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Childe Harold's Pilgrimage de Lord Byron
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Childe Harold's Pilgrimage (edição: 1886)

de Lord Byron (Autor), William J. Rolfe (Editor)

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235685,621 (3.98)17
Childe Harold's Pilgrimage is a fascinating portrait of nineteenth-century Europe - disillusioned and ravaged by the wars of the post-revolutionary and Napoleonic eras. Our protagonist, whose breathtaking journey eerily echoes Byron's own life story, forgoes his destiny back home for the exciting unknown - the nature of humanity and the transformative effects of travel burst through the pages in four powerful cantos of Spenserian stanzas. Here is the poem that set Byron on his meteoric rise to fame in London society.… (mais)
Membro:iwegian
Título:Childe Harold's Pilgrimage
Autores:Lord Byron (Autor)
Outros autores:William J. Rolfe (Editor)
Informação:Ticknor an Company - Boston, The Student's Series of Standard Poetry
Coleções:Sua biblioteca
Avaliação:
Etiquetas:0002, poems, poetry

Detalhes da Obra

Childe Harold: Cantos I - IV de Lord Byron

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As soon as I finished reading this, I gave it 4 stars. Having let it sit in my mind for a bit and now as I sit down to write this review, I’m going to change it to 5. The poetry itself (in four cantos) is very good and I’d rate Byron’s work a solid 4. However the notes in the edition I read were spectacular and pushed my rating up. The almost 100 pages of notes include history, social issues, and contemporary commentary. They are written in English, Latin, classical Greek and Italian, and cite present and classical authors in their native tongues. So very cool and even further accelerate my desire to learn Latin.

Byron wrote the first two cantos and published them. These are interesting and good, but I think he’s still feeling out where he’s going with it. By the third canto, I began to see the Byron of later works turn from seedling to blossom. He’s mastering speed, pacing and content and you can almost see him reflecting and growing as a poet. By the fourth canto, he is in his own, filling my heart and mind with each stanza.

Like in his Curse of Minerva, published the same year as the first two cantos of Childe Harold, Byron calls out those who have looted and stolen Greek treasures (such as the Elgin Marbles):Dull is the eye that will not weep to see
Thy walls defaced, thy mouldering shrines removed
By British hands, which it had best behoved
To guard those relics ne'er to be restored.
Curst be the hour when from their isle they roved,
And once again thy hapless bosom gored,
And snatch'd thy shrinking Gods to northern climes abhorr'd!
Canto II: XV As I’m starting to look into Horace’s works, it was fun to run across this oft cited stanza:Then farewell, Horace; whom I hated so,
Not for thy faults, but mine; it is a curse
To understand, not feel thy lyric flow,
To comprehend, but never love thy verse,
Although no deeper Moralist rehearse
Our little life, nor Bard prescribe his art,
Nor livelier Satirist the conscience pierce,
Awakening without wounding the touch'd heart,
Yet fare thee well–upon Soracte's ridge we part.
Canto IV: LXXVII One thought I had continually as I read through Childe Harold’s Pilgrimage was that Byron’s poetry (and most poetry) should be read aloud. The cadences that develop as you speak it add another depth to the work. It’s almost like listening to classical music. You can hear it on one level and appreciate it, but sometimes, there’s something else just underneath perception that swells or crushes your heart. I get this with Mozart and I get it with many selections from Byron (e.g. this poem, Mazeppa, and parts of Manfred). Byron was a fan of Coleridge’s Christabel and Kubla Khan, and I can see why as those poems also carry beautiful imagery and pacing within them. ( )
  drew_asson | Dec 3, 2020 |
Da Robin Williams i Døde poeters klub overtager engelskundervisningen, starter han med at gøre op med en lærebog i litteratur. Den argumenterer for, at man kan sammenligne litteratur ved at måle værkerne på to dimensioner: Emnets tyngde og stilens kvalitet. Jeg nævner det, fordi Lord Byron er eksemplet på en forfatter, der leverer højt på den æstetiske dimension men falder igennem på indholdet. Williams giver ikke meget for teorien og får sine elever til rive siderne ud af bogen og lægge vægt på indlevelse fremfor analyse. Men når man læser Byron er der nu alligevel noget om det. Sproget er flot, men der er også meget patos, som ikke rigtigt fører nogen steder hen.

Childe Harold’s Pilgrimage blev udgivet mellem 1812 og 1818. Den består af fire kantater, som tilsammen beskriver to rejser gennem Europa. Den første går fra England til Portugal, Spanien og videre til Grækenland, mens den anden går fra England over Belgien, Rhinlandet og Sydfrankrig for at slutte i Italien. Der er klare paralleller til Byrons egne rejser, og da Harold dårligt træder frem som en selvstændig karakter, er det ikke overraskende, at der traditionelt sættes lighedstegn mellem fortællerstemmen og Byron selv.

