Poems List

To Lord Thurlow

To Lord Thurlow

'I lay my branch of laurel down.
Then thus to form Apollo's crown.
Let every other bring his own.'~Lord Thurlow's lines to Mr. Rogers


'I lay my branch of laurel down.'
Thou 'lay thy branch of laurel down!'
Why, what thou'st stole is not enow;
And, were it lawfully thine own,
Does Rogers want it most, or thou?
Keep to thyself thy wither'd bough,
Or send it back to Doctor Donne:
Were justice done to both, I trow,
He'd have but little, and thounone.


'Then thus to form Apollo's crown.'
A crown! why, twist it how you will,
Thy chaplet must be foolscap still.
When next you visit Delphi's town,
Inquire amongst your fellowlodgers,
They'll tell you Phoebus gave his crown,
Some years before your birth, to Rogers.


'Let every other bring his own.'
When coals to Newcastle are carried,
And owls sent to Athens, as wonders,
From his spouse when the R egent's unmarried,
Or Liverpool weeps o'er his blunders;
When Tories and Whigs cease to quarrel,
When Castlereagh's wife has an heir,
Then Rogers shall ask us for laurel,
And thou shalt have plenty to spare.
503

To George, Earl Delwarr

To George, Earl Delwarr

Oh! yes, I will own we were dear to each other;
The friendships of childhood, though fleeting are true;
The love which you felt was the love of a brother,
Nor less the affection I cherish'd for you.


But Friendship can vary her gentle dominion;
The attachment of years in a moment expires:
Like Love, too, she moves on a swiftwaving
pinion,
But glows not, like Love, with unquenchable fires.


Full oft have we wander'd through Ida together,
And blest were the scenes of our youth, I allow:
In the spring of our life, how serene is the weather!
But winter's rude tempests are gathering now.


No more with affection shall memory blending,
The wonted delights of our childhood retrace:
When pride steels the bosom, the heart is unbending,
And what would be Justice appears a disgrace.


However, dear George, for I still must esteem you;
The few whom I love I can never upbraid:
The chance which has lost may in future redeem you,
Repentance will cancel the vow you have made.


I will not complain, and though chill'd is affection,
With me no corroding resentment shall live:
My bosom is calm'd by the simple reflection,
That both may be wrong, and that both should forgive.


You knew that my soul, that my heart, my existence,
If danger demanded, were wholly your own.
You knew me unalter'd by years or by distance
Devoted to love and to friendship alone.


You knew but
away with the vain retropection!
The bond of affection no longer endures;
Too late you may droop o'er the fond recollection,
And sigh for the friend who was formerly yours.


For the present, we part,I
will hope not for ever;
For time and regret will restore you at last:
To forget our dimension we both should endeavour,
I ask no atonement, but days like the past.
545

To Emma

To Emma

Since now the hour is come at last,
When you must quit your anxious lover;
Since now our dream of bliss is past,
One pang, my girl, and all is over.


Alas! that pang will be severe,
Which bids us part to meet no more;
Which tears me far from one so dear,
Departing for a distant shore.


Well! we have pass'd some happy hours,
And joy will mingle with our tears;
When thinking on these ancient towers,
We shelter of our infant years;


Where from this Gothic casement's height,
We view's the lake, the park, the dell,
And still, though tears obstruct our sight,
We lingering look a last farewell,


O'er fields through which we used to run,
And spend the hours in childish play;
O'er shades where, when our race was done,
Reposing on my breast you lay;


Whilst I, admiring, too remiss,
Forgot to scare the hovering flies,
Yet envied every fly the kiss
It dared to give your slumbering eyes:


See still the little painted bark,
In which I row'd you o'er the lake;
See there, high waving o'er the park,
The elm I clamber'd for your sake.


These times are past — our joys are gone,
You leave me, leave this happy vale;
These scenes I must retrace alone:
Without thee what will they avail?


Who can conceive, who has not proved,
The anguish of a last embrace?
When, torn from all you fondly loved,
You bid a long adieu to peace.


This is the deepest of our woes,
For this these tears our cheeks bedew;
This is of love the final close,
Oh, God! the fondest, last adieu!
489

To Edward Noel Long, Esq.

To Edward Noel Long, Esq.

'Nil ego contulerim jucundo sanus amico.'~Horace.

