Poems List

To Thyrza: And Thou Art Dead, As Young And Fair

To Thyrza: And Thou Art Dead, As Young And Fair

And thou art dead, as young and fair
As aught of mortal birth;
And form so soft, and charms so rare,
Too soon return'd to Earth!
Though Earth received them in her bed
And o'er the spot the crowd may tread
In carelessness or mirth,
There is an eye which could not brook
A moment on that grave to look.


I will not ask where thou liest low,
Nor gaze upon the spot;
There flowers or weeds at will may grow,
So I behold them not:
It is enough for me to prove
That what I loved, and long must love,
Like common earth can rot;
To me there needs no stone to tell,
'Tis Nothing that I loved so well.


Yet did I love thee to the last
As fervently as thou,
Who didst not change through all the past,
And cans't not alter now.
The love where Death has set his seal,
Nor age can chill, nor rival steal,
Nor falsehood disavow:
And, what were worse, thou canst not see
Or wrong, or change, or fault in me.


The better days of life were ours;
The worst can be but mine:
The sun that cheers, the storm that lowers,
Shall never more be thine.
The silence of that dreamless sleep
I envy now too much to weep;
Nor need I to repine,
That all those charms have pass'd away
I might have watch'd through long decay.


The flower in ripen'd bloom unmatch'd
Must fall the earliest prey;
Though by no hand untimely snatch'd,
The leaves must drop away:
And yet it were a greater grief
To watch it withering, leaf by leaf,
Than see it pluck'd today;
Since earthly eye but ill can bear
To trace the change to foul from fair.


I know not if I could have borne
To see thy beauties fade;



The night that followed such a morn
Had worn a deeper shade:
Thy day without a cloud hath passed
And thou wert lovely to the last;
Extinguish'd, not decay'd;
As stars that shoot along the sky
Shine brightest as they fall from high.


As once I wept, if I could weep,
My tears might well be shed,
To think I was not near to keep
One vigil o'er thy bed;
To gaze, how fondly! on thy face,
To fold thee in a faint embrace,
Uphold thy drooping head;
And show that love, however vain,
Nor thou nor I can feel again.


Yet how much less it were to gain,
Though thou hast left me free,
The loveliest things that still remain,
Than thus remember thee!
The all of thine that cannot die
Through dark and dread Eternity
Returns again to me,
And more thy buried love endears
Than aught except its living years.
427

To Thomas Moore

To Thomas Moore

My boat is on the shore,
And my bark is on the sea;
But, before I go, Tom Moore,
Here's a double health to thee!


Here's a sigh to those who love me,
And a smile to those who hate;
And, whatever sky's above me,
Here's a heart for every fate.


Though the ocean roar around me,
Yet it still shall bear me on;
Though a desert should surround me,
It hath springs that may be won.


Were't the last drop in the well,
As I gasp'd upon the brink,
Ere my fainting spirit fell,
'Tis to thee that I would drink.


With that water, as this wine,
The libation I would pour
Should be peace
with thine and mine,
And a health to thee, Tom Moore!
567

To Thomas Moore : Written The Evening Before His Visit To Mr. Leigh Hunt In

To Thomas Moore : Written The Evening Before His Visit To Mr. Leigh Hunt In
Horsemonger Lane Gaol, May 19, 1813

Oh you, who in all names can tickle the town,
Anacreon, Tom Little, Tom Moore, or Tom Brown,
For hang me if I know of which you may most brag,
Your Quarto twopounds,
or your Twopenny
Post Bag;


But now to my letterto
yours 'tis an answerTomorrow
be with me, as soon as you can, sir,
All ready and dress'd for proceeding to spunge on
(According to compact) the wit in the dungeonPray
Phobus at length our political malice
May not get us lodgings within the same palace!
I suppose that tonight
you're engaged with some codgers,
And for Sotheby's Blues have deserted Sam Rogers;
And I, though with cold I have nearly my death got,
Must put on my breeches, and wait on the Heathcote;
But tomorrow,
at four, we will both play the Scurra,
And you'll be Catullus, the Regent Mamurra.
434

To The Earl Of Clare

To The Earl Of Clare

'Tu semper amoris
Sisd memor, etcari comitis ne abscedat imago'~Val Flac


Friend of my youth! when young we roved,
Like striplings mutually beloved,
With friendship's purest glow,
The bliss which wing'd those rosy hours
Was such as pleasure seldom showers
On mortals here below.


