1812
ENGLISH POETRY 1579-1830: SPENSER AND THE TRADITION

Childe Harold's Pilgrimage. Canto the First.

Childe Harold's Pilgrimage. A Romaut. By Lord Byron.

Lord Byron


93 + 88 (later 98) Spenserians. Childe Harold is a liminal poem in the Spenserian tradition, looking backwards to eighteenth-century Spenserian burlesque and ahead to the period when it would loosen its ties to antiquarianism, nationalism, and Christian humanism. Byron's pilgrim lingers for a few stanzas in Britain before departing for adventures in Portugal and Albania. As is not infrequently the case in Spenser imitations, Childe Harold owes much less to Spenser than to the tradition; significantly perhaps, most of his original stylistic models — Thomson's Castle of Indolence, Mickle's The Concubine, Beattie's The Minstrel, and Campbell's Gertrude of Wyoming — were Spenserian poems by Scottish poets.

Walter Scott to Joanna Baillie: "Have you seen the Pilgrimage of Childe Harold, by Lord Byron? It is, I think, a very clever poem, but gives no good symptom of the writer's heart or morals. His hero, notwithstanding the affected antiquity of the style in some parts, is a modern man of fashion and fortune, worn out and satiated with the pursuits of dissipation, and although there is a caution against it in the preface, you cannot for your soul avoid concluding that the author, as he gives an account of his own travels, is also doing so in his own character. Now really this is too bad.... Yet with all this conceit and assurance, there is much poetical merit in the book, and I wish you would read it" 4 April 1812; Lockhart, Life of Scott (1837-38; 1902) 2:265.

Francis Jeffrey: "The versification is in the stanza of Spencer; and none of all the imitators of that venerable bard have availed themselves more extensively of the great range of tones and manners in which his example entitles them to indulge. Lord Byron has accordingly given us descriptions in all their extremes; — sometimes compressing into one stanza the whole characteristic features of a country, and sometimes expanding into twenty the details of a familiar transaction; — condescending, for pages together, to expatiate in minute and ludicrous representations, — and mingling long apostrophes, execrations, and the expression of personal emotion, with the miscellaneous picture which it is his main business to trace on the imagination of his readers. Not satisfied even with the license of variety, he has passed at will, and entirely, from the style of Spencer, to that of his own age, — and intermingled various lyrical pieces with the solemn stanza of his general measure" Edinburgh Review 19 (February 1812) 468.

Literary Panorama: "Childe Harold's Pilgrimage, is a poem in which narrative, feeling, description, sentiment, satire, tenderness and contemplation, are happily blended; it is adorned with beautiful imagery, expressed in animated and harmonious verse; and to this we may add, that the subjects of it are of the most interesting nature, and, if not themselves altogether new, they are treated in a manner combining novelty and exactness" 11 (March 1812) 419.

Thomas Denman: "we are disposed to think that no writer in our language has been so successful as Lord Byron in the management of this structure of verse, — perhaps not even Spenser himself. The fault most commonly imputed, viz. languor and tardiness, from which that great poet is seldom long exempt, and which most of his imitators seem to have deemed sufficient to constitute a resemblance to him, is not to be found in the pages before us. Thomson was perhaps right in considering it as a blemish in his delightful allegory, the Castle of Indolence; and Shenstone certainly felt the tone of lengthened garrulity to be most in unison with the subject of his singularly happy sketch, the School-mistress. The respectable gentlemen, contributors to Dodsley's miscellany, who adopted this measure, seem to have built their preference on its absolute freedom from the necessity of compressing language or concentrating thought. Beattie's Minstrel, with some passages of considerable force, and many of great majesty, is notwithstanding very frequently rendered feeble and indistinct by the untowardness of the metre: but of the late short continuation of his poem [by Merivale], the principal fault is that of being left unfinished. Against the present work, no charge of weakness or wearisomeness can fairly be made; and though bad lines do occur, and we can remark an occasional incorrectness of expression, the whole effect is powerful and elastic: the concluding line of the stanza in particular being no 'wounded snake,' but a vigorous serpent, which takes a keen aim, and darts at its object with its full collected strength" Monthly Review NS 68 (May 1812) 76-77.

