II.
COLLATION OF FIRST EDITION, QUARTO, 1812, WITH MS. OF THE FIRST CANTO.
The MS. numbers ninety-one stanzas, the First Edition ninety-three stanzas.
OMISSIONS FROM THE MS.
Stanza vii. "Of all his train there was a henchman page,"-- Stanza viii. "Him and one yeoman only did he take,"-- Stanza xxii. "Unhappy Vathek! in an evil hour,"-- Stanza xxv. "In golden characters right well designed,"-- Stanza xxvii. "But when Convention sent his handy work,"-- Stanza xxviii. "Thus unto Heaven appealed the people: Heaven,"-- Stanza lxxxviii. "There may you read with spectacles on eyes,"-- Stanza lxxxix. "There may you read--Oh, Phoebus, save Sir John,"-- Stanza xc. "Yet here of Vulpes mention may be made,"--
INSERTIONS IN THE FIRST EDITION.
Stanza i. "Oh, thou! in Hellas deemed of heavenly birth,"-- Stanza viii. "Yet oft-times in his maddest mirthful mood,"-- Stanza ix. "And none did love him!--though to hall and bower,"-- Stanza xliii. "Oh, Albuera! glorious field of grief!"-- Stanza lxxxv. "Adieu, fair Cadiz! yea, a long adieu!"-- Stanza lxxxvi. "Such be the sons of Spain, and strange her Fate,"-- Stanza lxxxviii. "Flows there a tear of Pity for the dead?"-- Stanza lxxxix. "Not yet, alas! the dreadful work is done,"-- Stanza xc. "Not all the blood at Talavera shed,"-- Stanza xci. "And thou, my friend!--since unavailing woe,"-- Stanza xcii. "Oh, known the earliest, and esteemed the most,"--
The MS. of the Second Canto numbers eighty stanzas; the First Edition numbers eighty-eight stanzas.
OMISSIONS FROM THE MS.
Stanza viii. "Frown not upon me, churlish Priest! that I,"-- Stanza xiv. "Come, then, ye classic Thieves of each degree,"-- Stanza xv. "Or will the gentle Dilettanti crew,"-- Stanza lxiii. "Childe Harold with that Chief held colloquy,"--
INSERTIONS IN THE FIRST EDITION.
Stanza viii. "Yet if, as holiest men have deemed, there be,"-- Stanza ix. "There, Thou! whose Love and Life together fled,"-- Stanza xv. "Cold is the heart, fair Greece! that looks on Thee,"-- Stanza lii. "Oh! where, Dodona! is thine agéd Grove?"-- Stanza lxiii. "Mid many things most new to ear and eye,"-- Stanza lxxx. "Where'er we tread 'tis haunted, holy ground,"-- Stanza lxxxiii. "Let such approach this consecrated Land,"-- Stanza lxxxiv. "For thee, who thus in too protracted song,"-- Stanza lxxxv. "Thou too art gone, thou loved and lovely one!"-- Stanza lxxxvi. "Oh! ever loving, lovely, and beloved!"-- Stanza lxxxvii. "Then must I plunge again into the crowd,"-- Stanza lxxxviii. "What is the worst of woes that wait on Age?"--
ADDITIONS TO THE SEVENTH EDITION, 1814.
The Second Canto, in the first six editions, numbers eighty-eight stanzas; in the Seventh Edition the Second Canto numbers ninety-eight stanzas.
ADDITIONS.
The Dedication, To Ianthe. Stanza xxvii. "More blest the life of godly Eremite,"-- Stanza lxxvii. "The city won for Allah from the Giaour,"-- Stanza lxxviii. "Yet mark their mirth, ere Lenten days begin,"-- Stanza lxxix. "And whose more rife with merriment than thine,"-- Stanza lxxx. "Loud was the lightsome tumult on the shore,"-- Stanza lxxxi. "Glanced many a light Caique along the foam,"-- Stanza lxxxii. "But, midst the throng' in merry masquerade,"-- Stanza lxxxiii. "This must he feel, the true-born son of Greece,"-- Stanza lxxxix. "The Sun, the soil--but not the slave, the same,"-- Stanza xc. "The flying Mede, his shaftless broken bow,"--
ITINERARY.
1809. CANTO I.
July 2. Sail from Falmouth in Lisbon packet. (Stanza xii. Letter 125.)
July 6. Arrive Lisbon. (Stanzas xvi., xvii. Letter 126.) Visit Cintra. (Stanzas xviii.-xxvi. Letter 128.) Visit Mafra. (Stanza xxix.)
