The Works of Lord Byron. Vol. 5 Poetry
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The Works of Lord Byron. Vol. 5 Poetry
By Baron George Gordon Byron Byron
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Book Description

Table of Contents
  • The Works OF LORD BYRON
    • A NEW, REVISED AND ENLARGED EDITION WITH ILLUSTRATIONS.
  • Poetry. Vol. V.
    • EDITED BY ERNEST HARTLEY COLERIDGE, M.A., HON. F.R.S.L.
      • LONDON: JOHN MURRAY, ALBEMARLE STREET. NEW YORK: CHARLES SCRIBNER'S SONS.
        • 1901.
      • 1901.
    • LONDON: JOHN MURRAY, ALBEMARLE STREET. NEW YORK: CHARLES SCRIBNER'S SONS.
      • 1901.
    • 1901.
    • TRANSCRIBER'S NOTES
    • PREFACE TO THE FIFTH VOLUME.
    • CONTENTS OF VOL. V
    • LIST OF ILLUSTRATIONS
    • SARDANAPALUS: A TRAGEDY.
    • INTRODUCTION TO SARDANAPALUS
      • TO THE ILLUSTRIOUS GOETHE A STRANGER PRESUMES TO OFFER THE HOMAGE OF A LITERARY VASSAL TO HIS LIEGE LORD, THE FIRST OF EXISTING WRITERS, WHO HAS CREATED THE LITERATURE OF HIS OWN COUNTRY, AND ILLUSTRATED THAT OF EUROPE. THE UNWORTHY PRODUCTION WHICH THE AUTHOR VENTURES TO INSCRIBE TO HIM IS ENTITLED SARDANAPALUS.[2]
    • TO THE ILLUSTRIOUS GOETHE A STRANGER PRESUMES TO OFFER THE HOMAGE OF A LITERARY VASSAL TO HIS LIEGE LORD, THE FIRST OF EXISTING WRITERS, WHO HAS CREATED THE LITERATURE OF HIS OWN COUNTRY, AND ILLUSTRATED THAT OF EUROPE. THE UNWORTHY PRODUCTION WHICH THE AUTHOR VENTURES TO INSCRIBE TO HIM IS ENTITLED SARDANAPALUS.[2]
    • PREFACE
    • SARDANAPALUS.[5]
      • ACT I.
        • Scene I.—A Hall in the Palace.
        • Scene II.
      • Scene I.—A Hall in the Palace.
      • Scene II.
      • ACT II.
      • ACT III.
      • ACT IV.
      • ACT V.
        • Scene I.-The same Hall in the Palace.
      • Scene I.-The same Hall in the Palace.
      • FOOTNOTES:
    • ACT I.
      • Scene I.—A Hall in the Palace.
      • Scene II.
    • Scene I.—A Hall in the Palace.
    • Scene II.
    • ACT II.
    • ACT III.
    • ACT IV.
    • ACT V.
      • Scene I.-The same Hall in the Palace.
    • Scene I.-The same Hall in the Palace.
    • FOOTNOTES:
    • THE TWO FOSCARI:[34] AN HISTORICAL TRAGEDY.[35]
    • INTRODUCTION TO THE TWO FOSCARI
    • THE TWO FOSCARI.
      • ACT I.
        • Scene I.—A Hall in the Ducal Palace.
      • Scene I.—A Hall in the Ducal Palace.
      • ACT II.
        • Scene I.—A hall in the Doge's Palace.
      • Scene I.—A hall in the Doge's Palace.
      • ACT III.
        • Scene I.—The prison of Jacopo Foscari.
      • Scene I.—The prison of Jacopo Foscari.
      • ACT IV.
        • Scene I.—A Hall in the Ducal Palace.
      • Scene I.—A Hall in the Ducal Palace.
      • ACT V.
        • Scene I.—The Doge's Apartment.
      • Scene I.—The Doge's Apartment.
      • FOOTNOTES:
    • ACT I.
