The Works of Lord Byron. Vol. 4
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THE WORKS OF LORD BYRON
A NEW, REVISED AND ENLARGED EDITION, WITH ILLUSTRATIONS.
Poetry. Vol. IV.
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 FOURTH VOLUME.
CONTENTS OF VOL. IV.
LIST OF ILLUSTRATIONS.
THE PRISONER OF CHILLON
INTRODUCTION TO THE PRISONER OF CHILLON.
SONNET ON CHILLON
ADVERTISEMENT
THE PRISONER OF CHILLON
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
FOOTNOTES:
INTRODUCTION TO THE PRISONER OF CHILLON.
SONNET ON CHILLON
ADVERTISEMENT
THE PRISONER OF CHILLON
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
FOOTNOTES:
POEMS OF JULY-SEPTEMBER, 1816. THE DREAM.
INTRODUCTION TO THE DREAM
THE DREAM
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
DARKNESS. [k] [56]
CHURCHILL'S GRAVE, [59] A FACT LITERALLY RENDERED. [60]
PROMETHEUS.[64]
I.
II.
III.
I.
II.
III.
A FRAGMENT.[73]
SONNET TO LAKE LEMAN.
STANZAS TO AUGUSTA.[n] [77]
I.
II.
III.
IV.
V.
VI.
I.
II.
III.
IV.
V.
VI.
EPISTLE TO AUGUSTA.[83]
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
LINES ON HEARING THAT LADY BYRON WAS ILL.[91]
FOOTNOTES:
INTRODUCTION TO THE DREAM
THE DREAM
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
DARKNESS. [k] [56]
CHURCHILL'S GRAVE, [59] A FACT LITERALLY RENDERED. [60]
PROMETHEUS.[64]
I.
II.
III.
I.
II.
III.
A FRAGMENT.[73]
SONNET TO LAKE LEMAN.
STANZAS TO AUGUSTA.[n] [77]
I.
II.
III.
IV.
V.
VI.
I.
II.
III.
IV.
V.
VI.
EPISTLE TO AUGUSTA.[83]
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
LINES ON HEARING THAT LADY BYRON WAS ILL.[91]
FOOTNOTES:
MONODY ON THE DEATH OF THE RIGHT HON. R. B. SHERIDAN.
INTRODUCTION TO MONODY ON THE DEATH OF THE RIGHT HON. R. B. SHERIDAN.
MONODY ON THE DEATH OF THE RIGHT HON. R. B. SHERIDAN, SPOKEN AT DRURY-LANE THEATRE, LONDON.
FOOTNOTES:
INTRODUCTION TO MONODY ON THE DEATH OF THE RIGHT HON. R. B. SHERIDAN.
MONODY ON THE DEATH OF THE RIGHT HON. R. B. SHERIDAN, SPOKEN AT DRURY-LANE THEATRE, LONDON.
FOOTNOTES:
MANFRED: A DRAMATIC POEM.
INTRODUCTION TO MANFRED
MANFRED. [106]
ACT 1.
Scene 1.—Manfred alone.—Scene, a Gothic Gallery.[107]—Time, Midnight.
Scene II.—The Mountain of the Jungfrau.—Time, Morning.—Manfred alone upon the cliffs.
Scene 1.—Manfred alone.—Scene, a Gothic Gallery.[107]—Time, Midnight.
Scene II.—The Mountain of the Jungfrau.—Time, Morning.—Manfred alone upon the cliffs.
ACT II.
Scene I.—A Cottage among the Bernese Alps.—Manfred and the Chamois Hunter.
Scene II.—A lower Valley in the Alps.—A Cataract.
Scene III.—The summit of the Jungfrau Mountain.
Scene IV.—The Hall ofArimanes.[144]—Arimanes on his Throne, a Globe of Fire,[145] surrounded by the Spirits.
Scene I.—A Cottage among the Bernese Alps.—Manfred and the Chamois Hunter.
Scene II.—A lower Valley in the Alps.—A Cataract.
Scene III.—The summit of the Jungfrau Mountain.
Scene IV.—The Hall ofArimanes.[144]—Arimanes on his Throne, a Globe of Fire,[145] surrounded by the Spirits.
ACT III.
Scene I.—A Hall in the Castle of Manfred.[150]
Scene II.—Another Chamber.
