DOCSLIB.ORG

Childe Harold's Pilgrimage, Canto the Third

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Childe Harold's Pilgrimage, Canto the Third Childe Harold’s Pilgrimage 1 Childe Harold’s Pilgrimage, 2 Once more upon the waters! yet once more!3 Canto the Third And the waves bound beneath me as a steed That knows his rider. Welcome, to their roar! Byron began Childe Harold III immediately upon Swift be their guidance, wheresoe’er it lead! leaving England in 1816 (on the manuscript he wrote, “Begun at sea”). Separated from his wife, the 15 Though the strain’d mast should quiver as a reed, subject of dark rumors, shunned by the society that And the rent canvas fluttering strew the gale, had once embraced him, Byron decided to travel to Still must I on; for I am as a weed, Europe (he never returned to England). This third Flung from the rock, on Ocean’s foam, to sail canto of Childe Harold charts his journey through Where’er the surge may sweep, the tempest’s breath Belgium, Germany, and Switzerland. prevail. “Afin que cette application vous forçât à penser à autre 3 1 chose; il n’y a en vérité de remède que celui-là et le temps.” 20 In my youth’s summer I did sing of One, —Lettre du Roi de Prusse à D’Alembert, The wandering outlaw of his own dark mind; Sept. 7, 1776. Again I seize the theme, then but begun, And bear it with me, as the rushing wind 1 Bears the cloud onwards: in that Tale I find s thy face like thy mother’s, my fair child! 25 The furrows of long thought, and dried-up tears, 2 I Ada! sole daughter of my house and heart? Which, ebbing, leave a sterile track behind, When last I saw thy young blue eyes they smiled, O’er which all heavily the journeying years And then we parted,—not as now we part, Plod the last sands of life—where not a flower appears. 5 But with a hope.— Awaking with a start, 4 The waters heave around me; and on high Since my young days of passion—joy, or pain, The winds lift up their voices: I depart, 30 Perchance my heart and harp have lost a string, Whither I know not; but the hour’s gone by, And both may jar: it may be, that in vain 10 When Albion’s lessening shores could grieve or glad I would essay as I have sung to sing. mine eye. Yet, though a dreary strain, to this I cling; So that it wean me from the weary dream 35 Of selfish grief or gladness—so it fling Forgetfulness around me—it shall seem 1 Afin … le temps “So that this exercise forces you to think of something else. There is, in truth, no other remedy than that and To me, though to none else, a not ungrateful theme. time.” Oeuvres de Fréderic le Grand (1846–57) 25: 49–50. Frederick II (the Great) of Prussia recommended “some problem very difficult 5 to solve” as a consolation for Jean le Rond d’Alembert (1717–83), He, who grown aged in this world of woe, who was in mourning for the death of Claire Francoise, Mlle. In deeds, not years, piercing the depths of life, l’Espinasse (d. 23 May 1776). 40 2 So that no wonder waits him; nor below Ada Augusta Ada Byron was born on 10 December 1815. Lady Can love, or sorrow, fame, ambition, strife, Byron left her husband on 15 January 1816, taking their child with her. Byron never saw either of them again, although he continued to Cut to his heart again with the keen knife display an interest in Ada’s progress. In 1835, Ada, a highly Of silent, sharp endurance: he can tell intelligent woman and a talented amateur mathematician, married Why thought seeks refuge in lone caves, yet rife William King Noel, Baron King (later the Earl of Lovelace). They 45 With airy images, and shapes which dwell had three children, Byron, Annabella, and Ralph. Ada died of uterine cancer in 1852. In daguerreotypes, Ada fluctuates between Still unimpair’d, though old, in the soul’s haunted cell. a striking resemblance to her mother and a striking resemblance to the Byron side of the family. 3 yet once more Shakespeare, Henry V 3.1.1. 