V.

"I was a goodly stripling then; At seventy years I so may say, That there were few, or boys or men, Who, in my dawning time of day, Of vassal or of knight's degree, Could vie in vanities with me; For I had strength—youth—gaiety, A port, not like to this ye see, But smooth, as all is rugged now; For Time, and Care, and War, have ploughed 190 My very soul from out my brow; And thus I should be disavowed By all my kind and kin, could they Compare my day and yesterday; This change was wrought, too, long ere age Had ta'en my features for his page: With years, ye know, have not declined My strength—my courage—or my mind, Or at this hour I should not be Telling old tales beneath a tree, 200 With starless skies my canopy. But let me on: Theresa's[259] form— Methinks it glides before me now, Between me and yon chestnut's bough, The memory is so quick and warm; And yet I find no words to tell The shape of her I loved so well: She had the Asiatic eye, Such as our Turkish neighbourhood Hath mingled with our Polish blood, 210 Dark as above us is the sky; But through it stole a tender light, Like the first moonrise of midnight; Large, dark, and swimming in the stream, Which seemed to melt to its own beam; All love, half languor, and half fire, Like saints that at the stake expire, And lift their raptured looks on high, As though it were a joy to die.[bs] A brow like a midsummer lake, 220 Transparent with the sun therein, When waves no murmur dare to make, And heaven beholds her face within. A cheek and lip—but why proceed? I loved her then, I love her still; And such as I am, love indeed In fierce extremes—in good and ill. But still we love even in our rage, And haunted to our very age With the vain shadow of the past,— 230 As is Mazeppa to the last.

VI.

"We met—we gazed—I saw, and sighed; She did not speak, and yet replied; There are ten thousand tones and signs We hear and see, but none defines— Involuntary sparks of thought, Which strike from out the heart o'erwrought, And form a strange intelligence, Alike mysterious and intense, Which link the burning chain that binds, 240 Without their will, young hearts and minds; Conveying, as the electric[260] wire, We know not how, the absorbing fire. I saw, and sighed—in silence wept, And still reluctant distance kept, Until I was made known to her, And we might then and there confer Without suspicion—then, even then, I longed, and was resolved to speak; But on my lips they died again, 250 The accents tremulous and weak, Until one hour.—There is a game, A frivolous and foolish play, Wherewith we while away the day; It is—I have forgot the name— And we to this, it seems, were set, By some strange chance, which I forget: I recked not if I won or lost, It was enough for me to be So near to hear, and oh! to see 260 The being whom I loved the most. I watched her as a sentinel, (May ours this dark night watch as well!) Until I saw, and thus it was, That she was pensive, nor perceived Her occupation, nor was grieved Nor glad to lose or gain; but still Played on for hours, as if her will Yet bound her to the place, though not That hers might be the winning lot[bt]. 270 Then through my brain the thought did pass, Even as a flash of lightning there, That there was something in her air Which would not doom me to despair; And on the thought my words broke forth, All incoherent as they were; Their eloquence was little worth, But yet she listened—'tis enough— Who listens once will listen twice; Her heart, be sure, is not of ice— 280 And one refusal no rebuff.

VII.

"I loved, and was beloved again— They tell me, Sire, you never knew Those gentle frailties; if 'tis true, I shorten all my joy or pain; To you 'twould seem absurd as vain; But all men are not born to reign, Or o'er their passions, or as you Thus o'er themselves and nations too. I am—or rather was—a Prince, 290 A chief of thousands, and could lead Them on where each would foremost bleed; But could not o'er myself evince The like control—But to resume: I loved, and was beloved again; In sooth, it is a happy doom, But yet where happiest ends in pain.— We met in secret, and the hour Which led me to that lady's bower Was fiery Expectation's dower. 300 My days and nights were nothing—all Except that hour which doth recall, In the long lapse from youth to age, No other like itself: I'd give The Ukraine back again to live It o'er once more, and be a page, The happy page, who was the lord Of one soft heart, and his own sword, And had no other gem nor wealth, Save Nature's gift of Youth and Health. 310 We met in secret—doubly sweet[261], Some say, they find it so to meet; I know not that—I would have given My life but to have called her mine In the full view of Earth and Heaven; For I did oft and long repine That we could only meet by stealth.

VIII.

"For lovers there are many eyes, And such there were on us; the Devil On such occasions should be civil— 320 The Devil!—I'm loth to do him wrong, It might be some untoward saint, Who would not be at rest too long, But to his pious bile gave vent— But one fair night, some lurking spies Surprised and seized us both. The Count was something more than wroth— I was unarmed; but if in steel, All cap-a-pie from head to heel, What 'gainst their numbers could I do? 330 'Twas near his castle, far away From city or from succour near, And almost on the break of day; I did not think to see another, My moments seemed reduced to few; And with one prayer to Mary Mother, And, it may be, a saint or two, As I resigned me to my fate, They led me to the castle gate: Theresa's doom I never knew, 340 Our lot was henceforth separate. An angry man, ye may opine, Was he, the proud Count Palatine; And he had reason good to be, But he was most enraged lest such An accident should chance to touch Upon his future pedigree; Nor less amazed, that such a blot His noble 'scutcheon should have got, While he was highest of his line; 350 Because unto himself he seemed The first of men, nor less he deemed In others' eyes, and most in mine. 'Sdeath! with a page—perchance a king Had reconciled him to the thing; But with a stripling of a page— I felt—but cannot paint his rage.

IX.

"'Bring forth the horse!'—the horse was brought! In truth, he was a noble steed, A Tartar of the Ukraine breed, 360 Who looked as though the speed of thought Were in his limbs; but he was wild, Wild as the wild deer, and untaught, With spur and bridle undefiled— 'Twas but a day he had been caught; And snorting, with erected mane, And struggling fiercely, but in vain, In the full foam of wrath and dread To me the desert-born was led: They bound me on, that menial throng, Upon his back with many a thong; 370 They loosed him with a sudden lash— Away!—away!—and on we dash!— Torrents less rapid and less rash.

X.

"Away!—away!—My breath was gone, I saw not where he hurried on: 'Twas scarcely yet the break of day, And on he foamed—away!—away! The last of human sounds which rose, As I was darted from my foes, 380 Was the wild shout of savage laughter, Which on the wind came roaring after A moment from that rabble rout: With sudden wrath I wrenched my head, And snapped the cord, which to the mane Had bound my neck in lieu of rein, And, writhing half my form about, Howled back my curse; but 'midst the tread, The thunder of my courser's speed, Perchance they did not hear nor heed: 390 It vexes me—for I would fain Have paid their insult back again. I paid it well in after days: There is not of that castle gate, Its drawbridge and portcullis' weight, Stone—bar—moat—bridge—or barrier left; Nor of its fields a blade of grass, Save what grows on a ridge of wall, Where stood the hearth-stone of the hall; And many a time ye there might pass, 400 Nor dream that e'er the fortress was. I saw its turrets in a blaze, Their crackling battlements all cleft, And the hot lead pour down like rain From off the scorched and blackening roof, Whose thickness was not vengeance-proof. They little thought that day of pain, When launched, as on the lightning's flash, They bade me to destruction dash, That one day I should come again, 410 With twice five thousand horse, to thank The Count for his uncourteous ride. They played me then a bitter prank, When, with the wild horse for my guide, They bound me to his foaming flank: At length I played them one as frank— For Time at last sets all things even— And if we do but watch the hour, There never yet was human power Which could evade, if unforgiven, 420 The patient search and vigil long Of him who treasures up a wrong.

XI.

"Away!—away!—my steed and I, Upon the pinions of the wind! All human dwellings left behind, We sped like meteors through the sky, When with its crackling sound the night[262] Is chequered with the Northern light. Town—village—none were on our track, But a wild plain of far extent, 430 And bounded by a forest black[263]; And, save the scarce seen battlement On distant heights of some strong hold, Against the Tartars built of old, No trace of man. The year before A Turkish army had marched o'er; And where the Spahi's hoof hath trod, The verdure flies the bloody sod: The sky was dull, and dim, and gray, And a low breeze crept moaning by— 440 I could have answered with a sigh— But fast we fled,—away!—away!— And I could neither sigh nor pray; And my cold sweat-drops fell like rain Upon the courser's bristling mane; But, snorting still with rage and fear, He flew upon his far career: At times I almost thought, indeed, He must have slackened in his speed; But no—my bound and slender frame 450 Was nothing to his angry might, And merely like a spur became: Each motion which I made to free My swoln limbs from their agony Increased his fury and affright: I tried my voice,—'twas faint and low— But yet he swerved as from a blow; And, starting to each accent, sprang As from a sudden trumpet's clang: Meantime my cords were wet with gore, 460 Which, oozing through my limbs, ran o'er; And in my tongue the thirst became A something fierier far than flame.

XII.