The recollectlon seems alone
Dearer than all the joys I've known,
When distant far from you:
Though pain, 'tis still a pleasing pain,
To trace those days and hours again,
And sigh again, adieu!


My pensive memory lingers o'er
Those scenes to be enjoy'd no more,
Those scenes regretted ever
The measure of our youth is full,
Life's evening dream is dark and dull,
And we rnay meet ah!
never!


As when one parent spring supplies
Two strearns which from one fountain rise
Together join'd in 'vain;
How soon' diverging from their source,
Each murmuring, seeks another course,
Till mingled in the main!


Our vital streams of weal or woe,
Though near, alas! distinctly flow,
Nor mingle as before:
Now swift or slow, now black or clear,
Till death's unfathom'd gulf appear,
And both shall quit the shore.


Our souls, my friend! which once supplied
One wish, nor breathed a thought beside,
Now flow in different channels:
Disdaining humbler rural sports,
'Tis yours to mix in polish'd courts,
And shine in fashion's annals


;'Tis mine to waste on love my time,
Or vent my reveries in rhyme,
Without the aid of reason;
For sense and reason (critics know it)
Have quitted every amorous poet,
Nor left a thought to seize on.



Poor LITTLE! sweet, melodlous bard!
Of late esteem'd it monstrous hard
That he, who sang before all,He
who the lore of love expanded,By
dire reviewers should be branded
As void of wit and moral.


And yet, while Beauty's praise is thine,
Harmonious favourite of the nine,
Repine not at thy lot.
Thy soothing lays may still be read,
When Persecution's arm is dead,
And critics are forgot.


Still I must yield those worthies merit,
Who chasten, with unsparing spirit,
Bad rhymes, and those who write them;
And though myself may be the next
By criticism to be vext,
I really will not fight them.


Perhaps they wouid do quite as well
To break the rudely sounding shell
Of such a young beginner:
He who offends at pert nineteen,
Ere thirty may become, I ween,
A very harden'd sinner.


Now, Clare, I must return to you;
And, sure, apologies are due:
Accept, then, my concession
In truth dear Clare, in fancy's flight
I soar along from left to right;
My muse admires digression


I think I said 'twould he your fate
To add one star to royal state;May
regal smiles attend you!
And should a noble monarch reign,
You will not seek his smiles in vain,
If worth can recommend you.


Yet since in danger courts abound,
Where specious rivals glitter round,
From snares may saints preserve you;
And grant your love or friendship ne'er
From any claim a kindred care,
But those who best deserve you!


Not for a moment may you stray
From truth's secure, unerring way!



May no delights decoy!
O'er roses may your footsteps move,
Your smiles be ever smiles of love,
Your tears be tears of joy!


Oh! if you wish that happiness
Your coming days and years may bless,
And virtues crown your brow;
Be still as you were wont to be,
Spotless as you've been known to me,Be
still as you are now.


And though some trifling share of praise,
To cheer my last declining days,
To me were doubly dear;
Whilst blessing your beloved name
I'd waive at once a poet's fame,
To prove a prophet here.
457

To The Countess Of Blessington

To The Countess Of Blessington

You have ask'd for a verse:the
request
In a rhymer 'twere strange to deny;
But my Hippocrene was but my breast,
And my feelings (its fountain) are dry.


Were I now as I was, I had sung
What Lawrence has painted so well;
But the strain would expire on my tongue,
And the theme is too soft for my shell.


I am ashes where once I was fire,
And the bard in my bosom is dead;
What I loved I now merely admire,
And my heart is as grey as my head.


My life is not dated by yearsThere
are moments which act as plough;
And there is not a furrow appears
But is deep in my soul as my brow.


Let the young and the brilliant aspire
To sing what I gaze on in vain;
For sorrow has torn from my lyre
The string which was worthy the strain.
501

To Romance

To Romance

Parent of golden dreams, Romance!
Auspicious Queen of childish joys,
Who lead'st along, in airy dance,
Thy votive train of girls and boys;
At length, in spells no longer bound,
I break the fetters of my youth;
No more I tread thy mystic round,
But leave thy realms for those of Truth.

And yet 'tis hard to quit the dreams
Which haunt the unsuspicious soul,
Where every nymph a goddess seems,
Whose eyes through rays immortal roll;
While Fancy holds her boundless reign,
And all assume a varied hue;
When Virgins seem no longer vain,
And even Woman's smiles are true.

And must we own thee, but a name,
And from thy hall of clouds descend?
Nor find a Sylph in every dame,
A Pylades in every friend?
But leave, at once, thy realms of air i
To mingling bands of fairy elves;
Confess that woman's false as fair,
And friends have feeling forthemselves?


With shame, I own, I've felt thy sway;
Repentant, now thy reign is o'er;
No more thy precepts I obey,
No more on fancied pinions soar;
Fond fool! to love a sparkling eye,
And think that eye to truth was dear;
To trust a passing wanton's sigh,
And melt beneath a wanton's tear!

Romance! disgusted with deceit,
Far from thy motley court I fly,
Where Affectation holds her seat,
And sickly Sensibility;
Whose silly tears can never flow
For any pangs excepting thine;
Who turns aside from real woe,
To steep in dew thy gaudy shrine.

Now join with sable Sympathy,
With cypress crown'd, array'd in weeds,
Who heaves with thee her simple sigh,
Whose breast for every bosom bleeds;
And call thy sylvan female choir,
To mourn a Swain for ever gone,
Who once could glow with equal fire,


But bends not now before thy throne.

Ye genial Nymphs, whose ready tears
On all occasions swiftly flow;
Whose bosoms heave with fancied fears,
With fancied flames and phrenzy glow
Say, will you mourn my absent name,
Apostate from your gentle train
An infant Bard, at least, may claim
From you a sympathetic strain.

Adieu, fond race! a long adieu!
The hour of fate is hovering nigh;
E'en now the gulf appears in view,
Where unlamented you must lie:
Oblivion's blackening lake is seen,
Convuls'd by gales you cannot weather,
Where you, and eke your gentle queen,
Alas! must perish altogether.
552

To Mr. Murray (Strahan, Tonson Lintot Of The Times)

To Mr. Murray (Strahan, Tonson Lintot Of The Times)

Strahan, Tonson Lintot of the times,
Patron and publisher of rhymes,
For thee the bard up Pindus climbs,
My Murray.


To thee, with hope and terror dumb,
The unedged MS. authors come;
Thou printest all and
sellest someMy
Murray.


Upon thy table's baize so green
The last new Quarterly is seen,But
where is thy new Magazine,
My Murray?


Along thy sprucest bookshelves shine
The works thou deemest most divineThe
'Art of Cookery,' and mine,
My Murray.


Tours, Travels, Essays, too, I wist,
And Sermons, to thy mill bring grist;
And then thou hast the 'Navy List,'
My Murray.


And Heaven forbid I should conclude
Without 'the Board of Longitude,'
Although this narrow paper would,
My Murray.


Venice, March 25, 1818.
437

To Mr. Murray

To Mr. Murray

To hook the reader, you, John Murray,
Have publish'd 'Anjou's Margaret,
Which won't be sold off in a hurry
(At least, it has not been as yet);
And then, still further to bewilder em,
Without remorse, you set up 'Ilderim;'
So mind you don't get into debt,
Because as how, if you should fail,
These books would he but baddish bail.