2 George Gordon, Lord Byron 6 10 ’Tis to create, and in creating live Secure in guarded coldness, he had mix’d A being more intense, that we endow Again in fancied safety with his kind, With form our fancy, gaining as we give 85 And deem’d his spirit now so firmly fix’d 50 The life we image, even as I do now. And sheath’d with an invulnerable mind, What am I? Nothing: but not so art thou, That, if no joy, no sorrow lurk’d behind; Soul of my thought! with whom I traverse earth, And he, as one, might ’midst the many stand Invisible but gazing, as I glow Unheeded, searching through the crowd to find Mix’d with thy spirit, blended with thy birth, 90 Fit speculation; such as in strange land 55 And feeling still with thee in my crush’d feelings’ dearth. He found in wonder-works of God and Nature’s hand. 7 11 Yet must I think less wildly: I have thought But who can view the ripen’d rose, nor seek Too long and darkly, till my brain became, To wear it? who can curiously behold In its own eddy boiling and o’er-wrought, The smoothness and the sheen of beauty’s cheek, A whirling gulf of phantasy and flame: 95 Nor feel the heart can never all grow old? 60 And thus, untaught in youth my heart to tame, Who can contemplate Fame through clouds unfold My springs of life were poison’d. ’Tis too late! The star which rises o’er her steep, nor climb? Yet am I chang’d; though still enough the same Harold, once more within the vortex, roll’d In strength to bear what time can not abate, On with the giddy circle, chasing Time, And feed on bitter fruits without accusing Fate. 100 Yet with a nobler aim than in his youth’s fond prime. 8 12 65 Something too much of this—but now ’tis past, But soon he knew himself the most unfit And the spell closes with its silent seal. Of men to herd with Man; with whom he held Long absent HAROLD re-appears at last; Little in common; untaught to submit He of the breast which fain no more would feel, His thoughts to others, though his soul was quell’d Wrung with the wounds which kill not, but ne’er 105 In youth by his own thoughts; still uncompell’d, heal, He would not yield dominion of his mind 70 Yet Time, who changes all, had alter’d him To spirits against whom his own rebell’d; In soul and aspect as in age: years steal Proud though in desolation; which could find Fire from the mind as vigour from the limb; A life within itself, to breathe without mankind. And life’s enchanted cup but sparkles near the brim. 13 9 110 Where rose the mountains, there to him were His had been quaff’d1 too quickly, and he found friends; 75 The dregs were wormwood; but he fill’d again, Where roll’d the ocean, thereon was his home; And from a purer fount, on holier ground, Where a blue sky, and glowing clime, extends, And deem’d its spring perpetual; but in vain! He had the passion and the power to roam; Still round him clung invisibly a chain The desert, forest, cavern, breaker’s foam, Which gall’d for ever, fettering though unseen, 115 Were unto him companionship; they spake 80 And heavy though it clank’d not; worn with pain, A mutual language, clearer than the tome Which pined although it spoke not, and grew keen, Of his land’s tongue, which he would oft forsake Entering with every step, he took, through many a scene. For Nature’s pages glass’d by sunbeams on the lake. 1 quaff’d Drunk. Childe Harold’s Pilgrimage 3 14 And is this all the world has gain’d by thee, Like the Chaldean,1 he could watch the stars, Thou first and last of fields! king-making Victory? 120 Till he had peopled them with beings bright As their own beams; and earth, and earth-born jars, 18 And human frailties, were forgotten quite: 155 And Harold stands upon this place of skulls, Could he have kept his spirit to that flight The grave of France, the deadly Waterloo!2 He had been happy; but this clay will sink How in an hour the power which gave annuls 125 Its spark immortal, envying it the light Its gifts, transferring fame as fleeting too! To which it mounts, as if to break the link In “pride of place” 3 here last the eagle flew, That keeps us from yon heaven which woos us to its 160 Then tore with bloody talon the rent plain, brink. Pierc’d by the shaft of banded nations through; Ambition’s life and labours all were vain; 15 He wears the shatter’d links of the world’s broken But in Man’s dwellings he became a thing chain.4 Restless and worn, and stern and wearisome, 130 Droop’d as a wild-born falcon with clipt wing, 19 To whom the boundless air alone were home: Fit retribution! Gaul may champ the bit Then came his fit again, which to o’ercome, 165 And foam in fetters:—but is Earth more free? As eagerly the barr’d-up bird will beat Did nations combat to make One submit; His breast and beak against his wiry dome Or league to teach all kings true sovereignty? 135 Till the blood tinge his plumage, so the heat What! shall reviving Thraldom again be Of his impeded soul would through his bosom eat.