"We neared the wild wood—'twas so wide, I saw no bounds on either side: 'Twas studded with old sturdy trees, That bent not to the roughest breeze Which howls down from Siberia's waste, And strips the forest in its haste,— But these were few and far between, 470 Set thick with shrubs more young and green, Luxuriant with their annual leaves, Ere strown by those autumnal eyes That nip the forest's foliage dead, Discoloured with a lifeless red[bu], Which stands thereon like stiffened gore Upon the slain when battle's o'er; And some long winter's night hath shed Its frost o'er every tombless head— So cold and stark—the raven's beak 480 May peck unpierced each frozen cheek: 'Twas a wild waste of underwood, And here and there a chestnut stood, The strong oak, and the hardy pine; But far apart—and well it were, Or else a different lot were mine— The boughs gave way, and did not tear My limbs; and I found strength to bear My wounds, already scarred with cold; My bonds forbade to loose my hold. 490 We rustled through the leaves like wind,— Left shrubs, and trees, and wolves behind; By night I heard them on the track, Their troop came hard upon our back, With their long gallop, which can tire The hound's deep hate, and hunter's fire: Where'er we flew they followed on, Nor left us with the morning sun; Behind I saw them, scarce a rood, At day-break winding through the wood, 500 And through the night had heard their feet Their stealing, rustling step repeat. Oh! how I wished for spear or sword, At least to die amidst the horde, And perish—if it must be so— At bay, destroying many a foe! When first my courser's race begun, I wished the goal already won; But now I doubted strength and speed: Vain doubt! his swift and savage breed 510 Had nerved him like the mountain-roe— Nor faster falls the blinding snow Which whelms the peasant near the door Whose threshold he shall cross no more, Bewildered with the dazzling blast, Than through the forest-paths he passed— Untired, untamed, and worse than wild— All furious as a favoured child Balked of its wish; or—fiercer still— A woman piqued—who has her will! 520

XIII.

"The wood was passed; 'twas more than noon, But chill the air, although in June; Or it might be my veins ran cold— Prolonged endurance tames the bold; And I was then not what I seem, But headlong as a wintry stream, And wore my feelings out before I well could count their causes o'er: And what with fury, fear, and wrath, The tortures which beset my path— 530 Cold—hunger—sorrow—shame—distress— Thus bound in Nature's nakedness; Sprung from a race whose rising blood When stirred beyond its calmer mood, And trodden hard upon, is like The rattle-snake's, in act to strike— What marvel if this worn-out trunk Beneath its woes a moment sunk?[264] The earth gave way, the skies rolled round, I seemed to sink upon the ground; 540 But erred—for I was fastly bound. My heart turned sick, my brain grew sore, And throbbed awhile, then beat no more: The skies spun like a mighty wheel; I saw the trees like drunkards reel, And a slight flash sprang o'er my eyes, Which saw no farther. He who dies Can die no more than then I died, O'ertortured by that ghastly ride.[265] I felt the blackness come and go, 550 And strove to wake; but could not make My senses climb up from below: I felt as on a plank at sea, When all the waves that dash o'er thee, At the same time upheave and whelm, And hurl thee towards a desert realm. My undulating life was as The fancied lights that flitting pass Our shut eyes in deep midnight, when Fever begins upon the brain; 560 But soon it passed, with little pain, But a confusion worse than such: I own that I should deem it much, Dying, to feel the same again; And yet I do suppose we must Feel far more ere we turn to dust! No matter! I have bared my brow Full in Death's face—before—and now.

XIV.

"My thoughts came back. Where was I? Cold, And numb, and giddy: pulse by pulse 570 Life reassumed its lingering hold, And throb by throb,—till grown a pang Which for a moment would convulse, My blood reflowed, though thick and chill; My ear with uncouth noises rang, My heart began once more to thrill; My sight returned, though dim; alas! And thickened, as it were, with glass. Methought the dash of waves was nigh; There was a gleam too of the sky, 580 Studded with stars;—it is no dream; The wild horse swims the wilder stream! The bright broad river's gushing tide Sweeps, winding onward, far and wide, And we are half-way, struggling o'er To yon unknown and silent shore. The waters broke my hollow trance, And with a temporary strength My stiffened limbs were rebaptized. My courser's broad breast proudly braves, 590 And dashes off the ascending waves, And onward we advance! We reach the slippery shore at length, A haven I but little prized, For all behind was dark and drear, And all before was night and fear. How many hours of night or day[266] In those suspended pangs I lay, I could not tell; I scarcely knew If this were human breath I drew. 600

XV.

"With glossy skin, and dripping mane, And reeling limbs, and reeking flank, The wild steed's sinewy nerves still strain Up the repelling bank. We gain the top: a boundless plain Spreads through the shadow of the night, And onward, onward, onward—seems, Like precipices in our dreams,[267] To stretch beyond the sight; And here and there a speck of white, 610 Or scattered spot of dusky green, In masses broke into the light, As rose the moon upon my right: But nought distinctly seen In the dim waste would indicate The omen of a cottage gate; No twinkling taper from afar Stood like a hospitable star; Not even an ignis-fatuus rose[268] To make him merry with my woes: 620 That very cheat had cheered me then! Although detected, welcome still, Reminding me, through every ill, Of the abodes of men.

XVI.

"Onward we went—but slack and slow; His savage force at length o'erspent, The drooping courser, faint and low, All feebly foaming went: A sickly infant had had power To guide him forward in that hour! 630 But, useless all to me, His new-born tameness nought availed— My limbs were bound; my force had failed, Perchance, had they been free. With feeble effort still I tried To rend the bonds so starkly tied, But still it was in vain; My limbs were only wrung the more, And soon the idle strife gave o'er, Which but prolonged their pain. 640 The dizzy race seemed almost done, Although no goal was nearly won: Some streaks announced the coming sun— How slow, alas! he came! Methought that mist of dawning gray Would never dapple into day, How heavily it rolled away! Before the eastern flame Rose crimson, and deposed the stars, And called the radiance from their cars,[bv] 650 And filled the earth, from his deep throne, With lonely lustre, all his own.

XVII.

"Uprose the sun; the mists were curled Back from the solitary world Which lay around—behind—before. What booted it to traverse o'er Plain—forest—river? Man nor brute, Nor dint of hoof, nor print of foot, Lay in the wild luxuriant soil— No sign of travel, none of toil— 660 The very air was mute: And not an insect's shrill small horn,[269] Nor matin bird's new voice was borne From herb nor thicket. Many a werst, Panting as if his heart would burst, The weary brute still staggered on; And still we were—or seemed—alone: At length, while reeling on our way, Methought I heard a courser neigh, From out yon tuft of blackening firs. 670 Is it the wind those branches stirs?[270] No, no! from out the forest prance A trampling troop; I see them come! In one vast squadron they advance! I strove to cry—my lips were dumb! The steeds rush on in plunging pride; But where are they the reins to guide? A thousand horse, and none to ride! With flowing tail, and flying mane, Wide nostrils never stretched by pain, 680 Mouths bloodless to the bit or rein, And feet that iron never shod, And flanks unscarred by spur or rod, A thousand horse, the wild, the free, Like waves that follow o'er the sea, Came thickly thundering on, As if our faint approach to meet! The sight re-nerved my courser's feet, A moment staggering, feebly fleet, A moment, with a faint low neigh, 690 He answered, and then fell! With gasps and glazing eyes he lay, And reeking limbs immoveable, His first and last career is done! On came the troop—they saw him stoop, They saw me strangely bound along His back with many a bloody thong. They stop—they start—they snuff the air, Gallop a moment here and there, Approach, retire, wheel round and round, 700 Then plunging back with sudden bound, Headed by one black mighty steed, Who seemed the Patriarch of his breed, Without a single speck or hair Of white upon his shaggy hide; They snort—they foam—neigh—swerve aside, And backward to the forest fly, By instinct, from a human eye. They left me there to my despair, Linked to the dead and stiffening wretch, 710 Whose lifeless limbs beneath me stretch, Relieved from that unwonted weight, From whence I could not extricate Nor him nor me—and there we lay, The dying on the dead! I little deemed another day Would see my houseless, helpless head.

"And there from morn to twilight bound, I felt the heavy hours toil round, With just enough of life to see 720 My last of suns go down on me, In hopeless certainty of, mind, That makes us feel at length resigned To that which our foreboding years Present the worst and last of fears: Inevitable—even a boon, Nor more unkind for coming soon, Yet shunned and dreaded with such care, As if it only were a snare That Prudence might escape: 730 At times both wished for and implored, At times sought with self-pointed sword, Yet still a dark and hideous close To even intolerable woes, And welcome in no shape. And, strange to say, the sons of pleasure, They who have revelled beyond measure In beauty, wassail, wine, and treasure, Die calm, or calmer, oft than he Whose heritage was Misery. 740 For he who hath in turn run through All that was beautiful and new, Hath nought to hope, and nought to leave; And, save the future, (which is viewed Not quite as men are base or good, But as their nerves may be endued,) With nought perhaps to grieve: The wretch still hopes his woes must end, And Death, whom he should deem his friend, Appears, to his distempered eyes, 750 Arrived to rob him of his prize, The tree of his new Paradise. To-morrow would have given him all, Repaid his pangs, repaired his fall; To-morrow would have been the first Of days no more deplored or curst, But bright, and long, and beckoning years, Seen dazzling through the mist of tears, Guerdon of many a painful hour; To-morrow would have given him power 760 To rule—to shine—to smite—to save— And must it dawn upon his grave?

XVIII.

"The sun was sinking—still I lay Chained to the chill and stiffening steed! I thought to mingle there our clay;[271] And my dim eyes of death had need, No hope arose of being freed. I cast my last looks up the sky, And there between me and the sun[272] I saw the expecting raven fly, 770 Who scarce would wait till both should die, Ere his repast begun;[273] He flew, and perched, then flew once more, And each time nearer than before; I saw his wing through twilight flit, And once so near me he alit I could have smote, but lacked the strength; But the slight motion of my hand, And feeble scratching of the sand, The exerted throat's faint struggling noise, 780 Which scarcely could be called a voice, Together scared him off at length. I know no more—my latest dream Is something of a lovely star Which fixed my dull eyes from afar, And went and came with wandering beam, And of the cold—dull—swimming—dense Sensation of recurring sense, And then subsiding back to death, And then again a little breath, 790 A little thrill—a short suspense, An icy sickness curdling o'er My heart, and sparks that crossed my brain— A gasp—a throb—a start of pain, A sigh—and nothing more.