The Satirist: "Childe Harold, though avowedly a fragment, contains many passages which would do honour to any poet, of any period, in any country. At the same time we are compelled to remark, that there are others which we must strongly reprobate; and not the less so because it is the thought rather than the expression with which we quarrel. The tone of the whole work is that of melancholy; but we accuse not the noble Lord of servile imitation. It is not often the description of sorrow, demanding sympathy, affected by so many ancient and modern poets. It is too frequently, though not invariably, selfish, misanthropic, unamiable. Lord Byron has contrived also, in other respects, to render some of the best feelings of the human heart hostile to him" 11 (October 1812) 345.

Scourge: "The author of a 'romaunt' after the manner of Lord Byron, has no task more arduous, than first to write his poem in decent English, and then to substitute a few convenient, and a few antiquated words, for more modern or less sonorous synonymes. 'Ee' will then become an easy substitute for 'eye,' 'ne' for 'no' and 'nor,' 'right' for 'old,' and any thing else that is convenient for any thing else that is correct" 3 (April 1812) 308.

Keppel Craven to Charles Kirkpatrick Sharpe: "By the bye, I see by the papers that Lord Byron has published another poem. I have heard much of him since I am come to these regions [Greece], and could tell you a secret which is not one wherever he has been, but shall wait till we meet, and in the meantime shall only observe that as he is not very popular among the Englishmen that were here and in Greece at the same time with him, I think it very lucky that he is such a good shot, as that will keep their tongues in order" 9 May 1812; Letters from and to Charles Kirkpatrick Sharp (1888) 1:537-38.

Mary Leadbeater to Melesina Chenevix Trench: "Canst thou tell me whether Lord Byron and Lord Strangford are one and the same person? There is fine poetry in Childe Harold; but being, like Beattie's Minstrel, neither narrative nor didactic, it causes some confusion in my head to comprehend it. Lord Byron seems very melancholy, and bewails his Thyrza in beautiful numbers" 29 September 1813; Leadbeatter Papers (1862) 2:154.

John Hamilton Reynolds: "Lord Byron is another egotist. He has become popular by his egotism. The public would not have read Childe Harold, or the Corsair, or the Giaour, if it were forbidden them to speculate on the original of the characters" The Champion (2 June 1816) 174.

Walter Scott: "Reading is indeed so general among all ranks and classes, that the impulse received by the public mind on such occasions is instantaneous through all but the very lowest classes of society, instead of being slowly communicated from one set of readers to another, as was the case in the days of our fathers. 'The Pilgrimage,' acting on such an extensive medium, was calculated to rouse and arrest the attention in a peculiar degree. The fictitious personage, whose sentiments, however, no one could help identifying with those of the author himself, presented himself with an avowed disdain of all the attributes which most men would be gladly supposed to possess. Childe Harold is represented as one satiated by indulgence in pleasure, and seeking in change of place and clime a relief from the tedium of a life which glided on without an object. The assuming of such a character as the medium of communicating his poetry and his sentiments indicated a feeling towards the public, which, if it fell short of contemning their favour, disdained, at least, all attempt to propitiate them. Yet the very audacity of this repulsive personification, joined to the energy with which it was supported, and to the indications of a bold, powerful, and original mind which glanced through every line of the poem, electrified the mass of readers, and placed at once upon Lord Byron's head the garland for which other men of genius have toiled long, and which they have gained late" Review of Childe Harold Canto III; Quarterly Review 16 (October 1816) 175.

John Galt: "On leaving England I began to write a poem in the Spenserian measure. It was called The Unknown, and was intended to describe, in narrating the voyages and adventures of a pilgrim, who had embarked for the Holy Land, the scenes I expected to visit. I was occasionally engaged in this composition during the passage with Lord Byron from Gibraltar to Malta, and he knew what I was about. In stating this, I beg to be distinctly understood, as in no way whatever intending to insinuate that this work had any influence on the composition of Childe Harold's Pilgrimage, which Lord Byron began to write in Albania; but it must be considered as something extraordinary, that the two works should have been so similar in plan, and in the structure of the verse. His Lordship never saw my attempt that I know of, nor did I his poem until it was printed. It is needless to add, that beyond the plan and verse there was no other similarity between the two works; I wish there had been" Life of Lord Byron (1830) 182-83.