      • Scene I.—A Hall in the Ducal Palace.
    • Scene I.—A Hall in the Ducal Palace.
    • ACT II.
      • Scene I.—A hall in the Doge's Palace.
    • Scene I.—A hall in the Doge's Palace.
    • ACT III.
      • Scene I.—The prison of Jacopo Foscari.
    • Scene I.—The prison of Jacopo Foscari.
    • ACT IV.
      • Scene I.—A Hall in the Ducal Palace.
    • Scene I.—A Hall in the Ducal Palace.
    • ACT V.
      • Scene I.—The Doge's Apartment.
    • Scene I.—The Doge's Apartment.
    • FOOTNOTES:
    • CAIN: A MYSTERY.
    • INTRODUCTION TO CAIN.
      • TO SIR WALTER SCOTT, BART., THIS MYSTERY OF CAIN IS INSCRIBED, BY HIS OBLIGED FRIEND AND FAITHFUL SERVANT, THE AUTHOR.[86]
    • TO SIR WALTER SCOTT, BART., THIS MYSTERY OF CAIN IS INSCRIBED, BY HIS OBLIGED FRIEND AND FAITHFUL SERVANT, THE AUTHOR.[86]
    • PREFACE
    • CAIN: A MYSTERY.
      • ACT I.
        • Scene I.—The Land without Paradise.—Time, Sunrise.
      • Scene I.—The Land without Paradise.—Time, Sunrise.
      • ACT II.
        • Scene I.—The Abyss of Space.
        • Scene II.—Hades.
      • Scene I.—The Abyss of Space.
      • Scene II.—Hades.
      • ACT III.
        • Scene I.—The Earth, near Eden, as in Act I.
      • Scene I.—The Earth, near Eden, as in Act I.
      • FOOTNOTES:
    • ACT I.
      • Scene I.—The Land without Paradise.—Time, Sunrise.
    • Scene I.—The Land without Paradise.—Time, Sunrise.
    • ACT II.
      • Scene I.—The Abyss of Space.
      • Scene II.—Hades.
    • Scene I.—The Abyss of Space.
    • Scene II.—Hades.
    • ACT III.
      • Scene I.—The Earth, near Eden, as in Act I.
    • Scene I.—The Earth, near Eden, as in Act I.
    • FOOTNOTES:
    • HEAVEN AND EARTH; A MYSTERY.
    • INTRODUCTION TO HEAVEN AND EARTH.
    • HEAVEN AND EARTH.
      • PART I.
        • Scene I.—A woody and mountainous district near Mount Ararat.—Time, midnight.
        • Scene II.—Enter Irad and Japhet.
        • Scene III.—The mountains.—A cavern,[144] and the rocks of Caucasus.
      • Scene I.—A woody and mountainous district near Mount Ararat.—Time, midnight.
      • Scene II.—Enter Irad and Japhet.
      • Scene III.—The mountains.—A cavern,[144] and the rocks of Caucasus.
      • FOOTNOTES:
    • PART I.
      • Scene I.—A woody and mountainous district near Mount Ararat.—Time, midnight.
      • Scene II.—Enter Irad and Japhet.
      • Scene III.—The mountains.—A cavern,[144] and the rocks of Caucasus.
    • Scene I.—A woody and mountainous district near Mount Ararat.—Time, midnight.
    • Scene II.—Enter Irad and Japhet.
    • Scene III.—The mountains.—A cavern,[144] and the rocks of Caucasus.
    • FOOTNOTES:
    • WERNER; OR, THE INHERITANCE: A TRAGEDY.
    • INTRODUCTION TO WERNER.
      • Note to the Introduction to Werner.
      • TO THE ILLUSTRIOUS GOETHE BY ONE OF HIS HUMBLEST ADMIRERS, THIS TRAGEDY IS DEDICATED.
    • Note to the Introduction to Werner.