XIX.

"I woke—where was I?—Do I see A human face look down on me? And doth a roof above me close? Do these limbs on a couch repose? Is this a chamber where I lie? 800 And is it mortal yon bright eye, That watches me with gentle glance? I closed my own again once more, As doubtful that my former trance Could not as yet be o'er. A slender girl, long-haired, and tall, Sate watching by the cottage wall. The sparkle of her eye I caught, Even with my first return of thought; For ever and anon she threw 810 A prying, pitying glance on me With her black eyes so wild and free: I gazed, and gazed, until I knew No vision it could be,— But that I lived, and was released From adding to the vulture's feast: And when the Cossack maid beheld My heavy eyes at length unsealed, She smiled—and I essayed to speak, But failed—and she approached, and made 820 With lip and finger signs that said, I must not strive as yet to break The silence, till my strength should be Enough to leave my accents free; And then her hand on mine she laid, And smoothed the pillow for my head, And stole along on tiptoe tread, And gently oped the door, and spake In whispers—ne'er was voice so sweet![274] Even music followed her light feet. 830 But those she called were not awake, And she went forth; but, ere she passed, Another look on me she cast, Another sign she made, to say, That I had nought to fear, that all Were near, at my command or call, And she would not delay Her due return:—while she was gone, Methought I felt too much alone.

XX.

"She came with mother and with sire— 840 What need of more?—I will not tire With long recital of the rest, Since I became the Cossack's guest. They found me senseless on the plain, They bore me to the nearest hut, They brought me into life again— Me—one day o'er their realm to reign! Thus the vain fool who strove to glut His rage, refining on my pain, Sent me forth to the wilderness, 850 Bound—naked—bleeding—and alone, To pass the desert to a throne,— What mortal his own doom may guess? Let none despond, let none despair! To-morrow the Borysthenes May see our coursers graze at ease Upon his Turkish bank,—and never Had I such welcome for a river As I shall yield when safely there.[275] Comrades, good night!"—The Hetman threw 860 His length beneath the oak-tree shade, With leafy couch already made— A bed nor comfortless nor new To him, who took his rest whene'er The hour arrived, no matter where: His eyes the hastening slumbers steep. And if ye marvel Charles forgot To thank his tale, he wondered not,— The King had been an hour asleep!

FOOTNOTES:

[br] {205}la suite.—[MS. and First Edition.]

[248] {207}[The Battle of Poltava on the Vorskla took place July 8, 1709. "The Swedish troops (under Rehnskjoeld) numbered only 12,500 men.... The Russian army was four times as numerous.... The Swedes seemed at first to get the advantage, ... but everywhere the were overpowered and surrounded—beaten in detail; and though for two hours they fought with the fierceness of despair, they were forced either to surrender or to flee.... Over 2800 officers and men were taken prisoners."—Peter the Great, by Eugene Schuyler, 1884, ii. 148, 149.]

[249] [Napoleon began his retreat from Moscow, October 15, 1812. He was defeated at Vitepsk, November 14; Krasnoi, November 16-18; and at Beresina, November 25-29, 1812.]

[250] ["It happened ... that during the operations of June 27-28, Charles was severely wounded in the foot. On the morning of June 28 he was riding close to the river ... when a ball struck him on the left heel, passed through his foot, and lodged close to the great toe.... On the night of July 7, 1709 ... Charles had the foot carefully dressed, while he wore a spurred boot on his sound foot, put on his uniform, and placed himself on a kind of litter, in which he was drawn before the lines of the array.... [After the battle, July 8] those who survived took refuge in flight, the King—whose litter had been smashed by a cannon-ball, and who was carried by the soldiers on crossed poles—going with them, and the Russians neglecting to pursue. In this manner they reached their former camp."—Charles XII., by Oscar Browning, 1899, pp. 213, 220, 224, sq. For an account of his flight southwards into Turkish territory, vide post, p. 233, note 1. The bivouack "under a savage tree" must have taken place on the night of the battle, at the first halt, between Poltava and the junction of the Vorskla and Dnieper.]

[251] {208}[Compare—

"Thus elms and thus the savage cherry grows."

Dryden's Georgics, ii. 24.]

[252] {209}[For some interesting particulars concerning the Hetman Mazeppa, see Barrow's Memoir of the Life of Peter the Great, 1832, pp. 181-202.]

[253] {211}[The Dnieper.]

[254] [John Casimir (1609-1672), Jesuit, cardinal, and king, was a Little-Polander, not to say a pro-Cossack, and suffered in consequence. At the time of his proclamation as King of Poland, November, 1649, Poland was threatened by an incursion of Cossacks. The immediate cause was, or was supposed to be, the ill treatment which [Bogdan Khmelnitzky] a Lithuanian had received at the hands of the Polish governor, Czaplinski. The governor, it was alleged, had carried off, ravished, and put to death Khmelnitzky's wife, and, not content with this outrage, had set fire to the house of the Cossack, "in which perished his infant son in his cradle." Others affirmed that the Cossack had begun the strife by causing the governor "to be publicly and ignominiously whipped," and that it was the Cossack's mill and not his house which he burnt. Be that as it may, Casimir, on being exhorted to take the field, declined, on the ground that the Poles "ought not to have set fire to Khmelnitzky's house." It is probably to this unpatriotic determination to look at both sides of the question that he earned the character of being an unwarlike prince. As a matter of fact, he fought and was victorious against the Cossacks and Tartars at Bereteskow and elsewhere. (See Mod. Univ. Hist., xxxiv. 203, 217; Puffend, Hist. Gener., 1732, iv. 328; and Histoire des Kosaques, par M. (Charles Louis) Le Sur, 1814, i. 321.)]

[255] [A.D. 1660 or thereabouts.]

[256] {212}[According to the editor of Voltaire's Works (Oeuvres, Beuchot, 1830, xix. 378, note 1), there was a report that Casimir, after his retirement to Paris in 1670, secretly married "Marie Mignot, fille d'une blanchisseuse;" and there are other tales of other loves, e.g. Ninon de Lenclos.]

[257] [According to the biographers, Mazeppa's intrigue took place after he had been banished from the court of Warsaw, and had retired to his estate in Volhynia. The pane [Lord] Falbowsky, the old husband of the young wife, was a neighbouring magnate. It was a case of "love in idlenesse."—Vide ante, "The Introduction to Mazeppa," p. 201.]

[258] This comparison of a "salt mine" may, perhaps, be permitted to a Pole, as the wealth of the country consists greatly in the salt mines.

[259] {213}[It is improbable that Byron, when he wrote these lines, was thinking of Theresa Gamba, Countess Guiccioli. He met her for the first time "in the autumn of 1818, three days after her marriage," but it was not till April, 1819, that he made her acquaintance. (See Life, p. 393, and Letters, 1900, iv. 289.) The copy of Mazeppa sent home to Murray is in the Countess Guiccioli's handwriting, but the assertion (see Byron's Works, 1832, xi. 178), that "it is impossible not to suspect that the Poet had some circumstances of his own personal history, when he portrayed the fair Polish Theresa, her faithful lover, and the jealous rage of the old Count Palatine," is open to question. It was Marianna Segati who had "large, black, Oriental eyes, with that peculiar expression in them which is seen rarely among Europeans ... forehead remarkably good" (see lines 208-220); not Theresa Guiccioli, who was a "blonde," with a "brilliant complexion and blue eyes." (See Letters to Moore, November 17, 1816; and to Murray, May 6, 1819: Letters, 1900, iv. 8, 289, note 1.) Moreover, the "Maid of Athens" was called Theresa. Dr. D. Englaender, in his exhaustive monologue, Lord Byron's Mazeppa, pp. 48, sq., insists on the identity of the Theresa of the poem with the Countess Guiccioli, but from this contention the late Professor Koelbing (see Englische Studien, 1898, vol. xxiv. pp 448-458) dissents.]

[bs] {214}Until it proves a joy to die.—[MS. erased.]

[260] {215}[For the use of "electric" as a metaphor, compare Parisina, line 480, Poetical Works, 1900, iii. 524, note i.]

[bt] {216}

—but not For that which we had both forgot.—[MS. erased.]

[261] {217}[Compare—

"We loved, Sir, used to meet: How sad, and bad, and mad it was! But then how it was sweet!"

Confessions, by Robert Browning.]

[262] {220}[Compare—

"In sleep I heard the northern gleams; ... In rustling conflict through the skies, I heard, I saw the flashes drive."

The Complaint, stanza i. lines 3, 5, 6.

See, too, reference to Hearne's Journey from Hudson's Bay, etc., in prefatory note, Works of W. Wordsworth, 1889, p. 86.]

[263] [As Dr. Englaender points out (Mazeppa, 1897, p. 73), it is probable that Byron derived his general conception of the scenery of the Ukraine from passages in Voltaire's Charles XII., e.g.: "Depuis Grodno jusqu'au Borysthene, en tirant vers l'orient ce sont des marais, des deserts, des forets immenses" (Oeuvres, 1829, xxiv. 170). The exquisite beauty of the virgin steppes, the long rich grass, the wild-flowers, the "diviner air," to which the Viscount de Voguee testifies so eloquently in his Mazeppa, were not in the "mind's eye" of the poet or the historian.]

