Thursday, 8 December 2016

Quotes: Then and Now (1946) by W. Somerset Maugham

[Complete first chapter:]
Plus ca change, plus c'est la même chose.

"It is one of the misfortunes of my life that I never learnt it,'' said Machiavelli. "I envy you for having read the Greek authors in the original."
"What use will that be to me?"
"It will teach you that happiness is the good at which all men aim and in order to attain it you need nothing but good birth, good friends, good luck, health, wealth, beauty, strength, fame, honour and virtue."
Piero burst out laughing.
"It will also teach you that life is uncertain and full of tribulation, from which you may conclude that it is only reasonable to snatch what pleasure you can while you are of an age to enjoy it."
"I didn't need to learn the tenses of Greek verbs to know that," said Piero.
"Perhaps not, but it is reassuring to have good authority for following one's natural inclinations."

"But, Messer Niccolò, why are you so certain that she hates him?"
"I'm not certain at all. It may be that she's only a foolish, garrulous woman. The fact remains that she is poor and he is rich, and that she depends on his bounty; the burden of gratitude is very hard to bear. Believe me, it is easier to forgive the offences your enemy does you than the benefits your friend confers upon you."

The sum she asked for rent was high, and Bartolomeo remarked on it, but Machiavelli thought it beneath his official dignity to haggle and said that he would be glad to pay it. He knew that nothing more predisposes someone in your favour than to let him rob you a little.

He [Fra Timoteo] had a fine head. It reminded one of a Roman emperor's whose fine features, not yet debased by luxury and unlimited power, bore notwithstanding a suggestion of the cruel sensuality that would lead to his assassination.

The Pope's jubilee had brought enormous amounts of money into the Vatican's treasury and his somewhat high-handed procedure of seizing a cardinal's property on his decease was continually adding to the sums at his disposal; for the mortality of these princes of the Church was high; and the malicious indeed whispered that His Holiness found it convenient on occasion discreetly to come to the aid of a dilatory Providence.

It has been said that Machiavelli had not married Marietta for love. He respected her, he appreciated her good qualities, and he approved of her devotion for him. She was a thrifty housekeeper, an important matter to one of his small means, and she never wasted a penny; she would be the mother of his children, and a good mother; there was every reason why he should regard her with indulgence and affection, but it had never entered his mind that he should be faithful to her.

He knew a great deal about women and it was not often that he had failed to satisfy his lust. He had no illusions about his appearance; he knew that other men were handsomer than he and that many had the advantage of him in wealth and station. But he was confident in his powers of attraction. He could amuse them, he knew just how to flatter them, he had a way with him that put them at their ease with him, but above all he desired them; they were very conscious of that and it excited them.

He knew that women appreciated neither irony nor sarcasm, but simple jokes and funny stories. He was amply provided with both.

Monna Caterina gave a low laugh.
"You are a charming man, Messer Niccolò. If I were still desirable and you desired me, I would refuse you nothing."
"The old cow," Machiavelli said to himself, but he pressed her hand and aloud answered: "If I were not so passionately in love with your daughter I should not hesitate to take you at your word."

"It has often struck me as remarkable that businessmen should be able to conduct commercial transactions with success and yet remain so unversed in the affairs of the world."

"What a noble animal is man," he [Machiavelli] reflected, as he walked home. "With audacity, cunning and money there is practically nothing he cannot do."

"Is it possible that you are devoid of ambition?"
"Far from it. Excellency," smiled Machiavelli. "My ambition is to serve my state to the best of my ability."
"That is just what you will not be allowed to do. You know better than anyone that in a republic talent is suspect. A man attains high office because his mediocrity prevents him from being a menace to his associates. That is why a democracy is ruled not by the men who are most competent to rule it, but by the men whose insignificance can excite nobody's apprehension. Do you know what are the cankers that eat the heart of a democracy?"
He looked at Machiavelli as though waiting for an answer, but Machiavelli said nothing.
"Envy and fear. The petty men in office are envious of their associates and rather than that one of them should gain reputation will prevent him from taking a measure on which may depend the safety and prosperity of the state; and they are fearful because they know that all about them are others who will stop at neither lies nor trickery to step into their shoes. And what is the result? The result is that they are more afraid of doing wrong than zealous to do right. They say that dog doesn't bite dog: whoever invented that proverb had never lived under a democratic government."
Machiavelli remained silent. He knew only too well how much truth there was in what the Duke said. He remembered how hotly the election to his own subordinate post had been contested and with what bitterness his defeated rivals had taken it. He knew that he had colleagues who were watching his every step, ready to pounce upon any slip he made that might induce the Signory to dismiss him.
The Duke continued.
"A prince in my position is free to choose men to serve him for their ability. He need not give a post to a man who is incapable of filling it because he needs his influence or because he has a party behind him whose services must be recognized. He fears no rival because he is above rivalry and so, instead of favouring mediocrity, which is the curse and bane of democracy, seeks out talent, energy, initiative and intelligence. No wonder things go from bad to worse in your republic; the last reason for which anyone gets office is his fitness for it."

"Fortune favours audacity and youth," he said. "You will go far. But let me give you some advice. Take care that like me you do not get a reputation for wit, since if you do no one will think you sensible, but notice men's moods and adapt yourself to them; laugh with them when they are merry and pull a long face when they are solemn. It is absurd to be wise with fools and foolish with the wise: you must speak to each one in his own language. Be courteous; it costs little and helps much; to be of use and to know how to show yourself of use is to be doubly useful; it is idle to please yourself if you do not please others, and remember that you please them more by ministering to their vices than by encouraging their virtues. Never be so intimate with a friend that he may injure you should he become your enemy, and never use your enemy so ill that he can never become your friend. Be careful in your speech. There is always time to put in a word, never to withdraw one; truth is the most dangerous weapon a max can wield and so he must wield it with caution. For years I have never said what I believed nor ever believed what I have said, and if it sometimes happens that I tell the truth I conceal it among so many lies that it is hard to find."

But while these old saws and homely commonplaces tripped off the end of his tongue Machiavelli's thoughts were intent on something much more important and he scarcely listened to what he said. For he knew that a public man can be corrupt, incompetent, cruel, vindictive, vacillating, self-seeking, weak and stupid and yet attain o the highest honours in the state; but if he is ridiculous e is undone. Slander he can refute; abuse he can despise; but against ridicule he has no defence. Strange as it may seem, the Absolute has no sense of humour, and ridicule is the instrument the devil uses to hinder aspiring man on his arduous quest of perfection.

