"rudely dismissed," without even a show of favour or hospitality. And yet these forgotten works of the imagination are full of hidden treasures! There is not one of Byron's "impressionist studies" of striking episodes of history or historical legend, flung, as it were, with a "Take it or leave it" in the face of friend or foe, which does not transform names and shadows into persons and substance, which does not contain lines and passages of unquestionable beauty and distinction. But some would have it that Byron's plays, as a whole, are dull and uninspiring, monotonous harpings on worn-out themes, which every one has mastered or wishes to forget. A close study of the text, together with some knowledge of the subject as it presented itself to the author and arrested his attention, may compel these impatient critics to a different conclusion. Byron did not scruple to refer the reader to his "sources," and was at pains to publish, in the notes and appendices to his dramas and poems, long extracts from old chronicles, from Plutarch's Lives, from French and Italian histories, which he had read himself, and, as he fondly believed, would be read by others, who were willing to submit themselves to his guidance. He expected his readers to take some trouble and to display some intelligence. Poetry is successful only so far as it is intelligible. To a clear cry an answer comes, but not to a muffled call. The reader who comes within speaking distance of his author can hear him, and to bring the living within speaking distance of the dead, the living must know the facts, and understand the ideas which informed and inspired the dead. Thought and attention are scarcely to be reckoned among necromantic arts, but thought and knowledge "can make these bones live," and stand upon their feet, if they do not leap and sing. I desire to renew my acknowledgments of the generous assistance of the officials of the British Museum, and, more especially, of Mr. Ernest Wallis Budge, Litt.D., M.A., Keeper of Egyptian and Assyrian Antiquities; of Mr. Leonard W. King, M.A., of the same department; and of Mr. George F. Barwick, Superintendent of the Reading Roor. To Dr. Garnett, C.B., I am greatly indebted for invaluable hints and suggestions with regard to the interpretation of some obscure passages in The Age of Bronze and other parts of the volume, and for reading the proofs of the "Introduction" and "Note to the Introduction to Werner." I have also to acknowledge the assistance and advice of Mr. W. Hale White, and of my friend Mr. Frank E. Taylor, of Chertsey. For assistance during the preparation of the volume, and more especially in the revision of proofs, I desire to express my cordial thanks to Mr. John Murray. ERNEST HARTLEY COLERIDGE. December 3, 1901. LIST OF ILLUSTRATIONS. ... 1. LORD BYRON, FROM A PORTRAIT IN OILS BY W. E. WEST, IN THE POSSESSION OF MR. PERCY KENT ... 2. ASSUR-BANI-PAL, FROM A SLAB IN THE BRITISH MUSEUM 3. THE LION OF S. MARK'S ... 4. GOETHE, From a DrawinG BY D. MACLIse, R.A., IN THE VICTORIA AND ALBERT MUSEUM ... 5. GEORGIANA, DUCHESS OF DEVONSHIRE, FROM THE MEZZOTINT BY VALENTINE GREEN, AFTER SIR J. REYN OLDS, P.R.A. 6. MARY WOLLSTONECRAFT SHELLEY, FROM A PICTURE BY R. ROTHWELL, R.H.A., IN THE NATIONAL Portrait GALLERY (1841) |