Scene III.—The Mountains—The Castle of Manfred at some distance—A Terrace before a Tower.—Time, Twilight.
Scene IV.—Interior of the Tower.
Scene I.—A Hall in the Castle of Manfred.[150]
Scene II.—Another Chamber.
Scene III.—The Mountains—The Castle of Manfred at some distance—A Terrace before a Tower.—Time, Twilight.
Scene IV.—Interior of the Tower.
FOOTNOTES:
INTRODUCTION TO MANFRED
MANFRED. [106]
ACT 1.
Scene 1.—Manfred alone.—Scene, a Gothic Gallery.[107]—Time, Midnight.
Scene II.—The Mountain of the Jungfrau.—Time, Morning.—Manfred alone upon the cliffs.
Scene 1.—Manfred alone.—Scene, a Gothic Gallery.[107]—Time, Midnight.
Scene II.—The Mountain of the Jungfrau.—Time, Morning.—Manfred alone upon the cliffs.
ACT II.
Scene I.—A Cottage among the Bernese Alps.—Manfred and the Chamois Hunter.
Scene II.—A lower Valley in the Alps.—A Cataract.
Scene III.—The summit of the Jungfrau Mountain.
Scene IV.—The Hall ofArimanes.[144]—Arimanes on his Throne, a Globe of Fire,[145] surrounded by the Spirits.
Scene I.—A Cottage among the Bernese Alps.—Manfred and the Chamois Hunter.
Scene II.—A lower Valley in the Alps.—A Cataract.
Scene III.—The summit of the Jungfrau Mountain.
Scene IV.—The Hall ofArimanes.[144]—Arimanes on his Throne, a Globe of Fire,[145] surrounded by the Spirits.
ACT III.
Scene I.—A Hall in the Castle of Manfred.[150]
Scene II.—Another Chamber.
Scene III.—The Mountains—The Castle of Manfred at some distance—A Terrace before a Tower.—Time, Twilight.
Scene IV.—Interior of the Tower.
Scene I.—A Hall in the Castle of Manfred.[150]
Scene II.—Another Chamber.
Scene III.—The Mountains—The Castle of Manfred at some distance—A Terrace before a Tower.—Time, Twilight.
Scene IV.—Interior of the Tower.
FOOTNOTES:
THE LAMENT OF TASSO.
INTRODUCTION TO THE LAMENT OF TASSO.
ADVERTISEMENT
THE LAMENT OF TASSO.[175]
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
FOOTNOTES:
INTRODUCTION TO THE LAMENT OF TASSO.
ADVERTISEMENT
THE LAMENT OF TASSO.[175]
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
FOOTNOTES:
BEPPO: A VENETIAN STORY.
INTRODUCTION TO BEPPO
INTRODUCTION TO BEPPO
BEPPO.[194]
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.[213]
XXXIX.
XL.
XLI.
XLII.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
XLIX.
L.
LI.
LII.
LIII.
LIV.
LV.
LVI.
LVII.
LVIII.
LIX.
LX.
LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
LXX.
LXXI.
LXXII.
LXXIII.
LXXIV.
LXXV.
LXXVI.
LXXVII.
LXXVIII.
LXXIX.
LXXX.[232]
LXXXI.
LXXXII.
LXXXIII.
LXXXIV.
LXXXV.
LXXXVI.
LXXXVII.
LXXXVIII.
LXXXIX.
XC.
XCI.
XCII.
XCIII.
XCIV.
XCV.
XCVI.
XCVII.
XCVIII.
XCIX.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.[213]
XXXIX.
XL.
XLI.
XLII.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
XLIX.
L.
LI.
LII.
LIII.
LIV.
LV.
LVI.
LVII.
LVIII.
LIX.
LX.
LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
LXX.
LXXI.
LXXII.
LXXIII.
LXXIV.
LXXV.
LXXVI.
LXXVII.
LXXVIII.
LXXIX.
LXXX.[232]
LXXXI.
LXXXII.
LXXXIII.
LXXXIV.
LXXXV.
LXXXVI.
LXXXVII.
LXXXVIII.
LXXXIX.
XC.
XCI.
XCII.
XCIII.
XCIV.
XCV.
XCVI.
XCVII.
XCVIII.
XCIX.
FOOTNOTES:
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.[213]
XXXIX.
XL.
XLI.
XLII.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
XLIX.
L.
LI.
LII.
LIII.
LIV.
LV.
LVI.
LVII.
LVIII.
LIX.
LX.
LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
LXX.
LXXI.
LXXII.
LXXIII.
LXXIV.
LXXV.
LXXVI.
LXXVII.
LXXVIII.
LXXIX.
LXXX.[232]
LXXXI.
LXXXII.
LXXXIII.
LXXXIV.
LXXXV.
LXXXVI.
LXXXVII.
LXXXVIII.
LXXXIX.
XC.
XCI.
XCII.
XCIII.
XCIV.
XCV.
XCVI.
XCVII.
XCVIII.
XCIX.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.[213]
XXXIX.
XL.
XLI.
XLII.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
XLIX.
L.
LI.
LII.
LIII.
LIV.
LV.
LVI.
LVII.
LVIII.
LIX.
LX.
LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
LXX.
LXXI.
LXXII.
LXXIII.
LXXIV.
LXXV.
LXXVI.
LXXVII.
LXXVIII.
LXXIX.
LXXX.[232]
LXXXI.
LXXXII.
LXXXIII.
LXXXIV.
LXXXV.
LXXXVI.
LXXXVII.
LXXXVIII.
LXXXIX.
XC.
XCI.
XCII.
XCIII.
XCIV.
XCV.
XCVI.
XCVII.
XCVIII.
XCIX.
FOOTNOTES:
ODE ON VENICE
ODE ON VENICE[234]
I.
II.
III.
IV.
I.
II.
III.
IV.
FOOTNOTES:
ODE ON VENICE[234]
I.
II.
III.
IV.
I.
II.
III.
IV.
FOOTNOTES:
MAZEPPA.
INTRODUCTION TO MAZEPPA
ADVERTISEMENT.
MAZEPPA
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
FOOTNOTES:
INTRODUCTION TO MAZEPPA
ADVERTISEMENT.
MAZEPPA
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
FOOTNOTES:
THE PROPHECY OF DANTE.
INTRODUCTION TO THE PROPHECY OF DANTE.
DEDICATION.
PREFACE
THE PROPHECY OF DANTE.
CANTO THE FIRST.
CANTO THE SECOND.
CANTO THE THIRD.
CANTO THE FOURTH.
FOOTNOTES:
INTRODUCTION TO THE PROPHECY OF DANTE.
DEDICATION.
PREFACE
THE PROPHECY OF DANTE.
CANTO THE FIRST.
CANTO THE SECOND.
CANTO THE THIRD.
CANTO THE FOURTH.
FOOTNOTES:
THE MORGANTE MAGGIORE OF PULCI.
INTRODUCTION TO THE MORGANTE MAGGIORE.
ADVERTISEMENT.
THE MORGANTE MAGGIORE.[335]
CANTO THE FIRST.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.
XXXIX.
XL.
XLI.
XLII.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
XLIX.
L.
LI.
LII.
LIII.
LIV.
LV.
LVI.
LVII.
LVIII.
LIX.
LX.
LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
LXX.
LXXI.
LXXII.
LXXIII.
LXXIV.
LXXV.
LXXVI.
LXXVII.
LXXVIII.
LXXIX.
LXXX.
LXXXI.
LXXXII.
LXXXIII.
LXXXIV.
LXXXV.
LXXXVI.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.
XXXIX.
XL.
XLI.
XLII.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
XLIX.
L.
LI.
LII.
LIII.
LIV.
LV.
LVI.
LVII.
LVIII.
LIX.
LX.
LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
LXX.
LXXI.
LXXII.
LXXIII.
LXXIV.
LXXV.
LXXVI.
LXXVII.
LXXVIII.
LXXIX.
LXXX.
LXXXI.
LXXXII.
LXXXIII.
LXXXIV.
LXXXV.
LXXXVI.
FOOTNOTES:
INTRODUCTION TO THE MORGANTE MAGGIORE.
ADVERTISEMENT.
THE MORGANTE MAGGIORE.[335]
CANTO THE FIRST.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.
XXXIX.
XL.
XLI.
XLII.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
XLIX.
L.
LI.
LII.
LIII.
LIV.
LV.
LVI.
LVII.
LVIII.
LIX.
LX.
LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
LXX.
LXXI.
LXXII.
LXXIII.
LXXIV.
LXXV.
LXXVI.
LXXVII.
LXXVIII.
LXXIX.
LXXX.
LXXXI.
LXXXII.
LXXXIII.
LXXXIV.
LXXXV.
LXXXVI.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.
XXXIX.
XL.
XLI.
XLII.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
XLIX.
L.
LI.
LII.
LIII.
LIV.
LV.
LVI.
LVII.
LVIII.
LIX.
LX.
LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
LXX.
LXXI.
LXXII.
LXXIII.
LXXIV.
LXXV.
LXXVI.
LXXVII.
LXXVIII.
LXXIX.
LXXX.
LXXXI.
LXXXII.
LXXXIII.
LXXXIV.
LXXXV.
LXXXVI.
FOOTNOTES:
FRANCESCA OF RIMINI.
INTRODUCTION TO FRANCESCA OF RIMINI.
FRANCESCA OF RIMINI[348] FROM THE INFERNO OF DANTE.
CANTO THE FIFTH.
FRANCESCA DA RIMINI. DANTE, L'INFERNO.
CANTO QUINTO.
FOOTNOTES:
INTRODUCTION TO FRANCESCA OF RIMINI.
FRANCESCA OF RIMINI[348] FROM THE INFERNO OF DANTE.
CANTO THE FIFTH.
FRANCESCA DA RIMINI. DANTE, L'INFERNO.
CANTO QUINTO.
FOOTNOTES:
MARINO FALIERO, DOGE OF VENICE; AN HISTORICAL TRAGEDY, IN FIVE ACTS.
INTRODUCTION TO MARINO FALIERO.
PREFACE.
MARINO FALIERO, DOGE OF VENICE. (AN HISTORICAL TRAGEDY IN FIVE ACTS.)
ACT I.
Scene I.—An Antechamber in the Ducal Palace.
Scene II.—The Ducal Chamber.
Scene I.—An Antechamber in the Ducal Palace.
Scene II.—The Ducal Chamber.
ACT II.
Scene I.—An Apartment in the Ducal Palace.
Scene II.—A retired spot near the Arsenal.
Scene I.—An Apartment in the Ducal Palace.
Scene II.—A retired spot near the Arsenal.
ACT III.
Scene I.—Scene, the Space between the Canal and the Church of San Giovanni e San Paolo. An equestrian Statue before it.—A Gondola lies in the Canal at some distance.
Scene II.—The House where the Conspirators meet.
Scene I.—Scene, the Space between the Canal and the Church of San Giovanni e San Paolo. An equestrian Statue before it.—A Gondola lies in the Canal at some distance.
Scene II.—The House where the Conspirators meet.
ACT IV.
Scene I.—Palazzo of the Patrician Lioni.[431] Lioni laying aside the mask and cloak which the Venetian Nobles wore in public, attended by a Domestic.
Scene II.—The Ducal Palace—The Doge's Apartment.
Scene I.—Palazzo of the Patrician Lioni.[431] Lioni laying aside the mask and cloak which the Venetian Nobles wore in public, attended by a Domestic.
Scene II.—The Ducal Palace—The Doge's Apartment.
ACT V.
Scene 1.—The Hall of the Council of Ten assembled with the additional Senators, who, on the Trials of the Conspirators for the Treason of Marino Faliero, composed what was called the Giunta,—Guards, Officers, etc., etc. Israel Bertuccio and Philip Calendaro as Prisoners. Bertram, Lioni, and Witnesses, etc.
Scene II.—The Doge's Apartment.
Scene III.—The Court of the Ducal Palace; the outer gates are shut against the people.—The Doge enters in his ducal robes, in procession with the Council of Ten and other Patricians, attended by the Guards, till they arrive at the top of the "Giants' Staircase"[469] (where the Doges took the oaths); the Executioner is stationed there with his sword.—On arriving, a Chief of the Ten takes off the ducal cap from the Doge's head.
Scene IV.—The Piazza and Piazzetta of St. Mark's.—The people in crowds gathered round the grated gates of the Ducal Palace, which are shut.
Scene 1.—The Hall of the Council of Ten assembled with the additional Senators, who, on the Trials of the Conspirators for the Treason of Marino Faliero, composed what was called the Giunta,—Guards, Officers, etc., etc. Israel Bertuccio and Philip Calendaro as Prisoners. Bertram, Lioni, and Witnesses, etc.