And mind you do not let escape
These rhymes to Morning Post or Parry,
Which would be very treacherousvery,
And get me into such a scrape!
For, firstly, I should have to sally,
All in my little boat, against a Galley;
And, should I chance to slay the Assyrian wight,
Have next to combat with the female knight.


March 25, 1817.
480

To Marion

To Marion

Marion! why that pensive brow?
What disgust to life hast thou?
Change that discontented air;
Frowns become not one so fair.
'Tis not love disturbs thy rest,
Love's a stranger to thy breast;
He in dimpling smiles appears,
Or mourns in weedy timid tears'
Or bends the languid eyelid down,
But shuns the cold forbidding frown.
Then resume thy former fire
Some will love, and all admire;
While that icy aspect chills us,
Nought but cool indifference thrills us.
Wou'dst thou wandering hearts beguile,
Smile at least, or seem to smile.
Eyes like thine were never meant
To hide their orbs in dark restraint.
Spite of all thou fain wouldst say,
Still in truant beams they play.
Thy lips – but here my modest Muse
Her impulse chaste must needs refuse:
She blushes, curt'sies, frowns,– in short she
Dreads lest the subject should transport me;
And flying off in search of reason,
Brings prudence back in proper season.
All I shall therefore say (whate'er
I think, is neither here nor there)
Is, that such lips of looks endearing,
Were form'd for better things than sneering:
Of soothing compliments divested,
Advice at least's disinterested;
Such is my artless song to thee,
From all the flow of flattery free;
Counsel like mine is as a brother's,
My heart is given to some others;
That is to say, unskill'd to cozen
It shares itself among a dozen.


Marion, adieu! oh, pr'ythee slight not
This warning, though it may delight not;
And, lest my precepts be displeasing
To those who think remonstrance teasing:
At once I'll tell thee our opinion
Concerning woman's soft dominion:
Howe'er we gaze with admiration
On eyes of blue or lips carnation,
Howe'er the flowing locks attract us,
Howe'er those beauties may distract us,
Still fickle, we are prone to rove,
These cannot fix our souls to love;
It is not too severe a stricture



To say they form a pretty picture;
But wouldst thou see the secret chain
Which binds us in your humble train,
To hail you queens of all creation,
Know, in a word, 'tis ANIMATION.
433

To M. S. G.

To M. S. G.

Whene'er I view those lips of thine,
Their hue invites my fervent kiss;
Yet, I forego that bliss divine,
Alas! it wereunhallow'd
bliss.

Whene'er I dream of that pure breast,
How could I dwell upon its snows!
Yet, is the daring wish represt,
For that,would
banish its repose.

A glance from thy soulsearching
eye
Can raise with hope, depress with fear;
Yet, I conceal my love,and
why?
I would not force a painful tear.

I ne'er have told my love, yet thou
Hast seen my ardent flame too well;
And shall I plead my passion now,
To make thy bosom's heaven a hell?

No! for thou never canst be mine,
United by the priest's decree:
By any ties but those divine,
Mine, my belov'd, thou ne'er shalt be.

Then let the secret fire consume,
Let it consume, thou shalt not know:
With joy I court a certain doom,
Rather than spread its guilty glow.

I will not ease my tortur'd heart,
By driving doveey'd
peace from thine;
Rather than such a sting impart,
Each thought presumptuous I resign.

Yes! yield those lips, for which I'd brave
More than I here shall dare to tell;
Thy innocence and mine to save,I
bid thee now a last farewell.

Yes! yield that breast, to seek despair
And hope no more thy soft embrace;
Which to obtain, my soul would dare,
All, all reproach, but thy disgrace.

At least from guilt shalt thou be free,
No matron shall thy shame reprove;
Though cureless pangs may prey on me,
No martyr shalt thou be to love.
453

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Identification and basic context

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

Childhood and education

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

Literary trajectory

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

Works, style, and literary characteristics

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

Cultural and historical context

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

Personal life

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

Recognition and reception

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

Influences and legacy

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

Interpretation and critical analysis

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

Curiosities and lesser-known aspects

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

Death and memory

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