The Works of Lord Byron. Vol. 4
Byron
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Byron · 共 75 章
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Estimates of his character differ widely.
人们对他性格的评价差异很大。
He was married no less than four times, and not one of these alliances was altogether satisfactory or creditable.
他结了不止四次婚，而没有一次婚姻是完全令人满意或体面的。
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- PREFACE TO THE FOURTH VOLUME.试读
- INTRODUCTION TO THE PRISONER OF CHILLON.
- ADVERTISEMENT
- I.
- II.
- III.
- IV.
- V.
- VI.
- VII.
- VIII.
- IX.
- X.
- XI.
- XII.
- XIII.
- XIV.
- FOOTNOTES:
- INTRODUCTION TO THE DREAM
- I.
- II.
- III.
- IV.
- V.
- VI.
- VII.
- VIII.
- IX.
- DARKNESS. [k] [56]
- CHURCHILL'S GRAVE, [59] A FACT LITERALLY RENDERED. [60]
- I.
- II.
- III.
- A FRAGMENT.[73]
- SONNET TO LAKE LEMAN.
- I.
- II.
- III.
- IV.
- V.
- VI.
- I.
- II.
- III.
- IV.
- V.
- VI.
- VII.
- VIII.
- IX.
- XI.
- XII.
- XIII.
- XIV.
- XV.
- XVI.
- LINES ON HEARING THAT LADY BYRON WAS ILL.[91]
- FOOTNOTES:
- INTRODUCTION TO MONODY ON THE DEATH OF THE RIGHT HON. R. B. SHERIDAN.
- MONODY ON THE DEATH OF THE RIGHT HON. R. B. SHERIDAN, SPOKEN AT DRURY-LANE THEATRE, LONDON.
- FOOTNOTES:
- MANFRED: A DRAMATIC POEM.
- INTRODUCTION TO MANFRED
- Scene 1.—Manfred alone.—Scene, a Gothic Gallery.[107]—Time, Midnight.
- Scene II.—The Mountain of the Jungfrau.—Time, Morning.—Manfred alone upon the cliffs.
- Scene I.—A Cottage among the Bernese Alps.—Manfred and the Chamois Hunter.
- Scene II.—A lower Valley in the Alps.—A Cataract.
- Scene III.—The summit of the Jungfrau Mountain.
- Scene IV.—The Hall ofArimanes.[144]—Arimanes on his Throne, a Globe of Fire,[145] surrounded by the Spirits.
- Scene I.—A Hall in the Castle of Manfred.[150]
- Scene II.—Another Chamber.
- Scene III.—The Mountains—The Castle of Manfred at some distance—A Terrace before a Tower.—Time, Twilight.
- Scene IV.—Interior of the Tower.
- FOOTNOTES:
- INTRODUCTION TO THE LAMENT OF TASSO.
- I.
- II.
- III.
- IV.
- V.
- VI.
- VII.
- VIII.
- FOOTNOTES:
- BEPPO: A VENETIAN STORY.
- INTRODUCTION TO BEPPO
- I.
- II.
- III.
- IV.
- V.
- VI.
- VII.
- IX.
- X.
- XI.
- XII.
- XIII.
- XIV.
- XV.
- XVI.
- XVII.
- XVIII.
- XIX.
- XXI.
- XXII.
- XXIII.
- XXIV.
- XXV.
- XXVI.
- XXVII.
- XXVIII.
- XXIX.
- XXX.
- XXXI.
- XXXII.
- XXXIII.
- XXXIV.
- XXXV.
- XXXVI.
- XXXVII.
- XXXVIII.[213]
- XXXIX.
- XL.
- XLI.
- XLII.
- XLIII.
- XLIV.
- XLV.
- XLVI.
- XLVII.
- XLVIII.
- XLIX.
- L.
- LI.
- LII.
- LIII.
- LIV.
- LV.
- LVI.
- LVII.
- LVIII.
- LIX.
- LXI.
- LXII.
- LXIII.
- LXIV.
- LXV.
- LXVI.
- LXVII.
- LXVIII.
- LXIX.
- LXX.
- LXXI.
- LXXII.
- LXXIII.
- LXXIV.
- LXXV.
- LXXVI.
- LXXVII.
- LXXVIII.
- LXXIX.
- LXXX.[232]
- LXXXI.
- LXXXII.
- LXXXIII.
- LXXXIV.
- LXXXV.
- LXXXVI.
- LXXXVII.
- LXXXVIII.
- LXXXIX.
- XC.
- XCI.
- XCII.
- XCIII.
- XCIV.
- XCV.
- XCVI.
- XCVII.
- XCVIII.
- XCIX.
- FOOTNOTES:
- I.
- III.
- IV.
- FOOTNOTES:
- INTRODUCTION TO MAZEPPA
- ADVERTISEMENT.
- I.
- III.
- IV.
- VII.
- VIII.
- IX.
- X.
- XI.
- XIII.
- XIV.
- XV.
- XVI.
- XVII.
- XVIII.
- XIX.
- XX.
- FOOTNOTES:
- INTRODUCTION TO THE PROPHECY OF DANTE.
- DEDICATION.
- PREFACE
- CANTO THE FIRST.
- CANTO THE SECOND.
- CANTO THE THIRD.
- CANTO THE FOURTH.
- FOOTNOTES:
- INTRODUCTION TO THE MORGANTE MAGGIORE.
- ADVERTISEMENT.
- I.
- II.
- III.
- V.
- VI.
- VII.
- VIII.
- IX.
- X.
- XI.
- XIII.
- XIV.
- XV.
- XVI.
- XVII.
- XVIII.
- XIX.
- XX.
- XXI.
- XXII.
- XXIII.
- XXIV.
- XXV.
- XXVI.
- XXVII.
- XXVIII.
