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Night and Silence October Daye 12 3rd Edition Seanan Mcguire PDF Full Chapter
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and incorrigible lady who so violently sought Byron for a lover, called
one day at the poet’s apartments, and finding him away, wrote in a
volume of Vathek the words “Remember me.” When Byron
discovered the warning, he added to it two stanzas of burning
invective, concluding,
In the final version of the first two cantos some stanzas of a satiric
tone were omitted, among them lines on Frere, Carr, and Wellesley
in Canto I, and passages on Elgin, Hope, Gell, and the “gentle
Dilettanti” in Canto II.
A few ephemeral verses of this period still remain unnoticed: an
occasional epistle in rhyme to Moore or Murray; four brief squibs on
Lord Thurlow’s poetry; and several unimportant epigrams on trivial
subjects. No one of them is significant as literature, and they may
well be passed by without comment.
In a last glance at Byron’s satiric production from 1811 to 1818
we perceive that, with the single exception of Hints from Horace, an
avowed imitation, his work was directed towards definite ends. He
was little given to vague denunciation; on the contrary, in touch as he
was with current events and a keen observer of what was going on
around him, he aimed, in his satire, at specific evils and follies. It is
interesting, too, that most of his work after his return from abroad
was journalistic and transitory, hastily conceived and carelessly
composed. At the same time there are signs of a change in spirit.
Though he still continues to burst out into invective on provocation,
he is beginning to recognize the value of humor and mockery. More
and more he is employing new metrical forms, and neglecting the
heroic couplet for freer and more varied measures.
When Byron left England in 1816, he had been taught much by
experience and had acquired some maturity of judgment. To some
extent, though not entirely, he had outgrown the affectation and
morbid pessimism of his boyhood. In a stern school he had learned
many lessons, and, as a result, his satire from the time of his
voluntary exile until his death displays a different spirit. When at last
he discovered an artistic form and style in which to embody it, it
showed a decided gain in merit and originality over English Bards,
which, in 1817, was still the best satire he had written.
CHAPTER VII
THE ITALIAN INFLUENCE