p>Kara Osman, or Carasman, Oglou, iii. 166</p> + +<p>Kashmeer, the butterfly of, iii. 105</p> + +<p>Katzones, Lambros, iii. 194, 219</p> + +<p>Kava, cava, or ava, a Tongan intoxicating drink, v. 600</p> + +<p>Kazdaghy, Mount, <i>vi. 211</i></p> + +<p>Kean, Charles, as "Sardanapalus," v. 2; +as "Manuel, Count Valdis," <i>vii.</i> <i><a href="#Note_048">48</a></i></p> + +<p>Kean, Mrs. Charles (Miss Ellen Tree), iv. 78; +as "Myrrha" in <i>Sardanapalus</i>, v. 2</p> + +<p>Kean, Edmund, <i>i. 344</i>; <i>iv. 338, 436, 584, 587</i></p> + +<p>Keary, C. F., <i>The Francis Letters</i>, <i>iv. 513</i></p> + +<p>Keates, Admiral Sir Richard Goodwin, <i>iii. 25</i></p> + +<p>Keats, George, <i>vi. 446</i></p> + +<p>Keats, Georgiana, <i>vi. 446</i></p> + +<p>Keats, John, <i>Lines</i> on, iii. xx; vii. <a href="#Page_76">76</a>; and Coleridge, <i>v. 175</i>; +"killed off by one critique," vi. 445; <i>Endymion</i>, <i>vii.</i> <i><a href="#Note_076">76</a></i></p> + +<p>Kebbiera, Lilla, <i>vi. 160</i></p> + +<p>Keble, <i>Christian Year</i>, ii. 292</p> + +<p>Keith, Lord, <i>iii. 428</i></p> + +<p>Kellerman, General, <i>ii. 39</i></p> + +<p>Kemble, Charles, i. 46, <i>344, 353</i></p> + +<p>Kemble, John Philip, <i>iv. 338</i></p> + +<p>Kendal, Duchess of, <i>iii. 209</i></p> + +<p>Kennard, John Peirse, <i>v. 175</i></p> + +<p>Kennedy, Dr. James, <i>Conversations on Religion with Lord Byron</i>, +<i>iii. 393</i>; v. 199</p> + +<p><span class='pagenum'><a name="Page_398" id="Page_398">[398]</a></span> +Kennet, D.D., White, <i>Memoirs of the Family of Cavendish</i>, <i>v. 615</i></p> + +<p>Kenney, James, <i>i. 306</i>; <i>Raising the Wind</i>, i. 342; +<i>Sweethearts and Wives</i>, <i>i. 343</i></p> + +<p>Kent, Duke of, i. 498</p> + +<p><i>Kent's London Directory</i>, <i>iv. 583</i></p> + +<p>Kentucky, wars of, vi. 348</p> + +<p>Keppel, Admiral Augustus, Viscount, vi. 12</p> + +<p>Khmelnítzky, Bogdán, <i>iv. 211</i></p> + +<p>Kibitka, springless carriage, vi. 383</p> + +<p>Kidd, Captain, vii. <a href="#Page_5">5</a></p> + +<p>Kiepert, <i>Carte de l'Épire et de la Thessalie</i>, ii. xxiv</p> + +<p>Killiecrankie, ii. 292</p> + +<p>Kilworth, Lord, <i>i. 485</i></p> + +<p>King, "Jew," <i>i. 357</i>; <i>vi. 100</i></p> + +<p>King, Leonard W., his article "Assyria" in <i>Enc. Biblica</i>, v. 4</p> + +<p>King, R. J., <i>Handbook to the Cathedrals of England</i>, <i>vi. 596</i></p> + +<p>King, Rosa, i. 357</p> + +<p><i>King John</i>, i. 356; vi. 165</p> + +<p><i>King Lear</i>, ii. 196; vi. 256, 446</p> + +<p><i>King Richard</i>, i. 401</p> + +<p>King's College, Cambridge, i. 392</p> + +<p><i>Kings, Book of</i>, <i>v. 107</i></p> + +<p>Kingsley, Rev. Charles, <i>Last Buccaneer</i>, <i>iii. 451</i>; +on <i>Don Juan</i>, vi. xviii; <i>Westward Ho!</i> <i>vi. 483</i>; +<i>Letters and Memoirs</i>, <i>vi. 517</i></p> + +<p>Kinkel, G., editor of <i>Bibliotheca Teubneriana</i>, <i>iv. 243</i></p> + +<p>Kinnaird, Douglas, iii. 375, <i>402</i>; +iv. 70, <i>343</i>, 472, 478, <i>545, 549</i>; v. 325, 537; +vi. <i>12, 100</i>, 373, <i>450, 455, 458, 546</i>; <i>vii.</i> <i><a href="#Note_077">77</a></i>; +<i>Letter to the Earl of Liverpool</i>, <i>vi. 374</i>; +<i>Letter to the Duke of Wellington on the Arrest of M. Marinet</i>, <i>ibid.</i></p> + +<p>Kinnaird, Lord, iv. 472</p> + +<p>Kipling, Rudyard, <i>Barrack-Room Ballads</i>, <i>v. 72</i></p> + +<p>Kirk, J. F., <i>History of Charles the Bold</i>, ii. 298</p> + +<p>Kit-Cat Club, <i>vii.</i> <i><a href="#Note_057">57</a></i></p> + +<p>Kitto, <i>Travels in Persia</i>, <i>v. 294</i></p> + +<p>Kizlar aghasi, head of the black eunuchs, iii. 168</p> + +<p>Kleeman, Nicholas Ernest, <i>Voyage de Vienne à Belgrade</i>, <i>vi. 216, 280</i></p> + +<p>Klencke, Professor, <i>Alexander von Humboldt</i>, <i>vi. 216</i></p> + +<p>Knebel, iv. 81</p> + +<p>Kneller, Sir Godfrey, <i>vi. 496</i></p> + +<p>Knight, <i>American Mechanical Dictionary</i>, <i>v. 404</i></p> + +<p>Knight, Cornelia, <i>Personal Reminiscences</i>, <i>v. 563</i>; +<i>Autobiography</i>, <i>vii.</i> <i><a href="#Note_035">35</a></i></p> + +<p>Knight, H. Gally (<i>Ilderim, a Syrian Tale</i>; <i>Phrosyne, a Grecian Tale</i>; +<i>Alashtar, an Arabian Tale</i>), +iv. 175; vi. 230; vii. <a href="#Page_44">44</a>, <a href="#Page_45">45</a>, <a href="#Page_51">51</a>, <i><a href="#Note_060">60</a></i>, <a href="#Page_70">70</a>; +Byron's <i>Ballad</i> on, vii. <a href="#Page_58">58</a></p> + +<p>Knight, Richard Payne, <i>Taste</i>, <i>i. 337, 383</i>; +<i>Monody on the death of C. J. Fox</i>, <i>i. 356</i>; +<i>Specimens of Ancient Sculpture</i>, i. <i>378</i>, 454</p> + +<p>Knight, Professor W., +<i>Life of William Wordsworth</i>, <i>iv. 341, 582</i>; <i>vi. 91, 178</i>; +<i>Shakespeare</i>, <i>vi. 487, 502</i></p> + +<p>Knight and Lacy, i. <i>234</i>, 452</p> + +<p>Knights of St. John, <i>iv. 400</i></p> + +<p>Knolles, <i>The Turkish History</i>, vi. 259</p> + +<p>Koch, <i>History of Europe</i>, <i>i. 468</i>; <i>ii. 364</i>; <i>iv. 197</i></p> + +<p>Kochlani horses, v. 496</p> + +<p>Kodrikas, Professor Panagios (Panagiotes), translation of <i>Fontenelle</i>, ii. 198</p> + +<p>Koepang Bay, v. 583</p> + +<p>Kölbing, Professor Engen (<i>Englische Studien</i>), +<i>Ada Byron, ii. 289</i>; +<i>Siege of Corinth</i>, iii. 442, <i>449, 454, 472, 475, 496</i>; +<i>Prisoner of Chillon, and other Poems</i>, iv. 6, <i>15, 21, 42</i>; +<i>Mazeppa</i>, <i>iv. 214</i>; +<i>Marino Faliero</i>, iv. 324, 329</p> + +<p>Kolokotrones, <i>v. 556</i></p> + +<p>Kopreas, the herald, <i>ii. 431</i></p> + +<p>Korân, the, iii. <i>103, 109, 110, 113, 119</i>, 181, 186, <i>195</i>, 206</p> + +<p>Kosciusko, v. 550, 551; vi. 418</p> + +<p>Kotchúbey, Matrena, iv. 202</p> + +<p><span class='pagenum'><a name="Page_399" id="Page_399">[399]</a></span> +Kotzebue, Augustus Frederick Ferdinand von, <i>Pizarro</i>, i. 344, 489</p> + +<p>Kourakin, Prince Alexis Borisovitch, vi. 307</p> + +<p>Koutousof, Michailo Smolenskoi, +Commander of Austro-Russians at Austerlitz, vi. 351-354</p> + +<p>Koutsonika, Suliote leader, ii. 180</p> + +<p>Krasnoi, battle of, <i>iv. 207</i></p> + +<p>Krdschalies, Turkish levies, <i>iii. 188</i></p> + +<p>Krüdener, Baronne de (Barbe Julie de Wietenhoff), <i>v. 564</i></p> + +<p>Kruitzner, Friedrich (Count Siegendorf), v. 327</p> + +<p><i>Kunst und Alterthum</i>, iv. <i>21</i>, 80, 81, <i>340</i></p> + +<p>Kyrle, John, "The Man of Ross," vi. 350</p> + + +<p>L</p> + +<p>La Bédoyère, Charles Angélique François Huchet, Comte de, iii. 431</p> + +<p><i>La Revanche</i>, vii. <a href="#Page_15">15</a></p> + +<p>Lacedæmon, ii. 155</p> + +<p><i>Lachin y Gair</i>, i. 171</p> + +<p>Lactantius, <i>De Falsâ Religione</i>, ii. 512</p> + +<p><i>Lady Hobart</i>, wreck of the ship, <i>vi. 96, 109, 110</i></p> + +<p><i>Lady of the Lake, ii. 347</i></p> + +<p>Laertius, Diogenes, i. 18, <i>414</i></p> + +<p>La Fayette, <i>v. 567</i>; vi. 13</p> + +<p>Lafitte, Jacques, Governor of Bank of France, vi. 456</p> + +<p>Lafitte, Jean, chief of the Pirates of Barataria, <i>iii. 296-298</i></p> + +<p>Lafitte, Marshal, <i>v. 567</i></p> + +<p>Lafitte, Pierre, <i>iii. 297</i></p> + +<p>La Fontaine, de, vi. xviii; <i>Contes et Nouvelles en Vers</i>, <i>vi. 62</i></p> + +<p>La Harpe, Frédéric César, v. 564</p> + +<p>Laing, Malcolm, <i>History of Scotland, etc.</i>; <i>Poems of Ossian, etc.</i>, <i>i. 183</i></p> + +<p>Laïus, <i>ii. 431</i></p> + +<p>Lake School of Poets, the, <i>ii. 115, 281</i>; iii. 320, <i>473</i>; +<i>iv. 184, 339, 485</i></p> + +<p><i>Lalla Rookh</i>, <i>iii. 181, 186</i>; <i>iv. 176, 587</i></p> + +<p>Lamartine, <i>Voyage en Orient</i>, <i>ii. 171</i></p> + +<p>Lamb, Lady Caroline (<i>Glenarvon</i>), i. <i>301</i>, 476; ii. 429; +iii. xx, xxi, <i>31</i>, 59; <i>iv. 177</i>; v. 329; vi. 138, 451; vii. <a href="#Page_45">45</a></p> + +<p>Lamb, Sir P., Viscount Melbourne, i. <i>300</i>, 380; <i>vii.</i> <i><a href="#Note_015">15</a></i></p> + +<p>Lamb, Charles, <i>i. 329, 343, 438</i>; <i>ii. 22</i>, iv. 478; +<i>Specimens of English Dramatic Poets</i>, iv. 81, <i>377</i>; <i>v. 489</i>; +<i>Triumph of the Whale</i>, iii. xx; +<i>On the Tragedies of Shakespeare</i>, <i>v. 339</i>; +<i>Fragments of Criticism</i>, <i>vii.</i> <i><a href="#Note_018">18</a></i></p> + +<p>Lamb, Hon. George, i. 300-302, <i>306</i>, 368, 380; <i>vii.</i> <i><a href="#Note_015">15</a></i>; +<i>Whistle for It</i>, i. 338</p> + +<p>Lamb, Hon. Mrs. George (Caroline Rosalie Adelaide St. Jules), +<i>i. 301</i>; <i>iii. 31, 32</i>, vii. <a href="#Page_15">15</a></p> + +<p>Lamb, Mary, <i>i. 343</i></p> + +<p>Lamb, William, <i>i. 300, 306</i></p> + +<p>Lamberti, Anton Maria, <i>La biondina in gondoleta</i>, iv. <i>456</i>, 457</p> + +<p>Lambro Canzani (or Lambros Katzones), iii. 194, 219</p> + +<p>Lamech, v. 209</p> + +<p><i>Lament of Tasso</i>, <i>ii. 354</i>; <i>iii. 503</i>; +iv. 139-152, 237, <i>266</i>; <i>v. 152</i>; <i>vii.</i> <i><a href="#Note_055">55</a></i></p> + +<p><i>Lamentations</i>, ii. 166</p> + +<p><i>L'Amitié est l'Amour sans Ailes</i>, i. <i>106</i>, 220; <i>ii. 12</i></p> + +<p>Lamotte, <i>i. 423</i></p> + +<p><i>Lancashire Glossary</i>, <i>ii. 71</i></p> + +<p>Lancaster, Henry, Duke of, <i>v. 549</i></p> + +<p>Lanciani, Professor R., <i>Ruins and Excavations of Ancient Rome</i>, +<i>ii. 413, 416, 424, 425, 436, 440</i></p> + +<p>Lancilotto, iv. 321</p> + +<p>Landino, <i>Commentary on Dante</i>, <i>iv. 272</i></p> + +<p>Landor, Walter Savage, Works, <i>iii. 402</i>; +<i>Idyllia Heroica Decem. Librum Phaleuciorum Unum</i>, iv. 484; +<i>Gebir</i>, iv. 485; <i>v. 613, 614</i>; +<i>A Satire on Satirists, etc.</i>, <i>iv. 518</i>; <i>v. 614</i>; +<i>Juvenal</i>, <i>v. 613</i>; +"that deep-mouthed Boeotian," vi. 445; +<span class='pagenum'><a name="Page_400" id="Page_400">[400]</a></span> +his use of "commence" with the infinitive, <i>vi. 567</i></p> + +<p>Landsknechts, the, <i>v. 520</i></p> + +<p>Landwehr, Prussian troops at Leipsic battle, vii. <a href="#Page_23">23</a></p> + +<p>Lanfranchi, Palazzo, <i>vi. 402</i></p> + +<p>Lang, Andrew, <i>Life and Letters of J. G. Lockhart</i>, iii. 532; +<i>The Making of Religion</i>, <i>v. 601</i></p> + +<p>Langeron, Andrault, Comte de, vi. 312</p> + +<p>Langhorne, Rev. John, translator of <i>Plutarch's Lives</i>, +<i>iv. 109, 251, 352, 386, 423</i>; v. 4, 5, <i>21, 72, 486, 487, 506</i>; +<i>vi. 139, 226, 270, 339, 348, 376, 404, 477, 547</i></p> + +<p>Lansdowne, Lady, <i>iii. 72</i></p> + +<p>Lansdowne, Granville George, Lord, <i>Inscription for a Figure representing +the God of Love</i>, <i>v. 633</i></p> + +<p>Lansdowne, Henry Petty, 3rd Marquis of, i. <i>319</i>, 340; iv. 472</p> + +<p>Lanskoï, Catherine II.'s favourite, vi. <i>388</i>, 389, 391, 412</p> + +<p>Lanzi, ii. 490</p> + +<p>Laocoon, ii. 445; vi. 200</p> + +<p>Laos river, ii. 134, 182</p> + +<p>La Peña, Captain-General, <i>i. 469</i></p> + +<p>Lapland, i. 489</p> + +<p>La Plata, <i>ii. 82</i></p> + +<p><i>Lara</i>, iii. <i>188</i>, 219, 323-371, 443, <i>477, 508</i>; <i>vi. 235</i></p> + +<p>Lardner and Co., <i>i. 307</i></p> + +<p>La Rousse, <i>ii. 415</i></p> + +<p>Las Cases, <i>Mémorial de Ste. Hélène</i>, v. 537</p> + +<p>Lascy, General de, vi. 340, 347</p> + +<p><i>Last Words on Greece</i>, vii. <a href="#Page_85">85</a></p> + +<p>Latour, Major A. La Carrière, <i>Historical Memoirs of the War in W. +Florida and Louisiana</i>, <i>iii. 298</i></p> + +<p>Lauderdale, Lord, <i>iii. 45</i>; iv. 472; <i>vi. 67</i></p> + +<p>Laugier, Sig. Abate, <i>Istoria della Repubblica di Venezia</i>, iv. 332, 335</p> + +<p>Laura, Petrarch's, vi. 145</p> + +<p>Laurence, Richard, translation of <i>The Book of Enoch</i>, v. 281, <i>302</i></p> + +<p>Lausanne, <i>iv. 53</i></p> + +<p>Lavater, <i>ii. 107</i></p> + +<p>Laverne, L. M. P. Tranchant de, <i>The Life of Field-Marshal Souvarof</i>, +<i>vi. 222, 320-322</i></p> + +<p>Lawler, C. F., the pseudo-Peter Pindar, ii. 213</p> + +<p>Lawrence, Sir Thomas, i. 389; iv. 565</p> + +<p><i>Lawrence</i> v. <i>Smith</i>, v. 204</p> + +<p><i>Lay of the Last Minstrel</i>, i. 309, 310; <i>ii. 19</i>; +<i>iii. 96, 472</i>; vi. 406, 458, 560</p> + +<p>Layard, Sir A. H., <i>Handbook of Painting</i>, <i>iv. 163</i></p> + +<p>Lazzarino, Vittorio, <i>Marino Faliero avant il Dogado</i>, <i>iv. 331, 403</i>; +<i>Marino Faliero, La Congiura</i>, iv. 325, <i>332, 333, 346, 349, 351, 356, 365, 383, 384, 432, 439, 448, 462</i></p> + +<p>Leacroft, Julia, i. <i>38</i>, 41</p> + +<p>Leake, William Martin, <i>Researches in Greece</i>, ii. 174, 204</p> + +<p>Leander, iii. 13, 178</p> + +<p>Lear, i. 26, 400</p> + +<p>Le Chevalier, Jean Baptiste, <i>Voyage de la Propontide, etc.</i>, +<i>iii. 13, 179, 210</i></p> + +<p>Leckie, G. F., <i>i. 349</i></p> + +<p>Lecky, W. E. H., <i>History of England in the Eighteenth Century</i>, <i>iv. 513</i></p> + +<p>Le Clercq, Miss Rosa, actress, iv. 78</p> + +<p>Lee, Harriet, <i>Kruitzner; or, The German's Tale</i>, +v. 325, 326, 328-332, 337, <i>349, 418</i></p> + +<p>Lee, Lady Margaret, <i>vi. 146</i></p> + +<p>Lee, Sophia, <i>The Young Lady's Tale; The Clergyman's Tale</i>, v. 337</p> + +<p>Lee, Sophia and Harriet, <i>Canterbury Tales</i>, +v. 325, 326, <i>381-384, 446</i>; <i>vii.</i> <i><a href="#Note_033">33</a></i></p> + +<p>Leeds, Duchess of, <i>i. 443</i></p> + +<p>Leeds, Duke of, <i>ii. 23</i></p> + +<p>Leen river, <i>vi. 495</i></p> + +<p>Leeuwarden, <i>ii. 407</i></p> + +<p>Lefanu, Alicia, <i>Memoirs of Mrs. F. Sheridan</i>, vii. <a href="#Page_33">33</a></p> + +<p>Lefebvre, Marshal, ii. 94.</p> + +<p>Leigh, Colonel George, <i>ii. 23</i></p> + +<p><span class='pagenum'><a name="Page_401" id="Page_401">[401]</a></span> +Leigh, Hon. Mrs. George (Augusta Byron), <i>i. 283</i>; +ii. 23, 212, 247, 248, <i>288</i>; iii. <i>31, 32, 540</i>, 544; +iv. 80; <i>vi. 22, 30, 410, 541</i>; +<i>Stanzas to Augusta</i>, iv. 54; +Epistle to Augusta, iv. 57; +<i>Journal</i> of Byron's Swiss tour, <i>iv. 95</i></p> + +<p>Leipzig (Leipsic), Fairs of, i. 489; +battle of, v. <i>371</i>, 553; <i>vi. 50</i>; vii. <a href="#Page_22">22</a>, <a href="#Page_23">23</a></p> + +<p>Lely, Sir Peter, vi. <i>496</i>, 501</p> + +<p>Le Mann, <i>vi. 22</i></p> + +<p>Leman, Lake, ii. 257, 269; iv. 17, 53</p> + +<p>Lemprière, i. 437</p> + +<p>Lenclos, Ninon de, <i>iv. 212</i>; vi. 246</p> + +<p>Lens, Mr. Serjeant, <i>vii.</i> <i><a href="#Note_022">22</a></i></p> + +<p>Lentulus Spinther, <i>ii. 405</i></p> + +<p>Lenzoni, Marchioness, ii. 499</p> + +<p>Leo X., Pope, ii. 489; iii. 367-369; <i>iv. 273</i></p> + +<p>Leoben, Treaty of, ii. 297</p> + +<p>Leochares, <i>ii. 446</i></p> + +<p>Leon, Don Rodrigo Ponce de, <i>iv. 530</i></p> + +<p>Leone, Port, ii. 94</p> + +<p>Leoni, Michele, Italian translation of <i>Childe Harold</i>, +and of <i>Lament of Tasso</i>, <i>iv. 244</i>; of <i>Don Juan</i>, <i>vi. 8</i></p> + +<p>Leonidas, iii. 21; vi. 331</p> + +<p>Leonora, Tasso's, iv. 145, 147</p> + +<p>Leopardi, Alessandro, <i>iv. 336</i></p> + +<p>Leopold of Saxe-Coburg, <i>ii. 450</i></p> + +<p>Lepanto, battle of, ii. 126, 178, 340</p> + +<p>Lepidus, <i>ii. 492</i></p> + +<p>Leptinus, Furius, ii. 520</p> + +<p>Le Roux de Lincy, A. J. V., <i>Recuel de Chants historiques français</i>, v. 472</p> + +<p>Le Sage, <i>Diable Boiteux</i>, i. 56; <i>iv. 516</i></p> + +<p>Lesbia, i. 72</p> + +<p>L'Espinasse, Mdlle. Claire Françoise, <i>ii. 209</i></p> + +<p>Lestrange, Sir R., <i>iv. 484</i>; <i>vi. 550</i></p> + +<p>Le Sur, Charles Louis, <i>Histoire des Kosaques</i>, <i>iv. 211</i></p> + +<p>Lethe, vi. 184</p> + +<p>Letronne, J. A., <i>La Statue vocale de Memnon</i>, <i>v. 497</i></p> + +<p><i>Letter to the Editor of My Grandmother's Review</i>, vi. 76</p> + +<p><i>Lettere di Torquato Tasso</i>, <i>iv. 143, 144, 146, 150</i></p> + +<p>Leucadia, now Santa Maura, ii. 126, 178</p> + +<p>Leucadia's Cape (Cape Ducato), ii. 125</p> + +<p>Leuctra, battle of, ii. 294</p> + +<p>le Vasseur, Theresa, <i>ii. 266</i></p> + +<p>Levati, Professor Ambrogio, <i>Viaggi di Francesco Petrarca</i>, iv. 469</p> + +<p>Levett, Ellis, <i>vi. 410</i></p> + +<p>Lewis, Matthew Gregory ("Monk" Lewis), +i. <i>305</i>, 307, 346, <i>356</i>, 369; <i>iii. 473</i>; +iv. <i>53</i>, 80-82, 325, 337, 342; +<i>Tales of Terror</i>, i. 309, 317; +short account of, i. 317; +<i>Tales of Wonder</i>; <i>Ambrosio the Monk</i>, <i>ibid.</i>; +<i>The Castle Spectre</i>, i. 317, 409, <i>489</i>; +<i>Life and Correspondence of</i>, <i>i. 318</i>; +<i>Romantic Tales</i>, <i>iii. 389</i>; +<i>The Wood Demon</i>, v. 474</p> + +<p>Lewtas, Matthew, <i>ii. 36</i></p> + +<p><i>Lexicon Universelle</i>, <i>iv. 174</i>; <i>vi. 259</i></p> + +<p>Lezze, Luga da, <i>iv. 432</i></p> + +<p>Liakura mountain (Parnassus), i. 426; ii. 60, 62, 92, 186; iii. 113, 464</p> + +<p><i>Liberal, The</i>, iv. 281, 478, 479, <i>495, 518, 520</i>, 570; +v. 279, 471, 540; <i>vi. 266</i>; vii. <a href="#Page_75">75</a>, <a href="#Page_76">76</a>, <a href="#Page_81">81</a></p> + +<p>Libochabo, ii. 174, 177</p> + +<p>Libokhoro, <i>ii. 134</i></p> + +<p>Licensing Act, <i>i. 415</i></p> + +<p>Licenza village, ii. 523</p> + +<p>Licinus (Cæsar's barber), <i>i. 422</i></p> + +<p>Licoo, Tonga, v. 601</p> + +<p>Lido, the, ii. 470</p> + +<p>Lie, lye, or ley, solution of potassium salts, vi. 505</p> + +<p>Lieven, Count de, <i>vii.</i> <i><a href="#Note_032">32</a></i></p> + +<p>Lieven, Countess de, i. 476; <i>vii.</i> <i><a href="#Note_032">32</a></i></p> + +<p><i>Life, Writings, Times, and Opinions of Lord Byron</i>, <i>vii.</i> <i><a href="#Note_012">12</a></i></p> + +<p>Lincoln, Bishop of, <i>i. 356</i></p> + +<p><span class='pagenum'><a name="Page_402" id="Page_402">[402]</a></span> +Lincoln Cathedral, vi. 596</p> + +<p>Lincy, A. J. V. Le Roux de, <i>Recueil de Chants historiques français</i>, v. 472</p> + +<p>Lindenau, <i>vii.</i> <i><a href="#Note_083">83</a></i></p> + +<p>Lindsay, Lady Anne, <i>ii. 288</i></p> + +<p>Lindsay, Lord, <i>ii. 288</i></p> + +<p>Lightning, ii. 360, 488</p> + +<p>Ligne, Charles, Prince de, vi. 333</p> + +<p>Ligne, Charles Joseph, Prince de, vi. 312; +<i>Mélanges Militaires, etc.</i>, <i>vi. 313, 333</i>; +<i>Memoirs</i>, <i>vi. 414</i></p> + +<p>Ligny, <i>vi. 345</i></p> + +<p><i>Lines addressed by Lord Byron to Mr. Hobhouse on his Election for +Westminster</i>, iii. xx; vii. <a href="#Page_69">69</a></p> + +<p><i>Lines addressed to a Young Lady</i>, i. 70</p> + +<p><i>Lines addressed to George Anson Byron</i> (spurious?), iii. xxi; vii. <a href="#Page_41">41</a></p> + +<p><i>Lines addressed to the Rev. J. T. Beecher, etc.</i>, i. 112</p> + +<p><i>Lines composed during a Thunderstorm</i>, <i>ii. 119, 130</i></p> + +<p><i>Lines found in the Travellers' Book at Chamouni</i> (spurious), iii. xxi</p> + +<p><i>Lines in the Travellers' Book at Orchomenus</i>, iii. 15</p> + +<p><i>Lines inscribed upon a Cup formed from a Skull</i>, i. 276; <i>iii. 129</i></p> + +<p><i>Lines on hearing that Lady Byron was Ill</i>, <i>ii. 429</i>; iv. 63</p> + +<p><i>Lines on the Bust of Helen by Canova</i>, <i>ii. 370</i></p> + +<p><i>Lines to a Lady Weeping</i>, iii. 45</p> + +<p><i>Lines to Mr. Hodgson. Written on board the Lisbon Packet</i>, vii. <a href="#Page_4">4</a></p> + +<p><i>Lines to the Countess of Blessington</i>, <i>iv. 62, 64</i>; <i>v. 346</i></p> + +<p><i>Lines written beneath a Picture</i>, iii. 19</p> + +<p><i>Lines written beneath an Elm in the Churchyard of Harrow</i>, i. 208</p> + +<p><i>Lines written in an Album at Malta</i>, iii. 4</p> + +<p><i>Lines written in "Letters of an Italian Nun, etc." by Rousseau</i>, i. 15</p> + +<p><i>Lines written in the Bible</i> (spurious), iii. xx</p> + +<p><i>Lines written on a blank leaf of "The Pleasures of Memory"</i>, iii. 50</p> + +<p>Lintot, Barnaby Bernard, publisher of Pope's <i>Iliad and Odyssey</i>, vi. 56</p> + +<p>Lioni, Niccolo, iv. 465</p> + +<p><i>Lippincott's Magazine</i>, iv. 32</p> + +<p>Lipsius, Justus, ii. 299; <i>Saturn. Sermon.</i>, ii. 520, 521</p> + +<p>Lisbon, ii. 32; assassinations in, ii. 36, 86</p> + +<p>Lissa, naval battle of, <i>iii. 25</i>; <i>iv. 456, 457</i></p> + +<p>Liszt, Franz, Mazeppa the "symphonic poem," iv. 203</p> + +<p><i>Literary Chronicle</i>, iv. 571; v. 540, 584</p> + +<p><i>Literary Fund</i>, <i>i. 448</i></p> + +<p><i>Literary Gazette</i>, <i>iii. 280</i>; iv. 478, 571; +v. <i>196</i>, 540, 584; vi. xx</p> + +<p><i>Literary Panorama</i>, ii. xiv; iii. 444, 500</p> + +<p><i>Literary Register</i>, iv. 571, <i>580</i></p> + +<p><i>Literary Souvenir</i>, iv. 314</p> + +<p><i>Literature</i>, v. 333</p> + +<p>Litta, Conte Pompeo, <i>Celebri Famiglie Italiane</i>, <i>iii. 507</i></p> + +<p>Liverpool, Robert Bankes Jenkinson, 2nd Earl of, +i. 496, <i>497</i>; <i>vi. 374</i>; vii. <a href="#Page_14">14</a>, <a href="#Page_20">20</a>, <a href="#Page_28">28</a></p> + +<p>Lividia, Point, <i>iii. 248, 349</i></p> + +<p>Livingstone, David, <i>vi. 497</i></p> + +<p>Livy, ii. <i>372, 377, 391</i>, 392, <i>413, 496</i>, 505, 510, <i>512, 513</i>; +<i>iv. 251</i>; <i>v. 607</i></p> + +<p>Lloyd, Charles, <i>Poems on the Death of Priscilla Farmer</i>, i. 368</p> + +<p>Lloyd, Robert, Odes to <i>Obscurity</i> and <i>Oblivion</i>, i. 220</p> + +<p>Loch na Garr, i. 238</p> + +<p>Locke, John, i. 425; <i>ii. 353, 504</i>; <i>v. 615</i>; +vi. 548, 610; <i>vii.</i> <i><a href="#Note_012">12</a></i></p> + +<p>Lockhart, John Gibson, <i>Life of Scott</i>, <i>i. 318, 397</i>; +<i>ii. 88</i>; iii. 443; <i>v. 206</i>; +Lang's <i>Life of</i>, iii. 532; <i>A Sketch</i>, <i>v. 206</i></p> + +<p>Lodge, G. H., <i>Rosalynd</i>, ii. 293; +<i>History of Ancient Art</i>, <i>ii. 431</i></p> + +<p>Lodi, battle of, <i>vi. 14</i></p> + +<p>Lofft, Capel, i. 359, 441</p> + +<p><span class='pagenum'><a name="Page_403" id="Page_403">[403]</a></span> +Logotheti, Signor, ii. 176</p> + +<p>Lombardy, <i>ii. 342</i>; Venetian, iv. 197</p> + +<p>London, <i>Don Juan's</i> description of, vi. 425</p> + +<p><i>London Gazette Extraordinary</i>, <i>ii. 40</i>; <i>vi. 336</i></p> + +<p><i>London Magazine</i>, iii. 535; <i>iv. 42</i>; v. 472; <i>vi. 188</i></p> + +<p><i>London Review</i>, <i>i. 403</i></p> + +<p>Londonderry, Robert Stewart, Lord, iv. 560; v. 568, <i>569, 570</i>; vi. 307</p> + +<p>Londos, Andreas, <i>vi. 168, 169</i></p> + +<p>Long, Edward Noel ("Cleon"), i. 101</p> + +<p>Long, Sir Tylney, Bart., <i>i. 485</i></p> + +<p>Longfellow, translation of <i>Dante's Paradiso</i>, <i>iv. 247</i></p> + +<p>Longinus, <i>On the Sublime</i>, vi. 26, 74, 551</p> + +<p>Longman, i. xii, <i>234</i>, 427; ii. x; v. 280; vii. <a href="#Page_9">9</a></p> + +<p>Longwood controversy, the, v. 538, <i>544</i></p> + +<p>Lonsdale, James, 1st Earl, <i>iv. 586</i></p> + +<p>Lonsdale, William, 2nd Earl, iv. <i>341, 582</i>, 585; vi. 5</p> + +<p><i>Lord Byron's Verses on Sam Rogers</i>, iv. 538</p> + +<p><i>Lord of the Isles</i>, <i>ii. 244</i></p> + +<p>Loredano, iv. 377</p> + +<p>Loredano, Jacopo, <i>v. 123, 195</i></p> + +<p>Loredano, Marco, <i>v. 123</i></p> + +<p>Loredano, Pietro, Admiral of the Venetian fleet, v. 123</p> + +<p>Lorraine, Claude, <i>ii. 168</i>; vi. 502</p> + +<p>Lorraine, François Mercy de, ii. 186</p> + +<p>Louis Philippe, <i>vi. 425</i></p> + +<p>Louis XII., <i>vi. 212</i></p> + +<p>Louis XIV., <i>i. 402</i>; <i>ii. 453</i>; iv. 334, <i>514</i></p> + +<p>Louis XV., <i>ii. 282</i></p> + +<p>Louis XVI., iv. <i>13</i>, 493</p> + +<p>Louis XVIII., v. 539; <i>vi. 313, 333, 374</i>; <i>Letters d'Artwell</i>, v. 566</p> + +<p>Louisiana, <i>iii. 296-298</i></p> + +<p>Louvel, <i>v. 567</i></p> + +<p><i>Love and Death</i>, vii. <a href="#Page_84">84</a></p> + +<p><i>Love and Gold</i>, iii. 411</p> + +<p>Lovelace, Lady (Augusta Ada Byron), ii. 215, <i>287, 289</i>; <i>vi. 274</i></p> + +<p>Lovelace, Ralph Gordon Noel, 2nd Earl of, i. <i>262, 264</i>, 387; +<i>ii. 215</i>; <i>MS.</i>, +<i>i. 265-267, 271-273, 277, 278, 387, 389, 391-397, 399, 400, 402, 404-408, 410-413, 416, 418-430, 433, 434, 436, 438, 440, 443, 444, 446-450</i></p> + +<p>Lovelace, Richard, <i>Orpheus to Beasts</i>, <i>iii. 165</i>; +<i>To Althea—From Prison</i>, <i>iv. 28</i></p> + +<p>Lovelace, William King Noel, 1st Earl of, <i>ii. 215</i></p> + +<p>Lovell, Robert, <i>iv. 521</i></p> + +<p><i>Love's Labour's Lost</i>, <i>vi. 87</i></p> + +<p><i>Love's Last Adieu</i>, i. 109</p> + +<p>Lowe, Sir Hudson, Governor of St. Helena, <i>ii. 239</i>; <i>v. 544, 545</i>; vi. 444</p> + +<p>Lowe, John Hudson, surgeon in the Army, <i>v. 545</i></p> + +<p>Lowertz, <i>iv. 97</i></p> + +<p>Lozère, <i>v. 549</i></p> + +<p>Lucan, <i>Pharsalia</i>, <i>ii. 156, 246, 372</i></p> + +<p>Lucanus, Ocellus, <i>De Universi Naturâ</i>, ii. 198</p> + +<p>Lucian, <i>Veræ Historiæ</i>, <i>iv. 43</i>; +<i>De Syriâ Deâ</i>, <i>iv. 115</i>; <i>Hermotimus</i>, <i>v. 396</i></p> + +<p><i>Lucietta. A Fragment</i>, vii. <a href="#Page_81">81</a></p> + +<p>Lucifer, Byron's conception of, v. 199-203, 210; vi. 183</p> + +<p>Lucius Faunus, <i>De Antiq. Urb. Rom.</i>, ii. 510-513</p> + +<p>Lucretia, iv. 334</p> + +<p><i>Lucretius</i>, <i>i. 485</i>; ii. 93, <i>121, 367</i>; iii. 57; +<i>De Rerum Nat.</i>, vi. 604</p> + +<p>Lucullus, L., vi. 563</p> + +<p>Lud, General Ned, <i>vii.</i> <i><a href="#Note_042">42</a></i></p> + +<p>Luddites, the, vii. <a href="#Page_42">42</a></p> + +<p><i>Ludus Coventriæ</i>, v. 200, <i>207</i></p> + +<p>Ludwig, Otto, iv. 329</p> + +<p>Luis, Maria José, Regent of Portugal, <i>ii. 43</i></p> + +<p>Lunéville, Treaty of, ii. 297</p> + +<p>Lupercalia, the, ii. 512</p> + +<p>Lusieri, Don Battista, ii. <i>109</i>, 168, <i>171</i>, 172, 190</p> + +<p>Luther, vi. 303, <i>380</i></p> + +<p><span class='pagenum'><a name="Page_404" id="Page_404">[404]</a></span> +Lutherans, the, v. 520</p> + +<p>Lutraki, or Utraikey, ii. <i>142</i>, 143</p> + +<p>Luttrell, H., <i>vi. 175</i></p> + +<p>Lutzen, battle of, <i>iii. 431</i>; v. <i>371</i>, 553</p> + +<p>Lycanthropy, vi. 380</p> + +<p>Lyceum Theatre, <i>Werner</i> at, v. 324; +Moore's <i>M.P.; or, The Blue Stocking</i> at, <i>vii.</i> <i><a href="#Note_012">12</a></i></p> + +<p>Lycophron, <i>Cassandra or Alexandra</i>, iv. 243</p> + +<p>Lycurgus, i. 29</p> + +<p>Lynedoch, Thomas, Lord, <i>i. 469</i></p> + +<p>Lyons, Gulf of, vi. 92</p> + +<p>Lysander, <i>ii. 336</i></p> + +<p>Lysippus, <i>ii. 336</i></p> + +<p>Lyttleton, Lord, <i>iii. 209</i></p> + +<p>Lytton, Bulwer (<i>The Last of the Tribunes</i>), <i>ii. 415</i>; <i>vi.</i> 567</p> + + + +<p>M</p> + +<p>Macassar oil, vi. 19</p> + +<p>Macaulay, Lord, +<i>Lays of Ancient Rome</i>, <i>ii. 391</i>; +Byron "singled out as an expiatory sacrifice," iii. 534; +<i>Critical and Historical Essays</i>, iv. 72; <i>v. 542</i></p> + +<p><i>Macbeth</i>, i. 84, <i>131</i>, 401, 408, 432; +ii. <i>50, 57, 244</i>, 291, 307, <i>423, 452</i>; +<i>iii. 280, 346, 476, 480, 483, 510</i>; +iv. 44, 157, 181, <i>338</i>, 341, <i>386, 388, 401, 451</i>; +<i>v. 393, 611</i>; vi. <i>12, 184, 199, 202, 203, 265, 281</i>, 375, 441, 453, 505, 559, 578, 590, 594</p> + +<p>Macchiavelli, ii. 369, 493</p> + +<p>Macdonald of Rineton, Captain, <i>i. 192</i></p> + +<p>Macdonell, Sir James ("Jack Jargon"), vi. 508</p> + +<p>Macdonough, Commodore, <i>vi. 508</i></p> + +<p>Macfarlane, Charles, <i>Constantinople in 1828</i>, <i>iii. 207</i></p> + +<p>Machiavelli, Niccolò, <i>The Prince</i> (<i>Il Principe</i>), vi. 303, 424</p> + +<p>Maciejowice, battle of, <i>v. 551</i></p> + +<p>Mackenzie, Sir Alexander Campbell, "Incidental Music to <i>Manfred</i>," iv. 78</p> + +<p>Mackenzie, Henry, <i>Julia de Roubigné</i>, <i>iii. 510</i></p> + +<p>Mackinnon, Daniel, <i>vi. 69, 276</i></p> + +<p>Mackinnon, Henry, <i>vi. 69</i></p> + +<p>Mackintosh, Sir James ("Dick Dubious"), iii. 535; vi. 507; +<i>Vindiciæ Gallicæ</i>; <i>Introductory Discourse</i>; +lecture in <i>The Law of Nature and Nations</i>, vii. <a href="#Page_32">32</a></p> + +<p>Macklin, <i>Love à la Mode</i>, <i>i. 464</i></p> + +<p>Maclise, Daniel, <i>iv. 540</i>; his portrait of Macready as "Werner," v. 324</p> + +<p>McMahon, Colonel, <i>vii.</i> <i><a href="#Note_027">27</a></i></p> + +<p>Mac-Murchad, Dermot, king of Leinster, iv. 334</p> + +<p>Macneil, Hector, <i>Scotland's Skaith, etc.</i>; +<i>The Waes of War</i>, i. 362; iv. 182</p> + +<p>Macpherson, James, <i>Ossian</i>, i. 177, <i>183</i>; <i>iii. 26</i></p> + +<p>Macready, as "Pierre" in <i>Venice Preserved</i>, ii. 331; +"the Doge" in <i>Marino Faliero</i>, iv. 324; +as "Sardanapalus," v. 2; <i>Reminiscences</i>, v. 2, 114, 324; +as "Francis Foscari," v. 114; "Werner," v. 324</p> + +<p>Macri, Catinco or Katinka, <i>iii. 16</i>; <i>vi. 280</i></p> + +<p>Macri, Mariana, <i>iii. 16</i></p> + +<p>Macri, Theodora, ii. 176; <i>iii. 15</i></p> + +<p>Macri, Theresa (afterwards Black), "Maid of Athens," ii. <i>75</i>, 176; iii. 15, 16</p> + +<p><i>Madame Lavalette</i> (spurious), iii. xx</p> + +<p>Madden, <i>i. 470</i></p> + +<p>Madison, President, <i>iii. 298</i></p> + +<p>Madrid, taken by the French, v. 550; its clime, vi. 409</p> + +<p>Mæcenas, <i>ii. 409</i></p> + +<p>Maffei, <i>ii. 431</i></p> + +<p>Mafra, the Escurial of Portugal, ii. 37, 43, 87</p> + +<p>Magarenses, the, <i>ii. 431</i></p> + +<p><i>Magasin Encyclopédique</i>, <i>v. 302</i></p> + +<p><i>Magazine of History</i> (American), <i>iii. 298</i></p> + +<p>Magdalen College, Oxford, <i>vi. 496</i></p> + +<p>Magdeburg, siege of, v. 416</p> + +<p><span class='pagenum'><a name="Page_405" id="Page_405">[405]</a></span> +Maggior Consiglio (Great Council, Venice), <i>iv. 361, 382, 399, 427, 438</i></p> + +<p>Maghinard of Cavalcanti, Marshal, <i>ii. 501</i></p> + +<p>Maginn, William, <i>John Gilpin</i> and <i>Mazeppa</i>, iv. 203; +<i>Miscellanies</i>, v. 326, 329</p> + +<p>Mahala, Cain's wife, v. 209</p> + +<p>Maharbal, ii. 508</p> + +<p>Mahmout Pasha, ii. 206</p> + +<p>Mahomet (Macon), iv. 296; vi. 139</p> + +<p>Mahomet II., ii. 201</p> + +<p>Maï, Cardinal Angelo, ii. 324</p> + +<p>Maid of Saragoza, ii. 58, 91</p> + +<p>Maimonides, Moses, <i>Porta Mosis</i>, <i>iii. 109, 121</i></p> + +<p>Mainotes (or Mainates), ii. <i>169</i>, 193; iii. 83, 94, <i>132, 134</i></p> + +<p>Maitland, Captain F. L., of the <i>Bellerophon</i>, <i>v. 546</i></p> + +<p>Maitland, G., printer, i. 478</p> + +<p>Majorian, Emperor, <i>iii. 251</i></p> + +<p>Malamani, <i>Isabella Teotochi, I suoi amici</i>, <i>iv. 457</i></p> + +<p>Malatesta, Parisina, <i>ii. 354</i></p> + +<p>Mal bigatto (silkworm), term of contempt and reproach, iv. 389</p> + +<p>Malcolm, Colonel, <i>ii. 50</i></p> + +<p>Malcolm, Sir John, <i>History of Persia</i>, vii. <a href="#Page_49">49</a></p> + +<p>Malespini, Celio de', <i>alias</i> Orazio, <i>iv. 144</i></p> + +<p>Malipiero, Doge Pasquale, v. 118</p> + +<p>Mallet, i. 326</p> + +<p>Malone, Edmund, editor of Spence's <i>Anecdotes</i>, <i>vii.