The Vision of Judgement
By Lord Byron
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Lord Byron
Lord Byron was an English poet and the most infamous of the English Romantics, glorified for his immoderate ways in both love and money. Benefitting from a privileged upbringing, Byron published the first two cantos of Childe Harold’s Pilgrimage upon his return from his Grand Tour in 1811, and the poem was received with such acclaim that he became the focus of a public mania. Following the dissolution of his short-lived marriage in 1816, Byron left England amid rumours of infidelity, sodomy, and incest. In self-imposed exile in Italy Byron completed Childe Harold and Don Juan. He also took a great interest in Armenian culture, writing of the oppression of the Armenian people under Ottoman rule; and in 1823, he aided Greece in its quest for independence from Turkey by fitting out the Greek navy at his own expense. Two centuries of references to, and depictions of Byron in literature, music, and film began even before his death in 1824.
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The Vision of Judgement - Lord Byron
THE VISION OF JUDGEMENT
..................
Lord Byron
KYPROS PRESS
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Copyright © 2016 by Lord Byron
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TABLE OF CONTENTS
The Vision of Judgement
Introduction To the Vision Of Judgment.
Preface
The Vision of Judgment.
Variations in the Text
THE VISION OF JUDGEMENT
..................
INTRODUCTION TO THE VISION OF JUDGMENT.
Byron’s Vision of Judgment is a parody of Southey’s Vision of Judgement.
The acts or fyttes of the quarrel between Byron and Southey occur in the following order. In the summer of 1817 Southey, accompanied by his friends, Humphrey Senhouse and the artist Edward Nash, passed some weeks (July) in Switzerland. They visited Chamouni, and at Montanvert, in the travellers’ album, they found, in Shelley’s handwriting, a Greek hexameter verse, in which he affirmed that he was an atheist,
together with an indignant comment (fool!
also in Greek) superadded in an unknown hand (see Life of Shelley, by E. Dowden, 1886, ii. 30, note). Southey copied this entry into his note-book, and spoke of the circumstance on his return
(circ. August 12, 1817). In the course of the next year some one told Byron that a rumour had reached England that he and Shelley had formed a league of incest with two sisters,
and that Southey and Coleridge were the authors of the scandal. There is nothing to show through what channel the report of the rumour reached Byron’s ears, but it may be inferred that it was in his mind (see Letter to Murray, November 24, 1818, Letters, 1900, iv. 272) when he assailed Southey in the Dedication
(in good, simple, savage verse
) to the First Canto of Don Juan, which was begun September 6, 1818. Shelley, who was already embittered against Southey (see the account of a dinner at Godwin’s, November 6, 1817, Diary of H. C. Robinson, 1869, ii. 67), heard Byron read this Dedication,
and, in a letter to Peacock (October 8, 1818), describes it as being more like a mixture of wormwood and verdigrease than satire.
When Don Juan appeared (July 15, 1819), the Dedication
was not forthcoming, but of its existence and character Southey had been informed. Have you heard,
he asks (Letter to the Rev. H. Hill, Selections from the Letters, etc., 1856, iii. 142), "that Don Juan came over with a Dedication to me, in which Lord Castlereagh and I . . . were coupled together for abuse as the ‘two Roberts’? A fear of persecution (sic) from the one Robert is supposed to be the reason why it has been suppressed. Lord Byron might have done well to remember that the other can write dedications also; and make his own cause good, if it were needful, in prose or rhyme, against a villain, as well as against a