[bu] {222}

And stains it with a lifeless red.—[MS.] Which clings to it like stiffened gore.—[MS. erased.]

[264] {223}[The thread on which the successive tropes or images are loosely strung seems to give if not to snap at this point. "Considering that Mazeppa was sprung of a race which in moments of excitement, when an enemy has stamped upon its vitals, springs up to repel the attack, it was only to be expected that he should sink beneath the blow—and sink he did." The conclusion is at variance with the premiss.]

[265] {224}[Compare—

"'Alas,' said she, 'this ghastly ride, Dear Lady! it hath wildered you.'"

Christabel, Part I. lines 216, 217.]

[266] {225}[Compare—

"How long in that same fit I lay, I have not to declare."

Ancient Mariner, Part V. lines 393, 394.]

[267] [Compare—

"From precipices of distempered sleep."

Sonnet, "No more my visionary soul shall dwell," by S. T. Coleridge, attributed by Southey to Favell.—Letters of S. T. Coleridge, 1895, i. 83; Southey's Life and Correspondence, 1849, i. 224.]

[268] {226}[Compare Werner, iii. 3—

"Burn still, Thou little light! Thou art my ignis fatuus. My stationary Will-o'-the-wisp!—So! So!"

Compare, too, Don Juan, Canto XI. stanza xxvii. line 6, and Canto XV, stanza liv. line 6.]

[bv] {227}

Rose crimson, and forebade the stars To sparkle in their radiant cars.—[MS, erased.]

[269] [Compare—

"What time the gray-fly winds her sultry horn."

Lycidas, line 28.]

[270] [Compare—

"Was it the wind through some hollow stone?"

Siege of Corinth, line 521, Poetical Works, 1900, iii. 471, note 1.]

[271] {230}[Compare—

"The Architect ... did essay To extricate remembrance from the clay, Whose minglings might confuse a Newton's thought."

Churchill's Grave, lines 20-23 (vide ante, p. 47).]

[272] [Compare—

" ... that strange shape drove suddenly Betwixt us and the Sun."

Ancient Mariner, Part III. lines 175, 176.]

[273] [Vide infra, line 816. The raven turns into a vulture a few lines further on. Compare—

"The scalps were in the wild dog's maw, The hair was tangled round his jaw: But close by the shore, on the edge of the gulf, There sat a vulture flapping a wolf."

Siege of Corinth, lines 471-474, Poetical Works, 1900, iv. 468.]

[274] {232}[Compare—

"Her eyes were eloquent, her words would pose, Although she told him, in good modern Greek, With an Ionian accent, low and sweet, That he was faint, and must not talk but eat.

"Now Juan could not understand a word, Being no Grecian; but he had an ear, And her voice was the warble of a bird, So soft, so sweet, so delicately clear."

Don Juan, Canto II. stanza cl. line 5 to stanza cli. line 4.]

[275] {233}["By noon the battle (of Poltava) was over.... Charles had been induced to return to the camp and rally the remainder of the army. In spite of his wounded foot, he had to ride, lying on the neck of his horse.... The retreat (down the Vorskla to the Dnieper) began towards evening.... On the afternoon of July 11 the Swedes arrived at the little town of Perevolotchna, at the mouth of the Vorskla, where there was a ferry across the Dnieper ... the king, Mazeppa, and about 1000 men crossed the Dnieper.... The king, with the Russian cavalry in hot pursuit, rode as fast as he could to the Bug, where half his escourt was captured, and he barely escaped. Thence he went to Bender, on the Dniester, and for five years remained the guest of Turkey."—Peter the Great, by Eugene Schuyler, 1884, ii. 149-151.]



THE PROPHECY OF DANTE.

"'Tis the sunset of life gives me mystical lore, And coming events cast their shadows before."

Campbell, [Lochiel's Warning].



INTRODUCTION TO THE PROPHECY OF DANTE.

The Prophecy of Dante was written at Ravenna, during the month of June, 1819, "to gratify" the Countess Guiccioli. Before she left Venice in April she had received a promise from Byron to visit her at Ravenna. "Dante's tomb, the classical pinewood," and so forth, had afforded a pretext for the invitation to be given and accepted, and, at length, when she was, as she imagined, "at the point of death," he arrived, better late than never, "on the Festival of the Corpus Domini" which fell that year on the tenth of June (see her communication to Moore, Life, p. 399). Horses and books were left behind at Venice, but he could occupy his enforced leisure by "writing something on the subject of Dante" (ibid., p. 402). A heightened interest born of fuller knowledge, in Italian literature and Italian politics, lent zest to this labour of love, and, time and place conspiring, he composed "the best thing he ever wrote" (Letter to Murray, March 23, 1820, Letters, 1900, iv. 422), his Vision (or Prophecy) of Dante.

It would have been strange if Byron, who had sounded his Lament over the sufferings of Tasso, and who had become de facto if not de jure a naturalized Italian, had forborne to associate his name and fame with the sacred memory of the "Gran padre Alighier." If there had been any truth in Friedrich Schlegel's pronouncement, in a lecture delivered at Vienna in 1814, "that at no time has the greatest and most national of all Italian poets ever been much the favourite of his countrymen," the reproach had become meaningless. As the sumptuous folio edition (4 vols.) of the Divina Commedia, published at Florence, 1817-19; a quarto edition (4 vols.) published at Rome, 1815-17; a folio edition (3 vols.) published at Bologna 1819-21, to which the Conte Giovanni Marchetti (vide the Preface, post, p. 245) contributed his famous excursus on the allegory in the First Canto of the Inferno, and numerous other issues remain to testify, Dante's own countrymen were eager "to pay honours almost divine" to his memory. "The last age," writes Hobhouse, in 1817 (note 18 to Canto IV. of Childe Harold's Pilgrimage, Poetical Works, 1899, ii. 496), "seemed inclined to undervalue him.... The present generation ... has returned to the ancient worship, and the Danteggiare of the northern Italians is thought even indiscreet by the more moderate Tuscans." Dante was in the air. As Byron wrote in his Diary (January 29, 1821), "Read Schlegel [probably in a translation published at Edinburgh, 1818]. Not a favourite! Why, they talk Dante, write Dante, and think and dream Dante at this moment (1821), to an excess which would be ridiculous, but that he deserves it."

There was, too, another reason why he was minded to write a poem "on the subject of Dante." There was, at this time, a hope, if not a clear prospect, of political change—of throwing off the yoke of the Bourbon, of liberating Italy from the tyrant and the stranger. "Dante was the poet of liberty. Persecution, exile, the dread of a foreign grave, could not shake his principles" (Medwin, Conversations, 1824, p. 242). The Prophecy was "intended for the Italians," intended to foreshadow as in a vision "liberty and the resurrection of Italy" (ibid., p. 241). As he rode at twilight through the pine forest, or along "the silent shore Which bounds Ravenna's immemorial wood," the undying past inspired him with a vision of the future, delayed, indeed, for a time, "the flame ending in smoke," but fulfilled after many days, a vision of a redeemed and united Italy.

"The poem," he says, in the Preface, "may be considered as a metrical experiment." In Beppo, and the two first cantos of Don Juan, he had proved that the ottava rima of the Italians, which Frere had been one of the first to transplant, might grow and flourish in an alien soil, and now, by way of a second venture, he proposed to acclimatize the terza rima. He was under the impression that Hayley, whom he had held up to ridicule as "for ever feeble, and for ever tame," had been the first and last to try the measure in English; but of Hayley's excellent translation of the three first cantos of the Inferno (vide post, p. 244, note 1), praised but somewhat grudgingly praised by Southey, he had only seen an extract, and of earlier experiments he was altogether ignorant. As a matter of fact, many poets had already essayed, but timidly and without perseverance, to "come to the test in the metrification" of the Divine Comedy. Some twenty-seven lines, "the sole example in English literature of that period, of the use of terza rima, obviously copied from Dante" (Complete Works of Chaucer, by the Rev. W. Skeat, 1894, i. 76, 261), are imbedded in Chaucer's Compleint to his Lady. In the sixteenth century Sir Thomas Wyatt and Henry Howard, Earl of Surrey ("Description of the restless state of a lover"), "as novises newly sprung out of the schools of Dante, Ariosto, and Petrarch" (Puttenham's Art of Poesie, 1589, pp. 48-50); and later again, Daniel ("To the Lady Lucy, Countess of Bedford"), Ben Jonson, and Milton (Psalms ii., vi.) afford specimens of terza rima. There was, too, one among Byron's contemporaries who had already made trial of the metre in his Prince Athanase (1817) and The Woodman and the Nightingale (1818), and who, shortly, in his Ode to the West Wind (October, 1819, published 1820) was to prove that it was not impossible to write English poetry, if not in genuine terza rima, with its interchange of double rhymes, at least in what has been happily styled the "Byronic terza rima." It may, however, be taken for granted that, at any rate in June, 1819, these fragments of Shelley's were unknown to Byron. Long after Byron's day, but long years before his dream was realized, Mrs. Browning, in her Casa Guidi Windows (1851), in the same metre, re-echoed the same aspiration (see her Preface), "that the future of Italy shall not be disinherited." (See for some of these instances of terza rima, Englische Metrik, von Dr. J. Schipper, 1888, ii. 896. See, too, The Metre of Dante's Comedy discussed and exemplified, by Alfred Forman and Harry Buxton Forman, 1878, p. 7.)

