Poems List

Oscar Of Alva: A Tale

Oscar Of Alva: A Tale

How sweetly shines through azure skies,
The lamp of heaven on Lora's shore;
Where Alva's hoary turrets rise,
And hear the din of arms no more!


But often has yon rolling moon
On Alva's casques of silver play'd;
And view'd at midnight's silent noon,
Her chief's in gleaming mail array'd:


And on the crimson'd rocks beneath,
Which scowl o'er ocean's sullen flow,
Pale in the scatter'd runks of death,
She saw the gasping warrior low;


While many an eye which ne'er again
Could mark the rising orb of day,
T'urn'd feebly from the gory plain,
Beheld in death her fading ray.


Once to those eyes the lamp of Love,
They blest her dear propitious light;
But now she glimmer'd from above,
A sad, funereal torch of night.


Faded is Alva's noble race,
And gray her towers are seen afar;
No more her heroes urge the chase,
Or roll the crimson tide of war.


But who was last of Alva's clan?
Why grows the moss on Alva's stone?
Her towers resound no steps of man,
They echo to the gale alone.


And when that gale is fierce and high,
A sound is heard in yonder hall;
It rises hoarsely through the sky,
And vibrates o'er the mould'ring wall.


Yes, when the eddying tempest sighs,
It shakes the shield of Oscar brave;
But there no more his banners rise,
No more his plumes of sable wave.


Fair shone the sun on Oscar's birth,
When Angus hail'd his eldest born
The vassals round their chieftain's hearth
Crowd to applaud the happy morn.


They feast upon the mountain deer,
The pibroch raised its piercing note;



To gladden more their highland cheer,
The strains in martial numbers float:


And they who heard the warnotes
wild
Hoped that one day the pibroch's strain
Should play belore the hero's child
While he should lead the tartan train.


Another year is qulckly past,
And Angus hails another son;
His natal day is like the last,
Nor soon the jocund feast was done.


Taught by their sire to bend the bow,
On Alva's dusky hills of wind,
The boys in childhood chased the roe,
And left their hounds in speed behind.


But ere their years of youth are o'er,
They mingle in the ranks of war;
They lightly wheel the bright claymore
And send the whistling arrow far.


Dark was the flow of Oscar's hair,
Wildly it stream'd along the gale;
But Allan's locks were bright and fair,
And pensive seem'd his cheek, and pale.


But Oscar own'd a hero's soul,
His dark eye shone through beams of truth;
Allan had early learn'd control,
And smooth his words had been from youth.


Both, both were brave; the Saxon spear
Was shiver'd oft beneath their steel;
And Oscar's bosom scorn'd to fear,
But Oscar's bosom knew to feel;


While Allan's soul belied his form,
Unworthy with such charms to dwell:
Keen as the lightning of the storm,
On foe, his deadly vengeance fell.


From high Southannon's distant tower
Arrived a young and noble dame;
With Kenneth's lands to form her dower,
Glenalvon's blueeyed
daughter came;


And Oscar claim'd the beauteous bride,
And Angus on his Oscar srniled:
It soothed the father's feudal pride
Thus to obtain Glenalvon's child.



Hark to the pibroch's pleasing note!
Hark to the swelling nuptial song!
In joyous strains the voices float,
And still the choral peal prolong.


See how the heroes' bloodred
plumes
Assembled wave in Alva's hall;
Each youth his varied plaid assumes,
Attending on thir chieftain's call.


It is not war their aid demands,
The pibroch plays the song of peace;
To Oscar's nuptials throng the bands,
Nor yet the sounds of pleasure cease.


But where is Oscar? sure 'tis late:
Is this a bridegroom's ardent flame?
While thronging guests and ladies wait,
Nor Oscar nor his brother came.


At length young Allan join'd the bride;
'Why comes not Oscar?' Angus said:
Is he not here?' the youth replied;
'With me he roved not o'er the glade:


'Perchance, forgetful of the day,
'Tis his to chase the bounding roe;
Or ocean's waves prolong his stay;
Yet Oscar's bark is seldom slow.'


'Oh, no!' the anguish'd Sire rejoin'd,
'Nor chase nor wave, my boy delay;
Would he to Mora seem unkind?
Would aught to her impede his way?


'Oh, search, ye chiefs! oh, search around!
Allan, with these through Alva fly;
Till Oscar, till my son is found,
Haste, haste, nor dare attempt reply.'


