Archive for the 'Lord Byron' Category

Childe Harold’s Pilgrimage: annotations and whatnot

Monday, September 4th, 2006

Summary of Canto 1: A British lord, suffering from some sort of vague depression, goes on a walk-about through Spain and Portugal. Bad things happen. The author talks out loud a lot. The Lord is still dpressed but, as Byron put it, "… a little tumult, now and then, is an agreeable quickener of sensation; such as a revolution, a battle, or an adventure of any lively description" (Journal entry for 22 Nov. 1813). Wouldn't taking up daily exercise be easier?

There! I have worked my way through Byron's first canto of Childe Harold's Pilgrimage, all 93 stanzas. There were certain themes I worked harder on than others to footnote — I enjoyed seeing where Byron's ideas of the Byronic hero came from and as a history lesson through the Napoleonic War it was curiously spelled but cute. Other themes, such as the bullfight and the Maiden Warrior I decided would be too time consuming to concern about. If anyone can lay their hands on the works I cited in the Works Cited sections, such scholars as Chew (1936), Coleridge (1899), McConnell (1978) will be a delight and interest. My books all came from the Michigan State University libraray, and as I noted in footnote 1 of the first stanza, Perhaps there is a hell for those who write in library books, we can only hope so. Indeed! MSU has some very valuable Byron books. It is too bad they are heavily underlined in purple pen and yellow highlighters.

There was a method behind all this madness. Originally I was going to keep track of the misogyny, the violence and the pop cultural references (I think those were my words as well) that I assumed were sprinkled throughout the poem; but there were surprisingly fewer than I had thought, at least in the first canto. I was also going to write a long, curious essay on something very time consuming about the poet and this poem. But, again, life is short and why waste it on essays no one but three friends will ever read? They prove nothing except a sort of terrible hubris I assoicate with English departments throughout the United States. So I will go back to translating my Spanish poet, Amalia Iglesias Serna — a living person with living poems.

Arrivederci, George Gordon, baby!

Childe Harold’s Pilgrimage: annotations and whatnot

Monday, September 4th, 2006

Childe Harold's Pilgrimage, Canto I [continued]

XLI.
Three hosts combine to offer sacrifice;
Three tongues prefer strange orisons1 on high;
Three gaudy standards flout the pale blue skies;
The shouts are France, Spain, Albion, Victory!
The foe, the victim, and the fond ally
That fights for all, but ever fights in vain,
Are met - as if at home they could not die -
To feed the crow on Talavera's plain,
And fertilize the field that each pretends to gain.

XLII.
There shall they rot — Ambition's honour'd fools!
Yes, Honour decks the turf that wraps their clay!
Vain Sophistry! in these behold the tools,
The broken tools, that tyrants cast away
By myriads, when they dare to pave their way
With human hearts — to what? — a dream2 alone.
Can despots compass aught that hails their sway?
Or call with truth one span of earth their own,
Save that wherein at last they crumble bone by bone?

XLIII.
Oh, Albeura! glorious field of grief!3
As o'er thy plain the Pilgrim4 prick's his steed,
Who could foresee thee, in a space so brief,
A scene where mingling foes should boast and bleed!
Peace to the perish'd! may the warrior's meed
And tears of triumph their reward prolong!
Till others fall where other chieftains lead
Thy name shall circle round the gaping throng,
And shine in worthless lays the theme of transient song.

XLIV.
Enough of battle's minions!5 let them play
Their game of lives, and barter breath for fame:
Fame that will scarce reanimate their clay,
Though thousands fall to deck some single name.
In sooth 'twere sad to thwart their noble aim
Who strike, blest hirelings! for their country's good,
And die, that living might have proved her shame;
Perish'd, perchance, in some domestic feud,
Or in a narrower sphere wild Rapine's path pursued.

XLV.
Full swiftly Harold wends his lonely way
Where proud Sevilla triumphs unsubdued:
Yet is she free — the spoiler's wish'd-for prey!
Soon, soon shall Conquest's fiery foot intrude,
Blackening her lovely domes with traces rude.
Inevitable hour! 'Gainst fate to strive
Where Desolation plants her famish'd brood
Is vain, or Ilion,6 Tyre, might yet survive,
And Virtue vanquish all, and murder cease to thrive.

XLVI.
But all unconscious of the coming doom,7
The feast, the song, the revel here abounds;
Strange modes of merriment the hours consume,
Nor bleed these patriots with their country's wounds;
Nor here War's clarion, but Love's rebeck8 sounds;
Here Folly still his votaries inthralls;
And young-eyes Lewdness walks her midnight rounds;
Girt with the silent crimes of Capitals,
Still to the last kind Vice clings to the tott'ring walls.

XLVII.
Not so the rustic — with his trembling mate
He lurks, nor casts his heavy eye afar,
Lest he should view his vineyard desolate,
Blasted below the dun hot breath of war.
No more beneath soft Eve's consenting star
Fandango9 twirls his jocund castanet:
Ah, monarchs! could ye taste the mirth ye mar,
Not in the toils of Glory would ye fret;
The hoarse dull drum would sleep, and Man be happy yet!

XLVIII.
How carols now the lusty muleteer?
Of love, romance, devotion is his lay,
As whilome he was wont the leagues to cheer,
His quick bells wildly jingling on the way?
No! as he speeds, he chants 'Vivä el Rey!'10
And checks his song to execrate Godoy,
The royal wittol Charles, and curse the day
When first Spain's queen beheld the black-eyed boy,
And gore-faced Treason spring from her adulterate joy.

XLIX.
On yon long, level plain, at distance crown'd
With crags, whereon those Moorish turrets rest,
Wide scatter'd hoof-marks dint the wounded ground;
And, scathed by fire, the greensward's darken'd vest
Tells that the foe was Andalusia's guest:
Here was the camp, the watch-flame, and the host,
Here the bold peasant storm'd the dragon's nest;
Still does he mark it with triumphant boast;
And points to yonder cliffs, which oft were won and lost.

L.
And whomsoe'er along the path you meet
Bears in his cap the badge of crimson hue,
Which tells you whom to shun and whom to greet.11
Woe to the man that walks in public view
Without of loyalty this token true;
Sharp is the knife, and sudden is the stroke;
And sorely would the Gallic foeman rue,
If subtle poniards, wrapt beneath the cloke,
Could blunt the sabre's edge, or clear the cannon's smoke.

LI.
At every turn Morena's12 dusky height
Sustains aloft the battery's iron load;
And, far as mortal eye can compass sight,
The mountain-howitzer, the broken road,
The bristling palisade, the fosse13 o'erflow'd,
The station'd bands, the never-vacant watch,
The magazine in rocky durance stow'd,
The holster'd steed beneath the shed of thatch,
The ball-piled pyramid,14 the ever-blazing match,

LII.
Portend the deeds to come: — but he15 whose nod
Has tumbled feebler despots from their sway,
A moment pauseth ere he lifts the rod;
A little moment deigneth to delay:
Soon will his legions sweep through these their way;
The West must own the Scourger of the world.
Ah! Spain! how sad will be thy reckoning day,
When soars Gaul's Vulture, with his wings unfurl'd,
And thou shalt view thy sons in crowds to Hades hurl'd.

LIII.
And must they fall? the young, the proud, the brave,
To swell one bloated Chief's unwholesome reign?
No step between submission and a grave?
The rise of rapine16 and the fall of Spain?
And doth the Power that man adores ordain
Their doom, nor heed the suppliant's appeal?
Is all that desperate Valour acts in vain?
And Counsel sage, and patriotic Zeal,
The Veteran's skill, Youth's fire, and Manhood's heart of steel?

LIV.
Is it for this the Spanish maid, aroused,
Hangs on the willow her unstrung guitar,
And, all unsex'd, the Anlace17 hath espoused,
Sung the loud song, and dared the deed of war?
And she, whom once the semblance of a scar
Appall'd, an owlet's 'larum chill'd with dread,18
Now views the column-scattering bay'net jar,
The falchion19 flash, and o'er the yet warm dead
Stalks with Minerva's step where Mars20 might quake to tread.

LV.
Ye who shall marvel when you hear her tale,
Oh! had you known her in her softer hour,
Mark'd her black eye that mocks her coal-black veil,
Heard her light, lively tones in Lady's bower,
Seen her long locks that foil the painter's power,
Her fairy form, with more than female grace,
Scarce would you deem that Saragoza's tower
Beheld her smile in Danger's Gorgon face,
Thin the closed ranks, and lead in Glory's fearful chase.

LVI.
Her lover sinks, — she sheds no ill-timed tear;
Her chief is slain — she fills his fatal post;
Her fellows flee — she checks their base career;
The foe retires — she heads the sallying host:
Who can appease like her a lover's ghost?
Who can avenge so well a leader's fall?
What maid retrieve when man's flush'd hope is lost?
Who hang so fiercely on the flying Gaul,
Foil'd by a woman's hand,21 before a batter'd wall?

LVII.
Yet are Spain's maids no race of Amazons,
But form'd for all the witching arts of love:
Though thus in arms they emulate her sons,
And in the horrid phalanx dare to move,
'Tis but the tender fierceness of the dove,
Pecking the hand that hovers o'er her mate:
In softness as in firmness far above
Remoter females, famed for sickening prate;
Her mind is nobler sure, her charms perchance as great.

LVIII.
The seal Love's dimpling finger hath impress'd
Denotes how soft that chin which bears his touch:22
Her lips whose kisses pout to leave their nest,
Bid man be valiant ere he merit such:
Her glance how wildly beautiful! how much
Hath Phoebus23 woo'd in vain to spoil her cheek,
Which glows yet smoother from his amorous clutch!
Who round the North for paler dames would seek?
How poor their forms appear! how languid, wan, and weak!

LIX.
Match me, ye climes! which poets love to laud;
Match me, ye harems of the land! where now
I strike my strain, far distant, to applaud
Beauties that ev'n a cynic must avow;
Match me those Houries, whom ye scarce allow
To taste the gale lest Love should ride the wind,
With Spain's dark-glancing daughters - deign to know,
There your wise Prophet's24 paradise we find,
His black-eyed maids of Heaven, angelically kind.

LX.
Oh, thou Parnassus!25 whom I now survey,
Not in the phrensy of a dreamer's eye,
Not in the fabled landscape of a lay,
But soaring snow-clad through thy native sky,
In the wild pomp of mountain majesty!
What marvel if I thus essay to sing?
The humblest of thy pilgrims passing by
Would gladly woo thine Echoes with his string,
Though from thy heights no more one Muse will wave her wing.

