The Works of Lord Byron, Volume 3

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Title: The Works Of Lord Byron, Vol. 3 (of 7)
Author: Lord Byron
Editor: Ernest Hartley Coleridge
Release Date: June 12, 2007 [EBook #21811]
Language: English
Character set encoding: ISO-8859-1
0. START OF THIS PROJECT GUTENBERG EBOOK THE WORKS
OF LORD BYRON ***
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TRANSCRIBER'S NOTES
This etext contains only characters from the Latin-1 set. The original
work contained a few phrases of Greek text. These are represented here
as Beta-code transliterations in brackets, e.g. [Greek: misêto
].
The original text used a few other characters not found in the Latin-1
set. These have been represented using bracket notation, as follows:
[=a], [=i] for letters with a macron, and ['c] for c with accent. In a few
places superscript letters are shown by carets, as in Oct^r. 11.

An important feature of this edition is its copious footnotes. Footnotes
indexed with letters (e.g. [c], [bf]) show variant forms of Byron's text
from manuscripts and other sources. Footnotes indexed with arabic
numbers (e.g. [17], [221]) are informational. Text in notes and
elsewhere in square brackets is the work of Editor E. H. Coleridge.
Note text not in brackets is by Byron himself.
In the original, footnotes are printed at the foot of the page on which
they are referenced, and their indices start over on each page. In this
etext, footnotes have been collected at the end of each section, and have
been numbered consecutively throughout the book. Within each block
of footnotes are numbers in braces, e.g. {321}. These represent the
page number on which the following notes originally appeared. To find
a note that was originally printed on page 27, search for {27}.
In note [ci] to _The Giaour_ and in the section headed "NOTE TO
_THE BRIDE OF ABYDOS_" the editor showed deleted text struck
through with lines. The struck-through words are noted here with
braces and dashes, as in {-deleted words-}.
The Works
of
LORD BYRON.
A NEW, REVISED AND ENLARGED EDITION,
WITH ILLUSTRATIONS.
Poetry. Vol. III.
EDITED BY
ERNEST HARTLEY COLERIDGE, M.A., HON. F.R.S.L.
LONDON:
JOHN MURRAY, ALBEMARLE STREET.

NEW YORK: CHARLES SCRIBNER'S SONS.
1900.
PREFACE TO THE THIRD VOLUME.
The present volume contains the six metrical tales which were
composed within the years 1812 and 1815, the _Hebrew Melodies_,
and the minor poems of 1809-1816. With the exception of the first
fifteen poems (1809-1811)--_Chansons de Voyage_, as they might be
called--the volume as a whole was produced on English soil. Beginning
with the _Giaour_; which followed in the wake of _Childe Harold_ and
shared its triumph, and ending with the ill-omened _Domestic Pieces_,
or _Poems of the Separation_, the poems which Byron wrote in his
own country synchronize with his popularity as a poet by the acclaim
and suffrages of his own countrymen. His greatest work, by which his
lasting fame has been established, and by which his relative merits as a
great poet will be judged in the future, was yet to come; but the work
which made his name, which is stamped with his sign-manual, and
which has come to be regarded as distinctively and characteristically
Byronic, preceded maturity and achievement.
No poet of his own or other times, not Walter Scott, not Tennyson, not
Mr. Kipling, was ever in his own lifetime so widely, so amazingly
popular. Thousands of copies of the "Tales"--of the _Bride of Abydos_,
of the _Corsair_, of _Lara_--were sold in a day, and edition followed
edition month in and month out. Everywhere men talked about the
"noble author"--in the capitals of Europe, in literary circles in the
United States, in the East Indies. He was "the glass of fashion ... the
observ'd of all observers," the swayer of sentiment, the master and
creator of popular emotion. No other English poet before or since has
divided men's attention with generals and sea-captains and statesmen,
has attracted and fascinated and overcome the world so entirely and
potently as Lord Byron.
It was _Childe Harold_, the unfinished, immature _Childe Harold_, and
the Turkish and other "Tales," which raised this sudden and deafening
storm of applause when the century was young, and now, at its close (I

refer, of course, to the Tales, not to Byron's poetry as a whole, which,
in spite of the critics, has held and still holds its own), are ignored if not
forgotten, passed over if not despised--which but