</i> <i><a href="#Note_053">53</a></i></p> + +<p>Malo-yaroslavetz, battle of, <i>vi. 351</i></p> + +<p>Malplaquet, <i>iv. 262</i></p> + +<p>Malta, iii. 24;</p> + +<p>Maltby, Harriet (Mrs. Nichols), i. 129, 263</p> + +<p>Malthus, Thomas Robert, vi. 436, 459, 461, 555</p> + +<p>Malthus, Mrs. T. R. (<i>née</i> Eckersall), <i>vi. 461</i></p> + +<p>Malvern Hills, <i>v. 609</i></p> + +<p>Mamonoff, Dmitrief, Catherine II.'s favourite, vi. 389</p> + +<p>Mamurra, vii. <a href="#Page_17">17</a></p> + +<p>Man in the Iron Mask (Man in the Black Velvet Mask), iv. 514</p> + +<p>Mandeville's <i>Tales</i>, i. 314</p> + +<p>Manetti, Giannozzo, <i>iv. 253</i></p> + +<p><i>Manfred</i>, <i>ii. 122, 218, 223, 254, 286, 383, 424, 426</i>; +iv. <i>15, 21, 41, 48, 51, 52, 63-65</i>, 77-136, 325, 327, <i>340</i>; +v. 199, 200, <i>223, 227, 286</i>, 332, <i>385</i>, 469, <i>480, 500</i>; +vi. xvi, <i>129, 198</i>; <i>vii.</i> <i><a href="#Note_055">55</a></i></p> + +<p>Manfrini Palace, <i>iv. 162</i></p> + +<p>Manichæans, the, v. 202, <i>209, 216, 232</i></p> + +<p>Manicheism, Byron's, v. <i>206</i>, 209, <i>254</i></p> + +<p>Manilius, <i>Astronomicon</i>, <i>v. 554</i></p> + +<p>Manin, Doge Lodovico, <i>iv. 457</i></p> + +<p>Manley, Mrs., <i>Secret Memoirs and Manners of several Persons of Quality, +of Both Sexes, from the New Atalantis</i>, <i>vi. 453</i></p> + +<p>Manlius, M., <i>ii. 413</i></p> + +<p>Mann, Sir Horace, <i>iv. 339</i></p> + +<p>Manners, George, editor of <i>The Satirist</i>, <i>vi. 69</i></p> + +<p>Manners, Katherine Sophia (Lady Heathcote), vii. <a href="#Page_17">17</a></p> + +<p>Mannheim, vi. 419</p> + +<p>Manoncourt, Sonnini de, <i>Voyage en Grèce et en Turquie</i>, ii. 191, 194</p> + +<p>Mansel, Dr. William Lort, Bishop of Bristol ("Magnus"), i. 28</p> + +<p>Mansfeld, <i>v. 340</i></p> + +<p>Mansfield, Lord, <i>vi. 247</i></p> + +<p>Mansion House, the, vi. 435</p> + +<p>Mansour Effendi, <i>iii. 145</i></p> + +<p>Mantinea, ii. 294</p> + +<p>Mantua, Ferdinando Carlo Gonzaga, Duke of, <i>iv. 514</i></p> + +<p>Manurza, Arab General, <i>v. 558</i></p> + +<p>Mar, Countess of, <i>vi. 246</i></p> + +<p>Marangoni, <i>Delle memorie sacre e profane dell' Anfiteatro Flavin</i>, <i>ii. 521</i></p> + +<p>Marat, Jean Paul, vi. 13</p> + +<p>Marathon, ii. <i>75, 99</i>, 102, 157, 158, 187, 255, 294; vi. 169</p> + +<p>Marceau, General François Sévérin Desgravins, ii. 251, 296, 297; vi. 14</p> + +<p>Marcello, Andrea, <i>v. 134</i></p> + +<p><span class='pagenum'><a name="Page_406" id="Page_406">[406]</a></span> +Marcello, Giovanni, <i>iv. 432</i></p> + +<p>Marcellus, Nonius, <i>De Compt. Doct.</i>, ii. 92</p> + +<p>Marchetti degli Angelini, Conte Giovanni, +<i>Discorso ... della prima e principale Allegoria del Poema di Dante</i>, iv. 237, 245</p> + +<p>Marciana Library, Venice, <i>iv. 457</i></p> + +<p>Marengo, battle of, iii. 313; v. 538; <i>vi. 14</i></p> + +<p>Mareschalchi Gallery, Bologna, <i>iv. 162</i></p> + +<p>Maria I., Queen of Portugal, ii. 43</p> + +<p>Maria da Gloria, of Portugal, <i>ii. 11</i></p> + +<p>Maria José Luis, Regent of Portugal, <i>ii. 43</i></p> + +<p>Marialva, Marchese, ii. 38, 86</p> + +<p>Mariamne, wife of Herod the Great, iii. 400</p> + +<p>Mariana, <i>Hist.</i>, <i>iv. 523</i></p> + +<p>Marie Antoinette, ii. 7; <i>iii. 513</i>; iv. <i>13</i>, 334</p> + +<p>Marie Louise, of Austria (Archduchess of Parma), wife of Napoleon, +afterwards Madame de Neipperg, <i>iii. 311</i>; v. <i>498</i>, 539, 576</p> + +<p>Marignano, battle of, <i>v. 498</i></p> + +<p>Mariner, William, <i>Account of the Tonga Islands</i>, +v. 581, 584, 598-601, 609, 639-631; <i>vi. 577</i>.</p> + +<p>Marinet, or Nicholle, M., vi. 373, <i>374</i></p> + +<p><i>Marino Faliero</i>, <i>ii. 337; iii. 485</i>; iv. 323-472; +v. 3, <i>40</i>, 115, <i>139, 148, 158</i>, 332, <i>389</i>, 469, <i>479</i>; +<i>vi. 24, 443</i>; <i>vii.</i> <i><a href="#Note_063">63</a></i></p> + +<p>Marius, Caius, <i>ii. 393</i>; iv. 251; vi. 477</p> + +<p>Markland, J. H., editor of the Roxburgh Club issue of <i>Chester Mysteries</i>, <i>vi. 551</i></p> + +<p>Markow, General, vi. 333</p> + +<p>Marlborough, John, Duke of, <i>i. 107, 493</i>; iii. 57; iv. <i>262</i>, 334; vi. 174</p> + +<p>Marlianus, <i>Urb. Rom. Topograph.</i>, ii. 510</p> + +<p>Marlowe, <i>The Tragical History of Dr. Faustus</i>, iv. 80, 81; v. 470, 483; +<i>Edward II.</i>, iv. 80; <i>Tamburlaine the Great, v. 489</i></p> + +<p>Marly, or malái, a grass plat for public ceremonies, Tonga, v. 600</p> + +<p>Marmarotouri, ii. 199, 208</p> + +<p><i>Marmion</i>, i. <i>309</i>, 310, <i>311</i>, 312, 371; <i>ii. 360</i>; +<i>iii. 289, 329, 461, 475, 518</i>; <i>iv. 13</i>; <i>v. 542</i>; vi. 426</p> + +<p>Marmont, <i>v. 553</i></p> + +<p>Marsden, Mary, <i>iv. 38</i></p> + +<p>Marshall, Frank, v. 324</p> + +<p>Marshall, John, <i>Royal Naval Biog.</i>, <i>v. 589</i></p> + +<p>Marston, Westland, <i>Our Recent Actors</i>, v. 324</p> + +<p>Marston Moor, battle of, i. 2</p> + +<p>Martia, Cato's wife, vi. 270</p> + +<p>Martial, <i>Epig.</i>, <i>ii. 410, 412</i>; <i>iii. 16</i>; <i>v. 613</i>; vi. 27, 550; vii. <a href="#Page_74">74</a></p> + +<p>Martin, Henry, the regicide, iv. 477, 482</p> + +<p>Martin, Isaac, <i>v. 593</i></p> + +<p>Martin, Dr. John, <i>Mariner's Account, etc.</i>, v. 581, 584, <i>598-601</i></p> + +<p>Martin, Lady. <i>See</i> Faucit, Helen</p> + +<p>Martin, Sir Theodore, <i>iii. 32</i></p> + +<p>Martin, R. Montgomery, <i>The Indian Empire</i>, <i>vi. 384</i></p> + +<p>Mary, Queen of Scots, <i>ii. 453</i>; <i>v. 605</i>; vi. 246, 396</p> + +<p>Masham, Lady, <i>ii. 353</i></p> + +<p>Masham, Mrs., iv. 334</p> + +<p>Mason, Monck, <i>Massinger</i>, i. 220, <i>304</i></p> + +<p>Massena, ii. 89</p> + +<p>Massingberd, Mrs., <i>vi. 100</i></p> + +<p>Massinger, i. 292, <i>304</i>, 345; <i>The Two Noble Kinsmen</i>, <i>ii. 217</i>; +<i>Unnatural Combat</i>, iii. 219; <i>iv. 35</i>; +<i>A New Way to Pay Old Debts</i>, iv. <i>436</i>, 525; <i>vi. 393</i></p> + +<p>Masson, C. F. P., <i>Mémoires Secrets sur la Russie</i>, <i>vi. 321, 351, 388, 399, 412</i></p> + +<p>Massorites, the, <i>v. 219</i></p> + +<p>Matapan, Cape, vi. 147</p> + +<p>Mathews, Charles, <i>Memoirs</i>, <i>v. 477</i></p> + +<p>Mathias, J. T., <i>Pursuits of Literature</i>, i. 294, <i>374, 383</i></p> + +<p>Matten, <i>iv. 119</i></p> + +<p>Matthews, Charles Skinner, ii. x, xi, 16, 95; <i>vi. 153</i>; vii. <a href="#Page_9">9</a></p> + +<p><span class='pagenum'><a name="Page_407" id="Page_407">[407]</a></span> +Matthews, Henry, <i>Diary of an Invalid</i>, <i>iv. 131</i></p> + +<p>Mattioli, Count Ercole Antonio (Man in the Iron Mask), iv. 514</p> + +<p>Maturin, Charles, iii. 444; +<i>Bertram</i>, <i>iv. 338</i>; vi. xiii, <i>4</i>; +<i>Manuel</i>, vii. <i><a href="#Note_045">45</a></i>, <a href="#Page_48">48</a></p> + +<p>Matz, F., <i>Antike Bildwerke in Rom.</i>, <i>ii. 395</i></p> + +<p>Maugabree, Moorish mercenaries, iii. 168</p> + +<p>Maupertius, President of the Berlin Academy, <i>ii. 282</i></p> + +<p>Maurice, Rev. Thomas, <i>History of Ancient and Modern Hindostan</i>; +<i>Richmond Hill</i>; <i>Memoirs</i>, i. 330</p> + +<p>Mauritania, ii. 114</p> + +<p>Mawman, J., i. xii</p> + +<p>Maxwell, Sir Herbert, Bart., <i>The Life of the Duke of Wellington</i>, <i>vi. 345</i></p> + +<p>Maxwell, John, Lord, ii. 4, 25</p> + +<p>Maxwell, W. H., <i>Life of the Duke of Wellington</i>, <i>vi. 345</i></p> + +<p>Maypo, battle on the plains of, <i>v. 556</i></p> + +<p>Mazarin, Cardinal, <i>vi. 317</i></p> + +<p><i>Mazeppa</i>, iii. xix; iv. <i>193, 198</i>, 201-233, <i>423</i>; +<i>vi. 124, 162, 246, 262</i></p> + +<p>Mazeppa, or Mazepa, Ivan Stepánovitch, iv. 201, 327</p> + +<p>Meadley, G. W., <i>Two Pairs of Historical Portraits</i>, <i>ii. 415</i></p> + +<p>Meadowbank, Lord, <i>i. 436</i></p> + +<p><i>Measure for Measure</i>, ii. <i>102</i>, 166, <i>367</i>; +<i>iii. 90</i>; <i>v. 541</i></p> + +<p>Mecca, ii. 151, 186</p> + +<p>Mecklenburg, Albrecht Wenceslaus Eusebius, Count of Waldstein, Duke of, v. 371</p> + +<p>Medea, i. 170; vi. 177, 536</p> + +<p>Medes, v. 4</p> + +<p>Medici, Cosmo de', ii. <i>365</i>, 503</p> + +<p>Medici, Giovanni de', <i>ii. 365</i></p> + +<p>Medici, Giuliano de', <i>ii. 375</i></p> + +<p>Medici, Julian de', <i>ii. 489</i></p> + +<p>Medici, Lorenzo de', <i>ii. 365, 375</i>; iv. 280</p> + +<p>Medici, Venus of, ii. 489</p> + +<p>Medici, the, ii. <i>355</i>, 503</p> + +<p>Medici Chapel, <i>ii. 375</i></p> + +<p>Medici Gallery, Florence, <i>iv. 162</i></p> + +<p>Medinah, ii. 151, 186</p> + +<p>Mediterranean, <i>ii. 460</i></p> + +<p>Medwin, <i>Conversations with Lord Byron</i>, <i>i. 93, 189, 276, 355</i>; +iii. xx, <i>17, 59</i>, 76, <i>90</i>, 443, <i>472</i>; +iv. <i>39, 40</i>, 81, 238, 326, <i>410</i>, 478, <i>545, 555</i>; +v. 119, 279, 281, <i>296, 321</i>, 331, <i>348</i>, 469-471; +<i>vi. 22, 138, 188</i>; vii. <i><a href="#Note_058">58</a></i>, <i><a href="#Note_064">64</a></i>, <a href="#Page_71">71</a>, <a href="#Page_75">75</a>, <a href="#Page_77">77</a>, <i><a href="#Note_078">78</a></i> +<i>Angler in Wales</i>, <i>iv. 539</i></p> + +<p>Mee, Mrs. Anne, a miniature-painter, vii. <a href="#Page_37">37</a></p> + +<p>Megara, ii. 362</p> + +<p>Meillerie, ii. 303-306; <i>iv. 18, 107</i></p> + +<p>Meineke, Augustus, editor of <i>Menandri et Philemonis reliquæ</i>, <i>vi. 186</i></p> + +<p>Meiner, Christopher, <i>History of the Female Sex</i>, i. 489</p> + +<p><i>Mejnoun and Leila</i> (the <i>Romeo and Juliet</i> of the East), iii. 160</p> + +<p>Meknop, General, vi. 306, 354</p> + +<p>Melancthon, vi. 380</p> + +<p>Melbourne, Elizabeth, Lady (née Milbanke), <i>i. 300, 301</i></p> + +<p>Melbourne, Viscount (Sir Peniston Lamb), i. <i>300</i>, 380; <i>vii.</i> <i><a href="#Note_015">15</a></i></p> + +<p>Meleager, <i>Epitaphium in Heliodoram</i>, <i>iii. 32</i></p> + +<p>Meletius of Janina, Archbishop of Athens, <i>Ancient and Modern Geography</i>, ii. 198; +<i>Eccles. Hist.</i>, ii. 208</p> + +<p>Melton Mowbray, vi. 504</p> + +<p><i>Melville's Mantle, etc.</i>, i. 294, 356</p> + +<p>Memmo, Jacopo, <i>v. 170</i></p> + +<p>Memmo, Marco, v. 120</p> + +<p>Memmo, Marin, <i>v. 170</i></p> + +<p>Memnon, statue of, v. 497; vi. 500</p> + +<p><i>Mémoires de Trévoux</i>, iv. 578</p> + +<p><i>Memorials of Coleorton</i>, <i>iv. 585</i></p> + +<p>Menabrea, F. L., <i>Notices sur le machine Analytique de Mr. Babbage</i>, <i>ii. 215</i></p> + +<p>Menander, ii. 178; <i>vi. 186</i></p> + +<p>Menard, Claud, <i>Histoire de Messire Bertrand du Guesclin</i>, <i>v. 549</i></p> + +<p>Mendeli, the ancient Pentelicus, ii. 186</p> + +<p>Mender river, <i>vi. 204, 211</i></p> + +<p><span class='pagenum'><a name="Page_408" id="Page_408">[408]</a></span> +Mendoza, <i>i. 433</i></p> + +<p>Menelaus, king, vi. 535</p> + +<p>Mengeaud, Napoleon's surgeon, <i>v. 546</i></p> + +<p>Menken, Adah Isaacs, iv. 203</p> + +<p><i>Merchant of Venice</i>, ii. 331, 342; iv. <i>166, 273, 436</i>, 473; vi. 472</p> + +<p><i>Mercure de France</i>, vi. xx, <i>387</i></p> + +<p>Meretrici, in Venice, <i>iv. 456</i></p> + +<p>Merivale, Charles, Dean of Ely, the historian, <i>iv. 283</i></p> + +<p>Merivale, Herman, Under-Secretary for India, <i>iv. 283</i></p> + +<p>Merivale, J. H., <i>Greek Anthology</i>, <i>i. 367</i>; <i>iii. 32</i>; +<i>Orlando in Roncesvalles</i>, iv. 156, 279, 283; +<i>The Two First Cantos of Richardetto</i>, iv. 156</p> + +<p>Merry, Robert, i. 358, <i>441</i></p> + +<p><i>Merry Wives of Windsor</i>, <i>i. 496</i>; <i>v. 388, 410</i>; vi. 484</p> + +<p>Meschinello, G., <i>La Chiesa Ducale</i>, <i>iv. 390</i></p> + +<p>Mesihi, <i>iii. 86, 105</i></p> + +<p>Mestri, <i>vii.</i> <i><a href="#Note_072">72</a></i></p> + +<p>Metastasio, <i>iv. 264</i></p> + +<p>Metella, Cecilia, tomb of, ii. 402-405</p> + +<p>Methodism, ii. 302</p> + +<p>Metsovo, Monte (Pindus), ii. 126, 129</p> + +<p>Metternich, Prince, v. 539, 575; <i>vii.</i> <i><a href="#Note_039">39</a></i></p> + +<p>Mexico, <i>ii. 82</i>; gulf of, <i>iii. 296</i></p> + +<p>Meyer of Aaru, the brothers, <i>iv. 109</i></p> + +<p>Meyer, F. J. L., <i>Voyage en Italie</i>, <i>iv. 470</i></p> + +<p>Mezzofanti, Giuseppe, ii. 324</p> + +<p>Michael Angelo, ii. 369, <i>375, 376, 432, 435, 446</i>; iv. 270, 280; +his "Last Judgment," iv. 272; his "Moses," iv. 271, <i>273</i>; <i>vi. 262</i></p> + +<p>Michaelis, A., <i>Ancient Marbles in Great Britain</i>, i. 455</p> + +<p>Michaelis, Professor Johann David, <i>iv. 498</i></p> + +<p>Michie, Rev. J., <i>i. 192</i></p> + +<p>Michiel, Madame Giustina Renier, translation of <i>Shakespeare</i>; <i>Origine delle +Feste Veneziane</i>, <i>iv. 456, 457</i></p> + +<p>Midas, v. 573</p> + +<p>Middleton, Dr. Conyers, <i>Life of Cicero</i>, ii. <i>362, 408</i>, 523</p> + +<p><i>Midsummer Night's Dream</i>, <i>iv. 21</i>; <i>v. 408</i>; vi. 535</p> + +<p>Migne, <i>Opera Cassiodori</i>, <i>iii. 306</i>; +<i>Patrologiæ Cursus</i>, <i>vi. 168</i></p> + +<p>Miguel, Dom, of Portugal, <i>ii. 11</i></p> + +<p>Milan, Filippo Visconti, Duke of, v. 116, 133</p> + +<p>Milbanke, Lady, <i>i. 437, 443</i></p> + +<p>Milbanke, Miss. <i>See</i> Byron, Lady</p> + +<p>Milbanke, Sir Ralph, <i>i. 301</i></p> + +<p>Milbourne, Rev. Luke, <i>Notes on Dryden's Virgil</i>, i. 220</p> + +<p><i>Milit. Dict.</i>, <i>vi. 305, 343, 353</i></p> + +<p>Milky Way, the, ii. 439</p> + +<p>Mill, James, <i>vi. 480</i></p> + +<p>Millbank Penitentiary, vii. <a href="#Page_34">34</a></p> + +<p>Miller, William, publisher, i. 311; ii. x</p> + +<p>Miller, Mr. (U.S.A.), <i>iii. 307</i></p> + +<p>Miller, "Joe," i. 301</p> + +<p>Milliard, vi. 542</p> + +<p>Millin, A. L., <i>Voyage dans le Milanais</i>, <i>ii. 507</i></p> + +<p>Milman, Dean, <i>History of Latin Christianity</i>, <i>ii. 336, 338</i>; +<i>Belvidere Apollo</i>, <i>ii. 447</i>; <i>History of the Jews</i>, <i>iii. 400</i>; +<i>Fall of Jerusalem</i>, iv. 339; "Cybele's priest," vi. 445; +"poet-priest," vii. <a href="#Page_76">76</a></p> + +<p>Milner, Joseph, <i>ii. 283</i></p> + +<p>Milo and the Oak, iii. 307</p> + +<p>Miltiades, vi. 171</p> + +<p>Milton, John, <i>Paradise Lost</i>, i. 312, 313, <i>397, 404</i>; <i>ii. 64</i>; iii. 111; +iv. <i>133, 135</i>, 245, <i>274</i>, 504, 506; v. 203, 204, 208, <i>216, 234, 255, 262, 272</i>; +vi. 6, <i>183</i>, 518; +Hayley's <i>Biography of</i>, <i>i. 321</i>; "deigns to doze," i. 428; +<i>Lycidas</i>, i. 446; <i>iii. 480</i>; iv. <i>227</i>, 241; +<i>Sonnets</i>, <i>ii. 364</i>; <i>Samson Agonistes</i>, ii. 422; +his lyric measure, <i>iii. 128</i>; <i>Comus</i>, <i>iii. 209</i>; +his blank verse, iii. 224; +<i>Morning of Christ's Nativity</i> (<i>The Hymn</i>), <i>iv. 115</i>; +"pratticke," <i>iv. 167</i>; his <i>terza rima</i>, iv. 239; +his Satan, v. 201; use of "shook," <i>v. 135</i>; +"thou shalt believe in," vi. 74; his first wife, vi. 146, 174; +<span class='pagenum'><a name="Page_409" id="Page_409">[409]</a></span> +"the Prince of Poets," vi. 174; Lord Thurlow on, <i>vii.</i> <i><a href="#Footnote_20_21">20</a></i></p> + +<p>Milton, Mrs. John (<i>née</i> Powell), vi. 146, 174</p> + +<p>Minden, battle of, <i>vi. 12</i></p> + +<p>Minerva, i. <i>447</i>, 457-474</p> + +<p>Minetto, Giacomo, iii. 442</p> + +<p>Mingrelia, <i>vi. 279</i></p> + +<p>Minos, <i>iv. 518</i></p> + +<p>Minotaur, fable of the, vi. 125</p> + +<p>Minotti, iii. 448, 458</p> + +<p><i>Minstrelsy of the Scottish Border</i>, ii. 4</p> + +<p>Minturnæ, iv. 251</p> + +<p>Mira, La, <i>ii. 349</i></p> + +<p>Mirabeau, Honoré Gabriel Riquetti, Comte de, <i>v. 548</i>; vi. 13</p> + +<p><i>Mirror</i>, the, iv. 32</p> + +<p><i>Miscellaneous Poems</i>, vii. <a href="#Page_69">69</a></p> + +<p>Misers, vi. 48, 455</p> + +<p>Mississippi river, <i>iii. 196</i></p> + +<p>Missouri, <i>vi. 349</i></p> + +<p><i>Mistère du Viel Testament</i>, v. 200, <i>207, 226</i></p> + +<p>Misti Consiglio X., <i>iv. 447</i></p> + +<p>Mitford, Miss, <i>Christina, the Maid of the South Seas</i>, v. 582</p> + +<p>Mitford, William, <i>Greece</i>, <i>iv. 566</i>; <i>v. 16, 24</i>; vi. 460</p> + +<p>Mithridates, king of Pontus, <i>ii. 393</i>; iv. 40</p> + +<p>Mobility (<i>mobilité</i>) defined, vi. 600</p> + +<p>Mocenigo, Giovanni, <i>iv. 432</i></p> + +<p>Mocenigo, Doge Tomaso, v. 118</p> + +<p><i>Modern British Drama</i>, <i>iii. 200</i></p> + +<p><i>Modern Universal History</i>, <i>ii. 82</i>; <i>iv. 211, 258, 523</i>; <i>v. 499</i></p> + +<p>Mohammed II., <i>ii. 173</i></p> + +<p>Mohammed Ben Abd-el-Wahab, ii. 151</p> + +<p>Mohammed Pasha, <i>ii. 140</i></p> + +<p>Moira, Francis Rawdon, Lord (1st Marquis of Hastings), <i>i. 497</i>; <i>iii. 45</i></p> + +<p>Molière, vi. <i>246</i>, 510; +<i>Dom Juan, on Le Festin de Pierre</i>, vi. xvi, <i>11</i></p> + +<p>Molina, Tirso de (Gabriel Tellez), <i>El Burlador de Sevilla y Convidado de Piedra</i>, vi. xvi</p> + +<p>Molinari, Signor, <i>vi. 205</i></p> + +<p>Mollett, John W., <i>Life of Sir D. Wilkie</i>, ii. 92</p> + +<p>Mollwitz, battle of, vi. 337</p> + +<p>Momus, the god of cruel mockery, v. 396</p> + +<p>Monaci, Lorenzo de, <i>iv. 349, 356</i></p> + +<p>Monbron, Fougeret de, <i>Le Cosmopolite, ou le Citoyen du Monde</i>, ii. 1</p> + +<p>Moncey, ii. 94</p> + +<p><i>Moniteur, Le</i>, i. 489; v. <i>562</i>, 575; vi. 12; <i>vii.</i> <i><a href="#Note_041">41</a></i></p> + +<p><i>Moniteur Universel</i>, <i>v. 552</i></p> + +<p>Monk, General, ii. 292</p> + +<p><i>Monk of Athos, The</i>, ii. xiii</p> + +<p>Monkir and Nekir, inquisitors of the dead, iii. 121</p> + +<p>Monmouth Street, noted for sale of second-hand clothes, iv. 160</p> + +<p><i>Monody on the Death of the Right Hon. R. B. Sheridan</i>, iv. 69-75, 79; v. 537</p> + +<p>Mont Blanc, iv. 87</p> + +<p>Montagu, Lady Mary Wortley, <i>vi. 151</i>; <i>Letters</i>, <i>vi. 219, 246</i></p> + +<p>Montague, Mrs., <i>iv. 573</i></p> + +<p>Montaigne, ii. 345; vi. 379</p> + +<p>Montanti, Antonio, sculptor and architect of Florence, <i>iv. 272</i></p> + +<p>Montanvert, iv. 475</p> + +<p>Montebello, battle of, <i>vi. 14</i></p> + +<p>Montecuccoli, Raimondo, <i>iv. 262</i></p> + +<p>Montemajor, Jorge de, <i>Diana</i>, <i>i. 44</i></p> + +<p>Montesquieu, Charles de Secondat, Baron de, +<i>Considérations ... de la Grandeur des Romains, etc.</i>, <i>ii. 393</i></p> + +<p>Montfauçon, <i>Diarium Italic.</i>, <i>ii. 431</i>, 511, 515</p> + +<p>Montford, Colonel, <i>vii.</i> <i><a href="#Note_024">24</a></i></p> + +<p>Montgomery, James, <i>The Wanderer of Switzerland, etc.</i>, +i. 107, <i>305</i>, 330, <i>331</i>, 370; <i>ii. 450</i></p> + +<p><i>Monthly Literary Recreations</i>, <i>i. 234</i></p> + +<p><i>Monthly Magazine</i>, i. 441; iv. 156, 229, <i>367</i>; +v. 540; <i>vi. 87</i></p> + +<p><i>Monthly Review</i>, <i>i. 379</i>; iii. 444, 499; +iv. 82, 158, <i>165</i>, 203, 240; v. 472, 540, 584; vi. xx</p> + +<p>Montholon, Count, <i>v. 548</i></p> + +<p><span class='pagenum'><a name="Page_410" id="Page_410">[410]</a></span> +Monti, Vincenzo, ii. 324, 496; iv. 245, 325</p> + +<p>Monticolo, G., <i>Le Vite dei Dogi di Marin Sanudo</i>, <i>iv. 462</i></p> + +<p>Montmartre, heights of, v. 553</p> + +<p>Montmorenci, Jean Mathieu Felicité, Duc de, v. 539, <i>573</i>, 575</p> + +<p>Montorsoli, <i>ii. 446</i></p> + +<p>Montpensier, Comte de, Charles V., Dauphin d'Auvergne, <i>ii. 390</i>; +iv. 258; v. <i>495</i>, 498, 515-518, <i>520</i></p> + +<p><i>Montreal Herald</i>, <i>vi. 508</i></p> + +<p>Montrond, Casimir, Comte de (Byron's "preux Chevalier de la Ruse"), vi. 507</p> + +<p>Montrose, Marquis of, <i>iv. 338</i></p> + +<p>Montucci, A., <i>Tragedie di Alfieri</i>, <i>iv. 368</i></p> + +<p>Mooa, capital of an island (Tonga), v. 600</p> + +<p>Moor, Charles de, <i>iii. 296</i></p> + +<p>Moore, Dr. John, <i>Letters to Burns</i>, <i>i. 118</i>; +<i>Zeluco</i>; <i>Various Views of Human Nature, etc.</i>, ii. 8; +<i>A View of the Society and Manners in Italy</i>, iv. 333-335, 469; +<i>History of Ireland</i>, <i>iv. 334</i></p> + +<p>Moore, Sir John, <i>ii. 8</i></p> + +<p>Moore, Thomas, <i>Life of Lord Byron</i>, +i. xii, xiii, <i>2, 4, 5, 15, 21, 25, 26, 33, 45, 78, 84, 88, 89, 93, 98, 119, 128, 184, 192, 205, 210, 213, 222, 224, 257, 259, 261, 280, 303, 304, 310, 325, 327, 347, 349, 368, 387, 411</i>, 475, <i>497, 499</i>; +ii. xii, <i>16, 20, 34, 65, 118, 139, 187, 236, 258, 304, 322, 324, 352, 369, 387, 461</i>; +iii. xix, xx, <i>15, 16, 25, 30</i>, 75, <i>90, 103, 109, 128, 272, 280</i>, 304, 319, 320, <i>329, 331</i>, 376, <i>415</i>, 443, 444, <i>477</i>, 531, 535, <i>537</i>; +iv. 3, 31, 32, <i>35, 36, 39, 58, 61, 63, 74, 92, 213, 267, 308, 340, 447, 489, 545, 587</i>; +v. <i>82, 210, 348</i>, 470, 471, <i>477, 489, 610</i>; +<i>vi. 21, 128, 143, 297, 578, 601</i>; <i>viii. 12, 18, 19, 21, 71, 82</i>; +<i>Poetical Works of the late Thomas Little</i>, +i. <i>78</i>, 202, <i>305</i>, 307, 319, 324, 325, 333, <i>431</i>; vi. 43; +Byron's letters to, <i>i. 195</i>; <i>ii. 30, 238, 351, 447</i>; +iii. <i>69</i>, 75, 77, 149, 219, <i>249, 255</i>, 303, 319, 320, 376, <i>413, 417, 423, 433, 496</i>; +iv. <i>53, 64</i>, 69, 157, <i>159, 169, 176, 178, 214, 279</i>, 411, <i>478, 520, 538, 555, 558, 561</i>, 570, <i>578</i>; +v. 202, 204, <i>242, 255</i>, 470, <i>561</i>; +vi. xvii, <i>24, 149, 227, 302, 373, 403, 578</i>; +<i>vii.</i> <i><a href="#Note_035">35</a></i>, <i><a href="#Note_037">37</a></i>, <i><a href="#Note_042">42</a></i>, <i><a href="#Note_046">46</a></i>, <i><a href="#Note_048">48</a></i>, <i><a href="#Note_070">70</a></i>, <i><a href="#Note_071">71</a></i>, <i><a href="#Note_073">73</a></i>, <i><a href="#Note_074">74</a></i>; +and Jeffrey, i. <i>203, 305</i>, 333-335; +referred to in <i>English Bards, and Scotch Reviewers</i>, i. 321, 370; +"Anacreon," <i>i. 374</i>; +<i>Intercepted Letters; or, The Twopenny Post-Bag, by Thomas Brown the Younger</i>, +<i>i. 496</i>; iv. 158, <i>555</i>; vii. <a href="#Page_16">16</a>, <i><a href="#Note_022">22</a></i>, <i><a href="#Note_027">27</a></i>, <i><a href="#Note_029">29</a></i>, <i><a href="#Note_030">30</a></i>; +the stanza on Beckford, in <i>Childe Harold</i>, <i>ii. 37</i>; +<i>The Meeting of the Waters</i>, <i>ii. 246</i>; +<i>Irish Melodies</i>, iii. 73; +<i>Lalla Rookh</i>, <i>iii. 87, 181, 186</i>; <i>iv. 176, 587</i>; <i>vi. 230</i>; +on <i>The Corsair</i>, iii. 217; +<i>Corsair</i> dedicated to, iii. 223; <i>Notices, etc.</i>, <i>iv. 63</i>; +<i>Life of Sheridan</i>, iv. 69, 73; +<i>Lines on the Death of Sh-r-d-n</i>, <i>iv. 74</i>; +referred to in <i>Beppo</i>, iv. 183; Byron's exclusiveness, <i>iv. 472</i>; +calls Madame de Staël the Begum of Literature, iv. 570; +"Tracy" of <i>The Blues</i>, <i>ibid.</i>; +<i>M.P.; or, The Blue Stocking</i>, <i>iv. 573</i>; <i>vii.</i> <i><a href="#Note_012">12</a></i>; +on <i>Cain</i>, v. 204; <i>Loves of the Angels</i>, v. 280, 281; +<i>Fables for the Holy Alliance</i>, <i>v. 563</i>; +"the question of posterity," vi. 6; "flirtation with the muse of," vi. 75; +"Oft in the Stilly Night," <i>vi. 234</i>; +<i>Fudge Family in Paris</i>, <i>vi. 243</i>; +<i>Fum and Hum, the Two Birds of Royalty</i>, <i>vi. 389, 451</i>; +"reigned before and after me," vi. 444; +"Here's the Bower she lov'd so much," vi. 447; +on Byron's first rhymes, <i>vii.</i> <i><a href="#Footnote_1_1">1</a></i>; +Byron's <i>Jeux d'Esprit</i> on, vii. <a href="#Page_12">12</a>, <a href="#Page_16">16</a>; +his <i>noms de plume</i>, vii. <a href="#Page_12">12</a>; +the "When Rogers" incident, <i>vii.</i> <i><a href="#Note_017">17</a></i>, <i><a href="#Note_018">18</a></i>; +on <i>The Devil's Drive</i>, <i>vii.</i> <i><a href="#Note_021">21</a></i>; +"Epigram," <i>vii.</i> <i><a href="#Note_022">22</a></i>; at Venice, <i>vii.</i> <i><a href="#Note_072">72</a></i></p> + +<p><span class='pagenum'><a name="Page_411" id="Page_411">[411]</a></span> +Moors, expelled from Granada, ii. 47; Cadiz captured from, <i>ii. 77</i></p> + +<p>Moorzuk, <i>vi. 474</i></p> + +<p>Morat, battle of, ii. 255, 297; bones, ii. 298</p> + +<p>Moravians, the, i. <i>305</i>, 322</p> + +<p>Mordaunt, Miss, as "Ida" in <i>Werner</i>, v. 324</p> + +<p>More, Mrs. Hannah, <i>Bas Bleu</i>, <i>iv. 176, 573</i>; +<i>Coelebs in Search of a Wife</i>, vi. 18</p> + +<p>More, Sir Thomas, <i>iii. 265</i></p> + +<p>Morea, the, i. 457; iii. 83, 270, 447</p> + +<p>Moreau, Jean Victor, vi. 14</p> + +<p>Morelli, Cosimo, ii. 324</p> + +<p>Morelli, Giacomo, ii. 324</p> + +<p>Morelli, Abbate Jacopo, <i>Chronica iadratina seu historia obsidionis Jaderæ</i>, <i>iv. 331</i>; +<i>Monumenti Veneziani</i>, iv. 332, <i>456, 457</i></p> + +<p>Morena, ii. 55</p> + +<p>Moreotes, the, <i>v. 556</i></p> + +<p>Morgan, Sydney, Lady (<i>née</i> Owenson), <i>Woman, or Ida of Athens</i>; +<i>France</i>; <i>Italy</i>, ii. 187; <i>v. 158</i>; vi. 233; +<i>Memoirs</i>, <i>iv. 587</i></p> + +<p><i>Morgante Maggiore</i>, iv. 157, 279-309; vi. xvi, <i>184</i></p> + +<p>Morghen, Raphael, <i>iii. 314</i></p> + +<p>Moriah, the goddess of folly, <i>i. 82</i></p> + +<p>Morier, James, <i>A Journey through Persia</i>, i. 492, <i>500</i></p> + +<p>Morley, John, <i>Rousseau</i>, <i>ii. 266</i></p> + +<p><i>Morning Chronicle</i>, <i>i. 319, 347, 444, 445, 489</i>; +ii. xii, 212; +iii. <i>45, 46, 51, 55, 57, 58</i>, 79, 80, 151, 304, <i>315</i>, 377, <i>419, 431, 435</i>, 532-534; +<i>iv. 74, 177, 555-557, 559, 560</i>; +v. <i>130</i>, 203, 539, 540, <i>553, 556, 572, 578, 602</i>; +<i>vi. 11, 437, 451</i>; vii. <i><a href="#Note_013">13</a></i>, <a href="#Page_14">14</a>, <i><a href="#Note_023">23</a></i>, <i><a href="#Note_028">28</a></i>, <i><a href="#Note_032">32</a></i>, <i><a href="#Note_041">41</a></i>, <i><a href="#Note_086">86</a></i>, <a href="#Page_88">88</a></p> + +<p><i>Morning Herald</i>, <i>vi. 179</i></p> + +<p><i>Morning Post</i>, i. <i>31</i>, 34, <i>308, 309, 350, 351, 357, 358</i>, 441, <i>485</i>, 489, 499; +<i>ii. 397, 401</i>; iii. 534; +<i>v. 544</i>; vi. 175, 452, 494; vii. <i><a href="#Footnote_6_6">6</a></i>, <i><a href="#Note_021">21</a></i>, <a href="#Page_44">44</a>, <i><a href="#Note_066">66</a></i></p> + +<p>Mornington, Lady (Catherine Long), <i>i. 485</i></p> + +<p>Mornington, William Wellesley Pole, 3rd Earl of, <i>ii. 79</i></p> + +<p>Mornington, William Pole-Wellesley, 4th Earl of, i. 484</p> + +<p>Morocco, vi. 198</p> + +<p>Morosini, Conte Domenico, <i>Medea in Corinto</i>; +<i>Giulio Sabino</i>, <i>iv. 456, 457</i></p> + +<p>Morosini, Doge Francesco, ii. 165; <i>iv. 459</i></p> + +<p>Morrison, James, boatswain's mate on the <i>Bounty</i>, +<i>Journal</i>, <i>v. 588, 594, 622</i></p> + +<p>Morritt, J. B. S., <i>ii. 88</i></p> + +<p>Morven, Mount, i. 182, 191</p> + +<p>Moscow, i. 487; Napoleon's retreat from, iv. 207; v. 551; <i>vi. 351</i>; +its clime, vi. 409</p> + +<p>Moses, Michael Angelo's statue of, iv. 271, <i>273</i>; vi. 380</p> + +<p>Moses, Henry, engraver of Canova's Works, <i>iv. 536</i></p> + +<p>Mossop, Henry, tragedian, i. 26</p> + +<p>Mosti, Agostino (Tasso's gaoler), <i>iv. 146</i></p> + +<p>Mottley, John, <i>i. 301</i></p> + +<p>Moussine-Pousckine, Count Alexis Iwanowitch, vi. 307</p> + +<p>Moustoxides (or Moustoxudes), Andreas, ii. 324; iv. <i>456</i>, 457; +<i>Su i Quattro Cavalli della Basilica di S. Marco in Venezia</i>, ii. 472</p> + +<p>Moxon, <i>iv. 485</i></p> + +<p>Mozart, iii. 376; <i>vi. 586</i>; <i>Don Giovanni</i>, vi. xvi</p> + +<p>Muchtar, or Mukhtar, Pasha, of Berat, ii. 148; iii. 144; <i>vi. 244</i></p> + +<p>Mucia, Pompey's third wife, <i>vi. 139</i></p> + +<p>Mules, Italian name of bastards and foundlings, vi. 609</p> + +<p>Muley, Abul Hacen, king of Granada, <i>iv. 530</i></p> + +<p>Mulgrave, John Sheffield, Earl of, i. 354</p> + +<p>Müller, the artist, <i>vi. 321</i></p> + +<p>Müller, F. Max, <i>Sacred Books of the East</i>, <i>iii. 110</i></p> + +<p>Müllinen, <i>iv. 119</i></p> + +<p>Muncker, Thomas, Notes on the <i>Fabulæ</i> of Hyginus, <i>vi. 535</i></p> + +<p>Munster, Duchess of, <i>iii. 299</i></p> + +<p>Müntz, Professor E., <i>ii. 424</i>; <i>Raphael</i>, <i>iv. 174</i></p> + +<p><span class='pagenum'><a name="Page_412" id="Page_412">[412]</a></span> +Murad Effendi (Franz von Werner), iv. 329</p> + +<p>Murat, Joachim, king of Naples and the Two Sicilies, ii. 90; iii. 432; <i>v. 550</i></p> + +<p>Muratori, ii. 502; <i>Nov. Thes, Inscr. Vet.</i>, <i>ii. 519</i>; +<i>Italic. Rerum Scriptores</i>, <i>iv. 332, 349, 352, 462</i>; <i>v. 134</i></p> + +<p>Murin, Tio, ii. 94</p> + +<p>Murphy, Arthur, <i>Apprentice</i>, <i>vi. 601</i></p> + +<p>Murray, Dr. A. S., <i>History of Greek Sculpture</i>, <i>ii. 432, 441</i></p> + +<p>Murray, Joe, <i>i. 280</i>; <i>ii. 27, 52</i>; vii. <a href="#Page_6">6</a></p> + +<p>Murray, Rev. William, <i>i. 347</i></p> + +<p>Murray, A. H. Hallam, <i>iii. 60</i>; MS. of <i>Ich Dien</i>, vii. <a href="#Page_36">36</a></p> + +<p>Murray, John, I., <i>ii. 169</i></p> + +<p>Murray, John, II., Byron's letters to, +i. <i>21, 208</i>, 293, <i>325, 411, 421, 422</i>, 453, 475; +ii. xii, <i>11, 15, 16, 22, 187</i>, 211, 212, <i>215, 287, 304, 305</i>, 307, 311, 313, <i>324, 334, 343, 344, 359, 366, 369, 370, 375, 381, 429, 453, 460, 461</i>; +iii. xx, <i>32</i>, 75, 76, <i>102, 128, 137</i>, 151, 155, <i>181, 187, 197-199, 206, 210, 270, 301</i>, 303, <i>308, 312, 324, 435</i>, 443, <i>449, 468, 488, 519, 540, 544</i>; +iv. 3, <i>21</i>, 31, <i>36, 54</i>, 70, 79-81, <i>107, 126, 136</i>, 157, <i>162, 163, 165, 168, 174, 182, 198, 214</i>, 237, 239, <i>245, 259</i>, 279, 280, 285, <i>304, 308</i>, 313, 325-328, <i>332, 339, 340, 362, 366, 367, 431, 436, 447, 471</i>, 475, 478, 479, <i>490, 536, 539, 542, 545, 549, 555</i>, 569; +v. 3, <i>15, 64</i>, 115, 201, 202, 204, <i>271, 272</i>, 279, 331, <i>367</i>; +vi. xvi, xvii, <i>3, 4, 8, 18, 52, 70, 75, 76, 87, 142, 153</i>, 160, <i>175, 210, 260, 263, 294, 428</i>; +<i>vii.