The MS. of the Prophecy of Dante, together with the Preface, was forwarded to Murray, March 14, 1820; but in spite of some impatience on the part of the author (Letter to Murray, May 8, 1820, Letters, 1901, v. 20), and, after the lapse of some months, a pretty broad hint (Letter, August 17, 1820, ibid., p. 165) that "the time for the Dante would be good now ... as Italy is on the eve of great things," publication was deferred till the following year. Marino Faliero, Doge of Venice, and the Prophecy of Dante were published in the same volume, April 21, 1821.

The Prophecy of Dante was briefly but favourably noticed by Jeffrey in his review of Marino Faliero (Edinb. Rev., July, 1821, vol. 35, p. 285). "It is a very grand, fervid, turbulent, and somewhat mystical composition, full of the highest sentiment and the highest poetry; ... but disfigured by many faults of precipitation, and overclouded with many obscurities. Its great fault with common readers will be that it is not sufficiently intelligible.... It is, however, beyond all question, a work of a man of great genius."

Other notices of Marino Faliero and the Prophecy of Dante appeared in Blackwood's Edinburgh Magazine, April, 1821, vol. 9, pp. 93-103; in the Monthly Review, May, 1821, Enlarged Series, vol. 95, pp. 41-50; and in the Eclectic Review, June 21, New Series, vol. xv. pp. 518-527.



DEDICATION.

Lady! if for the cold and cloudy clime Where I was born, but where I would not die, Of the great Poet-Sire of Italy I dare to build[276] the imitative rhyme, Harsh Runic[277] copy of the South's sublime, Thou art the cause; and howsoever I Fall short of his immortal harmony, Thy gentle heart will pardon me the crime. Thou, in the pride of Beauty and of Youth, Spakest; and for thee to speak and be obeyed Are one; but only in the sunny South Such sounds are uttered, and such charms displayed, So sweet a language from so fair a mouth—[278] Ah! to what effort would it not persuade?

Ravenna, June 21, 1819.



PREFACE

In the course of a visit to the city of Ravenna in the summer of 1819, it was suggested to the author that having composed something on the subject of Tasso's confinement, he should do the same on Dante's exile,—the tomb of the poet forming one of the principal objects[279] of interest in that city, both to the native and to the stranger.

"On this hint I spake," and the result has been the following four cantos, in terza rima, now offered to the reader. If they are understood and approved, it is my purpose to continue the poem in various other cantos to its natural conclusion in the present age. The reader is requested to suppose that Dante addresses him in the interval between the conclusion of the Divina Commedia and his death, and shortly before the latter event, foretelling the fortunes of Italy in general in the ensuing centuries. In adopting this plan I have had in my mind the Cassandra of Lycophron,[280] and the Prophecy of Nereus by Horace, as well as the Prophecies of Holy Writ. The measure adopted is the terza rima of Dante, which I am not aware to have seen hitherto tried in our language, except it may be by Mr. Hayley,[281] of whose translation I never saw but one extract, quoted in the notes to Caliph Vathek; so that—if I do not err—this poem may be considered as a metrical experiment. The cantos are short, and about the same length of those of the poet, whose name I have borrowed and most likely taken in vain.

Amongst the inconveniences of authors in the present day, it is difficult for any who have a name, good or bad, to escape translation. I have had the fortune to see the fourth canto of Childe Harold[282] translated into Italian versi sciolti,—that is, a poem written in the Spenserean stanza into blank verse, without regard to the natural divisions of the stanza or the sense. If the present poem, being on a national topic, should chance to undergo the same fate, I would request the Italian reader to remember that when I have failed in the imitation of his great "Padre Alighier,"[283] I have failed in imitating that which all study and few understand, since to this very day it is not yet settled what was the meaning of the allegory[284] in the first canto of the Inferno, unless Count Marchetti's ingenious and probable conjecture may be considered as having decided the question.

He may also pardon my failure the more, as I am not quite sure that he would be pleased with my success, since the Italians, with a pardonable nationality, are particularly jealous of all that is left them as a nation—their literature; and in the present bitterness of the classic and romantic war, are but ill disposed to permit a foreigner even to approve or imitate them, without finding some fault with his ultramontane presumption. I can easily enter into all this, knowing what would be thought in England of an Italian imitator of Milton, or if a translation of Monti, Pindemonte, or Arici,[285] should be held up to the rising generation as a model for their future poetical essays. But I perceive that I am deviating into an address to the Italian reader, where my business is with the English one; and be they few or many, I must take my leave of both.



THE PROPHECY OF DANTE.

CANTO THE FIRST.

Once more in Man's frail world! which I had left So long that 'twas forgotten; and I feel The weight of clay again,—too soon bereft Of the Immortal Vision which could heal My earthly sorrows, and to God's own skies Lift me from that deep Gulf without repeal, Where late my ears rung with the damned cries Of Souls in hopeless bale; and from that place Of lesser torment, whence men may arise Pure from the fire to join the Angelic race; 10 Midst whom my own bright Beatricē[286] blessed My spirit with her light; and to the base Of the Eternal Triad! first, last, best,[287] Mysterious, three, sole, infinite, great God! Soul universal! led the mortal guest, Unblasted by the Glory, though he trod From star to star to reach the almighty throne.[bw] Oh Beatrice! whose sweet limbs the sod So long hath pressed, and the cold marble stone, Thou sole pure Seraph of my earliest love, 20 Love so ineffable, and so alone, That nought on earth could more my bosom move, And meeting thee in Heaven was but to meet That without which my Soul, like the arkless dove, Had wandered still in search of, nor her feet Relieved her wing till found; without thy light My Paradise had still been incomplete.[288] Since my tenth sun gave summer to my sight Thou wert my Life, the Essence of my thought, Loved ere I knew the name of Love,[289] and bright 30 Still in these dim old eyes, now overwrought With the World's war, and years, and banishment, And tears for thee, by other woes untaught; For mine is not a nature to be bent By tyrannous faction, and the brawling crowd, And though the long, long conflict hath been spent In vain,—and never more, save when the cloud Which overhangs the Apennine my mind's eye Pierces to fancy Florence, once so proud Of me, can I return, though but to die, 40 Unto my native soil,—they have not yet Quenched the old exile's spirit, stern and high. But the Sun, though not overcast, must set And the night cometh; I am old in days, And deeds, and contemplation, and have met Destruction face to face in all his ways. The World hath left me, what it found me, pure, And if I have not gathered yet its praise, I sought it not by any baser lure; Man wrongs, and Time avenges, and my name 50 May form a monument not all obscure, Though such was not my Ambition's end or aim, To add to the vain-glorious list of those Who dabble in the pettiness of fame, And make men's fickle breath the wind that blows Their sail, and deem it glory to be classed With conquerors, and Virtue's other foes, In bloody chronicles of ages past. I would have had my Florence great and free;[290] Oh Florence! Florence![291] unto me thou wast 60 Like that Jerusalem which the Almighty He Wept over, "but thou wouldst not;" as the bird Gathers its young, I would have gathered thee Beneath a parent pinion, hadst thou heard My voice; but as the adder, deaf and fierce, Against the breast that cherished thee was stirred Thy venom, and my state thou didst amerce, And doom this body forfeit to the fire.[292] Alas! how bitter is his country's curse To him who for that country would expire, 70 But did not merit to expire by her, And loves her, loves her even in her ire. The day may come when she will cease to err, The day may come she would be proud to have The dust she dooms to scatter, and transfer[bx] Of him, whom she denied a home, the grave. But this shall not be granted; let my dust Lie where it falls; nor shall the soil which gave Me breath, but in her sudden fury thrust Me forth to breathe elsewhere, so reassume 80 My indignant bones, because her angry gust Forsooth is over, and repealed her doom; No,—she denied me what was mine—my roof, And shall not have what is not hers—my tomb. Too long her armed wrath hath kept aloof The breast which would have bled for her, the heart That beat, the mind that was temptation proof, The man who fought, toiled, travelled, and each part Of a true citizen fulfilled, and saw For his reward the Guelf's ascendant art 90 Pass his destruction even into a law. These things are not made for forgetfulness, Florence shall be forgotten first; too raw The wound, too deep the wrong, and the distress Of such endurance too prolonged to make My pardon greater, her injustice less, Though late repented; yet—yet for her sake I feel some fonder yearnings, and for thine, My own Beatric, I would hardly take Vengeance upon the land which once was mine, 100 And still is hallowed by thy dust's return, Which would protect the murderess like a shrine, And save ten thousand foes by thy sole urn. Though, like old Marius from Minturnae's marsh And Carthage ruins, my lone breast may burn At times with evil feelings hot and harsh,[293] And sometimes the last pangs of a vile foe Writhe in a dream before me, and o'erarch My brow with hopes of triumph,—let them go! Such are the last infirmities of those 110 Who long have suffered more than mortal woe, And yet being mortal still, have no repose But on the pillow of Revenge—Revenge, Who sleeps to dream of blood, and waking glows With the oft-baffled, slakeless thirst of change, When we shall mount again, and they that trod Be trampled on, while Death and Ate range O'er humbled heads and severed necks——Great God! Take these thoughts from me—to thy hands I yield My many wrongs, and thine Almighty rod 120 Will fall on those who smote me,—be my Shield! As thou hast been in peril, and in pain, In turbulent cities, and the tented field— In toil, and many troubles borne in vain For Florence,—I appeal from her to Thee! Thee, whom I late saw in thy loftiest reign, Even in that glorious Vision, which to see And live was never granted until now, And yet thou hast permitted this to me. Alas! with what a weight upon my brow 130 The sense of earth and earthly things come back, Corrosive passions, feelings dull and low, The heart's quick throb upon the mental rack, Long day, and dreary night; the retrospect Of half a century bloody and black, And the frail few years I may yet expect Hoary and hopeless, but less hard to bear, For I have been too long and deeply wrecked On the lone rock of desolate Despair, To lift my eyes more to the passing sail 140 Which shuns that reef so horrible and bare; Nor raise my voice—for who would heed my wail? I am not of this people, nor this age, And yet my harpings will unfold a tale Which shall preserve these times when not a page Of their perturbed annals could attract An eye to gaze upon their civil rage,[by] Did not my verse embalm full many an act Worthless as they who wrought it: 'tis the doom Of spirits of my order to be racked 150 In life, to wear their hearts out, and consume Their days in endless strife, and die alone; Then future thousands crowd around their tomb, And pilgrims come from climes where they have known The name of him—who now is but a name, And wasting homage o'er the sullen stone, Spread his—by him unheard, unheeded—fame; And mine at least hath cost me dear: to die Is nothing; but to wither thus—to tame My mind down from its own infinity— 160 To live in narrow ways with little men, A common sight to every common eye, A wanderer, while even wolves can find a den, Ripped from all kindred, from all home, all things That make communion sweet, and soften pain— To feel me in the solitude of kings Without the power that makes them bear a crown— To envy every dove his nest and wings Which waft him where the Apennine looks down On Arno, till he perches, it may be, 170 Within my all inexorable town, Where yet my boys are, and that fatal She,[294] Their mother, the cold partner who hath brought Destruction for a dowry—this to see And feel, and know without repair, hath taught A bitter lesson; but it leaves me free: I have not vilely found, nor basely sought, They made an Exile—not a Slave of me.