All is confusion — through the vale
The name of Oscar hoarsely rings,
It rises on the murmuring gale,
Till night expands her dusky wings;


It breaks the stillness of the night,
But echoes through her shades in vain;
It sounds through morning's misty light,
But Oscar comes not o'er the plain.


Three days,three sleepless nights, the Chief



For Oscar search'd each mountaln cave:
Then hope is lost; in boundless grief,
His locks in graytorn
ringlets wave.


'Oscar! my son! thou God of heaven,
Restore the prop of sinking age!
Or if that hope no more is given,
Yield his assassin to my rage.


'Yes, on some desert rocky shore
My Oscar's whiten'd bones must lie;
Then grant, thou God! I ask no more,
With him his frantic sire may die!


'Yet he may live, — away, despalr!
Be calm, my soul! he yet may live;
T'arraign my fate, my voice forbear!
O God! my impious prayer forgive.


'What, if he live for me no more,
I sink forgotten in the dust,
The hope of Alva's age is o'er:
Alas! can pangs like these be just?'


Thus did the hapless parent mourn,
Till Time, which soothes severest woe,
Had bade serenity return
And made the teardrop
cease to flow.


For still some latent hope survived
That Oscar might once more appear;
His hope now droop'd and now revived,
Till Time had told a tedious year.


Days roll'd along, the orb of light
Again had run his destined race;
No Oscar bless'd his father's sight,
And sorrow left a fainter trace.


For youthful Allan still remain'd,
And now his father's only joy:
And Mora's heart was quickly gain'd,
For beauty crown'd the fairhair'd
boy.


She thought that Oscar low was laid,
And Allan's face was wondrous fair;
If Oscar lived, some other maid
Had clairn'd his faithless bosom's care.


And Angus said, if one year more
In fruitless hope was pass'd away,
His fondest scruples should be o'er,



And he would name their nuptial day.


Slow roll'd the moons, but blest at last
Arrived the dearly destined morn
The year of anxious trembling past,
What smiles the lovers' cheeks adorn!


Hark to the pibroch's pleasing note!
Hark to the swelling nuptial song!
In joyous strains the voices float,
And still the choral peal prolong.


Again the clan, in festive crowd,
Throng through the gate of Alva's hall;
The sounds of mirth reecho
loud,
And all their former joy recall.


But who is he, whose darken'd brow
Glooms in the midst of general mirth?
Before his eyes' far fiercer glow
The blue flames curdle o'er the hearth.


Dark is the robe which wraps his form,
And tall his plume of gory red;
His voice is like the rising storm,
But light and trackless is his tread.


'Tis noon of night, the pledge goes round,
The bridegroom's health is deeply quaff'd;
With shouts the vaulted roofs resound,
And all combine to hail the draught.


Sudden the strangerchief
arose,
And all the clamorous crowd are hush'd;
And Angus' cheek with wonder glows,
And Mora's tender bosom blush'd


'Old rnan!'he cried,'this pledge is done;
Thou saw'st 'twas duly drank by me;
It hail'd the nuptials of thy son:
Now will I claim a pledge from thee.


'While all around is mirth and joy,
To bless thy Allan's happy lot,
Say, hadst thou ne'er another boy?
Say, why should Oscar be forgot?'


'Alas!' the hapless sire replied,
The big tear starting as he spoke
'When Oscar left my hail, or died,
This aged heart was almost broke,



'Thrice has the earth revolved her course
Since Oscar's form has bless'd my sight;
And Allan is my last resource,
Since martial Oscar's death or flight.'


'Tis well,' replied the stranger stern,
And fiercely flash'd his rolling eye;
'Thy Oscar's fate I fain would learn;
Perhaps the hero did not die.


'Perhaps, if those whom most he loved
Would call, thy Oscar might return;
Perchance the chief has only roved;
For him thy beltane yet may burn.


'Fill high the bowl the table round,
We will not climb the pledge by stealth;
With wine let every cup be crown'd
Pledge me departed Oscar's health.'


'With all my soul,' old Angus said,
And fill'd his goblet to the brim:
'Here's to my boy! alive or dead'
I ne'er shall find a son like him'


'Bravely. old man this health has sped;
But why does Allan trembling stand?
Come, drink remembrance of the dead,
And raise thy cup with firmer hand.'


The crimson glow of Allan's face
Was turn'd at once to ghastly hue;
The drops of death each other chase
Adown in agonizing dew.


Thrice did he raise the goblet high,
And thrice his lips refused to taste;
For thrice he caught the stranger's eye
On his with deadly fury placed.


