Excerpt
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An important feature of this edition is its copious footnotes. Footnotes are indicated by small raised keys in brackets; these are links to the footnote's text. Footnotes indexed with arabic numbers (e.g. [17], [221]) are informational. Any text in square brackets is the work of editor E.H. Coleridge. Unbracketed note text is by Byron himself. Footnotes indexed with letters (e.g. [c], [bf]) document variant forms of the text from manuscripts and other sources.
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The following corrections were made in the course of transcribing the original text: On the premiere date for Manfred was corrected from "1384" to "1834" and the spelling of "Tschaikowsky" was corrected from "Tschairowsky." Although the text of a List of Illustrations is included in this etext, the illustrations themselves were not available.
PREFACE TO THE FOURTH VOLUME.
The poems included in this volume consist of thirteen longer or more important works, written at various periods between June, 1816, and October, 1821; of eight occasional pieces (Poems of July-September, 1816), written in 1816; and of another collection of occasional pieces (Poems 1816-1823), written at intervals between November, 1816, and September, 1823. Of this second group of minor poems five are now printed and published for the first time.
The volume is not co-extensive with the work of the period. The third and fourth cantos of Childe Harold (1816-1817), the first five cantos of Don Juan (1818, 1819, 1820), Sardanapalus, The Two Foscari, Cain, and Heaven and Earth (1821), form parts of other volumes, but, in spite of these notable exceptions, the fourth volume contains the work of the poet's maturity, which is and must ever remain famous. Byron was not content to write on one kind of subject, or to confine himself to one branch or species of poetry. He tracked the footsteps now of this master poet, now of another, far outstripping some of his models; soon spent in the pursuit of others. Even in his own lifetime, and in the heyday of his fame, his friendliest critics, who applauded him to the echo, perceived that the "manifold motions" of his versatile and unsleeping talent were not always sanctioned or blessed by his genius....