July 17. Leave Lisbon. (Stanza xxviii. Letter 127.) Ride through Portugal and Spain to Seville. (Stanzas xxviii.-xlii. Letter 127.) Visit Albuera. (Stanza xliii.)
July 21. Arrive Seville. (Stanzas xlv., xlvi. Letters 127, 128.)
July 25. Leave Seville. Ride to Cadiz, across the Sierra Morena. (Stanza li.) Cadiz. (Stanzas lxv.-lxxxiv. Letters 127, 128.)
## CANTO II.
Aug. 6. Arrive Gibraltar. (Letters 127, 128.)
Aug. 17. Sail from Gibraltar in Malta packet. (Stanzas xvii.-xxviii.) Malta. (Stanzas xxix.-xxxv. Letter 130.)
Sept. 19. Sail from Malta in brig-of-war _Spider_. (Letter 131.)
Sept. 23. Between Cephalonia and Zante.
Sept. 26. Anchor off Patras.
Sept. 27. In the channel between Ithaca and the mainland. (Stanzas xxxix.-xlii.)
Sept. 28. Anchor off Prevesa (7 p.m.). (Stanza xlv.)
Oct. 1. Leave Prevesa, arrive Salakhora (Salagoura).
Oct. 3. Leave Salakhora, arrive Arta.
Oct. 4. Leave Arta, arrive han St. Demetre (H. Dhimittrios).
Oct. 5. Arrive Janina. (Stanza xlvii. Letter 131.)
Oct. 8. Ride into the country. First day of Ramazan.
Oct. 11. Leave Janina, arrive Zitza ("Lines written during a Thunderstorm"). (Stanzas xlviii.-li. Letter 131.)
Oct. 13. Leave Zitza, arrive Mossiani (Móseri).
Oct. 14. Leave Mossiani, arrive Delvinaki (Dhelvinaki). (Stanza liv.)
Oct. 15. Leave Delvinaki, arrive Libokhovo.
Oct. 17. Leave Libokhovo, arrive Cesarades (Kestourataes).
Oct. 18. Leave Cesarades, arrive Ereeneed (Irindi).
Oct. 19. Leave Ereeneed, arrive Tepeleni. (Stanzas lv.-lxi.)
Oct. 20. Reception by Ali Pacha. (Stanzas lxii.-lxiv.)
Oct. 23. Leave Tepeleni, arrive Locavo (Lacovon).
Oct. 24. Leave Locavo, arrive Delvinaki.
Oct. 25. Leave Delvinaki, arrive Zitza.
Oct. 26. Leave Zitza, arrive Janina.
Oct. 31. Byron begins the First Canto of _Childe Harold_.
Nov. 3. Leave Janina, arrive han St. Demetre.
Nov. 4. Leave han St. Demetre, arrive Arta.
Nov. 5. Leave Arta, arrive Salakhora.
Nov. 7. Leave Salakhora, arrive Prevesa.
Nov. 8. Sail from Prevesa, anchor off mainland near Parga. (Stanzas lxvii., lxviii.)
Nov. 9. Leave Parga, and, returning by land, arrive Volondorako (Valanidórakhon). (Stanza lxix.)
Nov. 10. Leave Volondorako, arrive Castrosikia (Kastrosykia).
Nov. 11. Leave Castrosikia, arrive Prevesa.
Nov. 13. Sail from Prevesa, anchor off Vonitsa.
Nov. 14. Sail from Vonitsa, arrive Lutraki (Loutráki). (Stanzas lxx., lxxii., Song "Tambourgi, Tambourgi;" stanza written in passing the Ambracian Gulph. Letter 131.)
Nov. 15. Leave Lutraki, arrive Katúna.
Nov. 16. Leave Katúna, arrive Makalá (? Machalas).
1809.
Nov. 18. Leave Makalá, arrive Guriá.
Nov. 19. Leave Guriá, arrive Ætolikon.
Nov. 20. Leave Ætolikon, arrive Mesolonghi.
Nov. 23. Sail from Mesolonghi, arrive Patras.
Dec. 4. Leave Patras, sleep at _Han_ on shore.
Dec. 5. Leave _Han_, arrive Vostitsa (Oegion).
Dec. 14. Sail from Vostitsa, arrive Larnáki (? Itea).
Dec. 15. Leave Larnáki (? Itea), arrive Chrysó.