He would never have described himself as a good Catholic. He had indeed often permitted himself to wish that the gods of Olympus still dwelt in their old abode. Christianity had shown men the truth and the way of salvation, but it asked men to suffer rather than to do. It had made the world feeble and given it over, helpless, a prey to the wicked, since the generality. In order to go to heaven, thought more of enduring injuries than of defending themselves against them. It had taught that the highest good consisted in humility, lowliness and contempt for the things of this world; the religion of the ancients taught that it consisted in greatness of spirit, courage and strength. But this was a strange thing that had happened. It shook him. Though his reason revolted he was aware within himself of an uneasy inclination to believe in the possibility of a supernatural intervention. His head refused to accept it, but in his bones, in his blood, in his nerves there was a doubt that he could not still. It was as though all those generations behind him that had believed took possession of his soul and forced their will upon him.

"You say that Caesar Borgia suffered the just punishment of his crimes. He was destroyed not by his misdeeds, but by circumstances over which he had no control. His wickedness was an irrelevant accident. In this world of sin and sorrow if virtue triumphs over vice, it is not because it is virtuous, but because it has better and bigger guns; if honesty prevails over double-dealing, it is not because it is honest, but because it has a stronger army more ably led; and if good overcomes evil, it is not because it is good, but because it has a well-lined purse. It is well to have right on our side, but it is madness to forget that unless we have might as well it will avail us nothing. We must believe that God loves men of good will, but there is no evidence to show that He will save fools from the result of their folly.''

Friday, 18 November 2016

Lord Byron: A Short Bibliography

NB. The following bibliography is highly selective and firmly based on the work of Ernest Hartley Coleridge in The Works of Lord Byron: Poetry, 7 vols., 1898–1904 (B1). Mr Coleridge’s extensive scholarly notes throughout the whole edition and his nearly exhaustive bibliography in the last volume are indispensable for anybody seriously interested in Byron’s works. Unless otherwise noted, all references are to this edition; for example, “I, xi” means “volume I, page xi” in Mr Coleridge’s edition. The contents in the end of each entry omit all prefaces and the like: these are listed only about the editions in which they appear for the first time; unless otherwise noted, they are reprinted in all subsequent editions. Selected foreign editions and translations are given only to obtain some idea about Byron’s international fame.

                                A1.    Fugitive Pieces (1806)
                                A2.    Poems on Various Occasions (1807)
                                A3.    Hours of Idleness (1807)
                                A4.    English Bards, and Scotch Reviewers (1809; EBSR)
                                A5.    Childe Harold’s Pilgrimage (1812, 1816, 1818; CH)
                                A6.    The Giaour (1813; G)
                                A7.    The Bride of Abydos (1813; BA)
                                A8.    The Corsair (1814; TC)
                                A9.    Ode to Napoleon Buonaparte (1814)
                           A10.    Lara (1814; L)
                           A11.    Hebrew Melodies (1815; HM)
                           A12.    The Siege of Corinth (1816; SC)
                           A13.    Parisina (1816; P)
                           A14.    The Prisoner of Chillon (1816; PC)
                           A15.    Manfred (1817; Man)
                           A16.    The Lament of Tasso (1817, LT)
                           A17.    Beppo (1818; B)
                           A18.    Mazeppa (1819; Maz)
                           A19.    Don Juan (1819–24; DJ)
                           A20.    The Prophesy of Dante (1819; PD)
                           A21.    Marino Faliero (1820; MF)
                           A22.    Sardanapalus (1821; S)
                           A23.    The Two Foscari (1821; TF)
                           A24.    Cain (1821; C)
                           A25.    Heaven and Earth (1821; HE)
                           A26.    The Vision of Judgment (1822; VJ)
                           A27.    Werner (1822; W)
                           A28.    The Deformed Transformed (1823; DT)
                           A29.    The Age of Bronze (1823; AB)
                           A30.    The Blues (1823; TB)
                           A31.    The Island (1823; TI)

                               B1.    The Works of Lord Byron: Poetry (1898-1904), ed. E. H. Coleridge
                               B2.    The Complete Poetical Works (1980-93), ed. Jerome J. McGann
                               B3.    Oxford World’s Classics (1986, 2000), ed. Jerome J. McGann
                               B4.    Penguin Classics (1996, 2005), eds. Susan J. Wolfson & Peter J. Manning
                               B5.    Modern Library (2001), ed. Leslie A. Marchand
                               B6.    Wordsworth Poetry Library (2006), ed. Paul Wright

  1. PROSE
                               C1.    Letters and Journals (1898–1901), ed. R. E. Prothero
                               C2.    Byron’s Letters and Journals (1975-82), ed. Leslie Marchand
                               C3.    The Complete Miscellaneous Prose (1991), ed. Andrew Nicholson