'And is it thus a brother's hails
A brother's fond remembrance here?
If thus affection's strength prevails'
What might we not expect from fear?'


Roused by the sneer, he raised the bowl,
'Would Oscar now could share our mirth!'
Internal fear appall'd his soul;
He said and dash'd the cap to earth,


'Tis he! I hear my murderer's voice!'



Loud shrieks a darkly gleaming form.
'A murderer's voice!' the roof replies,
And deeply swells the bursting storm,


The tapers wink, the chieftains shrink,
The stranger's gone, — amidst the crew,
A form was seen in tartan green,
And tall the shade terrific grew.


His waist was bound with a broad belt round,
His plume of sable stream'd on high;
But his breast was bare, with the red wounds there,
And fix'd was the glare of his glassy eye.


And thrice he smiled, with his eyes so wild,
On Angus bending low the knee;
And thrice he frown'd on a chief on the ground
Whom shivering crowds with horror see


The bolts loud roll from pole to pole
The thunders through the welkin ring,
And the gleaming form, through the mist of the storm,
Was borne on high by the whirlwind's wing


Cold was the feast, the revel ceased.
Who lies upon the stony floor?
Oblivion press'd old Angus' breast,
At length his lifepulse
throbs once more.


'Away, away! let the leech essay
To pour the light on Allan's eyes;'
His sand is done, – his race is run –
Oh! never more shall Allan rise!


But Oscar's breast is cold as clay,
His locks are lifted by the gale;
And Allan's barbed arrow lay
With him In dark Glentanar's vale.


And whence the dreadful stranger came,
Or who, no mortal wight can tell;
But no one doubts the form of flame,
For Alva's sons knew Oscar well.


Ambition nerved young Allan's hand,
Exulting demons wing'd his dart;
While Envy waved her burnng brand,
And pour'd her venom round his heart.


Swift is the shaft from Allan's bow;
Whose streaming lifeblood
stains his side?
Dark Oscar's sable crest is low,



The dart has drunk his vital tide.


And Mora's eyes could Allan move,
She bade his wounded pride rebel:
Alas! that eyes which beam'd with love
Should urge the soul to deeds of hell.


Lo! seest thou not a lonely tomb
Which rises o'er a warrior dead?
It glimmers through the twilight gloom;
Oh! that is Allan's nuptial bed.


Far distant far, the noble grave
Which held his clan's great ashes stood;
And o'er his corse no banners wave,
For they were stain'd with kindred blood.


What minstrel gray, what hoary bard,
Shall Allan's deeds on harpstrings
raise?
The song is glory's chief reward,
But who can strike a murderer's praise?


Unstrung, untouch'd, th harp must stand,
No minstrel dare the theme awake;
Guilt would benumb his palsied hand,
His harp in shuddering chords would break.


No lyre of fame, no hallow'd verse,
Shall sound his glories high in air:
A dying father's bitter curse,
A brother's deathgroan
echoes there.
👁️ 586

On The Day Of The Destruction Of Jerusalem By Titus

On The Day Of The Destruction Of Jerusalem By Titus

From the last hill that looks on thy once holy dome,
I beheld thee, oh Sion! when render'd to Rome:
'Twas thy last sun went down, and the flames of thy fall
Flash'd back on the last glance I gave to thy wall.


I look'd for thy temple, I look'd for my home,
And forgot for a moment my bondage to come;
I beheld but the deathfire
that fed on thy fane,
And the fastfetter'd
hands that made vengeance in vain.


Oh many an eve, the high spot whence I gazed
Had reflected the last beam of day as it blazed;
While I stood on the height, and beheld the decline
Of the rays from the mountain that shone on thy shrine.


And now on that mountain I stood on that day,
But I mark'd not the twilight beam melting away;
Oh! would that the lightning had glared in its stead,
And the thunderbolt burst on the conqueror's head!


But the gods of the Pagan shall never profane
The shrine where Jehovah disdain'd not to reign;
And scatter'd and scorn'd as thy people may be,
Our worship, oh Father! is only for thee.
👁️ 463

On The Death Of Mr. Fox

On The Death Of Mr. Fox

The following iiliberal impromptu appeared in a morning papaer:

'Our nation's foes lament on Fox's death,
But bless the hour when PITT resign'd his breath:
These feelings wide, let sense and truth unclue,
We give the palm where Justice points its due.'