Indholdsmæssigt afspejler bogen de voldsomme forandringer, som verden havde været ude for. De første dele (udgivet i 1812) hylder Portugal og Spanien for deres igangværende modstandskamp mod Frankrig, og den anden rejse dvæler ved Waterloo og det endelige opgør med Napoleon. Samtidig er værket præget af ambivalens. På den ene side giver Byron stemme til den engelske (og andre nationers) kamp mod fransk ekspansion, men på den anden side taler han frihedens og oplysningens sag, altså det ideologiske grundlag for revolutionerne i Amerika og Frankrig.

Den ambivalens kommer f.eks. til udtryk i omtalen af Waterloo, som var en triumf for England og dets allierede. Napoloen blev ”Pierced by the shaft of banded nations” men var prisen “reviving thralldom”? (III, 18-19) Den ses også I omtalen af Rousseau (III, 77-81) og i sammenligningen mellem udviklingen i USA og i Frankrig:

”Can tyrants but by tyrants conquered be,
And Freedom find no champion an no child
Such as Columbia saw arise when she
Sprung forth a Pallas, armed and undefiled?
Or must such minds be nourished in the wild,
Deep in the unpruned forest, midst the roar
Of cataracts, where nursing nature smiled
On infant Washington? Has Earth no more
Such seeds whithin her breed, or Europe no such Shore?” (IV, 96)

Det andet fremtrædende spor er længslen efter fortiden. Rejserne går til Grækenland og Italien, men de går også til den antikke kulturs højsæder, ligesom der er stor beundring for den italienske renæssance. Hos Byron kan man på den ene side stadig spore renæssancens hyldest af Rom som en civilisation, der ikke bare var imponerende i sig selv, men som også overgik alt hvad eftertiden havde at byde på. På den anden side optræder han også som en moderne turist, der betragter alt fra gravmæler til slagmarker. Der er stadig beundring og tristhed over f.eks. Grækenlands forfald, men der er også en følelse af distance og overlegenhed.

”The sun, the soil, but not the slave, the same;
Unchanged in all except its foreign lord –
Preserves alike its bounds and boundless fame;
The Battle-field, where Persia’s victim horde
First Bowed beneath the brunt of Hellas’ sword” (II, 89)

Er man historisk interesseret er der meget at hente i passager som disse. Men der er også mange strofer fyldt med mere patos, end jeg bryder mig om. Det er ’thy’ og ’thine’, ’doth’ og ’oh!’ i en grad, der bliver lidt anstrengende. Når der samtidig manglede personer, som jeg kunne identificere mig med, blev det trods Byrons sproglige kvaliteter en kamp at komme igennem bogen. Og derfor er jeg tilbøjelig til at give lærebogen fra filmen ret. Stilen er flot, men indholdet var lidt tyndt. ( )
  Henrik_Madsen | May 5, 2018 |
This long poetic story is written in four cantos and took Byron eight years to complete. It is a travelogue detailing a young man's quest for new experiences and is said to parallel Byron's own travels through Europe and the Near East. I read it piecemeal, over a period of time after I happened upon a copy at a library sale and I was curious about its interesting name. It was hard for my modern mind to gets its full meaning and scope because I lack so much of the classic grounding that would explain so many of the allusions in the work. Still, I was familiar with some of them and I am glad that I did persevere and complete it. I looked Lord Byron up in my Benet's Readers Encyclopedia. I read that in his many works the protagonist is almost always Byron himself thinly veiled and especially in the lengthy Don Juan, that I will probably never read. I guess I would have to confess that I didn't really enjoy reading Childe Harold. I would like to read and fully understand the works of the ancients, but in reality I usually read rather light literature, not often caring for the more thoughtful writings that are part of my own generation and experience and yet, I will get some of them read because sometimes I do buy books that are a bit above my real interests and intellect just to challenge myself.
  JanetMcK | Sep 19, 2013 |
Byron’s typical hero probably had been invented in the German Romanticism. His features are intelligence, toughness, a high capability to adapt in any conditions, and a certain boyishness both in body and mind.
  hbergander | Dec 12, 2011 |
Long romantic poem, partly autobiographical. The serious counterpart of the satirical Don Juan.
  Fledgist | Jan 2, 2010 |
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Childe Harold's Pilgrimage is a fascinating portrait of nineteenth-century Europe - disillusioned and ravaged by the wars of the post-revolutionary and Napoleonic eras. Our protagonist, whose breathtaking journey eerily echoes Byron's own life story, forgoes his destiny back home for the exciting unknown - the nature of humanity and the transformative effects of travel burst through the pages in four powerful cantos of Spenserian stanzas. Here is the poem that set Byron on his meteoric rise to fame in London society.

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