Canto II XLVIII

Lord Byron (1788–1824) · 1812–1818

iambic pentameter · spenserian stanza · 27 lines · from Childe Harold's Pilgrimage

From the dark barriers of that rugged clime,E'en to the centre of Illyria's vales,Childe Harold passed o'er many a mount sublime,Through lands scarce noticed in historic tales:Yet in famed Attica such lovely dalesAre rarely seen; nor can fair Tempe boastA charm they know not; loved Parnassus fails,Though classic ground, and consecrated most,To match some spots that lurk within this lowering coast.

He passed bleak Pindus, Acherusia's lake,And left the primal city of the land,And onwards did his further journey takeTo greet Albania's chief, whose dread commandIs lawless law; for with a bloody handHe sways a nation, turbulent and bold:Yet here and there some daring mountain-bandDisdain his power, and from their rocky holdHurl their defiance far, nor yield, unless to gold.

Monastic Zitza! from thy shady brow,Thou small, but favoured spot of holy ground!Where'er we gaze, around, above, below,What rainbow tints, what magic charms are found!Rock, river, forest, mountain all abound,And bluest skies that harmonise the whole:Beneath, the distant torrent's rushing soundTells where the volumed cataract doth rollBetween those hanging rocks, that shock yet please the soul.

Words in this poem

clime n.
A climate; a tract or region of the earth. See Climate. [L. clima. See Climate.]
centre v. i.
To be placed in a center; to be central.
childe n.
A cognomen formerly prefixed to his name by the oldest son, until he succeeded to his ancestral titles, or was knighted; as, Childe Roland.
scarce a.
Not plentiful or abundant; in small quantity in proportion to the demand; not easily to be procured; rare; uncommon. [OE. scars, OF. escars, eschars, LL. scarpsus, for L. excerptus, p. p. of excerpere to pick out, and hence to contract, to shorten; ex (see Ex-) + carpere. See C]
historic a.
Of or pertaining to history, or the record of past events; as, an historical poem; the historic page. [L. historicus, Gr. historique. See History.]
parnassus n.
A mountain in Greece, sacred to Apollo and the Muses, and famous for a temple of Apollo and for the Castalian spring. Grass of Parnassus. (Bot.) See under Grass, and Parnassia.
classic a.
Of or relating to the first class or rank, especially in literature or art. [L. classicus relating to the classes of the Roman people, and especially to the frist class; hence, of the first rank, superior, from classis class: cf. F. clas]
primal a.
First; primary; original; chief. [LL. primalis, fr. L. primus the first. See Prime, a.]
favoured a.
Countenanced; aided; regarded with kidness; as, a favored friend.
harmonise v. i.
To agree in action, adaptation, or effect on the mind; to agree in sense or purport; as, the parts of a mechanism harmonize. [Cf. F. harmoniser.]
volumed a.
Having the form of a volume, or roil; as, volumed mist.

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

Canto II XLVIII is in the public domain. This text is taken from Childe Harold's Pilgrimage, Project Gutenberg ebook #5131; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.

Cite as: Lord Byron, Canto II XLVIII, in Childe Harold's Pilgrimage (1812–1818), text of Project Gutenberg ebook #5131, Laurel, https://laurelpoetry.com/poem/byron-childe-harold/canto-ii-xlviii.html, id L06521.

Form and metre

Canto II XLVIII is 27 lines in 3 stanzas of 9 lines each. Every stanza rhymes ABABBCBCC, the Spenserian stanza. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 91%). 97% of its stressed syllables fall where the metre puts the beat. The lines average 10.3 syllables. 33% of the lines run on without a stop at the line end.

See other poems in the Spenserian stanza, other poems in iambic pentameter.

Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.

Rhyme words, stanza by stanza

The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.

  1. 1 ABABBCBCC climeA · valesB · sublimeA · talesB · dalesB · boastC · failsB · mostC · coastC
  2. 2 ABABBCBCC lakeA · landB · takeA · commandB · handB · boldC · bandB · holdC · goldC
  3. 3 ABABBCBCC browA · groundB · belowA · foundB · aboundB · wholeC · soundB · rollC · soulC
Scansion, line by line

Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic pentameter. How this is done.