Dear Long, in this sequester'd scene,
While all around in slumber lie,
The joyous days, which ours have been
Come rolling fresh on Fancy's eye;
Thus, if, amidst the gathering storm,
While clouds the darken'd noon deform,
Yon heaven assumes a varied glow,
I hail the sky's celestial bow,
Which spreads the sign of future peace,
And bids the war of tempests cease.
Ah! though the present brings but pain,
I think those days may come again;
Or if, in melancholy mood,
Some lurking envious fear intrude,
To check my bosom's fondest thought,
And interrupt the golden dream
I crush the fiend with malice fraught,
And, still, indulge my wonted theme.
Although we ne'er again can trace,
In Granta's vale, the pedant's lore,
Nor through the groves of Ida chace
Our raptured visions, as before;
Though Youth has flown on rosy pinion,
And Manhood claims his stern dominion,
Age will not every hope destroy,
But yields some hours of sober joy.
Yes, I will hope that Time's broad wing
Will shed around some dews of spring:
But, if his scythe must sweep the flowers
Which bloom among the fairy bowers,
Where smiling Youth delights to dwell,
And hearts with early rapture swell;
In frowning Age, with cold control,
Confines the current of the soul,
Congeals the tear of Pity's eye,
Or checks the sympathetic sigh,
Or hears, unmov'd, Misfortune's groan,
And bids me feel for self alone;
Oh! may my bosom never learn
To soothe its wonted heedless flow;
Still may I rove untutor'd, wild,
But ne'er forget another's woe.
Yes, as you knew me in the days
O'er which Remembrance yet delays
And even in age, at heart a child.


Though, now, on airy visions borne,
To you my soul is still the same.
Oft has it ben my fate to mourn,



And all my former joys are tame:
But, hence! ye hours of sabl hue!
Your frowns are gone, my sorrows o'er:
By every bliss my childhood knew,
I'll think upon your shade no more.
Thus, when the whirlwind's rage is past,
And caves their sullen roar enclose,
We heed no more the wintery blast,
When lull'd by zephyr to repose.


Full often has my infant Muse
Attun'd to love her languid lyre;
But, now, without a theme to choose,
The strains in stolen sighs expire.
My youthful nymps, alas! are flown;
E — is a wife, and C — a mother,
And Carolina sighs alone,
And Mary's given to another;
And Cora's eye, which roll'd on me,
Can now no more my love recall In
truth, dear LONG, 'twas time to flee For
Cora's eye will shine on all.
And though the Sun, with genial rays,
His beams aike to all displays,
And every lady's eye's a sun,
These last should be confin'd to one.
The souls' meridian don't become her,
Whose sun desplays a general summer!
Thus faint is every former flame,
And Passion's self is now a name;
As, when the ebbing flames are low,
The aid which once improv'd their light,
And bade them burn with fiercer glow,
Now quenches all their sparks in night;
Thus has it been with Passion's fires,
As many a boy and girl remembers,
While all the force of love expires,
Extinguish'd with the dying embers.


But now, dear LONG, 'tis midnight's noon,
And clouds obscure the watery moon,
Whose beauties I shall not rehearse,
Describ'd in every stripling's verse;
For why should I the path go o'er
Which every bard has trod before?
Yet ere yon silver lamp of night
Has thrice perform'd her stated round,
Has thrice retraced her path of light,
And chased away the gloom profound,
I trust that we, my gentle Friend,
Shall see her rolling orbit wend,
Above the dearloved
peaceful seat,



Which once contain'd our youth's retreat;
And then, with those our childhood knew,
We'll mingle in the festive crew;
While many a tale of former day
Shall wing the laughing hours away;
And all the flow of souls shall pour
Tha sacred intellectual shower,
Nor cease, till Luna's waning horn
Scarce glimmers through the mist of Morn.
519

To Dives. A Fragment

To Dives. A Fragment

Unhappy Dives! in an evil hour
'Gainst Nature's voice seduced to deeds accurst!
Once Fortune's minion, now thou feel'st her power;
Wrath's vial on thy lofty head bath burst.
In Wit, in Genius, as in Wealth the first,
How wondrous bright thy blooming morn arose!
But thou went smitten with th' unhallow'd thirst
Of crime unnamed,
and thy sad noon must close
In scorn, and solitude unsought, the worst of woes.
376

To Caroline: When I Hear That You Express An Affection So Warm

To Caroline: When I Hear That You Express An Affection So Warm

When I hear that you express an affection so warm,
Ne'er think, my beloved, that I do not believe;
For your lip would the soul of suspicion disarm,
And your eye beams a ray which can never deceive.


Yet, still, this fond bosom regrets, while adoring,
That love, like the leaf, must fall into the sear;
That age will come on, when remembrance, deploring,
Contemplates the scenes of her youth with a tear;


That the time must arrive, when, no longer retaining
Their auburn, those locks must wave thin to the breeze,
When a few silver hairs of those tresses remaining
Prove nature a prey to decay and disease.


'Tis this, my beloved, which spreads gloom o'er my features,
Though I ne'er shall presume to arraign the decree,
Which God has proclaim'd as the fate of his creatures,
In the death which will one day deprive you of me.


Mistake not, sweet sceptic, the cause of emotion,
No doubt can the mind of your lover invade;
He worships each look with such faithful devotion,
A smile can enchant, or a tear can dissuade.


But as death, my beloved, soon or late shall o'ertake us,
And our breasts, which alive with such sympathy glow,
Will sleep in the grave till the blast shall awake us,
When calling the dead, in earth's bosom laid low,


Oh! then let us drain, while we may, draughts of pleasure,
Which from passion like ours may unceasingly flow;
Let us pass round the cup of love's bliss in full measure,
And quaff the contents as our nectar below.