Thomas Babington Macaulay: "His descriptions, great as was their intrinsic merit, derived their principal interest from the feeling which always mingled with them. He was himself the beginning, the middle, and the end, of all his own poetry — the hero of every tale — the chief object in every landscape. Harold, Lara, Manfrd, and a crowd of other characters, were universally considered merely as loose incognitos of Byron; and there is every reason to believe that he meant them to be so considered. The wonders of the outer world — the Tagus, with the mighty fleets of England riding on its bosom — the towers of Cintra overhanging the shaggy forest of cork-trees and willows — the glaring marble of Pentelicus — the banks of the Rhine — the glaciers of Clarens — the sweet Lake of Leman — the dell of Egeria, with its summer-birds and rustling lizzards — the shapeless ruins of Rome, overgrown with ivy and wall-flowers — the stars, the sea, the mountains; — all were mere necessaries — the background to one dark and melancholy figure" Edinburgh Review 53 (June 1831) 569.

Samuel Rogers: "Byron sent me Childe Harold in the printed sheets before it was published; and I read it to my sister. 'This,' I said, 'in spite of all its beauty, will never please the public: they will dislike the querulous repining tone that pervades it, and the dissolute character of the hero.' But I quickly found that I was mistaken. The genius which the poem exhibited, the youth, the rank of the author, his romantic wanderings in Greece, — these combined to make the world stark mad about Childe Harold and Byron. I knew two old maids in Buckinghamshire who used to cry over the passage about Harold's 'laughing dames' that 'long had fed his youthful appetite,' &c" Table Talk (1856) 229.

John Addington Symonds: "It is difficult to speak in measured terms of a poem which has suffered more from eulogy and popularity than any other poem of equal excellence from depreciation or neglect. The celebrated passages of Childe Harold, quoted, extracted, learned by heart at school, and incorporated into guide-books, have become a bye-word and a weariness to the present generation. We do not know how to render justice to the sonorous rhetoric and the often magnificent poetry of a masterpiece that has been subjected to processes so vulgarising. Some deductions, on sounder critical grounds, must also be made from the first enthusiasm that welcomed Childe Harold. The poem is written in a declamatory style, which savours of an age when Campbell's Pleasures of Hope was thought to soar above the level of prize poetry. The Pilgrim is a rococo creation, to whom Byron failed to communicate the breath of life. When this fictitious hero disappears from the scene, the stanzas invariably improve" The English Poets (1880) 4:246-47.

Herbert E. Cory: "The influence of The Minstrel was immense for over sixty years after its appearance. We must treat only the greatest poem inspired by it — Byron's Childe Harold. The first two cantos appears in 1812 and Byron continued the poem through the best years of his maturity. Much of the material of Childe Harold was in the air all over Europe, but its dependence in general scheme upon The Minstrel was absolute and has never been sufficiently emphasized. Byron was chafing to express his clamoring restive individuality. In the sentimental Edwin roaming the solitudes he saw a vast opportunity. He created the wayward Childe Harold who was to have the same irresponsible career. His travels gave him a treasure of material for a vagrant hero of this sort who had nothing to do but wander everywhere and express himself. For the burst of eloquence in Childe Harold there were, allowing for inferior genius, some notably suggestive passages in Beattie.... Beginning with a sentimental spoiled child for a hero and archaizing with amusing artificiality and capriciousness Byron abruptly cast off the few remaining shackles of Augustan imitation and became true to his own fiery romanticism. His splendid and defiant music, generous, selfish, noble, rebellious, rings in the ears of everyone. Thus the spirit of The Faerie Queene came through tortuous paths to become metamorphosed into the spirit of Childe Harold" "Spenser, Thomson, and Romanticism" PMLA 26 (1911) 82-83.

Leslie Marchand: "Among the books Byron had brought with him [to Albania] from England was an anthology of English poetry called Elegant Selections [Knox's Elegant Extracts]. In it was a selection from Spenser's Faerie Queene. The meter of the Spenserian stanza seemed to lend itself to the adventure and commentary of a voyage. On the last day of October [1809], while Hobhouse was inspecting the free public schools of Jannina, Byron began the first canto of Childe Harold's Pilgrimage. That evening Hobhouse wrote in his diary: 'Byron is writing a long poem in the Spenserian stanza...'" Byron, a Biography (1957) 1:212.

