Short excerpt: To such as see thee not my words were weak; To those who gaze on thee, what language could they speak?
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6 of 6 people found the following review helpful
By T. M. Teale
Format:Paperback|Amazon Verified Purchase
This is an elegantly printed, handy volume to cherish--to be seen with in public. There is none--was none--like Bryon; he strummed all the right lyrical cords of the hearts of men and women. A man of his time--faults and all--but who used the literary art to rise above the common lot of aristocrats. Verse 178 of Canto IV is exerpted too much: "There is a pleasure in the pathless woods/There is a rapture on the lonely shore"; it is sublime, but it's better to come at these last stanzas from the beginning of Canto I in order to feel Byron's craft and the development of his soul and style over time. Without further ado, read on . . . and on.
6 of 7 people found the following review helpful
Format:Paperback
Childe Harold's Pilgrimage is the poem that made Lord Byron world famous and remains one of his most popular and acclaimed works. The unprecedented, much imitated, but never equaled combination of immediacy, lyrical beauty, diverse content, and picaresque adventure that made it an immediate sensation is still what impresses. Childe is the truly rare poem that nearly everyone can enjoy; though a favorite of many poetry buffs, it is also known for appealing to those who do not normally like poetry. Nothing less than one of the greatest poems ever, it is an immortal literary work that continues to sparkle and invigorate nearly as much as ever for those alive to its magic.
Though such a thing is now almost impossible to even conceive, poetry was more popular than prose in the early nineteenth century, and Childe was a stunning bestseller; people read it the way they now read Stephen King. It is easy to see why; very few poems, especially long ones, are so thoroughly readable. Childe practically leaps off the page; in distinct contrast to Wordsworth and other poets then popular, it can be read at near-pulp speed. This is partly due to Byron's effortless mastery of meter and other poetic facets; his Spenserian stanzas are immaculately conceived, their strict rhythm drawing us in and keeping us hooked. He also shows more than a hint of the superb rhyming talent that would later reach full fruition; rhyme lovers want to keep reading just to see what he will chime next.
Far more important, though, was - and is - the content. Childe can be appreciated on a very simple level as a picaresque adventure of the kind that had almost never been told in English verse before, much less with such skill. Harold travels through much of Europe, seeing many landmarks and people and falling in and out of love many times. His adventures are as entertaining as any comparable novel's. Initial readers were enthralled by the virtual grand tour; today's can appreciate the fascinating historical peek.
However, Harold himself has always been the most fundamental facet. The archetype of what became known as the Byronic hero, a concept with worldwide influence, he is irresistible. Daringly original, he lives by his own moral code regardless of society despite having run through "sin's long labyrinth." Both intellectual and lustful, he gladly partakes of high and low pleasures yet suffers from overriding melancholy; alienated and lonely, he pines for the true human connection and satiety that hedonism cannot give. His boldness was highly controversial, challenging nearly every entrenched belief and more, but thousands of young men saw in his malaise and world-weariness feelings deep in their own souls that they had never been able to articulate. Byron was his generation's voice, reflecting their thoughts and feelings - hopes, doubts, and fears - vividly and memorably.
It soon became known that Harold was largely a self-portrait and that many of his adventures were autobiographical. This fascinated readers, perpetuating an image of Byron that still subsists. Few people are as anecdotable, and the many still interested in him will find much to entice them here. Byron initially chafed against such readings but came to accept them as inevitable, even reveling in them to a degree. This is obvious when comparing the first two cantos to the last two; the former make an attempt to distinguish Harold from the poet-speaker, though sometimes they become closely allied, but the latter hardly separate them. When Byron realized the poem's popularity and saw that the image it created would not disappear, he began overtly using Childe to advance his thoughts and ideas, most of which were quite radical. This let him continue speaking to the many with similar feelings who were afraid to utter them and also gave him a vast influence.
Alluring as such crossovers are, they have unfortunately long overshadowed the poem's many conventional strengths. Few artists have suffered more from biographical criticism; it is all too easy to forget that Byron was a great poet on all fronts. Technical dexterity aside, Childe is full of vibrant imagery; many descriptions and metaphors are superlative, even unforgettable. The lyricism often reaches sublime heights, and there is also much to provoke thought; Childe challenged conventional morality and thought as few popular works have and continues to be a touchstone in this area. The poem is also very quotable and indeed often quoted. Byron's incredible diversity, which reached an awe-inspiring peak in his masterpiece Don Juan, is also on substantial display. Adventure aside, the poem has everything from tragedy to romance to humor; its love depiction is stunning, and its satire is keen. This last now stands out more than ever, the two intervening centuries giving valuable historical perspective. Byron critiques many aspects of European society as well as Europeans themselves; Childe is a comedy of manners on top of everything else. Any one of the poem's many qualities would make a great work; the combination makes a truly amazing one.