Load more

Recommended publications
  • Editorial Fatima III Fatima Pilgrimage Kuala Lumpur Apostolate Mary's
    Number XLVII November 2017 LET US ALSO GO, THAT WE MAY DIE WITH HIM John 11:16 APOSTLE ~ Newsletter of the Society of Saint Pius X in Asia ~ Indefatigable Street Preacher Father Thomas de Marie Onoda! . Editorial . St. Bernard Novitiate . Church of OL of Guadalupe by Rev. Fr. Karl Stehlin News from the Brothers' Novitiate News from the Gem Island . Fatima III . Japanese and Korean Missions . Trichy Book Review Processions, Pilgrimage, Retreat... A Marian Recollection . Fatima Pilgrimage . Asian Vocations . In the Middle East On the Footsteps of Our Lady ―O Lord, Grant us Many Holy Religious Missionary Trip Vocations!‖ . Kuala Lumpur Apostolate . Priory of the Most Sacred Apologetics Conference . St. Pius X Priory Heart / Consoling Sisters Priory Chronicle News from Southern India . Mary’s Mission Tour 2000 Km Foot Pilgrimage Editorial from the District Superior THROUGH MARY TO JESUS do we find there? Nobody else than Our Lord Himself, who came into this world only through her and in her! In other words, the great mystery of Her Immaculate Heart is not an end in itself, but a highest and supreme means to enter the greatest mystery God wanted to reveal to this world: the Sacred Heart of Jesus! But let us be aware that this Heart, can only be meditat- ed and contemplated, can only be found in the very cen- ter of the Immaculate Heart: through Mary to Jesus; in Mary we find Jesus! “Almighty and everlasting God, who didst prepare in the Heart of the Virgin Mary a dwelling worthy of the Holy Ghost; mercifully grant that we, devoutly contemplating the feast of that Immaculate Heart, may be enabled to live according to Thine own heart.” (Collect of the Mass of the Immaculate Heart of Mary) In my opinion, we cannot better conclude the jubilee 2017 -Fatima and M.I.
    [Show full text]
  • BYRON COURTS ANNABELLA MILBANKE, AUGUST 1813-DECEMBER 1814 Edited by Peter Cochran
    BYRON COURTS ANNABELLA MILBANKE, AUGUST 1813-DECEMBER 1814 Edited by Peter Cochran If anyone doubts that some people, at least, have a programmed-in tendency to self-destruction, this correspondence should convince them. ———————— Few things are more disturbing (or funnier) than hearing someone being ironical, while pretending to themselves that they aren’t being ironical. The best or worst example is Macbeth, speaking of the witches: Infected be the air whereon they ride, And damned all those that trust them! … seeming unconscious of the fact that he trusts them, and is about to embark, encouraged by their words, on a further career of murder that will end in his death. “When I find ambiguities in your expression,” writes Annabella to Byron on August 6th 1814, “I am certain that they are created by myself, since you evidently desire at all times to be simple and perspicuous”. Annabella (born 1792) is vain, naïve, inexperienced, and “romantic”, but she’s also highly intelligent, and it’s impossible not to suspect that she knows his “ambiguities” are not “created by” herself, and that she recognizes in him someone who is the least “perspicuous” and most given to “ambiguities” who ever lived. The frequency with which both she and she quote Macbeth casually to one another (as well as, in Byron’s letters to Lady Melbourne, Richard III ) seems a subconscious way of signalling that they both know that nothing they’re about will come to good. “ … never yet was such extraordinary behaviour as her’s” is Lady Melbourne’s way of describing Annabella on April 30th 1814: I imagine she’d say the same about Byron.