1805
429

To Caroline

To Caroline

Think'st thou I saw thy beauteous eyes,
Suffus'd in tears, implore to stay;
And heard unmov'd thy plenteous sighs,
Which said far more than words can say?

Though keen the grief thy tears exprest,
When love and hope lay both o'erthrown;
Yet still, my girl, this bleeding breast
Throbb'd, with deep sorrow, as thine own.

But, when our cheeks with anguish glow'd,
When thy sweet lips were join'd to mine;
The tears that from my eyelids flow'd
Were lost in those which fell from thine.

Thou could'st not feel my burning cheek,
Thy gushing tears had quench'd its flame,
And, as thy tongue essay'd to speak,
In sighs alone it breath'd my name.

And yet, my girl, we weep in vain,
In vain our fate in sighs deplore;
Remembrance only can remain,
But that, will make us weep the more.

Again, thou best belov'd, adieu!
Ah! if thou canst, o'ercome regret,
Nor let thy mind past joys review,
Our only hope is, to forget!
513

To Anne: Oh, Say Not, Sweet Anne

To Anne: Oh, Say Not, Sweet Anne

Oh, say not, sweet Anne, that the Fates have decreed
The heart which adores you should wish to dissever;
Such Fates were to me most unkind ones indeed,
To bear me from love and from beauty for ever.


Your frowns, lovely girl, are the Fates which alone
Could bid me from fond admiration refrain;
By these, every hope, every wish were o'erthrown,
Till smiles should restore me to rapture again.


As the ivy and oak, in the forest entwined,
The rage of the tempest united must weather;
My love and my life were by nature design'd
To flourish alike, or to perish together.


Then say not, sweet Anne, that the Fates have decreed
Your lover should bid you a lasting adieu;
Till Fate can ordain that his bosom shall bleed,
His soul, his existence, are centred in you.
513

To An Oak At Newstead

To An Oak At Newstead

Young Oak! when I planted thee deep in the ground,
I hoped that thy days would be longer than mine;
That thy dark‑waving branches would flourish around,
And ivy thy trunk with its mantle entwine.


Such, such was my hope, when in infancy's
On the land of my fathers I rear'd thee with pride;
They are past, and I water thy stem with my tears,
Thy decay not the weeds that surround thee can hide.


I left thee, my Oak, and, since that fatal hour,
A stranger has dwelt in the hall of my sire;
Till manhood shall crown me, not mine is the power,
But his, whose neglect may have bade thee expire.


Oh! hardy thou wenteven
now little care
Might revive thy young head, and thy wounds gently heal:
But thou went not fated affection to shareFor
who could suppose that a stranger would feel!


Ah, droop not, my Oak! lift thy head for a while;
Ere twice round yon Glory this planet shall run,
The hand of thy Master will teach thee to smile,
When Infancy's years of probation are done.


Oh, live then, my Oak! tow'r aloft from the weeds,
That clog thy young growth, and assist thy decay,
For still in thy bosom are life's early seeds,
And still may thy branches their beauty display.


Oh! yet, if maturity's years may be thine,
Though I shall lie low in the cavern of death,
On thy leaves yet the day‑beam of ages may shine,
Uninjured by time, or the rude winter's breath.


For centuries still may thy boughs lightly wave
O'er the Gorse of thy lord in thy canopy laid;
While the branches thus gratefully shelter his grave,
The chief who survives may recline in thy shade.


And as he, with his boys, shall revisit this spot,
He will tell them is whispers more softly to tread.
Oh! surely, by these I shall ne'er be forgot;
Remembrance still hallows the dust of the dead.


And here, will they say, when in life's glowing prime,
Perhaps he has pour'd forth his young simple lay,
And here must he sleep, till the moments of time
Are lost in the hours of Eternity's day.
536

To A Vain Lady

To A Vain Lady

Ah! heedless girl! why thus disclose
What ne'er was meant for other ears:
Why thus destroy thine own repose
And dig the source of future tears?


Oh, thou wilt weep, imprudent maid,
While lurking envious foes will smile,
For all the follies thou hast said
Of those who spoke but to beguile.


Vain girl! thy ling'ring woes are nigh,
If thou believ'st what striplings say:
Oh, from the deep temptation fly,
Nor fall the specious spoiler's prey.


Dost thou repeat, in childish boast,
The words man utters to deceive?
Thy peace, thy hope, thy all is lost,
If thou canst venture to believe.


While now amongst thy female peers
Thou tell'st again the soothing tale,
Canst thou not mark the rising sneers
Duplicity in vain would veil?


These tales in secret silence hush,
Nor make thyself the public gaze:
What modest maid without a blush
Recounts a flattering coxcomb's praise?


Will not the laughing boy despise
Her who relates each fond conceit Who,
thinking Heaven is in her eyes,
Yet cannot see the slight deceit?


For she who takes a soft delight
These amorous nothings in revealing,
Must credit all we say or write,
While vanity prevents concealing.


Cease, if you prize your beauty's reign!
No jealousy bids me reprove:
One, who is thus from nature vain,
I pity, but I cannot love.


January 15,1807.
460

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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.