                        A1.    Fugitive Pieces (1806)
                                                              i.      1806, 1st edn., 4to. Anonymous, without title page. 38 poems, two of them (“The Tear”, “Reply to Some Verses of J. M. B. Pigot, Esq.”) signed “Byron”. The last piece, “Imitated from Catullus. To Anna” dated 16 Nov 1806. “The whole of this issue, with the exception of two or three copies, was destroyed. An imperfect copy, lacking pp. 17-20 and pp. 58-66, is preserved at Newstead. A perfect copy, which had been retained by the Rev. J. T. Becher, at whose instance the issue was suppressed, was preserved by his family” (I, xi).
                                                            ii.      1886, Chiswick Press. Facsimile reprint of the perfect copy. 100 numbered copies. For private circulation only.
                                                          iii.      Notes. “Of the thirty-eight Fugitive Pieces, two poems, viz. "To Caroline" and "To Mary," together with the last six stanzas of the lines, "To Miss E. P. [To Eliza]," have never been republished in any edition of Byron's Poetical Works.” (I, xi). “Of the thirty-eight Fugitive Pieces which constitute the suppressed quarto, only seventeen appear in all three subsequent issues. Of the twelve additions to Poems on Various Occasions [A2], four were excluded from Hours of Idleness [A3i], and four more from Poems Original and Translated [A3ii].” (I, xii).
                                                          iv.      Contents[1]: On Leaving / To E---- / On the Death of Young Lady, Cousin to the Author and very Dear to him / To D---- / To... / To Caroline       / To Maria —— / Fragment of School Exercises, From the Prometheus Vinctus of Oeschylus [sic] / Lines in "Letters of an Italian Nun," etc. / Answer to the above, address'd to Miss ——     / On a change of Masters, At a Great Public School / Epitaph on a Beloved Friend / Adrian's Address to his Soul, when dying / Translation / To Mary / "When to their airy hall, my father's voice" / To —— / "When I hear you express an, affection so warm" / On a distant view of the Village and School of Harrow on The Hill, 1806 / Thoughts Suggested by a College Examination / To Mary, on Receiving her Picture / On the Death of Mr. Fox, the following illiterate Impromptu appeared in the Morning Post – To which the Author of these Pieces sent the subjoined Reply, for insertion in the Morning Chronicle / To a Lady, who presented the Author a Lock of Hair, etc. / To a Beautiful Quaker / To Julia / To Woman    / An Occasional Prologue, etc. / To Miss E. P. / To Tear / Reply to some verses of J. M. B. Pigot, Esq., on the Cruelty of His Mistress / Granta, A Medley / To the Sighing Strephon / The Cornelian / To A —— / As the Author was discharging his Pistols in a Garden, Two Ladies, etc. / Translation form Catullus: Ad Lesbiam / Translation of the Epitaph on Virgil and Tibullus by Domitius Marsus / Imitation of Tibullus "Sulpitia ad Cerintum" Lib. Quart. / Translation from Cattulus: Luctus de Morte Passeris / Imitatated from Catullus. To Anna.
                        A2.    Poems on Various Occasions (1807)
                                                              i.      Jan 1807, 1st edn. Anonymous, privately printed. 48 poems = 36 from A1 + 12 hitherto unpublished.[2]
                                                            ii.      Contents (hitherto unpublished only): To M. S. G. / Stanzas to a Lady, with the Poems of Camoëns / To M. S. G. / Translation from Horace. Justum et tenacem, etc. / The First Kiss of Love / Childish Recollections / Answer to a Beautiful Poem, Written by Montgomery, Author of "The Wanderer in Switzerland," etc., entitled "The Common Lot" / Love's Last Adieu / Lines Addressed to the Rev. J. T. Becher, on his advising the Author to mix more with Society / Answer to some Elegant Verses sent by a Friend to the Author, complaining that one of his descriptions was rather too warmly drawn / Elegy on Newstead Abbey / ?
                        A3.    Hours of Idleness: A Series of Poems Original and Translated (1807)
                                                              i.      Jun/Jul 1807, 1st edn. 39 poems = 19 from A1 + 8 from A2 + 12 published for the first time.[3] LB’s first officially published work. “By George Gordon, Lord Byron, a Minor.” Original preface.
                                                            ii.      1808, 2nd edn., small octavo. Titled Poems Original and Translated. 38 poems = 17 from A1 + 4 from A2 + 12 from (i) + 5 published for the first time.
                                                          iii.      Abroad: Paris, 1819 (ii).
                                                          iv.      Notes. “The collection of minor poems entitled Hours of Idleness, which has been included in every edition of Byron's Poetical Works issued by John Murray since 1831, consists of seventy pieces, being the aggregate of the poems published in the three issues, Poems on Various Occasions, Hours of Idleness, and Poems Original and Translated, together with five other poems of the same period derived from other sources.” (I, xii). Original epigraph: “[in Greek] Homer. Iliad, 10./ He whistled as he went for want of thought./ Dryden.”
                                                            v.      Contents: [12 from (i)?] To George, Earl Delawarr / Damaetas / To Marion / Oscar of Alva / Translation from Anacreon. Ode 1 / From Anacreon. Ode 3 / The Episode of Nisus and Euryalus. A Paraphrase from the Æneid, Lib. 9 / Translation from the Medea of Euripides [Ll. 627–660] / Lachin y Gair / To Romance / The Death of Calmar and Orla / To Edward Noel Long, Esq. / To a Lady [5 from (ii)]: When I Roved a Young Highlander / To the Duke of Dorset / To the Earl of Clare / I would I were a Careless Child / Lines Written beneath an Elm in the Churchyard of Harrow.
                        A4.    English Bards, and Scotch Reviewers (1809; EBSR)
                                                              i.      Mar 1809, 1st edn. 696 lines. Preface.
                                                            ii.      Oct 1809, 2nd edn. 1050 lines = 16 lines omitted, 370 added, compared to (i). Preface enlarged. Postscript added.
                                                          iii.      1810, 3rd edn. Reprint of (ii).
                                                          iv.      1810, 4th edn., 1st issue. Lines 723-4 added, lines 725-6 altered, probably by LB.
                                                            v.      1811, 4th edn., 2nd issue. 1052 lines.
                                                          vi.      1811, 5th edn. 1070 lines. Lines 97-102 and 528-39 added, 29 emendations of the text, probably by LB.
                                                        vii.      Abroad: 1st US edn., Philadelphia, 1811 (iii); 1st French edn., Paris 1818 (iv).
                                                      viii.      Notes. First version published in 1808 as British Bards: A Satire, 560 lines only. Original epigraphs: “I had rather be a kitten, and cry, mew! / Than one of these same metre ballad-mongers. / Shakspeare. / Such shameless Bards we have; and yet 'tis true, / There are as mad, abandon'd Critics too. / Pope.”
                        A5.    Childe Harold’s Pilgrimage (1812, 1816, 1818; CH)
                                                              i.      10 Mar 1812, 1st edn. Cantos I & II. Original Preface & Notes. 14 poems.
                                                            ii.      17 Apr 1812, 2nd edn., 8vo. Canto I, 93 stanzas; Canto II, 88 stanzas. 6 poems added (20 overall).
                                                          iii.      27 Jun 1812, 3rd edn.
                                                          iv.      14 Sep 1812, 4th edn. “Addition to the Preface”.
                                                            v.      5 Dec 1812, 5th edn.
                                                          vi.      11 Aug 1813, 6th edn.
                                                        vii.      1 Feb 1814, 7th edn. E.H.C. (I, xii): “ten additional stanzas were inserted towards the end of the Second Canto.” Canto I, 93 stanzas. Canto II, 98 stanzas. Dedication to Lady Charlotte Harley (“То Ianthe”) prefixed to Canto I. 14 poems added (34 overall).[4]
                                                      viii.      1815, 9th edn.
                                                          ix.      1815, 10th edn.
                                                            x.      1819, 11th edn.
                                                          xi.      18 Nov 1816, 1st edn. Canto III.
                                                        xii.      28 Apr 1818, 1st edn. Canto IV. Dedication to John Hobhouse.
                                                      xiii.      1819, 2 vols. Cantos I–IV. First complete edition.
                                                     xiv.      Abroad: 1st US edn., Philadelphia, 1812 (I+II); Boston, 1817 (III); 1818, Philadelphia (IV, other poems); 1st German edn., Leipzig, 1820 (2 vols.); 1st French edn., 1825 (2 vols.).
                                                       xv.      Translations: Italian, 1819 (IV); French, 1828; Swedish, 1832; German, 1835; Hungarian, 1857; Polish, 1857; Russian, 1864; Armenian, 1872 (IV); Danish, 1880; Bohemian, 1890.
                                                     xvi.      Contents (i): Childe Harold I & II / Written in an Album (“As o’er the cold sepulchral stone”) / To *** (“Oh Lady! when I left the shore”) / Stanzas, Written in passing the Ambracian Gulph, November 14th,1809 / Stanzas, composed October 11th 1809, during the night; in a thunder-storm, when the guides had lost the road to Zitza, near the range of mountains formerly called Pindus, in Albania / Written at Athens, January 16, 1810 / Written after swimming from Sestos to Abydos, May 9, 1810 / Song (“Maid of Athens, ere we part”) / Translation from a Greek war song / Translation of a Romaic song / Written beneath a Picture / On Parting / To Thyrza (“Without a stone to mark the spot”) / Stanzas (“Away, away, ye notes of woe!”) / To Thyrza (“One struggle more, and I am free”).
