INTRODUCTION TO THE DREAM. THE DREAM, which was written at Diodati in July, 1816 (probably towards the end of the month; see letters to Murray and Rogers, dated July 22 and July 29), is a retrospect and an apology. It consists of an opening stanza, or section, on the psychology of dreams, followed by some episodes or dissolving views, which purport to be the successive stages of a dream. Stanzas ii. and iii. are descriptive of Annesley Park and Hall, and detail two incidents of Byron's boyish passion for his neighbour and distant cousin, Mary Anne Chaworth. The first scene takes place on the top of " Diadem Hill," the cape" or rounded spur of the long ridge of Howatt Hill, which lies about half a mile to the south-east of the hall. The time is the late summer or early autumn of 1803. The "Sun of Love" has not yet declined, and the "one beloved face" is still shining on him; but he is beginning to realize that "her sighs are not for him," that she is out of his reach. The second scene, which belongs to the following year, 1804, is laid in the "antique oratory" (not, as Moore explains, another name for the hall, but "a small room built over the porch, or principal entrance of the hall, and looking into the courtyard "), and depicts the final parting. His doom has been pronounced, and his first impulse is to pen some passionate reproach, but his heart fails him at the sight of the แ Lady of his Love," serene and smiling, and he bids her farewell with smiles on his lips, but grief unutterable in his heart. Stanza iv. recalls an incident of his Eastern travels-a halt at noonday by a fountain on the route from Smyrna to Ephesus (March 14, 1810), "the heads of camels were seen peeping above the tall reeds " (see Travels in Albania, 1858, ii. 59). The next episode (stanza v.) depicts an imaginary scene, suggested, perhaps, by some rumour or more definite assurance, and often present to his "inward eye "—the "one beloved," the mother of a happy family, but herself a forsaken and unhappy wife. He passes on (stanza vi.) to his marriage in 1815, his bride "gentle" and "fair," but not the "one beloved "-to the wedding day, when he stood before an altar, "like one forlorn," confused by the sudden vision of the past fulfilled with Love the "indestructible"! In stanza vii. he records and analyzes the "sickness of the soul," the so-called "phrenzy" which had overtaken and changed the "Lady of his Love ;" and, finally (stanza viii.), ~ he lays bare the desolation of his heart, depicting himself as at enmity with mankind, but submissive to Nature, the "Spirit of the Universe," if, haply, there may be "reserved a blessing" even for him, the rejected and the outlaw. Moore says (Life, p. 321) that The Dream cost its author 'many a tear in writing"-being, indeed, the most mournful as well as picturesque "story of a wandering life" that ever came from the pen and heart of man." In his Real Lord Byron (i. 284) Mr. Cordy Jeaffreson maintains that The Dream "has no autobiographical value. . . . A dream it was, as false as dreams usually are." The character of the poet, as well as the poem itself, suggests another criticism. Byron suffered or enjoyed vivid dreams, and, as poets will, shaped his dreams, consciously and of set purpose, to the furtherance of his art, but nothing concerning himself interested him or awoke the slumbering chord which was not based on actual fact. If the meeting on the "cape crowned with a peculiar diadem," and the final interview in the "antique oratory" had never happened or happened otherwise; if he had not "quivered" during the wedding service at Seaham; if a vision of Annesley and Mary Chaworth had not flashed into his soul,-he would have taken no pleasure in devising these incidents and details, and weaving them into a fictitious narrative. He took himself too seriously to invent and dwell lovingly on the acts and sufferings of an imaginary Byron. The Dream is "picturesque" because the accidents of the scenes are dealt with not historically, but artistically, are omitted or supplied according to poetical licence; but the record is neither false, nor imaginary, nor unverifiable. On the other hand, the composition and publication of the poem must be set down, if not to malice and revenge, at least to the preoccupancy of chagrin and remorse, which compelled him to take the world into his confidence, cost what it might to his own self-respect, or the peace of mind and happiness of others. For an elaborate description of Annesley Hall and Park, written with a view to illustrate The Dream, see "A Byronian Ramble," Part II., the Athenæum, August 30, 1834. See, too, an interesting quotation from Sir Richard Phillips' unfinished Personal Tour through the United Kingdom, published in the Mirror, 1828, vol. xii. p. 286; Abbotsford and Newstead Abbey, by Washington Irving, 1835, p. 191, seq.; The House and Grave of Byron, 1855; and an article in Lippincott's Magazine, 1876, vol. xviii. pp. 637, seq. THE DREAM. I. OUR life is twofold: Sleep hath its own world, And dreams in their developement have breath, 1. [Compare "Come, blessed barrier between day and day." 2. [Compare " the night's dismay Saddened and stunned the coming day." ΙΟ 20 VOL. IV. Poetical Works, 1893, p. 170.] D 32 In stanza vii. he records and analyzes the "sickness of the soul," the so-called "phrenzy" which had overtaken and changed the "Lady of his Love ;" and, finally (stanza viii.), he lays bare the desolation of his heart, depicting himself as at enmity with mankind, but submissive to Nature, the "Spirit of the Universe," if, haply, there may be "reserved a blessing" even for him, the rejected and the outlaw. 66 Moore says (Life, p. 321) that The Dream cost its author many a tear in writing"-being, indeed, the most mournful as well as picturesque "story of a wandering life" that ever came from the pen and heart of man." In his Real Lord Byron (i. 284) Mr. Cordy Jeaffreson maintains that The Dream "has no autobiographical value. . . . A dream it was, as false as dreams usually are." The character of the poet, as well as the poem itself, suggests another criticism. Byron suffered or enjoyed vivid dreams, and, as poets will, shaped his dreams, consciously and of set purpose, to the furtherance of his art, but nothing concerning himself interested him or awoke the slumbering chord which was not based on actual fact. If the meeting on the "cape crowned with a peculiar diadem," and the final interview in the "antique oratory" had never happened or happened otherwise; if he had not "quivered" during the wedding service at Seaham; if a vision of Annesley and Mary Chaworth had not flashed into his soul,-he would have taken no pleasure in devising these incidents and details, and weaving them into He took himself too seriously to a fictitious narrative. invent and dwell lovingly on the acts and sufferings of an imaginary Byron. The Dream is "picturesque" because the accidents of the scenes are dealt with not historically, but artistically, are omitted or supplied according to poetical licence; but the record is neither false, nor imaginary, nor unverifiable. On the other hand, the composition and publication of the poem must be set down, if not to malice and revenge, at least to the preoccupancy of chagrin and remorse, which compelled him to take the world into his confidence, cost what it might to his own self-respect, or the peace of mind and happiness of others. For an elaborate description of Annesley Hall and Park, A Byronian written with a view to illustrate The Dream, see Ramble," Part II., the Athenæum, August 30, 1834. See, too, an interesting quotation from Sir Richard Phillips' unfinished Personal Tour through the United Kingdom, published in the Mirror, 1828, vol. xii. p. 286; Abbotsford and Newstead Abbey, by Washington Irving, 1835, p. 191, seq.; The House and Grave of Byron, 1855; and an article in Lippincott's Magazine, 1876, vol. xviii. pp. 637, seq. Π THE DREAM. I. OUR life is twofold: Sleep hath its own world, 1 And dreams in their developement have breath, 1. [Compare "Come, blessed barrier between day and day." the night's dismay Saddened and stunned the coming day." ΙΟ Poetical Works, 1893, p. 170.] 20 VOL. IV. D |