    [Show full text]
  • 1 Byron: Six Poems of Separation
    1 Byron: Six Poems of Separation edited by Peter Cochran If one’s marriage were to collapse in humiliating, semi-public circumstances, and if one were in part to blame for its collapse, one’s reaction would probably be to maintain a discreet and (one would hope) a dignified silence, and to hope that the thing might blow over in a year or so. Byron’s reaction was write, and publish, poetry about it while it was still collapsing. The first two of these poems were written in London – the first is to his wife, and the next about and to her friend and confidante Mrs Clermont – before he left England, on Thursday April 25th 1816. The next three were written in Switzerland after his departure, and are addressed to his half-sister Augusta. The last one is again to his wife. They show violent contrasts in style and tone (the Epistle to Augusta is Byron’s first poem in ottava rima), and strange, contrasting aspects of Byron’s nature. That he should wish them published at all is perhaps worrying. The urge to confess without necessarily repenting was, however, deep within him. Fare Thee Well! with its elaborate air of injured innocence, and its implication that Annabella’s reasons for leaving him remain incomprehensible, sorts ill with what we know of his behaviour during the disintegration of their marriage in the latter months of 1815. John Gibson Lockhart was moved, five years later, to protest: … why, then, did you, who are both a gentleman and a nobleman, act upon this the most delicate occasion, in all probability, your life was ever to present, as if you had been neither a nobleman nor a gentleman, but some mere overweeningly conceited poet? 1 Of A Sketch from Private Life , William Gifford, Byron’s “Literary Father”, wrote to Murray: It is a dreadful picture – Caravagio outdone in his own way.
    [Show full text]
  • Illuminating the Darkness: the Naturalistic Evolution of Gothicism in the Nineteenth-Century British Novel and Visual Art
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of 8-2013 Illuminating the Darkness: The Naturalistic Evolution of Gothicism in the Nineteenth-Century British Novel and Visual Art Cameron Dodworth University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Literature in English, British Isles Commons Dodworth, Cameron, "Illuminating the Darkness: The Naturalistic Evolution of Gothicism in the Nineteenth- Century British Novel and Visual Art" (2013). Dissertations, Theses, and Student Research: Department of English. 79. https://digitalcommons.unl.edu/englishdiss/79 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. ILLUMINATING THE DARKNESS: THE NATURALISTIC EVOLUTION OF GOTHICISM IN THE NINETEENTH- CENTURY BRITISH NOVEL AND VISUAL ART by Cameron Dodworth A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: English (Nineteenth-Century Studies) Under the Supervision of Professor Laura M. White Lincoln, Nebraska August, 2013 ILLUMINATING THE DARKNESS: THE NATURALISTIC EVOLUTION OF GOTHICISM IN THE NINETEENTH- CENTURY BRITISH NOVEL AND VISUAL ART Cameron Dodworth, Ph.D. University of Nebraska, 2013 Adviser: Laura White The British Gothic novel reached a level of very high popularity in the literary market of the late 1700s and the first two decades of the 1800s, but after that point in time the popularity of these types of publications dipped significantly.