    • TO THE ILLUSTRIOUS GOETHE BY ONE OF HIS HUMBLEST ADMIRERS, THIS TRAGEDY IS DEDICATED.
    • PREFACE
    • WERNER; OR, THE INHERITANCE.
      • ACT I.
        • Scene I.—The Hall of a decayed Palace near a small Town on the Northern Frontier of Silesia—the Night tempestuous.
      • Scene I.—The Hall of a decayed Palace near a small Town on the Northern Frontier of Silesia—the Night tempestuous.
      • ACT II.
        • Scene I.—A Hall in the same Palace.
        • Scene II.—The Apartment of Werner, in the Palace.
      • Scene I.—A Hall in the same Palace.
      • Scene II.—The Apartment of Werner, in the Palace.
      • ACT III.
        • Scene I.—A Hall in the same Palace, from whence the secret Passage leads.
        • Scene II.—Stralenheim's Chamber.
        • Scene III.—The secret Passage.
        • Scene IV.—A Garden.
      • Scene I.—A Hall in the same Palace, from whence the secret Passage leads.
      • Scene II.—Stralenheim's Chamber.
      • Scene III.—The secret Passage.
      • Scene IV.—A Garden.
      • ACT IV.
        • Scene I.—A Gothic Hall in the Castle of Siegendorf, near Prague.
      • Scene I.—A Gothic Hall in the Castle of Siegendorf, near Prague.
      • ACT V.
        • Scene I.—A large and magnificent Gothic Hall in the Castle of Siegendorf, decorated with Trophies, Banners, and Arms of that Family.
        • Scene II.—The Interior of the Turret.
      • Scene I.—A large and magnificent Gothic Hall in the Castle of Siegendorf, decorated with Trophies, Banners, and Arms of that Family.
      • Scene II.—The Interior of the Turret.
      • FOOTNOTES:
    • ACT I.
      • Scene I.—The Hall of a decayed Palace near a small Town on the Northern Frontier of Silesia—the Night tempestuous.
    • Scene I.—The Hall of a decayed Palace near a small Town on the Northern Frontier of Silesia—the Night tempestuous.
    • ACT II.
      • Scene I.—A Hall in the same Palace.
      • Scene II.—The Apartment of Werner, in the Palace.
    • Scene I.—A Hall in the same Palace.
    • Scene II.—The Apartment of Werner, in the Palace.
    • ACT III.
      • Scene I.—A Hall in the same Palace, from whence the secret Passage leads.
      • Scene II.—Stralenheim's Chamber.
      • Scene III.—The secret Passage.
      • Scene IV.—A Garden.
    • Scene I.—A Hall in the same Palace, from whence the secret Passage leads.
    • Scene II.—Stralenheim's Chamber.
    • Scene III.—The secret Passage.
    • Scene IV.—A Garden.
    • ACT IV.
      • Scene I.—A Gothic Hall in the Castle of Siegendorf, near Prague.
    • Scene I.—A Gothic Hall in the Castle of Siegendorf, near Prague.
    • ACT V.
      • Scene I.—A large and magnificent Gothic Hall in the Castle of Siegendorf, decorated with Trophies, Banners, and Arms of that Family.
      • Scene II.—The Interior of the Turret.
    • Scene I.—A large and magnificent Gothic Hall in the Castle of Siegendorf, decorated with Trophies, Banners, and Arms of that Family.
    • Scene II.—The Interior of the Turret.
    • FOOTNOTES:
    • WERNER Nov. 1815. [First Draft.]
      • ACT I.
        • Scene I.—A ruinous chateau on the Silesian frontier of Bohemia.
        • Scene II.
      • Scene I.—A ruinous chateau on the Silesian frontier of Bohemia.
      • Scene II.
    • ACT I.
      • Scene I.—A ruinous chateau on the Silesian frontier of Bohemia.
      • Scene II.
    • Scene I.—A ruinous chateau on the Silesian frontier of Bohemia.
    • Scene II.
    • THE DEFORMED TRANSFORMED: A DRAMA.