LXI.
Oft have I dream'd of Thee! whose glorious name
Who knows not, knows not man's divinest lore:
And now I view thee, 'tis, alas! with shame
That I in feeblest accents must adore.
When I recount thy worshippers of yore
I tremble, and can only bend the knee;
Nor raise my voice, nor vainly dare to soar,
But gaze beneath thy cloudy canopy
In silent joy to think at last I look on Thee!

LXII.
Happier in this than mightiest bards have been,
Whose fate to distant homes confined their lot,
Shall I unmoved behold the hallow'd scene,
Which others rave of, though they know it not?
Though here no more Apollo haunts his grot,
And thou, the Muses' seat, art now their grave,
Some gentle spirit still pervades the spot,
Sighs in the gale, keeps silence in the cave,
And glides with glassy foot o'er yon melodious wave.

LXIII.
Of thee hereafter. — Ev'n amidst my strain
I turn'd aside to pay my homage here;
Forgot the land, the sons, the maids of Spain;
Her fate, to every freeborn bosom dear;
And hail'd thee, not perchance without a tear.
Now to my theme — but from thy holy haunt
Let me some remnant, some memorial bear; 26
Yield me one leaf of Daphne's deathless plant,27
Nor let thy votary's hope be deem'd an idle vaunt.

LXIV.
But ne'er didst thou, fair Mount, when Greece was young,
See round thy giant base a brighter choir,
Nor e'er did Delphi, when her priestess sung
The Pythian hymn with more than mortal fire,
Behold a train more fitting to inspire
The song of love, than Andalusia's28 maids,
Nurst in the glowing lap of soft desire:
Ah! that to these were given such peaceful shades
As Greece can still bestow, though Glory fly her glades.

LXV.
Fair is proud Seville; let her country boast
Her strength, her wealth, her site of ancient days;29
But Cadiz, rising on the distant coast,
Calls forth a sweeter, though ignoble praise.
Ah, Vice! how soft are thy voluptuous ways!
While boyish blood is mantling, who can 'scape
The fascination of thy magic gaze?
A Cherub-hydra30 round us dost thou gape,
And mould to every taste thy dear delusive shape.

LXVI.
When Paphos fell by Time — accursed Time!
The Queen who conquers all must yield to thee -
The Pleasures fled, but sought as warm a clime;
And Venus, constant to her native sea,
To nought else constant, hither deign'd to flee,
And fix'd her shrine within these walls of white;
Though not to one dome circumscribeth she
Her worship, but, devoted to her rite,
A thousand altars rise, for ever blazing bright.

LXVII.
From morn till night, from night till startled Morn31
Peeps blushing on the revel's laughing crew,
The song is heard, the rosy garland worn;
Devices quaint, and frolics ever new,
Tread on each other's kibes.32 A long adieu
He bids to sober joy that here sojourns:
Nought interrupts the riot, though in lieu
Of true devotion monkish incense burns,
And love and prayer unite, or rule the hour by turns.

LXVIII.
The Sabbath comes, a day of blessed rest:
What hallows it upon this Christian shore?33
Lo! it is sacred to a solemn feast;
Hark! heard you not the forest-monarch's roar?
Crashing the lance, he snuffs the spouting gore
Of man and steed, o'er thrown beneath his horn;
The throng'd arena shakes with shouts for more;
Yells the mad crowd o'er entrails freshly torn,
Nor shrinks the female eye, nor ev'n affects to mourn.

LXIX.
The seventh day this; the jubilee of man.
London! right well thou know'st the day of prayer:
Then thy spruce citizen, wash'd artisan,
And smug apprentice gulp their weekly air;
Thy coach of hackney, whiskey, 34 one-horse chair,
And humblest gig through sundry suburbs whirl;
To Hampstead, Brentford, Harrow make repair;
Till the tired jade the wheel forgets to hurl,
Provoking envious gibe from each pedestrian churl.

LXX.
Some o'er thy Thamis35 row the ribbon'd fair,
Others along the safer turnpike fly;
Some Richmond-hill ascend, some scud to Ware,
And many to the steep of Highgate hie.
Ask ye, Boeotian shades! the reason why?36
'Tis to the worship of the solemn Horn,37
In whose dread name both men and maids are sworn,
And consecrate the oath with draught, and dance till morn.

LXXI.
All have their fooleries — not alike are thine,
Fair Cadiz, rising o'er the dark blue sea!
Soon as the matin bell proclaimeth nine,
Thy Saint-adorers count the rosary:
Much is the VIRGIN teased to shrive them free
(Well do I ween the only virgin there)
From crimes as numerous as her beadsmen be;
Then to the crowded circus forth they fare:
Young, old, high, low, at once the same diversion share.

LXXII.
The lists are oped, the spacious area clear'd,
Thousands on thousands piled are seated round;
Long ere the first loud trumpet's note is heard,
Ne vacant space for lated wight is found:
Here dons, grandees, but chiefly dames abound,
Skill'd in the ogle of a roguish eye,
Yet ever well inclined to heal the wound;
None through their cold disdain are doom'd to die,
As moon-struck bards complain, by Love's sad archery.

LXXIII.
Hush'd is the din of tongues — on gallant steeds,
With milk-white crest, gold spur, and light-poised lance,
Four cavaliers prepare for venturous deeds,
And lowly bending to the lists advance;
Rich are their scarfs, their chargers featly prance:
If in the dangerous game they shine today,
The crowd's loud shout and ladies' lovely glance,
Best prize of better acts, they bear away,
And all that kings or chiefs e'er gain their toils repay.

LXXIV.
In costly sheen and gaudy cloak array'd,
But all afoot, the light-limb'd Matadore
Stands in the centre, eager to invade
The lord of lowing herds; but not before
The ground, with cautious tread, is traversed o'er,
Lest aught unseen should lurk to thwart his speed:
His arm a dart, he fights aloof, nor more
Can man achieve without the friendly steed –
Alas! too oft condemn'd for him to bear and bleed.

LXXV.
Thrice sounds the clarion; lo! the signal falls,
The den expands, and Expectation mute
Gapes round the silent circle's peopled walls.
Bounds with one lashing spring the mighty brute,
And, wildly staring, spurns, with sounding foot,
The sand, nor blindly rushes on his foe:
Here, there, he points his threatening front, to suit
His first attack, wide waving to and fro
His angry tail; red rolls his eye's dilated glow.

LXXVI.
Sudden he stops; his eye is fix'd; away,
Away, thou heedless boy! prepare the spear:
Now is thy time to perish, or display
The skill that yet may check his mad career.
With well-timed croupe the nimble coursers veer;
On foams the bull, but not unscathed he goes;
Streams from his flank the crimson torrent clear:
He flies, he wheels, distracted with his throes;
Dart follow dart; lance, lance; loud bellowings speak his woes.

LXXVII.
Again he comes; nor dart nor lance avail,
Nor the wild plunging of the tortured horse;
Though man and man's avenging arms assail,
Vain are his weapons, vainer is his force.
One gallant steed is stretch'd a mangled corse;
Another, hideous sight! unseam'd appears,
His gory chest unveils life's panting source;
Though death-struck, still his feeble frame he rears;
Staggering, but stemming all, his lord unharm'd he bears.

LXXVIII.
Foil'd, bleeding, breathless, furious to the last,
Full in the centre stands the bull at bay,
Mid wounds, and clinging darts, and lances brast,38
And foes disabled in the brutal fray;
And now the Matadores around him play,
Shake the red cloak and poise the ready brand:
Once more through all he bursts his thundering way –
Vain rage! the mantle quits the conynge hand,
Wraps his fierce eye — 'tis past - he sinks upon the sand!

LXXIX.
Where his vast neck just mingles with the spine,
Sheathed in his form the deadly weapon lies.
He stops — he starts — disdaining to decline:
Slowly he falls, amidst triumphant cries,
Without a groan, without a struggle dies.
The decorated car appears — on high
The corse is piled — sweet sight for vulgar eyes –
Four steeds that spurn the rein, as swift as shy,
Hurl the dark bulk along, scarce seen in dashing by.

LXXX.
Such the ungentle sport that oft invites
The Spanish maid, and cheers the Spanish swain.
Nurtured in blood betimes, his heart delights
In vengeance, gloating on another's pain.
What private feuds the troubled village stain!
Though now one phalanx'd host should meet the foe,
Enough, alas! in humble homes remain,
To meditate 'gainst friends the secret blow,
For some slight cause of wrath whence life's warm stream must flow.39

LXXXI.
But Jealousy has fled: his bars, his bolts,
His wither'd centinel, Duenna40 sage!
And all whereat the generous soul revolts,
Which the stern dotard deem'd he could encage,
Have pass'd to darkness with the vanish'd age.
Who late so free as Spanish girls were seen
(Ere War uprose in his volcanic rage),
With braided tresses bounding o'er the green,
While on the gay dance shone Night's lover-loving Queen?41

LXXXII.
Oh! many a time and oft, had Harold loved,42
Or dream'd he loved, since rapture is a dream;
But now his wayward bosom was unmoved,
For not yet had he drunk of Lethe's stream;
And lately had he learn'd with truth to deem
Love has no gift so grateful as his wings:
How fair, how young, how soft soe'er he seem,
Full from the fount of Joy's delicious springs43
Some bitter o'er the flowers its bubbling venom flings.

LXXXIII.
Yet to the beauteous form he was not blind,
Though now it moved him as it moves the wise:
Not that Philosophy on such a mind
E'er deign'd to bend her chastely-awful eyes:
But Passion raves herself to rest, or flies;
And Vice, that digs her own voluptuous tomb,
Had buried long his hopes, no more to rise:
Pleasure's pall'd victim! life-abhorring gloom
Wrote on his faded brow curst Cain's unresting doom.44

LXXXIV.
Still he beheld, nor mingled with the throng;
But view'd them not with misanthropic hate:
Fain would he now have join'd the dance, the song;
But who may smile that sinks beneath his fate:
Nought that he saw his sadness could abate:
Yet once he struggled 'gainst the demon's sway,
And as in Beauty's bower he pensive sate,
Pour'd forth his unpremeditated lay,
To charms as fair as those that soothed his happier day.

To Inez45

1.
Nay, smile not at my sullen bow;
Alas, I cannot smile again:
Yet Heaven avert that ever thou
Shouldst weep, and haply weep in vain.

2.
And dost thou ask what secret woe
I bear, corroding joy and youth?
And wilt thou vainly seek to know
A pang, ev'n thou must fail to soothe?

3.
It is not love, it is not hate,
Nor low Ambition's honours lost,
That bids me loathe my present state,
And fly from all I prized the most:

4.
It is that weariness which springs
From all I meet, or hear, or see:
To me no pleasure Beauty brings;
Thine eyes have scarce a charm for me.