                                                   xvii.      Contents (ii): Childe Harold I & II / 14 poems from (i) / Euthanasia / Stanzas (“And thou art dead, as young and fair”) / Stanzas (“If sometimes in the haunts of men”) / On a Cornelian Heart which was broken / To a youthful Friend / To ****** (“Well, thou art happy, and I feel”).
                                                 xviii.      Contents (vii): Childe Harold I & II / 14 poems from (i) / 6 poems from (ii) / From the Portuguese (“In moments to delight devoted”) / Impromptu, in Reply to a Friend / Address, spoken at the opening of Drury-lane Theatre, Saturday, October 10th, 1812 / To Time / Translation of a Romaic Love Song (“Ah! Love was never yet without”) / A Song (“Thou art not false, but thou art fickle”) / On being asked what was the “Origin of Love” / Remember him, whom passion’s power / From the Turkish (“The chain I gave was fair to view”) / To a Lady Weeping / Sonnet to Genevra (“Thine eyes blue tenderness, thy long fair hair”) / Sonnet to Genevra (“Thy cheek is pale with thought, but not from woe”) / Inscription on the Monument of a Newfoundland Dog / Farewell (“Farewell! if ever fondest prayer”).
                                                     xix.      Notes. Original epigraphs to all cantos; I+II: from Le Cosmopolite[5]; III: “Afin que cette application vous forgat de penser à autre chose; il n'y à / en vérité de remède que celui-la et le temps.”/ Lettre du Roi de Prusse à D'Alembert, Sept. 7, 1776”; IV: “Visto ho Toscana, Lombardia, Romagna,/ Quel Monte che divide, e quel che serra/ Italia, e un mare e l'altro, che la bagna./ Ariosto, Satira iii.”
                        A6.    The Giaour: A Fragment of a Turkish Tale (1813; G)
                                                              i.      5 Jun 1813, 1st edn. 685 lines.
                                                            ii.      Jun/Jul 1813, 2nd edn. “A New Edition, with some Additions”. 816 lines.
                                                          iii.      End of July/1st half of Aug 1813, 3rd edn. “With Considerable Additons.” 1st issue, 950 lines. 2nd issue, 1004 lines. The second issue is suspect of non-existence!
                                                          iv.      Aug 1813, 4th edn. 1048 lines.
                                                            v.      Aug/Sep (?) 1813, 5th edn. 1215 lines. Concluding note enlarged.
                                                          vi.      Oct 1813, 6th edn. Putative reprint of (v).
                                                        vii.      27 Nov 1813, 7th edn. “With some Additions.1334 lines. Notes.
                                                      viii.      1814, 8th edn. “With some additions”.
                                                          ix.      1 Feb 1814, 9th edn.
                                                            x.      1814, 10th, 11th and 12th edns.
                                                          xi.      1815, 13th and 14th edns.
                                                        xii.      Abroad: 1st US edn., Boston, Philadelphia, 1813 (iii).
                                                      xiii.      Translations: Italian, 1817; German, 1819 (vii); Russian, 1821; French, 1828; Spanish, 1828; Polish, 1830; Swedish, 1855; Serbian, 1860; Greek, 1873.
                                                     xiv.      Notes. Original epigraph: “"One fatal remembrance – one sorrow that throws / Its bleak shade alike o'er our joys and our woes – / To which Life nothing brighter nor darker can bring, / For which joy hath no balm – and affliction no sting."/ Moore./”
                        A7.    The Bride of Abydos: A Turkish Tale (1813; BA)
                                                              i.       29 Nov 1813, 1st edn. Canto I, 483 lines; Canto II, 724 lines (misnumbered 722).
                                                            ii.      1813, 2nd edn. Canto II, 730 lines (misnumbered 724); six additional lines inserted after line 401.
                                                          iii.      1813, 4th edn. Canto II, 732 lines; lines 662-3 added.
                                                          iv.      1813, 5th edn.
                                                            v.      1 Feb 1814, 6th edn. Identical with (ii); lines 662-3 omitted.
                                                          vi.      1814, 7th, 8th & 10th edns. Identical with (iii).
                                                        vii.      1815, 11th edn.
                                                      viii.      Abroad: 1st US edn., Philadelphia, 1814.
                                                          ix.      Translations: French, 1816; Polish, 1818; German, 1819; Russian, 1821; Dutch, 1826; Bulgarian, 1850; Swedish, 1853; Italian, 1854; Bohemian, 1854; Hungarian, 1884.
                                                            x.      Notes. Original epigraph from Burns [Farewell to Nancy]: “Had we never loved so kindly,/ Had we never loved so blindly,/ Never met or never parted,/ We had ne'er been broken-hearted.”
                        A8.    The Corsair: A Tale (1814; TC)
                                                              i.      1 Feb 1814, 1st edn. 1859 lines (given as 1863 owing to inclusion of broken lines). On the same day were published A5vii, A6viii and A7ii!
                                                            ii.      1814, 2nd edn. 6 poems added: To a Lady Weeping / From the Turkish / Sonnet 1 (“Thine eyes blue tenderness, thy long fair hair”) / Sonnet 2 (“Thy cheek is pale with thought, but not from woe”) / Inscription on the Monument of a Newfoundland Dog / Farewell.
                                                          iii.      1814, 3rd edn. Poems omitted; restored from 4th edn. onwards.
                                                          iv.      1814, 7th edn. 4 additional lines to stanza xi. Unnumbered note to line 226. 1863 lines, the additional ones not being counted.
                                                            v.      Mar 1814, 8th edn. 1500 copies. Sold before the end of the year.
                                                          vi.      1815, beginning, 9th edn. 3000 copies. Long note to the last line.
                                                        vii.      Abroad: 1st US edn., New York, Philadelphia, 1814.
                                                      viii.      Translations: German, 1816; Italian, 1819; Russian, 1827; Spanish, 1827; Swedish, 1868; Hungarian, 1892.
                                                          ix.      Notes. Original epigraph: “"I suoi pensieri in lui dormir non ponno." / Tasso, Gerusalemme Liberata, Canto X. [stanza lxxviii. line 8].” “Twenty-five thousand copies of the Corsair were sold between January and March, 1814.” (III, 222).
                        A9.    Ode to Napoleon Buonaparte (1814)
                                                              i.      16 Apr 1814, 1st edn. 15 stanzas.
                                                            ii.      1814, 2nd edn to 9th edn. (3rd edn. – 16 stanzas.)
                                                          iii.      1815, 10th edn. 16 stanzas.
                                                          iv.      1816, 12th edn. 16 stanzas.
                                                            v.      1818, 13th edn.
                                                          vi.      1830, Life of Byron. Concluding stanzas (xvii, xviii, xix) first published as a separate poem.
                                                        vii.      1832, Byron’s Works, 17 vols. Concluding stanzas first appended to (iii).
                                                      viii.      Abroad: 1st US edn., Philadelphia, Boston, New York, 1814.
                                                          ix.      Translations: Spanish, 1829.
                                                            x.      Notes. Original epigraph: “"Expende Annibalem: – quot libras in duce summon / Invenies?" / Juvenal, Sat. X.”
                    A10.    Lara: A Tale (1814; L)
                                                              i.      6 Aug 1814, 1st edn. Anonymous. Advertisement. Together with Jacqueline: A Tale (“a somewhat insipid pastoral, betraying the influence of the Lake School, more especially Coleridge, on a belated and irresponsive disciple, and wholly out of place as contrast or foil to the melodramatic Lara.” – III, 320) by another author.
                                                            ii.      1814, 4th edn.
                                                          iii.      1817, 5th edn. New note on “The event in section 24, Canto 2d, suggested by the death, or rather burial, of the Duke of Candia.”
                                                          iv.      Abroad: 1st US edn., Boston, New York, 1814.
                                                            v.      Translations: Italian, 1828; Spanish, 1828; Polish, 1833; Serbian, 1860; Swedish, 1869; Bohemian, 1885; German, 1886.
                    A11.    Hebrew Melodies (1815; HM)
                                                              i.      1815, 1st edn. 24 poems. Preface by Braham & Nathan.
                                                            ii.      Abroad: 1st US edn., Boston, Philadelphia, 1815.
                                                          iii.      Translations: German, 1820; Italian, 1837; Russian, 1860; Swedish, 1862; Danish, 1889; Bohemian, 1890; Hebrew, 1890.
