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Famous poet /1788-1824  •  Ranked #65 in the top 500 poets

George Gordon Byron

George Gordon Byron [1788-1824] quote 'I can never get people to understand that poetry is the expression of excited passion, and that there is no such thing as a life of passion any more than a continuous earthquake, or an eternal fever.'

788(From letter to Moore, July 5, 1821)
George Gordon Byron ( Jan. 22, 1788, London, -- April 19, 1824, Missolonghi, Greece) was the son of Captain John "Mad Jack" Byron and his second wife, Catherine Gordon of Gight, a Scots heiress. After her husband had squandered most of her fortune, Mrs. Byron took her infant son to Aberdeen, where they lived in lodgings on a meagre income. The captain died in France in 1791. His son, George Gordon Byron, had been born with a clubfoot and early developed an extreme sensitivity to his lameness. In 1798, at age 10, he unexpectedly inherited the title and estates of his great-uncle William, the 5th Baron Byron. His mother proudly took him to England, where the boy fell in love with the ghostly halls and spacious ruins of Newstead Abbey, which had been presented to the Byrons by Henry VIII.
After living at Newstead for a while, Byron was sent to school in London, and in 1801 he went to Harrow, one of England's most prestigious schools. In 1805 Byron entered Trinity College, Cambridge. In 1806 Byron had his early poems privately printed in a volume entitled Fugitive Pieces, and that same year he formed at Trinity what was to be a lifelong friendship with John Hobhouse, who stirred his interest in liberal Whiggism.
Byron's first published volume of poetry, Hours of Idleness, appeared in 1807. A sarcastic critique of the book in The Edinburgh Review provoked his retaliation in 1809 with a couplet satire, English Bards and Scotch Reviewers,in which he attacked the contemporary literary scene. This work gained him his first recognition.
On reaching his majority in 1809, Byron took his seat in the House of Lords, and then embarked with Hobhouse on a grand tour. They sailed to Lisbon, crossed Spain, and proceeded by Gibraltar and Malta to Greece, and to Tepelene in Albania. In Greece Byron began Childe Harolde's Pilgrimage, which he continued in Athens.
Byron arrived back in London in July 1811, but his mother died before he could reach her at Newstead. At the beginning of March, the first two cantos of Childe Harold's Pilgrimage were published by John Murray and Byron "woke to find himself famous."
During the summer of 1813, Byron apparently entered into intimate relations with his half sister Augusta, now married to Colonel George Leigh. He then carried on a flirtation with Lady Frances Webster as a diversion from this dangerous liaison. Seeking to escape his love affairs in marriage, Byron proposed in September 1814 to Anne Isabella (Annabella) Milbanke. The marriage took place in January 1815, and Lady Byron gave birth to a daughter, Augusta Ada, in December 1815. From the start the marriage was doomed by the gulf between Byron and his unimaginative and humorless wife; and in January 1816 Annabella left Byron to live with her parents. Byron went abroad in April 1816, never to return to England.
Byron sailed up the Rhine River into Switzerland and settled at Geneva, near Percy Bysshe Shelley and Mary Godwin, who had eloped, and Godwin's stepdaughter by a second marriage, Claire Clairmont, with whom Byron had begun an affair in England. There he wrote the third canto of Childe Harold (1816). At the end of the summer the Shelley party left for England, where Claire gave birth to Byron's illegitimate daughter Allegra in January 1817. In October Byron and Hobhouse departed for Italy.
In the light, mock-heroic style of Beppo; Byron found the form in which he would write his greatest poem, Don Juan, a satire in the form of a picaresque verse tale. The first two cantos of Don Juan were begun in 1818 and published in July 1819. Meeting with Countess Teresa Gamba Guiccioli, who was only 19 years old and married to a man nearly three times her age, re-energized Byron and changed the course of his life. Byron followed Countess Teresa to Ravenna, and she later accompanied him back to Venice. He won the friendship of her father and brother, Counts Ruggero and Pietro Gamba, who initiated him into the secret society of the Carbonari and its revolutionary aims to free Italy from Austrian rule.
He arrived in Pisa in November 1821, having followed Teresa and the Counts Gamba there after the latter had been expelled from Ravenna for taking part in an abortive uprising. But by 1823 Byron was becoming bored with the domesticity of life with Teresa, and in April 1823 he agreed to act as agent of the London Committee, which had been formed to aid the Greeks in their struggle for independence from the Turks. In July 1823 Byron left Genoa for Cephalonia.
But a serious illness in February 1824 weakened him, and in April he contracted the fever from which he died at Missolonghi on April 19. Deeply mourned, he became a symbol of disinterested patriotism and a Greek national hero. His body was brought back to England and, refused burial in Westminster Abbey, was placed in the family vault near Newstead. But,145 years after his death, a memorial to Byron was finally placed on the floor of the Abbey.