Simply put, this is essential for anyone who loves poetry, and even many who do not will be pleasantly surprised. It is well worth buying on its own, and this is a deluxe edition, but is also available in many Byron collections. Readers who can find one of the latter for a good price are well advised to buy it, as they will get many other excellent works also, but Childe is greatly rewarding however one chooses to read it.
Though such a thing is now almost impossible to even conceive, poetry was more popular than prose in the early nineteenth century, and Childe was a stunning bestseller; people read it the way they now read Stephen King. It is easy to see why; very few poems, especially long ones, are so thoroughly readable. Childe practically leaps off the page; in distinct contrast to Wordsworth and other poets then popular, it can be read at near-pulp speed. This is partly due to Byron's effortless mastery of meter and other poetic facets; his Spenserian stanzas are immaculately conceived, their strict rhythm drawing us in and keeping us hooked. He also shows more than a hint of the superb rhyming talent that would later reach full fruition; rhyme lovers want to keep reading just to see what he will chime next.
Far more important, though, was - and is - the content. Childe can be appreciated on a very simple level as a picaresque adventure of the kind that had almost never been told in English verse before, much less with such skill. Harold travels through much of Europe, seeing many landmarks and people and falling in and out of love many times. His adventures are as entertaining as any comparable novel's. Initial readers were enthralled by the virtual grand tour; today's can appreciate the fascinating historical peek.
However, Harold himself has always been the most fundamental facet. The archetype of what became known as the Byronic hero, a concept with worldwide influence, he is irresistible. Daringly original, he lives by his own moral code regardless of society despite having run through "sin's long labyrinth." Both intellectual and lustful, he gladly partakes of high and low pleasures yet suffers from overriding melancholy; alienated and lonely, he pines for the true human connection and satiety that hedonism cannot give. His boldness was highly controversial, challenging nearly every entrenched belief and more, but thousands of young men saw in his malaise and world-weariness feelings deep in their own souls that they had never been able to articulate. Byron was his generation's voice, reflecting their thoughts and feelings - hopes, doubts, and fears - vividly and memorably.
It soon became known that Harold was largely a self-portrait and that many of his adventures were autobiographical. This fascinated readers, perpetuating an image of Byron that still subsists. Few people are as anecdotable, and the many still interested in him will find much to entice them here. Byron initially chafed against such readings but came to accept them as inevitable, even reveling in them to a degree. This is obvious when comparing the first two cantos to the last two; the former make an attempt to distinguish Harold from the poet-speaker, though sometimes they become closely allied, but the latter hardly separate them. When Byron realized the poem's popularity and saw that the image it created would not disappear, he began overtly using Childe to advance his thoughts and ideas, most of which were quite radical. This let him continue speaking to the many with similar feelings who were afraid to utter them and also gave him a vast influence.
Alluring as such crossovers are, they have unfortunately long overshadowed the poem's many conventional strengths. Few artists have suffered more from biographical criticism; it is all too easy to forget that Byron was a great poet on all fronts. Technical dexterity aside, Childe is full of vibrant imagery; many descriptions and metaphors are superlative, even unforgettable. The lyricism often reaches sublime heights, and there is also much to provoke thought; Childe challenged conventional morality and thought as few popular works have and continues to be a touchstone in this area. The poem is also very quotable and indeed often quoted. Byron's incredible diversity, which reached an awe-inspiring peak in his masterpiece Don Juan, is also on substantial display. Adventure aside, the poem has everything from tragedy to romance to humor; its love depiction is stunning, and its satire is keen. This last now stands out more than ever, the two intervening centuries giving valuable historical perspective. Byron critiques many aspects of European society as well as Europeans themselves; Childe is a comedy of manners on top of everything else. Any one of the poem's many qualities would make a great work; the combination makes a truly amazing one.
Simply put, this is essential for anyone who loves poetry, and even many who do not will be pleasantly surprised. It is well worth buying on its own, and this is a deluxe edition, but is also available in many Byron collections. Readers who can find one of the latter for a good price are well advised to buy it, as they will get many other excellent works also, but Childe is greatly rewarding however one chooses to read it.
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