5.
It is that settled, ceaseless gloom
The fabled Hebrew wanderer46 bore;
That will not look beyond the tomb,
But cannot hope for rest before.

6.
What Exile from himself can flee?
To zones though more and more remote,
Still, still pursues, where'er I be,
The blight of life — the demon Thought.47

7.
Yet others rapt in pleasure seem,
And taste of all that I forsake:
Oh! may they still of transport dream,
And ne'er, at least like me, awake!

8.
Thorough many a clime 'tis mine to go,
With many a retrospection curst;
And all my solace is to know,
Whate'er betides, I've known the worst.

9.
What is that worst? Nay, do not ask –
In pity from the search forbear:
Smile on — nor venture to unmask
Man's heart, and view the Hell that's there.48

LXXXV.
Adieu, fair Cadiz! yes, a long adieu!
Who may forget how well thy walls have stood?
When all were changing, thou alone wert true,
First to be free, and last to be subdued:
And if amidst a scene, a shock so rude,
Some native blood was seen thy streets to dye,
A traitor only fell beneath the feud:49
Here all were noble, save Nobility!
None hugg'd a conqueror's chain, save fallen Chivalry!

LXXXVI.
Such be the sons of Spain, and strange her fate!
They fight for freedom who were never free,
A Kingless people for a nerveless state;
Her vassals combat when their chieftains flee,
True to the veriest slaves of Treachery:
Fond of a land which gave them nought but life,
Pride points the path that leads to liberty;
Back to the struggle, baffled in the strife,
War, war is still the cry, 'War even to the knife!'50

LXXXVII.
Ye, who would more of Spain and Spaniards know,
Go, read whate'er is writ of bloodiest strife:
Whate'er keen Vengeance urged on foreign foe
Can act, is acting there against man's life:
From flashing scimitar to secret knife,
War mouldeth there each weapon to his need -
So may he guard the sister and the wife,
So may he make each curst oppressor bleed -
So may such foes deserve the most remorseless deed!

LXXXVIII.
Flows there a tear of pity for the dead?
Look o'er the ravage of the reeking plain;
Look on the hands with female slaughter red;51
Then to the dogs resign the unburied slain,
Then to the vulture 52 let each corse remain,
Albeit unworthy of the prey-bird's maw;
Let their bleach'd bones, and blood's unbleaching stain,
Long mark the battle-field with hideous awe:
Thus only may our sons conceive the scenes we saw!

LXXXIX.
Nor yet, alas! the dreadful work is done;
Fresh legions pour adown the Pyrenees:
It deepens, still, the work is scarce begun,
Nor mortal eye the distant end foresees,
Fall'n nations gaze on Spain; if freed, she frees
More than her fell Pizarros53 once enchain'd:
Strange retribution! now Columbia's54 ease
Repairs the wrongs that Quito's sons55 sustained,
While o'er the parent clime prowls Murder unrestrain'd.

XC.
Not all the blood at Talavera shed,
Not all the marvels of Barossa's fight,
Not Albeura lavish of the dead,
Have won for Spain her well-asserted right.
When shall her Olive-Branch be free from blight?
When shall she breathe her from the blushing toil?
How many a doubtful day shall sink in night,
Ere the Frank robber turn him from his spoil,
And Freedom's stranger-tree grow native of the soil!

XCI.
And thou, my friend!56 — since unavailing woe
Bursts from my heart, and mingles with the strain –
Had the sword laid thee with the mighty low,
Pride might forbid e'en Friendship to complain:
But thus unlaurel'd to descend in vain,
By all forgotten, save the lonely breast,
And mix unbleeding with the boasted slain,
While Glory crowns so many a meaner crest!
What hadst thou done to sink so peacefully to rest?

XCII.
Oh, known the earliest, and esteem'd the most!
Dear to a heart where nought was left so dear!
Though to my hopeless days for ever lost,
In dreams deny me not to see thee here!
And Morn in secret shall renew the tear
Of Consciousness awaking to her woes,
And Fancy hover o'er thy bloodless bier,
Till my frail frame return to whence it rose,
And mourn'd and mourner lie united in repose.

XCIII.
Here is one fytte57 of Harold's pilgrimage:
Ye who of him may further seek to know,
Shall find some tidings in a future page,
If he that rhymeth now may scribble moe.
Is this too much? stern Critic! say not so:
Patience! and ye shall hear what he beheld
In other lands, where he was doom'd to go:
Lands that contain the monuments of Eld,58
Ere Greece and Grecian arts by barbarous hands were quell'd.

[end of Canto 1]

***

Works Cited

Byron, George Gordon, Lord. The Poetical Works of Lord Byron. Collected and arranged, with illustrative notes, by Thomas Moore, Lord Jefferson, Sir Walter Scott … &c. … New York: D. Appleton & Company. (1848)

Chew, Samuel C. (ed.) Childe Harold's Pilgrimage and other romantic poems. New York: Odyssey Press. (1936)

Coleridge, E.H. (ed.) The Works of Lord Byron, vol. II. London: J. Murray; New York: C. Scribner's sons. (1899)

McConnell, Frank D. (ed.) Byron's Poetry: authoritative texts, letters and journals, criticism, images of Byron. New York: Norton. (1978)


  1. Princeton defines this as "prayers." [back]
  2. This recalls that famous haiku I have just made up: "His neighbor's young wife/ dreams of monkeys, gibbons, apes./ For the last time, why?" [back]
  3. "The battle of Albuera, in which the British replused the French with enormous losses to themselves, was fought on May 15, 1811. Byron added this stanza in August, 1811, after his return to England" (Chew, 27, ff.459). Of the battle, the Duke of Wellington wrote, "'Another such a battle [won] … would ruin us" (Coleridge, 51, ff.1) [back]
  4. I suppose this must be Harold … so Byron stops his musing and goes back to the story. [back]
  5. "'Note this main point in Byron's character,' wrote Ruskin. 'He was the first great Englishman who felt the cruelty of war, and, in its cruelty, the shame' … The remark needs qualitification, which, indeed, Ruskin went on to supply; but in the main it is correct. Byron's detestation was of wars of conquest and oppression, not of defence and liberation" (Chew, 27, ff.468) [back]
  6. Troy, as in The Fall of Troy and all that female slaughter red [back]
  7. "The surrender of Seville to the French, January 31, 1810, six months after Byron's departure" (Chew, 28, ff.486). [back]
  8. Webster's says it is, "a musical instrument of a round form;" as in Drayton's "he turn'd his rebec to a mournful note." Indeed. [back]
  9. Webster's defines it as, "A lively dance, in 3-8 or 6-8 time, much practiced in Spain and Spanish America." As in Procol Harem's Whiter Shade Of Pale "trip the light fantastic or skip the light fandango …" [back]
  10. "Viva el Ray Fernando! 'Long live King!' Ferdinand is the chorus of most of the Spanish patriotic songs. They are chiefly in dispraise of old King Charles, the Queen, and the Prince of Peace. I have heard many of them; some of the airs are beautiful. Godoy, the Principe de a Paz, of an ancient but decayed family, was born at Badajoz, on the frontiers of Portugal, and was originally in the ranks of the Spanish guards; till his person attracted the queen's eyes, and raised him to the dukedom of Alcudia, &c., &c. It is to this man that the Spaniards universally impute the ruin of their country" (Byron, 19, ff. 6). [back]
  11. "The red cockade, with 'Fernando Septimo' in the centre" (Byron, 20, ff.1). [back]
  12. "The mountain chain, chief bastion of the city of Seville's resistance to the French" (McConnell, 39, ff.8. ) [back]
  13. Does anyone recall the song Razzle Dazzle from the movie Fosse (1999) with the lines: "Though you are stiffer than a girder/ They let ya get away with a murder"? I always liked that line. [back]
  14. "All who have seen a battery will recollect the pyramidal form in which shot and shells are piled. The Sierra Morena was fortified in every defile through which I passed in my way to Seville" (Byron, 20, ff.2). [back]
  15. Byron means Napoleon here. "To trace the fluctuations of Byron's opinion of Napoleon would require a longer note. A safe generalization is that on the whole his admiration of the heir of the French Revolution and for of reactionary dynasts outweighed his disapproval of the imperialistic and despotic conqueror" (Chew, 30, ff.540). [back]
  16. If I only knew a DJ who needed work we could set Childe Harold to a disco dance beat and make a million dollars. The public wants to dance to Old School Romantics. Who doesn't recall that hit from the 1980s, Marriage [of Sir Gawaine remix]? And the lines, "She witchd my brother to a carlish boore/ And made him stiffe and stronge;/ And built him a bowre on magicke grounde To live by rapine and wronge …"? Get down! get down! [back]
  17. Princeton defines it as "A two-edged medieval dagger. [Middle English anelas.]" [back]
  18. "The time has been my senses would have cooled/ To hear a night-shriek" (Macbeth, V, 5, 10) [back]
  19. Something pointy and sharp, I suppose. [back]
  20. Roman god of War. [back]
  21. "Such were the exploits of the Maid of Saragoza, who by her valour elevated herself to the highest rank of heroines. When the author was at Seville, she walked daily on the Prado, decorated with medals and orders, by the command of the Junta" (Byron, 20, ff.3). [back]
  22. Byron writes: "Sigilla in mento impressa Amoris digitulo/ Vestigio demonstrant mollitudinem. — AUL. GEL" (Byron, 20, ff.4) I am not sure what this means. [back]
  23. Apollo as Sun God. [back]
  24. Muhammad, the Holy. [back]
  25. "These stanzas were written in Castri (Delphos), at the foot of Parnassus, now called Liakura, Dec. 1809″ (Byron, 21, ff.4) and in case that is still vague, we are talking of the mountains of Greece sacred to Apollo. [back]
  26. Compare this with Leviticus 2:2 -3, "And the priest shall burn the memorial of it upon the altar, to be an offering mae by fire, of a sweet savour unto the Lord: And 'the remnant' of the meat offering shall be Aaron's and his sons." [back]
  27. Apollo tried to rape Daphne and to escape such a fate she turned into "the ever-green bay-tree" (Chew, 34, ff.646). [back]
  28. A very curious research paper that needs writing is comparing Federico Garcia Lorca's descriptive landscapes of Grenada in his poetry with that of Byron's. There feels a close brotherhood. Ah, so many papers so little time … [back]
  29. "Seville was the Hispalis of the Romans" (Byron, 21, ff.9). [back]
  30. "Cadiz, city of vice, is imagined by Byron as a combination of beautiful boy (cherub) and mythic, many-headed serpent. This is an interesting image, particularly in view of recent studies of Byron's pathological love and loathing of sexuality" (McConnell, 42, ff.4) … "pathological" love? Thanks, McConnell! [back]
  31. Comapre this with lovely Milton, who wrote in Paradise Lost of "the fall of the devil Mammon, 'From Morn/ To Noon he fell, from Noon to dewy Eve'" (McConnell, 42, ff.6) [back]
  32. "One of Byron's worst linguistic blunders. Imperfectly recollecting Hamlet (V, i, 15), he takes "kilbes" to mean heels. A kibe is a chilblain" (Chew, 35, ff. 679) and for those of you born after 1932, "chilblain" is a swelling of the feet and legs caused by exposure to cold and dampness. In other words, grotesque grossness. [back]
  33. Exodus 20:8 -10, "Remember the sabbath day, to keep it holy. Six days shalt thou labor … But the seventh day is the sabbath …" [back]
  34. "A whiskey is a light carriage in which the traveller is whisked along" (Coleridge, 65, ff.2) [back]
  35. The river Thames [back]
  36. "This was written at Thebes, and consequently in the best situation for asking and answering such a question; not as the birthplace of Pindar, but as the capital of Boeotia, where the first riddle was propounded and solved" (Byron, 22, ff.3). [back]
  37. "A foolish oath sworn upon a pair of horns at taverns in Highgate [England] in accordance with a custom now obsolete" (Chew, 37, ff.707). [back]
  38. Webster's defines it as, "to burst." [back]
  39. Byron writes home: "The Spaniards are as revengeful as ever. At Santa Ollala I heard a young peasant threaten to stab a woman (an old one to be sure, which mitigates the offence), and was told on expressing some small surprise, that the ethic was by no means uncommon" (Coleridge, 72, ff.1) [back]
  40. Webster's says this about the Duenna, "An elderly lady holding a station between a governess and companion, and appointed to have charge over the younger ladies in a Spanish or a Portuguese family." [back]
  41. I am pretty sure Byron is talking of Venus, the Greek goddes of love, lust and all things fun but still, "the gay dance shone Night's lover-loving Queen" should really find its way into a modern song lyric somewhere. [back]
  42. "In the three following stanzas there is adumbrated the character of the 'Byronic hero,' to be fully developed in Lara and Manfred" (Chew, 40, ff.810). [back]
  43. Byron writes, "'Medio de fonte leporum/ Surgit amari aliquid quot in insis floribus angat.' LUC" (Byron, 23, ff.4) [back]
  44. "Here for the first time Byron identifies Harold (and himself) with Cain, in one of his most important analogies. As Cain was condemned to wander the earth marked forever as a sinner for his murder of Abel, so Myron frequently imagined himself and his heroes as modern Cains, whose guilt was almost too primeval, too deep to be named" (McConnell, 46, ff.9) [back]
  45. Ah, another song. "Most likey they were addressed to Teresa Macri, 'the Maid of Athens'" (Coleridge, 75, ff.1) [back]
  46. Ahasuerus. "The legend of the Wandering Jew, like the story of Cain, appealed strongly to the imagination not of Byron only but of other writers of the Romantic Period" (Chew, 42, ff.854). [back]
  47. How curious Byron should think the mental state as evil in some form! [back]
  48. As themes Byron will return to, compare this with Manfred's (I, i, 250-1), "I call upon thee! and compel / Thyself to be thy proper Hell!" [back]
  49. "Alluding to the conduct and death of Solano, the governor of Cadiz, in May, 1809″ (Byron, 24, ff.4). However, Chew counters this: "Byron's epithet is unjust; no historian questions Solano's courage or patriotism. He hesitated, says Napier, 'to commit his country to war with a power whose strength he knew better than the temper of his counrtymen'" (Chew, 43, ff.879). [back]
  50. "'War to the knife.' Palafox's answer to the French general at the siege of Saragoza" (Byron, 24, ff.5). [back]
  51. Would make a great title for a poem! [back]
  52. I was at a garage sale about a week ago and found a copy of Alan Parsons Project's Vulture Culture (1985) and thought the song Days Are Numbered (The Traveller) pretty cool at the time. I wonder what Eric Woolfson and Alan Parsons are doing right now? Maybe they'd like to put Childe Harold to music? I should ask. [back]
  53. I think Byron is talking about Francisco Pizarro the Conquistador and subduer of the Incas in Peru but my history lessons are a bit dim at this point. [back]
  54. Again, are we talking of Columbus? America? Something else? [back]
  55. Incan defenders? [back]
  56. "The Honourable John Wingfield of the Guards, who died of fever at Coimbra (May 14, 1811). I had known him ten years, the better half of his life, and the happiest part of mine. In the short space of one month I have lost her [Byron's mother] who gave me being, and most of those who had made that being tolerable. To me the lines of Young are no fiction:

    "'Insatiate archer! could not once suffice?
    Thy shaft flew thrice, and thrice my peace was slain,
    And thrice ere thrice yon moon had fill'd her horn.'

    "I should have ventured a verse to the memory of the late Charles Skinner Matthews, Fellow of Downing College, Cambridge, were he not too much above all praise of mine. His powers of mind, shown in the attainment of great honours, against the ablest candidates, than those of any graduate on record at Cambridge, have sufficiently established his fame on the spot where it was acquired; while his softer qualities live in the recollection of friends, who loved him too well to envy his superiority" (Byron, 25, ff.1). [back]

  57. "Medieval word for 'canto' or 'section. At the end of the poem, Byron reverts heavily to the labored 'poetic diction' of the opening stanzas" (McConnell, 49, ff.7) [back]
  58. Webster's says, "Old times; former days; antiquity." Such as Longfellow's "Astrologers and men of eld." [back]

Childe Harold’s Pilgrimage: annotations and whatnot

Monday, September 4th, 2006

Childe Harold's Pilgrimage, Canto I [continued]

XXXI.
More bleak to view the hills at length recede,
And, less luxuriant, smoother vales extend;
Immense horizon-bounded plains succeed!
Far as the eye discerns, withouten end,
Spain's realms appear whereon her shepherds tend
Flocks, whose rich fleece right well the trader knows -
Now must the pastor's arm his lambs defend:
For Spain is compass'd by unyielding foes,1
And all must shield their all, or share Subjection's woes.

XXXII.
Where Lusitania and her Sister2 meet,
Deem ye what bounds the rival realms divide?
Or ere the jealous queens of nations greet,
Doth Tayo3 interpose his mighty tide?
Or dark Sierras rise in craggy pride?
Or fence of art, like China's vasty wall? -
Ne barrier wall, ne river deep and wide,
Ne horrid crags,4 nor mountains dark and tall,
Rise like the rocks that part Hispania's land from Gaul:

XXXIII.
But these between a silver streamlet5 glides,
And scarce a name distinguisheth the brook,
Though rival kingdoms press its verdant sides.
Here leans the idle shepherd on his crook,
And vacant on the rippling waves doth look,6
That peaceful still 'twixt bitterest foemen flow;
For proud each peasant as the noblest duke:
Well doth the Spaniard hind the difference know
'Twixt him and Lusian slave, 7 the lowest of the low.

XXXIV.
But ere the mingling bounds have far been pass'd,
Dark Guadiana8 rolls his power along
In sullen billows, murmuring and vast,
So noted ancient roundelays9 among.
Whilome upon his banks did legions throng
Of Moor and Knight, in mailèd splendour drest:10
Here ceased the swift their race, here sunk the strong;11
The Paynim turban and the Christian crest12
Mix'd on the bleeding stream, by floating hosts oppress'd.

XXXV.
Oh. lovely Spain! renown'd, romantic land!
Where is that standard13 which Pelagio bore,
When Cava's traitor-sire14 first call'd the band
That dyed thy mountain streams with Gothic gore?15
Where are those bloody banners which of yore
Waved o'er thy son's, victorious to the gale,
And drove at last the spoilers to their shore?16
Red gleam'd the cross, and waned the crescent pale,17
While Afric's echoes thrill'd with Moorish matrons' wail.

XXXVI.
Teems not each ditty with the glorious tale?
Ah! such, alas! the hero's amplest fate!
When granite moulders, and when records fall,
A peasant's plaint prolongs his dubious date.
Pride! bend thine eye from heaven to thine estate,
See how the Mighty shrink into a song!18
Can Volume, Pillar, Pile preserve thee great?
Or must thou trust Tradition's simple tongue,
When Flattery sleeps with thee, and History does thee wrong?

XXXVII.
Awake, ye sons of Spain! awake! advance!
Lo! Chivalry, your ancient goddess, cries,
But wields not, as of old, her thirsty lance,
Nor shakes her crimson plumage in the skies:
Now on the smoke of blazing bolts she flies,
And speaks in thunder through yon engine's roar:
In every peal she calls - 'Awake! arise!'
Say, is her voice more feeble than of yore,
When her war-song was heard on Andalusia's19 shore?

XXXVIII.
Hark! heard you not those hoofs of dreadful note?
Sounds not the clang of conflict on the heath?
Saw ye not whom the reeking sabre smote,
Nore saved your brethren ere they sank beneath
Tyrants and tyrants' slaves? the fires of death,
The bale-fires flash on high: - from rock to rock20
Each volley tells that thousands cease to breathe;
Death rides upon the sulphury Siroc,
Red Battle stamps his foot, and nations feel the shock.

XXXIX.
Lo! where the Giant21 on the mountain stands,
His blood-red tresses deep'ning in the sun,
With death-shot glowing in his fiery hands,
And eye that scorcheth all it glares upon;
Restless it rolls, now fix'd, and now anon
Flashing afar, - and at his iron feet
Destruction cowers, to mark what deeds are done;22
For on this morn three potent nations meet,
To shed before his shrine the blood he deems most sweet.

XL.
By heaven! it is a splendid sight to see23
(For one who hath no friend, no brother there)
Their rival scarfs of mix'd embroidery,
Their various arms that glitter in the air!
What gallant war-hounds rouse them from their lair,
And gnash their fangs, loud yelling for the prey!24
All join the chase, but few the triumph share;
The Grave shall bear the chiefest prize away,
And Havoc25 scarce for joy can number their array.