CANTO THE SECOND.

The Spirit of the fervent days of Old, When words were things that came to pass, and Thought Flashed o'er the future, bidding men behold Their children's children's doom already brought Forth from the abyss of Time which is to be, The Chaos of events, where lie half-wrought Shapes that must undergo mortality; What the great Seers of Israel wore within, That Spirit was on them, and is on me, And if, Cassandra-like, amidst the din 10 Of conflict none will hear, or hearing heed This voice from out the Wilderness, the sin Be theirs, and my own feelings be my meed, The only guerdon I have ever known. Hast thou not bled? and hast thou still to bleed, Italia? Ah! to me such things, foreshown With dim sepulchral light, bid me forget In thine irreparable wrongs my own; We can have but one Country, and even yet Thou'rt mine—my bones shall be within thy breast, 20 My Soul within thy language, which once set With our old Roman sway in the wide West; But I will make another tongue arise As lofty and more sweet, in which expressed The hero's ardour, or the lover's sighs, Shall find alike such sounds for every theme That every word, as brilliant as thy skies, Shall realise a Poet's proudest dream, And make thee Europe's Nightingale of Song;[295] So that all present speech to thine shall seem 30 The note of meaner birds, and every tongue Confess its barbarism when compared with thine.[bz] This shalt thou owe to him thou didst so wrong, Thy Tuscan bard, the banished Ghibelline. Woe! woe! the veil of coming centuries Is rent,—a thousand years which yet supine Lie like the ocean waves ere winds arise, Heaving in dark and sullen undulation, Float from Eternity into these eyes; The storms yet sleep, the clouds still keep their station, 40 The unborn Earthquake yet is in the womb, The bloody Chaos yet expects Creation, But all things are disposing for thy doom; The Elements await but for the Word, "Let there be darkness!" and thou grow'st a tomb! Yes! thou, so beautiful, shalt feel the sword,[296] Thou, Italy! so fair that Paradise, Revived in thee, blooms forth to man restored: Ah! must the sons of Adam lose it twice? Thou, Italy! whose ever golden fields, 50 Ploughed by the sunbeams solely, would suffice For the world's granary; thou, whose sky Heaven gilds[ca] With brighter stars, and robes with deeper blue; Thou, in whose pleasant places Summer builds Her palace, in whose cradle Empire grew, And formed the Eternal City's ornaments From spoils of Kings whom freemen overthrew; Birthplace of heroes, sanctuary of Saints, Where earthly first, then heavenly glory made[cb] Her home; thou, all which fondest Fancy paints, 60 And finds her prior vision but portrayed In feeble colours, when the eye—from the Alp Of horrid snow, and rock, and shaggy shade Of desert-loving pine, whose emerald scalp Nods to the storm—dilates and dotes o'er thee, And wistfully implores, as 'twere, for help To see thy sunny fields, my Italy, Nearer and nearer yet, and dearer still The more approached, and dearest were they free, Thou—Thou must wither to each tyrant's will: 70 The Goth hath been,—the German, Frank, and Hun[297] Are yet to come,—and on the imperial hill Ruin, already proud of the deeds done By the old barbarians, there awaits the new, Throned on the Palatine, while lost and won Rome at her feet lies bleeding; and the hue Of human sacrifice and Roman slaughter Troubles the clotted air, of late so blue, And deepens into red the saffron water Of Tiber, thick with dead; the helpless priest, 80 And still more helpless nor less holy daughter, Vowed to their God, have shrieking fled, and ceased Their ministry: the nations take their prey, Iberian, Almain, Lombard, and the beast And bird, wolf, vulture, more humane than they Are; these but gorge the flesh, and lap the gore Of the departed, and then go their way; But those, the human savages, explore All paths of torture, and insatiate yet, With Ugolino hunger prowl for more. 90 Nine moons shall rise o'er scenes like this and set;[298] The chiefless army of the dead, which late Beneath the traitor Prince's banner met, Hath left its leader's ashes at the gate; Had but the royal Rebel lived, perchance Thou hadst been spared, but his involved thy fate. Oh! Rome, the Spoiler or the spoil of France, From Brennus to the Bourbon, never, never Shall foreign standard to thy walls advance, But Tiber shall become a mournful river. 100 Oh! when the strangers pass the Alps and Po, Crush them, ye Rocks! Floods whelm them, and for ever! Why sleep the idle Avalanches so, To topple on the lonely pilgrim's head? Why doth Eridanus but overflow The peasant's harvest from his turbid bed? Were not each barbarous horde a nobler prey? Over Cambyses' host[299] the desert spread Her sandy ocean, and the Sea-waves' sway Rolled over Pharaoh and his thousands,—why,[cc] 110 Mountains and waters, do ye not as they? And you, ye Men! Romans, who dare not die, Sons of the conquerors who overthrew Those who overthrew proud Xerxes, where yet lie The dead whose tomb Oblivion never knew, Are the Alps weaker than Thermopylae? Their passes more alluring to the view Of an invader? is it they, or ye, That to each host the mountain-gate unbar, And leave the march in peace, the passage free? 120 Why, Nature's self detains the Victor's car, And makes your land impregnable, if earth Could be so; but alone she will not war, Yet aids the warrior worthy of his birth In a soil where the mothers bring forth men: Not so with those whose souls are little worth; For them no fortress can avail,—the den Of the poor reptile which preserves its sting Is more secure than walls of adamant, when The hearts of those within are quivering. 130 Are ye not brave? Yes, yet the Ausonian soil Hath hearts, and hands, and arms, and hosts to bring Against Oppression; but how vain the toil, While still Division sows the seeds of woe And weakness, till the Stranger reaps the spoil.[300] Oh! my own beauteous land! so long laid low, So long the grave of thy own children's hopes, When there is but required a single blow To break the chain, yet—yet the Avenger stops, And Doubt and Discord step 'twixt thine and thee, 140 And join their strength to that which with thee copes; What is there wanting then to set thee free, And show thy beauty in its fullest light? To make the Alps impassable; and we, Her Sons, may do this with one deed—Unite.

CANTO THE THIRD.

