SARDANAPALUS,

A TRAGEDY. (1)

"Mem.

(1) [On the original MS. Lord Byron has written:Ravenna, May 27. 1821.-I began this drama on the 13th of January, 1821; and continued the two first acts very slowly, and by intervals. The three last acts were written since the 13th of May, 1821 (this present month); that is to say, in a fortnight." The following are extracts from Lord B.'s diary and letters:

"January 13. 1821. Sketched the outline and Dram. Pers. of an intended tragedy of Sardanapalus, which I have for some time meditated. Took the names from Diodorus Siculus, (I know the history of Sardanapalus, and have known it since I was twelve years old,) and read over a pasLage in the ninth volume of Mitford's Greece, where he rather vindicates

the memory of this last of the Assyrians. Carried Teresa the Italian translation of Grillparzer's Sappho. She quarrelled with me, because I said that love was not the loftiest theme for a tragedy; and, having the advantage of her native language, and natural female eloquence, she overcame my fewer arguments. I believe she was right. I must put more love into 'Sardanapalus' than I intended."

"May 25. I have completed four acts. I have made Sardanapalus brave, (though voluptuous, as history represents him,) and also as amiable as my poor powers could render him. I have strictly preserved all the unities hitherto, and mean to continue them in the fifth, if possible; but NOT for the stage."

"May 30. By this post I send you the tragedy. You will remark that the unities are all strictly preserved. The scene passes in the same hall always: the time, a summer's night, about nine hours or less; though it begins before sunset, and ends after sunrise. It is not for the stage, any more than the other was intended for it; and I shall take better care this time that they don't get hold on't."

"July 14. I trust that 'Sardanapalus' will not be mistaken for a political play; which was so far from my intention, that I thought of nothing but Asiatic history. My object has been to dramatise, like the Greeks (a modest phrase), striking passages of history and mythology. You will find all this very unlike Shakspeare; and so much the better in one sense, for I look upon him to be the worst of models, though the most extraordinary of writers. It has been my object to be as simple and severe as Alfieri, and I have broken down the poetry as nearly as I could to common language. The hardship is that, in these times, one can neither speak of kings nor queens without suspicion of politics or personalities. I intended neither. July 22. Print away, and publish. I think they must own that I have more styles than one. 'Sardanapalus' is, however, almost a comic cha racter: but, for that matter, so is Richard the Third. Mind the unities, which are my great object of research. I am glad Gifford likes it: as for the million, you see I have carefully consulted any thing but the taste of the day for extravagant coups de théâtre.'"

Sardanapalus was published in December, 1821, and was received with very great approbation. (1) — E.]

(1) The following is an extract from The Life of Dr. Parr:-" In the course of the evening the Doctor cried out-Have you read Sardanapalus?'-'Yes, Sir?- Right; and you couldn't sleep a wink after it?' -'No.'-' Right, right-now don't say a word more about it to-night." -The memory of that fine poem seemed to act like a spell of horrible fascination upon him."

ΤΟ

THE ILLUSTRIOUS GOETHE

A STRANGER

PRESUMES TO OFFER THE HOMAGE

OF A LITERARY VASSAL TO HIS LIEGE LORD,

THE FIRST OF EXISTING WRITERS,

WHO HAS CREATED

THE LITERATURE OF HIS OWN COUNTRY,

AND ILLUSTRATED THAT OF EUROPE.

THE UNWORTHY PRODUCTION

WHICH THE AUTHOR VENTURES TO INSCRIBE TO HIM

IS ENTITLED

SARDANAPALUS. (1)

(1) [" Well knowing myself and my labours, in my old age, I could not but reflect with gratitude and diffidence on the expressions contained in this dedication, nor interpret them but as the generous tribute of a superior genius, no less original in the choice than inexhaustible in the materials of his subjects." — GOETHE.]

PREFACE.

IN publishing the following Tragedies (1) I have only to repeat, that they were not composed with the most remote view to the stage. On the attempt made by the Managers in a former instance, the public opinion has been already expressed. With regard to my own private feelings, as it seems that they are to stand for nothing, I shall say nothing.

For the historical foundation of the following compositions the reader is referred to the Notes.

The Author has in one instance attempted to preserve, and in the other to approach, the "unities;" conceiving that with any very distant departure from them, there may be poetry, but can be no drama. He is aware of the unpopularity of this notion in present English literature; but it is not a system of his own, being merely an opinion, which, not very long ago, was the law of literature throughout the world, and is still so in the more civilised parts of it. But" nous avons changé tout cela," and are reaping the advantages of the change. The writer is far from conceiving that any thing he can adduce by personal precept or example can at all approach his

(1) ["Sardanapalus” originally appeared in the same volume with "The Foscari" and "Cain."- -E.]