The Works of Lord Byron | Page 2

of Southey's epics; and, yet, with
something of Southey's persistence, Byron believed that posterity
would weigh his "regular dramas" in a fresh balance, and that his
heedless critics would kick the beam. But "can these bones live"? Can
dramas which excited the wondering admiration of Goethe and
Lamartine and Sir Walter Scott touch or lay hold of the more
adventurous reader of the present day? It is certain that even the
half-forgotten works of a great and still popular poet, which have left
their mark on the creative imagination of the poets and playwrights of
three quarters of a century, will always be studied by the few from
motives of curiosity, or for purposes of reference; but it is improbable,
though not impossible, that in the revolution of taste and sentiment,
moribund or extinct poetry will be born again into the land of the living.
Poetry which has never had its day, such as Blake's _Songs of
Innocence_, the _Lyrical Ballads_, or Fitzgerald's _Omar Khayyám_,
may come, in due time, to be recognized at its full worth; but it is a
harder matter for a poem which has lost its vogue to recapture the
interest and enthusiasm of the many.
Byron is only an instance in point. Bygone poetry has little or no
attraction for modern readers. This poem or that drama may be referred
to, and occasionally examined in the interests of general culture, or in
support of a particular belief or line of conduct, as a classical or
quasi-scriptural authority; but, with the rarest exceptions, plays and
narrative poems are not read spontaneously or with any genuine

satisfaction or delight. An old-world poem which will not yield up its
secret to the idle _reader_ "of an empty day" is more or less "rudely
dismissed," without even a show of favour or hospitality.
And yet these forgotten works of the imagination are full of hidden
treasures! There is not one of Byron's "impressionist studies" of
striking episodes of history or historical legend, flung, as it were, with a
"Take it or leave it" in the face of friend or foe, which does not
transform names and shadows into persons and substance, which does
not contain lines and passages of unquestionable beauty and distinction.
But some would have it that Byron's plays, as a whole, are dull and
uninspiring, monotonous harpings on worn-out themes, which every
one has mastered or wishes to forget. A close study of the text, together
with some knowledge of the subject as it presented itself to the author
and arrested _his_ attention, may compel these impatient critics to a
different conclusion. Byron did not scruple to refer the reader to his
"sources," and was at pains to publish, in the notes and appendices to
his dramas and poems, long extracts from old chronicles, from
Plutarch's _Lives_, from French and Italian histories, which he had read
himself, and, as he fondly believed, would be read by others, who were
willing to submit themselves to his guidance. He expected his readers
to take some trouble and to display some intelligence.
Poetry is successful only so far as it is intelligible. To a clear cry an
answer comes, but not to a muffled call. The reader who comes within
speaking distance of his author can hear him, and to bring the living
within speaking distance of the dead, the living must know the facts,
and understand the ideas which informed and inspired the dead.
Thought and attention are scarcely to be reckoned among necromantic
arts, but thought and knowledge "can make these bones live," and stand
upon their feet, if they do not leap and sing.
I desire to renew my acknowledgments of the generous assistance of
the officials of the British Museum, and, more especially, of Mr. Ernest
Wallis Budge, Litt.D., M.A., _Keeper of Egyptian and Assyrian
Antiquities_; of Mr. Leonard W. King, M.A., of the same department;
and of Mr. George F. Barwick, _Superintendent of the Reading Room_.

To Dr. Garnett, C.B., I am greatly indebted for invaluable hints and
suggestions with regard to the interpretation of some obscure passages
in _The Age of Bronze_ and other parts of the volume, and for reading
the proofs of the "Introduction" and "Note to the Introduction to
_Werner_."
I have also to acknowledge the assistance and advice of Mr. W. Hale
White, and of my friend Mr. Frank E. Taylor, of Chertsey.
For assistance during the preparation of the volume, and more
especially in the revision of proofs, I desire to express my cordial
thanks to Mr. John Murray.
ERNEST HARTLEY COLERIDGE.
_December_ 3, 1901.
CONTENTS OF VOL. V
Preface to Vol. V. of the Poems v
SARDANAPALUS: A TRAGEDY.
Introduction to _Sardanapalus