</i> <i><a href="#Note_045">45</a></i>, <i><a href="#Note_047">47</a></i>, <i><a href="#Note_048">48</a></i>, <i><a href="#Note_062">62</a></i>, <i><a href="#Note_066">66</a></i>, <i><a href="#Note_069">69</a></i>, <i><a href="#Note_072">72</a></i>, <i><a href="#Note_077">77</a></i>; +Byron's copy of <i>Catullus</i>, <i>i. 75</i>; +Byron's copy of <i>English Bards, and Scotch Reviewers</i>, i. 291, 294; +Byron on <i>Edinburgh Review</i> of <i>English Bards, and Scotch Reviewers</i>, i. 293; +<i>Marmion</i>, i. <i>310</i>, 311; +MS. of:—<i>English Bards, and Scotch Reviewers</i>, <i>i. 354</i>; +<i>Hints from Horace</i>, i. 387, <i>390, 391-394, 397, 399, 405, 406, 408, 411, 412, 414, 416, 418, 421, 426, 429, 430, 439-444, 448, 449</i>; +<i>The Waltz</i>, <i>i. 487, 488, 490, 492, 493, 496, 498, 501</i>; +<i>Childe Harold</i>, +ii. xvi, xvii, <i>11, 71, 249, 327-330, 332-337, 339, 341-346, 352-354, 357-359, 361, 363, 365, 368, 370, 371, 375, 377-382, 385, 388, 389, 391, 392, 394, 398-401, 403, 404, 406, 407, 409, 410, 413, 415, 418, 427, 429, 431-434, 436, 438-446, 448, 449, 453-456, 458-462</i>; +<i>Poems of 1809-1813</i>, <i>iii. 1, 2-4, 6, 12, 23, 24, 28, 61, 64, 65, 67-72</i>; +<i>Lara</i>, <i>iii. 335</i>; <i>Hebrew Melodies</i>, <i>iii. 382, 383, 388, 389</i>; +<i>Poems of the Separation</i>, <i>iii. 532, 540, 545</i>; +<i>The Giaour</i>, iii. 78; <i>Fare Thee Well</i>, iii. 532; +<i>Morgante Maggiore</i>, iv. 281; +<i>Sardanapalus</i>, +<i>v. 14, 15, 17, 19, 21, 31, 34, 38, 43, 47, 49, 52, 54, 56, 58, 60, 66, 68, 70-72, 75, 76, 78, 84, 88, 89, 91, 93, 95, 97, 102, 103, 109, 110</i>; +<i>Two Foscari</i>, <i>v. 124-127, 132, 135, 137, 138, 141, 148, 149, 159, 160-162, 165, 171, 175, 188, 192-194</i>; +<i>Cain</i>, <i>v. 219, 220, 228-230, 233, 234, 239, 240, 246, 252, 265</i>; +<i>Werner</i>, <i>v. 339, 368, 391, 406, 407</i>; +<i>Age of Bronze</i>, <i>v. 571, 577</i>; +<i>Don Juan</i>, <i>vi. 35, 53, 58, 71, 72, 87, 159</i>; +<i>La Revanche</i>, vii. <a href="#Page_16">16</a>; +<i>E Nihilo Nihil</i>, vii. <a href="#Page_56">56</a>; +<i>The Ballad</i>, vii. <a href="#Page_60">60</a>; <i>Another Simple Ballat</i>, vii. <a href="#Page_62">62</a>; +<i>Lucietta</i>, vii. <a href="#Page_81">81</a>; <i>Song to the Suliotes</i>, vii. <a href="#Page_84">84</a>; +accepts <i>Childe Harold</i>, ii. x, xi; +suppression of stanzas in <i>Childe Harold</i>, <i>ii. 65</i>; +Byron on <i>Quarterly Review</i> and Lady Morgan's <i>France</i>, <i>ii. 187</i>; +Shelley and the <i>Childe Harold</i> MS., ii. 211; +purchase of <i>Childe Harold, Canto III.</i>, ii. 212; +his compliment to Lady Byron, <i>ii. 288</i>; +the Morat bones, ii. 298; Byron's autograph MSS., <i>iii. 411, 419, 425</i>; +bears testimony to Byron's genius, iii. 444; +<span class='pagenum'><a name="Page_413" id="Page_413">[413]</a></span> +Scott's letter on <i>Cain</i> dedication, <i>v. 206</i>; +declines <i>Don Juan</i>, vi. xvi; +the stanzas on Castlereagh in <i>Don Juan</i>, <i>vi. 8</i>; +copyright of <i>Don Juan, Canto XVII.</i>, <i>vi. 608</i>; +Hammond his "chief 4-o'clock man," <i>vii.</i> <i><a href="#Note_049">49</a></i>; +the offer of Madame de Staël's <i>Considérations sur la Révolution Française</i>, <i>vii.</i> <i><a href="#Note_049">49</a></i>; +his share in <i>Blackwood's Edinburgh Magazine</i>, vii. <a href="#Page_51">51</a>, <a href="#Page_57">57</a>; +his "columns," vii. <a href="#Page_55">55</a>; <i>Navy List</i>, vii. <a href="#Page_57">57</a>; +Mrs. Rundell's <i>Domestic Cookery</i>, <i>ibid.</i>; +bookseller to the Admiralty, and the Board of Longitude, vii. <a href="#Page_58">58</a>; +Gally Knight, vii. <a href="#Page_59">59</a>, <a href="#Page_62">62</a>; +his offer of £2000 to Byron, <i>vii.</i> <i><a href="#Note_077">77</a></i></p> + +<p>Murray, John, III., dedication of <i>Marino Faliero</i> to Goethe, iv. 328, <i>340</i>; +MS. of <i>Werner</i>, v. 326</p> + +<p>Murray, John, IV., <i>iii. 66</i></p> + +<p>Murray, Sir George, <i>vi. 374</i></p> + +<p><i>Murray</i> v. <i>Benbow and Another</i>, v. 204</p> + +<p>Murray's Handbooks— +<i>Central Italy</i>, <i>ii. 373, 380</i>; <i>iv. 275</i>; +<i>Constantinople</i>, <i>vi. 220</i>; +<i>Greece</i>, <i>ii. 117, 125, 157, 166, 189</i>; +<i>Northern Italy</i>, <i>ii. 372</i>; <i>iv. 336, 392, 430</i>; +<i>Rome</i>, <i>ii. 389, 403</i>; <i>iv. 271, 273</i>; +<i>Switzerland</i>, ii. 306; <i>iv. 98</i></p> + +<p><i>Murray's Magazine</i>, <i>ii. 229</i>; iii. 319, <i>324</i>; vii. <a href="#Page_10">10</a>, <a href="#Page_69">69</a>, <a href="#Page_85">85</a>, <a href="#Page_86">86</a></p> + +<p><i>Musæ Etonenses</i>, <i>i. 336</i></p> + +<p>Musæus, <i>De Herone atque Leandro</i>, <i>iii. 178</i></p> + +<p>Musca, ii. 89</p> + +<p>Musk-bull, vi. 478</p> + +<p>Mussulmans, Albanian, ii. 144; their devotion, ii. 302</p> + +<p>Musters, John, <i>i. 210</i></p> + +<p>Musters, Mrs. Chaworth. <i>See</i> Chaworth, Mary Anne</p> + +<p><i>My Boy Hobbie O.</i>, vii. <a href="#Page_66">66</a></p> + +<p><i>My Epitaph</i>, <i>iii. 38</i>; vii. <a href="#Page_10">10</a></p> + +<p><i>My Grandmother's Review</i>, <i>iv. 578</i></p> + +<p>Myrina, Queen of the Amazons, v. 5</p> + +<p>Myrrha, a character in <i>Sardanapalus</i>, v. 12</p> + +<p><i>My soul is dark</i>, iii. 389</p> + +<p><i>Mystery Plays</i>, v. 207</p> + + + +<p>N</p> + +<p>Nabopolassar, <i>v. 107</i></p> + +<p>Nadir Shah, or Thamas Kouli Khan, vi. 384</p> + +<p>Naef, A., <i>Guide to the Castle of Chillon</i>, <i>iv. 14, 15, 19</i></p> + +<p>Nahum, <i>v. 4</i></p> + +<p>Naldi, Giuseppe, i. 346</p> + +<p>Nani, Bartolommeo, v. 115</p> + +<p>Nani, Maria or Marina, v. 115</p> + +<p>Napier, <i>History of the Peninsular War</i>, <i>i. 469, 470</i>; +ii. <i>53, 54</i>, 87, 90-94</p> + +<p>Napoleon Buonaparte, his snuff-box, <i>i. 355</i>; vii. <a href="#Page_77">77</a> +mentioned in <i>Hints from Horace</i>, i. 410; +the affair of Copenhagen, <i>i. 468</i>; "Buonaparte's fiat," i. 487; +fall of Hamburg, <i>i. 488</i>; +"then flamed of Austerlitz the blest despatch," <i>i. 489</i>; +unwhiskered, <i>i. 493</i>; repulsed at Vimiera, <i>ii. 39</i>; +"to swell one bloated chiefs unwholesome reign," ii. 56; +abdication of Ferdinand VII., <i>ii. 78</i>; +invasion of Spain, ii. <i>82</i>, 90; blockade of Corfu, <i>ii. 193</i>; +Shelley's <i>Feelings of a Republican on the Fall of Buonaparte</i>, <i>ii. 227</i>; +"there sunk the greatest, nor the worst of men," etc. (<i>Childe Harold</i>), ii. 238-241, 294; +his star, ii. 270; the Horses of St. Mark, <i>ii. 336</i>; +the Venus de' Medici, <i>ii. 365</i>; Coleridge on, <i>ii. 397</i>; +described by Pitt as "the child and champion of Jacobinism," etc., <i>ii. 400</i>; v. 544; +a prisoner, <i>ii. 453</i>; "Waterloo," <i>ii. 459</i>; vi. 539; +and Mrs. Spencer Smith, <i>iii. 4</i>; his abdication, iii. 303; +<i>Ode to</i>, iii. 305-315; his <i>Farewell</i>, iii. 427, 428; +"crushed by the Northern Thor," iv. 179; +the retreat from Moscow, <i>iv. 207</i>; vi. <i>351</i>, 352; +<span class='pagenum'><a name="Page_414" id="Page_414">[414]</a></span> +<i>Werther, v.</i>, <i>iv. 342</i>; +his reply to the Venetian envoys, iv. 456; +Scott's <i>Life of</i>, <i>iv. 456</i>; crowned king of Italy, iv. 458; +his death, iv. 489; Hazlitt on, iv. 570; +at St. Helena, v. 537, 538 (see also <i>The Age of Bronze</i>); +his grave, v. 548; his wife Marie Louise, <i>v. 576</i>; +causes his soldiers to be vaccinated, <i>vi. 50</i>; +takes Missouri from the Spaniards, <i>vi. 349</i>; +and the sculptor Bartolini, <i>vi. 360</i>; in <i>Don Juan</i>, vi. 377; +his cancer, vi. 378; "Ceres fell with Buonaparte," vi. 383; +his blue eyes, vi. 396; "Ah! my old Guard," vi. 418; +"Where is Napoleon the Grand?" vi. 450; +"shrink to a Saturn," vi. 452; and the Comte de Montrond, <i>vi. 507</i>; +"Ausu Romano, ære Veneto," <i>vi. 590</i>; his escape from Elba, vii. <a href="#Page_41">41</a></p> + +<p><i>Napoleon Buonaparte, Ode to</i>, <i>ii. 187, 238</i>; iii. 305-315; +iv. 49, 269; vi. 12</p> + +<p><i>Napoleon's farewell</i>, iii. 427; <i>iv. 111</i></p> + +<p><i>Napoleon's Snuff-Box</i>, vii. <a href="#Page_77">77</a></p> + +<p>Napoli di Romania, iii. 447</p> + +<p>Nardini, F., <i>Roma Vetus</i>, ii. <i>510</i>, 511, <i>513, 515</i>, 517</p> + +<p>Nash, the architect, <i>i. 349</i></p> + +<p>Nash, Edward, artist, iv. 475</p> + +<p>Nasoni, Giovanni Gradenigo, iv. 465</p> + +<p>Nathan, Isaac (<i>Hebrew Melodies</i>), iii. 375; +<i>Fugitive Pieces</i>, iii. 376, <i>381, 383, 387, 388, 390, 400</i></p> + +<p>National Gallery, <i>i. 472</i></p> + +<p><i>National Intelligencer</i> (U.S.A.), <i>iii. 297</i></p> + +<p>Nauck, A., <i>Incert. Fab. Fragm.</i>; <i>Trag. Græc. Fragm.</i>, <i>iv. 264</i></p> + +<p>Naupli, Gulf of, <i>i. 457</i></p> + +<p>Navagero, Andrea, <i>Storia della Republica Veneziana</i>, iv. 326, 332, <i>349, 463</i>; v. 115</p> + +<p>Neapolitan Government, v. 574</p> + +<p>Nebuchadnezzar, Nabuchadonosor, vi. 235, <i>236</i></p> + +<p>Nectanebus II., <i>v. 543</i></p> + +<p>Negropont, the, iii. 173</p> + +<p>Neipperg, Count Albert Adam de, <i>iii. 311</i>; v. 539, 576</p> + +<p>Nekir and Monkir, inquisitors of the dead, iii. 121</p> + +<p>Nelson, vi. 14</p> + +<p>Nemesis, ii. 426, 518, 519</p> + +<p>Nemi, village of, ii. 454</p> + +<p>Nemours, Gaston de Foix, Duc de, <i>i. 107</i>; vi. 212</p> + +<p>Neoptolemus, or Pyrrhus, v. 577</p> + +<p>Nepos, Cornelius, <i>Epam.</i>, <i>vi. 376</i></p> + +<p>Nepos, Emperor, iii. 301</p> + +<p>Neptune, v. 616; vi. 130</p> + +<p>Nereus, iv. 243</p> + +<p>Nero, Emperor, <i>i. 349</i>; ii. <i>408, 409</i>, 472; iv. 124; v. 606; vi. 181</p> + +<p>Nero, the Consul, v. 606</p> + +<p>Nerva, <i>ii. 412</i></p> + +<p>Nervii, the, <i>vi. 339</i></p> + +<p>Nesselrode, Count, v. 539; <i>vii.</i> <i><a href="#Note_039">39</a></i></p> + +<p>Nessus, robe of, vi. 447, 575</p> + +<p>Neuhaus, <i>iv. 119</i></p> + +<p>Neuman, Johannes Christiaan (A. van Amstel), iv. 5</p> + +<p>Neumann, i. 476</p> + +<p>Neva, <i>vi. 475</i></p> + +<p><i>New English Dictionary</i>, <i>i. 314</i>; +ii. <i>4, 57, 70, 122, 146</i>, 172, 181, <i>205</i>, 294, <i>325, 385</i>; +<i>iii. 113, 157</i>; <i>iv. 13, 166, 171, 172, 445</i>; +<i>v.</i> 228; <i>vi. 68, 208, 316, 473, 487, 550, 567</i></p> + +<p>New Grenada, <i>v. 555</i></p> + +<p><i>New Monthly Magazine</i>, i. 452, 453; <i>ii. 366</i>; +<i>iv. 65, 552, 564</i>; v. 282, 584; vi. xx</p> + +<p>New Orleans, <i>iii. 296</i></p> + +<p><i>New Plan of the Town of Nottingham, A</i>, <i>vii.</i> <i><a href="#Footnote_1_1">1</a></i></p> + +<p>New South Wales, insurrection (1805) in, <i>v. 588</i></p> + +<p><i>New Testament</i>, v. 208</p> + +<p><i>New Vicar of Bray, The</i>, vii. <a href="#Page_78">78</a></p> + +<p>Newbury, battle of, <i>i. 3, 121</i></p> + +<p>Newcastle, Duke of, <i>i. 457</i></p> + +<p><i>Newcastle Herald</i>, <i>i. 373</i></p> + +<p>Newstead Abbey, i. 1, 116, 256, <i>280</i>; <i>ii. 16</i>; iii. 27; +the lake at, iv. 60; description of, vi. 495</p> + +<p><span class='pagenum'><a name="Page_415" id="Page_415">[415]</a></span> +<i>Newstead MS.</i>, +<i>i. 47, 79, 82, 87, 91, 129, 130, 147-150, 153, 155, 159-162, 164-168, 174-178, 181, 182, 185-188, 212, 213, 217, 220, 226, 228, 229, 231, 233, 240, 242, 244, 247, 253-256, 258, 262, 263</i></p> + +<p>Newton, Professor A., <i>iii. 130</i></p> + +<p>Newton, Sir Isaac, iv. 47; vi. <i>303</i>, 400</p> + +<p>Newton, D. D., Thomas, <i>Life of Milton</i>, <i>vi. 146</i></p> + +<p>Ney, Michel, Duke of Elchingen, <i>vi. 373</i></p> + +<p>Nicholas III., iii. 503</p> + +<p>Nicholle, or Marinet, M., vi. 373, <i>374</i></p> + +<p>Nicholls, Colonel E., <i>iii. 298</i></p> + +<p>Nichols, John, editor of Hardinge's <i>Miscellaneous Works</i>, <i>vi. 508</i></p> + +<p>Nichols, Mrs. (Harriet Maltby), i. 129, 263</p> + +<p><i>Nicnac</i>, iii. xxi; vii. <i><a href="#Note_041">41</a></i>, <a href="#Page_42">42</a></p> + +<p>Nicolo III. (d'Este) of Tuscany, <i>ii. 354</i></p> + +<p>Nicopolis, ii. 128, <i>148</i>, 179</p> + +<p>Niebuhr, <i>vi. 122</i></p> + +<p>Niger, delta of the, iv. 515</p> + +<p>Nightingale and the rose, iii. 86; v. 428, 612</p> + +<p>Niketas, Greek general, <i>v. 556</i></p> + +<p>Nile, v. 550</p> + +<p>Nimrod, v. 14, 18, 28, 36, 58; vi. 235, <i>236</i></p> + +<p><i>Nineteenth Century</i>, iv. 5; v. 326, 329</p> + +<p>Nineveh, fall of, v. <i>4, 13</i>, 25; vi. 348</p> + +<p>Ninus, king of Assyria, <i>v. 11</i></p> + +<p>Ninya, <i>v. 79</i></p> + +<p>Niobe, ii. 389</p> + +<p>Nisbet, Mary (Lady Elgin), <i>i. 463</i></p> + +<p>Nisbet, William Hamilton, <i>i. 463</i></p> + +<p>Nisus, <i>i. 151, 175</i>; <i>ii. 387</i></p> + +<p>Nitrous oxide gas, <i>i. 307</i></p> + +<p>Nizam Gedidd, new Turkish ordinance, ii. 207</p> + +<p>Noah, i. 325; v. 284</p> + +<p>Noble, Rev. Mark, continuation of Granger's <i>Biographical History of England</i>, <i>iii. 298</i></p> + +<p>Noel, Captain the Hon. F. L. King, <i>iv. 159</i></p> + +<p>Noel, Lady, vi. 274; vii. <a href="#Page_75">75</a></p> + +<p>Noel, Lady Anna Isabella (Scawen Blunt), <i>ii. 215</i></p> + +<p>Noel, Hon. Elizabeth, <i>i. 437</i></p> + +<p>Noel, Hon. Roden, <i>Life of Lord Byron</i>, ii. xiii; <i>ii. 117</i>; <i>iii. 18</i></p> + +<p>Nogaret, <i>v. 554</i></p> + +<p>Nonius Marcellus, ii. 92</p> + +<p>Norbury, Mr., private secretary to Lord Granville, <i>vii.</i> <i><a href="#Note_036">36</a></i></p> + +<p>Norbury, Hon. Mrs., <i>vii.</i> <i><a href="#Note_036">36</a></i></p> + +<p>Nordlingen, battle of, <i>ii. 186</i></p> + +<p>Norfolk, Charles Howard, 11th Duke of ("Jockey of Norfolk"), vii. <a href="#Page_28">28</a></p> + +<p>Normanby, John Sheffield, Marquis of, i. 354</p> + +<p>North, Lord, <i>i. 500</i></p> + +<p>Norton, Mrs., <i>i. 343</i></p> + +<p>Nossa Señora da Peña, Convent of, ii. 35, 85</p> + +<p>Notaras, ii. 203</p> + +<p><i>Notes and Queries</i>, <i>ii. 430, 460</i>; <i>iii. 72</i>; +<i>iv. 15, 46, 75, 530, 533</i>; <i>vi. 483</i>; <i>vii.</i> <i><a href="#Note_059">59</a></i></p> + +<p>Nott, Dr. George Frederick, Prebendary of Winchester and Salisbury, vii. <a href="#Page_78">78</a></p> + +<p>Notti, Signori di, iv. 465</p> + +<p><i>Nouveau Dictionnaire de l'Économie Politique</i>, <i>vi. 461</i></p> + +<p><i>Nouvelle Biographie Universelle</i>, <i>iii. 311</i>; <i>v. 499</i></p> + +<p><i>Novelists Magazine</i>, <i>iv. 519</i></p> + +<p>Novi, battle of, <i>vi. 14</i></p> + +<p>Nugent, <i>vi. 175</i></p> + +<p>Numa Pompilius, <i>ii. 416</i>; vi. 24</p> + +<p><i>Numbers</i>, <i>ii. 271</i></p> + +<p>Nunez, translation of de Quevedo's <i>Sueños, etc.</i>, <i>iv. 484</i></p> + +<p><i>Nuovo Archivio Veneto</i>, iv. 327, <i>331, 332, 349, 403, 462</i></p> + +<p>Nympholepsy, ii. 415</p> + + +<p>O</p> + +<p>Oakes, Major-General Hildebrand, iii. 25</p> + +<p><span class='pagenum'><a name="Page_416" id="Page_416">[416]</a></span> +Oaths, British and Continental, vi. 440</p> + +<p><i>Observations upon Observations</i>, v. 537; <i>vii.</i> <i><a href="#Note_075">75</a></i></p> + +<p><i>Observer</i>, <i>i. 414</i></p> + +<p><i>Occasional Pieces</i> (<i>Poems</i>, 1809-1813; <i>Poems</i>, 1814-1816), +<i>ii. 37</i>; iii. xix</p> + +<p><i>Occasional Poems</i>, <i>iii. 449</i></p> + +<p><i>Occasional Prologue previous to the Performance of the Wheel of Fortune</i>, i. 45</p> + +<p>Ocellus Lucanus, <i>De Universi Naturâ</i>, ii. 198</p> + +<p>Ochakof, siege of, <i>vi. 313</i></p> + +<p>Ockham, Viscount, <i>ii. 215</i></p> + +<p>O'Connell, Daniel, iv. 559</p> + +<p>Odalisques, ladies of the Seraglio, vi. 277</p> + +<p><i>Ode from the French</i>, <i>ii. 227</i>; iii. 431; <i>iv. 110</i>; <i>vi. 266, 373</i></p> + +<p><i>Ode on the Death of Sir Peter Parker</i>, iii. xix, 417</p> + +<p><i>Ode on Venice</i>, <i>ii. 338</i>; iii. xix; iv. 193, 203, <i>458</i></p> + +<p><i>Ode to a Lady whose lover was killed by a ball, which at the +same time shattered a portrait next his heart</i>, iv. 552; <i>vi. 144</i></p> + +<p><i>Ode to Napoleon Buonaparte</i>, <i>ii. 187, 238</i>; +iii. 305-315; <i>iv. 49, 269</i>; <i>v. 519</i>; <i>vi. 12, 348</i></p> + +<p><i>Ode to the Framers of the Frame Bill</i>, vii. <a href="#Page_13">13</a></p> + +<p><i>Ode to the Isle of St. Helena</i> (spurious), iii. xx</p> + +<p>Oder, river, v. 348</p> + +<p>Odessa, vi. 264</p> + +<p>O'Doherty, parody of the "Pisa letter," v. 204; <i>Miscellanies</i>, v. 326</p> + +<p>Odysseus, <i>iii. 272</i></p> + +<p>OEdipus, ii. 93, <i>431</i></p> + +<p>Ogilvy, <i>i. 314, 403</i></p> + +<p>Ogle, Sir Chaloner, <i>vii.</i> <i><a href="#Note_048">48</a></i></p> + +<p><i>Oh, Shame to thee, Land of the Gaul</i> (spurious), iii. xx</p> + +<p><i>Oh! snatched away in beauty's bloom</i>, iii. 388</p> + +<p><i>Oh! weep for those</i>, iii. 385</p> + +<p><i>Old Testament</i>, <i>iii. 187</i>; v. 199, 279</p> + +<p>Oliphant, Mrs., <i>Annals of a Publishing House</i>, iii. 444</p> + +<p>Olivier, G. A., <i>iii. 13</i>; +<i>Voyage dans l'Empire Othoman</i>, <i>iii. 188</i></p> + +<p>Ollah, a Turkish cry, iii. 168</p> + +<p>Olympias, mother of Alexander the Great, <i>ii. 123</i>; <i>v. 543</i></p> + +<p>Olympieion, Temple of Zeus Olympius, <i>i. 462</i>; ii. 167</p> + +<p>Olympus, Mount, ii. 286</p> + +<p>Olytsika, Mount (ancient Tomarus), ii. <i>132</i>, 182</p> + +<p>Omar Khayyám, Rubáîyát, <i>iii. 87, 109</i></p> + +<p>Ombre, the game of, iv. 507</p> + +<p>O'Meara, Dr. Barry Edward, <i>Napoleon in Exile, or a Voice +from St. Helena</i>, v. 537, 540, <i>544-547</i></p> + +<p><i>Omegarus and Syderia</i>, <i>iv. 42, 43</i></p> + +<p><i>On a change of Masters at a Great Public School</i>, i. 16, <i>84, 91</i></p> + +<p><i>On a Cornelian heart which was broken</i>, iii. 48</p> + +<p><i>On a distant view of the village and school of Harrow-on-the-Hill</i>, i. 25</p> + +<p><i>On a Royal Visit to the Vaults</i> (<i>Windsor Poetics</i>), vii. <a href="#Page_36">36</a></p> + +<p><i>On being asked what was the "Origin of Love"</i>, iii. 65</p> + +<p><i>On finding a Fan</i>, i. 253</p> + +<p><i>On Jordan's banks</i>, iii. 386</p> + +<p><i>On leaving Newstead Abbey</i>, i. 1; <i>vi. 499</i></p> + +<p><i>On Lord Thurlow's Poems</i>, vii. <a href="#Page_17">17</a></p> + +<p><i>On Moore's last Operatic Farce or Farcical Opera</i>, vii. <a href="#Page_12">12</a></p> + +<p><i>On my Thirty-Third Birthday</i>, vii. <a href="#Page_73">73</a></p> + +<p><i>On my Wedding-Day</i>, <i>ii. 322</i>; vii. <a href="#Page_64">64</a></p> + +<p><i>On Napoleon's Escape from Elba</i>, vii. <a href="#Page_41">41</a></p> + +<p><i>On Parting</i>, iii. 23</p> + +<p><i>On revisiting Harrow</i>, i. 259</p> + +<p><i>On the Birth of John William Rizzo Hoppner</i>, vii. <a href="#Page_54">54</a></p> + +<p><i>On the Bust of Helen by Canova</i>, iv. 536</p> + +<p><span class='pagenum'><a name="Page_417" id="Page_417">[417]</a></span> +s<i>On the day of the Destruction of Jerusalem by Titus</i>, iii. 401</p> + +<p><i>On the death of a Young Lady, Cousin to the Author, +and very dear to Him</i>, i. 5</p> + +<p><i>On the death of Mr. Fox</i>, i. 34</p> + +<p><i>On the death of the Duke of Dorset</i>, iii. xxi, 425</p> + +<p><i>On the eyes of Miss A—— H——</i>, i. 244</p> + +<p><i>On the Morning of my Daughter's Birth</i> (spurious), iii. xx</p> + +<p><i>On the Quotation "And my true faith can alter never, / Though +thou art gone perhaps for ever"</i>, ii. xxi, 65</p> + +<p><i>On the Star of "The Legion of Honour"</i>, iii. 436</p> + +<p><i>On this day I complete my thirty-sixth year</i>, vii. <a href="#Page_86">86</a></p> + +<p><i>One struggle more, and I am free</i>, iii. <i>31, 32</i>, 36</p> + +<p>O'Neill, Miss Elizabeth (afterwards Lady Becher), actress, +<i>ii. 331</i>; <i>iv. 338</i>; vii. <a href="#Page_50">50</a></p> + +<p>Opera Comique, <i>i. 413</i></p> + +<p>Opie, Mrs., <i>The Warrior's Return</i>, <i>iii. 424</i></p> + +<p><i>Oracle, The</i>, <i>i. 358</i></p> + +<p>Orange, Prince of, <i>iv. 197</i></p> + +<p>Orazio, <i>alias</i> Celio de' Malespini, <i>iv. 144</i></p> + +<p>Orbe, Madame, ii. 304</p> + +<p>Orchomenus, iii. 15</p> + +<p>O'Reilly, Count Alexander, vi. 56</p> + +<p>Orestes, <i>i. 175</i>; ii. 427</p> + +<p>Orford, Lord (Horace Walpole), +<i>Reminiscences</i>; <i>Works</i>, <i>iii. 209</i>; <i>iv. 340</i>; +<i>Memoirs ... of George II.</i>, vii. <a href="#Page_76">76</a></p> + +<p><i>Oriental Antiquities</i>, <i>ii. 136</i></p> + +<p>Orla, i. 177</p> + +<p>Orleans, Duke of, <i>ii. 282</i>; iv. 334</p> + +<p>Orlow (Orloff), General, <i>vi. 314, 353, 354</i></p> + +<p>Ormsby, John, translation of <i>Don Quixote</i>, ii. 178</p> + +<p>Orosius, <i>Hist.</i>, ii. 179, <i>392</i>, 512</p> + +<p>Orpheus, i. 437, 484; ii. 11; vi. 173</p> + +<p>Orsini, the, <i>v. 576</i></p> + +<p>O'Ruarc, Dervogilla, iv. 334</p> + +<p>O'Ruarc, Tiernan, <i>iv. 334</i></p> + +<p>Orthodoxy, <i>vi. 267</i></p> + +<p><i>Oscar of Alva</i>, i. 131; <i>ii. 343</i></p> + +<p>Ossian, <i>Poems</i>, i. 1, 116, 177, <i>183, 191</i>, 229; +<i>iii. 100, 115, 389, 416, 426</i>; <i>iv. 126</i>; vii. <a href="#Page_2">2</a></p> + +<p><i>Ossian's Address to the Sun in "Carthon"</i>, i. 229; <i>iv. 126</i>; vii. <a href="#Page_2">2</a></p> + +<p>Ossory, John, 1st Earl of, <i>i. 500</i></p> + +<p>Otaheite (Tahiti), v. 582-584, <i>588</i></p> + +<p><i>Othello</i>, i. <i>340</i>, 342; iii. <i>131</i>, 313, 540; +<i>iv. 164</i>; vi. 271, <i>379, 502</i>, 543</p> + +<p>Otho, <i>v. 63, 64</i></p> + +<p>Otway (<i>Venice Preserved</i>), i. 306, 345; ii. 331, 342; +iv. 325, 326, <i>454</i>; <i>vii.</i> <i><a href="#Note_057">57</a></i></p> + +<p>Ouchy, iv. 3</p> + +<p>Oude, Begum of, iv. 72</p> + +<p>Outalissi, <i>i. 430</i></p> + +<p>Ovid, i. 437; <i>v. 573</i>; vi. 26, 139, 218; +<i>Metamorph.</i>, <i>ii. 13</i>; <i>iii. 199</i>; <i>v. 570</i>; vi. 38, <i>177, 235</i>, 273, <i>535</i>; <i>vii.</i> <i><a href="#Footnote_9_9">9</a></i>; +<i>Amor.</i>, ii. <i>31, 367</i>, 509; <i>v. 289</i> +<i>Fasti</i>, <i>ii. 255</i>, 515; <i>iv. 164</i> +<i>Heroïdes</i>, iii. 178; <i>vi. 447, 575</i></p> + +<p>Owen, Rev. E. C. Everard, <i>ii. 82, 157</i>, 172, <i>335</i></p> + +<p>Oxenstiern, Chanc. Axel, vi. 531</p> + +<p>Oxenstiern, John, <i>vi. 531</i></p> + +<p>Oxford and Mortimer, Edward, 5th Earl of, <i>ii. 11</i></p> + +<p>"Oxoniensis" (Rev. J. H. Todd), v. 202</p> + +<p><i>Oziosi</i>, the, a literary society at Florence, <i>i. 358</i></p> + + + +<p>P</p> + +<p>Pacchierotti, <i>vi. 207</i></p> + +<p>Pacciaudi, ii. 472</p> + +<p>Pactolus, v. 487</p> + +<p>Padua, <i>iv. 262, 386</i></p> + +<p>Page, Mrs. Anne, <i>vi. 442</i></p> + +<p>Paine, Tom, vii. <a href="#Page_65">65</a></p> + +<p>Palæopolis, <i>iii. 184</i></p> + +<p>Palafox, ii. 78, 94</p> + +<p>Palampore, a flowered shawl, iii. 117</p> + +<p>Palatine, Rome, ii. 407; iv. 257</p> + +<p>Palazzi, <i>Fasti Ducales</i>, <i>v. 124, 195</i></p> + +<p><span class='pagenum'><a name="Page_418" id="Page_418">[418]</a></span> +Paley, <i>vii.</i> <i><a href="#Note_032">32</a></i></p> + +<p>Palgrave, Sir Francis (formerly Cohen), translation of <i>Old Chronicle</i> +(Marino Faliero); <i>Rise and Progress of the English Constitution</i>; +<i>History of the Anglo-Saxons</i>, iv. 462</p> + +<p>Palikar, general name for Greek and Albanese soldiers, ii. 144, 183</p> + +<p>Pallas Athene, vii. <a href="#Page_12">12</a></p> + +<p>Palmer, E. H., <i>Sacred Books of the East</i>—translation of the Qu'rân, <i>iii. 110, 181, 195, 206</i></p> + +<p>Palmerston, Lady (Cowper), <i>i. 301</i></p> + +<p>Palmerston, Lord, i. 57, 476</p> + +<p>Pambotis, lake of Yanina, ii. 179</p> + +<p>Pan, vi. 130</p> + +<p>Pandion, king of Attica, <i>iv. 287</i></p> + +<p>Pandora, i. 285</p> + +<p><i>Pandora</i>, wreck of the, <i>vi. 96</i></p> + +<p>Panizzi, Preface to the <i>Orlando Innamorato</i> of Boïardo, iv. 281</p> + +<p>Pantaloni, nickname of the Venetians, <i>ii. 339</i></p> + +<p>Pantheon, Rome, ii. 435</p> + +<p>Pantisocracy, iv. 521; vi. 174</p> + +<p>Panvinius, <i>ii. 392</i></p> + +<p>Paphos, ii. 19, 63</p> + +<p>Paracelsus, <i>v. 208</i></p> + +<p>Parcæ, the, vi. 220</p> + +<p><i>Parenthetical Address</i>, iii. 55</p> + +<p>Parga, pirates of, ii. <i>145</i>, 146, 147; vi. 171, <i>172</i></p> + +<p>Paris, Treaties of, ii. <i>342</i>, 402; <i>v. 550, 576</i>; +Allied Army in, <i>iii. 431</i>; v. 553</p> + +<p><i>Parisina</i>, <i>ii. 113, 288, 354</i>; iii. 377, 443, 505-548; +<i>iv. 35</i>, 141, 215; v. 326</p> + +<p>Park, Mungo, <i>Journal of a Mission to the Interior of Africa</i>, <i>v. 631</i></p> + +<p>Park Theatre, New York, <i>Werner</i> at, v. 324</p> + +<p>Parker, Charlotte Augusta (<i>née</i> Byron), <i>iii. 417</i></p> + +<p>Parker, Christopher, <i>iii</i>. 417</p> + +<p>Parker, Margaret, i. 5</p> + +<p>Parker, Rev. J., translation of Dionysius' <i>Celestial Hierarchy</i>, <i>v. 286</i></p> + +<p>Parker, Bart., Sir Peter, <i>i. 5</i>; iii. 417</p> + +<p>Parkins, Miss Fanny, <i>vi. 578</i></p> + +<p><i>Parliamentary Debates</i>, <i>i. 412</i>; <i>v. 545</i>; <i>vi. 69, 506, 549</i></p> + +<p><i>Parliamentary History</i>, <i>i. 412</i></p> + +<p>Parma, Alessandro Farnese, Duke of, <i>iv. 262</i></p> + +<p>Parma, University of, <i>ii. 354</i></p> + +<p>Parnassus (Liakura), i. 426; ii. 60-62, 92, 129, 186; iii. 113, 464</p> + +<p>Parnell, <i>Vigil of Venus</i>, <i>i. 317</i>; <i>ii. 279</i></p> + +<p>Paros, island, iii. 273</p> + +<p>Parrot, Professor Friedrich, <i>Journey to Ararat</i>, <i>v. 294</i></p> + +<p>Parry, Sir Edward, <i>Voyage in 1819-1820 in Search of a North-West +Passage</i>, iv. 496; vi. 51, <i>478</i>, 491, 521</p> + +<p>Parsons, William, <i>i. 358</i></p> + +<p>Parthenon, Athens, i. 454, 455, <i>462, 463</i>; ii. 166, 172</p> + +<p>Parthians, the, <i>ii. 412</i></p> + +<p>Parton, James, <i>Life and Times of Benjamin Franklin</i>, <i>v. 554</i></p> + +<p>Pascal, <i>vi. 379</i></p> + +<p>Pasiphae, vi. 126</p> + +<p>Pasqualigo, Nicolò, <i>iv. 456, 457</i></p> + +<p>Pasqualigo, Orio, <i>iv. 432</i></p> + +<p>Pasqualino, <i>iv. 171</i></p> + +<p>Pasquin, v. 471</p> + +<p>Passavant, J. D., <i>Raphael of Urbino</i>, <i>iv. 174</i></p> + +<p>Paswan Oglou, iii. 188</p> + +<p>Paterculus, C. Vell., <i>Hist.</i>, <i>ii. 492</i></p> + +<p>Paternoster Row, iv. 574; vii. <a href="#Page_9">9</a></p> + +<p>Paterson, Sir John, <i>iii. 301</i></p> + +<p>Patras, ii. <i>124</i>, 178</p> + +<p>Patroclus, <i>i. 175</i>; <i>ii. 462</i>; <i>vi. 117</i>, 204</p> + +<p>Patterson, Commander Daniel, <i>iii. 298</i></p> + +<p>Paul, Czar, <i>vi. 333</i></p> + +<p>Paul III., Pope, <i>ii. 411</i>; <i>iii. 122</i>; <i>iv. 270</i></p> + +<p>Pausanias, king of Sparta, and Cleonice, iv. 108</p> + +<p>Pausanias, the Sophist, ii. 85; +<i>Laconica</i>, <i>iv. 108, 566</i>; <i>Descriptio Gratiæ</i>, <i>v. 526</i></p> + +<p>Pauw, Cornelius de, <i>Recherches philosophiques sur les Grecs</i>, +<i>i. 414</i>; ii. 191, 194-196</p> + +<p><span class='pagenum'><a name="Page_419" id="Page_419">[419]</a></span> +Pavia, battle of, <i>v. 503</i></p> + +<p>Payne, J., <i>i. 356</i></p> + +<p>Paxos, <i>ii. 193</i></p> + +<p>Pazig, Christianus, <i>Magic Incantations</i>, <i>v. 289</i></p> + +<p>Peachey, or Peachie, <i>i. 208</i></p> + +<p>Peacock, "that royal bird, whose tail's a diadem," vi. 326</p> + +<p>Peacock, Thomas Love, <i>ii. 355</i>; iv. 3, <i>18</i>, 475; +<i>Melincourt</i>, iv. 569, <i>574</i>; <i>Nightmare Abbey</i>, iv. 569</p> + +<p>Pearson, John, <i>vii.</i> <i><a href="#Footnote_14_14">14</a></i></p> + +<p>Pearson's <i>Cautions, etc.</i>, <i>i. 417</i></p> + +<p>Pedro III., Portugal, <i>ii. 43</i></p> + +<p>Peel, Sir Robert, <i>v. 572</i></p> + +<p><i>Peggy</i>, wreck of the American ship, <i>vi. 103</i></p> + +<p>Pelagius, ii. 89</p> + +<p>Pelayo, ii. 46; v. 558</p> + +<p>Peleus, <i>v. 488</i></p> + +<p>Pelican, the, iii. 130</p> + +<p>Pellegrino, <i>Caraffa</i>, <i>ii. 486</i></p> + +<p>Pemberton, <i>vi. 400</i></p> + +<p>Peña, Convent of Nossa Señora da, ii. 35, 85</p> + +<p>Penelope, ii. 124</p> + +<p>Peninsular War, i. 469; <i>iii. 416</i></p> + +<p>Pennant, Thomas, <i>Some Account of London</i>, <i>vi. 435</i></p> + +<p>Pentelicus, Mount (Mount Mendeli), ii. 186</p> + +<p>Penthesilea, Queen of the Amazons, v. 526</p> + +<p>Perceval, Spencer, i. <i>28, 471</i>, 472, <i>496</i>, 497; <i>ii. 79</i>; <i>vii.</i> <i><a href="#Note_028">28</a></i></p> + +<p>Percy's <i>Reliques</i>, <i>i. 317</i>; <i>ii. 22</i></p> + +<p>Pericles, i. 462; ii. 190</p> + +<p>Perkinean Institution, London, <i>i. 308</i></p> + +<p>Perkins, Benjamin Charles, his metallic tractors, <i>vi. 50</i></p> + +<p>Perrier, M. Casimir, <i>Opinions et Discours</i>, <i>v. 566</i></p> + +<p>Perry, editor of <i>Morning Chronicle</i>, iii. 532; vii. <i><a href="#Note_037">37</a></i>, <a href="#Page_44">44</a></p> + +<p>Persians, capture Teos, <i>vi. 171</i>; "taught three useful things," vi. 572</p> + +<p><i>Persius</i>, <i>i. 304</i>; <i>ii. 201</i></p> + +<p>Peru, Independence of, <i>v. 556</i>; vi. 457</p> + +<p>Pescara, Ferdinando Francesco dagli Avalos, Marquis of, <i>iv. 262</i></p> + +<p>Peter the Great, iv. 202; <i>v. 564</i>; vi. 381</p> + +<p>Peter III., vi. 388</p> + +<p>Peter Pindar. <i>See</i> Wolcot, Dr.</p> + +<p>Peterborough, Lord, <i>i. 484</i>; <i>v. 576</i></p> + +<p>Peterborow, Henry Mordaunt, Earl of, <i>iv. 504</i></p> + +<p>Peterwaradin, battle of, <i>iii. 455</i></p> + +<p>Petrarch, i. 108; ii. 350-353, <i>365</i>, 371, 372, <i>415, 424</i>, 478, 501-503; +iv. 239, 265; and Laura, ii. 480-484; vi. 145; +on the conspiracy of Marino Faliero, iv. 468; +"the Platonic pimp of all posterity," vi. 218</p> + +<p>Petronius, "Arbiter Elegantiarum" to Nero, i. 349; +<i>Satyricôn</i>, vi. <i>380</i>, 602</p> + +<p>Pettigrew, T. J., <i>vi. 497</i></p> + +<p>Petty, Lord Henry (afterwards Marquis of Lansdowne), i. 31, 57, 340, <i>471</i></p> + +<p>Peucker, Dr. Karl, <i>Griechenland</i>, ii. xxiv</p> + +<p>Phædra, vi. 254</p> + +<p>Pharnaces II., <i>ii. 398</i></p> + +<p>Phelps, as "Jaffier" in <i>Venice Preserved</i>, ii. 331; as "Manfred," iv. 78; +as "The Doge" in <i>Marino Faliero</i>, iv. 324; as "Werner," v. 324</p> + +<p>Phelps, Edmund, as "Ulric" in <i>Werner</i>, v. 324</p> + +<p>Phidias, i. <i>378</i>, 454; iv. 270</p> + +<p><i>Philadelphia Record</i>, vii. <a href="#Page_62">62</a></p> + +<p>Philanthes, <i>ii. 485</i></p> + +<p><i>Philanthropist, The</i>, <i>ii. 554</i></p> + +<p>Philemon, <i>vi. 186</i></p> + +<p>Philip of Macedon, i. 56; ii. 166; <i>v. 543</i></p> + +<p>Philip II. of Spain, ii. 504; <i>iii. 299, 309</i></p> + +<p>Philippi, battle of, <i>iv. 386</i></p> + +<p>Philips, Ambrose, <i>Epistle to the Earl of Dorset</i>; <i>Pastorals</i>, i. 418</p> + +<p>Phillips, Josiah, printer and publisher of <i>The Authentic Memoirs +of the Court of England for the last Seventy Years</i>, <i>vii.