From out the mass of never-dying ill,[cd] The Plague, the Prince, the Stranger, and the Sword, Vials of wrath but emptied to refill And flow again, I cannot all record That crowds on my prophetic eye: the Earth And Ocean written o'er would not afford Space for the annal, yet it shall go forth; Yes, all, though not by human pen, is graven, There where the farthest suns and stars have birth, Spread like a banner at the gate of Heaven, 10 The bloody scroll of our millennial wrongs Waves, and the echo of our groans is driven Athwart the sound of archangelic songs, And Italy, the martyred nation's gore, Will not in vain arise to where belongs[ce] Omnipotence and Mercy evermore: Like to a harpstring stricken by the wind, The sound of her lament shall, rising o'er The Seraph voices, touch the Almighty Mind. Meantime I, humblest of thy sons, and of 20 Earth's dust by immortality refined To Sense and Suffering, though the vain may scoff, And tyrants threat, and meeker victims bow Before the storm because its breath is rough, To thee, my Country! whom before, as now, I loved and love, devote the mournful lyre And melancholy gift high Powers allow To read the future: and if now my fire Is not as once it shone o'er thee, forgive! I but foretell thy fortunes—then expire; 30 Think not that I would look on them and live. A Spirit forces me to see and speak, And for my guerdon grants not to survive; My Heart shall be poured over thee and break: Yet for a moment, ere I must resume Thy sable web of Sorrow, let me take Over the gleams that flash athwart thy gloom A softer glimpse; some stars shine through thy night, And many meteors, and above thy tomb Leans sculptured Beauty, which Death cannot blight: 40 And from thine ashes boundless Spirits rise To give thee honour, and the earth delight; Thy soil shall still be pregnant with the wise, The gay, the learned, the generous, and the brave, Native to thee as Summer to thy skies, Conquerors on foreign shores, and the far wave,[301] Discoverers of new worlds, which take their name;[302] For thee alone they have no arm to save, And all thy recompense is in their fame, A noble one to them, but not to thee— 50 Shall they be glorious, and thou still the same? Oh! more than these illustrious far shall be The Being—and even yet he may be born— The mortal Saviour who shall set thee free, And see thy diadem, so changed and worn By fresh barbarians, on thy brow replaced; And the sweet Sun replenishing thy morn, Thy moral morn, too long with clouds defaced, And noxious vapours from Avernus risen, Such as all they must breathe who are debased 60 By Servitude, and have the mind in prison.[303] Yet through this centuried eclipse of woe[cf] Some voices shall be heard, and Earth shall listen; Poets shall follow in the path I show, And make it broader: the same brilliant sky Which cheers the birds to song shall bid them glow,[cg] And raise their notes as natural and high; Tuneful shall be their numbers; they shall sing Many of Love, and some of Liberty, But few shall soar upon that Eagle's wing, 70 And look in the Sun's face, with Eagle's gaze, All free and fearless as the feathered King, But fly more near the earth; how many a phrase Sublime shall lavished be on some small prince In all the prodigality of Praise! And language, eloquently false, evince[ch] The harlotry of Genius, which, like Beauty,[ci] Too oft forgets its own self-reverence, And looks on prostitution as a duty.[304] He who once enters in a Tyrant's hall[cj][305] 80 As guest is slave—his thoughts become a booty, And the first day which sees the chain enthral A captive, sees his half of Manhood gone[306]— The Soul's emasculation saddens all His spirit; thus the Bard too near the throne Quails from his inspiration, bound to please,— How servile is the task to please alone! To smooth the verse to suit his Sovereign's ease And royal leisure, nor too much prolong Aught save his eulogy, and find, and seize, 90 Or force, or forge fit argument of Song! Thus trammelled, thus condemned to Flattery's trebles, He toils through all, still trembling to be wrong: For fear some noble thoughts, like heavenly rebels, Should rise up in high treason to his brain, He sings, as the Athenian spoke, with pebbles In's mouth, lest Truth should stammer through his strain. But out of the long file of sonneteers There shall be some who will not sing in vain, And he, their Prince, shall rank among my peers,[307] And Love shall be his torment; but his grief Shall make an immortality of tears, And Italy shall hail him as the Chief Of Poet-lovers, and his higher song Of Freedom wreathe him with as green a leaf. But in a farther age shall rise along The banks of Po two greater still than he; The World which smiled on him shall do them wrong Till they are ashes, and repose with me. The first will make an epoch with his lyre, 110 And fill the earth with feats of Chivalry:[308] His Fancy like a rainbow, and his Fire, Like that of Heaven, immortal, and his Thought Borne onward with a wing that cannot tire; Pleasure shall, like a butterfly new caught, Flutter her lovely pinions o'er his theme, And Art itself seem into Nature wrought By the transparency of his bright dream.— The second, of a tenderer, sadder mood, Shall pour his soul out o'er Jerusalem; 120 He, too, shall sing of Arms, and Christian blood Shed where Christ bled for man; and his high harp Shall, by the willow over Jordan's flood, Revive a song of Sion, and the sharp Conflict, and final triumph of the brave And pious, and the strife of Hell to warp Their hearts from their great purpose, until wave The red-cross banners where the first red Cross Was crimsoned from His veins who died to save,[ck] Shall be his sacred argument; the loss 130 Of years, of favour, freedom, even of fame Contested for a time, while the smooth gloss Of Courts would slide o'er his forgotten name And call Captivity a kindness—meant To shield him from insanity or shame— Such shall be his meek guerdon! who was sent To be Christ's Laureate—they reward him well! Florence dooms me but death or banishment, Ferrara him a pittance and a cell,[309] Harder to bear and less deserved, for I 140 Had stung the factions which I strove to quell; But this meek man who with a lover's eye Will look on Earth and Heaven, and who will deign To embalm with his celestial flattery, As poor a thing as e'er was spawned to reign,[310] What will he do to merit such a doom? Perhaps he'll love,—and is not Love in vain Torture enough without a living tomb? Yet it will be so—he and his compeer, The Bard of Chivalry, will both consume[311] 150 In penury and pain too many a year, And, dying in despondency, bequeath To the kind World, which scarce will yield a tear, A heritage enriching all who breathe With the wealth of a genuine Poet's soul, And to their country a redoubled wreath, Unmatched by time; not Hellas can unroll Through her Olympiads two such names, though one[312] Of hers be mighty;—and is this the whole Of such men's destiny beneath the Sun?[313] 160 Must all the finer thoughts, the thrilling sense, The electric blood with which their arteries run,[cl] Their body's self turned soul with the intense Feeling of that which is, and fancy of That which should be, to such a recompense Conduct? shall their bright plumage on the rough Storm be still scattered? Yes, and it must be; For, formed of far too penetrable stuff, These birds of Paradise[314] but long to flee Back to their native mansion, soon they find 170 Earth's mist with their pure pinions not agree, And die or are degraded; for the mind Succumbs to long infection, and despair, And vulture Passions flying close behind, Await the moment to assail and tear;[315] And when, at length, the winged wanderers stoop, Then is the Prey-birds' triumph, then they share The spoil, o'erpowered at length by one fell swoop. Yet some have been untouched who learned to bear, Some whom no Power could ever force to droop, 180 Who could resist themselves even, hardest care! And task most hopeless; but some such have been, And if my name amongst the number were, That Destiny austere, and yet serene, Were prouder than more dazzling fame unblessed; The Alp's snow summit nearer heaven is seen Than the Volcano's fierce eruptive crest, Whose splendour from the black abyss is flung, While the scorched mountain, from whose burning breast A temporary torturing flame is wrung, 190 Shines for a night of terror, then repels Its fire back to the Hell from whence it sprung, The Hell which in its entrails ever dwells.

CANTO THE FOURTH.

Many are Poets who have never penned Their inspiration, and perchance the best: They felt, and loved, and died, but would not lend Their thoughts to meaner beings; they compressed The God within them, and rejoined the stars Unlaurelled upon earth, but far more blessed Than those who are degraded by the jars Of Passion, and their frailties linked to fame, Conquerors of high renown, but full of scars. Many are Poets but without the name; 10 For what is Poesy but to create From overfeeling Good or Ill; and aim[316] At an external life beyond our fate, And be the new Prometheus of new men,[317] Bestowing fire from Heaven, and then, too late, Finding the pleasure given repaid with pain, And vultures to the heart of the bestower, Who, having lavished his high gift in vain, Lies to his lone rock by the sea-shore? So be it: we can bear.—But thus all they 20 Whose Intellect is an o'ermastering Power Which still recoils from its encumbering clay Or lightens it to spirit, whatsoe'er The form which their creations may essay, Are bards; the kindled Marble's bust may wear More poesy upon its speaking brow Than aught less than the Homeric page may bear; One noble stroke with a whole life may glow, Or deify the canvass till it shine With beauty so surpassing all below, 30 That they who kneel to Idols so divine Break no commandment, for high Heaven is there Transfused, transfigurated:[318] and the line Of Poesy, which peoples but the air With Thought and Beings of our thought reflected, Can do no more: then let the artist share The palm, he shares the peril, and dejected Faints o'er the labour unapproved—Alas! Despair and Genius are too oft connected. Within the ages which before me pass 40 Art shall resume and equal even the sway Which with Apelles and old Phidias She held in Hellas' unforgotten day. Ye shall be taught by Ruin to revive The Grecian forms at least from their decay, And Roman souls at last again shall live In Roman works wrought by Italian hands, And temples, loftier than the old temples, give New wonders to the World; and while still stands The austere Pantheon, into heaven shall soar 50 A Dome,[319] its image, while the base expands Into a fane surpassing all before, Such as all flesh shall flock to kneel in: ne'er Such sight hath been unfolded by a door As this, to which all nations shall repair, And lay their sins at this huge gate of Heaven. And the bold Architect[320] unto whose care The daring charge to raise it shall be given, Whom all Arts shall acknowledge as their Lord, Whether into the marble chaos driven 60 His chisel bid the Hebrew,[321] at whose word Israel left Egypt, stop the waves in stone,[cm] Or hues of Hell be by his pencil poured Over the damned before the Judgement-throne,[322] Such as I saw them, such as all shall see, Or fanes be built of grandeur yet unknown— The Stream of his great thoughts shall spring from me[323] The Ghibelline, who traversed the three realms Which form the Empire of Eternity. Amidst the clash of swords, and clang of helms, 70 The age which I anticipate, no less Shall be the Age of Beauty, and while whelms Calamity the nations with distress, The Genius of my Country shall arise, A Cedar towering o'er the Wilderness, Lovely in all its branches to all eyes, Fragrant as fair, and recognised afar, Wafting its native incense through the skies. Sovereigns shall pause amidst their sport of war, Weaned for an hour from blood, to turn and gaze 80 On canvass or on stone; and they who mar All beauty upon earth, compelled to praise, Shall feel the power of that which they destroy; And Art's mistaken gratitude shall raise To tyrants, who but take her for a toy, Emblems and monuments, and prostitute Her charms to Pontiffs proud,[324] who but employ The man of Genius as the meanest brute To bear a burthen, and to serve a need, To sell his labours, and his soul to boot. 90 Who toils for nations may be poor indeed, But free; who sweats for Monarchs is no more Than the gilt Chamberlain, who, clothed and feed, Stands sleek and slavish, bowing at his door. Oh, Power that rulest and inspirest! how Is it that they on earth, whose earthly power[325] Is likest thine in heaven in outward show, Least like to thee in attributes divine, Tread on the universal necks that bow, And then assure us that their rights are thine? 100 And how is it that they, the Sons of Fame, Whose inspiration seems to them to shine From high, they whom the nations oftest name, Must pass their days in penury or pain, Or step to grandeur through the paths of shame, And wear a deeper brand and gaudier chain? Or if their Destiny be born aloof From lowliness, or tempted thence in vain, In their own souls sustain a harder proof, The inner war of Passions deep and fierce? 110 Florence! when thy harsh sentence razed my roof, I loved thee; but the vengeance of my verse, The hate of injuries which every year Makes greater, and accumulates my curse, Shall live, outliving all thou holdest dear— Thy pride, thy wealth, thy freedom, and even that, The most infernal of all evils here, The sway of petty tyrants in a state; For such sway is not limited to Kings, And Demagogues yield to them but in date, 120 As swept off sooner; in all deadly things, Which make men hate themselves, and one another, In discord, cowardice, cruelty, all that springs From Death the Sin-born's incest with his mother,[326] In rank oppression in its rudest shape, The faction Chief is but the Sultan's brother, And the worst Despot's far less human ape. Florence! when this lone spirit, which so long Yearned, as the captive toiling at escape, To fly back to thee in despite of wrong, 130 An exile, saddest of all prisoners,[327] Who has the whole world for a dungeon strong, Seas, mountains, and the horizon's[328] verge for bars,[cn] Which shut him from the sole small spot of earth Where—whatsoe'er his fate—he still were hers, His Country's, and might die where he had birth— Florence! when this lone Spirit shall return To kindred Spirits, thou wilt feel my worth, And seek to honour with an empty urn[329] The ashes thou shalt ne'er obtain—Alas! 140 "What have I done to thee, my People?"[330] Stern Are all thy dealings, but in this they pass The limits of Man's common malice, for All that a citizen could be I was— Raised by thy will, all thine in peace or war— And for this thou hast warred with me.—'Tis done: I may not overleap the eternal bar[331] Built up between us, and will die alone, Beholding with the dark eye of a Seer The evil days to gifted souls foreshown, 150 Foretelling them to those who will not hear; As in the old time, till the hour be come When Truth shall strike their eyes through many a tear, And make them own the Prophet in his tomb.