On the relation to Beattie, see Earl A. Aldrich, "James Beattie's Minstrel" (1927) 457-76.



Oh, thou! in Hellas deem'd of heavenly birth,
Muse! form'd or fabled at the minstrel's will,
Since sham'd full oft by later lyres on earth,
Mine dares not call thee from thy sacred hill;
Yet there I've wander'd by thy vaunted rill,
Yes! sigh'd o'er Delphi's long deserted shrine,
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.

Whilome in Albion's isle there dwelt a youth
Who ne in virtue's ways did take delight,
But spent his days in riot most uncouth;
And vex'd with mirth the drowsy ear of Night.
Ah me! in sooth he was a shameless wight,
Sore given to revel and ungodly glee;
Few earthly things found favour in his sight
Save concubines and carnal companie,
And flaunting wassailers of high and low degree.

Childe Harold was he hight: — 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 losel soils a name for aye,
However mighty in the olden time,
Nor all that heralds rake from coffin'd clay,
Nor florid prose, nor honied lies of rhyme,
Can blazon evil deeds, or consecrate a crime.

Childe Harold bask'd him in the noon-tide 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 loath'd he in his native land to dwell,
Which seem'd to him more lone than Eremite's sad cell.

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

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

The Childe departed from his father's hall,
It was a vast and venerable pile;
So old, it seemed 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 girls were known to sing and smile;
And monks might deem their time was come agen,
If ancient tales say true, nor wrong these holy men.

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.

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.
Yea! none did love him — not his lemans dear—
But pomp and power alone are Woman's care,
And where these are, light Eros finds a feere;
Maidens, like moths, are ever caught by glare,
And Mammon wins his way where Seraphs might despair.

Childe Harold had a mother — not forgot,
Though parting from that mother he did shun;
A sister whom he lov'd, 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.

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,
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 Paynim shores, and pass Earth's central line.

The sails were fill'd, and fair the light winds blew,
As glad to waft him from his native home;
And fast the white rocks 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 others sate and wept,
And to the reckless gales unmanly moaning kept.

But when the sun was sinking in the sea
He seiz'd his harp, which he at times could string,
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 tun'd 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 poured his last "Good Night."

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.
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!
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 blessed 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,
Why dost thou look so pale?
Or dost thou dread a French foeman?
Or shiv'rest 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?
Fresh feres 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, I'll swiftly go
Athwart 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!"

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

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 shafts urge
Gaul's locust host, and earth from fellest foemen purge.

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.

But whoso entereth within this town,
That, sheening far, celestial seems to be,
Disconsolate will wander up and down,
'Mid many things unsightly to strange ee;
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 cleanness of surtout or shirt,
Though shent with Egypt's plague, unkempt, unwash'd, unhurt.

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 bard relates,
Who to the awe-struck world unlock'd Elysium's gates!

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 azure 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,
Mixed in one mighty scene, with varied beauty glow.

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;"
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 Honorius long did dwell,
In hope to merit Heaven by making earth a Hell.

And here and there, as up the crags you spring,
Mark many rude-carv'd 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,
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.

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 ruined splendour still is lingering there.
And yonder towers the Prince's palace fair.
There thou too, Vathek! England's wealthiest son,
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.

Here didst thou dwell, here schemes of pleasure plan,
Beneath yon mountain's ever beauteous brow:
But now, as if a thing unblest by Man,
Thy fairy dwelling is as lone as thou!
Here 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!

Behold the hall where chiefs were late convened!
Oh! dome displeasing unto British eye!
With diadem hight foolscap, lo! a fiend,
A little fiend that scoffs incessantly,
There sits in parchment robe arrayed, 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.

Convention is the dwarfish demon styl'd
That foil'd the knights in Marialva's dome:
Of brains (if brains they had) he them beguil'd,
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!

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'erthrown, yet victors here,
Where Scorn her finger points through many a coming year?

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 moralise,
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 gaz'd on truth his aching eyes grew dim.

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.

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 whore 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.