</i> <i><a href="#Note_031">31</a></i></p> + +<p><span class='pagenum'><a name="Page_420" id="Page_420">[420]</a></span> +Phillips, J. O. Halliwell, reprints <i>Ludus Coventriæ</i>, <i>v. 207</i></p> + +<p>Phillips, Miss, as "Zarina" in <i>Sardanapalus</i>, v. 2</p> + +<p>Phillips, Sir Richard, <i>Personal Tour through the United Kingdom</i>, iv. 32</p> + +<p>Philo, v. 281</p> + +<p>Philo Byzantius, <i>De Septem Orbis Miraculis</i>, <i>ii. 441</i></p> + +<p>Philomela, iv. 287</p> + +<p>"Philo-Milton," <i>Vindication of Paradise Lost from the charge of exculpating Cain</i>, v. 202</p> + +<p>Phingari, the moon, iii. 108</p> + +<p>Phocas, column of, ii. 410</p> + +<p>Phoenix, <i>vi. 117</i></p> + +<p>Phrosine or Frosini, <i>iii. 145</i></p> + +<p>Phyle, Fort, ii. 150, 185, 189</p> + +<p>Piazza, the, Covent Garden, iv. 160</p> + +<p>"Pibroch" confused with "bagpipe," i. 133, 134, 136, 140</p> + +<p>Picadores, horsemen, <i>ii. 68</i></p> + +<p>Pickersgill, Junior, Joshua, <i>The Three Brothers</i>, v. 469, 470, 473</p> + +<p>Picton, General, ii. 293</p> + +<p><i>Pignus Amoris</i>, i. 231, <i>240, 241</i>; <i>ii. 458</i>; <i>iii. 48</i></p> + +<p>Pigot, Miss Elizabeth B., i. <i>41, 45</i>, 47, <i>66, 129, 210, 233, 258, 264</i>, 293, <i>406</i></p> + +<p>Pigot, Mrs., <i>i. 239</i>; vii. <a href="#Page_8">8</a></p> + +<p>Pigot, J. M. B., i. xi, xiv, <i>45</i>, 63, <i>213</i>; <i>vi. 30</i></p> + +<p><i>Pilgrimage to the Holy Land</i> (spurious), iii. xx</p> + +<p>Pilgrim's Oak at Newstead Abbey, <i>vi. 497</i></p> + +<p>Pillans, Professor James, i. <i>306</i>, 337</p> + +<p>Pilsen, <i>v. 340</i></p> + +<p>Pindar, i. <i>337</i>, 465, <i>490</i>; ii. 93; vi. 168</p> + +<p>Pindemonte, Ippolito, ii. 324; iv. 245, <i>457</i>; v. 562</p> + +<p>Pindus mount (Monte Metsovo), ii. 126, 129; iii. 7</p> + +<p>Pinel, M., <i>Sur l'Insanité</i>, <i>ii. 447</i></p> + +<p>Pineta of Ravenna, the, vi. 178, 180</p> + +<p>Piombi, the (Venice prisons), iv. 363; <i>v. 148</i></p> + +<p>Piozzi, Mrs., <i>i. 358</i></p> + +<p>Piræus, ii. 362</p> + +<p>Pisa, Byron's household at, <i>v. 348</i></p> + +<p>Pisani, Nicolò, <i>iv. 356</i></p> + +<p>Pisani, Vettor, ii. 477, 497</p> + +<p>Pisistratus, ii. 167</p> + +<p>Pisse Vache, or Salanfe, <i>ii. 383</i></p> + +<p>Pitcairn Island, v. 582-584. <i>See</i> also <i>Island, The</i></p> + +<p>Pitiscus, <i>ii. 509</i></p> + +<p>Pitt, William, appoints Mansel Master of Trinity College, Cambridge, <i>i. 28</i>; +"rules the hour," i. 31; +"expired in plenitude of power," i. 34, <i>57</i>; +Sayer's <i>Elijah's Mantle</i>, i. 294, <i>356</i>; +mentioned in <i>English Bards, and Scotch Reviewers</i>, i. 377; +in <i>Hints from Horace</i>, i. 395; +"heaven-born," i. 486; the "heavy news" of Austerlitz, <i>i. 489</i>; +his description of Napoleon, <i>ii. 400</i>; <i>v. 544</i>; +Sheridan's speech on the Begum of Oude, <i>iv. 72</i>; +one of "the wondrous <i>Three</i>," iv. 75; +George III. and Catholic Emancipation, <i>iv. 503</i>, +"with Fox's lard was basting William Pitt," iv. 511; +his grave in Westminster Abbey, v. 541; +"The Pilot that weathered the storm," v. 568; <i>vi. 482</i>, +refusal to accept £100,000 from the merchants of London, vi. 376; +"Chatham gone," vi. 478; "so like his friend Billy," vii. <a href="#Page_28">28</a>; +Byron's <i>Epitaph for</i>, vii. <a href="#Page_64">64</a></p> + +<p>Pitt and Grenville Acts, the, iv. 512</p> + +<p>Pius VII., Pope, Napoleon's snuff-box, <i>vii.</i> <i><a href="#Note_078">78</a></i></p> + +<p>Pizarro, Francisco, ii. 81; v. 555</p> + +<p>Pizarro, Hernando, ii. 81</p> + +<p>Pizarro, Juan Gonzalo, ii. 81</p> + +<p>Plancus, <i>ii. 492</i></p> + +<p>Platæa, battle of, ii. 294; <i>iv. 108</i></p> + +<p>Plato, i. 414; <i>ii. 169, 196, 325</i>; <i>v. 485</i>, vi. 46, 303, 568, 585</p> + +<p><span class='pagenum'><a name="Page_421" id="Page_421">[421]</a></span> +Plato, the comic poet, <i>iii. 85</i></p> + +<p>Plato's <i>Epitaph</i>, i. 18; iii. 136</p> + +<p>Platonic love, vi. 396, 397</p> + +<p>Platow (Platoff), General, <i>vi. 353</i>; <i>vii.</i> <i><a href="#Note_039">39</a></i></p> + +<p>Plattsburg Bay, battle of, <i>vi. 508</i></p> + +<p>Plautus, <i>Truculentus</i>, vi. 548</p> + +<p>Playfair, Dr., <i>vii.</i> <i><a href="#Note_052">52</a></i></p> + +<p>Pliny, <i>Hist. Nat.</i>, <i>ii. 31, 378, 379, 384, 432, 437, 441, 445, 488</i>; +<i>vi. 220, 236, 563</i>; <i>Epist.</i>, <i>ii. 380</i>; <i>Panegyricus</i>, <i>ii. 412</i></p> + +<p>Plum, a, = £100,000, i. 425</p> + +<p>Plumptre, E. H., D.D., <i>Commedia, etc.</i>, <i>v. 562</i></p> + +<p>Plumptre, E. J., and Gallehault, <i>iv. 320</i></p> + +<p>Plunket, Catholic Emancipation Bills, <i>v. 569</i></p> + +<p>Plutarch, <i>Lives</i>, <i>i. 467</i>; ii. 123, 179, <i>341, 393, 405, 518</i>; +<i>iii. 85, 180, 311</i>; <i>iv. 108, 251, 264, 339, 352, 386, 423, 446</i>; +v. 4, 5, <i>21, 72, 486, 487, 506</i>; +<i>vi. 139, 226, 339, 348, 376, 404, 461, 477, 547</i>; +<i>Scripta Moralia, etc.</i>, <i>ii. 335</i>; <i>v. 619</i>; <i>vi. 479</i></p> + +<p>Po, the river, iv. 545</p> + +<p>Pococke, Edward, <i>Notæ Miscellaneæ</i>, <i>iii. 109, 121</i></p> + +<p><i>Poems 1814-1816</i>, iii. 409-438</p> + +<p><i>Poems 1816-1823</i>, iv. 529-566</p> + +<p><i>Poems of July-September, 1816</i>, iv. 29-65</p> + +<p><i>Poems of the Separation</i>, iii. 537-546</p> + +<p><i>Poems on his Domestic Circumstances</i>, i. 452, 453; iii. xx, <i>24</i></p> + +<p><i>Poems on Various Occasions</i>, i. xi, xii, <i>1, 3, 18, 20-22, 27, 29, 31, 32, 38, 41, 46, 47, 52-54, 57, 58, 60, 62, 63, 65, 70, 74</i>, 76-116, <i>82-84, 89, 91, 96, 99, 101, 102, 104, 110, 112, 113, 115, 116, 118, 122, 123, 125, 151, 152</i></p> + +<p><i>Poems Original and Translated</i>, i. xii, <i>31, 126, 127, 147, 149, 168, 171, 184, 187, 189</i>, 191-208, <i>354, 374</i>; iv. 281</p> + +<p>Poet's Corner at Newstead Abbey, <i>vi. 498</i></p> + +<p>Poggio, <i>De Fort. Var.</i>, <i>ii. 364, 365, 403</i></p> + +<p>Point Lividia, <i>iii. 248, 249</i></p> + +<p>Pola, battle of, ii. 476</p> + +<p>Poland, partition of, v. 500, 551; and Alexander I., <i>v. 563</i></p> + +<p>Polenta, Guido Novello da, ii. <i>371</i>, 494</p> + +<p>Polenta, Guido Vecchio da, Lord of Ravenna, <i>iv. 316</i></p> + +<p>Polidori, Dr. J. W., <i>i. 318</i>; <i>iv. 40</i>; vii. <a href="#Page_47">47</a></p> + +<p>Polidori, G., <i>iv. 143</i></p> + +<p><i>Political Eclogues</i>, <i>i. 395</i></p> + +<p>Political Economy Club, vi. 480</p> + +<p><i>Political Miscellanies</i>, <i>i. 395</i></p> + +<p><i>Political Ode by Lord Byron, hitherto unknown as his production</i>, <i>vii.</i> <i><a href="#Footnote_14_14">14</a></i></p> + +<p>Polixena, v. 488</p> + +<p>Poliziano, <i>ii. 365</i>; iv. 280</p> + +<p>Polozk (Polouzki), vi. 354</p> + +<p>Poltáva, battle of, iv. 207, <i>233</i></p> + +<p>Polybius, <i>Hist.</i>, ii. <i>377</i>, 506</p> + +<p>Polycrates, of Samos, ii. 519; vi. 171</p> + +<p>Polynices, v. 403</p> + +<p>Polyphontes, the herald, <i>ii. 431</i></p> + +<p>Polyzois, an Albanian poet, ii. 198</p> + +<p>Pombal, <i>ii. 43</i></p> + +<p>Pompadour, Madame de, iv. 334</p> + +<p>Pompeia, Cæsar's third wife, <i>i. 351</i>; iv. 352; <i>vi. 139</i></p> + +<p>Pompey, <i>i. 422</i>; ii. 395, <i>492</i>; <i>iv. 264</i>; vi. 139; +statue of, ii. 508; pillar of, v. 548</p> + +<p>Pompignan, Franc de, <i>ii. 282</i></p> + +<p>Poniatowsky, Prince, <i>vii.</i> <i><a href="#Note_024">24</a></i></p> + +<p>Ponsonby, Lady Caroline. <i>See</i> Lamb, Lady Caroline</p> + +<p>Ponsonby, William, v. 329</p> + +<p>Ponte, Antonio da, <i>ii. 327</i></p> + +<p>Poole, Thomas, <i>and his Friends</i>, <i>i. 437</i></p> + +<p>Pope, Alexander, <i>Prologue to the Satires</i>, <i>i. 91, 392</i>; vi. 519, 602; +on Earl of Dorset, <i>i. 198</i>; +<i>Dunciad</i>, i. 220, 294, <i>321, 326</i>, 327, 397; <i>iv. 161</i>; vi. 494; +<i>Essay on Criticism</i>, i. 289; <i>ii. 13</i>; iv. 481; +mentioned in <i>English Bards, and Scotch Reviewers</i>, +i. 304-306, 312, <i>368, 371</i>; +<span class='pagenum'><a name="Page_422" id="Page_422">[422]</a></span> +his advice to Wycherley, <i>i. 322</i>; <i>Essay on Man</i>, i. 361; <i>v. 593</i>; +mentioned in <i>Hints from Horace</i>, i. 395, 397, <i>441, 449</i>; +his youthful <i>Eclogues</i>, i. 418, 421; and Homer, <i>i. 427</i>; +his "prescription," i. 430; "blest paper credit," i. 470; +and Wellington, <i>i. 484</i>; +<i>Imitations of Horace</i>, ii. 188; <i>iv. 484</i>; v. 576; vi. 247; +the Egerian grots, ii. 517; <i>Windsor forest</i>, <i>iii. 227</i>; +letter to Steele, <i>iii. 348</i>; <i>Satires</i>, iii. 439; +<i>Works</i>, <i>iii. 452</i>; <i>vi. 555</i>; +"These be good rhymes," iv. 139; depreciated, <i>iv. 342</i>; +<i>Rape of the Lock</i>, <i>iv. 507</i>; vi. 18, <i>454</i>; +his "delicious lobster-nights," <i>iv. 587</i>; +Byron's <i>English Bards</i>, in the style of, v. 537; +<i>Moral Essays</i>, <i>v. 606</i>; vi. 350, 358; +<i>January and May</i>, <i>vi. 62</i>; "Thou shalt believe in," vi. 74; +Lady M. W. Montagu's letter to, <i>vi. 151, 219</i>; on Crashaw, <i>vi. 166</i>; +<i>Eloïsa to Abelard</i>, vi. 395; use of the word "gynocracy," <i>vi. 473</i>; +and "commence," <i>vi. 567</i>; "Lady Adeline" on, vi. 587; +Homer's <i>Iliad</i> and <i>Odyssey</i>, <i>vii.</i> <i><a href="#Note_057">57</a></i></p> + +<p>Porphyry, <i>ii. 78</i></p> + +<p>Porson, Richard, i. 30, <i>313, 438</i>; <i>ii. 283</i>; <i>iii. 402</i>; +<i>The Devil's Walk</i> attributed to, <i>vii.</i> <i><a href="#Note_021">21</a></i></p> + +<p>Porta Capena, ii. <i>416</i>, 516</p> + +<p>Porter, Jane, <i>Thaddeus of Warsaw</i>, <i>iv. 166</i></p> + +<p><i>Portfolio, The</i>, iii. 321; iv. 6</p> + +<p><i>Portfolio</i> (Philadelphia), v. 5</p> + +<p>Portinari, Beatrice, iv. 247, 248, 251</p> + +<p>Portinari, Folco, <i>iv. 248</i></p> + +<p>Portland, William Henry Cavendish, 3rd Duke of, i. 377, <i>471</i>; <i>iv. 513</i></p> + +<p>Porto Bello taken by Admiral Vernon, <i>vi. 12</i></p> + +<p>Portogallo, <i>Semiramide</i>, <i>i. 347</i></p> + +<p>Portsmouth, Lady (Mary Anne Hanson), <i>vi. 569</i></p> + +<p>Portsmouth, Lord, <i>vi. 569</i></p> + +<p>Portuguese, Byron's estimate of the, i. 469; ii. 33, 45, 87</p> + +<p>Potemkin, Prince Gregor Alexandrovitch, ii. 200; +vi. <i>313</i>, 314, <i>316, 317, 370</i>, 412</p> + +<p>Potiphar's wife (Zuleika), <i>iii. 187</i>; vi. 254</p> + +<p>Pouqueville, Dr., <i>Travels</i>; <i>Voyage en Morée</i>, ii. 179, 180, 194, <i>195</i></p> + +<p>Poussin, Nicholas, <i>vi. 152</i></p> + +<p>Powell, A., i. 350, <i>432</i></p> + +<p>Powell, Mary, Milton's first wife, vi. 146</p> + +<p>Power, publisher, <i>iii. 423</i></p> + +<p>Powerscourt, Richard, 4th Viscount, <i>i. 96</i></p> + +<p>Pozzi, the Venice state dungeons, <i>ii. 465</i>; iv. 363; <i>v. 148, 153</i></p> + +<p>Pozzo di Borgo, Count, v. 539</p> + +<p>Pradt, M. Dufour de, <i>Narrative of an Embassy to Warsaw</i>, <i>v. 551, 552</i></p> + +<p>Praed, <i>The Belle of the Ball-Room</i>, <i>i. 347</i>; <i>vii.</i> <i><a href="#Note_012">12</a></i></p> + +<p>Prague, Treaty of, v. <i>340</i>, 423; battle of, <i>v. 371</i></p> + +<p>Pratt, Lord Chief Justice, <i>iv. 510</i></p> + +<p>Pratt, Samuel Jackson (Courtney Melmoth), <i>Gleanings</i>, i. 322, <i>323, 442</i>; +<i>Blacket's Remains</i>, <i>i. 359, 443</i></p> + +<p>Praxiteles, <i>ii. 236</i></p> + +<p><i>Prayer of Nature, The</i>, i. 224</p> + +<p>Predestination, Byron's belief in, iv. 58</p> + +<p>Pregadi, Venetian Senate, iv. 441</p> + +<p>Presle, Mdlle., i. <i>347</i>, 348</p> + +<p><i>Pretty Miss Jaqueline</i>, <i>i. 361</i></p> + +<p>Prevesa, ii. <i>125</i>, 148, 185</p> + +<p>Prevost, Sir George ("General Fireface"), Governor-General of British North America, vi. 508</p> + +<p>Priam, v. 488</p> + +<p>Priestley, Joseph, <i>ii. 283</i></p> + +<p>Prince's Theatre, Manchester, <i>Manfred</i> at, iv. 78</p> + +<p>Princess's Theatre Royal, <i>Manfred</i> at, iv. 78; <i>Sardanapalus</i> at, v. 2</p> + +<p><i>Printer's Devil, The</i>, <i>i. 495</i></p> + +<p><span class='pagenum'><a name="Page_423" id="Page_423">[423]</a></span> +Prior, Matthew, <i>i. 198</i>; iv. 158; vi. xviii, 210; <i>Solomon</i>, <i>ii. 76</i>; +<i>Paulo Purganti</i>; <i>Hans Carvel</i>, <i>vi. 62</i></p> + +<p><i>Prisoner of Chillon</i>, ii. 212, 214; iii. xix, 499; +iv. 3-28, <i>63</i>, 79, <i>92, 182, 194</i>; <i>v. 152, 423, 494</i>; +<i>vi. 129, 475</i></p> + +<p>Priuli, Andrea, v. 115</p> + +<p>Priuli, Maria, v. 115</p> + +<p>Probus, Emperor, <i>i. 375</i></p> + +<p>Procne, iv. 287</p> + +<p>Procter, Bryan W. (Barry Cornwall), "Euphues," v. 114; +<i>A Sicilian Story</i>, <i>vi. 445</i></p> + +<p>Prometheus, ii. 448; iii. 312; v. 554; vi. 49</p> + +<p><i>Prometheus</i>, iv. 48, <i>118, 269</i></p> + +<p>Propertius, <i>Eleg.</i>, <i>vi. 445</i></p> + +<p><i>Prophecy of Dante</i>, <i>ii. 441</i>; +<i>iv. 7, 26, 49, 144, 237-276, 313, 329</i>; v. 471; vii. xvi, <i><a href="#Footnote_B_146">146</a></i>, <i>212</i></p> + +<p>Protasoff, Miss, the "Protassova," vi. 399</p> + +<p>Protesilaus, vi. 204</p> + +<p>Protestant League, <i>v. 371</i></p> + +<p>Prussian troops at Leipsic, vii. <a href="#Page_23">23</a></p> + +<p>Pruth, river, <i>v. 551</i>; Treaty of, <i>v. 564</i></p> + +<p>Psalidas, Athanasius, <i>True Felicity</i>, ii. 198, 202</p> + +<p><i>Psalms</i>, i. 208; <i>ii. 398, 458</i>; <i>iii. 193</i>; vi. 166, 401</p> + +<p>Pseudo-Callisthenes, <i>v. 543</i></p> + +<p>Psyche, vi. 165, 387</p> + +<p>Ptolemæus Cocces, <i>v. 542</i></p> + +<p>Ptolemæus Soter, <i>v. 542</i></p> + +<p>Ptolemy, <i>i. 402</i>; <i>iv. 523</i>; <i>v. 487</i></p> + +<p>Ptolemy Philadelphus, <i>iv. 243</i></p> + +<p><i>Public Characters of 1799-1800</i>, <i>vi. 175</i></p> + +<p>Publius Syrus, <i>i. 414</i></p> + +<p>Pückler, Herman Fürst von, iv. 81</p> + +<p>Puffend, <i>Hist. Gen.</i>, <i>iv. 211</i></p> + +<p>Pugilistic Club, <i>i. 434</i></p> + +<p>Pulci, G., ed. of <i>Morgante Maggiore</i>, <i>iv. 309</i></p> + +<p>Pulci, Luigi, <i>Morgante Maggiore</i>, iv. 156, 279-309, 325, 484; +vi. xvi, <i>156</i>, 184, 505</p> + +<p>Pulk, Polish for "regiment," v. 564</p> + +<p>Pulteney, Sir James, Bart., i. 347</p> + +<p>Pultency Hotel, Piccadilly, <i>vii.</i> <i><a href="#Note_039">39</a></i></p> + +<p>"Pultowa's Day," iv. 202, 207</p> + +<p>Purgstall, J. von Hammer-, <i>Hist. de l'Empire Othoman</i>, +iii. <i>166, 312</i>, 441, <i>454, 455</i></p> + +<p>Purple, Tyrian, vi. 574</p> + +<p>Purvis, Admiral, ii. 93</p> + +<p>Pushkin, <i>Poltava</i>, iv. 203</p> + +<p>Puttenham, <i>Art of Poesie</i>, iv. 239</p> + +<p>Pye, Henry James, poet-laureate, i. 305, <i>314, 329, 404, 435</i>; iv. 519</p> + +<p>Pygmalion, vi. 281, 390</p> + +<p>Pylades, i. 175</p> + +<p>Pym, <i>iv. 519</i></p> + +<p>Pyramus, vi. 235</p> + +<p>Pyrenees, the, ii. 45</p> + +<p>Pyrrhic war-dance, Pyrrhica, vi. 151, 171</p> + +<p>Pyrrho, master of the Pyrrhonists or Sceptics, vi. 379</p> + +<p>Pyrrhus (or Neoptolemus), ii. 174; v. 577</p> + +<p>Pythagoras, i. 59; vi. 610</p> + +<p>Pythian Oracle, the, i. 56</p> + +<p>Pythias, <i>i. 175</i></p> + + + +<p>Q</p> + + +<p>Quarantia Criminale (Council of Forty), iv. 333, 345</p> + +<p><i>Quarterly Review</i>, +<i>i. 304, 321</i>; +ii. xiii, xv, <i>5, 139, 187</i>, 212, 213, <i>266</i>, 299, 315, <i>325, 356</i>; +iii. 77, 151, 219, <i>225</i>, 321; +iv. <i>6, 37, 42, 46, 57</i>, 156, <i>166, 244</i>, 281, 313, 327, 329, <i>514, 575</i>; +v. 5, <i>111</i>, 119, 204, <i>205, 544, 552</i>, 582, <i>613</i>; +vi. xx, 76, <i>79</i>, 360, <i>445, 456, 508</i>; vii. <a href="#Page_49">49</a>, <a href="#Page_57">57</a>, <a href="#Page_76">76</a></p> + +<p>Quebec, siege of, <i>vi. 12</i></p> + +<p>Queensberry, William Douglas, 3rd Earl of March, and 4th Duke of ("Old Q."), i. 500</p> + +<p><i>Quem Deus vult perdere prius dementat</i>, vii. <a href="#Page_45">45</a></p> + +<p>Quercetanus, Andreas, notes to <i>Historia Calamitatum Abælardi</i>, <i>v. 634</i></p> + +<p><i>Queries to Casuists</i>, i. 262</p> + +<p>Querini, Alvisi (Ormildo Emeressio), <i>L'Ammiraglio dell' Indie</i>, <i>iv. 456, 457</i></p> + +<p><span class='pagenum'><a name="Page_424" id="Page_424">[424]</a></span> +<i>Question and Answer</i>, iv. 538</p> + +<p>Quevedo of Villegas, Francisco Gomez de, <i>Sueños</i>, iv. 484; +<i>Dream of Skulls</i>, <i>iv. 496</i></p> + +<p>Quiberon Bay, French fleet defeated by Hawke in, <i>vi. 12</i></p> + +<p>Quinctilian, <i>iv. 270</i>; <i>vi. 16</i></p> + +<p>Quincy, De, <i>Confessions of an English Opium-Eater</i>, <i>vi. 188</i></p> + +<p>Quirini, Angelo, <i>ii. 389</i></p> + +<p>Quito, capital of Ecuador, ii. 81</p> + +<p><i>Quotidienne, La</i>, <i>v. 566, 573, 577</i></p> + + +<p>R</p> + +<p>Rabbe, <i>Biographie des Contemporains</i>, <i>ii. 168</i></p> + +<p>Rabelais, <i>Life of Gargantua, etc.</i>, <i>v. 354</i></p> + +<p>Rack, or arrack, punch, vi. 197</p> + +<p>Radcliffe, Mrs. Ann, <i>Mysteries of Udolpho</i>, ii. <i>327</i>, 342; +<i>iii. 89, 351</i>; <i>iv. 364, 413</i></p> + +<p>Rae, W. Fraser, <i>Life of Sheridan</i>, <i>iv. 74</i>; +<i>Wilkes, Sheridan, Fox</i>, <i>iv. 511</i>; +articles in <i>Athenæum</i> on <i>Junius' Letters</i>, <i>iv. 513</i></p> + +<p>Rag Fair or Rosemary Lane (now Royal Mint Street), <i>iv. 161</i></p> + +<p>Raikes, Thomas, <i>Personal Reminiscences</i>, i. 476; <i>v. 563</i>; +<i>A Portion of the Journal, etc.</i>, <i>vi. 507</i></p> + +<p>Rainbow described, vi. 108</p> + +<p>Rajna, Pio, iv. 280; <i>Ricerche sui Reali di Francia</i>, <i>iv. 309</i></p> + +<p>Ralph the rhymester, i. 326</p> + +<p>Ralston, W. R. S., <i>Russian Folk-Tales</i>, <i>iii. 123</i></p> + +<p>Ramassieh (Alexandria), battle of, <i>ii. 108</i></p> + +<p>Ramazân, or Turkish Lent, ii. <i>134</i>, 137; iii. 96</p> + +<p>Rambaud, M., <i>History of Russia</i>, <i>v. 563</i></p> + +<p>Ramsay, the artist, <i>vi. 496</i></p> + +<p>Ramsay, Chevalier, <i>vi. 303</i></p> + +<p>Ramsden, Rev.——, <i>i. 431</i></p> + +<p>Rangoni, Aldobrandino, <i>iii. 506</i></p> + +<p>Ranke, Leopold, <i>The Popes of Rome</i>, <i>v. 520</i></p> + +<p>Ransom and Morland, vi. 546</p> + +<p>"Ranz des Vaches," v. 159</p> + +<p>Raphael, Archangel, v. 281</p> + +<p>Raphael, <i>ii. 437</i>; iv. 174; his "Transfiguration," vi. 548</p> + +<p>Rapp, George, the harmonist, vi. 554</p> + +<p><i>Rapresentatione di Abel et di Caino, La</i>, <i>v. 264</i></p> + +<p>Raschid, iii. 441</p> + +<p>Rasponi, Countess Clelia, iv. 547</p> + +<p><i>Rasselas</i>, <i>iii. 145</i></p> + +<p>Ravenna, <i>ii. 372</i>; iv. 237, 238, 243; v. 138; battle of, vi. 212</p> + +<p>Ravenna, Cardinal of, <i>v. 516</i></p> + +<p>Ravenna, Guido Vecchio da Polenta, Lord of, <i>iv. 316</i></p> + +<p>Raven-stone (<i>rabenstein</i>), a German stone gibbet, <i>iv. 122</i>; v. 385</p> + +<p>Ravignani, Benintendi de, Grand Chancellor, iv. 431</p> + +<p>Rawlinson, Canon, <i>The Five Great Monarchies, etc.</i>, <i>v. 24, 107</i></p> + +<p>Rayet, Olivier, <i>Monuments de l'Art Antique</i>, <i>ii. 396</i></p> + +<p>Read, General Meredith, <i>Historic Studies in Vaud, Berne, and Savoy</i>, ii. 299, <i>303</i>, 307</p> + +<p>Read, T., <i>i. 301</i></p> + +<p>Reade, Sir Thomas, <i>v. 544</i></p> + +<p>Rebeck, fiddle, ii. 53</p> + +<p>Red Sea, the, vi. 122</p> + +<p>Reeve, Henry, <i>Petrarch</i>, <i>ii. 351, 372</i>; +<i>Greville Memoirs</i>, <i>vi. 451</i></p> + +<p>Reeves, John, <i>The Rothschilds</i>, <i>v. 574</i></p> + +<p>Reformadoes, vi. 404</p> + +<p>Regent, Prince. <i>See</i> George IV.</p> + +<p>Regnier, General of Saxons at Leipsic, <i>v. 553</i></p> + +<p>Rehnskjöld, Swedish General, <i>iv. 207</i></p> + +<p>Reichenbach, Falls of, <i>ii. 383</i></p> + +<p>Reichstadt, Napoleon François Charles Joseph, Duke of, v. <i>545</i>, 576; <i>vi. 590</i></p> + +<p>Reid, <i>vii.</i> <i><a href="#Note_032">32</a></i></p> + +<p>Reinagle, R. R., <i>ii. 226</i>; <i>iv. 425</i></p> + +<p><i>Rejected Addresses</i>, i. <i>462</i>, 481, <i>485</i>; <i>iii. 55</i></p> + +<p>Rembrandt, vi. 502</p> + +<p><span class='pagenum'><a name="Page_425" id="Page_425">[425]</a></span> +<i>Remember him, whom Passion's power</i>, iii. 67</p> + +<p><i>Remember thee! Remember thee!</i> iii. xx, 59</p> + +<p><i>Remembrance</i>, i. 211</p> + +<p><i>Remind me not, remind me not</i>, i. 268</p> + +<p>Renault, <i>iv. 454</i></p> + +<p>Rendlesham, Lord, <i>i. 471</i></p> + +<p>Renegado, renegade, ii. 488</p> + +<p>Rennes, siege of, <i>v. 549</i></p> + +<p><i>Reply to some Verses of J. M. B. Pigot, Esq., on the Cruelty of his Mistress</i>, i. xi, 53</p> + +<p><i>Repository of Arts, Literature, Commerce, Manufactures, Fashions, and Politics</i>, iv. 178</p> + +<p>Retz, Cardinal de, <i>Mémoires du</i>, <i>iv. 338</i>; <i>vi. 93, 94</i></p> + +<p>Retzsch, illustrations to Goethe's <i>Faust</i>, <i>v. 493</i></p> + +<p><i>Revanche, La</i>, vii. <a href="#Page_15">15</a></p> + +<p><i>Revelation</i>, <i>ii. 271</i>; iii. 432; iv. 102; <i>v. 499</i></p> + +<p>Revilliod, Gustave, ed. of <i>Advis, etc.</i>, iv. 5</p> + +<p><i>Revue Arch.</i>, <i>ii. 424</i></p> + +<p><i>Revue des Deux Mondes</i>, iv. 5</p> + +<p><i>Revue de Paris, La</i>, <i>vi. 507</i></p> + +<p><i>Revue Encyclopédique</i>, vi. xx</p> + +<p><i>Revue Historique</i>, <i>iv. 514</i></p> + +<p>Reynolds, Frederick, <i>i. 306, 353</i>; +<i>The Caravan; or, The Driver and his Dog</i>, i. 342; +<i>Life and Times</i>, <i>i. 416</i></p> + +<p>Reynolds, Sir Joshua, <i>i. 389</i>; <i>Discourses</i>, <i>iv. 271</i></p> + +<p>Rheinfeld, battle of, <i>v. 372</i></p> + +<p>Rhianus, the Alexandrian poet, <i>iv. 566</i></p> + +<p>Rhigas, or Rigas, Constantine, ii. 199; <i>iii. 29, 194</i></p> + +<p>Rhine, the, i. 249, 353; vi. 418; Confederation of, i. 486</p> + +<p>Rhodes, iv. 400; vi. 111</p> + +<p>Rhoeteum, <i>ii. 99</i></p> + +<p>Rhone, the, ii. 261, 300; <i>iv. 18, 26, 120</i></p> + +<p>Rialto (Rivo alto), Venice, ii. 331; iv. 165</p> + +<p>Ribas, Admiral Josef de, vi. <i>313, 319, 359</i>, 366</p> + +<p>Ribaupierre, General, vi. 352</p> + +<p>Ricardo, David, <i>vi. 480</i></p> + +<p>Ricci's monument to Dante, <i>ii. 375</i></p> + +<p>Rich, Claudius James, <i>Memoir on the Ruins of Babylon</i>, <i>vi. 236</i></p> + +<p><i>Richard II.</i>, <i>iii. 517</i>; vi. 210</p> + +<p><i>Richard III.</i>, <i>iv. 391</i>; vi. <i>392</i>, 570</p> + +<p>Richards, Rev. George, <i>The Aboriginal Britons</i>, <i>i. 306, 376</i></p> + +<p>Richardson, <i>iii. 109</i></p> + +<p>Richelieu, Armand Emanuel du Plessis, Duc de, +<i>Journal de mon Voyage en Allemagne</i>, vi. 264, <i>317</i>, 333, <i>340, 347, 358, 359</i></p> + +<p>Richelieu, Louis François, Duc de, Marshal of France, <i>vi. 333</i></p> + +<p>Richmond, Duchess of, <i>ii. 228</i></p> + +<p>Richmond, Duke of, <i>ii. 229, 230</i></p> + +<p>Richmond Hill, ii. 66</p> + +<p>Ricimer, a Sueve, <i>ii. 390</i></p> + +<p>Ridge, S. and J., i. xi, xii, xiv, <i>234</i></p> + +<p>Ridgeway, bookseller, iv. 482</p> + +<p>Ridotto, iv. 178, 180</p> + +<p>Rienzi, or Rienzo (commonly called Cola di' Rienzi), Nicolas Gabrino di', ii. 414</p> + +<p>Riese, <i>Varro. Satur. Menipp. Rel.</i>, ii. 92</p> + +<p>Rigadoon, the, i. 491</p> + +<p>Rimini, Francesca da (<i>née</i> da Polenta), iv. 316</p> + +<p>Rimini, Malatesta da Verrucchio, Lord of, <i>iv. 316</i></p> + +<p>Rinaldo and Armida, vi. 34</p> + +<p>Riots, O.P., at Covent Garden, <i>i. 347</i></p> + +<p>Rivington, F. and C., i. xii; their <i>Annual Register</i>, <i>q.v.</i></p> + +<p>Rivoli, battle of, <i>vi. 14</i></p> + +<p>Rizzo, Antonio, iv. 336</p> + +<p>Roberts, William, <i>iv. 578</i></p> + +<p>Roberts, W. Rhys, <i>Longinus on the Sublime</i>, <i>vi. 26</i></p> + +<p>Robertson, James, <i>i. 192</i></p> + +<p>Robertson, J. L., <i>Burns' Selected Poems</i>, <i>iii. 449</i></p> + +<p>Robertson, Mary, i. 192</p> + +<p>Robertson, Dr. William, <i>Charles V.</i>, <i>iii. 309</i>; v. 471, <i>560</i></p> + +<p>Robespierre, iv. 476; <i>vi. 13, 14</i></p> + +<p><span class='pagenum'><a name="Page_426" id="Page_426">[426]</a></span> +Robinson, H. Crabb, <i>Diary</i>, i. <i>337</i>, 475; ii. x, <i>74</i>; +iv. 475. 478, 479, <i>492, 512, 538, 556</i>; +v. 199, 281, 470, <i>614</i>; <i>vi. 444</i></p> + +<p>Robinson, editor of <i>Morning Post</i>, <i>i. 358</i></p> + +<p>Robinson, Mrs., "Perdita" (<i>née</i> Darby), <i>The Mistletoe</i>, <i>i. 358</i></p> + +<p>Rocca, Giovane, ii. 523; vii. <a href="#Page_50">50</a></p> + +<p>Rochefoucauld, <i>Maximes</i>, ii. 307, <i>419</i> +<i>Réflexions</i>, iv. 552; vi. <i>144, 246</i>, 303</p> + +<p>Rochester, John Wilmot, Earl of, <i>Poems</i>, i. 218</p> + +<p>Rodd, Thomas, <i>Ancient Ballads from the Civil Wars of Granada</i>, <i>iv. 529, 530</i></p> + +<p>Roderick the Goth, ii. 89</p> + +<p>Rogers, Samuel, Byron's withdrawal of <i>English Bards, and Scotch Reviewers</i>, i. 294; +"a true poet," <i>i. 306</i>; +<i>Recollections of the Table Talk of</i>, i. <i>329</i>, 429; <i>iv. 539</i>; <i>vi. 17</i>; +Byron and Lord Carlisle, <i>i. 355</i>; +<i>Pleasures of Memory</i>, i. 361; iii. 50, 207; +<i>Italy</i>, ii. <i>329, 343, 353, 372, 376-378, 407</i>; <i>iv. 539</i>; <i>v. 130</i>; +Byron's opinion of, iii. 50; <i>Voyage of Columbus</i>, iii. 76; +<i>Giaour</i> dedicated to, iii. 81; <i>Jacqueline</i>, iii. 319, 320, <i>323</i>; +Byron's letters to, <i>iii. 545</i>; iv. 80; <i>vi. 83, 173</i>; +and Byron's <i>Dream</i>, iv. 31; +first meeting of Byron and Sheridan at his house, iv. 69; +Sheridan's appeal to, <i>iv. 73</i>; <i>Brides of Venice</i>, <i>iv. 166</i>; +referred to in <i>Beppo</i>, iv. 183; +translation of Zappi's <i>Sonetto</i>, <i>iv. 271</i>; +Byron's verses on (<i>Question and Answer</i>), iv. 538; +<i>Human Life</i>, <i>iv. 539, 574</i>; at Sir George Beaumont's, iv. 570; +in <i>Don Juan</i>, vi. 6; +"I wished to learn the Art of forgetting," <i>vi. 17</i>; +"Thou shalt not steal from," vi. 75; "have deserted," vii. <a href="#Page_17">17</a>; +Lord Thurlow's <i>An Epistle to a Friend</i>, vii. <a href="#Page_18">18</a>-<a href="#Page_20">20</a></p> + +<p>Roland, v. 553</p> + +<p>Rolland (d'Erceville), M. le Président, <i>Recherches sur les Prérogatives +des Dames chez les Gaulois sur les Cours d'Amours</i>, ii. 6; +<i>Foscari</i>, <i>v. 130</i></p> + +<p><i>Rolliad</i>, i. 294, <i>319, 395, 500</i></p> + +<p>Romaika, kerchief-waving dance, i. 492; vi. 151</p> + +<p><i>Romance Muy Doloroso</i>, iv. 529</p> + +<p>Romanceros, the, ii. 47</p> + +<p>Romanelli, Dr., ii. 175; vii. <a href="#Page_11">11</a></p> + +<p>Romanin, S., <i>Documentata Storia di Venezia</i>, +v. 116, 117, 119, <i>121, 144, 171, 172, 178, 179, 195</i></p> + +<p>Rome, i. 376; ii. 312, 388; v. 158; vi. 348; siege and sack of, v. 471</p> + +<p>Romeï, Laodamia, <i>iii. 507</i></p> + +<p><i>Romeo and Juliet</i>, <i>vi. 540</i></p> + +<p>Romilly, Sir Samuel, ii. 213; v. 181; vi. 17, 451</p> + +<p>Romney, <i>i. 321</i></p> + +<p>Romuald of Salermo, ii. 473-476</p> + +<p>Ronalds, Sir Francis, <i>iv. 505</i></p> + +<p>Ronco river, <i>vi. 212</i></p> + +<p>Ronda, mount, <i>ii. 54</i></p> + +<p>Roque, M., ii. 190</p> + +<p>Ros, Georgiana, Lady de (Lennox), +<i>Personal Recollections of the Great Duke of Wellington</i>, <i>ii. 229</i></p> + +<p>Rosa, <i>ii. 425</i></p> + +<p>Rosbach, battle of, iv. 334</p> + +<p><i>Rosciad</i>, i. 294</p> + +<p>Roscoe, <i>Life and Pontificate of Leo Tenth</i>, <i>iii. 369</i></p> + +<p>Roscommon, Wentworth Dillon, 4th Earl of, i. 354</p> + +<p>Rose and nightingale, iii. 86; v. 428, 612</p> + +<p>Rose, George, Treasurer of the Navy, vii. <a href="#Page_30">30</a>; <i>Diaries, etc.</i>, <i>vii.</i> <i><a href="#Note_031">31</a></i></p> + +<p>Rose, Sir William Stewart ("Parthenopex Puff" of <i>Vivian Grey</i>), +<i>Court and Parliament of Beasts, etc.</i>, iv. 156; <i>vi. 506</i>; vii. <a href="#Page_55">55</a></p> + +<p>Rosebery, Earl of, <i>iv. 163</i>; <i>Napoleon, The Last Phase</i>, <i>v. 547</i>; +<i>Pitt</i>, <i>vi. 377</i></p> + +<p>Rosetta Stone, <i>ii. 108</i></p> + +<p>Ross, Sir John, +<i>A Voyage of Discovery ... for the purpose of exploring Baffin's Bay</i>, <i>vi. 51</i></p> + +<p><span class='pagenum'><a name="Page_427" id="Page_427">[427]</a></span> +Rossberg, or Rufiberg. fall of the, iv. 97</p> + +<p>Rosse, Sir Laurence Parsons, 2nd Earl of, +<i>Defence of the Antient History of Ireland</i>, <i>vi. 337</i></p> + +<p>Rossetti, D. G., <i>Dante and his Circle</i>, <i>iv. 248</i>; +<i>Dante at Verona</i>, <i>v. 562</i></p> + +<p>Rossi, Professor V., <i>iv. 309</i></p> + +<p>Rossini, <i>v. 562</i>; <i>vi. 586</i>; <i>Armida and Rinaldo</i>, <i>vi. 34</i>; +<i>L'Italiana in Algieri</i>, <i>vi. 205</i></p> + +<p>Rostopchin, General, <i>i. 488</i></p> + +<p>Rothen, <i>iv. 97</i></p> + +<p>Rothschild, Baron Anselm (of Frankfort), <i>v. 573</i></p> + +<p>Rothschild, Baron Charles (of Naples), <i>v. 573</i></p> + +<p>Rothschild, Baron James (of Paris), <i>v. 573</i>; +reprints <i>Le Mistère du Viel Testament</i>, <i>v. 207</i></p> + +<p>Rothschild, Baron Nathan Mayer (of London), <i>v. 573</i>; vi. 456</p> + +<p>Rothschild, Baron Salomon (of Vienna), v. 573</p> + +<p>Rousseau, J. J., i. 15; ii. <i>260</i>, 264-267; <i>v. 548</i>; vi. 303; +<i>Confessions</i>, ii. <i>280</i>, 300, 302; iv. 53; +<i>Julie, ou La Nouvelle Héloïse</i>, ii. <i>277, 278</i>, 303; <i>iv. 18</i>; vi. 536; +on the Ranz des Vaches, <i>v. 159</i></p> + +<p>Roux-Fazillac, M., <i>iv. 514</i></p> + +<p>Rovere, Francis Maria II., Duke of, ii. 498</p> + +<p>Rowfant Library, <i>iv. 508</i></p> + +<p>Rowland, Junior, Alexander, <i>An Historical, Philosophical, and +Practical Essay on the Human Hair</i>, <i>vi. 19</i></p> + +<p>Rowlandson's caricatures, <i>iv. 509</i></p> + +<p>Roxburgh Club, v. 200; reprints the +<i>Chester Plays, or Mysteries</i>, <i>v. 207</i>; <i>vi. 551</i></p> + +<p>Royal Alexandra Theatre, Liverpool, <i>Manfred</i> at, iv. 78; +<i>Sardanapalus</i> at, v. 2</p> + +<p>Royal Amphitheatre, Westminster Bridge, iv. 203; <i>vii.