    [Show full text]
  • Don Juan from Norton.Pdf
    http://www.englishworld2011.info/ DON JUAN / 669 [MANFRED expires.] ABBOT He's gone—his soul hath ta'en its earthless flight- Whither? I dread to think—but he is gone. 1816-17 1817 Don juan Byron began his masterpiece (pronounced in the English fashion, Don Joo-nn) in July 1818, published it in installments beginning with cantos 1 and 2 in 1819, and continued working on it almost until his death. Initially he improvised the poem from episode to episode. "I have no plan," he said, "I had no plan; but I had or have materials." The work was composed with remarkable speed (the 888 lines of canto 13, for example, were dashed off within a week), and it aims at the effect of improvisation rather than of artful compression; it asks to be read rapidly, at a con- versational pace. The poem breaks off with the sixteenth canto, but even in its unfinished state Don Juan is the longest satirical poem, and indeed one of the longest poems of any kind, in English. Its hero, the Spanish libertine, had in the original legend been superhuman in his sexual energy and wickedness. Throughout Byron's version the unspoken but persistent joke is that this archetypal lady-killer of European legend is in fact more acted upon than active. Unfailingly amiable and well intentioned, he is guilty largely of youth, charm, and a courteous and compliant spirit. The women do all the rest. The chief models for the poem were the Italian seriocomic versions of medieval chivalric romances; the genre had been introduced by Pulci in the fifteenth century and was adopted by Ariosto in his Orlando Furioso (1532).
    [Show full text]
  • The Penniless Pilgrimage
    The Penniless Pilgrimage Return to Renascence Editions The Penniless Pilgrimage. John Taylor, the Water-Poet. This Renascence Edition was transcribed by Risa Stephanie Bear, January, 2008, from the text as found in Works of John Taylor, The Water Poet, Ed. Charles Hindley, London: Reeves & Turner, 1876. Content unique to this presentation is copyright © 2008 The University of Oregon. For nonprofit and educational uses only. Send comments and corrections to the publisher, risasb[at]gmail.com T H E P E N N Y L E S PILGRIMAGE, O R The Money-lesse perambulation, of Iohn Taylor, Alias the Kings Majesties Water-Poet. HOW HE TRAVAILED ON FOOT From London to Edenborough in Scotland, not carrying any Money to or fro, neither Begging, Borrow- ing, or Asking Meate, drinke or Lodging. With his Description of his Entertainment in all places of his Iourney, and a true Report http://uoregon.edu/%7Erbear/taylor2.html (1 of 33)1/7/2008 4:16:41 AM The Penniless Pilgrimage of the vnmatchable Hunting in the Brea of Marre and Badenoch in Scotland. With other Obseruations, some serious and worthy of Memory, and some merry and not hurtfull to be Remembred. Lastly that (which is Rare in a Trauailer) all is true. L O N D O N Printed by Edw. Allde, at the charges of the Author. 1618 TO THE TRULY NOBLE AND RIGHT HONORABLE LORD GEORGE MAR- quis of Buckingham, Viscount Villiers, Baron of Whaddon, Justice in Eyre of all his Majesty's Forests, Parks, and Chases beyond Trent, Master of the Horse to his Majesty, and one of the Gentle- men of his Highness Royal Bed-Chamber, Knight of the most Noble Order of the Garter, and one of his Majesty's most Honorable Privy Council of both the Kingdoms of England and Scotland.
    [Show full text]
  • Manfred Lord Byron (1788–1824)
    Manfred Lord Byron (1788–1824) Dramatis Personæ MANFRED CHAMOIS HUNTER ABBOT OF ST. MAURICE MANUEL HERMAN WITCH OF THE ALPS ARIMANES NEMESIS THE DESTINIES SPIRITS, ETC. The scene of the Drama is amongst the Higher Alps—partly in the Castle of Manfred, and partly in the Mountains. ‘There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy.’ Act I Scene I MANFRED alone.—Scene, a Gothic Gallery. Time, Midnight. Manfred THE LAMP must be replenish’d, but even then It will not burn so long as I must watch. My slumbers—if I slumber—are not sleep, But a continuance of enduring thought, 5 Which then I can resist not: in my heart There is a vigil, and these eyes but close To look within; and yet I live, and bear The aspect and the form of breathing men. But grief should be the instructor of the wise; 10 Sorrow is knowledge: they who know the most Must mourn the deepest o’er the fatal truth, The Tree of Knowledge is not that of Life. Philosophy and science, and the springs Of wonder, and the wisdom of the world, 15 I have essay’d, and in my mind there is A power to make these subject to itself— But they avail not: I have done men good, And I have met with good even among men— But this avail’d not: I have had my foes, 20 And none have baffled, many fallen before me— But this avail’d not:—Good, or evil, life, Powers, passions, all I see in other beings, Have been to me as rain unto the sands, Since that all—nameless hour.