Scene II.—The Doge's Apartment.
Scene III.—The Court of the Ducal Palace; the outer gates are shut against the people.—The Doge enters in his ducal robes, in procession with the Council of Ten and other Patricians, attended by the Guards, till they arrive at the top of the "Giants' Staircase"[469] (where the Doges took the oaths); the Executioner is stationed there with his sword.—On arriving, a Chief of the Ten takes off the ducal cap from the Doge's head.
Scene IV.—The Piazza and Piazzetta of St. Mark's.—The people in crowds gathered round the grated gates of the Ducal Palace, which are shut.
FOOTNOTES:
APPENDIX.
Note A.
NOTE B.
NOTE C.
FOOTNOTES:
INTRODUCTION TO MARINO FALIERO.
PREFACE.
MARINO FALIERO, DOGE OF VENICE. (AN HISTORICAL TRAGEDY IN FIVE ACTS.)
ACT I.
Scene I.—An Antechamber in the Ducal Palace.
Scene II.—The Ducal Chamber.
Scene I.—An Antechamber in the Ducal Palace.
Scene II.—The Ducal Chamber.
ACT II.
Scene I.—An Apartment in the Ducal Palace.
Scene II.—A retired spot near the Arsenal.
Scene I.—An Apartment in the Ducal Palace.
Scene II.—A retired spot near the Arsenal.
ACT III.
Scene I.—Scene, the Space between the Canal and the Church of San Giovanni e San Paolo. An equestrian Statue before it.—A Gondola lies in the Canal at some distance.
Scene II.—The House where the Conspirators meet.
Scene I.—Scene, the Space between the Canal and the Church of San Giovanni e San Paolo. An equestrian Statue before it.—A Gondola lies in the Canal at some distance.
Scene II.—The House where the Conspirators meet.
ACT IV.
Scene I.—Palazzo of the Patrician Lioni.[431] Lioni laying aside the mask and cloak which the Venetian Nobles wore in public, attended by a Domestic.
Scene II.—The Ducal Palace—The Doge's Apartment.
Scene I.—Palazzo of the Patrician Lioni.[431] Lioni laying aside the mask and cloak which the Venetian Nobles wore in public, attended by a Domestic.
Scene II.—The Ducal Palace—The Doge's Apartment.
ACT V.
Scene 1.—The Hall of the Council of Ten assembled with the additional Senators, who, on the Trials of the Conspirators for the Treason of Marino Faliero, composed what was called the Giunta,—Guards, Officers, etc., etc. Israel Bertuccio and Philip Calendaro as Prisoners. Bertram, Lioni, and Witnesses, etc.
Scene II.—The Doge's Apartment.
Scene III.—The Court of the Ducal Palace; the outer gates are shut against the people.—The Doge enters in his ducal robes, in procession with the Council of Ten and other Patricians, attended by the Guards, till they arrive at the top of the "Giants' Staircase"[469] (where the Doges took the oaths); the Executioner is stationed there with his sword.—On arriving, a Chief of the Ten takes off the ducal cap from the Doge's head.
Scene IV.—The Piazza and Piazzetta of St. Mark's.—The people in crowds gathered round the grated gates of the Ducal Palace, which are shut.
Scene 1.—The Hall of the Council of Ten assembled with the additional Senators, who, on the Trials of the Conspirators for the Treason of Marino Faliero, composed what was called the Giunta,—Guards, Officers, etc., etc. Israel Bertuccio and Philip Calendaro as Prisoners. Bertram, Lioni, and Witnesses, etc.
Scene II.—The Doge's Apartment.
Scene III.—The Court of the Ducal Palace; the outer gates are shut against the people.—The Doge enters in his ducal robes, in procession with the Council of Ten and other Patricians, attended by the Guards, till they arrive at the top of the "Giants' Staircase"[469] (where the Doges took the oaths); the Executioner is stationed there with his sword.—On arriving, a Chief of the Ten takes off the ducal cap from the Doge's head.
Scene IV.—The Piazza and Piazzetta of St. Mark's.—The people in crowds gathered round the grated gates of the Ducal Palace, which are shut.
FOOTNOTES:
APPENDIX.
Note A.