LineSyl.Stress
From the dark barriers of that rugged clime,10···/˘··/˘·
E'en to the centre of Illyria's vales,10···/˘·····
Childe Harold passed o'er many a mount sublime,10·/˘··/··˘/
Through lands scarce noticed in historic tales:10···/˘·˘/˘·
Yet in famed Attica such lovely dales10···/˘˘·/˘·
Are rarely seen; nor can fair Tempe boast10·/˘····/˘·
A charm they know not; loved Parnassus fails,10·······/˘·
Though classic ground, and consecrated most,10·/˘··/˘·˘·
To match some spots that lurk within this lowering coast.12·········/˘·
He passed bleak Pindus, Acherusia's lake,10··········
And left the primal city of the land,10···/˘/˘···
And onwards did his further journey take10·/˘··/˘/˘·
To greet Albania's chief, whose dread command10··˘/˘···˘/
Is lawless law; for with a bloody hand10·/˘····/˘·
He sways a nation, turbulent and bold:10···/˘/˘˘··
Yet here and there some daring mountain-band10·····/˘/˘·
Disdain his power, and from their rocky hold10˘/·/···/˘·
Hurl their defiance far, nor yield, unless to gold.12··˘/˘·······
Monastic Zitza! from thy shady brow,10˘/˘····/˘·
Thou small, but favoured spot of holy ground!10···/˘··/˘·
Where'er we gaze, around, above, below,11˘˘/········
What rainbow tints, what magic charms are found!10·/···/˘···
Rock, river, forest, mountain all abound,10·/˘/˘/˘·˘/
And bluest skies that harmonise the whole:10·/˘··/˘···
Beneath, the distant torrent's rushing sound10···/˘/˘/˘·
Tells where the volumed cataract doth roll10···/˘/˘˘··
Between those hanging rocks, that shock yet please the soul.12···/˘·······
Notes from the edition 6

E. H. Coleridge's notes to Childe Harold's Pilgrimage, The Works of Lord Byron, Poetry vol. II (John Murray, 1899; Project Gutenberg #25340). Bracketed passages are the editor's; unbracketed are Byron's own (Cantos I-III) or John Cam Hobhouse's (Canto IV, his 'Historical Notes'). Digit footnotes ('[17]') are informational and numbered continuously through the whole book; end-notes keyed '[n.B.]' (Byron) or '[n.H.]' (Hobhouse) follow each canto and are numbered afresh from 1 there. Both kinds are placed here by matching each note's own quoted words against the site's text, not by the number or stanza the note states, because the site's text (Gutenberg #5131) and this edition (#25340) are different editions with different stanza counts in Canto I. Lettered footnotes ('[h]', '[dn]') are manuscript and edition variant readings and are not harvested, matching the treatment of Don Juan's and byron-works-3's lettered notes.

  1. Stanza 2, line 1 According to Pouqueville, the lake of Yanina; but Pouqueville is always out.

    [The lake of Yanina (Janina or Joannina) was the ancient Pambotis. "At the mouth of the gorge [of Suli], where it suddenly comes to an end, was the marsh, the Palus Acherusia, in the neighbourhood of which was the Oracle."--Geography of Greece, by H. F. Tozer, 1873, p. 121.]
  2. Stanza 2, line 3 [The travellers left Prevesa on October 1, and arrived at Janina on October 5. They left Janina on October 11, and reached Zitza at nightfall (Byron at 3 a.m., October 12). They left Zitza on October 13, and arrived at Tepeleni on October 19.]
  3. Stanza 2, line 4 The celebrated Ali Pacha. Of this extraordinary man there is an incorrect account in Pouqueville's Travels. [For note on Ali Pasha (1741-1822), see Letters, 1898, i. 246.]
  4. Stanza 2, line 7 Five thousand Suliotes, among the rocks and in the castle of Suli, withstood thirty thousand Albanians for eighteen years; the castle at last was taken by bribery. In this contest there were several acts performed not unworthy of the better days of Greece.

    [Ali Pasha assumed the government of Janina in 1788, but it was not till December 12, 1803, that the Suliotes, who were betrayed by their leaders, Botzaris and Koutsonika and others, finally surrendered.--Finlay's History of Greece, 1877, vi. 45-50.]
  5. Stanza 3, line 1 [On the evening of October 11, as the party was approaching Zitza, Hobhouse and the Albanian, Vasilly, rode on, leaving "Lord Byron and the baggage behind." It was getting dark, and just as the luckier Hobhouse contrived to make his way to the village, the rain began to fall in torrents. Before long, "the thunder roared as it seemed without any intermission; for the echoes of one peal had not ceased to roll in the mountains before another crash burst over our heads." Byron, dragoman, and baggage were not three miles from Zitza when the storm began, and they lost their way. After many wanderings and adventures they were finally conducted by ten men with pine torches to the hut; but by that time it was three o'clock in the morning. Hence the "Stanzas composed during a Thunderstorm."--Hobhouse's Travels in Albania, i. 69-71.]
  6. Stanza 3, line 1 The convent and village of Zitza are four hours' journey from Joannina, or Yanina, the capital of the Pachalick. In the valley the river Kalamas (once the Acheron) flows, and, not far from Zitza, forms a fine cataract. The situation is perhaps the finest in Greece, though the approach to Delvinachi and parts of Acarnania and AEtolia may contest the palm. Delphi, Parnassus, and, in Attica, even Cape Colonna and Port Raphti, are very inferior; as also every scene in Ionia, or the Troad: I am almost inclined to add the approach to Constantinople; but, from the different features of the last, a comparison can hardly be made.

The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.

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