                                                          iv.      Contents: She walks in Beauty / The Harp the Monarch Minstrel swept / If that High World / The Wild Gazelle / Oh! weep for those / On Jordan's Banks / Jeptha's Daughter / Oh! snatched away in Beauty's Bloom / My Soul is Dark / I saw thee weep / Thy Days are done / Saul / Song of Saul before his Last Battle / "All is Vanity, saith the Preacher" / When Coldness wraps this Suffering Clay / Vision of Belshazzar / Sun of the Sleepless! / Were my Bosom as False as thou deem'st it to be / Herod's Lament for Mariamne / On the Day of the Destruction of Jerusalem by Titus / By the Rivers of Babylon we sat down and wept / "By the Waters of Babylon" / The Destruction of Sennacherib / A Spirit passed before me.
                                                            v.      Notes. Original title page: “A Selection of / Hebrew Melodies /  Ancient and Modern / with appropriate Symphonies and accompaniments / By / I: Braham & I: Nathan / the Poetry written expressly for the work / By the Right Honble / Lord Byron / entd at Stars Hall.”
                    A12.    The Siege of Corinth (1816; SC)
                                                              i.      7 Feb 1816, 1st edn. Together with A13. Original advertisement and notes.
                                                            ii.      1816, 2nd & 3rd edns.
                                                          iii.      Letters and Journals, 1830, I, 638, the first 45 lines first published, first prefixed to the poem in the 1832 edn. LB sent them to Murray on Christmas 1815 with the remark: “I had forgotten them, and am not sure that they had not better be left out now; – on that you and your Synod can determine.”
                                                          iv.      Abroad: 1st US edn., New York, 1816; 1st French edn., Paris, 1835; 1st German edn., 1854.
                                                            v.      Translations: German, 1817; French, 1820; Spanish, 1828; Dutch, 1831; Italian, 1838; Swedish, 1854.
                                                          vi.      Notes. Original epigraph: “"Guns, Trumpets, Blunderbusses, Drums and Thunder." Pope, Sat. i. 26.” Misquoted: “With Gun, Drum, Trumpet, Blunderbuss, and Thunder”. Dedicated to John Hobhouse.
                    A13.    Parisina (1816; P)
                                                              i.      7 Feb 1816, 1st edn. Together with A12. Preface and notes.
                                                            ii.      Translations: Italian, 1821; German, 1825; Russian, 1827; Spanish, 1830; Danish, 1854; French, 1900.
                                                          iii.      Notes. “The last and shortest of the six narrative poems composed and published in the four years (the first years of manhood and of fame, the only years of manhood passed at home in England) which elapsed between the appearance of the first two cantos of Childe Harold and the third [1812-16]…” (III, 499). Dedicated to Scrope Beardmore Davies.
                    A14.    The Prisoner of Chillon (1816; PC)
                                                              i.      5 Dec 1816, 1st edn. “Sonnet to Chillon”. Advertisement. With 7 other poems. Notes by LB.
                                                            ii.      Abroad: 1st Swiss edn., Lausanne, 1818; 1st German edn., 1884; 1st Italian edn., 1885.
                                                          iii.      Translations: Russian, 1822; Spanish, 1829; Italian, 1830; Swedish, 1853; Dutch, 1856; German, 1861; French, 1892.
                                                          iv.      Contents: The Prisoner of Chillon / The Dream / Darkness / Churchill’s Grave / Prometheus / A Fragment [Could I remount the river of my years] / Sonnet to Lake Leman / Stanzas to Augusta.
                    A15.    Manfred: A Dramatic Poem (1817; Man)
                                                              i.      16 Jun 1817, 1st edn.
                                                            ii.      1817, 2nd edn.
                                                          iii.      29 Oct – 14 Nov 1834, Covent Garden, 1st prod.
                                                          iv.      Abroad: 1st US edn., Philadelphia, New York, 1817.
                                                            v.      Translations: German, 1819; Danish, 1820; Spanish, 1829; Italian, 1832; Polish, 1835; Russian, 1841; Hungarian, 1842; Dutch, 1857; French, 1852; Greek, 1864; Bohemian, 1882; Romanian, 1896.
                                                          vi.      Notes. Original epigraph from Hamlet: “There are more things in heaven and earth, Horatio, / Than are dreamt of in your philosophy.”
                    A16.    The Lament of Tasso (1817, LT)
                                                              i.      17 Jul 1817, 1st edn. Original prefatory note.
                                                            ii.      1817, 2nd, 3rd & 4th edns.
                                                          iii.      1818, 6th edn.
                                                          iv.      Translations: Italian, 1818.
                                                            v.      Notes. Original MS dated “The Apennines, April 20, 1817.”
                    A17.    Beppo: A Venetian Story (1818; B)
                                                              i.      28 Feb 1818, 1st edn. 95 stanzas (2nd and 3rd as well).
                                                            ii.      4 May 1818, 5th edn.[6] 99 stanzas: (i) + 28, 38, 39, 80.
                                                          iii.      1818, 6th and 7th edns. Identical with (ii).
                                                          iv.      Abroad: 1st US edn., Boston, 1818; 1st French edn., Paris, 1821.
                                                            v.      Translations: Spanish, 1830; Dutch, 1834; Swedish, 1853; French, 1865; Russian, 1863.
                                                          vi.      Notes. Written, 6 Sep – 12 Oct 1817 (IV, 155). Original epigraph from As You Like It (IV.1.): “Rosalind: Farewell, Monsieur Traveller; Look, you lisp, and wear strange suits: disable all the benefits of your own country; be out of love with your Nativity, and almost chide God for making you that countenance you are; or I will scarce think you have swam in a Gondola.”
                    A18.    Mazeppa (1819; Maz)
                                                              i.      28 Jun 1819, 1st edn. Together with Ode [to Venice] and A Fragment. Advertisement in French from Voltaire.
                                                            ii.      1819, 2nd edn.
                                                          iii.      Abroad: 1st US edn., Boston, 1819; 1st French edn., Paris, 1822; 1st German edn., 1834.
                                                          iv.      Translations: German, 1820; Russian, 1821; Spanish, 1830; Hungarian, 1842; Italian, 1847; Danish, 1853; Polish, 1860.
                                                            v.      Notes. See Coleridge (IV, 201-3) for an excellent overview of the historical background.
                    A19.    Don Juan (1819–24; DJ)
                                                              i.      15 Jul 1819, 1st edn. Cantos I, II. Original notes.
                                                            ii.      8 Aug 1821, 1st edn. Cantons III, IV, V. Original notes. V.61 omitted. Fifth edn., 1822, “Revised and Corrected”.
                                                          iii.      1822, 1st edn., Cantos I–V.
                                                          iv.      15 Jul 1823, 1st edn. Cantos VI, VII, VIII. Preface. Notes.
                                                            v.      29 Aug 1823, 1st edn. Cantos IX, X, XI. Notes.
                                                          vi.      17 Dec 1823, 1st edn. Cantos XII, XIII, XIV.
                                                        vii.      26 Mar 1824, 1st edn. Cantos XV, XVI. Notes. “The errors of the press in this Canto,– if there be any) – are not to be attributed to the Author, as he was deprived of the opportunity of correcting the proof-sheets.” (note on the last page).
                                                      viii.      1826, 1st edn. 2 vols. Full text. Cantos I–XVI. One volume, 1826.
                                                          ix.      Penguin, 1977, ed. T. G. Steffan. Revised in 1982.
                                                            x.      Penguin Classics, 1986, ed. T. G. Steffan. Reprinted in 2004 with a new Introduction and updated Further Reading by Susan J. Wolfson and Peter J. Manning.
                                                          xi.      Abroad: Paris, 1824 (XII–XIV); Nuremberg & New York, 1832 (I–XVI).
                                                        xii.      Translations: French, 1827; Spanish, 1829; Swedish, 1838; German, 1839; Russian, 1846; Romanian, 1847; Italian, 1853; Danish, 1854 (part, 1882-1902 complete in 2 vols.); Polish, 1863 (part); Serbian, 1888.
                                                      xiii.      Notes. Began in the autumn of 1818. Left unfinished at Byron’s death in 1824. Mr Coleridge (VI, xv-xvi): “Canto I. was written in September, 1818; Canto II. in December – January, 1818-1819. […] Cantos III., IV. were written in the winter of 1819-1820; Canto V., after an interval of nine months, in October – November, 1820, but the publication of Cantos III., IV., V. was delayed till August 8, 1821. The next interval was longer still, but it was the last. In June, 1822, Byron began to work at a sixth, and by the end of March, 1823, he had completed a sixteenth canto.” Original epigraphs: “"Difficile est proprie communia dicere."/ Hor. Epist. ad Pison.” (I-II); “"Dost thou think because thou art virtuous, there shall be no more / Cakes and Ale?" – "Yes, by St. Anne; and Ginger shall be hot i' the / mouth too!" – Twelfth Night, or What you Will / Shakespeare.”(VI–VII, IX–XI, XII–XIV, XV–XVI)