</i> <i><a href="#Note_059">59</a></i></p> + +<p>Royal Caledonian Asylum, <i>iii. 415</i></p> + +<p>Royal Institution, <i>vi. 16</i></p> + +<p>Royalty Theatre, Goodman's Fields, +<i>Don Juan; or, The Libertine Destroyed</i> at, <i>vi. 11</i></p> + +<p>Royston, Philip Yorke, Viscount, translation of Lycophron's <i>Cassandra</i>, <i>iv. 243</i></p> + +<p>Ruffin, Marshal, <i>i. 469</i>; <i>vi. 261</i></p> + +<p>Rufinus, the præfect, ii. 518</p> + +<p>Rulhière, Claude Carloman de, <i>vi. 395</i>; +<i>Anecdotes sur la révolution de Russie en l'année 1762</i>; +<i>Histoire de l'anarchic de Pologne, etc.</i>, vii. <a href="#Page_62">62</a></p> + +<p>Rundell, Mrs., <i>Domestic Cookery</i>, vii. <a href="#Page_57">57</a></p> + +<p>Runic, Byron's use of the word, iv. 241</p> + +<p>Rushton, Robert, ii. 26, <i>52</i>; vii. <a href="#Page_6">6</a></p> + +<p>Ruskin, John, <i>Stones of Venice</i>, <i>ii. 327</i>; +<i>Modern Painters</i>, <i>iv. 18, 26</i></p> + +<p>Russell, Lord John, <i>ii. 352</i>; iv. 314; +<i>Moore Memoirs</i>, iv. 587; v. 5, 280</p> + +<p>Russia, her intrigues in Greece, v. 557</p> + +<p>Russians <i>v.</i> Swedes, <i>iv. 207, 233</i>; +"rushing from hot baths to snows," vi. 475; at Leipsic battle, vii. <a href="#Page_23">23</a></p> + +<p>Rustica (the Ustica of Horace), valley of, ii. 523</p> + +<p>Rusticucci, Jacopo, <i>iv. 254</i></p> + +<p>Rycquius, Just., <i>De Capit. Roman. Comm</i>., ii. 511, 512</p> + +<p>Ryder, Mrs., as "Ida" in <i>Werner</i>, v. 324</p> + +<p>Ryder, Richard, Home Secretary, vii. <a href="#Page_13">13</a></p> + + + +<p>S</p> + +<p>Sabellicus, Marcus Antonius Coccius, <i>De Venetæ Urbis Situ Narratio</i>, <i>ii. 328</i>; <i>v. 179</i></p> + +<p>Sabina, Empress, <i>i. 493</i></p> + +<p>Sabio, Alonso el, <i>ii. 77</i></p> + +<p>Sackville, Lord George, <i>iv. 513</i></p> + +<p>Sacy, Silvestre de, <i>Notice du Libre d' Enoch</i>, <i>v. 302</i></p> + +<p>Sadducees, the, ii. 104</p> + +<p><span class='pagenum'><a name="Page_428" id="Page_428">[428]</a></span> +Sade, Abbé de, <i>Mémoires pour la Vie de François Pétrarque</i>, +ii. <i>350</i>, 479, <i>480</i>, 481</p> + +<p>Sade, Hugo de, ii. <i>350</i>, 480</p> + +<p>Sade, Laura de (<i>née</i> de Noves), Petrarch's Laura, ii. 350, 479</p> + +<p>Sa'di, <i>The Gulistan, or Rose Garden</i>, <i>i. 353</i>; iii. 160</p> + +<p>Sadler's Wells Theatre, <i>Werner</i> at, v. 324; +<i>Don Juan; or, The Libertine Destroyed</i> at, <i>vi. 11</i></p> + +<p>Safety-lamp, Sir H. Davy's, vi. 51</p> + +<p>Saick, a Levantine barque, iii. 252</p> + +<p>St. Albans, Duke of, <i>iv. 541</i></p> + +<p>St. Aldegonde, i. 476</p> + +<p>St. Angelo, castle of, ii. 439</p> + +<p>St. Anthony, vi. 32</p> + +<p>St. Augustine, <i>ii. 480</i>; <i>v. 209</i>, vi. 573; +<i>De Civitate Dei</i>, <i>v. 235</i>; <i>Confessions</i>, vi. 28; +<i>Epist.</i>, <i>vi. 168</i>; Black Canons of, <i>vi. 495</i></p> + +<p>St. Bartholomew, iv. 494; vi. 230</p> + +<p>St. Bernard, Convent of, ii. 306</p> + +<p>St. Christopher, of Paris, <i>vi. 93</i></p> + +<p>St. Domingo Island, ii. 90; <i>iii. 296</i></p> + +<p>Saint-Evremond, <i>vi. 246</i></p> + +<p>St. Francis of Assisi, vi. <i>32, 33</i>, 273</p> + +<p>St. Gingolph, ii. 304; <i>iv. 18</i></p> + +<p>St. Helena, v. 544</p> + +<p>St. Honorius, ii. 35, 86</p> + +<p>St. James of Compostella, <i>ii. 206</i></p> + +<p>St. Jean, Mount, ii. 293, 325</p> + +<p>St. Jerome, vi. 28</p> + +<p>St. John, i. 326</p> + +<p>St. John, Knights of, <i>iv. 400</i></p> + +<p>St. Jules, Caroline Rosalie Adelaide (Hon. Mrs. George Lamb), <i>i. 301</i>; vii. <a href="#Page_15">15</a></p> + +<p>St. Lambert, ii. 300</p> + +<p>St. Lorenzo, Church of, Florence, ii. <i>375</i>, 503</p> + +<p>St. Mark's, Venice, horses, ii. 336; lions, ii. 471; bells, iv. 363; +Doges buried at, <i>iv. 366</i></p> + +<p>St. Maurice, iv. 120</p> + +<p>S. Nicola in Carcere, Church of, Rome, ii. 437</p> + +<p>St. Pantaleon, of Nicomedia, <i>ii. 339</i></p> + +<p>St. Peter's, Rome, ii. <i>376</i>, 440, <i>et seq.</i>; iv. 270</p> + +<p>St. Petersburg, "that pleasant capital of painted snows," vi. 386</p> + +<p>St. Preux, ii. <i>260</i>, 305</p> + +<p>St. Sophia's, Constantinople, ii. 152, 176, 442</p> + +<p>St. Thomas Aquinas, vi. 572</p> + +<p>St. Ursula, <i>vi. 419</i></p> + +<p>St. Victor, Monastery of, iv. 4</p> + +<p>St. Vincent, Lord, vi. 14</p> + +<p>Sainte Croix, Guilhem de Clermont Lodève, Baron de, +<i>Examen Critique, etc.</i>, <i>vi. 226</i></p> + +<p>Sainte-Palaye, De la Curne de, <i>Mémoires sur l'Ancienne Chevalerie</i>, ii. 6</p> + +<p>Salakhora, <i>ii. 145, 148</i></p> + +<p>Salam aleikoum! aleikoum salam! Moslem salutation, iii. 104</p> + +<p>Salamanca, battle of, i. 496</p> + +<p>Salamis, battle of, i. 458; iii. 91, 270, <i>273</i>; vi. 169</p> + +<p>Salanfe, or Pisse-Vache, <i>ii. 383</i></p> + +<p>Sale, <i>Preliminary Discourse to the Koran</i>, <i>iii. 110, 121, 197</i> +translation of the <i>Koran</i>, vii. <a href="#Page_9">9</a></p> + +<p>Sale, Alberto dal, <i>iii. 506</i></p> + +<p>Salemenes, a character in <i>Sardanapalus</i>, v. 12</p> + +<p>Salisbury, Countess of, ii. 7</p> + +<p>Sallust, <i>Catilina</i>, <i>vi. 299</i></p> + +<p><i>Salsette</i> frigate, <i>ii. 13, 205</i></p> + +<p>Salt-mines, Poland, iv. 212</p> + +<p>Saluces, Marquis de, v. 471</p> + +<p>Salvator Rosa, vi. 502</p> + +<p>Salviati, Lionardo, ii. <i>357</i>, 485</p> + +<p>Salvo, Marquis de, <i>Travels in the Year 1806, etc.</i>, <i>iii. 4</i></p> + +<p>Samoïlovitch, president of the Eastern Ukraine, iv. 201</p> + +<p>Samos, vi. 171</p> + +<p>San Caetano, Ignatio de, <i>ii. 43</i></p> + +<p>San Liberatore alla Majella, Benedictine Monastery of, iv. 288</p> + +<p>San Martin, General José de, <i>v. 556</i></p> + +<p>San Zanipolo, Church of, iv. 336</p> + +<p>Sanadon, Père, <i>v. 567</i></p> + +<p>Sancho Panza, i. 490</p> + +<p>Sandall, Prior William, vi. 496</p> + +<p>Sandasarmū, of Cilicia, v. 4</p> + +<p>Sandford, Francis, <i>History of the Coronation of James the Second</i>, <i>iv. 504</i></p> + +<p><span class='pagenum'><a name="Page_429" id="Page_429">[429]</a></span> +Sandford, Mrs., <i>Thomas Poole and his Friends</i>, <i>i. 437</i></p> + +<p>Sandi, Vettor, <i>Principi di Storia civile della Repubb. di Venezia</i>, iv. 326, 332</p> + +<p>Sandwich, Lord, <i>vi. 267</i></p> + +<p>Sandys, translation of <i>Ovid</i>, <i>iii. 199</i></p> + +<p>Sanguinetto river, ii. 379, 507</p> + +<p>Sansovino, F., <i>Venetia cittá nobilissima</i>, <i>iv. 166, 390</i></p> + +<p>Sant' Anna, Hospital of, Ferrari, <i>ii. 355</i>; iv. 139, 141, <i>143, 144, 147</i></p> + +<p>Santa Croce, Church of, ii. 369, 374, 375, 490</p> + +<p>Santa Maura (Leucadia), ii. 126, 178</p> + +<p>Santi Giovanno e Paolo (or San Zanipolo), Church of, Venice, iv. 336</p> + +<p>Sanudo, or Sanuto, Marin, <i>Vitæ Ducum Venetorum</i>, <i>ii. 475</i>; +iv. 326, 331, <i>347, 349, 352, 357, 363, 384, 431, 435, 450, 452, 461, 462</i>; +v. 115, <i>134</i></p> + +<p>Sapienza, island of, iv. 356, 365</p> + +<p>Sappho, ii. 125, 178; vi. 26, 139, <i>180</i></p> + +<p>Saracus, last king of Assyria, v. <i>107</i></p> + +<p>Saragoza, Augustina, Maid of, ii. 58, 91</p> + +<p>Saragoza, siege of, ii. 58, 91, 94</p> + +<p>Saratoga, battle of, <i>vi. 12</i></p> + +<p><i>Sardanapalus</i>, <i>iii. 493</i>; +v. 3-112, 115, 199, 203, 204, <i>243</i>, 279, 469; +vi. 140, <i>461, 538</i>; <i>vii.</i> <i><a href="#Note_077">77</a></i></p> + +<p>Sardi, <i>iii. 505</i></p> + +<p>Saronic Gulf, <i>ii. 362</i></p> + +<p>Sassi, the brothers, <i>ii. 389</i></p> + +<p>Satan, v. 201</p> + +<p>Satanic School of Poetry, iv. 477, 481, 483; <i>v. 196</i></p> + +<p>Satibarzanes, the eunuch, <i>v. 72</i></p> + +<p><i>Satirist, The</i>, i. <i>373, 374</i>, 383; <i>vi. 69</i></p> + +<p>Saul, iii. 392</p> + +<p>Saussure, Horace Bénédict de, <i>Essai sur Hygrométrie</i>, +inventor of the cyanometer, <i>vi. 216</i></p> + +<p>Savage, Richard, <i>The Wanderer</i>, <i>iii. 261</i></p> + +<p>Savary, Marshal, <i>iii. 428</i></p> + +<p>Savelli family, the, <i>ii. 403</i></p> + +<p>Savini, Guido, <i>ii. 487</i></p> + +<p>Savioli, Conte Ludovico, <i>iv. 250</i></p> + +<p>Savoie, Louis de (wife of Louis XVIII.), <i>v. 498, 566</i></p> + +<p>Savoy, Charles III., Duke of, <i>iii. 299</i>; iv. 4, 10</p> + +<p>Savoy-Carignan, François Eugene, Prince of, <i>iv. 262</i></p> + +<p>Sawbridge, <i>vi. 100</i></p> + +<p>Saya, or basquiña, the outer petticoat, vi. 116</p> + +<p>Sayer, Elizabeth Price, translation of Dante's <i>Il Convito</i>, <i>iv. 253, 256</i></p> + +<p>Sayer, James, <i>Elijah's Mantle</i>, i. 294, <i>356</i></p> + +<p>Saxe, Count, <i>i. 107</i></p> + +<p>Saxe-Cobourg, Leopold of, <i>ii. 450</i></p> + +<p>Saxe-Weimar, Bernhard, Duke of, v. 371</p> + +<p>Saxons, the, v. <i>371</i>, 553</p> + +<p>Saxony, John George, Elector of, <i>v. 373</i></p> + +<p>Sbergo, or usbergo, <i>iv. 308</i></p> + +<p>Sbirri, Venetian policemen, iv. 383</p> + +<p>Scalanova, Port, Asia Minor, iii. 252</p> + +<p>Scaliger, J. J., v. 281, <i>302</i></p> + +<p>Scaligers, tombs of the, v. <i>561</i>, 562</p> + +<p>Scamander river, ii. 182</p> + +<p>Scanderberg, or Scander Bey (George Castriota), ii. 124, 173</p> + +<p>Scarron, <i>vi. 246</i></p> + +<p>Sceptics, or Pyrrhonists, <i>vi. 379</i></p> + +<p>Schaffhausen, <i>ii. 383</i></p> + +<p>Schaffner, Alfred, <i>Lord Byron's Cain und Seine Quellen</i>, v. 200</p> + +<p>Schaumburg, <i>v. 371</i></p> + +<p>Scheible, <i>Das Kloster</i>, vi. xx</p> + +<p>Scheremetov, Count Boris Petrowitch, Russian General, vi. 307</p> + +<p>Schiavoni, Giorgio, <i>iii. 368</i></p> + +<p>Schiller, iii. 503; +<i>Armenian, or the Ghost-Seer</i> (<i>Der Geisterseher</i>), <i>i. 131</i>; ii. 342; +<i>Bride of Messina</i>, iii. 150; <i>Wilhelm Tell</i>, <i>ii. 385</i>; +<i>Piccolomini</i>, <i>iv. 566</i></p> + +<p>Schipper, Dr. J., <i>Englische Metrik</i>, iv. 239</p> + +<p><span class='pagenum'><a name="Page_430" id="Page_430">[430]</a></span> +Schlegel, Friedrich, ii. 472; iv. 237, 238, <i>341, 342</i>; vii. <a href="#Page_50">50</a></p> + +<p>Schlegel, J. S. B., <i>Tagebuch, etc.</i>, <i>vi. 605</i></p> + +<p>Schlick, M., <i>Corr. of</i>, iv. 470</p> + +<p>Schoene, A., <i>v. 107</i></p> + +<p>Schroepfer, Johann Georg, <i>vi. 605</i></p> + +<p>Schultz, Hans, <i>Der Sacco di Roma</i>, <i>v. 520</i></p> + +<p>Schumann, R., Music to Byron's <i>Manfred</i>, iv. 78</p> + +<p>Schuyler, Eugene, <i>Peter the Great</i>, iv. 203, 207, <i>233</i></p> + +<p>Scio island, iii. 252</p> + +<p>Scipio Africanus, <i>i. 493</i>; ii. 371, <i>389, 459</i>, 496; (II.), <i>v. 512</i></p> + +<p>Scipio Barbatus, <i>ii. 389</i></p> + +<p>Scipio, Lucius, <i>ii. 389</i></p> + +<p>Scipio, Metellus, <i>iv. 264</i></p> + +<p>Scipios, tomb of the, ii. 389</p> + +<p>Semelet, W., <i>iii. 160</i></p> + +<p><i>Scorpion, The</i>, iii. 107</p> + +<p>Scotland, vi. 405</p> + +<p><i>Scot's Magazine</i>, iv. 139; v. 329, 470, 540</p> + +<p>Scott, John, iii. 532, 535; iv. 472</p> + +<p>Scott, Sir Walter, <i>i. 303, 305, 306, 331</i>, 384; vi. 6; +<i>The Wild Huntsman</i>, <i>i. 117, 317</i>; +mentioned in <i>English Bards, and Scotch Reviewers</i>, i. 309-312, 319, 337, 369; +<i>Lay of the Last Minstrel</i>, i. 309, 310; <i>iii. 472</i>; vi. 406, 458, 560; +contributes to Monk Lewis' <i>Tales of Wonder</i>, <i>i. 317, 318</i>; +<i>The Fire King</i>; <i>Glenfinlas</i>; <i>The Eve of St. John</i>; +<i>Frederick and Alice</i>, <i>i. 317</i>; +<i>Marmion</i>, i. 310, 371; <i>ii. 360</i>; <i>iii. 474</i>; <i>iv. 13</i>; <i>v. 542</i>; vi. 426; +<i>Fortunes of Nigel</i>, <i>i. 351</i>; in <i>Hints from Horace</i>, i. 395, 419; +his amanuensis, W. H. Weber, <i>i. 396</i>; +<i>Antiquary</i>, <i>i. 413</i>; <i>iv. 524</i>; <i>v. 377</i>; +and Ballantyne, <i>i. 435</i>; +<i>The Vision of Don Roderick</i>, <i>i. 436</i>; ii. <i>4, 51, 88</i>, 89; +<i>Border Minstrelsy</i>, ii. 4, 295; <i>Young Lochinvar</i>, <i>ii. 70</i>; +Nossa Señora da Peña, ii. 86; <i>Sir Tristrem</i>, ii. 203; +reviews <i>Childe Harold</i> in <i>Quarterly Review</i>, +ii. 213, 315, <i>325</i>; iv. 6; +<i>Lord of the Isles</i>, <i>ii. 244</i>; <i>The Dance of Death</i>, ii. 292; +<i>Field of Waterloo</i>, ii. 292; iii. 434; <i>vi. 266</i>; +the "Ariosto of the North," ii. 311, 359; +<i>Tales of a Grandfather</i>, <i>ii. 337</i>; <i>vi. 12</i>; +<i>Lady of the Lake</i>, <i>ii. 347</i>; Byron accused of copying, <i>iii. 128</i>; +octosyllabic verse, iii. 224; <i>The Corsair</i>, <i>iii. 225</i>; +Byron's present of a silver urn, <i>iii. 301</i>; +Coleridge's <i>Christabel</i>, iii. 443, <i>472</i>; +Byron and Wordsworth, iii. 533; +reviews <i>Prisoner of Chillon</i> in <i>Quarterly Review</i>, iv. 6; +article in <i>Q.R.</i> on <i>The Dream</i>, <i>iv. 37</i>; +on <i>Darkness</i>, <i>iv. 42</i>; on Coleridge's imagination, <i>ibid.</i>; +on <i>Churchill's Grave</i>, <i>iv. 46</i>; referred to in <i>Beppo</i>, iv. 183; +<i>Tales of my Landlord</i>, iv. 284; +<i>Life of Napoleon Buonaparte</i>, <i>iv. 456</i>; <i>v. 546</i>; <i>vi. 418</i>; +<i>Guy Mannering</i>, <i>iv. 566</i>; +meets Byron frequently in society, iv. 570; +<i>Memoirs of the Life, etc.</i>, iv. 570, <i>585, 587</i>; +<i>The Search after Happiness</i>, <i>iv. 574</i>; +Lydia White's death, <i>iv. 587</i>; +on <i>Cain</i> and its dedication, v. 204, 205, <i>206</i>; +<i>Waverley</i>, v. 209; <i>vi. 272, 404</i>; on Byron and Alcibiades, v. <i>485</i>; +on <i>Don Juan</i>, vi. xix; edition of Dryden's <i>Works</i>, <i>vi. 178</i>; +Byron's letters to, <i>vi. 178, 186, 405, 479</i>; +on Byron's features, <i>vi. 360</i>; +<i>Letters on Demonology and Witchcraft</i>, <i>vi. 380, 491</i>; +<i>The Abbot</i>, <i>vi. 440</i>; "reigned before me," vi. 444; +"my <i>buon camerado</i>," vi. 459; +his use of "gynocracy," <i>vi. 473</i>; <i>Journal</i>, <i>vii.</i> <i><a href="#Note_025">25</a></i></p> + +<p>Scott, William, <i>i. 436</i></p> + +<p><i>Scourge, The</i>, <i>i. 374</i></p> + +<p>Sea-coal (Newcastle coal), vi. 503</p> + +<p>Sea-sickness, remedies for, vi. 84</p> + +<p>Seale, John Barlow, <i>An Analysis of the Greek Metres, etc.</i>, i. 59</p> + +<p>Searment, cerecloth, or searcloth, ii. 154</p> + +<p><span class='pagenum'><a name="Page_431" id="Page_431">[431]</a></span> +Seaton, R.C., <i>Sir Hudson Lowe and Napoleon</i>, <i>v. 544</i></p> + +<p>Sebastiani, General François Horace Bastien, ii. 89, 200</p> + +<p>Sedition Bill, iv. 511</p> + +<p>Segati, Marianna, <i>iv. 214</i></p> + +<p>Segovia, Cardinal of, <i>iii. 369</i></p> + +<p>Segur, Louis Philippe, Comte de, <i>vi. 314</i></p> + +<p>Selictar, sword-bearer, ii. 149</p> + +<p>Selim II., Sultan, <i>vi. 259</i></p> + +<p>Selim III., <i>ii. 207</i></p> + +<p>Sellers, E., <i>ii. 432</i></p> + +<p>Sellis (Sélis), Duke of Cumberland's valet, <i>vii.</i> <i><a href="#Note_031">31</a></i></p> + +<p>Semiramis, v. 14, 15, 19-21, 23, 36, 50, 58, 79; vi. 235, 236</p> + +<p>Senebier, Jean, <i>Histoire Littéraire de Genève</i>, iv. 3, 11</p> + +<p>Seneca, v. 3, <i>543</i>; <i>De Irâ</i>, vi. 292</p> + +<p>Senger, Richard, <i>Die beiden Foscari</i>, v. 119, <i>121, 135, 183</i></p> + +<p>Senhouse, Humphrey, iv. 475</p> + +<p>Sennacherib, iii. 404; v. 4, <i>24</i></p> + +<p>Separation, the, iii. xx</p> + +<p>Septemberes, Septembriseurs, vi. 595</p> + +<p>Septimius Severus, ii. <i>408</i>, 511, 520; <i>v. 542</i></p> + +<p>Seraphim, the, v. 228</p> + +<p>Serassi, <i>La Vita di Tasso</i>, ii. 485, <i>498</i></p> + +<p>Serenissima Signoria (Venice), <i>iv. 345</i></p> + +<p>Servan, Joseph, <i>vi. 13</i></p> + +<p>Servetus, i. 417</p> + +<p>Servius, <i>ii. 133</i></p> + +<p>Servius Sulpicius, ii. 362</p> + +<p>Sesostris, v. <i>405</i>, 543</p> + +<p>Sestos, iii. 13</p> + +<p>Seven Towers, the, vi. 260</p> + +<p>Severus, Sulpitius, <i>ii. 133</i></p> + +<p>Sévigné, Madame de, <i>i. 402</i></p> + +<p>Sévigné, M. de, <i>i. 402</i>; <i>vi. 246</i></p> + +<p>Seville (Hispalis of the Romans), ii. 52, 63, 93; vi. 15</p> + +<p>Sextilius, Governor of Carthage, <i>iv. 251</i></p> + +<p>Sforza, Cardinal Ascanio, <i>iii. 367</i></p> + +<p>Sforza, Ludovico, <i>iv. 13</i></p> + +<p>Sgricci, Signor, ii. 492</p> + +<p>Shadwell, Lancelot, Vice-Chancellor, v. 203</p> + +<p>Shadwell, <i>Libertine</i>, vi. xvi, <i>4, 11</i></p> + +<p>Shaftesbury, Earl of, <i>vi. 482</i></p> + +<p>Shakespeare, i. 29, 37, <i>38, 193</i>, 289, 345, 399; +ii. xiii, <i>217</i>; iii. 51, 52; iv. 325, <i>326</i>; +v. 3, <i>28, 339</i>; vi. 174; +compared with Byron, <i>v. 205</i>; his use of "shook," <i>v. 135</i>; +of "skirred," <i>v. 163</i></p> + +<p>Sharp, Richard, "Conversation," iv. 570; "Kit-Cat," vi. 511</p> + +<p>Shaving, "a daily plague," vi. 522</p> + +<p>Shee, Sir Martin Archer, i. 365</p> + +<p>Shelley, P. B., <i>ii. 115</i>; translation of <i>Plato's Epitaph</i>, <i>i. 19</i>; +letter from Byron, i. 293; witnesses Lewis' will, <i>i. 318</i>; +<i>Peter Bell the Third</i>, <i>i. 416</i>; +<i>Queen Mab</i>, <i>ii. 13</i>; <i>v. 75, 234, 237, 257, 258, 268</i>; +Byron's Albanian song, <i>ii. 145</i>; +Third Canto of <i>Childe Harold</i>, ii. 211, 315; +Wordsworth as preached by, ii. <i>219</i>, 311; +<i>Feelings of a Republican on the Fall of Bonaparte</i>, <i>ii. 227</i>; +"the only important calumny," <i>ii. 248</i>; <i>iv. 63</i>; +his companionship, <i>ii. 258</i>; iv. 82; +<i>Adonais</i>, <i>ii. 260, 271</i>; <i>iii. 137</i>; <i>vi. 401, 446</i>; +<i>Letters from Abroad, etc.</i>, ii. <i>305, 306</i>, 307; +his "delicate spirit," ii. 315; +<i>Prometheus Unbound</i>, <i>ii. 325, 417</i>; v. 281; +<i>Lines written among the Euganean Hills</i>, <i>ii. 338, 343</i>; +<i>Julian and Maddalo</i>, <i>ii. 349</i>; "a very decent dungeon," <i>ii. 355</i>; +<i>Hellas</i>; <i>Ode to Liberty</i>, ii. 402; <i>Poetical Works</i>, <i>ii. 407</i>; +the Castle of Chillon, iv. 3, <i>18</i>; +<i>Revolt of Islam</i>, <i>iv. 38</i>; <i>v. 603</i>; +translation of Calderon's <i>El Mágico Prodigioso</i>, iv. 81; +<i>To a Skylark</i>, <i>iv. 96</i>; on <i>Manfred</i> and incest, iv. 100; +<i>Prince Athanase</i>; <i>The Woodman and the Nightingale</i>; +<i>Ode to the West Wind</i>, iv. 239; <i>Cenci</i>, <i>iv. 367</i>; +the entry in the travellers' album at Montanvert, iv. 475; +<span class='pagenum'><a name="Page_432" id="Page_432">[432]</a></span> +on <i>Cain</i>, v. 204; Greek choruses, v. 281; <i>Prose Works</i>, v. 331; +his death, v. 469; on <i>The Deformed Transformed, ibid.; May-Day Night</i>, v. 470; +on <i>Don Juan</i>, vi. xix; +his mystical affinities and divagations, <i>vi. 188</i>; +on Croker's review of Keats, <i>vi. 446</i>; +in Pisa with Byron, <i>vii.</i> <i><a href="#Note_078">78</a></i></p> + +<p>Shelley, Mrs. P. B., <i>ii. 143, 305</i>; iv. 320, 570; +her transcript of:—<i>Werner</i>, v. 331; +<i>The Deformed Transformed</i>, <i>v. 474</i>; <i>Age of Bronze</i>, v. 537; +<i>Don Juan</i>, <i>vi. 268, 269, 272, 274, 310, 373</i></p> + +<p>Shenstone, William, <i>Poetical Works</i>, <i>iii. 41</i>, 59</p> + +<p>Sheppard, v. 199</p> + +<p>Sheridan, Charles, <i>iv. 74</i></p> + +<p>Sheridan, Mrs. Frances (<i>née</i> Chamberlaine), <i>Nourjahad, etc.</i>, <i>vii.</i> <i><a href="#Note_033">33</a></i></p> + +<p>Sheridan, R. B., i. <i>306, 317, 343</i>, 500; <i>iii. 45, 51, 545</i>; iv. 561; vi. 450; +<i>The Critic</i>, i. <i>343</i>, 383; <i>iv. 73, 75</i>; v. 113; vi. 537; +<i>Pizarro</i>, i. 344, <i>489</i>; <i>iv. 73</i>; +<i>The Rivals</i>, <i>i. 431, 494</i>; <i>ii. 334</i>; iv. <i>72</i>, 514; <i>vi. 258</i>; +his doggerel on Brunck, <i>i. 490</i>; +<i>Lines on Waltzing</i>, <i>i. 499</i>; +"ere Brinsley ceased to write," iii. 53; +<i>Monody, etc</i>., iv. 69-75; +Byron's first meeting with, iv. 69; +<i>The Scheming Lieutenant; The Duenna</i>, <i>iv. 72</i>; +his Begum and Warren Hastings speeches, iv. 72, 75; +<i>A Trip to Scarborough</i>, <i>iv. 73</i>; +<i>A School for Scandal</i>, <i>iv. 73, 75, 338</i>; +<i>Monologue on Garrick</i>, <i>iv. 75</i>; +contrasted with Brougham, iv. 195; +his pasquinade on Wilkes, <i>iv. 511</i></p> + +<p>Sheridan, Thomas, <i>iv. 74</i>; <i>Bonduca</i>, <i>i. 343</i></p> + +<p><i>Sherwood, Southey</i> v., v. 204</p> + +<p>Sherwood Forest, <i>vi. 495</i></p> + +<p>Sherwood, Neely, and Jones, i. 478; <i>iii. 256</i>; iv. 482</p> + +<p>"Ship of the desert," camel or dromedary, v. 606</p> + +<p>Shipwreck, description of a, vi. 88-101</p> + +<p>Shiraz, iii. 182</p> + +<p>Shirley, Sir Anthony, <i>iii. 105</i></p> + +<p>Shooter's Hill, vi. 424, 429</p> + +<p>Shtcherbatof, Princess, <i>vi. 389</i></p> + +<p>Shyness, Byron's, i. 207</p> + +<p>Siddons, Mrs. (Sarah Kemble), i. 46, 344, <i>345</i>; iii. <i>51</i>, 52; <i>iv. 338</i></p> + +<p><i>Sidney</i>, wreck of the, <i>vi. 95</i></p> + +<p>Sidney, A., <i>Discourses concerning Government</i>, <i>ii. 504</i></p> + +<p><i>Siege of Corinth</i>, ii. <i>113</i>, 288; iii. 449-496, <i>508</i>; +<i>iv. 227, 230, 423</i>; v. <i>163</i>, 326, <i>503, 626</i>; <i>vi. 111, 332, 382</i></p> + +<p>Siegendorf, Count (F. Kruitzner), v. 327</p> + +<p>Siena, Bindo Borrichi da, <i>iv. 248</i></p> + +<p>Sierke, Dr. Eugen, <i>Schwärmer und Schwindler</i>, <i>vi. 605</i></p> + +<p>Sierra Morena, ii. <i>54</i>, 55, 91</p> + +<p>Sigeum, <i>ii. 99</i>; Cape, vi. 204</p> + +<p>Sigismund, king of Burgundy, <i>iv. 120</i></p> + +<p>Signori di notte, Venetian police, iv. <i>383</i>, 427, 467</p> + +<p>Silius Italicus, <i>Pun.</i>, <i>ii. 379</i></p> + +<p>Silver and Co., De, printers, i. 452, 453</p> + +<p>Simar, or cymar, a shroud, iii. 143</p> + +<p>Sime, J., <i>Sir Francis Renalds, F.R.S., and his Works in connection with Electric Telegraphy</i>, <i>iv. 505</i></p> + +<p>Simeon, Rev. Charles, i. 417, <i>431</i></p> + +<p>Simon Magus, ii. 513</p> + +<p>Simoon, the, iii. 99; vi. 198</p> + +<p><i>Simpliciad, The</i>, i. 294, <i>316</i></p> + +<p>Simplon, the, vi. 394</p> + +<p>Sinsariskim (Assyria), v. 4</p> + +<p>Siria, the bitch-star, vi. 505</p> + +<p>Sirocco, the, ii. 48; iii. 9</p> + +<p>Sisi, Porta, <i>vi. 212</i></p> + +<p>Sismondi, J. C. L, Simonde de, <i>Histoire des Républiques Italiennes du Moyen Age</i>, <i>iii. 235</i>; iv. 332; v. 115, <i>138, 196</i>; <i>vi. 199, 461</i></p> + +<p>Sisyphus, i. 329; vi. 538</p> + +<p>Sitwell, Lady, iii. 381</p> + +<p><span class='pagenum'><a name="Page_433" id="Page_433">[433]</a></span> +Sixtus V., Pope, <i>ii. 384, 411</i>; <i>iv. 271</i></p> + +<p>Skeat, Rev. W., <i>Complete Works of Chaucer</i>, iv. 239</p> + +<p>Skeffington, Sir Lumley St. George, <i>The Maid of Honour</i>; +<i>The Mysterious Bride</i>; <i>The Sleeping Beauty</i>, i. <i>306</i>, 345, 346</p> + +<p><i>Sketch, A</i>, iii. xix, 499, 540; <i>iv. 64</i>; <i>vi. 22</i></p> + +<p>Slave-market, Constantinople, vi. 216</p> + +<p>Slavery, abolition of, <i>vi. 549</i></p> + +<p>Sleep, iv. 33; vi. 123</p> + +<p>Sligo, Lord, iii. 75, 441</p> + +<p>Slowacki, J., iv. 203</p> + +<p><i>Smalkeld articles</i>, <i>v. 520</i></p> + +<p>Small-pox and vaccination, vi. 50</p> + +<p>Srmaragdus, the Exarch, <i>ii. 410</i></p> + +<p>Smedley, <i>Sketches from Venetian History</i>, <i>ii. 329</i>; <i>iii. 455</i>; <i>iv. 363</i>; v. 115</p> + +<p>Smiles, Dr. Samuel, <i>Memoir of John Murray</i>, +<i>i. 310</i>; ii. <i>327</i>, 359; iii. <i>98</i>, 217, <i>313</i>, 320, 443, <i>488</i>, 499, <i>519</i>; +iv. 3, 139; v. 203; <i>vii.</i> <i><a href="#Note_047">47</a></i>, <i><a href="#Note_057">57</a></i></p> + +<p>Smith, Alexander, able seaman on the <i>Bounty</i> (John Adams of Pitcairn Island), +v. 583, <i>588, 605, 623</i></p> + +<p>Smith, Miss Araminta, vi. 443</p> + +<p>Smith, Horace and James, <i>Horace in London</i>, <i>i. 462, 465</i>; +<i>Rejected Addresses</i>, i. 481; <i>iii. 55</i></p> + +<p>Smith, John Spencer, Minister to Turkey, <i>iii. 4</i></p> + +<p>Smith, Mrs. Spencer ("Florence"), ii. xvii, <i>75, 110, 118</i>; iii. 4</p> + +<p>Smith, Rev. Sydney, i. <i>302, 306</i>, 336; "twelve-parson power," vi. 410; +<i>Peter Plymley's Letters</i>, vi. 596</p> + +<p>Smith, William, M.P. for Norwich, <i>iii. 488</i>; iv. 482, <i>516</i>, 578; <i>vi. 175</i></p> + +<p>Smith, Sir William, <i>Classical Dictionary</i>, <i>ii. 156</i>; +<i>Dictionary of Greek and Roman Antiquities</i>, <i>ii. 424</i>; +<i>Dictionary of the Bible</i>, <i>iv. 499</i></p> + +<p>Smith, Admiral Sir Sidney, <i>iii. 4</i></p> + +<p>Smollett, <i>History and Adventures of an Atom</i>, <i>ii. 40</i>; +<i>Humphry Clinker</i>, ii. 203; <i>Roderick Random</i>, vi. 210</p> + +<p>Smyth, Sir Harry, <i>vi. 153</i></p> + +<p>Smyth, Professor William, <i>English Lyrics</i>, <i>i. 372</i></p> + +<p>Smythe, <i>i. 306</i></p> + +<p><i>So we'll go no more a-roving</i>, iv. <i>411</i>, 538</p> + +<p>Soane, Sir John, Museum in Lincoln's Inn Fields, iv. 141</p> + +<p>Sobieski, John, king of Poland, iii. 458</p> + +<p>Social War, B.C. 88, <i>iv. 251</i></p> + +<p><i>Société d'Histoire, etc., de Genève</i>, iv. 5</p> + +<p><i>Société Imperiale d'Histoire de Russie</i>, <i>vi. 317, 340</i></p> + +<p>Society Islands, the, v. 583</p> + +<p>Socrates, i. 458; ii. 101, 103; iii. 271; <i>iv. 253</i>; +v. 485; vi. 267, 303, 483, 548, 567, 568, 610</p> + +<p>Sodom, apple of, ii. 294</p> + +<p>Soignies, wood of, ii. 293</p> + +<p>Soissons, Bishop of, <i>ii. 337</i></p> + +<p>Solano, Marquis of. Commander-in-Chief at Cadiz, ii. 77, 93</p> + +<p>Solerti, Angelo, <i>Vita di Torquato Tasso</i>, ii. 355-357; iv. 144-146</p> + +<p><i>Soliloquy of a Bard in the Country</i>, i. 217</p> + +<p>Solitude, ii. 116, 272, 457; vi. 234</p> + +<p>Sollikoff, <i>vi. 370</i></p> + +<p>Solomon, vi. 303</p> + +<p>Solon, iv. 438</p> + +<p>Solyman, ii. 201; vi. 259</p> + +<p>Somerset, Duchess of, <i>i. 343</i>; <i>vi. 417</i></p> + +<p><i>Sonetto di Vittorelli</i>, iii. xix; iv. 535</p> + +<p><i>Song</i>, i. 262</p> + +<p><i>Song for the Luddites</i>, vii. <a href="#Page_42">42</a></p> + +<p><i>Song of Saul before his Last Battle</i>, iii. 393</p> + +<p><i>Song of Solomon</i>, <i>v. 491</i></p> + +<p><i>Song to the Suliotes</i>, vii. <a href="#Page_83">83</a></p> + +<p><i>Sonnet on Chillon</i>, ii. 214; iv. 7</p> + +<p><i>Sonnet on the Nuptials of the Marquis Antonio Cavalli with +the Countess Clelia Rasponi of Ravenna</i>, iv. 547</p> + +<p><span class='pagenum'><a name="Page_434" id="Page_434">[434]</a></span> +<i>Sonnet—To Genevra</i>, ii. <i>67</i>, 70, 71, <i>390</i></p> + +<p><i>Sonnet to Lake Leman</i>, iv. 53</p> + +<p><i>Sonnet to the Prince Regent</i> (on the repeal of Lord Edward Fitzgerald's forfeiture), iv. 548</p> + +<p>Sophia, Princess, <i>vi. 18</i></p> + +<p>Sophia, Tzarina, iv. 202</p> + +<p>Sophie of Russia, Princess, <i>vi. 425</i></p> + +<p>Sophocles, <i>iv. 264</i>; <i>Ajax</i>, <i>vi. 172</i></p> + +<p>Sophron, <i>Mimes</i>, i. 414</p> + +<p>Soracte, ii. 386, 388</p> + +<p>Soranzo, Marco, iv. 384</p> + +<p>Sotheby, William ("Botherby"), iv. 182, 569, 570; vi. 75; +<i>Saul</i>, i. 362; vii. <a href="#Page_59">59</a>; <i>Oberon</i>, i. 362; <i>iii. 263</i>; <i>v. 496</i>; +<i>Ivan</i>, <i>iii. 280</i>; <i>iv. 338</i>; vii. <a href="#Page_48">48</a>; +<i>Five Unpublished Tragedies</i>, <i>iii. 280</i>; iv. 578, 584; vii. <a href="#Page_48">48</a>, <a href="#Page_70">70</a>; +<i>Constance de Castile</i>, <i>iii. 348</i>; "a bore," iv. 580; +<i>The Blues</i>, vii. <a href="#Page_17">17</a>; +<i>Orestes</i>; <i>The Death of Darnley</i>, vii. <a href="#Page_48">48</a>; +<i>Farewell to Italy</i>; <i>Occasional Poems</i>, vii. <a href="#Page_52">52</a>; +"sate sweating behind her," vii. <a href="#Page_61">61</a></p> + +<p>Sotheby, Wilkinson, and Hodges, iii. 537</p> + +<p>Soudan, <i>vi. 474</i></p> + +<p>Soult, <i>ii. 51, 77</i></p> + +<p>South, Dr., vi. 128</p> + +<p>Southcott, Joanna, <i>Book of Wonders</i>, iv. 497; vi. 176, 452</p> + +<p>Southey, Robert, <i>i. 331, 443</i>; <i>ii. 56</i>; iii. 402; <i>v. 613, 614</i>; vi. 166; +<i>The Devil's Walk</i>, <i>i. 31</i>; <i>vii.</i> <i><a href="#Note_021">21</a></i>; +<i>Letters from Spain</i>, <i>i. 44</i>; <i>ii. 43</i>; +<i>Letters, Life, and Correspondence</i>, <i>i. 303, 344, 359, 396</i>; ii. <i>34</i>, 87; iv. <i>225</i>, 476, 482; vi. <i>3, 4, 175</i>, 350; +"notable remarks on," <i>i. 305</i>; +"Southey's epics cram the creaking shelves," i. 307; "soaring," i. 308; +<i>Epics of the Ton</i> on, <i>i. 311</i>; "the Ballad-monger," i. 313; +<i>Thalaba</i>, i. 313, 434; <i>iii. 121, 472</i>; <i>iv. 24</i>; +<i>Joan of Arc</i>, i. 313, 437; <i>Madoc</i>, i. 313, 314, 437; vi. 215; +<i>The Old Woman of Berkeley</i>, i. 315, <i>317</i>; +on Hayley, <i>i. 321</i>; <i>iv. 244</i>; +on <i>Pizarro</i>, <i>i. 344</i>; +<i>Life of Henry Kirke White</i>, <i>i. 363</i>; iv. <i>521</i>, 522; +his followers, Lamb and Lloyd, <i>i. 368</i>; "his teeming muse," i. 369; +his epic bathos, <i>i. 403</i>; "sink to Southey's level in a trice," i. 404; +<i>Curse of Kehama</i>, i. 435, <i>436</i>; v. <i>271</i>, 281, 469; +<i>History of the Peninsular War</i>, ii. <i>43</i>, 91, 92, 94; +<i>Roderick</i>, <i>ii. 46</i>; <i>iii. 477, 496</i>; <i>v. 565</i>; +<i>Poet's Pilgrimage to Waterloo</i>, <i>ii. 227, 234, 235</i>; iv. 521; +<i>Funeral Song for the Princess Charlotte of Wales</i>, <i>ii. 450</i>; +on vampires, iii. 123; <i>Carmen Triumphale</i>, iii. 217; vii. <a href="#Page_39">39</a>; +<i>The Doctor</i>, <i>iii. 488</i>; +<i>Wat Tyler</i>, <i>iii. 488</i>; iv. 477, 481, 482, 521; +<i>English Eclogues</i>, <i>iv. 47</i>; <i>The Inchcape Rock</i>, <i>iv. 428</i>; +Byron's quarrel with, iv. 474-485; +<i>Vision of Judgment</i>, iv. 475, 476, 478, <i>489, 491, 495, 497</i>, 508, <i>512</i>, 522, <i>524</i>; <i>v. 196</i>; +<i>Elegy on H. Martin</i>, iv. 477, 482; +<i>Essays Moral and Political</i>, iv. 479, 482; <i>vi. 175</i>; +his "quartos," iv. 516; Byron on his appearance, iv. 520; +<i>The Pious Painter</i>, <i>iv. 520</i>; <i>Battle of Blenheim</i>, iv. 521; +<i>Life of Wesley, and Rise and Progress of Methodism</i>, iv. 522; +<i>Common-Place Book</i>, <i>iv. 529</i>; <i>Chronicle of the Cid</i>, <i>ibid.