- XXIX.
- XXX.
- XXXI.
- XXXII.
- XXXIII.
- XXXIV.
- XXXV.
- XXXVI.
- XXXVII.
- XXXVIII.
- XXXIX.
- XL.
- XLI.
- XLII.
- XLIII.
- XLIV.
- XLV.
- XLVI.
- XLVII.
- XLVIII.
- XLIX.
- L.
- LI.
- LII.
- LIII.
- LV.
- LVI.
- LVII.
- LVIII.
- LIX.
- LX.
- LXI.
- LXII.
- LXIII.
- LXIV.
- LXV.
- LXVI.
- LXVII.
- LXVIII.
- LXIX.
- LXX.
- LXXI.
- LXXII.
- LXXIII.
- LXXIV.
- LXXV.
- LXXVI.
- LXXVII.
- LXXVIII.
- LXXIX.
- LXXXIII.
- LXXXIV.
- LXXXVI.
- FOOTNOTES:
- INTRODUCTION TO FRANCESCA OF RIMINI.
- CANTO THE FIFTH.
- CANTO QUINTO.
- FOOTNOTES:
- MARINO FALIERO, DOGE OF VENICE; AN HISTORICAL TRAGEDY, IN FIVE ACTS.
- INTRODUCTION TO MARINO FALIERO.
- PREFACE.
- Scene I.—An Antechamber in the Ducal Palace.
- Scene II.—The Ducal Chamber.
- Scene I.—An Apartment in the Ducal Palace.
- Scene II.—A retired spot near the Arsenal.
- Scene I.—Scene, the Space between the Canal and the Church of San Giovanni e San Paolo. An equestrian Statue before it.—A Gondola lies in the Canal at some distance.
- Scene II.—The House where the Conspirators meet.
- Scene I.—Palazzo of the Patrician Lioni.[431] Lioni laying aside the mask and cloak which the Venetian Nobles wore in public, attended by a Domestic.
- Scene II.—The Ducal Palace—The Doge's Apartment.
- Scene 1.—The Hall of the Council of Ten assembled with the additional Senators, who, on the Trials of the Conspirators for the Treason of Marino Faliero, composed what was called the Giunta,—Guards, Officers, etc., etc. Israel Bertuccio and Philip Calendaro as Prisoners. Bertram, Lioni, and Witnesse
- Scene II.—The Doge's Apartment.
- Scene III.—The Court of the Ducal Palace; the outer gates are shut against the people.—The Doge enters in his ducal robes, in procession with the Council of Ten and other Patricians, attended by the Guards, till they arrive at the top of the "Giants' Staircase"[469] (where the Doges took the oaths);
- Scene IV.—The Piazza and Piazzetta of St. Mark's.—The people in crowds gathered round the grated gates of the Ducal Palace, which are shut.
- FOOTNOTES:
- APPENDIX. Note A.
- NOTE B.
- NOTE C.
- FOOTNOTES:
- INTRODUCTION TO THE VISION OF JUDGMENT.
- PREFACE
- I.
- II.
- III.
- V.
- VI.
- VII.
- VIII.
- IX.
- X.
- XI.
- XII.
- XIV.
- XV.
- XVI.
- XVII.
- XVIII.
- XIX.
- XX.
- XXI.
- XXII.
- XXIII.
- XXIV.
- XXV.
- XXVI.
- XXVIII.
- XXIX.
- XXXI.
- XXXII.
- XXXIII.
- XXXIV.
- XXXV.
- XXXVI.
- XXXVII.
- XXXVIII.
- XXXIX.
- XL.
- XLI.
- XLII.
- XLIII.
- XLIV.
- XLV.
- XLVI.
- XLVII.
- XLVIII.
- XLIX.
- L.
- LI.
- LII.
- LIII.
- LIV.
- LV.
- LVI.
- LVII.
- LVIII.
- LIX.
- LX.
- LXI.
- LXII.
- LXIII.
- LXIV.
- LXVII.
- LXVIII.
- LXIX.
- LXX.
- LXXI.
- LXXII.
- LXXIII.
- LXXIV.
- LXXV.
- LXXVI.
- LXXVII.
- LXXVIII.
- LXXIX.
- LXXX.
- LXXXI.
- LXXXII.
- LXXXIII.
- LXXXIV.
- LXXXV.
- LXXXVI.
- LXXXVII.
- LXXXVIII.
- LXXXIX.
- XCI.
- XCII.
- XCIII.
- XCIV.
- XCV.
- XCVI.
- XCVII.
- XCIX.
- C.
- CI.
- CIII.
- CIV.
- CVI.
- FOOTNOTES:
- 23.
- SONETTO DI VITTORELLI.[575]
- TRANSLATION FROM VITTORELLI.
- ON THE BUST OF HELEN BY CANOVA.[576]
- VENICE. A FRAGMENT.[577]
- QUESTION.
- ANSWER.
- 1.
- 2.
- 3.
- 4.
- 13.
- SONNET ON THE NUPTIALS OF THE MARQUIS ANTONIO CAVALLI WITH THE COUNTESS CLELIA RASPONI OF RAVENNA.[589]
- ON THE REPEAL OF LORD EDWARD FITZGERALD'S FORFEITURE.
- 1.
- 2.
- 3.
- 4.
- 5.
- 6.
- 1.
- 2.
- 3.
- 4.
- 1.
- 2.
- 4.
- 15.
- 19.
- 21.
- 23.
- 25.
- 27.
- 28.
- 30.
- 31.
- 32.
- 1.
- 2.
- 3.
- 4.
- 4.
- 5.
- 1.
- FOOTNOTES:
- INTRODUCTION TO THE BLUES.
- ECLOGUE THE FIRST.
- ECLOGUE THE SECOND.
- FOOTNOTES: