A free download from www.dertz.in       
 
Project Gutenberg's The Works of Lord Byron, Volume 4, by Lord 
Byron 
This eBook is for the use of anyone anywhere at no cost and with 
almost no restrictions whatsoever. You may copy it, give it away or 
re-use it under the terms of the Project Gutenberg License included 
with this eBook or online at www.gutenberg.org 
Title: The Works of Lord Byron, Volume 4 
Author: Lord Byron 
Editor: Ernest Hartley Coleridge 
Release Date: December 22, 2006 [EBook #20158] 
Language: English 
Character set encoding: ISO-8859-1 
0. START OF THIS PROJECT GUTENBERG EBOOK THE WORKS 
OF LORD BYRON, VOLUME 4 *** 
Produced by Jonathan Ingram, David Cortesi and the Online
Distributed Proofreading Team at http://www.pgdp.net 
TRANSCRIBER'S NOTES 
This etext contains only characters from the Latin-1 set. The original 
work contained a few phrases or lines of Greek text. These are 
represented here as Beta-code transliterations in brackets, for example 
[Greek: Oi~moi]. 
The original text used a few other characters not found in the Latin-1 
set. These have been represented using bracket notation, as follows: 
[=e], [=i], [=N], [=S] represent those letters with a macron (bar) above; 
[)i] represents and i with a breve (curved line). In a few places
superscript letters are shown by carets, as in May 27^th^. 
An important feature of this edition is its copious footnotes. Footnotes 
indexed with letters (e.g. [c], [bf]) show variant forms of Byron's text 
from manuscripts and other sources. Footnotes indexed with arabic 
numbers (e.g. [17], [221]) are informational. Text in notes and 
elsewhere in square brackets is the work of editor E. H. Coleridge. Text 
not in brackets is by Byron himself. 
In the original, footnotes were printed at the foot of the page on which 
they were referenced, and their indices started over on each page. In 
this etext, footnotes have been collected at the ends of each section, and 
have been consecutively numbered throughout. Within each block of 
footnotes are numbers in braces: {321}. These represent the page 
number on which following notes originally appeared. To find a note 
that was originally printed on page 27, search for {27}. 
In the work "Francesca di Rimini" the original printed lines of the 
Italian on facing pages opposite the matching lines of Byron's 
translation. In this etext, the lines of the Italian original have been 
collected following the translation. 
Two minor corrections were made in this etext, both in the note 
following the title of MANFRED: the year 1348 was corrected to 1834, 
and the word "Tschairowsky" was corrected to "Tschaikowsky." 
THE WORKS 
OF 
LORD BYRON. 
A NEW, REVISED AND ENLARGED EDITION, 
WITH ILLUSTRATIONS. 
Poetry. Vol. IV. 
EDITED BY
ERNEST HARTLEY COLERIDGE, M.A., HON. F.R.S.L. 
                                  LONDON: 
                        JOHN MURRAY, ALBEMARLE STREET. 
                      NEW  YORK:  CHARLES  SCRIBNER'S 
SONS. 
                                    1901 
PREFACE TO THE FOURTH VOLUME. 
The poems included in this volume consist of thirteen longer or more 
important works, written at various periods between June, 1816, and 
October, 1821; of eight occasional pieces (_Poems of July-September_, 
1816), written in 1816; and of another collection of occasional pieces 
(_Poems_ 1816-1823), written at intervals between November, 1816, 
and September, 1823. Of this second group of minor poems five are 
now printed and published for the first time. 
The volume is not co-extensive with the work of the period. The third 
and fourth cantos of _Childe Harold_ (1816-1817), the first five cantos 
of _Don Juan_ (1818, 1819, 1820), _Sardanapalus_, _The Two 
Foscari_, _Cain_, and _Heaven and Earth_ (1821), form parts of other 
volumes, but, in spite of these notable exceptions, the fourth volume 
contains the work of the poet's maturity, which is and must ever remain 
famous. Byron was not content to write on one kind of subject, or to 
confine himself to one branch or species of poetry. He tracked the 
footsteps now of this master poet, now of another, far outstripping 
some of his models; soon spent in the pursuit of others. Even in his 
own lifetime, and in the heyday of his fame, his friendliest critics, who 
applauded him to the echo, perceived that the "manifold motions" of 
his    
    
		
	
	
	Continue reading on your phone by scaning this QR Code
 
	 	
	
	
	    Tip: The current page has been bookmarked automatically. If you wish to continue reading later, just open the 
Dertz Homepage, and click on the 'continue reading' link at the bottom of the page.
	    
	    