</i>; +"renegade," iv. 578; his indictment of the Satanic School, <i>v. 196</i>; +on the "Byron Head," Castle Street, v. 203; <i>Don Juan</i> dedicated to, vi. 3; +"so quaint and mouthy," vi. 74; +<i>Epilogue to the Lay of the Laureate</i>, vi. 80; +Coleridge's eulogy of, <i>vi. 168</i>; his marriage, vi. 175; +<i>March to Moscow</i>, <i>vi. 307</i>; Byron's abuse of, vi. 403; +"turncoat," vi. 444; "rogue Southey's gander," vi. 445; +<i>Omniana</i>, <i>vi. 576</i>; "Who shot the arrow?" vii. <a href="#Page_76">76</a></p> + +<p>Southey, Herbert, <i>iv. 485</i></p> + +<p>Southey, Mrs. Robert, <i>iv. 521</i></p> + +<p><span class='pagenum'><a name="Page_435" id="Page_435">[435]</a></span> +<i>Southey</i> v. <i>Sherwood</i>, v. 204</p> + +<p>Southwell, vii. <a href="#Page_1">1</a>, <a href="#Page_8">8</a></p> + +<p>Southwell Minster, <i>i. 119</i></p> + +<p>Spagnoletto, vi. 502</p> + +<p>Spain, i. 469; revolution in, v. 537, 538; vi. 456; +royalist reign of terror in, v. 558; the Inquisition in, <i>ibid.</i></p> + +<p>Spalding, Lieut.-Colonel, <i>Suvóroff</i>, <i>vi. 320, 321, 370</i></p> + +<p>Spanish women, their style of beauty, ii. 59</p> + +<p>Sparamizus, the eunuch, <i>v. 11</i></p> + +<p>Sparks, Jared, <i>Works</i> of Benjamin Franklin, <i>v. 554</i></p> + +<p>Sparta, iii. 21</p> + +<p>Spartans, ii. 195</p> + +<p><i>Spectator</i>, <i>ii. 133</i>; iii. 98; <i>vii.</i> <i><a href="#Note_057">57</a></i></p> + +<p>Spelman, <i>iv. 445</i></p> + +<p>Spence, Rev. Joseph, <i>Observations, Anecdotes, and Characters of +Books and Men</i>, <i>vi. 303</i>; vii. <a href="#Page_52">52</a></p> + +<p>Spence, Thomas, <i>vi. 265</i></p> + +<p>Spencer, General, ii. 93</p> + +<p>Spencer, William, <i>iv. 581</i></p> + +<p>Spenser (<i>Faërie Queene</i>), i. 395; ii. x, 4, 5, <i>17, 71, 72, 101, 139, 146</i>; +iii. 224, <i>474</i>; <i>vi. 592</i></p> + +<p>Spercheus, a river-god, v. 488</p> + +<p>Sperone Speroni, ii. 498</p> + +<p>Spinola, Ambrogio, Marchese di, <i>iv. 262</i></p> + +<p>Spinther, Lentulus, <i>ii. 405</i></p> + +<p>Spurious verses, attributed to Byron, iii. xx, xxi</p> + +<p>Spottiswoode, William, the mathematician, vii. <a href="#Page_56">56</a></p> + +<p>Staël, Madame de, i. 494; <i>vi. 70</i>; +<i>Corinne, ou L'Italie</i>, ii. <i>424</i>, 490, 503; <i>iv. 413</i>; <i>vi. 71, 541</i>; vii. <a href="#Page_32">32</a>; +<i>De L'Allemagne</i>, <i>iii. 164</i>; vi. 168; vii. <a href="#Page_32">32</a>; +on <i>Fare Thee Well</i>, iii. 534; on Byron's <i>Sonnet to Lake Leman</i>, iv. 53; +attempts to reconcile the Byrons, <i>iv. 63</i>; +quizzed by Sheridan, <i>iv. 75</i>; on Goethe's <i>Werther</i>, <i>iv. 341</i>; +"the Begum of Literature," iv. 570; +<i>Considérations sur la Révolution Française</i>, vii. <a href="#Page_49">49</a></p> + +<p>Staines, Sir Thomas, v. 582</p> + +<p>Stamboul, i. 378; ii. 152, 194</p> + +<p>Stamp Acts, <i>v. 560</i></p> + +<p>Stanhope, Colonel, <i>iii. 272</i>; <i>vii.</i> <i><a href="#Note_086">86</a></i></p> + +<p>Stanhope, Lord, i. 452, <i>457, 471</i>; ii. 299; <i>Life of Pitt</i>, <i>iv. 503</i></p> + +<p>Stanislaus of Poland, iv. 202</p> + +<p>Stanley, Dean, <i>Life of Arnold</i>, <i>v. 224</i></p> + +<p><i>Stanzas</i>, iv. 549; vii. <a href="#Page_70">70</a></p> + +<p><i>Stanzas composed during a Thunderstorm</i>, iii. <i>4</i>, 7</p> + +<p><i>Stanzas for Music</i>, iii. 413, 423, 426, 435, 438; <i>iv. 91, 147</i></p> + +<p><i>Stanzas to a Hindoo Air</i>, iv. 563</p> + +<p><i>Stanzas to a Lady, on leaving England</i>, i. 285; <i>ii. 18, 29</i></p> + +<p><i>Stanzas to a Lady, with the Poems of Camoëns</i>, i. 78</p> + +<p><i>Stanzas to Augusta</i>, <i>ii. 247, 248, 271</i>; iii. 544; iv. 54</p> + +<p><i>Stanzas to Jessy</i>, i. 234</p> + +<p><i>Stanzas to the Po</i>, iv. 545</p> + +<p><i>Stanzas written in passing the Ambracian Gulf</i>, <i>ii. 128</i>; iii. <i>4</i>, 11</p> + +<p><i>Stanzas written on the road between Florence and Pisa</i>, iv. 562</p> + +<p><i>Star, The</i>, iii. 534</p> + +<p>Stasicrates the architect, <i>vi. 479</i></p> + +<p><i>Statesman, The</i>, <i>i. 319</i></p> + +<p>Statius, <i>Thebaidos</i>, ii. 189</p> + +<p>Staubbach, <i>ii. 383</i>; iv. 81, 82, <i>119, 124</i></p> + +<p>Steno, Michele, iv. 333, 345, 349, 463</p> + +<p>Stefanovíc, Vuk (Wuk Stephanowitsch), <i>Narodne Srpske Pjesme</i>; +<i>Chants Populaires des Servics</i>, iii. 188</p> + +<p>Steinmetz, Adam, <i>v. 175</i></p> + +<p>Stephani, <i>ii. 446</i>; <i>Thesaurus</i>, <i>iv. 113</i></p> + +<p>Stephen, Leslie, <i>iv. 513</i></p> + +<p>Sterne, <i>Tristram Shandy</i>, ii. 176; <i>vi. 487</i>; +<i>Sentimental Journey</i>, <i>vi. 214</i></p> + +<p>Sternhold and Hopkins, v. 279</p> + +<p>Sternhold, Tom, vii. <a href="#Page_39">39</a></p> + +<p>Stevens, John, continuation of Dugdale's <i>Monasticon</i>, v. 200, <i>207</i></p> + +<p>Stevenson, Sir John, <i>iii. 423</i></p> + +<p><span class='pagenum'><a name="Page_436" id="Page_436">[436]</a></span> +Stewart, Dugald, <i>Philosophical Essays</i>; +<i>Outlines of Moral Philosophy</i>, <i>vi. 63</i></p> + +<p>Stewart, George, midshipman on the <i>Bounty</i> +("Torquil" of <i>The Island</i>), v. 583, 584; short account of, <i>v. 605</i></p> + +<p>Stewart, Peggy, <i>v. 605</i></p> + +<p>Stickles, John, <i>i. 417</i></p> + +<p>Stilicho, <i>ii. 390</i></p> + +<p>Stillingfleet, Benjamin, <i>iv. 573</i></p> + +<p>Stirling, Edward ("Vetus"), vii. <a href="#Page_28">28</a></p> + +<p>Stoics, "men without a heart," vi. 225</p> + +<p>Stole, a long loosely-flowing robe, ii. 101</p> + +<p>Stonehenge, vi. 434</p> + +<p>Stott, Robert ("Hafiz"), i. <i>306, 308</i>, 352, 357, <i>358</i>, 370; ii. 139</p> + +<p>Stout, Captain Benjamin, of the American ship <i>Hercules</i>, <i>vi. 89</i></p> + +<p>Strabo, ii. 173, 178, 196, 204, <i>512</i>; <i>v. 497</i>; <i>vi. 116, 122</i>; +<i>Rerum Geog.</i>, <i>v. 21, 24, 542</i></p> + +<p>Strahan, William, publisher of Johnson's <i>Dictionary</i>, +Gibbon's <i>Decline and Fall</i>, Cook's <i>Voyages</i>, etc., vii. <a href="#Page_56">56</a></p> + +<p>Stralenheim, Baron, v. 327</p> + +<p>Strangford, Percy Clinton Sydney Smythe, 6th Viscount, +<i>Poems from the Portuguese by Luis de Camoëns</i>, i. <i>78, 305</i>, 320, 370</p> + +<p>Stroganoff Collection, St. Petersburg, <i>ii. 446</i></p> + +<p>Strutt, Joseph, <i>Sports and Pastimes</i>, <i>vi. 471</i></p> + +<p>Stuart, editor of <i>Morning Post</i>, <i>i. 31</i></p> + +<p>Stuart, Daniel, editor of <i>Courier</i>, <i>i. 422</i></p> + +<p>Stuart, <i>Personal Reminiscences of the late Miss</i>, <i>i. 423</i></p> + +<p>Stuart, Princess Annabella (Countess of Huntly), <i>i. 173</i></p> + +<p>Stumpf, De, <i>Chroniques des Ligues</i>, iv. 4</p> + +<p>Styx, river, vi. 184</p> + +<p><i>Substitute for an Epitaph</i>, vii. <a href="#Page_11">11</a></p> + +<p>Suetonius, ii. 298, <i>409</i>, 488; <i>iv. 270</i>; +<i>Vitæ C. Julius Cæsar</i>, ii. <i>397, 434</i>, 509; <i>v. 484</i>; vi. <i>181, 276, 575</i>; +<i>Vit. August.</i>, ii. 488, 509, 518; <i>Vit. Tiberii</i>, ii. 488; +<i>De XII. Cæsaribus</i>, <i>iv. 124, 445</i>; <i>vi. 174</i>; +<i>Opera Omnia</i>, <i>v. 501</i>; in Tiberium, <i>vii.</i> <i><a href="#Note_036">36</a></i></p> + +<p>Suicide, vi. 265, 517</p> + +<p>Suleyman Aga, ii. 205; <i>v. 558</i></p> + +<p>Suli, district of, ii. 126, 141; vi. 171</p> + +<p>Suliotes, the, ii. 129, 146, 180; vii. <a href="#Page_83">83</a></p> + +<p>Sulla, <i>iv. 251</i>; vi. 348</p> + +<p>Sulpicius Servius, ii. 362</p> + +<p>Sulpitius Severus, <i>ii. 133</i></p> + +<p><i>Sun of the Sleepless!</i> iii. 399</p> + +<p><i>Sunday News</i>, ii. 535</p> + +<p>Sunium, vi. 172</p> + +<p><i>Supernaculum</i>, v. 354</p> + +<p>Superstition, ii. 128</p> + +<p>Surrey, Henry Howard, Earl of, iv. 239</p> + +<p>Surrey Institution, <i>iv. 575</i>; <i>vi. 12</i></p> + +<p>Surrey Theatre, vii. <a href="#Page_59">59</a></p> + +<p><i>Surtees Society</i>, <i>v. 207</i></p> + +<p>Sussex, Duke of, <i>vi. 590</i></p> + +<p>Suwarrow (Suvóroff, Suwarof, Souvarof, Souwarrow), Field-Marshal Aleksandr Vasilievitch, +vi. <i>14</i>, 222, 304, 315, 316, <i>317</i>, 319, 320, 322-326, 370, 393</p> + +<p>Swedes, <i>v.</i> Russians, <i>iv. 207, 233</i>; +Bohemia evacuated by the, <i>v. 371</i></p> + +<p>Swift, Dean, i. <i>397</i>, 414, 418, 419; <i>ii. 78</i>; <i>iv. 342</i>; +vi. <i>142</i>, 303; <i>Tale of a Tub</i>, iv. 484; +<i>The South Sea Project</i>, <i>v. 159</i>; +<i>The Journal of Stella</i>, <i>vi. 187</i>; +<i>Corinna</i>, <i>vi. 454</i>; <i>Letters</i>, <i>vi. 528</i></p> + +<p>Swimming, Byron's feats of, <i>ii. 461</i></p> + +<p>Swinburne, A. C., <i>Marino Faliero, a Tragedy</i>, iv. 329, <i>367</i>; +<i>Selections from the Works of Lord Byron</i>, vi. xvi, xx</p> + +<p>Swine Green, Nottingham, <i>vii.</i> <i><a href="#Footnote_1_1">1</a></i></p> + +<p>Swinton, Hon. Mrs. J. R., +<i>A Sketch of the Life of Georgiana, Lady de Ros</i>, <i>ii. 229</i></p> + +<p><i>Swiss Tour, Journal of Byron's</i>, <i>iv. 95, 107</i></p> + +<p><span class='pagenum'><a name="Page_437" id="Page_437">[437]</a></span> +Sylla, ii. 166, 392; iii. 308; <i>iv. 179</i></p> + +<p>Sylvester, John, <i>vi. 7</i></p> + +<p>Symonds, J. A., +<i>Renaissance in Italy</i>, <i>ii. 355, 356</i>; iv. 280, 281, <i>289</i>; +<i>Memoirs of Count Carlo Gozzi</i>, <i>ii. 339</i>; +translation of <i>Life of Benvenuto Cellini</i>, <i>v. 516, 518, 521</i>; +"Evening, all things thou bringest," <i>vi. 180</i></p> + +<p>Symonds, bookseller, iv. 482</p> + +<p><i>Sympathetic Address to a Young Lady</i> (<i>Lines to a Lady Weeping</i>), iii. 45</p> + +<p>Symplegades, the Cyanean, ii. 456, 525; v. 573; vi. 129; <i>vii.</i> <i><a href="#Note_010">10</a></i></p> + +<p>Syncellus, Georgius, <i>Chronographia</i>, v. 281, <i>302</i></p> + +<p>Syracuse, battle of, ii. 341</p> + +<p>Syri <i>Sententiæ</i>, <i>ii. 420</i></p> + +<p>Syrius, Publius, <i>i. 414</i></p> + + + +<p>T</p> + +<p>Taborite, or Hussite, Crusade, <i>v. 549</i></p> + +<p>Tacitus, <i>Annales</i>, ii. <i>242</i>, 293, <i>375, 409</i>; +<i>Histor.</i>, ii. 294, 299; <i>Agricola</i>, <i>iii. 198</i></p> + +<p>Tact, vi. 63</p> + +<p>Tænaron, Cape, <i>ii. 193</i></p> + +<p>Tagus, river, ii. 31</p> + +<p>Tahiri, Dervish, ii. 175, 176; iii. <i>134</i>, 450</p> + +<p>Tahiti, v. 582-584, <i>588</i></p> + +<p>Tahiti, Queen of, <i>ii. 7</i></p> + +<p>Talavera, battle of, ii. xi, <i>39</i>, 49, 50, 89</p> + +<p><i>Tales</i>, vi. xv</p> + +<p><i>Tales of a Grandfather</i>, <i>ii. 337</i>; <i>vi. 12</i></p> + +<p><i>Tales of my Landlord</i>, iv. 284</p> + +<p>Talfourd, v. 114</p> + +<p>Talleyrand, <i>v. 573</i>; <i>vi. 507</i></p> + +<p>Talleyrand, Dorothée, Duchesse de, <i>vi. 417</i></p> + +<p>Talleyrand, Edmond de Talleyrand Périgord, Duc de, <i>vi. 417</i></p> + +<p>Talus, the slope or inclination of a wall, vi. 343</p> + +<p>Talvi, <i>Languages and Literature ofthe Slavic Nations</i>, <i>iii. 188</i></p> + +<p>Tambour, Turkish drum, iii. 160</p> + +<p>Tambourgi, drummer, ii. 146</p> + +<p>Tamerlane, iii. 312; v. 489</p> + +<p><i>Taming of the Shrew</i>, vi. 297</p> + +<p>Tappa-cloth, or guatoo (Tonga), v. 600</p> + +<p>Tarentum, Duke of, vii. <a href="#Page_24">24</a></p> + +<p>Tarik, ii. 89</p> + +<p>Tarkū (Tirhakah), king of Ethiopia, v. 4</p> + +<p>Tarleton, General, i. 479</p> + +<p>Tarpeian Rock, ii. 413</p> + +<p>Tarquins, the, iv. 334</p> + +<p>Tarragona, British Consul, <i>iii. 13</i></p> + +<p>Tarsus, v. 23</p> + +<p>Tasso, Cornelia, <i>iv. 146</i></p> + +<p>Tasso, Torquato, i. 313; <i>iv. 265</i>; vii. <a href="#Page_52">52</a>; +<i>Gerusalemme Liberata</i>, <i>i. 312</i>; +ii. <i>133, 143, 246, 329</i>, 467, 485; iii. 215, <i>362</i>; <i>vi. 34</i>; +<i>Rinaldo</i>, <i>i. 398</i>; "In Venice Tasso's echoes are no more," ii. 329; +"Thy choral memory of the Bard divine," etc., ii. 342; +"their glory and their shame," ii. 355; "Peace to Torquato's injured shade," ii. 358; +Boileau <i>v.</i>, ii. 484; and the Cruscans, ii. 485; +<i>Sonnet</i>, <i>iii. 417</i>; <i>The Lament of</i>, iv. 139-152, 237</p> + +<p>Tattersall, Rev. John Cecil ("Davus"), i. 97, 98</p> + +<p>Tauchnitz, <i>ii. 335</i></p> + +<p>Taurida Palace, St. Petersburg, <i>vi. 386</i></p> + +<p>Tavell, Rev. G. F., i. 406</p> + +<p>Taylor, Thomas, translation of the <i>Periegesis Græciæ</i>, <i>iv. 109, 566</i></p> + +<p>Tcharacovista valley, ii. <i>132</i>, 182</p> + +<p>Tchocadar, Turkish attendant, iii. 176</p> + +<p>Telemachus, ii. 118</p> + +<p>Telemachus, an Eastern monk, ii. 520</p> + +<p>Tellez, Gabriel (Tirso de Molina), +<i>El Burlador de Sevilla y Convidado de Piedra</i>, vi. xvi</p> + +<p>Temenos, <i>ii. 132</i></p> + +<p>Tempe, ii. 129, <i>384</i></p> + +<p><i>Tempest, The</i> (Shakespeare), ii. 213; <i>v. 478</i>; vi. 428</p> + +<p><span class='pagenum'><a name="Page_438" id="Page_438">[438]</a></span> +<i>Tempest, The</i> (spurious), iii. xx</p> + +<p>Temple, Lord, <i>iv. 510</i></p> + +<p>Teniers, vi. 502</p> + +<p>Tennyson, Lord, <i>Palace of Art</i>, <i>ii. 123</i>; +<i>Break, break, break</i>, <i>ii. 126</i>; +<i>In Memoriam</i>, <i>ii. 461</i>; <i>vi. 516</i>; +<i>Locksley Hall</i>, iv. <i>43</i>, 319; +"Of old sat Freedom on the Heights," <i>iv. 196</i>; +<i>Ode on the Death of the Duke of Wellington</i>, <i>iv. 501</i>; +<i>Locksley Hall, Sixty Years After</i>, <i>vi. 180</i></p> + +<p>Tenorio, Don Juan, vi. xvi</p> + +<p>Teos, birthplace of Anacreon, <i>vi. 171</i></p> + +<p>Tepeleni, ii. 134, 174, 202</p> + +<p>Terence, i. 480; <i>Andrea</i>, vi. 484; <i>Eun.</i>, <i>vi. 598</i></p> + +<p>Terentia, wife of Tully, <i>iv. 253</i></p> + +<p>Terentius Varro, M., ii. 92; <i>iv. 253</i>; <i>Rerum Rusticarum</i>, <i>vi. 348</i></p> + +<p>Tereus, <i>iv. 287</i></p> + +<p>Terni, the Cascata del Marmore of, ii. 383</p> + +<p>Terpsichore, i. 483</p> + +<p>Terrick, Richard, Bishop of London, <i>ii. 108</i></p> + +<p>Terry, Ellen, as "Josephine" in <i>Werner</i>, v. 324</p> + +<p>Tertullian, <i>De Carne Christi</i>, <i>vi. 573</i></p> + +<p><i>Terza rima</i>, iv. 239, 243, 244, 313</p> + +<p>Teuman, king of Elam, v. 4</p> + +<p>Thackeray, W. M., <i>Vanity Fair</i>, <i>vi. 197</i></p> + +<p>Thakombau, king, <i>v. 600</i></p> + +<p>Thamas Kouli Khan, Nadir Shah, vi. 384</p> + +<p>Thames, ii. 66; vi. 434</p> + +<p><i>The Harp the Monarch Minstrel swept</i>, iii. 382</p> + +<p><i>The spell is broke, the charm is flown</i>, iii. 12</p> + +<p>Théatre Impérial Lyrique, v. 2</p> + +<p>Theatre Royal, Brussels, v. 2</p> + +<p>Theatre Royal, Haymarket, <i>Werner</i> at, v. 324</p> + +<p>Theatre Royal, Manchester, <i>Sardanapalus</i> at, v. 2</p> + +<p>Thebes, ii. 93</p> + +<p>Thellusson, Peter Isaac (Lord Rendlesham), banker, <i>i. 425, 471</i></p> + +<p>Themistocles, ii. 190; <i>iii. 85</i>; <i>iv. 423</i></p> + +<p>Theodoret, <i>Hist. Eccl.</i>, ii. 521</p> + +<p>Theodoric, <i>iv. 386</i></p> + +<p>Theodosius, ii. <i>390</i>, 472</p> + +<p><i>There was a time, I need not name</i>, i. 264</p> + +<p>Thermia (Kythnos) island, <i>ii. 156</i></p> + +<p>Thermopylæ, ii. 149; iii. 21, 91</p> + +<p>Theseus, ii. 102; <i>vi. 255</i>; Temple of, i. 459; iii. 272</p> + +<p>Thessaly, <i>ii. 126</i></p> + +<p>Thetis, v. 489; vi. 184</p> + +<p>Thibault, <i>Mes Souvenirs de vingt ans de Séjour à Berlin, ou Frédéric le Grand, etc.</i>, <i>v. 637</i></p> + +<p>Thirty Years' War, the, <i>ii. 186</i>; v. 340</p> + +<p>Thirza, Abel's wife, v. 209</p> + +<p>Thisbe, vi. 235</p> + +<p>Thistlewood, <i>vi. 67</i></p> + +<p><i>Thomas</i>, wreck of the, <i>vi. 103, 110</i></p> + +<p>Thomson (<i>Seasons</i>), ii. 5, <i>65</i>, 489; iii. 224; <i>v. 615</i>; <i>vi. 200</i>; +his use of "shook," <i>v. 135</i>; <i>Castle of Indolence</i>, v. 502; +<i>Liberty</i>, <i>vi. 200</i></p> + +<p>Thomson, Ninian Hill, translation of Machiavelli's <i>Il Principe</i>, <i>vi. 424</i></p> + +<p>Thornton, Thomas, <i>Present State of Turkey</i>, ii. 191, 194-196, 206</p> + +<p>Thoroton, <i>History of Nottinghamshire</i>, <i>iv. 35</i></p> + +<p>Thorpe, Markham, <i>iii. 425</i></p> + +<p>Thorwaldsen, <i>vi. 79</i></p> + +<p><i>Thou art not false, but thou art fickle</i>, iii. 64</p> + +<p><i>Thoughts suggested by a College Examination</i>, i. 28</p> + +<p>Thrasybulus, ii. 150, 185; iv. 440</p> + +<p>Thrasymene, Lake, ii. 377-379; battle of, ii. 505</p> + +<p>Throsby, <i>Thornton's History of Nottinghamshire</i>, <i>iv. 35</i></p> + +<p>Thun, Lake, <i>iv. 119</i></p> + +<p>Thurlow, Edward Hovell, Lord, <i>Poems on Several Occasions</i>, vii. <a href="#Page_17">17</a>-19; +<i>Hermilda in Palestine</i>, vii. <a href="#Page_19">19</a></p> + +<p><i>Thy days are done</i>, iii. 391</p> + +<p><span class='pagenum'><a name="Page_439" id="Page_439">[439]</a></span> +Thyrza, iii. 30, <i>388</i></p> + +<p>Tiber, ii. 390</p> + +<p>Tiberius Cæsar, ii. 374, <i>408</i>, 488</p> + +<p>Tibullus, i. 73; <i>Sulpicia ad Cerinthum</i>, i. 74; +<i>Eleg.</i>, <i>iii. 199</i></p> + +<p>Tickell, pasquinade on Wilkes, <i>iv. 511</i></p> + +<p>Ticknor, George, <i>History of Spanish Literature</i>, +<i>iv. 484, 496, 523, 530</i>; <i>v. 207</i>; vi. xx, <i>40, 41</i></p> + +<p>Tigris, river, <i>v. 13</i></p> + +<p>Tilleman, Peter, his picture of Newstead Abbey, <i>vi. 590</i></p> + +<p>Tillotson, Archbishop, vi. 128, 303</p> + +<p>Tilly, Johann Tserclas, Count von, v. 371, 416</p> + +<p>Tilly, Mr., possessor of Tom Paine's bones, <i>vii.</i> <i><a href="#Note_065">65</a></i></p> + +<p>Timariots, the, iii. 166</p> + +<p>Timbuctoo, vi. 51</p> + +<p><i>Times, The</i>, ii. xii, <i>11, 288, 401</i>; iii. 534; +v. 114, 324; <i>vi. 275</i>; vii. <a href="#Page_27">27</a>, <a href="#Page_28">28</a></p> + +<p>Timoleon, iii. 452; iv. 423</p> + +<p>Timon, ii. 8</p> + +<p>Timophanes, iii. 452; <i>iv. 423</i></p> + +<p>Timor island, v. 583</p> + +<p>Timúr Bey, or Timúr Lang (Tamerlane), iii. 312; v. 489</p> + +<p>Tindal, Dr., <i>i. 449</i></p> + +<p>Tio Jorge (Jorge Ibort), v. 559</p> + +<p>Tipaldo, <i>Biografia degli Italian Illustri</i>, <i>iv. 245, 457</i></p> + +<p>Tiraboschi, <i>Storia delta Letteratura Italiana</i>, +ii. <i>481</i>, 486, <i>494</i>, 496, <i>501</i></p> + +<p>Tiresias, vi. 535</p> + +<p>Tirhakah (Tarkū), king of Ethiopia, v. 4</p> + +<p>Titans, vi. 385</p> + +<p>Tithonus, <i>v. 497</i></p> + +<p>Titian, iv. 141; vi. 502, 589; Venus of, iv. 162; +his portrait of, Ariosto, <i>iv. 162</i></p> + +<p>Titius, <i>ii. 492</i></p> + +<p>Titus, ii. <i>392, 409</i>, 410, <i>424, 445</i>; iii. 401; vi. 139, 174; +"Amici, diem perdidi," vi. 575</p> + +<p><i>Titus Andronicus</i>, <i>ii. 22</i></p> + +<p>Tlepolemus, a worker in wax, <i>ii. 168</i></p> + +<p><i>To——</i>, i. 242; iv. 564</p> + +<p><i>To a beautiful Quaker</i>, i. 38</p> + +<p><i>To a knot of Ungenerous Critics</i>, i. <i>38</i>, 213</p> + +<p><i>To a Lady</i>, i. 189; <i>iv. 37</i></p> + +<p><i>To a Lady, on being asked my reason for quitting England in the Spring</i>, i. 282</p> + +<p><i>To a Lady who presented the Author with the velvet band which bound her tresses</i>, i. 212, <i>233</i></p> + +<p><i>To a Lady, who presented to the Author a lock of hair braided with +his own, and appointed a night in December to meet him in the garden</i>, i. 36</p> + +<p><i>To a vain Lady</i>, i. <i>70</i>, 244</p> + +<p><i>To a youthful friend</i>, i. 271</p> + +<p><i>To an Oak at Newstead</i>, i. 256</p> + +<p><i>To Anne</i>, i. <i>70</i>, 246, 251</p> + +<p><i>To Belshazzar</i>, iii. 421</p> + +<p><i>To Caroline</i>, i. xi, 8, 9, 21, 23</p> + +<p><i>To D——</i>, i. 7</p> + +<p><i>To Dives. A Fragment</i>, <i>ii. 37</i>; vii. <a href="#Page_7">7</a></p> + +<p><i>To E——</i>, i. 4, <i>20</i></p> + +<p><i>To Edward Noel Long</i>, i. <i>101</i>, 184, <i>244</i></p> + +<p><i>To Eliza</i>, i. xi, 47</p> + +<p><i>To Emma</i>, i. 12</p> + +<p><i>To Florence</i>, iii. <i>4</i>, 5</p> + +<p><i>To Genevra (sonnet)</i>, iii. <i>67</i>, 70, 71</p> + +<p><i>To George, Earl of Delawarr</i>, i. <i>7</i>, 126</p> + +<p><i>To George Anson Byron</i>, vii. <a href="#Page_41">41</a></p> + +<p><i>To Harriet</i>, i. 263</p> + +<p><i>To her who can best understand them</i> (spurious), iii. xxi</p> + +<p><i>To Ianthe</i>, ii. 11; <i>iii. 65, 384</i></p> + +<p><i>To Inez</i>, ii. <i>59</i>, 75; <i>iii. 1</i></p> + +<p><i>To Lady Caroline Lamb</i> (spurious), iii. xxi</p> + +<p><i>To Lesbia</i>, i. 41</p> + +<p><i>To Lord Thurlow</i>, vii. <a href="#Page_19">19</a></p> + +<p><i>To M—</i>, i. 68</p> + +<p><i>To M. S. G.</i>, i. 76, 79</p> + +<p><i>To Marion</i>, i. 129, <i>263</i></p> + +<p><i>To Mary</i>, i. xi, xiii</p> + +<p><i>To Mary, on receiving her Picture</i>, i. 32, <i>192</i></p> + +<p><i>To Miss Chaworth</i> (spurious), iii. xx</p> + +<p><span class='pagenum'><a name="Page_440" id="Page_440">[440]</a></span> +<i>To Miss E. P.</i> [<i>To Eliza</i>], i. xi</p> + +<p><i>To Mr. Murray</i>, vii. <a href="#Page_44">44</a>, <a href="#Page_56">56</a>, <a href="#Page_76">76</a></p> + +<p><i>To my dear Mary Anne</i> (spurious), iii. xx</p> + +<p><i>To my Son</i>, i. 260; vi. 591</p> + +<p><i>To Penelope</i>, vii. <a href="#Page_71">71</a></p> + +<p><i>To Romance</i>, i. 174</p> + +<p><i>To the Author of a Sonnet beginning, +"'Sad is my Verse,' you say, 'And yet no tear'"</i>, i. 252</p> + +<p><i>To the Countess of Blessington</i>, iv. 565</p> + +<p><i>To the Duke of Dorset</i>, i. 194</p> + +<p><i>To the Earl of Clare</i>, i. 200</p> + +<p><i>To the Hon. Mrs. George Lamb</i>, vii. <a href="#Page_15">15</a></p> + +<p><i>To the Lily of France</i> (spurious), iii. xx</p> + +<p><i>To the sighing Strephon</i>, i. 63</p> + +<p><i>To Thomas Moore</i>, vii. <a href="#Page_43">43</a>, <a href="#Page_46">46</a></p> + +<p><i>To Thomas Moore, written the Evening before his visit to Mr. Leigh +Hunt in Horsemonger Lane Gaol, May 19, 1813</i>, vii. <a href="#Page_16">16</a></p> + +<p><i>To Thyrza</i>, <i>ii. 104</i>; iii. 30</p> + +<p><i>To Woman</i>, i. 43</p> + +<p>Toa, a drooping casuarina, v. 599</p> + +<p>Tobacco, in praise of, v. 615</p> + +<p><i>Tobit</i>, <i>v. 286, 527</i></p> + +<p>Todd, Rev. J. H., Archdeacon of Cleveland ("Oxoniensis"), +<i>A Remonstrance to Mr. John Murray respecting a Recent Publication</i>, v. 202</p> + +<p>Token-flowers, iii. 17</p> + +<p>Tolbooth prison, Edinburgh, i. 334</p> + +<p>Toledo, Judah de, translation of Avicenna's <i>Works</i>, <i>iv. 523</i></p> + +<p>Tolstoi, <i>War and Peace</i>, <i>vi. 351</i></p> + +<p>Tomaros, Mount (Olytsika), ii. <i>132</i>, 134, 182</p> + +<p>Tomasini, <i>Petrarca Redivivus</i>, <i>ii. 373</i></p> + +<p>Tonson, Jacob, publisher of <i>The Spectator</i>, <i>vi. 555</i>; vii. <a href="#Page_56">56</a></p> + +<p>Toobo Neuha, a Tongau chieftain, v. 609</p> + +<p>Tooke, Andrew, <i>Pantheon</i>, <i>vi. 26</i></p> + +<p>Tooke, John Home (<i>Pantheon</i>), <i>ii. 156</i>; iv. <i>513</i>, 516; vi. 580</p> + +<p>Tooke, Thomas, <i>vi. 480</i></p> + +<p>Tooke, W., <i>Life of Catherine II.</i>, <i>vi. 314, 370, 386, 389, 395, 417</i></p> + +<p>Tophaike, musquet, iii. 96</p> + +<p>Topham, Captain, editor of <i>The World</i>, <i>i. 353, 358</i></p> + +<p>Tornabuoni, Lucrezia, iv. 280</p> + +<p>Torniellus, <i>v. 306</i></p> + +<p>Torrens. W. T. M'Cullagh, <i>Memoirs of Viscount Melbourne</i>, i. 476</p> + +<p>Torriano, Anonimo, <i>iv. 332</i></p> + +<p>Torstenson, Lennart, Swedish General, v. 371</p> + +<p>Tortoises, in the Troad, vi. 204</p> + +<p>Tott, Baron de, <i>Memoirs concerning the State of the Turkish Empire</i>, vi. 261, 277</p> + +<p>Tournefort, Joseph Pitton de, <i>Relation d'un Voyage du Levant</i>, +<i>iii. 121, 295</i>; <i>v. 294</i>; <i>vi. 216, 233</i></p> + +<p>Tower of London, i. 438</p> + +<p><i>Towneley Plays</i>, <i>v. 207</i></p> + +<p>Townly, i. 399</p> + +<p>Townsend, Rev. George, Canon of Durham, <i>Armageddon</i>, <i>i. 403</i></p> + +<p>Townshend, Lord John, pasquinade on Wilkes, <i>iv. 511</i></p> + +<p>Tozer, H. F. <i>Geography of Greece</i>; <i>Childe Harold</i>, +ii. <i>60, 62, 113, 117, 123, 134, 139, 143</i>, 146, <i>158, 167</i>, 180-182, 186, <i>217, 271</i>, 292, <i>344, 373, 452</i></p> + +<p>Tractors, metallic, i. 307</p> + +<p>Trafalgar, ii. 126, 178, 459</p> + +<p>Trajan, his column, ii. 410, 411</p> + +<p>Tranchant de Laverne, L. M. P., <i>The Life of Field Marshal Souvaroff</i>, +<i>vi. 222, 320-322</i></p> + +<p><i>Translation from Adrian</i>, i. 20</p> + +<p><i>Translation from Anacreon</i>, i. 147, 149, 228</p> + +<p><i>Translation from Catullus, Ad Lesbiam</i>, i. 72</p> + +<p><i>Translation from Horace</i>, i. 81</p> + +<p><i>Translation from Prometheus Vinctus of Æschylus</i>, i. 14</p> + +<p><i>Translation from the Medea of Euripides</i>, i. 168</p> + +<p><i>Translation from Vittorelli</i>, iv. 535</p> + +<p><i>Translation of a Romaic Love Song</i>, iii. 62</p> + +<p><span class='pagenum'><a name="Page_441" id="Page_441">[441]</a></span> +<i>Translation of the Epitaph on Virgil and Tibullus by Domitius Marsus</i>, i. 73</p> + +<p><i>Translation of the famous Greek War Song</i>, +<span title='Deute paides tôv HEllê/nôn'>Δευτε παιδες τωv Ἑλλήνων</span>, iii. 20</p> + +<p><i>Translation of the Nurse's Dole in the Medea of Euripides</i>, vii. <a href="#Page_10">10</a></p> + +<p><i>Translation of the Romaic Song</i>, +<span title="Mre/nô mes' to\ peribo/li, HÔraiota/tê Chaêdê/, k.t.l.">Μρένω μες' τὸ περιβόλι, Ὡραιοτάτη Χαηδή, κ.τ.λ.</span>, iii. 22</p> + +<p>Travis, Archdeacon George, <i>ii. 283</i></p> + +<p>Treason Bill, iv. 511</p> + +<p>Trecentisti, the, vi. 168</p> + +<p>Tree, Miss Ellen (afterwards Mrs. Charles Kean), iv. 78; +as "Myrrha" in <i>Sardanapalus</i>, v. 2</p> + +<p>Trelawny, E. T., <i>Records of Shelley, Byron, and the Author</i>, +<i>iv. 539</i>; <i>vii.</i> <i><a href="#Note_078">78</a></i>; +<i>Recollections, etc.</i>, <i>vi. 608</i></p> + +<p><i>Trévoux, Journal de</i> (<i>Mémoires de</i>), iv. 578</p> + +<p>Trimmer, Sarah, <i>Easy Introduction to the Study of Nature</i>; +<i>History of the Robins</i>, vi. 18</p> + +<p>Tripolitza, iii. 447</p> + +<p>Tripp, Baron, i. 476, <i>499</i></p> + +<p>Triptolemus, v. 570</p> + +<p>Tritonia, or Tritogenia, epithet of Athene, ii. 156</p> + +<p>Troad, the, vi. 204</p> + +<p>Trocnow, John of (surnamed Žižka, or the "One-eyed"), v. 549</p> + +<p><i>Troilus and Cressida</i>, <i>ii. 124</i>; <i>iv. 319</i></p> + +<p>Troppau, Congress at, <i>v. 563</i></p> + +<p>Troubadours, the, ii. 6</p> + +<p>Troy, ii. 294; iv. <i>243</i>, 334; vi. 173, 211</p> + +<p>Troyes, Bishop of, <i>ii. 338</i></p> + +<p>Tschairowsky, "<i>Manfred</i> Symphony," iv. 78</p> + +<p>Tubal-Cain, <i>v. 291</i></p> + +<p>"Tuism," vi. 575</p> + +<p>Tullia, Cicero's daughter, <i>ii. 405</i></p> + +<p>Tully, <i>iv. 253</i></p> + +<p>Tully, Richard, +<i>Narrative of a Ten Years' Residence in Tripoli in Africa, etc.</i>, <i>vi. 160</i></p> + +<p>Turcomans, the, iii. 453</p> + +<p>Turenne, Marshal, <i>i. 493</i>; <i>iv. 262</i></p> + +<p>Turgot, <i>v. 554</i></p> + +<p>Turin, Agilulf, Duke of, ii. 489</p> + +<p>Turkey, travelling in, ii. 204</p> + +<p>Turks, ii. 206; their hatred of the Arabs, iii. 163; +defeated by Greeks near Lerna, <i>v. 556</i></p> + +<p>Turnus, i. 157, 161, 163</p> + +<p>Turtukey, or Tutrahaw, fall of, <i>vi. 370</i></p> + +<p>Tuscan, "that soft bastard Latin," iv. 173</p> + +<p>Tuscany and its Dukes, ii. 503</p> + +<p>Tusculum, ii. 454, 522</p> + +<p>Tweddell, <i>Remains of the late John</i>, <i>iii. 4</i></p> + +<p>Tweed, river, i. 334</p> + +<p><i>Twelfth Night</i>, vi. <i>268</i>, 272</p> + +<p><i>Two Foscari, The</i>, <i>ii. 187, 327</i>; iv. <i>364</i>, 477, 479; +v. 3, 5, <i>9</i>, 113-196, 199, 203, 469; <i>vi. 199, 586</i>; <i>vii.</i> <i><a href="#Note_077">77</a></i></p> + +<p><i>Two Gentlemen of Verona</i>, <i>vi. 189</i></p> + +<p>Tyndal, N., translation of Cantemir's <i>Othman Empire</i>, <i>vi. 259</i></p> + +<p>Tyrants, the Thirty, vi. 446</p> + +<p>Tyrconnel, Fanny Jennings, Duchess of, <i>vi. 496</i></p> + +<p>Tyre, i. 376; v. 4; vi. 348</p> + +<p>Tyrian purple, vi. 574</p> + +<p>Tyrwhitt, Rev. Edmund, <i>vii.</i> <i><a href="#Note_027">27</a></i></p> + +<p>Tyrwhitt, Thomas, editor of <i>Canterbury Tales</i>, <i>vii.</i> <i><a href="#Note_027">27</a></i></p> + +<p>Tyrwhitt, Sir Thomas, Private Secretary to the Prince of Wales, +auditor of the Duchy of Cornwall, Lord Warden of the Stannaries, +Gentleman Usher of the Black Rod, vii. <a href="#Page_27">27</a></p> + +<p>Tzigaras, A., <i>ii. 198</i></p> + + + +<p>U</p> + +<p>Uberti, Fazio degli, <i>iv. 248</i></p> + +<p>Ude, Louis Eustache, <i>The French Cook</i>, <i>vi. 562</i></p> + +<p>Uffizi Gallery, Florence, <i>ii. 365</i></p> + +<p>Ugolino, iv. 258</p> + +<p>Ukraine, Russian, or frontier region, iv. 201, 220</p> + +<p>Ulysses, vi. <i>117</i>, 149</p> + +<p><span class='pagenum'><a name="Page_442" id="Page_442">[442]</a></span> +Umbrinus, ii. <i>416</i>, 516</p> + +<p>United States of America, war with England, <i>i. 496</i></p> + +<p>Unspunnen, Castle of, <i>iv. 110, 129</i></p> + +<p>Upton, William, <i>Poems on Several Occasions</i>; +<i>Words of the most Favourite Songs, Duets, etc.</i>, vii. <a href="#Page_59">59</a></p> + +<p>Urban V., ii. 482</p> + +<p>Urbino, Duke of, ii. 503</p> + +<p>Urbino, Simone di Battista di Ciarla da, <i>iv. 174</i></p> + +<p>Urdamanē, king of Ethiopia, v. 4</p> + +<p>Urlichs, Dr. H. S., <i>The Elder Pliny's Chapters on the History of Art</i>, <i>ii. 432</i></p> + +<p>Urquhart, translation of Rabelais' <i>Gargantua</i>, <i>v. 354</i></p> + +<p>Ursinus, Fulvius, ii. 510, 517</p> + +<p>Usbergo, or sbergo, <i>iv. 308</i></p> + +<p>Ushant, battle of, <i>vi. 12</i></p> + +<p>Uticans, the, <i>v. 506</i></p> + +<p>Utraikey, or Lutraki, ii. <i>142</i>, 143</p> + +<p>Utrecht, Peace of, iv. 334</p> + + + +<p>V</p> + +<p>Vacca, Flaminius, ii. 508, 509, 511, 515</p> + +<p>Vaccination, i. 307; vi. 50</p> + +<p>Vaga, Pierrin del, <i>ii. 437</i></p> + +<p>Valentia, George Annesley, Viscount, <i>Voyages and Travels, etc.