To which the author of these pieces sent the following reply :


Oh factious viper! whose envenom'd tooth
Would mangle still the dead, perverting truth;
What though our 'nation's foes' lament the fate
With generous' feeling, of the good and great'
Shall dastard tongues essay to blast the name
Of him whose meed exists in endless fame?
When PITT expired in plenitude of power,
Though Ilisuccess obscured his dying hour,
Pity her dewy wings before him spread,
For noble spirits 'war not with the dead:'
His friends, in tears, a last sad requiem gave,
As all his errors slumber'd in the grave;
He sunk, an Atlas bending 'neath the weight
Of cares o'erwhelmlng our conflicting state:
When, lo! a Hercules in FOX appear'd
Who for a time the ruin'd fabric rear'd:
He, too, is fall'n, who Britain's loss supplied,
With him our fast reviving hopes have died;
Not one great people only raise his urn,
All Europe's farextended
regions mourn.
'These feelings wide, let sense and truth unclue,
To give the palm where Justice points its due;'
Yet let not canker'd Calumny assail,
Or round our statesman wind her gloomy veil.
FOX o'er whose corse a mourning world must weep,
Whose dear remains in honour'd marble sleep;
For whom, at last, e'en hostile nations groan,
While friends and foes alike his talents own;
FOX shall in Britain's future annals shine,
Nor e'en to PITT the patriot's palm resign;
Which Envy, wearing Candour's sacred mask,
For PITT, and PITT alone, has dared to ask.
👁️ 437

On Revisiting Harrow

On Revisiting Harrow

Here once engaged the stranger's view
Young Friendship's record simply traced;
Few were her words; but yet, though few,
Resentment's hand the line defaced.


Deeply she cutbut
not erased,
The characters were still so pain,
That Friendship once return'd, and gazed,Till
Memory hail'd the words again.


Repentance placed them as before;
Forgiveness join d her gentle name;
So fair the inscription seem'd once more,
That Friendship thought it still the same.


Thus might the Record now have been;
But, ah, in spite of Hopes endeavour,
Or Friendships tears, Pride rush'd between
And blotted out the line for ever.
👁️ 549

On The Bust Of Helen By Canova

On The Bust Of Helen By Canova

In this beloved marble view,
Above the works and thoughts of man,
What Nature could, but would not, do,
And Beauty and Canova can!
Beyond imagination's power,
Beyond the Bard's defeated art,
With immortality her dower,
Behold the Helen of the heart!
👁️ 790

On My Thirty-Third Birthday, January 22, 1821

On My Thirty-Third Birthday, January 22, 1821

Through life's dull road, so dim and dirty,
I have dragg'd to threeandthirty.
What have these years left to me?
Nothingexcept
thirtythree.
👁️ 415

On Napoleon's Escape From Elba

On Napoleon's Escape From Elba

Once fairly set out on his party of pleasure,
Taking towns at his liking, and crowns at his leisure,
From Elba to Lyons and Paris he goes,
Making balls for the ladies, and bows tohis foes.
👁️ 456

On Lord Thurlow's Poems

On Lord Thurlow's Poems

When Thurlow this damn'd nonsense sent
(I hope I am not violent),
Nor men nor gods knew what he meant.


And since not even our Rogers' praise
To common sense his thoughts could raiseWhy
would they let him print his lays'


To me, divine Apollo, grantO!
Hermilda s first and second canto,
I'm fitting up a new portmanteau;


And thus to furnish decent lining,
My own and others' bays I'm twining,So,
gentle Thurlow, throw me thine in.
👁️ 556

On Chillon

On Chillon

Eternal Spirit of the chainless Mind!
Brightest in dungeons, Liberty, thou art;
For there thy habitation is the heart—
The heart which love of thee alone can bind;
And when thy sons to fetters are consigned,


To
fetters, and the damp vault's dayless gloom—
Their country conquers with their martyrdom,
And Freedom's fame finds wings on every wind.
Chillon! thy prison is a holy place,
And thy sad floor and altar, for 'twas trod,
Until his very steps have left a trace,
Worn, as if thy cold pavement were a sod,
By Bonnivard.—May none those marks efface!
For they appeal from tyranny to God.
👁️ 552

On A Cornelian Heart Which Was Broken

On A Cornelian Heart Which Was Broken

Illfated
Heart! And can it be,
That thou should'st thus be rent in vain?
Have years of care for thine and thee
Alike been all employ'd in vain?


Yet precious seems each shatter'd part
And every fragment dearer grown
Since he who wears thee feels thou art
A fitter emblem of his own.


March 16, 1812
👁️ 393

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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.