O'er vales that teem with fruits, romantic hills,
(Oh, that such hills upheld a freeborn 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 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,
And all must shield their all, or share Subjection's woes.

Where Lusitania and her sister meet,
Deem ye what bounds the rival realms divide?
Or ere the jealous queens of Nations greet,
Doth Tayo 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, nor mountains dark and tall,
Rise like the rocks that part Hispania's land from Gaul:

But these between a silver streamlet 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,
That peaceful still 'twixt bitterest foemen flow;
For proud each peasant as the noblest duke:
Well doth the Spanish hind the difference know
'Twixt him and Lusian slave, the lowest of the low.

But ere the mingling bounds have far been pass'd,
Dark Guadiana rolls his power along
In sullen billows, murmuring and vast,
So noted ancient roundelays among.
Whilome upon his banks did legions throng
Of Moor and knight, in mailed splendour drest;
Here ceas'd the swift their race, here sunk the strong;
The Paynim turban and the Christian crest
Mix'd on the bleeding stream, by floating hosts oppress'd.

Oh, lovely Spain! renowned, romantic land!
Where is that standard which Pelagio bore,
When Cava's traitor-sire first call'd the band
That dy'd thy mountain streams with Gothic gore?
Where are those bloody Banners which of yore
Wav'd o'er thy sons, victorious to the gale,
And drove at last the spoilers to their shore?
Red gleam'd the cross, and waned the crescent pale,
While Afric's echoes thrill'd with Moorish matrons' wail.

Teems not each ditty with the glorious tale?
Ah! such, alas! the hero's amplest fate!
When granite moulders and when records fail,
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!
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?

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's shore?

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;
Nor saved your brethren ere they sank beneath
Tyrants and Tyrants' slaves? — the fires of Death,
The bale-fires flash on high: — from rock to rock
Each volley tells that thousands cease to breathe;
Death rides upon the sulphury Siroc,
Red Battle stamps his foot, and nations feel the shock.

Lo! where the Giant 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 fixed, and now anon
Flashing afar, — and at his iron feet
Destruction cowers, to mark what deeds are done;
For on this morn three potent Nations meet,
To shed before his Shrine the blood he deems most sweet.

By Heaven! it is a splendid sight to see
(For one who hath no friend, no brother there)
Their rival scarfs of mixed 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!
All join the chase, but few the triumph share;
The Grave shall bear the chiefest prize away,
And Havoc scarce for joy can number their array.

Three hosts combine to offer sacrifice;
Three tongues prefer strange orisons 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 fertilise the field that each pretends to gain.

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 dream 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?

Oh, Albuera! glorious field of grief!
As o'er thy plain the pilgrim prick'd his steed,
Who could foresee thee, in a space so brief,
A scene where mingling foes should boast and bleed!
Peace to the perished! 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!

Enough of Battle's minions! 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 prov'd her shame;
Perished, perchance, in some domestic feud,
Or in a narrower sphere wild Rapine's path pursu'd.

Full swiftly Harold wends his lonely way
Where proud Sevilla triumphs unsubdued:
Yet is she free? the spoiler's wished-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, Tyre might yet survive,
And Virtue vanquish all, and Murder cease to thrive

But all unconscious of the coming doom,
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 rebeck sounds;
Here Folly still his votaries enthralls;
And young-eyed Lewdness walks her midnight rounds,
Girt with the silent crimes of Capitals,
Still to the last kind Vice clings to the tott'ring walls.

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
Fandango 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!

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 chaunts; "Viva el Rey!"
And checks his song to execrate Godoy,
The royal wittol Charles, and curse the day
When first Spain's queen beheld the black-ey'd boy,
And gore-fac'd Treason sprung from her adulterate joy.

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, scath'd 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.

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:
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.

At every turn Morena's 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 fosse o'erflowed,
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-pil'd pyramid, the ever-blazing match,

Portend the deeds to come: — but he 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.

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 rapine 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?

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

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 clos'd ranks, and lead in Glory's fearful chase.

Her lover sinks — she sheds no ill-tim'd 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, before a batter'd wall?

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.

The seal Love's dimpling finger hath impress'd,
Denotes how soft that chin which bears his touch!
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 Phoebus 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!