                    A20.    The Prophesy of Dante (1819; PD)
                                                              i.      21 Apr 1821. Together with A21. Original notes.
                                                            ii.      Abroad: 1st US edn., Philadelphia; 1st French edn., Paris, 1821.
                                                          iii.      Translations: Italian, 1821; French, 1842; Spanish, 1850.
                                                          iv.      Notes. Written at Ravenna, June 1819. Original epigraph: “"'Tis the sunset of life gives me mystical lore, / And coming events cast their shadows before." / Campbell, [Lochiel's Waming].”
                    A21.    Marino Faliero: Doge of Venice (1821; MF)
                                                              i.      21 Apr 1821. Together with A20. Original preface and notes.
                                                            ii.      25 Apr 1821, 1st production, Theatre Royal, Drury Lane. 7 performances.
                                                          iii.      1821, 2nd edn.
                                                          iv.      Abroad: 1st US edn., Philadelphia, 1821; 1st French edn., Paris, 1821.
                                                            v.      Translations: German, 1883.
                                                          vi.      Notes. Subtitled “An Historical Tragedy In Five Acts.” Original epigraph: “"Dux inquieti turbidus Adriae."/ Horace. [Od. III. c. iii. line 5]”. There are two dedications, one (mocking) to Goethe which LB enclosed in a letter to Murray from 17 Oct 1820, and one to Douglas Kinnaird which was to be part of the Second edition but remained in MS until 1832 when it was included Works of Byron, xii, 50.
                    A22.    Sardanapalus: A Tragedy (1821; S)
                                                              i.      19 Dec 1821, 1st edn. Together with A23 and A24. Prefatory note. Notes.
                                                            ii.      1829, John Murray. Dedication to “The Illustrious Goethe” inserted.
                                                          iii.      Abroad: 1st US edn., Boston, 1822; 1st German edn., 1849.
                                                          iv.      Translations: French, 1834; German, 1854; Russian, 1860; Swedish, 1864; Greek, 1865; Polish, 1872; Italian, 1884; Bohemian, 1891.
                                                            v.      Notes. “Byron's passion or infatuation for the regular drama lasted a little over a year. Marino Faliero, Sardanapalus, and the Two Foscari, were the fruits of his "self-denying ordinance to dramatize, like the Greeks... striking passages of history" (letter to Murray, July 14, 1821, Letters, 1901, v. 323). The mood was destined to pass, but for a while the neophyte was spell-bound.” (IV, 3). A22 is “the second and, perhaps, the most successful of these studies in the poetry of history” (ibid.).
                    A23.    The Two Foscari: A Tragedy (1821; TF)
                                                              i.      19 Dec 1821, 1st edn. Together with A22 and A24.
                                                            ii.      Apr 1838, 1st production, Drury Lane Theatre. 3 performances.
                                                          iii.      Abroad: 1st US edn., Boston, New York, 1822; 1st French edn., Paris, 1822.
                                                          iv.      Translations: Spanish, 1846; Russian, 1861.
                                                            v.      Notes. Written between 12 Jun and 9 Jul 1821, Ravenna. Original epigraph: “"The father softens, but the governor's resolved." – Critic.”
                    A24.    Cain; A Mystery (1821; C)
                                                              i.      19 Dec 1821, 1st edn.[7] Together with A22 and A23.
                                                            ii.      1822, 1st separate edition, W. Benbow, Castle-Street, Leicester-Square.
                                                          iii.      1822, 2nd edn., R. Carlile, 55, Fleet Street. “To which is added a letter from the Author to Mr Murray, the original Publisher.”
                                                          iv.      Abroad: 1st US edn., New York, Boston, 1822; 1st French edn., Paris, 1822; 1st German edn., Breslau, 1840.
                                                            v.      Translations: French, 1823; German, 1831; Italian, 1852-6; Polish, 1868; Bohemian, 1871; Russian, 1881; Hungarian, 1895; Hebrew, year unknown.
                                                          vi.      Notes. Original epigraph from Genesis (III.1): “Now the Serpent was more subtil than any beast of the field which the Lord God had made.”
                    A25.    Heaven and Earth: A Mystery (1822; HE)
                                                              i.      Jan 1822, 1st edn., The Liberal, No. II, pp. 165–206.
                                                            ii.      1824, 1st edn. in book form.
                                                          iii.      Abroad: 1st French edn., Paris, 1823.
                                                          iv.      Translations: French, 1824; Italian, 1853; Russian, ?.
                                                            v.      Notes. Written in October 1821 at Ravenna. Original title page: “Founded on the Following Passage in Genesis, / Chap, vi. / "And it came to pass . . . that the sons of God saw the / daughters of men that they were fair; and they took them / wives of all which they chose."/ "And woman wailing for her Demon lover."/ Coleridge.”
                    A26.    The Vision of Judgment (1822; VJ)
                                                              i.      15 Oct 1822, 1st edn., The Liberal, No. 1, pp. 3-39.
                                                            ii.      1822, W. Dugdale, 1st edn. in book form, pp. 35-72. Titled The Two Visions; or, Byron v. Southey. Together with Southey’s The Vision of Judgment.  
                                                          iii.      Abroad: 1st French edn., Paris, 1822.
                    A27.    Werner; or, The Inheritance: A Tragedy (1822; W)
                                                              i.      23 Nov 1822, 1st edn. Original preface.
                                                            ii.      1826, New York, 1st production.
                                                          iii.      Abroad: 1st French edn., Paris, 1823.
                                                          iv.      Translations: Russian, 1829.
                                                            v.      Notes. Written between 18 Dec 1821 and 20 Jan 1822. Dedicated “To the Illustrious Goethe, by one of his humblest admirers”. Last work published by John Murray.
                    A28.    The Deformed Transformed: A Drama (1823; DT)
                                                              i.      20 Feb 1823, 1st edn. Original prefatory note.
                                                            ii.      23 Feb 1823, 3rd edn.[8]
                                                          iii.      1824, 2nd edn.
                                                          iv.      Abroad: 1st French edn., Paris, 1824.
                                                            v.      Translations: Hungarian, 1840.
                                                          vi.      Notes. MS dated “Pisa, 1822”.
                    A29.    The Age of Bronze (1823; AB)
                                                              i.      1 Apr 1823, 1st edn. “Printed for John Hunt / 22 Old Bond Street”. Anonymous. Subtitled “Carmen Seculare et Annus Haud Mirabilis”. Epigraph: “Impar Congressus Achilli”
                                                            ii.      1823, 2nd edn.
                                                          iii.      Notes. First work published by John Hunt.
                    A30.    The Blues: A Literary Eclogue (1823; TB)
                                                              i.      26 Apr 1823, The Liberal, 1st edn. Anonymous.
                    A31.    The Island; or, Christian and his Comrades (1823; TI)
                                                              i.      26 Jun 1823, 1st edn. Prefatory note on sources. Extract from Bligh’s narrative as an Appendix.
                                                            ii.      1823, 2nd and 3rd edns., identical with (i).
                                                          iii.      Abroad: 1st French edn., Paris, 1823; 1st US edn., New York, 1823.
                                                          iv.      Translations: German, 1827; Italian, 1840; Swedish, 1856; Polish, 1859.
                                                            v.      Notes. “With the exception of the fifteenth and sixteenth cantos of Don Juan, The Island was the last poem of any importance which Byron lived to write, and the question naturally suggests itself – Is the new song as good as the old? Byron answers the question himself. He tells Leigh Hunt (January 25, 1823) that he hopes the "poem will be a little above the ordinary run of periodical poesy," and that, though portions of the Toobonai (sic) islanders are "pamby," he intends "to scatter some uncommon places here and there nevertheless."” (V, 584).