Dec. 16. Visit Delphi, the Pythian Cave, and stream of Castaly. (Canto I. stanza i.)
Dec. 17. Leave Chrysó, arrive Arakhova (Rhakova).
Dec. 18. Leave Arakhova, arrive Livadia (Livadhia).
Dec. 21. Leave Livadia, arrive Mazee (Mazi).
Dec. 22. Leave Mazee, arrive Thebes.
Dec. 24. Leave Thebes, arrive Skurta.
Dec. 25. Leave Skurta, pass Phyle, arrive Athens. (Stanzas i.-xv., stanza lxxiv.)
Dec. 30. Byron finishes the First Canto of _Childe Harold_.
1810.
Jan. 13. Visit Eleusis.
Jan. 16. Visit Mendeli (Pentelicus). (Stanza lxxxvii.)
Jan. 18. Walk round the peninsula of Munychia.
Jan. 19. Leave Athens, arrive Vari.
Jan. 20. Leave Vari, arrive Keratéa.
Jan. 23. Visit temple of Athene at Sunium. (Stanza lxxxvi.)
Jan. 24. Leave Keratéa, arrive plain of Marathon.
Jan. 25. Visit plain of Marathon. (Stanzas lxxxix., xc.)
Jan. 26. Leave Marathon, arrive Athens.
Mar. 5. Leave Athens, embark on board the _Pylades_ (Letter 136.)
Mar. 7. Arrive Smyrna. (Letters 132, 133.)
Mar. 13. Leave Smyrna, sleep at _Han_, near the river Halesus.
Mar. 14. Leave _Han_, arrive Aiasaluk (near Ephesus).
Mar. 15. Visit site of temple of Artemis at Ephesus. (Letter 132.)
Mar. 16. Leave Ephesus, return to Smyrna. (Letter 132.)
Mar. 28. Byron finishes the Second Canto of _Childe Harold_.
April 11. Sail from Smyrna in the _Salsette_ frigate. (Letter 134.)
April 12. Anchor off Tenedos.
April 13. Visit ruins of Alexandria Troas.
April 14. Anchor off Cape Janissary.
April 16. Byron attempts to swim across the Hellespont, explores the Troad. (Letters 135, 136.)
April 30. Visit the springs of Bunarbashi (Bunarbási).
May 1. Weigh anchor from off Cape Janissary, anchor eight miles from Dardanelles.
May 2. Anchor off Castle Chanak Kalessia (Kale i Sultaniye).
May 3. Byron and Mr. Ekenhead swim across the Hellespont (lines "Written after swimming," etc.).
May 13. Anchor off Venaglio Point, arrive Constantinople. (Stanzas lxxvii.-lxxxii. Letters 138-145.)
July 14. Sail from Constantinople in _Salsette_ frigate.
July 18. Byron returns to Athens.
NOTE TO "ITINERARY."
[For dates and names of towns and villages, see _Travels in Albania, and other Provinces of Turkey, in 1809 and 1810_, by the Right Hon. Lord Broughton, G.C.B. [John Cam Hobhouse], two volumes, 1858. The orthography is based on that of Longmans' _Gazetteer of the World_, edited by G. G. Chisholm, 1895. The alternative forms are taken from Heinrich Kiepert's _Carte de l'Épire et de la Thessalie_, Berlin, 1897, and from Dr. Karl Peucker's _Griechenland_, Wien, 1897.]
CONTENTS OF VOL. II.
CHILDE HAROLD'S PILGRIMAGE.
Preface to Vol. II. of the Poems v
Introduction to the First and Second Cantos ix
Notes on the MSS. of the First and Second Cantos xvi
Itinerary xxi
Preface to the First and Second Cantos 3
To Ianthe 11
Canto the First 15
Notes 85
Canto the Second 97
Notes 165
Introduction to Canto the Third 211
Canto the Third 215
Notes 291
Introduction to Canto the Fourth 311
Original Draft, etc., of Canto the Fourth 316
Dedication 321
Canto the Fourth 327
Historical Notes by J. C. Hobhouse 465
LIST OF ILLUSTRATIONS
1. Ianthe (Lady Charlotte Harley), from an Engraving _Frontispiece_ by W. Finden, after a Drawing by R. Westall, R.A.
2. The Duchess of Richmond, from a Miniature by Richard Cosway, in the Possession of His Grace the Duke of Richmond and Gordon, K.G. _To face p._ 228
3. Portrait of Lord Byron at Venice, from a Painting in Oils by Ruckard, in the Possession of Horatio F. Brown, Esq. 326
4. The Horses of St. Mark, from a Photograph by Alinari 338
5. S. Pantaleon, from a Woodcut published at Cremona in 1493 340
6. The Dying Gaul, from the Original in the Museum of the Capitol 432
CHILDE HAROLD'S PILGRIMAGE
_A ROMAUNT_.