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's paradise we find,
His black-eyed maids of Heaven, angelically kind.

Oh, thou Parnassus! 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.

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!

Happier in this than mightiest bards have been,
Whose rate to distant homes confin'd their lot,
Shall I unmov'd 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.

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;
Yield me one leaf of Daphne's deathless plant,
Nor let thy votary's hope be deem'd an idle vaunt.

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's 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.

Fair is proud Seville, let her country boast
Her strength, her wealth, her site of ancient days;
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-hydra round us dost thou gape,
And mould to every taste thy dear delusive shape.

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.

From morn till night, from night till startled Morn
Peeps blushing on the Revels laughing crew,
The Song is heard, the rosy Garland worn;
Devices quaint, and frolicks ever new,
Tread on each other's kibes. 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.

The Sabbath comes, a day of blessed rest;
What hallows it upon this Christian shore?
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'erthrown 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.

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, one-horse chair,
And humblest gig through sundry suburbs whirl,
To Hampstead, Brentford, Harrow make repair;
Till the tir'd jade the wheel forgets to hurl,
Provoking envious gibe from each pedestrian Churl.

Some o'er thy Thamis 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?
'Tis to the worship of the solemn Horn,
Grasp'd in the holy hand of Mystery,
In whose dread name both men and maids are sworn,
And consecrate the oath with draught, and dance till morn.

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 teaz'd 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.

The lists are op'd, the spacious area clear'd,
Thousands on thousands pil'd 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 inclin'd to heal the wound;
None through their cold disdain are doom'd to die,
As moon-struck bards complain, by Love's sad archery.

Hush'd is the din of tongues — on gallant steeds,
With milk-white crest, gold spur, and light-pois'd 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 to-day,
The crowds 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.

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 travers'd o'er,
Lest aught unseen should lurk to thwart his speed:
His arms 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.

Thrice sounds the clarion; lo! the signal falls,
The den expands, and Expectation mute
Gapes round the silent Circle's loaded 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.

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-tim'd croupe the nimble coursers veer;
On foams the Bull, but not unscath'd he goes;
Streams from his flank the crimson torrent clear;
He flies, he wheels, distracted with his throes;
Dart follows dart — lance, lance — loud bellowings speak his woes.

Again he comes; nor dart nor lance avail,
Nor the wild plunging of the tortur'd 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;
Tho' death-struck still his feeble frame he rears;
Staggering, but stemming all, his lord unharm'd he bears.

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,
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!

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 pil'd — 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.

Such the ungentle sport that oft invites
The Spanish maid, and cheers the Spanish swain.
Nurtur'd 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 friend the secret blow,
For some slight cause of wrath, whence Life's warm stream must flow.

But Jealousy has fled: his bars, his bolts,
His wither'd centinel, Duenna 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?

Oh! many a time and oft, had Harold lov'd,
Or dreamed he lov'd, since Rapture is a dream;
But now his wayward bosom was unmov'd,
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 springs
Some bitter o'er the flowers its bubbling venom flings.

Yet to the beauteous form he was not blind,
Though now it mov'd 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.

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 sooth'd his happier day.

TO INEZ.
1.
Nay, smile not at my sullen brow;
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 priz'd 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 wanderer 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.

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.
Through 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!

Adieu, fair Cadiz! yea, 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:
Here all were noble, save Nobility;
None hugg'd a Conqueror's chain, save fallen Chivalry!

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!"

Ye, who would more of Spain and Spaniards know,
Go, read whate'er is writ of bloodiest strife:
Whate'er keen Vengeance urg'd 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!

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;
Then to the dogs resign the unburied slain,
Then to the vulture 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!

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 free'd, she frees
More than her fell Pizarros once enchain'd:
Strange retribution! now Columbia's ease
Repairs the wrongs that Quito's sons sustain'd,
While o'er the parent clime prowls Murder unrestrain'd.

Not all the blood at Talavera shed,
Not all the marvels of Barossa's fight,
Not Albuera 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!

And thou, my friend! — 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?

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.

Here is one fytte 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 doomed to go:
Lands that contain the monuments of Eld,
Ere Greece and Grecian arts by barb'rous hands were quell'd.

[pp. 3-58]

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