</i>, <i>i. 378, 379</i></p> + +<p>Valenza, Cardinal of, <i>ii. 367</i></p> + +<p>Valerianus, I. P., <i>De fulminum significationibus Declamatio</i>, <i>ii. 489</i></p> + +<p>Valerius Flaccus, <i>Argonaut</i>, i. 200</p> + +<p>Valerius Maximus, <i>Factorum Dictorumque Memorabilia</i>, +<i>ii. 437</i>; iii. 307; <i>v. 543</i>; <i>vi. 46</i></p> + +<p>Valetta, iii. 24</p> + +<p>Valid, son of Abdalmalek, <i>iii. 120</i></p> + +<p>Vallance, General Charles, R.E., <i>Essay on the Celtic Language</i>, <i>vi. 337</i></p> + +<p>Vallaresso, Ermolao, <i>v. 134</i></p> + +<p>Valley of Sweet Waters, <i>ii. 153</i></p> + +<p>Valori, <i>vi. 337</i></p> + +<p>Valpy, A. J., <i>ii. 437</i></p> + +<p>Vampires, iii. 121-123</p> + +<p>Vanbrugh, <i>The Provoked Husband</i>, <i>i. 399</i></p> + +<p>Vandals, the, iii. 235, 251</p> + +<p>Vansittart, <i>i. 471</i></p> + +<p>Varchi, <i>Ercolano</i>, <i>ii. 495</i></p> + +<p>Varro, M. Terentius, ii. 92; <i>iv. 253</i>; <i>Rerum Rusticarum</i>, <i>vi. 348</i></p> + +<p>Vasari, <i>iv. 163</i></p> + +<p>Vasilly the Albanian, <i>ii. 75, 130</i></p> + +<p><i>Vathek</i> (W. Beckford), ii. 37; +iii. <i>59</i>, 76, <i>87, 105, 109, 110, 121, 145, 478</i>; +iv. <i>45, 89, 113</i>, 244</p> + +<p>Vauban, <i>vi. 344</i></p> + +<p>Vaughan, Charles Richard, <i>Narrative of the Siege of Saragoza</i>, ii. 91, 94</p> + +<p>Vaughan, Taylor, <i>A Familiar Epistle, etc.</i>, <i>i. 445</i>; <i>iv. 74</i></p> + +<p><i>Vault, The</i>, <i>vii.</i> <i><a href="#Note_035">35</a></i></p> + +<p>Vaux, James Hardy, <i>Vocabulary of the Flash Language</i>, <i>vi. 431</i></p> + +<p>Velinus, Lake, ii. 382, <i>384</i></p> + +<p>Vely Pasha, Vizier of the Morea, ii. 203, 205</p> + +<p>Vendôme Column, v. 548</p> + +<p>Vendoti, Georgie (Bentotes, or Bendotes), ii. 197; <i>iii. 121</i></p> + +<p>Venetian Institute, the, <i>iv. 457</i></p> + +<p>Venetian Lombardy, iv. 197</p> + +<p>Venetians, besiege Athens, ii. 165; their love of music and poetry, ii. 471; +their society and manners, iv. 469</p> + +<p>Veneziano, Luca, <i>iv. 283</i></p> + +<p>Venezuela, <i>v. 555</i></p> + +<p>Venice, ii. 327; decline of, ii. 477; iv. 193-198, 456; +Alamanni's prophecy, <i>iv. 459</i></p> + +<p><i>Venice, a Fragment</i>, iv. 537</p> + +<p>Veniero, Sebastian, <i>ii. 340</i></p> + +<p>Venturi, <i>iv. 318</i></p> + +<p>Venus de' Medici, ii. <i>365</i>, 489; vi. 200</p> + +<p>Venus, cestus of, ii. 272</p> + +<p><i>Venus and Adonis</i>, <i>vi. 487</i></p> + +<p>Venuti, Ab. R., <i>Accurata et Succincta Descrizione di Roma moderna</i>, ii. <i>513</i>, 517</p> + +<p>Vercingetorix, <i>iv. 331</i></p> + +<p><span class='pagenum'><a name="Page_443" id="Page_443">[443]</a></span> +Vernet, vi. 502</p> + +<p>Vernon, Admiral Edward, vi. 12</p> + +<p>Vernon, Lady, <i>Journal of Mary Frampton</i>, <i>vii.</i> <i><a href="#Note_040">40</a></i></p> + +<p>Veroccio, Andrea, <i>iv. 336</i></p> + +<p>Verona, Congress at, v. <i>537-539</i>, 562, <i>573</i>, 574, <i>575, 576</i>; +vi. 453; amphitheatre at, v. 561</p> + +<p>Verres, i. 455; ii. 168, 170</p> + +<p>Verrucchio, Gianciotto da, <i>iv. 316</i></p> + +<p>Verrucchio, Malatesta da, Lord of Rimini, <i>iv. 316</i></p> + +<p>Verrucchio, Paolo da, <i>iv. 316</i></p> + +<p><i>Verses addressed in the Year 1812 to the Hon. Mrs. George Lamb</i>, <i>iii. 32</i></p> + +<p><i>Verses found in a Summer-house at Hales-Owen</i>, iii. 59</p> + +<p><i>Versicles</i>, vii. <a href="#Page_45">45</a></p> + +<p><i>Version of Ossian's Address to the Sun, A</i>, vii. <a href="#Page_2">2</a></p> + +<p><i>Very mournful Ballad on the Siege and Conquest of Alhama, A</i>, iii. xix; iv. 529</p> + +<p>Vespasian, ii. 298, <i>392, 408, 410</i>, 512, 524</p> + +<p>Vespucci, Amerigo, <i>iv. 262</i></p> + +<p>Vestris, <i>i. 347</i></p> + +<p>Vesuvius, v. 552</p> + +<p>Vevey, ii. 277, 303</p> + +<p>Vianolo, <i>L'Histoire Vénitienne</i>, <i>v. 124</i></p> + +<p>Vicovaro, village of, ii. 523</p> + +<p>Vienna, Congress of, ii. 402; v. 538, <i>550, 562</i>; <i>vi. 399</i>; +Siege of, iii. 458; taken by the French, v. 550; Treaty of, <i>v. 550</i></p> + +<p>Villa Ludovisi, <i>ii. 432</i></p> + +<p>Villani, P., <i>Liber de Florentiæ Famosis Civibus</i>, <i>iv. 309</i></p> + +<p>Villanuova, Alberti di, <i>Dizzionario Universale</i>, <i>iv. 309</i></p> + +<p>Villari, Professor, <i>ii. 415</i></p> + +<p>Villehardouin, <i>ii. 329</i></p> + +<p>Villêle, M. de, <i>v. 575</i></p> + +<p>Villeneuve, town, iv. <i>18</i>, 26, <i>120</i></p> + +<p>Villeneuve, Jérôme Petion de, Mayor of Paris, vi. 13</p> + +<p>Villiers, De, <i>Le Festin de Pierre, ou le fils criminel</i>, vi. xvi</p> + +<p>Vimercato, Augustino, <i>Canzoni di Dante, etc.</i>, <i>iv. 248</i></p> + +<p>Vimiera, battle of, <i>ii. 39</i></p> + +<p>Virgil, iv. 319; vi. 73, <i>478</i>; +<i>Æneid</i>, i. xii, 25, 151, <i>372</i>, 382, 451, <i>477</i>; +ii. <i>64, 71, 133, 143, 189, 384, 396</i>, 407, 510, 514; vi. 521, <i>526</i>; +Domitius Marsus' epitaph on, i. 73; "and Maro sang," i. 312; +<i>Georgics</i>, <i>i. 362, 440</i>; <i>ii. 379</i>; <i>vi. 323</i>; +"forced no more to groan O'er Virgil's devilish verses," i. 405; +Heyne's edition of, <i>i. 490</i>; "Alas, for Virgil's lay," ii. 392; +Petrarch's, ii. 480; Mantua his birthplace, ii. 507; +<i>Eclogues</i>, iv. 567; <i>v. 289</i>; vi. 26, <i>185</i>, 492</p> + +<p>Visconti, Ennius Quirinus, ii. 324, <i>518</i></p> + +<p>Visconti, Filippo, Duke of Milan, v. 116</p> + +<p><i>Vision of Belshazzar</i>, iii. 397</p> + +<p><i>Vision of Don Roderick</i>, <i>i. 436</i>; <i>ii. 4, 51</i></p> + +<p><i>Vision of Judgment</i>, <i>i. 305</i>; iv. 280, 473-525, <i>579</i>; +<i>v. 196</i>; vi. xvi, <i>4, 75, 338, 445</i></p> + +<p>Vitellius, ii. 299</p> + +<p>Vitepsk, battle of, <i>iv. 207</i></p> + +<p>Vitiges, a Dalmatian, <i>ii. 390</i></p> + +<p>Vittorelli, Jacopo, iv. 535</p> + +<p>Vittoria, battle of, <i>iii. 416</i></p> + +<p>Vittoria Colonna, <i>iv. 262</i></p> + +<p>Vivian, General, <i>ii. 234</i></p> + +<p>Viviani, Vincenzo, <i>ii. 369</i></p> + +<p>Vlack (Wallachia), Bey of, ii. 199</p> + +<p><i>Vocabolario Italiano-Latino</i>, <i>iv. 308</i></p> + +<p>Vogüé, Viscount E. Melchior de, <i>Le Fils de Pierre Le Grand</i>, <i>Mazeppa</i>, etc., iv. 203, <i>220</i></p> + +<p>Voïart, Madame Elise, <i>Chants Populaires des Servics</i>, <i>iii. 188</i></p> + +<p>Volondorako, <i>ii. 142</i></p> + +<p>Voltaire, François Marie Arouet de, <i>Pucelle</i>, i. 437; +<i>Candide, ou l'Optimisme</i>, ii. <i>41</i>, 89, <i>281</i>; vi. 226; +Rousseau and, <i>ii. 266</i>; imprisoned in the Bastille, ii. 282; +his Ferney Estate, ii. 306; <i>Henriade</i>, <i>iii. 361</i>; +<i>Mariamne</i>, <i>iii. 400</i>; Benjamin Brue, iii. 442; +Byron's <i>Sonnet to Lake Leman</i>, iv. 53; +<span class='pagenum'><a name="Page_444" id="Page_444">[444]</a></span> +Wordsworth and Coleridge <i>v.</i>, <i>iv. 184</i>; <i>vi. 363</i>; +<i>Histoire de Charles XII.</i>, iv. 201, 205, <i>220</i>; +<i>OEuvres</i>, <i>iv. 212</i>; on Venice, <i>iv. 456</i>; +<i>La Bible enfin expliquée, etc.</i>, <i>v. 208</i>; +<i>Dieu et les Hommes</i>, <i>v. 210</i>; his grave, <i>v. 548</i>; +<i>Essai sur les Moeurs et L'Esprit des Nations</i>, v. 549; +Nino de Lenclos' bequest, <i>vi. 246</i>; Byron's two quotations from, vi. 266; +and Frederick the Great, <i>vi. 337</i>; +<i>Correspondence avec L'Emperatrice de Russie</i>, vi. 381; +<i>Éléments de la Philosophie de Newton</i>, <i>vi. 400</i>; +"la bonne société régle tout," <i>vi. 470</i></p> + +<p><i>Volume of Nonsense, A</i>, vii. <a href="#Page_70">70</a></p> + +<p>von Duhn, F., <i>ii. 395</i></p> + +<p>von Ranke, Leopold, <i>History of Servia</i>, <i>iii. 188</i></p> + +<p>von Stolberg, Louise, <i>ii. 369</i></p> + +<p>von Talvi, <i>Volkslieder der Serben</i>, <i>iii. 188</i></p> + +<p>Vopiscus, ii. 520</p> + +<p>Vórskla river, <i>iv. 208, 233</i></p> + +<p>Vossius, I., <i>De Ant. Urb. Rom. Mag.</i>, ii. 516</p> + +<p>Vostizza, <i>ii. 60</i></p> + +<p>Voygoux, Louis Charles Antoine Desaix de, vi. 14</p> + +<p>Vuilliemin, <i>Chillon Étude Historique</i>, iv. 5</p> + +<p>Vuillier, G. (Heinemann), <i>History of Dancing</i>, <i>i. 492</i></p> + + + +<p>W</p> + +<p>Waddington, Samuel Ferrand, <i>A Key to a Delicate Investigation. +An Address to the People of the United Kingdom</i>, vi. 265</p> + +<p>Wagner, Richard, <i>Rienzi</i>, <i>ii. 415</i></p> + +<p>Wahabees, the, ii. 151, 186</p> + +<p>Waithman, Sir Robert ("Bobby"), M.P. for the City of London, <i>vii.</i> <i><a href="#Note_067">67</a></i>, <i><a href="#Note_068">68</a></i></p> + +<p>Wake, Kyd, <i>iv. 511</i></p> + +<p>Walcheren Expedition, the, <i>vii.</i> <i><a href="#Note_029">29</a></i></p> + +<p>Waldegrave, James Earl, <i>Memoirs</i>, vii. <a href="#Page_76">76</a></p> + +<p>Waldie, Miss Jane, <i>iii. 313</i>; <i>Sketches Descriptive of Italy</i>, iv. 471</p> + +<p>Waldstein, Albrecht Wenceslaus Eusebius, Count of, v. 371</p> + +<p>Wales, Princess Charlotte of, <i>vi. 19</i></p> + +<p>Waliszewski, K., <i>The Story of a Throne</i>, <i>vi. 381, 389, 399, 412</i>; +<i>Romance of an Empress</i>, <i>vi. 388</i></p> + +<p><i>Walker, Wolcot</i> v., v. 204</p> + +<p>Wallace Collection, the, <i>iv. 461</i></p> + +<p>Wallach, J. W., as "Ulric" in <i>Werner</i>, v. 324</p> + +<p>Wallachia (Vlack), Bey of, ii. 199; conquered by the Austrians, <i>vi. 222</i></p> + +<p>Waller, <i>i. 306</i></p> + +<p>Walpole, Horace, <i>ii. 480</i>; <i>vi. 208</i>; +<i>Memoirs of the Reign of King George II.</i>, <i>iii. 299</i>; vii. <a href="#Page_76">76</a>; +<i>Letters</i>, iv. 339, <i>367</i>; <i>vi. 528</i>; +<i>Castle of Otranto</i>; <i>Mysterious Mother</i>, iv. 339, <i>367</i>; +"the summer has set in with its usual severity," <i>iv. 505</i></p> + +<p>Walpole, Sir Robert, i. 414; vii. <a href="#Page_68">68</a></p> + +<p>Walpole, Rev. Robert, ii. 204</p> + +<p>Walsh, Rev. Dr. R., <i>Narrative of a Resident in Constantinople</i>, <i>iii. 16</i></p> + +<p>Walton, Izaak, vi. 513</p> + +<p><i>Waltz, The</i>, i. 475-502; ii. <i>53</i>, 177; <i>iii. 251</i>; +v. 537; <i>vi. 151, 448, 451</i>; <i>vii.</i> <i><a href="#Note_033">33</a></i>, <i><a href="#Note_046">46</a></i></p> + +<p>Warburton, Bishop (<i>The Divine Legation of Moses, etc.</i>), v. 209; <i>vi. 487</i>; +"orthodoxy is <i>my doxy</i>," <i>vi. 267</i>; +<i>Works of Pope</i>, <i>vi. 453</i></p> + +<p>Ward, Hon. J. W., iii. 217, 499; vii. <a href="#Page_49">49</a>, <a href="#Page_54">54</a></p> + +<p>Warden, William, <i>Letters written on board His Majesty's Ship the +Northumberland, and at St. Helena</i>, <i>v. 545</i></p> + +<p>Wardle, Colonel Gwyllim Lloyd, <i>i. 391</i></p> + +<p>Ware, ii. 66, <i>88</i>; bed of, vi. 272</p> + +<p>Warens, Madame de, <i>ii. 266, 303</i></p> + +<p>Waring, Major John Scott, <i>ii. 7</i></p> + +<p>Warner, Mrs., as "Josephine" in <i>Werner</i>, v. 324</p> + +<p><span class='pagenum'><a name="Page_445" id="Page_445">[445]</a></span> +Warton, Dr. Joseph, <i>ii. 480</i></p> + +<p>Warton, Dr. Thomas, poet-laureate, <i>i. 305, 411</i>; <i>iii. 452, 474</i>; +<i>vi. 166</i>; <i>History of English Poetry</i>, v. 200, <i>207</i></p> + +<p>Warville, Jean Pierre Brissot de, vi. 13</p> + +<p>Washington, George, iv. 516; v. 554; vi. 331, 376</p> + +<p>Waterloo, ii. 226, 255, 293, <i>459</i>; iii. 429, 431; v. 538; vi. 345, 375, 539</p> + +<p>Watkins, Dr. John, <i>Memoirs, etc., of Lord Byron</i>, v. 203, <i>474</i></p> + +<p>Watson, James, a Radical agitator, vi. 265</p> + +<p>Watson, Richard, Bishop of Llandaff, <i>ii. 283</i>; +<i>Anecdotes of the Life of</i>, v. 208</p> + +<p>Watts, A. A., <i>iii. 280</i></p> + +<p><i>Waverley</i>, <i>iv. 334</i>; v. 209; <i>vi. 272, 404</i></p> + +<p>Way, Billy, <i>i. 348</i></p> + +<p>Webb, William Frederick, <i>vi. 497</i></p> + +<p>Webb, Miss Geraldine (Lady Chermside), <i>vi. 497</i></p> + +<p>Weber, W. H. (Scott's amanuensis), +<i>Metrical Romances of the 13th, 14th, and 15th Centuries</i>, <i>i. 396</i>; <i>iii. 145</i></p> + +<p>Webster, Lady Elizabeth (afterwards Lady Holland), <i>ii. 80</i></p> + +<p>Webster, Lady Frances Wedderburn, iii. <i>67</i>, 69, 149, 218, 319, <i>390</i>; +vi. <i>375</i>, 451</p> + +<p>Webster, James Wedderburn, iii. 149, <i>381</i>; <i>iv. 459</i> +<i>Waterloo and other Poems</i>, vii. <a href="#Page_45">45</a></p> + +<p>Webster, Sir Godfrey, Bart., <i>ii. 80</i></p> + +<p><i>Weekly Messenger</i> (Boston), <i>iii. 297, 307</i></p> + +<p><i>Weekly Political Register</i>, <i>ii. 40</i></p> + +<p><i>Weekly Register</i>, v. 540, <i>572</i>; <i>vi. 266</i></p> + +<p>Weevers, John, <i>Funerall Monuments</i>, <i>vi. 422</i></p> + +<p><i>Well! thou art happy</i>, i. 277; <i>iv. 37</i></p> + +<p>Wellesley, Marquis of, <i>ii. 79, 497</i></p> + +<p>Wellesley, William Pole Tylney Long, vi. 451</p> + +<p>Wellington, Duke of, <i>i. 485</i>; v. 568, 575-577; +"new victories," i. 496; <i>Childe Harold</i> on, ii. xi; +Convention of Cintra, ii. 39, 86; has enacted marvels, ii. 88; +Lady de Ros, <i>ii. 230</i>; The "Holy Alliance," <i>ii. 402</i>; +Waterloo, <i>ii. 459</i>; vi. 345; in <i>Parenthetical Address</i>, iii. 57; +Mrs. Boehm's masquerade, <i>iv. 177</i>; +Achilles statue in Hyde Park inscribed to, <i>v. 535</i>; +at the Vienna Congress, v. 539; +"filled the sign-posts then, like Wellesley now," vi. 12; +"great moral lesson," <i>vi. 266</i>; and Dan Mackinnon, <i>vi. 276</i>; +<i>Don Juan, Canto IX.</i>, vi. 373; +the Kinnaird-Marinet incident, <i>vi. 374</i>; +"I have seen a Duke turn politician stupider," vi. 452; +"has but enslaved the whites," vi. 461</p> + +<p><i>Wellington Despatches</i>, <i>ii. 50, 51</i>; <i>vi. 345, 374</i></p> + +<p>Wells, Bishop Hugh de, <i>vi. 596</i></p> + +<p>Welschinger, Henri, <i>L'Ami de M. de Tallyrand</i>, <i>vi. 507</i></p> + +<p>Wentworth, Lord, <i>i. 437</i></p> + +<p>Wentworth, W. C., <i>A Statistical Description, etc., of N.S. Wales</i>, <i>v. 588</i></p> + +<p><i>Were my bosom as false, etc.</i>, iii. 399</p> + +<p><i>Werner</i>, <i>i. 369</i>; <i>iii. 521</i>; iv. <i>19, 21</i>, 81, <i>122, 226</i>; +v. 279, 323-466, <i>543, 549, 611, 612</i>; <i>vi. 148</i></p> + +<p>Werner, Franz von (Murad Effendi), iv. 329</p> + +<p>Werner, Friedrich Ludwig Zacharias, <i>v. 347</i></p> + +<p>Werther, i. 476, 494</p> + +<p>Wesley, John, iv. 522; vi. 303</p> + +<p>West, Benjamin, i. <i>389</i>, 466</p> + +<p>West, Mrs. W., actress, iv. 324</p> + +<p>Westall, W., A.R.A., <i>ii. 11</i>; <i>vi. 478</i></p> + +<p>Western, <i>v. 572</i></p> + +<p>Westminster, Marquis of (Lord Robert Grosvenor), i. 412</p> + +<p><i>Westminster Review</i>, iii. <i>25</i>, 76; <i>vi. 3</i>; vii. <a href="#Page_86">86</a></p> + +<p><span class='pagenum'><a name="Page_446" id="Page_446">[446]</a></span> +Westmoreland, John Fane, 10th Earl of, vii. <a href="#Page_28">28</a></p> + +<p>Westphalia, Peace of, <i>v. 340, 372</i>; Congress of, <i>vi. 531</i></p> + +<p>Wharton, Henry Thornton, <i>Sappho</i>, <i>vi. 180</i></p> + +<p>Wheat, prices in England (1818-1822), v. 539</p> + +<p>Wheatley, H. B., <i>London Past and Present</i>, <i>iv. 161</i></p> + +<p><i>When coldness wraps this suffering clay</i>, iii. 395</p> + +<p><i>When I roved a young Highlander</i>, i. 191</p> + +<p><i>When we two parted</i>, iii. 410</p> + +<p>Whig Club of Fox's time, its uniform of blue and buff, vi. 9</p> + +<p>Whig Club, Cambridge, vii. <i><a href="#Note_066">66</a></i>, <a href="#Page_68">68</a></p> + +<p>Whiskey, a light carriage, ii. 65</p> + +<p>Whist, vi. 173</p> + +<p>Whiston, <i>vi. 400</i></p> + +<p>Whitbread, Samuel, <i>iii. 54</i>; <i>iv. 75, 519</i>; vi. 451; vii. <a href="#Page_30">30</a></p> + +<p>White, Henry Kirke, i. 363; <i>ii. 123</i>; <i>Remains</i>, iv. 522</p> + +<p>White, Miss Lydia, Sydney Smith's "Tory Virgin," iv. 569; +"Miss Diddle" of <i>The Blues</i>, iv. 570; her death, iv. 587</p> + +<p>Whitefield, <i>i. 412</i></p> + +<p>Whitworth, Earl of, <i>i. 195</i></p> + +<p>Wicklow, the Irish gold-mine in, i. 426</p> + +<p>Wicksteed, Rev. Philip H., <i>iv. 248</i></p> + +<p>Wiel, Alethea, <i>Two Doges of Venice</i>, v. 119, <i>121, 133, 143, 171, 178, 179, 183, 190, 193</i></p> + +<p>Wieland's <i>Oberon</i>, <i>i. 362</i>; <i>iii. 263</i></p> + +<p>Wilberforce, iv. 181; vi. 461, <i>549</i></p> + +<p><i>Wild Gazelle, The</i>, iii. 384</p> + +<p>Wilderswyl, village of, <i>iv. 119</i></p> + +<p>Wildman, Colonel Thomas, <i>i. 89, 257</i>; vi. <i>496, 497</i>, 589</p> + +<p>Wilhelm, Paul, ii. 299</p> + +<p>Wilkes, John, iv. 476, 480, 508-511</p> + +<p>Wilkie, Dr. W., <i>i. 403</i>; <i>Epigoniad</i>, <i>i. 436</i></p> + +<p>Wilkie, Sir David, "The Defence of Saragossa," ii. 92</p> + +<p>William the Conqueror, iv. 543; vi. 410</p> + +<p>William and Mary, <i>vi. 496</i></p> + +<p>William I. of Germany, his "triumphant piety," <i>vi. 370</i></p> + +<p>William I. of Holland, <i>ii. 225</i></p> + +<p>William III., <i>i. 198</i></p> + +<p>Williams, Edward, v. 331</p> + +<p>Williams, Hugh W., <i>Travels in Italy, Greece, etc.</i>, <i>iii. 15, 16</i></p> + +<p>Williams (Anthony Pasquin), <i>i. 304</i></p> + +<p>Williams, Dr., <i>Theol. Lib.</i>, iv. 479</p> + +<p>Willis, Chief Justice, <i>iv. 585</i></p> + +<p>Willis, Rev. Dr. Francis, i. 416; <i>ii. 43</i></p> + +<p>Willis, John, <i>i. 416</i></p> + +<p>Willis, Margaret (Lady Beaumont), iv. 585</p> + +<p>Willis' Rooms, <i>i. 347</i></p> + +<p>Wilmot, Juliana, Lady, <i>iii. 381</i></p> + +<p>Wilmot, Mrs. (Barberina Ogle), afterwards Lady Wilmot Horton, +then Lady Dacre, the original of "She walks in Beauty," +<i>iii. 381</i>; iv. 569, 570; vii. <a href="#Page_48">48</a>, <i><a href="#Note_054">54</a></i>; +<i>Ina, a Tragedy</i>, <i>vii.</i> <i><a href="#Note_048">48</a></i></p> + +<p>Wilmot, Sir Robert John (afterwards Wilmot Horton), <i>iii. 381</i>; vii. <a href="#Page_54">54</a></p> + +<p>Wilmot, Sir Robert, <i>iii. 381</i></p> + +<p>Wilson, printer, i. 452</p> + +<p>Wilson, John (Christopher North), ii. 315, 462; +<i>Isle of Palms</i>, iii. 230; on Moore, <i>iv. 61</i>; v. 280; +on <i>Manfred</i>, iv. 80, 81; on <i>Marino Faliero</i>, iv. 329; +<i>City of the Plague</i>, iv. 339; +<i>Noctes Ambrosianæ</i>, iv. 570; +on <i>Heaven and Earth</i>, v. 280, 282; +on <i>Don Juan</i>, <i>vi. 213</i></p> + +<p>Wilson, Sir Robert Thomas, "Southwark's Knight," <i>vii.</i> <i><a href="#Note_067">67</a></i></p> + +<p>Wilson, W., <i>A Missionary Voyage to the South Pacific Ocean, etc.</i>, <i>v. 605</i></p> + +<p>Winckelmann, <i>Storia delle Arti, etc.</i>, +ii. <i>396, 431, 432</i>, 490, 509, 511, 512, 518</p> + +<p><i>Windsor Poetics. Lines composed on the Occasion of His Royal +Highness the Prince Regent being seen standing between the coffins of +Henry VIII. and Charles I. in the Royal Vault at Windsor</i>, vii. <a href="#Page_35">35</a></p> + +<p><span class='pagenum'><a name="Page_447" id="Page_447">[447]</a></span> +Wingfield, Hon. John, <i>i. 96</i>; ii. 81, 82, 94</p> + +<p>Winsor, Justin, <i>History of America</i>, <i>iv. 198</i></p> + +<p>Wirt, William, <i>Life of Patrick Henry</i>, <i>v. 560</i></p> + +<p>Wolcot, Dr. John (Peter Pindar), i. 294, <i>304, 390, 395, 412</i>; iv. 158; +<i>Instructions to a Laureat</i>, <i>iv. 519</i>; +<i>Ode to a Margate Hoy</i>, <i>vii.</i> <i><a href="#Footnote_5_5">5</a></i></p> + +<p><i>Wolcot</i> v. <i>Walker</i>, v. 204</p> + +<p>Wolf of the Capitol, Rome, ii. 396</p> + +<p>Wolf, F., <i>Primavera y Flor de Romances</i>, <i>iv. 529</i></p> + +<p>Wolfe, General James, vi. 12</p> + +<p>Wolfe, Rev. C., <i>vi. 165</i></p> + +<p>Wolmar, Madame, ii. 305</p> + +<p>Wolseley, Lord, <i>Decline and Fall of Napoleon</i>, <i>v. 551</i></p> + +<p><i>Woman's Hair, A</i>, i. 233; <i>iii. 12</i></p> + +<p>Wood, J. T., <i>Modern Discoveries on the Site of Ancient Ephesus</i>, <i>ii. 441</i></p> + +<p>Wood, the pedestrian, <i>i. 322</i></p> + +<p>Woodhouselee, Alexander Fraser Tytler, Lord, <i>Essay on Petrarch</i>, <i>ii. 351</i></p> + +<p>Woodward, Dr. John, <i>Fossils of England</i>, <i>v. 632</i></p> + +<p>Worcester, battle of, <i>ii. 395</i></p> + +<p>Wordsworth, Miss Dorothy, <i>i. 422</i>; <i>iv. 585</i></p> + +<p>Wordsworth, John, captain of <i>The Earl of Abergavenny</i>, <i>vi. 91</i></p> + +<p>Wordsworth, William, <i>i. 305, 318, 331</i>; ii. 311; iii. 149; vi. 39, 80, <i>587</i>; <i>vii.</i> <i><a href="#Note_070">70</a></i> +Byron's review of his <i>Poems</i>, <i>i. 234</i>; +<i>Lyrical Ballads</i>, i. 315, 316; <i>iv. 269</i>; +Distributor of Stamps for the County of Westmorland, <i>i. 321</i>; iv. 582; vi. 5; +"Yet let them not to vulgar Wordsworth stoop," etc., i. 368; +"Let simple Wordsworth chime his childish verse," i. 369; +"write but like Wordsworth—live beside a lake," i. 422; +on Bland Burges, <i>i. 437</i>; +<i>Concerning the Relations of Great Britain, Spain, and Portugal</i>, ii. 87; +"l'acent Wordsworthien," <i>ii. 115</i>; iv. 6; +as preached by Shelley, <i>ii. 219</i>; +<i>Emperors and Kings, etc.</i>, <i>ii. 227</i>; +"Not in the Lucid Intervals of Life," <i>ii. 258</i>; +<i>Tintern Abbey</i>, <i>ii. 261, 272</i>; <i>v. 613</i>; +<i>Intimations of Immortality</i>, <i>ii. 271, 352</i>; +<i>Excursion</i>, <i>ii. 272, 281</i>; <i>v. 94, 613</i>; vi. 4, 176; +<i>On the Extinction of the Venetian Republic</i>, <i>ii. 336</i>; +<i>In the Pass of Killycranky</i>, <i>ii. 337</i>; +<i>Near the Lake of Thrasymene</i>, <i>ii. 377, 378</i>; +<i>Descriptive Sketches</i>, <i>ii. 385</i>; +"How clear, how keen, how marvellously bright!" iii. xx; +Coleridge's <i>Lines to a Gentleman</i>, <i>iii. 336</i>; +his quarrel with Byron, iii. 533; iv. 479; +<i>Song at the Feast of Brougham Castle</i>, <i>iv. 16, 27</i>; +<i>Ruth</i>, iv. 24; <i>Works</i>, <i>iv. 25, 27, 33, 220</i>; +<i>A Poet's Epitaph</i>, <i>iv. 26</i>; +Byron an admirer of, <i>iv. 47</i>; "Wordsworth and Co.," <i>iv. 182</i>; +depreciates Voltaire, <i>iv. 184</i>; +<i>Resolution and Independence</i> (originally <i>The Leech-gatherer</i>), iv. <i>267</i>, 582 +<i>Two Addresses to the Freeholders of Westmorland</i>, <i>iv. 341</i>; +<i>Peter Bell</i>, <i>iv. 341</i>; vi. 177; vii. <a href="#Page_63">63</a>, <a href="#Page_64">64</a>; +Hazlitt on, <i>iv. 518</i>; referred to in <i>The Blues</i>, iv. 585; +<i>Sonnet to a Painter</i>, <i>v. 251</i>; +"crazed beyond all hope," vi. 74; "unexcised, unhired," vi. 175; +<i>Benjamin the Waggoner</i>, vi. 177; +"poet Wordy," vi. 214; +<i>Supplement to the Preface</i> (<i>Poems</i>), <i>ibid.</i>; +compared with Jacob Benmen, <i>vi. 268</i>; +<i>Thanksgiving Ode</i>, vi. 332; +"has supporters two or three," vi. 445; +Mackintosh, <i>vii.</i> <i><a href="#Note_032">32</a></i>; +<i>The White Doe of Rylstone; or, The Fate of the Nortons, a Poem</i>, vii. <a href="#Page_45">45</a>; +"the great metaquizzical poet," <i>vii.</i> <i><a href="#Note_072">72</a></i>, <i><a href="#Note_073">73</a></i></p> + +<p><i>World, The</i>, <i>i. 358</i>; <i>vi. 525</i></p> + +<p>Wormeley, Katharine Prescott, translation of <i>Prince de Ligne's Memoirs</i>, <i>vi. 415</i></p> + +<p><span class='pagenum'><a name="Page_448" id="Page_448">[448]</a></span> +Wraxall, Sir N. W., <i>Historical Memoirs</i>, <i>vi. 478</i>; +<i>Posthumous Memoirs</i>, <i>vii.</i> <i><a href="#Note_029">29</a></i>, <i><a href="#Note_030">30</a></i></p> + +<p>Wren, C., i. 438</p> + +<p>Wright, John, <i>ii. 217</i>; iii. 75, 443; <i>iv. 63</i></p> + +<p>Wright, Walter Rodwell, <i>Horæ Ionicæ</i>, i. 366; ii. x, <i>104</i>, 202</p> + +<p>Wright, Professor, <i>Kufic Tombstones in the British Museum</i>, <i>iii. 120</i></p> + +<p><i>Written after swimming from Sestos to Abydos</i>, iii. 13; <i>vi. 112</i></p> + +<p>Wul-wulleh, death-song of Turkish women, iii. 205</p> + +<p>Wyatt, Sir Thomas, iv. 239</p> + +<p>Wycherley, <i>i. 322</i></p> + +<p>Wylde, G., <i>i. 45</i></p> + +<p>Wynn, <i>iv. 520</i></p> + +<p>Wynne, iv. 476</p> + + + +<p>X</p> + +<p>Xantippe, <i>iv. 253</i></p> + +<p>Xeres, v. 565</p> + +<p>Xerxes, ii. 166; iv. 259; vi. 46, 169</p> + + + +<p>Y</p> + +<p>Yakintu, king of Arvad, v. 4</p> + +<p>Yanina, Janina, or Joannina, lake of, ii. 179, 189</p> + +<p>Yarmouth, Maria Fagniani, Lady, <i>i. 501</i></p> + +<p>Yarmouth, Lord, "Red Herrings," <i>i. 493, 497, 501</i>; vii. <a href="#Page_22">22</a></p> + +<p>Yearsley, Ann, <i>i. 329</i></p> + +<p>Yesoukoï, Lieutenant-Colonel, vi. 354</p> + +<p>Yonge, C. D., translation of Athenæus' <i>Deipno.</i>, <i>v. 11</i></p> + +<p>York, Duchess of, <i>iii. 45</i></p> + +<p>York, Duke of, <i>i. 3, 391</i>; <i>ii. 169</i>; <i>iii. 45</i>; +<i>iv. 587</i>; <i>vi. 67, 451, 507</i></p> + +<p>Young, Edward, <i>Revenge</i>, i. 26, <i>409</i>; <i>iii. 158, 200</i>; +<i>Night Thoughts</i>, ii. 95, <i>161</i>; <i>iii. 129, 262</i>; <i>vi. 186, 450</i>; +<i>Resignation</i>, <i>vi. 450</i>; +<i>Love of fame, the Universal Passion</i>, <i>vi. 461</i></p> + +<p>Young, Rosalind A., <i>The Mutiny, etc.</i>, <i>v. 622</i></p> + +<p><i>Young Lochinvar</i>, <i>ii. 70</i></p> + + + +<p>Z</p> + +<p>Zama, battle of, <i>ii. 459</i></p> + +<p>Zanetti, ii. 472</p> + +<p>Zanga, a character in Young's <i>Revenge</i>, i. 26, <i>409</i></p> + +<p>Zappi, Giovanni Battista, <i>iv. 271</i></p> + +<p>Zara, siege of, iv. 331, 332</p> + +<p>Zaragoza, Augustina, maid of, ii. 58, 91</p> + +<p>Zarina, Queen, character in <i>Sardanapalus</i>, v. 12</p> + +<p>Zarotti, <i>iv. 287</i></p> + +<p><i>Zechariah</i>, <i>v. 286</i></p> + +<p>Zegri, the, a Moorish tribe, v. 558</p> + +<p>Zela, battle of, <i>ii. 398</i></p> + +<p>Zeller, Dr. E., <i>Socrates and the Socratic Schools</i>, <i>ii. 103</i></p> + +<p><i>Zend-Avesta</i>, <i>iii. 110</i>; <i>iv. 112</i></p> + +<p>Zendrini, A., <i>Elogio di Jacopo Morelli</i>, <i>iv. 457</i></p> + +<p>Zeno, Carlo, ii. 477, 497</p> + +<p>Zeus Olympius, Temple of, ii. 167</p> + +<p>Ziani, Doge Sebastian, ii. 473</p> + +<p>Zibeon, Esau's wife, <i>v. 285</i></p> + +<p>Zimri, king of Israel, <i>v. 107</i></p> + +<p>Zitza, convent and village of, ii. 129, 174, 180; <i>iii. 7</i></p> + +<p>Žižka, John of Trocnow, v. 549</p> + +<p>Zoffani, <i>iv. 508</i></p> + +<p>Zoili of Albemarle Street, the, vi. xix, <i>467</i></p> + +<p>Zonaras, <i>Annales</i>, ii. 202</p> + +<p>Zonta of Twenty, the, <i>iv. 385, 441</i></p> + +<p>Zoritch, or Zovitch, Catherine II.'s favourite, <i>vi. 388</i></p> + +<p>Zoroaster, the creed of, vi. 491</p> + +<p>Zosimado, ii. 197</p> + +<p>Zosimus, <i>Historiæ</i>, ii. 172</p> + +<p>Zoubof, Plato, Catherine II.'s favourite, <i>vi. 388</i></p> + +<p>Zrini, Hungarian commander, iii. 442</p> + +<p>Zsigetvar, siege of, iii. 442</p> + +<p>Zuccari, <i>ii. 437</i></p> + +<p>Zuccato, Bartolommeo, <i>iv. 332</i></p> + +<p>Zuleika, Persian name of Potiphar's wife, <i>iii. 187</i>; vi. 254</p> + + + + +<p><span class='pagenum'><a name="Page_449" id="Page_449">[449]</a></span></p> + +<hr style="width: 65%;" /> + +<h2><a name="INDEX_TO_FIRST_LINES" id="INDEX_TO_FIRST_LINES"></a>INDEX TO FIRST LINES.</h2> + + +<p>(The first line is given of every <i>Poem</i>, and of each <i>Canto</i> of the longer +Poems: that of the <i>Plays</i> is omitted.)</p> + + +<p>A noble Lady of the Italian shore (<i>Poems 1816-1823</i>), iv. 547</p> + +<p>A Spirit passed before me: I beheld (<i>Hebrew Melodies</i>), iii. 406</p> + +<p>A Year ago you swore, fond she! (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_41">vii. 41</a></p> + +<p>Absent or present, still to thee (<i>Poems 1809-1813</i>), iii. 50</p> + +<p>Adieu, adieu! my native shore (<i>Childe Harold</i>, Canto I.), ii. 26</p> + +<p>Adieu, thou Hill! where early joy (<i>Hours of Idleness</i>), i. 237</p> + +<p>Adieu, ye joys of La Valette (<i>Poems 1809-1813</i>), iii. 24</p> + +<p>Ægle, beauty and poet, has two little crimes (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_76">vii. 76</a></p> + +<p>Ah! gentle, fleeting, wav'ring sprite (<i>Hours of Idleness</i>), i. 20</p> + +<p>Ah, heedless girl! why thus disclose (<i>Hours of Idleness</i>), i. 244</p> + +<p>Ah! Love was never yet without (<i>Poems 1809-1813</i>), iii. 62</p> + +<p>Ah!—What should follow slips from my reflection (<i>Don Juan</i>, Canto XV.), vi. 544</p> + +<p>And dost thou ask the reason of my sadness? (<i>Jeux of Esprit, etc.</i>), <a href="#Page_41">vii. 41</a></p> + +<p>And thou art dead, as young and fair (<i>Poems 1809-1813</i>), iii. <i>32</i>, 41</p> + +<p>And thou wert sad—yet I was not with thee (<i>Poems of July-September, 1816</i>), iv. 63</p> + +<p>And "thy true faith can alter never" (<i>Poems 1809-1813</i>), iii. 65</p> + +<p>And wilt thou weep when I am low? (<i>Hours of Idleness</i>), i. 266</p> + +<p>Anne's Eye is liken'd to the Sun (<i>Hours of Idleness</i>), i. 244</p> + +<p>As by the fix'd decrees of Heaven (<i>Hours of Idleness</i>), i. 231</p> + +<p>As o'er the cold sepulchral stone (<i>Poems 1809-1813</i>), iii. 4</p> + +<p>As the Liberty lads o'er the sea (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_42">vii. 42</a></p> + +<p>Away, away, ye notes of Woe! (<i>Poems 1809-1813</i>), iii. <i>32</i>, 35</p> + +<p>Away, away,—your flattering arts (<i>Hours of Idleness</i>), i. 15</p> + +<p>Away with your fictions of flimsy romance (<i>Hours of Idleness</i>), i. 82</p> + +<p>Away, ye gay landscapes, ye gardens of rose (<i>Hours of Idleness</i>), i. 171</p> + + +<p>Behold the blessings of a lucky lot! (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_75">vii. 75</a></p> + +<p>Belshazzar! from the banquet turn (<i>Poems 1814-1816</i>), iii. 421</p> + +<p>Beneath Blessington's eyes (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_82">vii. 82</a></p> + +<p>Beside the confines of the Ægean main (<i>Poems 1809-1813</i>), iii. 18</p> + +<p>Bob Southey! You're a poet—Poet-Laureate (<i>Don Juan</i>, Dedication), vi. 3</p> + +<p><span class='pagenum'><a name="Page_450" id="Page_450">[450]</a></span> +Born in a garret, in the kitchen bred (<i>Poems of the Separation</i>), iii. 540</p> + +<p>Breeze of the night in gentler sighs (<i>Hours of Idleness</i>), i. 262</p> + +<p>Bright be the place of thy soul! (<i>Poems 1814-1816</i>), iii. 426</p> + +<p>But once I dared to lift my eyes (<i>Poems 1816-1823</i>), iv. 564</p> + +<p>By the rivers of Babylon we sat down and wept (<i>Hebrew Melodies</i>), iii. 402</p> + + +<p>Candour compels me, Becher! to commend (<i>Hours of Idleness</i>), i. 114</p> + +<p>Chill and mirk is the nightly blast (<i>Poems 1809-1813</i>), iii. 7</p> + +<p>Come, blue-eyed Maid of Heaven!