Ravenna, 1819.

FOOTNOTES:

[276] {241}[Compare—

"He knew Himself to sing, and build the lofty rhime."

Milton, Lycidas, line 11.]

[277] [By "Runic" Byron means "Northern," "Anglo-Saxon."]

[278] [Compare "In that word, beautiful in all languages, but most so in yours—Amor mio—is comprised my existence here and hereafter."—Letter of Byron to the Countess Guiccioli, August 25, 1819, Letters, 1900, iv. 350. Compare, too, Beppo, stanza xliv.; vide ante, p. 173.]

[279] {243}[Compare—

"I pass each day where Dante's bones are laid: A little cupola more neat than solemn, Protects his dust."

Don Juan, Canto IV. stanza civ. lines 1-3.]

[280] [The Cassandra or Alexandra of Lycophron, one of the seven "Pleiades" who adorned the court of Ptolemy Philadelphus (third century B.C.), is "an iambic monologue of 1474 verses, in which Cassandra is made to prophesy the fall of Troy ... with numerous other historical events, ... ending with [the reign of] Alexandra the Great." Byron had probably read a translation of the Cassandra by Philip Yorke, Viscount Royston (born 1784, wrecked in the Agatha off Memel, April 7, 1808), which was issued at Cambridge in 1806. The Alexandra forms part of the Bibliotheca Teubneriana (ed. G. Kinkel, Lipsiae, 1880). For the prophecy of Nereus, vide Hor., Odes, lib. i. c. xv.]

[281] {244}[In the notes to his Essay on Epic Poetry, 1782 (Epistle iii. pp. 175-197), Hayley (see English Bards, etc., line 310, Poetical Works, 1898, i. 321, note 1) prints a translation of the three first cantos of the Inferno, which, he says (p. 172), was written "a few years ago to oblige a particular friend." "Of all Hayley's compositions," writes Southey (Quart. Rev., vol. xxxi. pp. 283, 284), "these specimens are the best ... in thus following his original Hayley was led into a sobriety and manliness of diction which ... approached ... to the manner of a better age."

In a note on the Hall of Eblis, S. Henley quotes with approbation Hayley's translation of lines 1-9 of this Third Canto of the Inferno. Vathek ... by W. Beckford, 1868, p. 188.]

[282] [L'Italia: Canto IV. del Pellegrinaggio di Childe Harold ... tradotto da Michele Leoni, Italia (London?), 1819, 8. Leoni also translated the Lament of Tasso (Lamento di Tasso ... Recato in Italiano da M. Leoni, Pisa, 1818).]

[283] [Alfieri has a sonnet on the tomb of Dante, beginning—

"O gran padre Alighier, se dal ciel miri."

Opere Scelle, di Vittorio Alfieri, 1818, iii. 487.]

[284] [The Panther, the Lion, and the She-wolf, which Dante encountered on the "desert slope" (Inferno, Canto I. lines 31, sq.), were no doubt suggested by Jer. v. 6: "Idcirco percussit eos leo de silva, lupus ad vesperam vastavit eos, pardus vigilans super civitates corum." Symbolically they have been from the earliest times understood as denoting—the panther, lust; the lion, pride; the wolf, avarice; the sins affecting youth, maturity, and old age. Later commentators have suggested that there may be an underlying political symbolism as well, and that the three beasts may stand for Florence with her "Black" and "White" parties, the power of France, and the Guelf party as typically representative of these vices (The Hell of Dante, by A. J. Butler, 1892, p. 5, note).

Count Giovanni Marchetti degli Angelini (1790-1852), in his Discorso ... della prima e principale Allegoria del Poema di Dante, contributed to an edition of La Divina Commedia, published at Bologna, 1819-21, i. 17-44, and reissued in La Biografia di Dante ... 1822, v. 397, sq., etc., argues in favour of a double symbolism. (According to a life of Marchetti, prefixed to his Poesie, 1878 [Una notte di Dante, etc.], he met Byron at Bologna in 1819, and made his acquaintance.)]

[285] {245}[For Vincenzo Monti (1754-1828), see letter to Murray, October 15, 1816 (Letters, 1899, iii. 377, note 3); and for Ippolito Pindemonte (1753-1828), see letter to Murray, June 4, 1817, (Letters, 1900, iv. 127, note 4). In his Essay on the Present Literature of Italy, Hobhouse supplies critical notices of Pindemonte and Monti, Historical Illustrations, 1818, pp. 413-449. Cesare Arici, lawyer and poet, was born at Brescia, July 2, 1782. His works (Padua, 1858, 4 vols.) include his didactic poems, La coltivazione degli Ulivi (1805), Il Corallo, 1810, La Pastorizia (on sheep-farming), 1814, and a translation of the works of Virgil. He died in 1836. (See, for a long and sympathetic notice, Tipaldo's Biografia degli Italiani Illustri, iii. 491, sq.)]

[286] {247}The reader is requested to adopt the Italian pronunciation of Beatrice, sounding all the syllables.

[287] [Compare—

"Within the deep and luminous subsistence Of the High Light appeared to me three circles, Of threefold colour and of one dimension, And by the second seemed the first reflected As Iris is by Iris, and the third Seemed fire that equally from both is breathed.... O Light Eterne, sole in thyself that dwellest."

Paradiso, xxxiii. 115-120, 124 (Longfellow's Translation).]

[bw] {248}Star over star——.—[MS. Alternative reading.]

[288]

"Che sol per le belle opre Che sono in cielo, il sole e l'altre stelle, Dentro da lor si crede il Paradiso: Cosi se guardi fiso Pensar ben dei, che ogni terren piacere. [Si trova in lei, ma tu nol puoi vedere."]

Canzone, in which Dante describes the person of Beatrice, Strophe third.

[Byron was mistaken in attributing these lines, which form part of a Canzone beginning "Io miro i crespi e gli biondi capegli," to Dante. Neither external nor internal evidence supports such an ascription. The Canzone is attributed in the MSS. either to Fazio degli Uberti, or to Bindo Borrichi da Siena, but was not assigned to Dante before 1518 (Canzoni di Dante, etc. [Colophon]. Impresso in Milano per Augustino da Vimercato ... MCCCCCXVIII ...). See, too, Il Canzoniere di Dante ... Fraticelli, Firenze, 1873, pp. 236-240 (from information kindly supplied by the Rev. Philip H. Wicksteed).]

[289] ["Nine times already since my birth had the heaven of light returned to the selfsame point almost, as concerns its own revolution, when first the glorious Lady of my mind was made manifest to mine eyes; even she who was called Beatrice by many who knew not wherefore."—La Vita Nuova, Sec. 2 (Translation by D. G. Rossetti, Dante and his Circle, 1892, p. 30).