[more notes on the way …]

***

Works Cited

Byron, George Gordon, Lord. The Poetical Works of Lord Byron. Collected and arranged, with illustrative notes, by Thomas Moore, Lord Jefferson, Sir Walter Scott … &c. … New York: D. Appleton & Company. (1848)

Chew, Samuel C. (ed.) Childe Harold's Pilgrimage and other romantic poems. New York: Odyssey Press. (1936)

Coleridge, E.H. (ed.) The Works of Lord Byron, vol. II. London: J. Murray; New York: C. Scribner's sons. (1899)

McConnell, Frank D. (ed.) Byron's Poetry: authoritative texts, letters and journals, criticism, images of Byron. New York: Norton. (1978)


  1. McConnell writes, "In 1808 Napoleon had forced Charles IV to abdicate the Spanish throne, and had placed his own brother, Joseph, as king in Spain. The Spanish resented and violently resisted French occupation of their country throughout hte Peninsular War 1804-14″ (McConnell, 34, ff8.). [back]
  2. Portugal and Spain? [back]
  3. "Tejo, the Tagus" river (Chew, 22, ff. 363) [back]
  4. What is Byron trying to say? A random haiku might help: The chain-smoking niece/ greasens the stubborn crank-shaft./ Retrograde motion. Perhaps? No. [back]
  5. "If … Byron passed through 'Albuera's plain' on his way from Lisbon to Seville, he must have crossed the frontier at a point between Elvas and Badajoz. In that case the 'silver streamlet' may be identified as Caia. Beckford remarks on 'the rivulet which separates the two kingdoms' …" (Coleridge, 45, ff.2) [back]
  6. Thanks, Byron. We all know shepherds are a dull and dim bunch … unlike syphilitic Lords. [back]
  7. "As I found the Portuguese, so I have characterized them. That they are since improved, at least to courage, is evident. The late exploits of Lord Wellington have effaced the follies of Cintra. He has, indeed, done wonders; he has, perhaps changed the character of a nation, reconciled rival superstitions and baffled an enemy who never retreated before his predecessors" (Byron, 18, ff. 1). [back]
  8. A river of some sort. [back]
  9. Spanish ballads of the conflicts between Christians and the Moors (Chew, 23, ff. 381). [back]
  10. Besides being an odd rhyme for "oppressed" it also means fight. [back]
  11. Compare this with Ecclesiastes 9:11, "I returned, and saw under the sun, that 'the race is not to the swift,' nor the battle to the strong." [back]
  12. The war of "liberation" between the Muslim Moors and Christians in Spain. [back]
  13. "The standard, as cross made of Asturian oak (La Cruz de la Victoria), which was said to have fallen from heaven before Pelayo gained the victory over the Moors at Cangas, in A.D. 718, is preserved at Oviedo" (Coleridge, 46, ff.2) [back]
  14. In ancient gossip, McConnell writes, "Count Julian of Ceuta (Cava) in 711 aided the Moslem invasion of Spain. This invasion was resisted herically by the Christian king Pelagio (Pelayo) who ruled 718 - 37″ (McConnell, 35, ff. 3). [back]
  15. "Count Julian's daughter, the Helen of Spain. Pelagius preserved his independence in the fastnesses of the Asturias, and the descendants of his followers, after some centuries,
    completed their struggle by the conquest of Granada" (Byron, 18, ff. 4). [back]
  16. The Moors were finally expelled from Granada in 1492, in the reign of Ferdinand and Isabella (Coleridge, 47, ff. 1) [back]
  17. In the Sierra Nevada, south of Greanada, there is a point called "El Ultimo Suspiro del Moro ("The Last Sigh of the Moor") where the vanquished Boabdil turned for a last look upon the city which he had lost (Chew, 24, ff. 394) [back]
  18. Is Byron using II Samuel 1:19's "The beauty of Israel is slain upon thy high places: how are the mighty fallen" here? [back]
  19. Federico Garcia Lorca's province year later. [back]
  20. "The Siroc [or Sirocco] is the violent hot wind that for weeks together blows down the Mediterranean from the Archipelago. Its effects are well known to all who have passed the Straits of Gibraltar" (Coleridge, 48, ff.1) [back]
  21. A bit confusing here, Byron might be talking of Napoleon or some sort of war machine? [back]
  22. Daniel 2:33 - 42: "Thou, O king, sawest, and behold a great image … His legs of iron, his feet part of iron and part of clay." [back]
  23. The irony here is that Byron did not get to see it, being in the city of Seville at the time. "The batttle of Talavera began July 27, 1809, and lasted two days. As Byron must have reached Seville by the 21st or 22nd of the month, he was not as might be inferred, a spectator of any part of the engagement. Writing to his mother, August 11, he says, 'You have heard of the battle near Madrid, and in England they would call it a victory — a pretty victory! Two hundred officers and fie thousand men killed, all English, and the French in as great force as ever. I should have joined the army, but we have no time to lose before we get up the Mediterranean" (Coleridge, 49, ff. 1). [back]
  24. Lamentations 2:16: "All thine enemies have opened their mouth against thee: they hiss and gnash their teeth." Indeed? [back]
  25. Kissing is the Havoc of Dragonflies. [back]

Childe Harold’s Pilgrimage: annotations and whatnot

Sunday, September 3rd, 2006

Childe Harold's Pilgrimage, Canto I [continued]

XIV.
On, on the vessel flies, the land is gone, 1
And winds are rude in Biscay's2 sleepless bay.
Four days are sped, but with the fifth, anon,
New shores descried make every bosom gay;
And Cintra's3 mountain greets them on their way.
And Tagus4 dashing onward to the deep,
His fabled golden tribute bent to pay;
And soon on board the Lusian5 pilots leap,
And steer 'twixt fertile shores where yet few rustics reap.

XV.
Oh, Christ! it is a goodly sight to see
What Heaven hath done for this delicious land:
What fruits of fragrance blush on every tree!
What goodly prospects o'er the hills expand!
But man would mar them with an impious hand:
And when the Almighty lifts his fiercest scourge
'Gainst those who most transgress his high command,
With treble vengeance will his hot shafts6 urge
Gaul's locust host,7 and earth from fellest foemen purge.

XVI.
What beauties doth Lisboa, first unfold!
Her image floating on that noble tide,
Which poets vainly pave with sands of gold,
But now whereon a thousand keels did ride
Of mighty strength, since Albion was allied,
And to the Lusians did her aid afford:
A nation swoln with ignorance and pride,
Who lick yet loathe the hand that waves the sword
To save them from the wrath of Gaul's unsparing lord.

XVII.
But whoso entereth within this town,
That, sheening far, celestial seems to be,
Disconsolate will wander up and down,8
'Mid many things unsightly to strange ee;9
For hut and palace show like filthily:
The dingy denizens are rear'd in dirt;
Ne personage of high or mean degree
Doth care for cleaness of surtout10 or shirt;
Though shent with Egypt's plague, unkempt, unwash'd, unhurt.

XVIII.
Poor, paltry slaves! yet born 'midst noblest scenes -
Why, Nature, waste thy wonders on such men?
Lo! Cintra's glorious Eden intervenes
In variegated maze of mount and glen.
Ah, me! what hand can pencil guide, or pen,
To follow half on which the eye dilates
Through views more dazzling unto mortal ken
Than those whereof such things the bard11 relates,
Who to the awe-struck world unlock'd Elysium's gates?

XIX.
The horrid crags, by toppling convent crown'd,
The cork-trees hoar that clothe the shaggy steep,
The mountain-moss by scorching skies imbrown'd,
The sunken glen, whose sunless shrubs must weep,
The tender azure12 of the unruffled deep,
The orange tints that gild the greenest bough,
The torrents that from cliff to valley leap,
The vine on high, the willow branch below,
Mix'd in one mighty scene, with varied beauty glow.

XX
Then slowly climb the many-winding way,
And frequent turn to linger as you go,
From loftier rocks new loveliness survey,
And rest ye at 'Our Lady's house of woe;'13
Where frugal monks their little relics show,
And sundry legends to the stranger tell:
Here impious men have punish'd been, and lo!
Deep in yon cave Honorious14 long did dwell,
In hope to merit Heaven by making earth a Hell.

XXI
And here and there, as up the crags you spring,
Mark many rude-carved crosses near the path;
Yet deem not these devotion's offering -
These are memorials frail of murderous wrath:
For wheresoe'er the shrieking victim hath
Pour'd forth his blood beneath the assassin's knife,15
Some hand erects a cross of mouldering lath;
And grove and glen with thousand such are rife
Throughout this purple land, where law secures not life.16

XXII
On sloping mounds, or in the vale beneath,
Are domes where whilome kings did make repair;
But now the wild flowers round them only breathe;
Yet ruin'd splendour still is lingering there.
And yonder towers the Prince's palace fair:
There thou, too, Vathek! England's wealthiest son,17
Once form'd thy Paradise, as not aware
When wanton Wealth her mightiest deeds hath done,
Meek Peace voluptuous lures was ever wont to shun.

XXIII
Here didst thou dwell, here schemes of pleasure plan,
Beneath yon mountain's ever beautious brow:
But now, as if a thing unblest by Man,
Thy fairy dwelling is as lone as thou!
Her giant weeds a passage scarce allow
To halls deserted, portals gaping wide:
Fresh lessons to the thinking bosom, how
Vain are the pleasaunces on earth supplied;
Swept into wrecks anon by Time's ungentle tide!

XXIV.
Behold the hall where chiefs were late convened!18
Oh! dome displeasing unto British eye!
With diadem hight foolscap, lo! a fiend,
A little fiend that scoffs incessantly,
There sits in parchment robe array'd, and by
His side is hung a seal and sable scroll,
Where blazon'd glare names known to chivalry,
And sundry signatures adorn the roll,
Whereat the Urchin points and laughs with all his soul.19

XXV.
Convention is the dwarfish demon styled
That foil'd the knights in Marialva's dome:
Of brains (if brains they had) he them beguiled,
And turned a nation's shallow joy to gloom.
Here Folly dash'd to earth the victor's plume,
And Policy regain'd what arms had lost:
For chiefs like ours in vain may laurels bloom!
Woe to the conqu'ring, not the conquer'd host,
Since baffled Triumph droops on Lusitania's coast.

XXVI.
And ever since that martial synod met,
Britannia sickens, Cintra! at thy name;
And folks in office at the mention fret,
And fain would blush, if blush they could, for shame.
How will posterity the deed proclaim!
Will not our own and fellow nations sneer,
To view these champions cheated of their fame,
By foes in fight o'er thrown, yet victors here,
Where Scorn her finger points through many a coming year.

XXVII.
So deem'd the Childe, as o'er the mountains he
Did take his way in solitary guise:
Sweet was the scene, yet soon he thought to flee,
More restless than the swallow in the skies:
Though here awhile he learn'd to moralize,
For Meditation fix'd at times on him;
And conscious Reason whisper'd to despise
His early youth, misspent in maddest whim;
But as he gazed on truth his aching eyes grew dim.

XXVIII.
To horse! to horse! he quits, for ever quits
A scene of peace, though soothing to his soul:
Again he rouses from his moping fits,
But seeks not now the harlot and the bowl.
Onward he flies, nor fix'd as yet the goal
Where he shall rest him on his pilgrimage;
And o'er him many changing scenes must roll
Ere toil his thirst for travel can assuage,
Or he shall calm his breast, or learn experience sage.