"L'univers est une espèce de livre, dont on n'a lu que la première page quand on n'a vu que son pays. J'en ai feuilleté un assez grand nombre, que j'ai trouvé également mauvaises. Cet examen ne m'a point été infructueux. Je haïssais ma patrie. Toutes les impertinences des peuples divers, parmi lesquels j'ai vécu, m'ont reconcilié avec elle. Quand je n'aurais tiré d'autre bénéfice de mes voyages que celui-là, je n'en regretterais ni les frais ni les fatigues."--_Le Cosmopolite, ou, le Citoyen du Monde_, par Fougeret de Monbron. Londres, 1753.
PREFACE [a]
[TO THE FIRST AND SECOND CANTOS.]
The following poem was written, for the most part, amidst the scenes which it attempts[b] to describe. It was begun in Albania; and the parts relative to Spain and Portugal were composed from the author's observations in those countries. Thus much it may be necessary to state for the correctness of the descriptions. The scenes attempted to be sketched are in Spain, Portugal, Epirus, Acarnania and Greece. There, for the present, the poem stops: its reception will determine whether the author may venture to conduct his readers to the capital of the East, through Ionia and Phrygia: these two cantos are merely experimental.
A fictitious character is introduced for the sake of giving some connection to the piece; which, however, makes no pretension to regularity. It has been suggested to me by friends, on whose opinions I set a high value,[c]--that in this fictitious character, "Childe Harold," I may incur the suspicion of having intended some real personage: this I beg leave, once for all, to disclaim--Harold is the child of imagination, for the purpose I have stated.
In some very trivial particulars, and those merely local, there might be grounds for such a notion;[d] but in the main points, I should hope, none whatever.[e]
It is almost superfluous to mention that the appellation "Childe,"[2] as "Childe Waters," "Childe Childers," etc., is used as more consonant with the old structure of versification which I have adopted. The "Good Night" in the beginning of the first Canto, was suggested by Lord Maxwell's "Good Night"[3] in the _Border Minstrelsy_, edited by Mr. Scott.
With the different poems[4] which have been published on Spanish subjects, there may be found some slight coincidence[f] in the first part, which treats of the Peninsula, but it can only be casual; as, with the exception of a few concluding stanzas, the whole of the poem was written in the Levant.
The stanza of Spenser, according to one of our most successful poets, admits of every variety. Dr. Beattie makes the following observation:--
"Not long ago I began a poem in the style and stanza of Spenser, in which I propose to give full scope to my inclination, and be either droll or pathetic, descriptive or sentimental, tender or satirical, as the humour strikes me; for, if I mistake not, the measure which I have adopted admits equally of all these kinds of composition."[5] Strengthened in my opinion by such authority, and by the example of some in the highest order of Italian poets, I shall make no apology for attempts at similar variations in the following composition;[g] satisfied that, if they are unsuccessful, their failure must be in the execution, rather than in the design sanctioned by the practice of Ariosto, Thomson, and Beattie.
London, February, 1812.
ADDITION TO THE PREFACE.
I have now waited till almost all our periodical journals have distributed their usual portion of criticism. To the justice of the generality of their criticisms I have nothing to object; it would ill become me to quarrel with their very slight degree of censure, when, perhaps, if they had been less kind they had been more candid. Returning, therefore, to all and each my best thanks for their liberality, on one point alone I shall venture an observation. Amongst the many objections justly urged to the very indifferent character of the "vagrant Childe" (whom, notwithstanding many hints to the contrary, I still maintain to be a fictitious personage), it has been stated, that, besides the anachronism, he is very _unknightly_, as the times of the Knights were times of Love, Honour, and so forth.[6] Now it so happens that the good old times, when "l'amour du bon vieux tems, l'amour antique," flourished, were the most profligate of all possible centuries. Those who have any doubts on this subject may consult Sainte-Palaye, _passim_, and more particularly vol. ii. p. 69.[7] The vows of chivalry were no better kept than any other vows whatsoever; and the songs of the Troubadours were not more decent, and certainly were much less refined, than those of Ovid. The "Cours d'Amour, parlemens d'amour, ou de courtoisie et de gentilesse" had much more of love than of courtesy or gentleness. See Rolland[8] on the same subject with Sainte-Palaye.