NOTE B.
NOTE C.
FOOTNOTES:
THE VISION OF JUDGMENT. BY QUEVEDO REDIVIVUS.
SUGGESTED BY THE COMPOSITION SO ENTITLED BY THE AUTHOR OF "WAT TYLER."
INTRODUCTION TO THE VISION OF JUDGMENT.
PREFACE
THE VISION OF JUDGMENT.[500]
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.
XXXIX.
XL.
XLI.
XLII.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
XLIX.
L.
LI.
LII.
LIII.
LIV.
LV.
LVI.
LVII.
LVIII.
LIX.
LX.
LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
LXX.
LXXI.
LXXII.
LXXIII.
LXXIV.
LXXV.
LXXVI.
LXXVII.
LXXVIII.
LXXIX.
LXXX.
LXXXI.
LXXXII.
LXXXIII.
LXXXIV.
LXXXV.
LXXXVI.
LXXXVII.
LXXXVIII.
LXXXIX.
XC.
XCI.
XCII.
XCIII.
XCIV.
XCV.
XCVI.
XCVII.
XCVIII.
XCIX.
C.
CI.
CII.
CIII.
CIV.
CV.
CVI.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.
XXXIX.
XL.
XLI.
XLII.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
XLIX.
L.
LI.
LII.
LIII.
LIV.
LV.
LVI.
LVII.
LVIII.
LIX.
LX.
LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
LXX.
LXXI.
LXXII.
LXXIII.
LXXIV.
LXXV.
LXXVI.
LXXVII.
LXXVIII.
LXXIX.
LXXX.
LXXXI.
LXXXII.
LXXXIII.
LXXXIV.
LXXXV.
LXXXVI.
LXXXVII.
LXXXVIII.
LXXXIX.
XC.
XCI.
XCII.
XCIII.
XCIV.
XCV.
XCVI.
XCVII.
XCVIII.
XCIX.
C.
CI.
CII.
CIII.
CIV.
CV.
CVI.
FOOTNOTES:
SUGGESTED BY THE COMPOSITION SO ENTITLED BY THE AUTHOR OF "WAT TYLER."
INTRODUCTION TO THE VISION OF JUDGMENT.
PREFACE
THE VISION OF JUDGMENT.[500]
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.
XXXIX.
XL.
XLI.
XLII.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
XLIX.
L.
LI.
LII.
LIII.
LIV.
LV.
LVI.
LVII.
LVIII.
LIX.
LX.
LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
LXX.
LXXI.
LXXII.
LXXIII.
LXXIV.
LXXV.
LXXVI.
LXXVII.
LXXVIII.
LXXIX.
LXXX.
LXXXI.
LXXXII.
LXXXIII.
LXXXIV.
LXXXV.
LXXXVI.
LXXXVII.
LXXXVIII.
LXXXIX.
XC.
XCI.
XCII.
XCIII.
XCIV.
XCV.
XCVI.
XCVII.
XCVIII.
XCIX.
C.
CI.
CII.
CIII.
CIV.
CV.
CVI.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.
XXXIX.
XL.
XLI.
XLII.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
XLIX.
L.
LI.
LII.
LIII.
LIV.
LV.
LVI.
LVII.
LVIII.
LIX.
LX.
LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
LXX.
LXXI.
LXXII.
LXXIII.
LXXIV.
LXXV.
LXXVI.
LXXVII.
LXXVIII.
LXXIX.
LXXX.
LXXXI.
LXXXII.
LXXXIII.
LXXXIV.
LXXXV.
LXXXVI.
LXXXVII.
LXXXVIII.
LXXXIX.
XC.
XCI.
XCII.
XCIII.
XCIV.
XCV.
XCVI.
XCVII.
XCVIII.
XCIX.
C.
CI.
CII.
CIII.
CIV.
CV.
CVI.
FOOTNOTES:
POEMS 1816-1823.
POEMS 1816-1823.
A VERY MOURNFUL BALLAD[568] ON THE SIEGE AND CONQUEST OF ALHAMA.[569]
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
SONETTO DI VITTORELLI.[575]
TRANSLATION FROM VITTORELLI.
ON THE BUST OF HELEN BY CANOVA.[576]
VENICE. A FRAGMENT.[577]
SO WE'LL GO NO MORE A-ROVING.[578]
1.