XXIX.
Yet Mafra shall one moment claim delay,
Where dwelt of yore the Lusians' luckless queen;
And church and court did mingle their array,
And mass and revel were alternate seen;
Lordlings and freres - ill-sorted fry I ween!
But here the Babylonian whore20 hath built
A dome, where flaunts she in such glorious sheen,
That men forget the blood which she hath spilt,
And bow the knee to Pomp that loves to varnish guilt.21

XXX.
O'er vales that teem with fruits, romantic hills.
(Oh, that such hills upheld a free-born race!)
Whereon to gaze the eye with joyaunce fills,
Childe Harold wends through many a pleasant place.
Though sluggards deem it but a foolish chase,
And marvel men should quit their easy chair,
The toilsome way, and long, long league to trace,
Oh! there is sweetness in the mountain air,
And life, that bloated Ease can never hope to share.

[more notes soon]

***

Works Cited

Blackwell, Alice Stone. Armenian Poems. Boston: Roberts. (1896)

Byron, George Gordon, Lord. The Poetical Works of Lord Byron. Collected and arranged, with illustrative notes, by Thomas Moore, Lord Jefferson, Sir Walter Scott … &c. … New York: D. Appleton & Company. (1848)

Chew, Samuel C. (ed.) Childe Harold's Pilgrimage and other romantic poems. New York: Odyssey Press. (1936)

Coleridge, E.H. (ed.) The Works of Lord Byron, vol. II. London: J. Murray; New York: C. Scribner's sons. (1899)


  1. Even before Byron exiled himself from England he was writing about a self-imposed exile, asking those who cared about him to mourn. In this, he falls into a long tradition of poets begging us not to forget them. For example, a line from the Armenian poem by C.A. Totochain, The Wandering Armenian to the Swallow, requests of his father: "Bid him sit down and mourn with tears/ His son’s sad destiny (Blackwell, 130). Byron has this to say: "I leave England without regret — I shall return to it without pleasure. I am like Adam, the first convict sentenced to transportation, but I have no Eve, and have eaten no apple but what was sour as a crab" (Coleridge, 29, ff.1). [back]
  2. The Bay of Biscay, I suppose. [back]
  3. A Portuguese city. "Cintra's 'needle-like peaks,' to the north-west of Lisbon, are visible from the mouth of the Tagus" (Coleridge, 31, ff.1) [back]
  4. A Portuguese river. [back]
  5. According to McConnell, it is an ancient term for Portuguese, coming from the word "Lusitania" (McConnell, 31, ff. 2). [back]
  6. Calling Dr. Freud! Sometimes Byron's homoeroticism can be subtle and sometimes not … [back]
  7. Emperor Napoleon had invaded Portugal at the time Byron was writing, thus the Biblical reference to the plague of locusts. [back]
  8. Compare these three lines with the Biblical passage from Psalm 59:15, "Let them wander up and down for meat, and grudge if they be not satified." [back]
  9. Again, the strange use of "ee" as part of the body. An earlier version of this line reads, "Mid many things that grieve both nose and ee" (Byron, 16, ff.2). [back]
  10. Greatcoat or overcoat [back]
  11. McConnell suggests it is Vergil, "who in the 6th book of the Aeneid describes the life of the blessed Elysium" (McConnell, 31, ff 3.), a place of ideal happiness. [back]
  12. Here is another word the New York TImes Crossword Puzzles claim poets use. Perhaps two hundred years ago, as in Collins' Ode to Pity, "'The sky-worn robes of tenderest blue" (Coleridge, 34, ff.2), but even then he just says blue. [back]
  13. I do enjoy a curious saint now and then. I remember reading Fernando Vallejo's La Virgen de los Sicarios/ Our Lady of the Assassins (2001) and wondering if there was a Lady of Sonnets somewhere. Of this particular saint, McConnell writes, "The convent of Nossa Señora da Peña, 'Our Lady of Sorrow,' near Lisbon. Monasteries and convents frequently served as way-stations for exhausted travelers" (McConnell, 32, ff 5.). [back]
  14. Could this be James Daly's character Dr. Honorious from Planet of the Apes (1968)? Or Pope Honorious III who ruled until 1227? No, according to McConnell it was "a religious hermit who lived a life of total seclusion and self-denial in a cave near the convent of Our Lady of Sorrow" (McConnell, 32, ff 6.) … One of the deleted lines to this stanza has Childre Harold crying, "Take your stinking paws off me, you damn dirty hermit!" [back]
  15. Again I think of Vallejo's novel and marvel at how we love our sinister drama. We even make the "truth" fit our ideas one way or another. Byron himself was guilty of this. "The track from the main road to the convent, rugged and devious, leading up to the mountain, is marked out by numerous crosses now, just as when Byron rode along it in 1809, and it would appear he fell into the mistake of considering that the crosses were erected to show where assassinations had been committed" (Coleridge, 36, ff.1). [back]
  16. This idea of the land telling its tale of all it has seen runs through other poetry as well. The Armenian poet Raffi, addressing Lake Van (now in Turkey) asks, "Tell me, lake, — for thou hast been a witness/ Of our history from the earliest day, —" (Blackwell, 243). Likewise, Byron writes, "It is a well-known fact, that in the year 1809, the assassinations in the streets of Lisbon and its vicinity were not confined by the Portuguese to their countrymen; but that Englishmen were daily butchered: and so far from redress being obtained, we were requested not to interfere if we perceived any compatriot defending himself against his allies. I was once stopped in the way to the theatre at eight o'clock in the evening, when the streets were not more empty that they generally are at that hour, opposite to an open shop, and in a carriage with a friend: had we not fortunately been armed, I have not the least doubt that we should have 'adorned a tale' instead of telling one" (Byron, 16, ff. 5). [back]
  17. William Beckford (1760-1844), the enormously wealthy author of Vathek (1784), an oriental romance for which Byron professed great admiration (Chew, 19, ff.275) [back]
  18. "The Convention of Cintra was signed in the palace of the Marchese Marialva" (Byron, 17, ff. 1). [back]
  19. Compare these last three line with the lines from Deuteronomy, 11:13, "To love the Lord your God, and to serve him with heart and with all your soul." [back]
  20. Ishtar, before getting rewritten by Christian prudes as the Whore of Babylon, was the lunar goddess of life and lust. She appears in The Epic of Gilgamesh in the form of Shamhat, a temple prostitute. [back]
  21. Byron notes, "The extent of Mafra is prodigious; it contains a palace, convent, and most superb church. The six organs are the most beautiful I ever beheld, in point of decoration; we did not hear them, but were told that their tones were correspondent to their splendour. Mafra is termed the Escurial of Portugal" (Byron, 17-18, ff. 7) [back]

Childe Harold’s Pilgrimage: annotations and whatnot

Saturday, September 2nd, 2006

I have been reading Juan Williams' new book Enough: The Phony Leaders, Dead-End Movements, and Culture of Failure That Are Undermining Black America — and What We Can Do About It (Crown Publishers, 2006) which has stirred a lot of debate. Anguish and anger are equally mixed here. Gone are the days of self-determination and individual responsibility that led a people to one of the greatest social movements in human history. As the title suggests, Williams' opinion of the state of Black America and where it is heading borders on apocalyptic. It is a culture, Williams states, with a world philosophy of "'authentically black' behavior … [that is] tied to violence, illiteracy and drug dealing" (Williams, 140). Critics of this book (and not just Juan Williams but other social commentators as well, such as the comedian Bill Cosby and scholar Orlando Patterson) claim Williams ignores and minimizes "systemic racism" that simultaneously silences and keeps down Black America as a whole. I cannot tell if Williams minimizes it, but he certainly sends out the call that people should not see themselves as victims and only through relentlessness and personal responsibility will anyone, black, white, red or yellow, be able to break from those "mind-forg'd manacles" William Blake writes about in his poem London.

I talk about Enough here not because I agree or disagree with the book's thesis but because both Williams and Cosby take rap and hip hop music to task (and and the large white industry that pays for and supports it) for the pornographic embrace of violence and vile degradation of women that it continually spews out. Williams quotes Cosby as saying, "What white man made you write a record calling black women bitches and ho's?" (Williams, 21) A question directed to the apologists of the Industry who claim such lyrics and records simply reflect what it means to be "Keeping It Real" in this day and age. For Williams (and others) this has nothing to do with "systemic racism" but rather a perversion of the concept of Black Power from within the movement itself.

However, every generation seems to have a talent for making the old new and misogyny and violence are no exception. I would argue that certain rap and hip hop lyrics follow in a long, long tradition in our literary canon. I read periodically of teachers lamenting that students in this day and age aren't interested in "the Greats" of literature. I think this is simply because students haven't been told that the same glorification of prostitution, violence, drunkenness, killing and rape that are embraced without thinking in today's music can be found throughout the poems of Western literature as well. Indeed, I see a day that someone, somewhere, will put the Romantic poets to a dance beat and we shall have a hard time telling the difference between 1815 London and 2006 America.

***

I first became interested in George Gordon, Lord Byron, when I was one of the first English instructors to teach at the Lord Byron School #20 in Gyumri, Armenia, as a Peace Corps volunteer (1995 - 97). At the time I was curious as to what made Byron great? Common belief in college (at least at Michigan State University in the early 1990s when I went there) said that Byron was hardly even a poet, "one who wrote so much and gave so little" to English literature (I forget who said that … some wag). And true, the Byronic Myth which surrounds him is hard to pierce. Still, I read Don Juan and found it … long. I read his dramas and found them brilliant. Now I turn to Childe Harold’s Pilgrimage, the poem that made his reputation, the poem that lead him to say after its publication, "I awoke one morning and found myself famous." What was it that made him so immensely popular? Even after all the work of Shelley and Keats and Wordsworth, ask anyone who didn't labor under a Master's degree in English literature and they will say Byron was "mad, bad and dangerous to know" — and thus the most interesting of the lot. Why, when no one reads his work, do we still feel that way?

For the same reason Williams and Cosby lament the decline of rap and hip hop music — the misogyny, the violence and the pop cultural references he continually writes about. The hunger of the common reader has changed very little, it seems, in the last two hundred years. These are my annotations as I go along, calling shots as I come to them. It is a long poem, three books, hundreds of stanzas. I might give up in the middle if the poem becomes too dull but in the meanwhile I welcome any comments anyone might have as we go along. Enjoy.