Whatever other objection may be urged to that most unamiable personage Childe Harold, he was so far perfectly knightly in his attributes--"No waiter, but a knight templar."[9] By the by, I fear that Sir Tristrem and Sir Lancelot were no better than they should be, although very poetical personages and true knights, "sans peur," though not "sans réproche." If the story of the institution of the "Garter" be not a fable, the knights of that order have for several centuries borne the badge of a Countess of Salisbury, of indifferent memory. So much for chivalry. Burke need not have regretted that its days are over, though Marie-Antoinette was quite as chaste as most of those in whose honour lances were shivered, and knights unhorsed.[10]
Before the days of Bayard, and down to those of Sir Joseph Banks[11] (the most chaste and celebrated of ancient and modern times) few exceptions will be found to this statement; and I fear a little investigation will teach us not to regret these monstrous mummeries of the middle ages.
I now leave "Childe Harold" to live his day such as he is; it had been more agreeable, and certainly more easy, to have drawn an amiable character. It had been easy to varnish over his faults, to make him do more and express less, but he never was intended as an example, further than to show, that early perversion of mind and morals leads to satiety of past pleasures and disappointment in new ones, and that even the beauties of nature and the stimulus of travel (except ambition, the most powerful of all excitements) are lost on a soul so constituted, or rather misdirected. Had I proceeded with the Poem, this character would have deepened as he drew to the close; for the outline which I once meant to fill up for him was, with some exceptions, the sketch of a modern Timon,[12] perhaps a poetical Zeluco.[13]
CHILDE HAROLD'S PILGRIMAGE
CANTO THE FIRST.
TO IANTHE.[h][14]
Not in those climes where I have late been straying, Though Beauty long hath there been matchless deemed, Not in those visions to the heart displaying Forms which it sighs but to have only dreamed, Hath aught like thee in Truth or Fancy seemed: Nor, having seen thee, shall I vainly seek To paint those charms which varied as they beamed-- To such as see thee not my words were weak; To those who gaze on thee what language could they speak?
Ah! may'st thou ever be what now thou art, Nor unbeseem the promise of thy Spring-- As fair in form, as warm yet pure in heart, Love's image upon earth without his wing,[15] And guileless beyond Hope's imagining! And surely she who now so fondly rears Thy youth, in thee, thus hourly brightening, Beholds the Rainbow of her future years, Before whose heavenly hues all Sorrow disappears.
Young Peri of the West!--'tis well for me My years already doubly number thine;[16] My loveless eye unmoved may gaze on thee, And safely view thy ripening beauties shine; Happy, I ne'er shall see them in decline; Happier, that, while all younger hearts shall bleed, Mine shall escape the doom thine eyes assign To those whose admiration shall succeed, But mixed with pangs to Love's even loveliest hours decreed.
Oh! let that eye, which, wild as the Gazelle's, Now brightly bold or beautifully shy, Wins as it wanders, dazzles where it dwells,[17] Glance o'er this page, nor to my verse deny That smile for which my breast might vainly sigh Could I to thee be ever more than friend: This much, dear Maid, accord; nor question why To one so young my strain I would commend, But bid me with my wreath one matchless Lily blend.
Such is thy name[18] with this my verse entwined; And long as kinder eyes a look shall cast[i] On Harold's page, Ianthe's here enshrined Shall thus be _first_ beheld, forgotten _last_: My days once numbered--should this homage past Attract thy fairy fingers near the Lyre Of him who hailed thee loveliest, as thou wast-- Such is the most my Memory may desire; Though more than Hope can claim, could Friendship less require?[j]
* * * * *
CHILDE HAROLD'S PILGRIMAGE.
A ROMAUNT.
* * * * *
CANTO THE FIRST.
I.[19]
Oh, thou! in Hellas deemed of heavenly birth,[k] Muse! formed or fabled at the Minstrel's will! Since shamed full oft by later lyres on earth,[l][20] Mine dares not call thee from thy sacred Hill: Yet there I've wandered by thy vaunted rill;[m] Yes! sighed o'er Delphi's long deserted shrine,[1.B.] Where, save that feeble fountain, all is still; Nor mote my shell awake the weary Nine To grace so plain a tale--this lowly lay of mine.