2.
3.
1.
2.
3.
[LORD BYRON'S VERSES ON SAM ROGERS.][579]
QUESTION.
ANSWER.
QUESTION.
ANSWER.
THE DUEL.[583]
1.
2.
3.
4.
1.
2.
3.
4.
STANZAS TO THE PO.[588]
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
SONNET ON THE NUPTIALS OF THE MARQUIS ANTONIO CAVALLI WITH THE COUNTESS CLELIA RASPONI OF RAVENNA.[589]
SONNET TO THE PRINCE REGENT.[ig]
ON THE REPEAL OF LORD EDWARD FITZGERALD'S FORFEITURE.
ON THE REPEAL OF LORD EDWARD FITZGERALD'S FORFEITURE.
STANZAS.[591]
1.
2.
3.
4.
5.
6.
1.
2.
3.
4.
5.
6.
ODE TO A LADY WHOSE LOVER WAS KILLED BY A BALL, WHICH AT THE SAME TIME SHIVERED A PORTRAIT NEXT HIS HEART.
Motto.
1.
2.
3.
4.
Motto.
1.
2.
3.
4.
THE IRISH AVATAR.[ir][592]
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
STANZAS WRITTEN ON THE ROAD BETWEEN FLORENCE AND PISA.[603]
1.
2.
3.
4.
1.
2.
3.
4.
STANZAS TO A HINDOO AIR.[605]
1.
2.
3.
4.
1.
2.
3.
4.
TO——[606]
1.
2.
3.
1.
2.
3.
TO THE COUNTESS OF BLESSINGTON.
1.
2.
3.
4.
5.
1.
2.
3.
4.
5.
ARISTOMENES.[608]
Canto First.
1.
1.
FOOTNOTES:
A VERY MOURNFUL BALLAD[568] ON THE SIEGE AND CONQUEST OF ALHAMA.[569]
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
SONETTO DI VITTORELLI.[575]
TRANSLATION FROM VITTORELLI.
ON THE BUST OF HELEN BY CANOVA.[576]
VENICE. A FRAGMENT.[577]
SO WE'LL GO NO MORE A-ROVING.[578]
1.
2.
3.
1.
2.
3.
[LORD BYRON'S VERSES ON SAM ROGERS.][579]
QUESTION.
ANSWER.
QUESTION.
ANSWER.
THE DUEL.[583]
1.
2.
3.
4.
1.
2.
3.
4.
STANZAS TO THE PO.[588]
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
SONNET ON THE NUPTIALS OF THE MARQUIS ANTONIO CAVALLI WITH THE COUNTESS CLELIA RASPONI OF RAVENNA.[589]
SONNET TO THE PRINCE REGENT.[ig]
ON THE REPEAL OF LORD EDWARD FITZGERALD'S FORFEITURE.
ON THE REPEAL OF LORD EDWARD FITZGERALD'S FORFEITURE.
STANZAS.[591]
1.
2.
3.
4.
5.
6.
1.
2.
3.
4.
5.
6.
ODE TO A LADY WHOSE LOVER WAS KILLED BY A BALL, WHICH AT THE SAME TIME SHIVERED A PORTRAIT NEXT HIS HEART.
Motto.
1.
2.
3.
4.
Motto.
1.
2.
3.
4.
THE IRISH AVATAR.[ir][592]
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
STANZAS WRITTEN ON THE ROAD BETWEEN FLORENCE AND PISA.[603]
1.
2.
3.
4.
1.
2.
3.
4.
STANZAS TO A HINDOO AIR.[605]
1.
2.
3.
4.
1.
2.
3.
4.
TO——[606]
1.
2.
3.
1.
2.
3.
TO THE COUNTESS OF BLESSINGTON.
1.
2.
3.
4.
5.
1.
2.
3.
4.
5.
ARISTOMENES.[608]
Canto First.
1.
1.
FOOTNOTES:
THE BLUES: A LITERARY ECLOGUE.
INTRODUCTION TO THE BLUES.
INTRODUCTION TO THE BLUES.
THE BLUES:[609] A LITERARY ECLOGUE.
ECLOGUE THE FIRST.
ECLOGUE THE SECOND.
FOOTNOTES:
ECLOGUE THE FIRST.
ECLOGUE THE SECOND.
FOOTNOTES:
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