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When We Two Parted

When we two parted
  In silence and tears,
Half broken-hearted
  To sever for years,
Pale grew thy cheek and cold,
  Colder thy kiss;
Truly that hour foretold
  Sorrow to this.

The dew of the morning
  Sunk chill on my brow--
It felt like the warning
  Of what I feel now.
Thy vows are all broken,
  And light is thy fame;
I hear thy name spoken,
  And share in its shame.

They name thee before me,
  A knell to mine ear;
A shrudder comes o'er me--
  Why wert thou so dear?
They know not I knew thee,
  Who knew thee so well--
Long, long I shall rue thee,
  Too deeply to tell.

In secret we met—
  In silence I grieve,
That thy heart could forget,
  Thy spirit deceive
If I should meet thee
  After long years,
How should I greet thee?--
  With silence and tears.
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Analysis (ai): This poem, with its somber tone and focus on the pain of separation, is a lament for a lost love. The speaker recalls the moment of parting, marked by "silence and tears" and a "half broken" heart. Their former lover's coldness and broken vows are a source of deep sorrow and shame. The speaker's grief is palpable, conveyed through imagery of the "dew of the morning" feeling like a warning of their present pain. The poem's structure, with its repeating refrain of "When we two parted," emphasizes the cyclical nature of their loss and the ongoing impact it has on the speaker's life. Compared to the author's other works, it shares themes of love, loss, and regret, but it is distinct in its simplicity and directness of language. Set amidst the Romantic period, the poem resonates with the era's emphasis on emotion and individual experience, capturing the intensity of heartache and the enduring pain of separation.
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108  

from Childe Harold, Canto iv, Verse 178

There Is Pleasure In The Pathless Woods

There is a pleasure in the pathless woods,
There is a rapture on the lonely shore,
There is society, where none intrudes,
By the deep sea, and music in its roar:
I love not man the less, but Nature more,
From these our interviews, in which I steal
From all I may be, or have been before,
To mingle with the Universe, and feel
What I can ne'er express, yet cannot all conceal.
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Analysis (ai): This poem expresses a love for nature and solitude, finding pleasure in the wilderness away from human distractions.

The speaker finds beauty and solace in the isolated woods and on the lonely shore, where they can connect with something greater than themselves.

The poem contrasts with the author's other works, which often explore themes of love, loss, and rebellion.

It reflects the Romantic era's emphasis on individualism, the importance of nature, and the exploration of emotions.

The poem's simple language and rhythmic structure contribute to its timeless appeal, conveying the universal human experience of finding peace and fulfillment in solitude.
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129  

In June, 1814, Lord Byron attended a party at Lady Sitwell's. While at the party, Lord Byron was inspired by the sight of his cousin, the beautiful Mrs. Wilmot, who was wearing a black spangled mourning dress. Lord Byron was struck by his cousin’s dark hair and fair face, the mingling of various lights and shades. This became the essence of his poem about her.
According to his friend, James W. Webster, "I did take him to Lady Sitwell’s party in Seymour Road. He there for the first time saw his cousin, the beautiful Mrs. Wilmot. When we returned to his rooms in Albany, he said little, but desired Fletcher to give him a tumbler of brandy, which he drank at once to Mrs. Wilmot's health, then retired to rest, and was, I heard afterwards, in a sad state all night. The next day he wrote those charming lines upon her--She walks in Beauty like the Night…"
The poem was published in 1815.

She Walks In Beauty

She walks in Beauty, like the night
    Of cloudless climes and starry skies;
And all that's best of dark and bright
    Meet in her aspect and her eyes:
Thus mellowed to that tender light
    Which Heaven to gaudy day denies.

One shade the more, one ray the less,
    Had half impaired the nameless grace
Which waves in every raven tress,
    Or softly lightens o'er her face;
Where thoughts serenely sweet express,
    How pure, how dear their dwelling-place.

And on that cheek, and o'er that brow,
    So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
    But tell of days in goodness spent,
A mind at peace with all below,
    A heart whose love is innocent!

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Analysis (ai): This Romantic-era poem praises the beauty of a woman, comparing her to a cloudless night sky. The poem's focus on the woman's dark hair and eyes, and her graceful demeanor, contrasts with the often stylized and idealized portraits of women in contemporary literature.

The poem's description of the woman's physical beauty is balanced by the suggestion that her inner qualities are equally worthy of admiration. The poet writes that her "thoughts serenely sweet express" the purity and innocence of her "dwelling-place." This suggests that she is not only physically beautiful but also possesses a virtuous and gentle nature.

Compared to Byron's other works, this poem is more straightforward and less overtly political or satirical. While his other works often explored themes of social and political injustice, this poem focuses on the beauty and virtue of an individual.

The poem's use of traditional poetic forms and rhyme scheme adds to its Romantic sensibility. The regular rhythms and rhymes create a sense of harmony and balance, which reflects the poet's admiration for the woman's beauty and character.
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317  

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