    [Show full text]
  • Canterbury Pilgrims and Their Horses in the Eighteenth Century
    Canterbury pilgrims and their horses in the eighteenth century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Bowden, Betsy. 1993. Canterbury pilgrims and their horses in the eighteenth century. Harvard Library Bulletin 3 (4), Winter 1992-93: 18-34. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42663122 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA 18 Canterbury Pilgrims and Their Horses in the Eighteenth Century: Two Artists' Interpretations Betsy Bowden ohn Dryden in 1700, in his mind's eye, saw "all the Pilgrims in the Canterbury J Tales . .. as distinctly as ifl had supp'd with them at the Tabard" and as clearly "as if some ancient Painter had drawn them." 1 Inspired perhaps by Dryden's hint and certainly by the growing interest of English intellectuals in their own nation's literary history, two artists did individual portraits of the pilgrims during the subse- quent century. The earlier series illustrates the elegant, but textually absurd, Chaucer folio edited by John Urry. Published in 1721, it is accessible today in major libraries. 2 The later series, never published, consists of brown wash drawings com- pleted in 1781 by James Jefferys, a prolific young artist who died soon thereafter. BETSY BowoEN is Associate His corpus of work was neglected until a 1976 exhibition at the Victoria and Albert Professor of English at Rutgers Museum, the organizers of which list "Designs from Chaucer's Pilgrimage to Can- University.
    [Show full text]
  • Pilgrimage, Spatial Interaction, and Memory at Three Marian Sites
    University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2016 Pilgrimage, Spatial Interaction, and Memory at Three Marian Sites Katherine Rousseau University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the History of Art, Architecture, and Archaeology Commons, and the Religion Commons Recommended Citation Rousseau, Katherine, "Pilgrimage, Spatial Interaction, and Memory at Three Marian Sites" (2016). Electronic Theses and Dissertations. 1129. https://digitalcommons.du.edu/etd/1129 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. Pilgrimage, Spatial Interaction, and Memory at Three Marian Sites __________ A Dissertation Presented to the Faculty of the University of Denver and the Iliff School of Theology Joint PhD Program University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________ by T.K. Rousseau June 2016 Advisor: Scott Montgomery ©Copyright by T.K. Rousseau 2016 All Rights Reserved Author: T.K. Rousseau Title: Pilgrimage, Spatial Interaction, and Memory at Three Marian Sites Advisor: Scott Montgomery Degree Date: June 2016 Abstract Global mediation, communication, and technology facilitate pilgrimage places with porous boundaries, and the dynamics of porousness are complex and varied. Three Marian, Catholic pilgrimage places demonstrate the potential for variation in porous boundaries: Chartres cathedral; the Marian apparition location of Medjugorje; and the House of the Virgin Mary near Ephesus.
    [Show full text]
  • Guide to Saints and Symbols in Stained Glass
    Guide to Saints and Symbols in Stained Glass In churches and chapels, stained glass windows help create the sense of a sacred space. Stained glass windows of the saints can provide worshipers with inspirational illustrations of the venerated. The various saints may be depicted in stained glass either symbolically or in scenes from their lives. One of the challenges facing church designers, building committees and pastors doing church construction or remodeling is finding the right stained Saint Matthew Saint Mark glass images for your church or chapel. Panel #1001 Panel #1000 To help you, Stained Glass Inc. offers the largest selection of stained glass in the world. You will find Stained Glass Inc. windows to be of the finest quality, affordable and custom made to the size and shape of your window. If your church or organization is looking for a stained glass window of a saint, we can help. Not all the saints are listed here. If you are looking for a particular saint and you don’t find him or her listed here, just contact us, we can create a stained glass artwork for you. Saint Luke Saint John Panel #1005 Panel #1006 4400 Oneal, Greenville, TX • Phone: (903) 454-8376 [email protected] • www.StainedGlassInc.com To see more Saints in stained glass, click here: http://stainedglassinc.com/religious/saints-and-angels/saints.html The following is a list of the saints and their symbols in stained glass: Saint Symbol in Stained Glass and Art About the Saint St. Acathius may be illustrated in Bishop of Melitene in the third century.