—but Thou alas! (<i>Childe Harold</i>, Canto II.), ii. 99</p> + +<p>Could I remount the river of my years (<i>Poems of July-September, 1816</i>), iv. 51</p> + +<p>Could Love for ever (<i>Poems 1816-1823</i>), iv. 549</p> + +<p>Cruel Cerinthus! does the fell disease (<i>Hours of Idleness</i>), i. 74</p> + + +<p>Dear are the days of youth! (<i>Hours of Idleness</i>), i. 177</p> + +<p>Dear Becher, you tell me to mix with mankind (<i>Hours of Idleness</i>), i. 112</p> + +<p>Dear Doctor, I have read your play (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_47">vii. 47</a></p> + +<p>Dear Long, in this sequester'd scene (<i>Hours of Idleness</i>), i. 184</p> + +<p>Dear Murray,—You ask for a "<i>Volume of Nonsense</i>" (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_70">vii. 70</a></p> + +<p>Dear object of defeated care! (<i>Poems 1809-1813</i>), iii. 19</p> + +<p>Dear simple girl, those flattering arts (<i>Hours of Idlaiess</i>), i. 15</p> + +<p>Do you know Dr. Nott? (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_78">vii. 78</a></p> + +<p>Dorset! whose early steps with mine have stray'd (<i>Hours of Idleness</i>), i. 194</p> + +<p>Doubtless, sweet girl! the hissing lead (<i>Hours of Idleness</i>), i. 70</p> + + +<p>Eliza! What fools are the Mussulman sect! (<i>Hours of Idleness</i>), i. 47</p> + +<p>Equal to Jove that youth must be (<i>Hours of Idleness</i>), i. 72</p> + +<p>Ere the daughter of Brunswick is cold in her grave (<i>Poems 1816-1823</i>), iv. 555</p> + +<p>Eternal Spirit of the chainless Mind (<i>Sonnet on Chillon</i>), iv. 7</p> + + +<p>Fame, Wisdom, Love, and Power were mine (<i>Hebrew Melodies</i>), iii. 394</p> + +<p>Famed for the contemptuous breach of sacred ties (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_35">vii. 35</a></p> + +<p>Famed for their civil and domestic quarrels (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_36">vii. 36</a></p> + +<p>Fare thee Well! and if for ever (<i>Poems of the Separation</i>), <i>ii. 274</i>; iii. 499, 537</p> + +<p>Farewell! if ever fondest prayer (<i>Poems 1814-1816</i>), iii. 409</p> + +<p>Farewell to the Land, where the gloom of my Glory (<i>Poems 1814-1816</i>), iii. 427</p> + +<p>Father of Light, great God of Heaven (<i>Hours of Idleness</i>), i. 224</p> + +<p>Few years have pass'd since thou and I (<i>Hours of Idleness</i>), i. 271</p> + +<p>Fill the goblet again! for I never before (<i>Hours of Idleness</i>), i. 283</p> + +<p>For Orford and for Waldegrave (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_76">vii. 76</a></p> + +<p>Friend of my youth! when young we rov'd (<i>Hours of Idleness</i>), i. 200</p> + +<p><span class='pagenum'><a name="Page_451" id="Page_451">[451]</a></span> +From out the mass of never-dying ill (<i>Prophecy of Dante</i>, Canto III.), iv. 261</p> + +<p>From the last hill that looks on thy once holy dome (<i>Hebrew Melodies</i>), iii. 401</p> + +<p>From this emblem what variance your motto evinces! (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_36">vii. 36</a></p> + + +<p>God maddens him whom 't is his will to lose (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_45">vii. 45</a></p> + +<p>Good plays are scarce (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_12">vii. 12</a></p> + +<p>Great Jove! to whose Almighty Throne (<i>Hours of Idleness</i>), i. 14</p> + + +<p>Harriet, to see such Circumspection (<i>Hours of Idleness</i>), i. 263</p> + +<p>He, unto whom thou art so partial (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_74">vii. 74</a></p> + +<p>He who, sublime, in epic numbers roll'd (<i>Hours of Idleness</i>), i. 73</p> + +<p>Here once engaged the stranger's view (<i>Hours of Idleness</i>), i. 259</p> + +<p>Here's a happy New Year! but with reason (<i>Jeux d'Esprit, etc.</i>), <i>ii. 322</i>; <a href="#Page_64">vii. 64</a></p> + +<p>High in the midst, surrounded by his peers (<i>Hours of Idleness</i>), i. 28</p> + +<p>Hills of Annesley, Bleak and Barren (<i>Hours of Idleness</i>), i. 210</p> + +<p>His father's sense, his mother's grace (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_54">vii. 54</a></p> + +<p>How came you in Hob's pound to cool? (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_66">vii. 66</a></p> + +<p>How pleasant were the songs of Toobonai! (<i>Island</i>, Canto II.), v. 598</p> + +<p>How sweetly shines, through azure skies (<i>Hours of Idleness</i>), i. 131</p> + +<p>Hush'd are the winds, and still the evening gloom (<i>Hours of Idleness</i>), i. 5</p> + +<p>Huzza! Hodgson, we are going (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_4">vii. 4</a></p> + + +<p>I cannot talk of Love to thee (<i>Poems 1814-1816</i>), iii. 411</p> + +<p>I enter thy garden of roses (<i>Poems 1809-1813</i>), iii. 22</p> + +<p>I had a dream, which was not all a dream (<i>Poems of July-September, 1816</i>), iv. 42</p> + +<p>I heard thy fate without a tear (<i>Poems 1814-1816</i>), iii. 425</p> + +<p>I now mean to be serious;—it is time (<i>Don Juan</i>, Canto XIII.), vi. 481</p> + +<p>I read the "Christabel" (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_45">vii. 45</a></p> + +<p>I saw thee weep—the big bright tear (<i>Hebrew Melodies</i>), iii. 390</p> + +<p>I speak not, I trace not, I breathe not thy name (<i>Poems 1814-1816</i>), iii. 319, 413</p> + +<p>I stood beside the grave of him who blazed (<i>Poems of July-September, 1816</i>), iv. 45</p> + +<p>I stood in Venice on the "Bridge of Sighs" (<i>Childe Harold</i>, Canto IV.), ii. 327</p> + +<p>I want a hero: an uncommon want (<i>Don Juan</i>, Canto I.), vi. 11</p> + +<p>I watched thee when the foe was at our side (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_84">vii. 84</a></p> + +<p>I wish to tune my quivering lyre (<i>Hours of Idleness</i>), i. 147</p> + +<p>I would I were a careless child (<i>Hours of Idleness</i>), i. 205</p> + +<p>I would to Heaven that I were so much clay (<i>Fragment on back of MS. of Don Juan</i>, Canto I.), vi. 2</p> + +<p>If Fate should seal my Death to-morrow (<i>Hours of Idleness</i>), i. 247</p> + +<p>If for silver, or for gold (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_62">vii. 62</a></p> + +<p><span class='pagenum'><a name="Page_452" id="Page_452">[452]</a></span> +If from great Nature's or our own abyss (<i>Don Juan</i>, Canto XIV.), vi. 516</p> + +<p>If, in the month of dark December (<i>Poems 1809-1813</i>), iii. 13</p> + +<p>If sometimes in the haunts of men (<i>Poems 1809-1813</i>), iii. 46</p> + +<p>If that high world, which lies beyond (<i>Hebrew Melodies</i>), iii. 383</p> + +<p>Ill-fated heart! and can it be (<i>Poems 1809-1813</i>), iii. 48</p> + +<p>In Coron's bay floats many a galley light (<i>Corsair</i>, Canto II.), iii. 249</p> + +<p>In digging up your bones, Tom Paine (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_65">vii. 65</a></p> + +<p>In hearts like thine ne'er may I hold a place (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_40">vii. 40</a></p> + +<p>In law an infant, and in years a boy (<i>Hours of Idleness</i>), i. 128</p> + +<p>In moments to delight devoted (<i>Poems 1809-1813</i>), iii. 71</p> + +<p>In Nottingham county there lives at Swan Green (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_1">vii. 1</a></p> + +<p>In one dread night our city saw and sighed (<i>Poems 1809-1813</i>), iii. 51</p> + +<p>In one who felt as once he felt (<i>Hours of Idleness</i>), i. 253</p> + +<p>In the beginning was the Word next God (<i>Morgante Maggiore</i>, Canto I.), iv. 285</p> + +<p>In the dome of my Sires as the clear moonbeam falls (<i>Poems 1809-1813</i>), iii. 27</p> + +<p>In the valley of waters we wept on the day (<i>Hebrew Melodies</i>), iii. 404</p> + +<p>In the year since Jesus died for men (<i>Siege of Corinth</i>), iii. 449</p> + +<p>In thee, I fondly hop'd to clasp (<i>Hours of Idleness</i>), i. 7</p> + +<p>In this belovéd marble view (<i>Poems 1816-1823</i>), iv. 536</p> + +<p>Is thy face like thy mother's, my fair child? (<i>Childe Harold</i>, Canto III.), ii. 215</p> + +<p>It is the hour when from the boughs (<i>Parisina</i>), iii. 505</p> + +<p>It seems that the Braziers propose soon to pass (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_72">vii. 72</a></p> + + +<p>Kind Reader! take your choice to cry or laugh (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_11">vii. 11</a></p> + +<p>Know ye the land where the cypress and myrtle (<i>Bride of Abydos</i>, Canto I.), iii. 157</p> + + +<p>Lady! if the cold and cloudy clime (<i>Prophecy of Dante</i>, Dedication), iv. 241</p> + +<p>Lady! in whose heroic port (<i>Poems 1816-1823</i>), iv. 552</p> + +<p>Lesbia! since far from you I've rang'd (<i>Hours of Idleness</i>), i. 41</p> + +<p>Let Folly smile to view the names (<i>Hours of Idleness</i>), i. 4</p> + +<p>Long years!—It tries the thrilling frame to bear (<i>Lament of Tasso</i>), iv. 143</p> + +<p>Lucietta, my deary (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_81">vii. 81</a></p> + + +<p>Maid of Athens, ere we part (<i>Poems 1809-1813</i>), iii. 15; <i>iv. 214</i></p> + +<p>Many are Poets who have never penned (<i>Prophecy of Dante</i>, Canto IV.), iv. 269</p> + +<p>Marion! why that pensive brow? (<i>Hours of Idleness</i>), i. 129</p> + +<p>Mingle with the genial bowl (<i>Hours of Idleness</i>), i. 228</p> + +<p>Montgomery! true the common lot (<i>Hours of Idleness</i>), i. 107</p> + +<p>Mrs. Wilmot sate scribbling a play (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_61">vii. 61</a></p> + +<p>Muse of the many-twinkling feet! whose charms (<i>The Waltz</i>), i. 483</p> + +<p>Must thou go, my glorious Chief? (<i>Poems 1814-1816</i>), iii. 428</p> + +<p>My boat is on the Shore (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_46">vii. 46</a></p> + +<p>My dear Mr. Murray (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_51">vii. 51</a></p> + +<p><span class='pagenum'><a name="Page_453" id="Page_453">[453]</a></span> +My hair is grey, but not with years (<i>Prisoner of Chillon</i>), iv. 13</p> + +<p>My Sister! my sweet Sister! if a name (<i>Poems of July-September, 1816</i>), iv. 57</p> + +<p>My soul is dark—Oh! quickly string (<i>Hebrew Melodies</i>), iii. 389</p> + + +<p>Nay, smile not at my sullen brow (<i>Childe Harold</i>, Canto I.: <i>To Inez</i>), ii. 75</p> + +<p>Newstead! fast-falling, once-resplendent dome! (<i>Hours of Idleness</i>), i. 116</p> + +<p>Night wanes—the vapours round the mountains curled (<i>Lara</i>, Canto II.), iii. 348</p> + +<p>Nisus, the guardian of the portal stood (<i>Hours of Idleness</i>), i. 151</p> + +<p>No breath of air to break the wave (<i>Giaour</i>), iii. 85</p> + +<p>No specious splendour of this stone (<i>Hours of Idleness</i>), i. 66</p> + +<p>Nose and Chin that make a knocker (<i>Poems 1816-1823</i>), iv. 538</p> + +<p>Not in those climes where I have late been staying (<i>Childe Harold</i>, Canto I.: <i>To Ianthe</i>), ii. 11</p> + +<p>Nothing so difficult as a beginning (<i>Don Juan</i>, Canto IV.), vi. 183</p> + + +<p>O Love! O Glory! what are ye who fly? (<i>Don Juan</i>, Canto VII.), vi. 302</p> + +<p>O Thou! who rollest in yon azure field (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_2">vii. 2</a></p> + +<p>O thou yclep'd by vulgar sons of Men (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_7">vii. 7</a></p> + +<p>O'er the glad waters of the dark blue sea (<i>Corsair</i>, Canto I.), iii. 227</p> + +<p>Of all the barbarous middle ages, that (<i>Don Juan</i>, Canto XII.), vi. 455</p> + +<p>Of rhymes I printed seven volumes (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_55">vii. 55</a></p> + +<p>Of two fair Virgins, modest, though admired (<i>Poems 1816-1823</i>), iv. 535</p> + +<p>Oh, Anne, your offences to me have been grievous (<i>Hours of Idleness</i>), i. 246</p> + +<p>"Oh banish care"—such ever be (<i>Poems 1809-1813</i>), iii. 28</p> + +<p>Oh, blood and thunder! and oh! blood and wounds! (<i>Don Juan</i>, Canto VIII.), vi. 330</p> + +<p>Oh! could Le Sage's demon gift (<i>Hours of Idleness</i>), i. 56</p> + +<p>Oh! did those eyes, instead of fire (<i>Hours of Idleness</i>), i. 68</p> + +<p>Oh, factious viper! whose envenom'd tooth (<i>Hours of Idleness</i>), i. 34</p> + +<p>Oh, Friend! for ever lov'd, for ever dear (<i>Hours of Idleness</i>), i. 18</p> + +<p>Oh! had my Fate been join'd with thine (<i>Hours of Idleness</i>), i. 189</p> + +<p>Oh how I wish that an embargo (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_10">vii. 10</a></p> + +<p>Oh Lady! when I left the shore (<i>Poems 1809-1813</i>), iii. 5</p> + +<p>Oh! little lock of golden hue (<i>Hours of Idleness</i>), i. <i>211</i>, 233</p> + +<p>Oh, Mariamne! now for thee (<i>Hebrew Melodies</i>), iii. 400</p> + +<p>Oh! might I kiss those eyes of fire (<i>Hours of Idleness</i>), i. 75</p> + +<p>Oh! my lonely—lonely—lonely—Pillow! (<i>Poems, 1816-1823</i>), iv. 563</p> + +<p>Oh never talk again to me (<i>Poems 1809-1813</i>), iii. 1</p> + +<p>Oh say not, sweet Anne, that the Fates have decreed (<i>Hours of Idleness</i>), i. 251</p> + +<p>Oh! snatched away in beauty's bloom (<i>Hebrew Melodies</i>), iii. 388</p> + +<p>Oh, talk not to me of a name great in story (<i>Poems 1816-1823</i>), vi. 562</p> + +<p>Oh, thou! in Hellas deemed of heavenly birth (<i>Childe Harold</i>, Canto I.), ii. 15</p> + +<p>Oh! thou that roll'st above thy glorious Fire (<i>Hours of Idleness</i>), i. 229</p> + +<p><span class='pagenum'><a name="Page_454" id="Page_454">[454]</a></span> +Oh Venice! Venice! when thy marble walls (<i>Ode on Venice</i>), iv. 193</p> + +<p>Oh! weep for those that wept by Babel's stream (<i>Hebrew Melodies</i>), iii. 385</p> + +<p>Oh well done Lord E—— n! and better done R—— r! (<i>Jeux d' Esprit, etc.</i>), <a href="#Page_13">vii. 13</a></p> + +<p>Oh! well I know your subtle sex (<i>Hours of Idleness</i>), i. 242</p> + +<p>Oh! Wellington! (or "Villainton")—for Fame (<i>Don Juan</i>, Canto IX.), vi. 373</p> + +<p>Oh! when shall the grave hide for ever my sorrow? (<i>Hours of Idleness</i>), i. 21</p> + +<p>Oh ye! who teach the ingenuous youth of nations (<i>Don Juan</i>, Canto II.), vi. 87</p> + +<p>Oh! yes, I will own we were dear to each other (<i>Hours of Idleness</i>), i. 126</p> + +<p>Oh you, who in all names can tickle the town (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_16">vii. 16</a></p> + +<p>On Jordan's banks the Arab's camels stray (<i>Hebrew Melodies</i>), iii. 386</p> + +<p>Once fairly set out on his party of pleasure (<i>Jeux d' Esprit, etc.</i>), <a href="#Page_41">vii. 41</a></p> + +<p>Once more in Man's frail world! which I had left (<i>Prophecy of Dante</i>, Canto I.), iv. 247</p> + +<p>One struggle more, and I am free (<i>Poems 1809-1813</i>), iii. <i>31, 32</i>, 36</p> + +<p>Our life is two fold: Sleep hath its own world (<i>The Dream</i>), iv. 33</p> + + +<p>Parent of golden dreams, Romance! (<i>Hours of Idleness</i>), i. 174</p> + +<p>Posterity will ne'er survey (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_65">vii. 65</a></p> + + +<p>Rail on, Rail on, ye heartless crew (<i>Hours of Idleness</i>), i. 213</p> + +<p>Remember him, whom Passion's power (<i>Poems 1809-1813</i>), iii. 67</p> + +<p>Remember thee! Remember thee! (<i>Poems 1809-1813</i>), iii. 59</p> + +<p>Remind me not, remind me not (<i>Hours of Idleness</i>), i. 268</p> + +<p>River, that rollest by the ancient walls (<i>Poems 1816-1833</i>), iv. 545</p> + +<p>Rousseau—Voltaire—our Gibbon—and De Staël (<i>Poems of July-September, 1816</i>), iv. 53</p> + + +<p>Saint Peter sat by the celestial gate (<i>Vision of Judgment</i>), iv. 487</p> + +<p>She walks in Beauty, like the night (<i>Hebrew Melodies</i>), iii. 381</p> + +<p>Since now the hour is come at last (<i>Hours of Idleness</i>), i. 12</p> + +<p>Since our Country, our God—Oh, my Sire (<i>Hebrew Melodies</i>), iii. 387</p> + +<p>Since the refinement of this polish'd age (<i>Hours of Idleness</i>), i. 45</p> + +<p>Slow sinks, more lovely ere his race be run (<i>Corsair</i>, Canto III.), iii. 270</p> + +<p>Slow sinks, more lovely ere his race be run (<i>The Curse of Minerva</i>), i. 457</p> + +<p>So we'll go no more a-roving (<i>Poems 1816-1823</i>), iv. <i>411</i>, 538</p> + +<p>Sons of the Greeks, arise (<i>Poems 1809-1813</i>), iii. 20</p> + +<p>Spot of my youth! whose hoary branches sigh (<i>Hours of Idleness</i>), i. 208</p> + +<p>Star of the brave!—whose beam hath shed (<i>Poems 1814-1816</i>), iii. 436</p> + +<p>Start not—nor deem my spirit fled (<i>Hours of Idleness</i>), i. 276</p> + +<p>Still must I hear?—shall hoarse Fitzgerald bawl? +(<i>English Bards, and Scotch Reviewers</i>), i. 297</p> + +<p>Strahan, Tonson, Lintot of the times (<i>Jeux d' Esprit, etc.</i>), <a href="#Page_56">vii. 56</a></p> + +<p>Stranger! behold interred together (<i>Jeux d' Esprit, etc.</i>), <a href="#Page_11">vii. 11</a></p> + +<p><span class='pagenum'><a name="Page_455" id="Page_455">[455]</a></span> +Sun of the sleepless! melancholy star! (<i>Hebrew Melodies</i>), iii. 399</p> + +<p>Sweet girl, though only once we met (<i>Hours of Idleness</i>), i. 38</p> + + +<p>Tambourgi! Tambourgi! thy 'larum afar (<i>Childe Harold</i>, Canto II.), ii. 146</p> + +<p>The antique Persians taught three useful things (<i>Don Juan</i>, Canto XVI.), vi. 572</p> + +<p>The Assyrian came down like the wolf on the fold (<i>Hebrew Melodies</i>), iii. 404.</p> + +<p>The chain I gave was fair to view (<i>Poems 1809-1813</i>), iii. 49</p> + +<p>The dead have been awakened—shall I sleep? (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_83">vii. 83</a></p> + +<p>The Devil returned to Hell by two (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_21">vii. 21</a></p> + +<p>The fight was o'er; the flashing through the gloom (<i>Island</i>, Canto III.), v. 618</p> + +<p>The Gods of old are silent on their shore (<i>Poems 1816-1823</i>), iv. 566</p> + +<p>The "good old times"—all times when old are good (<i>Age of Bronze</i>), v. 541</p> + +<p>The Harp the Monarch Minstrel swept (<i>Hebrew Melodies</i>), iii. 382</p> + +<p>The Isles of Greece, The Isles of Greece (<i>Don Juan</i>, Canto III.), vi. 169</p> + +<p>The King was on his throne (<i>Hebrew Melodies</i>), iii. 397</p> + +<p>The kiss, dear maid! thy lip has left (<i>Poems, 1809-1813</i>), iii. 23</p> + +<p>The Land where I was born sits by the seas (<i>Francesca of Rimini</i>), iv. 317</p> + +<p>The man of firm and noble soul (<i>Hours of Idleness</i>), i. 81</p> + +<p>The modest bard, like many a bard unknown (<i>Poems 1809-1813</i>), iii. 15</p> + +<p>The Moorish King rides up and down (<i>Poems 1816-1823</i>), iv. 529</p> + +<p>The Moralists tell us that Loving is Sinning (<i>Hours of Idleness</i>), i. 262</p> + +<p>The morning watch was come; the vessel lay (<i>Island</i>, Canto I.), v. 587</p> + +<p>The Night came on the Waters—all was rest (<i>Poems 1814-1816</i>), iii. 419</p> + +<p>The "Origin of Love"!—Ah, why (<i>Poems 1809-1813</i>), iii. 65</p> + +<p>The roses of Love glad the garden of life (<i>Hours of Idleness</i>), i. 109</p> + +<p>The sacred song that on mine ear (<i>Jeux d'Esprit, etc.</i>), <i>iii. 32</i>; <a href="#Page_15">vii. 15</a></p> + +<p>The Serfs are glad through Lara's wide domain (<i>Lara</i>, Canto I.), iii. 323</p> + +<p>The Son of Love and Lord of War I sing (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_82">vii. 82</a></p> + +<p>The Spell is broke, the charm is flown (<i>Poems 1809-1813</i>), iii. 12</p> + +<p>The Spirit of the fervent days of Old (<i>Prophecy of Dante</i>, Canto II.), iv. 255</p> + +<p>The wild gazelle on Judah's Hills (<i>Hebrew Melodies</i>), iii. 384</p> + +<p>The winds are high on Helle's wave (<i>Bride of Abydos</i>, Canto II.), iii. 178</p> + +<p>The world is a bundle of hay (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_65">vii. 65</a></p> + +<p>The world is full of orphans: firstly those (<i>Don Juan</i>, Canto XVII.), vi. 608</p> + +<p>There be none of Beauty's daughters (<i>Poems 1814-1816</i>), iii. 435</p> + +<p>There is a mystic thread of life (<i>Hours of Idleness</i>), i. 234</p> + +<p>There is a tear for all that die (<i>Poems 1814-1816</i>), iii. 417</p> + +<p>There is a tide in the affairs of men (<i>Don Juan</i>, Canto VI.), vi. 268</p> + +<p>There is no more for me to hope (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_15">vii. 15</a></p> + +<p>There was a time, I need not name (<i>Hours of Idleness</i>), i. 264</p> + +<p>There's not a joy the world can give like that it takes away (<i>Poems 1814-1816</i>), iii. 423</p> + +<p>There's something in a stupid ass (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_63">vii. 63</a></p> + +<p><span class='pagenum'><a name="Page_456" id="Page_456">[456]</a></span> +These locks, which fondly thus entwine (<i>Hours of Idleness</i>), i. 36</p> + +<p>They say that Hope is happiness (<i>Poems 1814-1816</i>), iii. 438</p> + +<p>Thine eyes' blue tenderness, thy long fair hair (<i>Poems 1809-1813</i>), iii. 70, <i>390</i></p> + +<p>Think'st thou I saw thy beauteous eyes (<i>Hours of Idleness</i>), i. 8</p> + +<p>This Band, which bound thy yellow hair (<i>Hours of Idleness</i>), i. 212</p> + +<p>This day, of all our days, has done (<i>Jeux d'Esprit, etc.</i>). <a href="#Page_71">vii. 71</a></p> + +<p>This faint resemblance of thy charms (<i>Hours of Idleness</i>), i. 32, <i>36</i></p> + +<p>This votive pledge of fond esteem (<i>Hours of Idleness</i>), i. 78</p> + +<p>Those flaxen locks, those eyes of blue (<i>Hours of Idleness</i>), i. 260</p> + +<p>Thou art not false, but thou art fickle (<i>Poems 1809-1818</i>), iii. 64</p> + +<p><i>Thou</i> lay thy branch of <i>laurel</i> down (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_19">vii. 19</a></p> + +<p>Thou Power! who hast ruled me through Infancy's days (<i>Hours of Idleness</i>), i. 254</p> + +<p>Thou whose spell can raise the dead (<i>Hebrew Melodies</i>), iii. 392</p> + +<p>Though the day of my Destiny's over (<i>Poems of July-September, 1816</i>), iv. 54</p> + +<p>Through cloudless skies, in silvery sheen (<i>Poems 1809-1818</i>), iii. 11</p> + +<p>Through Life's dull road, so dim and dirty (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_73">vii. 73</a></p> + +<p>Through thy battlements, Newstead, the hollow winds whistle (<i>Hours of Idleness</i>), i. 1</p> + +<p>Thy cheek is pale with thought, but not from woe (<i>Poems 1809-1813</i>), iii. 71</p> + +<p>Thy days are done, thy fame begun (<i>Hebrew Melodies</i>), iii. 391</p> + +<p>Thy verse is "sad" enough, no doubt (<i>Hours of Idleness</i>), i. 252</p> + +<p>Time! on whose arbitrary wing (<i>Poems 1809-1813</i>), iii. 60</p> + +<p>'T is done—and shivering in the gale (<i>Hours of Idleness</i>), i. 285</p> + +<p>'T is done—but yesterday a King! (<i>Ode to Napoleon Buonaparte</i>), iii. 305</p> + +<p>'T is done—I saw it in my dreams (<i>Hours of Idleness</i>), i. 211</p> + +<p>'T is fifty years, and yet their fray (<i>Poems 1816-1823</i>), iv. 542</p> + +<p>'T is known, at least it should be, that throughout (<i>Beppo</i>), iv. 159</p> + +<p>'T is midnight—but it is not dark (<i>Poems 1816-1823</i>), iv. 537</p> + +<p>'T is time this heart should be unmoved (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_86">vii. 86</a></p> + +<p>Titan! to whose immortal eyes (<i>Poems of July-September, 1816</i>), iv. 48</p> + +<p>To be the father of the fatherless (<i>Poems 1816-1823</i>), iv. 548</p> + +<p>To hook the Reader, you, John Murray (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_44">vii. 44</a></p> + +<p>'T was after dread Pultowa's day (<i>Maseppa</i>), iv. 207</p> + +<p>'T was now the hour, when Night had driven (<i>Hours of Idleness</i>), i. 149</p> + +<p>'T was now the noon of night, and all was still (<i>Hours of Idleness</i>), i. 217</p> + + +<p>Unhappy Dives! in an evil hour (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_7">vii. 7</a></p> + +<p>Up to battle! Sons of Suli (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_83">vii. 83</a></p> + + +<p>Warriors and chiefs! should the shaft or the sword (<i>Hebrew Melodies</i>), iii. 393</p> + +<p>We do not curse thee, Waterloo! (<i>Poems 1814-1816</i>), iii. 431</p> + +<p>We sate down and wept by the waters (<i>Hebrew Melodies</i>), iii. 402</p> + +<p>Weep, daughter of a royal line (<i>Poems 1809-1813</i>), iii. 45</p> + +<p>Well! thou art happy, and I feel (<i>Hours of Idleness</i>), i. 277; <i>iv. 37</i></p> + +<p><span class='pagenum'><a name="Page_457" id="Page_457">[457]</a></span> +Were my bosom as false as thou deem'st it to be (<i>Hebrew Melodies</i>), iii. 399</p> + +<p>What are to me those honours or renown? (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_85">vii. 85</a></p> + +<p>What are you doing now? (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_43">vii. 43</a></p> + +<p>What matter the pangs of a husband and father? (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_71">vii. 71</a></p> + +<p>What say <i>I</i>?—not a syllable further in prose (<i>Jeux d'Esprit, etc.</i>), vi. 39</p> + +<p>When a man hath no freedom to fight for at home (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_70">vii. 70</a></p> + +<p>When all around grew drear and dark (<i>Poems of the Separation</i>), iii. 544</p> + +<p>When amatory poets sing their woes (<i>Don Juan</i>, Canto V.), vi. 218</p> + +<p>When Bishop Berkeley said "there was no matter" (<i>Don Juan</i>, Canto XI.), vi. 427</p> + +<p>When coldness wraps this suffering clay (<i>Hebrew Melodies</i>), iii. 395</p> + +<p>When Dryden's fool, "unknowing what he sought" (<i>Poems 1809-1813</i>), iii. 59</p> + +<p>When energising objects men pursue (<i>Poems 1809-1813</i>), iii. 55</p> + +<p>When fierce conflicting passions urge (<i>Hours of Idleness</i>), i. 168</p> + +<p>When Friendship or Love (<i>Hours of Idleness</i>), i. 49</p> + +<p>When from the heart where Sorrow sits (<i>Poems 1809-1813</i>), iii. 69</p> + +<p>When I hear you express an affection so warm (<i>Hours of Idleness</i>), i. 23</p> + +<p>When I rov'd a young Highlander o'er the dark heath (<i>Hours of Idleness</i>), i. 191</p> + +<p>When Man, expell'd from Eden's bowers (<i>Hours of Idleness</i>), i. 282</p> + +<p>When Newton saw an apple fall, he found (<i>Don Juan</i>, Canto X.), vi. 400</p> + +<p>When slow Disease, with all her host of Pains (<i>Hours of Idleness</i> [<i>Childish Recollections</i>]), i. 84</p> + +<p>When some proud son of man returns to earth (<i>Hours of Idleness</i>), i. 280</p> + +<p>When the last sunshine of expiring Day (<i>Monody on the Death of Sheridan</i>), iv. 71</p> + +<p>When the vain triumph of the imperial lord (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_37">vii. 37</a></p> + +<p>When Thurlow this damned nonsense sent (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_17">vii. 17</a></p> + +<p>When Time, or soon or late, shall bring (<i>Poems, 1809-1813</i>), iii. 39</p> + +<p>When, to their airy hall, my Father's voice (<i>Hours of Idleness</i>), i. 21</p> + +<p>When we two parted (<i>Poems 1814-1816</i>), iii. 410</p> + +<p>Whene'er I view those lips of thine (<i>Hours of Idleness</i>), i. 76</p> + +<p>Where are those honours, Ida, once your own? (<i>Hours of Idleness</i>), i. 16</p> + +<p>White as a white sail on a dusky sea (<i>Island</i>, Canto IV.), v. 626</p> + +<p>Who hath not glowed above the page where Fame (<i>Poems 1814-1816</i>), iii. 415</p> + +<p>Who killed John Keats? (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_76">vii. 76</a></p> + +<p>Who would not laugh, if Lawrence, hired to grace (<i>Hints from Horace</i>), i. 389</p> + +<p>Why, how now, saucy Tom? (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_74">vii. 74</a></p> + +<p>Why, Pigot, complain? (<i>Hours of Idleness</i>), i. 53</p> + +<p>Why should my anxious breast repine? (<i>Hours of Idleness</i>), i. 220</p> + +<p>With Death doomed to grapple (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_64">vii. 64</a></p> + +<p>Without a stone to mark the spot (<i>Poems 1809-1813</i>), iii. 30</p> + +<p>Woman! Experience might have told me (<i>Hours of Idleness</i>), i. 43</p> + +<p>Would you go to the house by the true gate? (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_69">vii. 69</a></p> + +<p><span class='pagenum'><a name="Page_458" id="Page_458">[458]</a></span> +Ye cupids, droop each little head (<i>Hours of Idleness</i>), i. 74</p> + +<p>Ye scenes of my childhood, whose lov'd recollection (<i>Hours of Idleness</i>), i. 25</p> + +<p>Yes! wisdom shines in all his mien (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_12">vii. 12</a></p> + +<p>You call me still your <i>Life</i>.—Oh! change the word (<i>Poems 1809-1813</i>), iii. 72</p> + +<p>You have asked for a verse:—the request (<i>Poems 1816-1823</i>), iv. 565</p> + +<p>You say you love, and yet your eye (<i>Hours of Idleness</i>), i. 9</p> + +<p>Young Oak! when I planted thee deep in the ground (<i>Hours of Idleness</i>), i. 256</p> + +<p>Your pardon, my friend (<i>Hours of Idleness</i>), i. 63</p> + +<p>Youth, Nature, and relenting Jove (<i>Jeux d'Esprit, etc.</i>), <a href="#Page_10">vii. 10</a></p> + +</div> + +<p class="center" style="margin-top:6em;">THE END.</p> + +<hr /> + +<p class="center" style="font-size:smaller;">PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND BECCLES.</p> + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Works of Lord Byron, Vol. 7., by +George Gordon Byron + +*** END OF THIS PROJECT GUTENBERG EBOOK THE WORKS OF LORD BYRON, VOL. 7. *** + +***** This file should be named 27577-h.htm or 27577-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/7/5/7/27577/ + +Produced by Jonathan Ingram, David Cortesi, and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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