The Complete Poetical Works of Lord Byron

By George Gordon Byron | Go to book overview


[First published in the Letters, 1901.]

THE dead have been awaken'd -- shall I sleep?
The World's at war with tyrants -- shall
I crouch?
The harvest's ripe -- and shall I pause to reap?
I slumber not; the thorn is in my Couch;
Each day a trumpet soundeth in mine ear,
Its echo in my heart --
June 19, 1823.


[First published in Edition of 1904 from a manuscript in possession of Mr. Murray.]

Up to battle! Sons of Suli
Up, and do your duty duly!
There the wall -- and there the Moat is:
Bouwah! Bouwah! Suliotes!
There is booty -- there is Beauty,
Up my boys and do your duty.

By the sally and the rally
Which defied the arms of Ali;
By your own dear native Highlands,
By your children in the islands,
Up and charge, my Stratiotes,
Bouwah! -- Bouwah! -- Suliotes!

As our ploughshare is the Sabre:
Here's the harvest of our labour;
For behind those batter'd breaches
Are our foes with all their riches:
There is Glory -- there is plunder --
Then away despite of thunder!


[The seven Satires here grouped together represent work extending from Byron's twentieth to his thirty-sixth year, from the beginning, that is, to the end of his poetical career. Two distinct, and sometimes hostile, veins are to be noted in Byron's genius, -- one romantic and lyrical, connecting him with the revolutionary poets of the day, the other satirical and neo-classic, deriving from the school of Queen Anne. In Childe Harold and the Tales the first vein is to be seen almost pure; in the Satires the second reigns practically unmixed; in Don Juan the two are inextricably blended, giving the real Byron, the full poet. -- The history of the Satires is briefly as follows: As early as October, 1807, Byron had written a satirical poem which he called British Bards. This was printed in quarto sheets (but never published), one set of which is now in the British Museum. Lord Brougham review of Hours of Idleness appeared in the Edinburgh Review of January, 1808. Spurred to revenge the scant courtesy shown him in that essay, Byron added to his satirical verses and published them anonymously as English Bards and Scotch Reviewers, in March, 1809. These began with the ninety-seventh line of the present poem. A second edition, to which he prefixed his name, followed in October of the same year, and a third and fourth were called for during his 'pilgrimage' in 1810 and 1811. On returning to England he revised the work for a fifth edition, which was actually printed when he suddenly resolved to suppress it. Several copies, however, escaped destruction, and from one of these the poem as it now appears in his Works derives. Byron often in later years regretted the indiscriminate sarcasm of this Satire, but the trick of flinging barbed arrows right and left he never forgot. Many of the judgments, though extravagant in expression as befits the Muse of Juvenal, are shrewdly penetrating. -- Hints from Horace was always a favorite of the author's, but is little read to-day. It was, however, for various reasons not published in the author's lifetime, and was first ineluded among his Works in the Murray edition of 1831. -- The Curse of Minerva is dated by Byron himself, Athens, March 17, 1811. It was to be published, as was also Hints from Horace, in the volume with the fifth edition of the Bards, and Moore states that The Curse of Minerva, and with it necessarily the other two poems, was suppressed out of deference to Lord Elgin. It was, curiously enough, first published in Philadelphia in 1815. -- by ron wrote The Waltz in 1812 and published it anonymously in the spring of the following year. It exhibits at once the indignation felt by many English folk at the introduction of this form of 'round dancing' from Germany, and more particularly, that almost morbid sense of modesty which Byron, like many another man of rakish habits, so often manifested in words throughout his life. -- The Blues, 'a mere buffoonery,' as Byron calls it, was' scribbled' at Ravenna, August 6, 1821, and is apparently a mere unprovoked effervescence of wit. It was published anonymously in Leigh Hunt's


Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Cite this page

Cited page

Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25,

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited page

Bookmark this page
The Complete Poetical Works of Lord Byron
Table of contents

Table of contents

  • Title Page *
  • Editor's Note v
  • Table of Contents vii
  • Biographical Sketch xi
  • Childe Harold's Pilgrimage - A Romaunt 1
  • Shorter Poems 83
  • Miscellaneous Poems 139
  • Domestic Pieces 207
  • Hebrew Melodies 216
  • Ephemeral Verses 223
  • Satires 240
  • Tales, Chiefly Oriental 309
  • Italian Poems 436
  • Dramas 477
  • Scene II 481
  • Act II 483
  • Scene I 483
  • Scene II 487
  • Scene IV 488
  • Act III 491
  • Scene I 491
  • Scene II 493
  • Scene III 494
  • Scene IV 495
  • Act I 499
  • Act I 499
  • Scene II 500
  • Act II 509
  • Scene I 509
  • Scene II 516
  • Act III 518
  • Scene I 518
  • Scene II 520
  • Act IV 528
  • Scene I 528
  • Scene II 533
  • Act V 538
  • Act V 538
  • Scene II 546
  • Scenf III 548
  • Scene II 549
  • Sardanapalus 550
  • Scene II 551
  • Act II 561
  • Scene I 561
  • Act III 571
  • Scene I 571
  • Act IV 578
  • Scene I 578
  • Act V 587
  • Scene I 587
  • Act I 595
  • Scene I 595
  • Act II 601
  • Scene I 601
  • Act III 608
  • Scene I 608
  • Act IV 615
  • Scene I 620
  • Scene I 620
  • Dramatis Person Æ 627
  • Dramatis Person Æ 627
  • Act II 636
  • Scene I 636
  • Scene II 639
  • Heaven and Earth 655
  • Heaven and Earth 655
  • Scene II 657
  • Scene II 658
  • Werner; Or, the Inheritance 671
  • Scene II 683
  • Scene II 683
  • Scene II 688
  • Act III 695
  • Scene I 695
  • Scene II 700
  • Scene III 701
  • Scene IV 701
  • Act IV 704
  • Scene I 704
  • Act V 713
  • Scene II 720
  • The Deformed Transformed 722
  • Scene II 723
  • Scene II 730
  • Part II 735
  • Scene I 735
  • Scene II 737
  • Scene III 738
  • Part III 742
  • Scene I 742
  • Don Juan 744
  • Notes 999
  • Indexes 1045


Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 1055

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25,

    New feature

    It is estimated that 1 in 10 people have dyslexia, and in an effort to make Questia easier to use for those people, we have added a new choice of font to the Reader. That font is called OpenDyslexic, and has been designed to help with some of the symptoms of dyslexia. For more information on this font, please visit

    To use OpenDyslexic, choose it from the Typeface list in Font settings.

    OK, got it!

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search


    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.