                        B1.    The Works of Lord Byron: Poetry (1898-1904), 7 vols., ed. E. H. Coleridge
a.      John Murray, 1898-1904. A new, revised and enlarged edition, with illustrations. Second edition, 1905. Reprinted, 1922-24.  
b.     Notes. Meticulously researched, rigorously collated and vastly authoritative nearly complete edition. The Bibliography in the last volume is a treasure trove of hard-to-find data, as are Mr Coleridge’s introductions and notes to each work.
c.      Contents: Vol. 1: early poems & translations (1803-08) / Hints from Horace [1811] / The Curse of Minerva [1812] / The Waltz [1813] / EBSR; Vol. 2: CH; Vol. 3: poems 1809-13 / poems 1814-16 / Fare Thee Well / A Sketch / Stanzas to Augusta / G, BA, TC, L, HM, SC, P; Vol. 4: poems Jul-Sep 1816 / Monody on the Death of Sheridan / Francesca of Rimini (transl. of Dante) / The Morgante Maggiore (transl. of Pulci) / Ode to Venice / poems 1816-23 / B, VJ, MF, PD, Maz, Man, B, LT, PC; Vol. 5: S, TF, C, HE, W, DT, AB, TI; Vol. 6: DJ; Vol. 7: minor poems 1798-1824 / A Bibliography of the Successive Editions and Translations of Lord Byron's Poetical Works.
                        B2.    The Complete Poetical Works (1980-93), 7 vols., ed. Jerome J. McGann
a.      Clarendon Press, 1980-93. Oxford English Texts. Vol. 6 co-edited with Barry Weller.
                        B3.    Oxford World’s Classics (1986, 2000), ed. Jerome J. McGann
a.      Byron, 1986.
b.     The Major Works, 2000. Some revisions. Texts from B2.
c.      Notes. This edition must not be confused with Selected Poetry (1994), also edited by J. J. McGann and also published in the Oxford World’s Classics. This is a very short selection (some 200 pages, excluding the notes) that contains but one – one! – complete work (The Giaour), a hotchpotch of selections from DJ, CH, TC, L, C, B, Man, and a few short poems. Avoid this edition, no matter at what price it is offered to you!
d.     Contents: complete DJ, CH, TG, C, B, VJ, Man, Maz; selections from EBSR, TC, L; shorter works: A Fragment (‘When, to their airy hall, my fathers’ voice’) / The Farewell to a Lady (‘When man expell’d from Eden’s bowers’ / Lines to Mr Hodgson / Maid of Athens, ere we part / Written Beneath a Picture / To Thyrza (‘One struggle more, and I am free’) / Ode to Napoleon Buonaparte / Stanzas for Music (‘I speak not – I trace not – I breathe not thy name’) / She walks in beauty / Stanzas for Music (‘There’s not a joy the world can give’) / When We Two Parted / Fare Thee Well! / A Fragment (‘Could I remount the river of my years’) / Prometheus / Stanzas to Augusta / Epistle to Augusta / Darkness / So, We’ll Go No More A Roving / Epistle to Mr Murray / To the Po / Stanzas (‘Could Love for ever’) / Stanzas (‘When a man hath no freedom to fight for at home’) / Thoughts on Freedom / On This Day I Complete My Thirty-Sixth Year; + short selection of prose from letters and journals.
                        B4.    Penguin Classics (1996, 2005), eds. Susan J. Wolfson & Peter J. Manning
a.      Selected Poems, 1996. Preface and Notes.
b.     Selected Poems, 2005. New Introduction. Updated Further Reading.
c.      Contents: complete CH, TG, BA, TC, L, SC, PC, B, TB, VJ, Man, Maz, S; shorter works: A Fragment (‘When, to their airy hall, my fathers’ voice’) / To Woman / To Cornelian / To Caroline (‘You say love, and yet your eye’) / Lines to Mr Hodgson (Written on Board the Lisbon Packet) / Maid of Athens, ere we part / Written after Swimming from Sestos to Abydos / To Thyrza (‘Without a stone to mark the spot’) / An Ode to the Framers of the Frame Bill / Lines to a Lady Weeping / The Waltz / Remember Thee! Remember Thee! / Ode to Napoleon Buonaparte / Stanzas for Music / She walks in beauty / The Destruction of Sennacherib / Napoleon’s Farewell (From the French) / From the French (‘Must thou go, my glorious Chief’) / When we two parted / Fare thee well! / Prometheus / Darkness / Epistle to Augusta / Lines (On Hearing that Lady Byron was Ill) / So, we’ll go no more a roving/ Epistle from Mr Murray to Dr Polidori (‘Dear Doctor, I have read your play’) / Epistle to Mr Murray (‘My dear Mr Murray’) / Stanzas to the Po / The Isles of Greece / Francesca of Rimini (from Dante, Inferno, V) / Stanzas (‘When a man hath no freedom’) / Who kill’d John Keats? / On This Day I Complete My Thirty-Sixth Year.
                        B5.    Modern Library (2001), ed. Leslie A. Marchand
a.      Selected Poetry of Lord Byron. Introduction by Thomas M. Disch. Notes by Jeffery Vail.
b.     Contents: complete CH, EBSR, VJ, G, TPC, B, Man; excerpts from DJ, BA, TC; + a generous selection of shorter poems.
                        B6.    Wordsworth Poetry Library (2006), ed. Paul Wright
a.      The Works of Lord Byron, 1995. Introduction and Bibliography, apparently not by Paul Wright.
b.     Selected Poetry of Lord Byron, 2006. Introductions and Notes to all works or groups of works.
c.      Contents: complete DJ, G, TC, EBSR, VJ; selections from CH; shorter works: To Caroline (1, 2, 3) / Lachin Y Gair / Darkness / To Thyrza / The Cornelian / When We Two Parted / Written After Swimming from Sestos to Abydos / On this Day I Complete My Thirty Sixth Year.