***

Childe Harold's Pilgrimage:1 Canto I, stanzas I — XII + Childe Harold's Good Night.2

I.
Oh, thou! in Hellas3 deem'd of heavenly birth,
Muse! form'd or fabled at the minstrel's will!
Since shamed full oft by later lyres4 on earth,
Mine dares not call thee from thy sacred hill:
Yet there I've wander'd by thy vaunted rill:5
Yes! sigh'd o'er Delphi's6 long deserted shrine,
Where save that feeble fountain, all is still;
Nor mote7 my shell awake the weary Nine8
To grace so plain a tale — this lowly lay of mine.9

II.
Whilome10 in Albion's11 isle there dwelt a youth,
Who ne12 in Virtue's13 ways did take delight;
But spent his days in riot most uncouth,14
And vex'd15 with mirth the drowsy ear of Night.
Ah me! in sooth16 he was a shameless wight,17
Sore given to revel and ungodly glee;
Few earthly things found favour in his sight
Save concubines and carnal companie,18
And flaunting wassailers19 of high and low degree.

III.
Childe Harold was he hight:20 — but whence his name
And lineage long, it suits me not to say;
Suffice it, that perchance they were of fame,
And had been glorious in another day:
But one sad losel21 soils a name for aye,22
However mighty in the olden time;
Nor all that heralds rake from coffin'd clay,
Nor florid prose, nor honeyed lies of rhyme,
Can blazon23 evil deeds, or consecrate a crime.

IV.
Childe Harold bask'd him in the noontide sun,
Disporting there like any other fly;
Nor deem'd before his little day was done
One blast might chill him into misery.
But long ere scarce a third of his pass'd by,
Worse than adversity the Childe befell;
He felt the fulness of satiety:
Then loathed he in his native land to dwell,
Which seem'd to him more lone than Eremite's24 sad cell.25

V.
For he through Sin's long labyrinth had run,
Nor made atonement when he did amiss,
Had sigh'd to many though he loved but one,
And that loved one, alas! could n'er be his.
Ah, happy she! to 'scape from him whose kiss
Had been pollution26 unto aught so chaste;
Who soon had left her charms for vulgar bliss,27
And spoil'd her goodly lands28 to gild29 his waste,
Nor calm domestic peace had ever deign'd to taste.

VI.
And now Childe Harold was sore sick at heart,
And from his fellow bacchanals30 would flee;31
'Tis said, at times the sullen tear would start,
But Pride congeal'd the drop within his ee: 32
Apart he stalk'd in joyless reverie,
And from his native land resolved to go,
And visit scorching climes beyond the sea;
With pleasure drugg'd, he almost long'd for woe,
And e'en for change of scene would seek the shades below.

VII.
The Childe departed from his father's hall:
It was a vast and venerable pile;33
So old, it seemèd only not to fall,
Yet strength was pillar'd in each massy aisle.
Monastic dome! condemn'd to uses vile!
Where Superstition once had made her den
Now Paphian girls34 were known to sing and smile;
And monks might deem their time was come agen,
If ancient tales say true,35 nor wrong these holy men.

VIII.
Yet oft-times in his maddest mirthful mood
Strange pangs would flash along Childe Harold's brow
As if the memory of some deadly feud
Or disappointed passion lurk'd below:
But this none knew, nor haply cared to know;
For his was not that open, artless soul
That feels relief by bidding sorrow flow,
Nor sought he friend to counsel or condole,
Whate'er this grief mote be, which he could not control.36

IX.
And none did love him: though to hall and bower
He gather'd revellers from far and near,
He knew them flatt'rers of the festal hour;
The heartless parasites of present cheer.37
Yea! none did love him — not his lemans38 dear –
But pomp and power alone are woman's care,39
And where these are light Eros finds a feere;40
Maidens, like moths, are ever caught by glare, 41
And Mammon42 wins his way where Seraphs43 might despair.

X.
Childe Harold had a mother44 — not forgot,
Though parting from that mother he did shun;
A sister 45 whom he loved, but saw her not
Before his weary pilgrimage begun:
If friends he had, he bade adieu to none.
Yet deem not thence his breast a breast of steel:
Ye, who have known what 'tis to dote upon
A few dear objects, will in sadness feel
Such partings break the heart they fondly hope to heal.

XI.
His house, his home, his heritage, his lands,
The laughing dames in whom he did delight,
Whose large blue eyes, fair locks, and snowy hands,
Might shake the saintship of an anchorite,46
And long had fed his youthful appetite;
His goblets brimm'd with every costly wine,
And all that mote to luxury invite,
Without a sigh he left, to cross the brine,
And traverse Paynim47 shores, and pass Earth's central line.48

XII.
The sails were fill'd, and fair the light winds blew,
As glad to waft 49 him from his native home;
And fast the white rocks50 faded from his view,
And soon were lost in circumambient foam:
And then, it may be, of his wish to roam
Repented he, but in his bosom slept
The silent thought, nor from his lips did come
One word of wail, whilst other sate and wept,
And to the reckless gales unmanly moaning kept.

XIII.
But when the sun was sinking in the sea
He seized his harp, which he at times could string,51
And strike, albeit with untaught melody,
When deem'd he no strange ear was listening:
And now his fingers o'er it he did fling,
And tuned his farewell in the dim twilight.
While flew the vessel on her snowy wing,
And fleeting shores receded from his sight,
Thus to the elements he pour'd out his last 'Good Night.'52

1.
Adieu, adieu! my native shore
Fades o'er the waters blue;
The night-winds sigh, the breakers roar,
And shrieks the wild sea-mew.53
Yon sun that sets upon the sea
We follow in his flight;
Farewell awhile to him and thee,
My native Land - Good Night!

2.
A few short hours and he will rise
To give the morrow birth;
And I shall hail the main and skies
But not my mother earth.
Deserted is my own good hall,
Its hearth is desolate;
Wild weeds are gathering on the wall;
My dog howls at the gate.

3.
'Come hither, hither, my little page!54
Why dost thou weep and wail?
Or dost thou dread the billows' rage,
Or tremble at the gale?
But dash the tear-drop from thine eye;
Our ship is swift and strong:
Our fleetest falcon scarce can fly
More merrily along.'

4.
'Let winds be shrill, let waves roll high,
I fear not wave nor wind:
Yet marvel not, Sir Childe, that I
Am sorrowful in mind;
For I have from my father gone,
A mother whom I love,
And have no friend, save these alone,
But thee - and one above.

5.
'My father bless'd me fervently,
Yet did not much complain;
But sorely will my mother sigh
Till I come back again.' -
'Enough, enough, my little lad!
Such tears become thine eye;
If I thy guileless bosom had,
Mine own would not be dry.

6.
'Come hither, hither, my staunch yeoman,55
Why dost thou look so pale?
Or dost thou dread a French foeman?
Or shiver at the gale?' -
'Deem'st thou I tremble for my life?
Sir Childe, I'm not so weak;
But thinking on an absent wife
Will blanch a faithful cheek.

7.
'My spouse and boys dwell near thy hall,
Along the bordering lake,
And when they on their father call,
What answer shall she make?' -
'Enough, enough, my yeoman good,
Thy grief let none gainsay;
But I, who am of lighter mood,
Will laugh to flee away.'

8.
For who would trust the seeming sighs
Of wife or paramour?56
Fresh feeres will dry the bright blue eyes
We late saw streaming o'er.
For pleasures past I do not grieve,
Nor perils gathering near;
My greatest grief is that I leave
No thing that claims a tear.

9.
And now I'm in the world alone,
Upon the wide, wide sea:
But why should I for others groan,
When none will sigh for me?
Perchance my dog will whine in vain,
Till fed by stranger hands;
But long ere I come back again
He'd tear me where he stands.

10.
With thee, my bark,57 I'll swiftly go
Athwart58 the foaming brine;
Nor care what land thou bear'st me to,
So not again to mine.
Welcome, welcome, ye dark-blue waves!
And when you fail my sight,
Welcome, ye deserts and ye caves!
My native Land - Good Night!

[more soon]

***

Works Cited

McConnell, Frank D. (ed.) Byron's Poetry: authoritative texts, letters and journals, criticism, images of Byron. New York: Norton. (1978)

Spenser, Edmund. The Faerie Queene. Thomas P. Roche, Jr. and C. Patrick O'Donnell (eds.) London: Preguin Classics. (1978)

Thompson, A. Hamilton. (ed.) Childe Harold's Pilgrimage. Cambridge: At the University Press. (1931)

Williams, Juan. Enough: The Phony Leaders, Dead-End Movements, and Culture of Failure That Are Undermining Black America — and What We Can Do About It. New York: Crown Publishers. (2006)


  1. Perhaps there is a hell for those who write in library books, we can only hope so. I must thank, however, the defacer of my copy of Byron's Poetic Works (Oxford University Press, 1946) for I found it in my local library sale at the expense of fifty cents. I am always amused and miffed in equal measures at other people's annotations. Why they feel compelled to write in pen in a book they do not own is a mystery. A greater one is what they choose to highlight. For example, someone had underscored the title and after the word "Childe" wrote, "green" and then "on a toot." Perhaps. The Norton Critical Edition (1978) makes this comment after the title as follows:

    The title "Childe" does not mean "child" in our sense but it is rather a medieval term for a squire on the point of taking his vows of knighthood. And as the use of that term and frequent other archaic locutions indicates, Byron attempts throughout the "first" Harold (cantos I and II), to write a self-consciously, and sometimes ludicrously, "literary" language … Byron insisted, in the preface to the original poem, that it was not autobiographical: "Harold is the child of imagination" But his disclaimers were not taken seriously by the reading public, and the identification of Harold with Byron was indeed largely responsible for [his] immense celebrity …. the original working title for the poem, which Byron composed during his tour of the Mediterranean and the Near East (1809 - 11) was "Childe Burun" — "Burun" being an archaic form of "Byron" (McConnell, 24, ff 1.)