    [Show full text]
  • A Pilgrimage in Europe and America, Leading to the Discovery of the Sources of the Mississippi and Bloody River; with a Descript
    Library of Congress A pilgrimage in Europe and America, leading to the discovery of the sources of the Mississippi and Bloody River; with a description of the whole course of the former, and of the Ohio. By J.C. Volume 2 2 1108 3614 A PILGRIMAGE IN EUROPE AND AMERICA, LEADING TO THE DISCOVERY OF THE SOURCES OF THE MISSISSIPPI AND BLOODY RIVER; WITH A DESCRIPTION OF THE WHOLE COURSE OF THE FORMER, AND OF THE OHIO. cQiacomo Constantinos BY J. C. BELTRAMI, ESQ. FORMERLY JUDGE OF A ROYAL COURT IN THE EX-KINGDOM OF ITALY. IN TWO VOLUMES. VOL. II. LC LIBRARY OF CONGRESS CITY OF WASHINGTON LONDON: PRINTED FOR HUNT AND CLARKE, YORK STREET, COVENT GARDEN. 1828. F597 .846 F597 .B46 LETTER X. A pilgrimage in Europe and America, leading to the discovery of the sources of the Mississippi and Bloody River; with a description of the whole course of the former, and of the Ohio. By J.C. Volume 2 http://www.loc.gov/resource/lhbtn.1595b Library of Congress Philadelphia, February 28 th, 1823. Where shall I begin, my dear Madam? Where I ought to end,—with myself; for you are impatient to hear what is become of me. I know your friendship, and anticipate its wishes. I am now in America. My hand-writing ought to convince you that I am alive; but, since a very reverend father has made the dead write letters, it is become necessary to explain whether one is still in the land of the living, and particularly when one writes from another world, and has been many times near the gates of eternity.
    [Show full text]
  • The Diary of Dr. John William Polidori, 1816, Relating to Byron, Shelley
    THE DIARY OF BR, JOHN WILLIAM POUDORI WILLIAM MICHAEL ROSSETTI 4 OfarttcU Ittinerattg Slihrarg atljata, New ^nrh BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1891 MAY 3. l?*^ Inlciffimry loan I ^Q*^! ^P^ 7 ? Cornell UniversHy Library PR 5187.P5A8 William PoMo^^^^^ The diary of Dr. John 3 1924 013 536 937 * \y Cornell University Library The original of tliis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924013536937 The Diary of Dr. John William Polidori — The Diary of Dr. John WilHam Pohdori 1816 Relating to Byron, Shelley, etc. Edited and Elucidated by William Michael Rossetti "Mi fiir mostrat! gli spirit! magni Che del vederli in me stesso n'esalto." Dantk. LONDON ELKIN MATHEWS VIGO STREET MCMXI Richard Clav & Sons, Limited, bread street hill, e.c., and bungay, suppolk. sA#^ -0\N Y-ITvV iJf^ ^^ DEDICATED TO MY TWO DAUGHTERS HELEN AND MARY WHO WITH MY LITTLE GRAND-DAUGHTER IMOGENE- KEEP THE HOME OF MV CLOSING YEARS STILL IN GOOD CHEER The Diary of Dr. John WiUiam Polidori INTRODUCTION A PERSON whose name finds mention in the books about Byron, and to some extent in those about Shelley, was John William Polidori, M.D. ; he was Lord Byron's travelling physician in 1816, when his Lordship quitted England soon after the separa- tion from his wife. I, who now act as Editor of his Diary, am a nephew of his, born after his death.
    [Show full text]