  1. PROSE
                        C1.    The Works of Lord Byron: Letters and Journals (1898–1901), 6 vols., ed. R. E. Prothero
a.      John Murray, 1898-1901. A new, revised and enlarged edition, with illustrations. Second Impression, 1902.
b.     Notes. Something like supplement to B1; sometimes regarded as vols. 8 to 13.
                        C2.    Byron’s Letters and Journals (1975-82), 12 vols., ed. Leslie Marchand
a.      Belknap Press, 1975-82.
                        C3.    The Complete Miscellaneous Prose (1991), ed. Andrew Nicholson
a.      Clarendon Press, 1991. Oxford English Texts.

[1] Mr Coleridge twice mentions 38 pieces (I, xi), but in his Bibliography (VII, 247-8), from which these contents are copied, he gives 40 distinct titles.
[2] Comparison of the contents in Mr Coleridge’s Bibliography (VII, 246-8) revealed only 11 additional poems, plus various other discrepancies in the titles and the number of the poems. Without full copies of A1 and A2, these issues cannot be solved conclusively. In the ToC of vol. 1, he also gives 11 poems after the heading Poems on Various Occasions.
[3] Copy of the 1st edn. of Hours of Idleness is available online. Comparison shows that only the number of newly published poems is the same as Mr Coleridge’s (I, xii). This is to be expected considering the confusion with the contents of earlier editions (note 2). There is an 1820 edn. with somewhat different contents, but it doesn’t fit Mr Coleridge’s description, either.
[4] Mr Coleridge mentions (VII, 183; II, xii) only nine poems added to the Seventh edition. But a copy from Internet Archive shows 14 additional poems.
[5] L'univers est une espèce de livre, dont on n'a lu que la première page quand on n'a vu que son pays. J'en ai feuilleté un assez grand nombre, que j'ai trouvé également mauvaises. Cet examen ne m'a point été infructueux. Je haïssais ma patrie. Toutes les impertinences des peuples divers, parmi lesquels j'ai vécu, m'ont reconcilié avec elle. Quand je n'aurais tiré d'autre bénéfice de mes voyages que celui-là, je n'en regretterais ni les frais ni les fatigues.
[6] Mr Coleridge is slightly inconsistent as regards the publication date of the 5th edn. He mentions once 4 May (IV, 158) and once 30 May 1818 (VII, 171).
[7] Mr Coleridge is slightly inconsistent as regards the publication date of the 1st edn. He mentions once 19 Dec (V, 203) and once 21 Dec 1821 (VII, 176).
[8] Mr Coleridge must be wrong here. The work is one of Byron’s least known and it was reviewed unfavourably at its first appearance. It is extremely unlikely that the third edition appeared two days (!) after the first as claimed by Mr Coleridge (V, 472). In his Bibliography (VII, 208) he merely states: “A Second and Third Editions, identical with the First, were issued in 1824”