    • INTRODUCTION TO THE DEFORMED TRANSFORMED.
    • ADVERTISEMENT
    • THE DEFORMED TRANSFORMED:[cv]
      • PART I.
        • Scene I.—A Forest.
        • Scene II.—A Camp before the walls of Rome.
      • Scene I.—A Forest.
      • Scene II.—A Camp before the walls of Rome.
      • PART II.
        • Scene I.—Before the walls of Rome.—The Assault: the Army in motion, with ladders to scale the walls;[238] Bourbon with a white scarf over his armour, foremost.
        • Scene II.—The City.—Combats between the Besiegers and Besieged in the streets. Inhabitants flying in confusion.
        • Scene III.—St. Peter's—The interior of the Church—The Pope at the Altar—Priests, etc., crowding in confusion, and Citizens flying for refuge, pursued by Soldiery.
      • Scene I.—Before the walls of Rome.—The Assault: the Army in motion, with ladders to scale the walls;[238] Bourbon with a white scarf over his armour, foremost.
      • Scene II.—The City.—Combats between the Besiegers and Besieged in the streets. Inhabitants flying in confusion.
      • Scene III.—St. Peter's—The interior of the Church—The Pope at the Altar—Priests, etc., crowding in confusion, and Citizens flying for refuge, pursued by Soldiery.
      • PART III.
        • Scene I.—A Castle in the Apennines, surrounded by a wild but smiling Country. Chorus of Peasants singing before the Gates.
      • Scene I.—A Castle in the Apennines, surrounded by a wild but smiling Country. Chorus of Peasants singing before the Gates.
    • PART I.
      • Scene I.—A Forest.
      • Scene II.—A Camp before the walls of Rome.
    • Scene I.—A Forest.
    • Scene II.—A Camp before the walls of Rome.
    • PART II.
      • Scene I.—Before the walls of Rome.—The Assault: the Army in motion, with ladders to scale the walls;[238] Bourbon with a white scarf over his armour, foremost.
      • Scene II.—The City.—Combats between the Besiegers and Besieged in the streets. Inhabitants flying in confusion.
      • Scene III.—St. Peter's—The interior of the Church—The Pope at the Altar—Priests, etc., crowding in confusion, and Citizens flying for refuge, pursued by Soldiery.
    • Scene I.—Before the walls of Rome.—The Assault: the Army in motion, with ladders to scale the walls;[238] Bourbon with a white scarf over his armour, foremost.
    • Scene II.—The City.—Combats between the Besiegers and Besieged in the streets. Inhabitants flying in confusion.
    • Scene III.—St. Peter's—The interior of the Church—The Pope at the Altar—Priests, etc., crowding in confusion, and Citizens flying for refuge, pursued by Soldiery.
    • PART III.
      • Scene I.—A Castle in the Apennines, surrounded by a wild but smiling Country. Chorus of Peasants singing before the Gates.
    • Scene I.—A Castle in the Apennines, surrounded by a wild but smiling Country. Chorus of Peasants singing before the Gates.
    • FRAGMENT OF THE THIRD PART OF THE DEFORMED TRANSFORMED.
      • FOOTNOTES:
    • FOOTNOTES:
    • THE AGE OF BRONZE; OR, CARMEN SECULARE ET ANNUS HAUD MIRABILIS.[dv]
    • INTRODUCTION TO THE AGE OF BRONZE.
    • THE AGE OF BRONZE.
      • FOOTNOTES:
    • FOOTNOTES:
    • THE ISLAND; OR, CHRISTIAN AND HIS COMRADES.
    • INTRODUCTION TO THE ISLAND
    • ADVERTISEMENT.
    • THE ISLAND
      • CANTO THE FIRST.
    • CANTO THE FIRST.
    • CANTO THE SECOND.
    • CANTO THE THIRD.
    • CANTO THE FOURTH.
      • FOOTNOTES:
    • FOOTNOTES:
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