    I find both annotations highly interesting. [back]

  2. What I've gotten done so far this morning. [back]
  3. The funky, old-fashion way of saying "Greece" without having to say "Greece." [back]
  4. This could be a bad pun for "liars" or it could be what Nick Cave and The Bad Seeds sang in The Lyre Of Orpheus (2004) "Eurydice appeared brindled in blood/ and she said to Orpheus/ If you play that fucking thing down here/ I'll stick it up your orifice!" [back]
  5. My Princeton dictionary calls a "rill" — "a small channel or rivulet (as one formed by soil erosion)" and as anyone who has hiked in the Greek hillsides know there are vaunted rills all over the place and if you aren't watching where you are going you might fall into one and that's just sad. However, I think "The Rivulets" would be great 1950s do-wop group as well. [back]
  6. The home of Apollo, the god of the poets in ancient Greece, and the home of Apollo's anonymous oracle … who did all the hard work and got none of the credit. It seemed the custom to name-drop Greek gods in the Romantic poetry world, much as it is at Open Mic. Nights when someone will name-drop Allen Ginsberg or Up-Chuck Bukowski in their poem with the hope it will give their verse strength through association. [back]
  7. Perhaps this word might mean "might" … it is rather hard to tell. Thompson adds: "notice the archaisms of the opening stanzas, adopted as in keeping with the Spenserian metre, but gradually dropped" (Thompson, 192, ff 8.) by which I suppose A. Hamilton means that Byron wrote this poem in the same style that Edmund Spenser wrote his epic poem, The Faerie Queene, which no one under the age of 47 in this country has heard of, let alone read. [back]
  8. The nine Muses were the goddesses or personifications of various ancient arts and poets were suppose to call upon to get inspiration. There has been a lot written about the Muses, usually by male authors who have never met them. They are, in no particular order: Clio (history), Urania (astronomy), Calliope (poetic elegies), Melpomene (all sorts of tragedies), Erato (love and erotic poems), Tepsicore (sing-a-longs and chorus lyrics), Thalia (slap-stick comedies), Euterpe (flute playing), Polyhymnia (disco). I always wondered as the world grew in the minds of the Greeks and new arts were discovered whether new Muses were also added. Perhaps there are Muses now of all sorts of strange arts and sports … Ino Chu, the Chinese Muse of Ping Pong? Otwoto, the Muse of Underage Tattooing? the list could go on and on! [back]
  9. Byron could never really pull off this whole "humility" thing. His "lowly lay" or tale ends up being three books and nearly two hundred pages. Still, he scores points for trying. [back]
  10. This is a wonderful way of saying, "Once upon a time, a long time ago …" without having to say it. Again, Byron is copying the style of Spenser when the earlier poet wrote lines like, "Lo! I the man, whose Muse whilome did maske" (Spenser, 39) in the opening of his Faerie Queene. Lo! I the man! [back]
  11. England's, apparently. [back]
  12. Was this the word "never" before a half-off sale occurred? [back]
  13. What other people call "Good Manners." [back]
  14. Since every generation has a different idea what decadence might mean, I can only say that besides a sad rhyme for "youth," "riot most uncouth" probably meant back then wearing large, comical shirts with the collar open and staring moodily at gravestones. What the Romantics would make of MTV I cannot think but it is safe to hazard a guess that Childe Harold might end up as one of the drunken frat boys urging their girl friends on in a Girls Gone Wild: Cancun Spring Break video if the poem was rewritten in this day and age. All I really know is true decadence is highly under employed in Modern poetry. Make a couple of references to your sex life and they give you the Mark Twain award for extreme sarcasm … at least I assume Tony Hoagland's constant harping about what a virile creature he is is sarcasm … it would certainly be tedious if it wasn't tongue in cheek. [back]
  15. You know the word "vexed," even if Byron can't spell it. Perhaps you recall the UK grime rapper Dizzee Rascal's hit, Vexed with the lines, "i dont wana get vexed and i dont wana lose my rag/ but i aint gona let that boy come round try n take me for no slag …" Hmmm, isn't "slag" British slang for a woman of loose morals? Curious. [back]
  16. The New York Time's Crosswords are always claiming that poets use words like "sooth" and "err" and "hoary" because Will Shortz apparently hasn't read a poem written after 1842. No poet uses the word "sooth" in this day and age. It means, "in truth or reality" by the way. [back]
  17. Princeton says a "wight" is an old term meaning "human." I won't say this is the worse rhyme in the poem but really, between Blake rhyming "eye" with "symmetry" and 91% of The Rime of the Ancient Mariner, I am hard put to defend rhyming poetry when critics call it cockeyed, affected, puerile. Actually, I don't know anyone who uses the word "cockeyed" … I just like saying it in polite society. [back]
  18. Hurrah for British tradition! [back]
  19. The Wassailer has a long and noble custom in most colleges and campuses in America. One might observe a Wassailer throwing up in the street or setting fire to a church. Princeton defines them as, "one who enjoys riotous drinking," but we know them better as Master of Business Administration students. [back]
  20. Called. [back]
  21. A worthless wretch. [back]
  22. According to the Yoruba "aye" means, "the visible tangible world of the living." Somehow I do not think that is what Byron had in mind. Besides being a bad rhyme of "day" I think it might mean "all" or "ever." [back]
  23. A coat of arms consisting of. [back]
  24. This could be a hermit, a hermitess, a hermitical recluse or reclusive homebody. [back]
  25. A homebody's home [back]
  26. It doesn't take a great stretch of the imagination to consider that a "poullted kiss," sexually speaking, might be a reference to a sexually transmitted disease. [back]
  27. Another good name for a rock band. [back]
  28. Again, if we consider that Byron is continually making sexual puns, to lose one's virginity has been referred to as being "spoiled" … or we could take it on face value as Thompson when writing, "This had happened in the case of Byron's mother, Catherine Gordon of Gicht, whose patrimony had been wasted by her husband, 'Mad Jack' Byron" (Thompson, 193, ff 44.). Either way works. [back]
  29. I bet you were always curious where Keats came up with the title of his poem, How Many Bards Gild The Lapses Of Time! and now you know. He was listening to Tangerine Dream's Order of the Ginger Gild and didn't even site his sources. Shame! Shame! [back]
  30. We call this in Michigan an "orgy" but for the prudes who read Byron, it harkens back to the followers of Bacchus, the Roman god of good times, wine and debauchery. [back]
  31. Anyone who has enough free time to get up and leave an orgy due to moodiness has far too much free time on their hands. It reminds me of a passage in Douglas Coupland's much ballyhooed Life After God (1994) where he ends up not being able to have sex with his wife because he is agonizing about agonizing. I was in Peace Corps Armenia at the time and threw the book across the little hut I lived in. "At least your having sex!" I yelled at the book. Frankly, Coupland and all his middle-class posturing was just as flawed as all posturing can be. If you recall, Life After God was the book where he made the claim that my Generation X was somehow raised without religion. In one sense he was correct; my parents, born and bread archaeologists, raised me with only the merest concept of spirituality. But so what? While it is fine for me what I objected to in Coupland's work was the self-importance, arrogance, pomposity that ran through the stories. I got the sense that this "generation without religion" was merely a gimmick and possibly every generation — at least Byron feels so in this line — has had its cynics and doomsayers who claim anguish, ennui, joylessness as their own divine right. Modernism really isn't all that. [back]
  32. Where exactly is one's ee? Near the spleen? [back]
  33. McConnell writes, "Newstead Abbey, Byron's estate where he was wont to dress in friar's robes with his friends and play, 'dissolute monk'" (McConnell, 27, ff 4.) and what sort of game was that? [back]
  34. Right. I think people are getting a bit coy when McConnell notes "Paphian" is a word, "from Paphos, island sacred to Aphrodite, goddess of beauty and love. Hence, 'Paphian girls' are prostitutes" (McConnell, 27, ff 5.) but what Greek prostitutes are doing in Scotland is a bit of a mystery. [back]
  35. Again, Byron is using bad puns to not so subtly hint about the legends of rampant buggery and sodomy that went on behind closed walls in many monasteries. [back]
  36. Perhaps Childe Harold is suffering from some sort of bipolar disorder? or manic depression? Perhaps some sort of anti-depressant drugs would help? [back]
  37. My, I didn't know they had tele-evangelists back then! [back]
  38. I think I read somewhere that it means a cheap sweetheart; a two cent beau or a five dollar mistress, perhaps. [back]
  39. Byron is not alone in being a sexist pig, but we should really call him out on it as we go along … as we are doing now. [back]
  40. Consort [back]
  41. Again, I am sure the yahoos were yucking it up back in 1812 but Byron's misogyny does distract from the poem. [back]
  42. Princeton defines it as, "wealth regarded as an evil influence." [back]
  43. One of the many hosts of angels that run rampant in Heaven. [back]
  44. And don't we all! However, since Byron loved to confuse the line between fact and fiction, Thompson writes, "The mother and sister of Childe Harold are drawn from Byron's own relations. His affections for this mother, such as it was, was checked by his resentment at the insults which she heaped upon him …" (Thompson, 193, ff 82.) [back]
  45. Thompson continues, "… His sister, Augusta, daughter of John Byron by his first wife, Amelia, baroness Conyers, married colonel George Leigh, her first cousin" (ibid). This is the same Augusta of his scandalous affair. The point was hammered home to anyone too dim not to pick up on the fact Byron had the hots for his half-sister in Ken Russell's humorous movie, Gothic (1986), where a very hoary-looking Gabriel Byrne gets a half-naked chamber maid to put on a mask labeled "Augusta" so he can moan nonsense at her … belly. [back]
  46. A person who has retired into seclusion for religious reasons. [back]
  47. A pagan by any other name; however, in context to the rest of the poem I think Byron is referring to Muslims. [back]
  48. Thompson writes, "Byron explained this 'by saying that, before Childe Harold left England, it was his full intention to traverse Persia, and return by India'" (Thompson, 193, ff 99.). [back]
  49. Here is a curious word that needs to be used more. It reminds me of a terrible sonnet by Laura Sophia Temple, The Hindoo Lover's Address to the Evening Breeze: "Then waft, oh ! waft the melody of song,/ Let some sad cadence gently steal along" (Temple, 26); which is even more curious because Temple is attributed as writing, Childe Harold's Pilgrimage to the Dead Sea. Has anyone read this? [back]
  50. Possibly the White Cliffs of Dover which, they say, is the last sight anyone sees of England (or the first) crossing the Channel. Matthew Arnold wrote, "The sea is calm to-night./ The tide is full, the moon lies fair/ Upon the straits" in his poem Dover Beach (1867) [back]
  51. Play. [back]
  52. I think what follows is some sort of song, "Good Night" meaning "Good Bye." [back]
  53. A sea-mew? Is there a cat lost overboard? [back]
  54. Like the Catholic Church Byron had a history with little boys. Thompson writes, "When Byron left England in July 1809, he took with him Robert Rushton, the son of one of the tenants at Newstead. 'I like him,' he wrote to his mother, 'because, like myself, he seems a friendless animal'" (Thompson, 193, ff 134.) Like I said, Byron had a hard time being humble. [back]
  55. A yeoman is a bodyguard of a British monarch. Thompson clarifies this by writing, "the yeoman … was Byron's valet, William Fletcher" (ibid.) [back]
  56. I wonder if any MFA graduate student has written a paper on "1815 Playa Hatas in Romanitc Poetry"? For someone who goes on and on about how no one loves him he certainly has slept around a lot. [back]
  57. Boat. [back]
  58. Across. [back]