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    Manfred
    Manfred
    Manfred
    Ebook84 pages52 minutes

    Manfred

    By George Gordon, Lord Byron

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    About this ebook

    Manfred, a Faustian noble, is tortured by guilt over the death of his beloved, Astarte. He uses his mastery of language and spell-casting to summon seven spirits, from whom he seeks forgetfulness. The spirits are unable to control the past and thus cannot grant Manfred's plea.
    LanguageEnglish
    PublisherWilder Publications, Inc.
    Release dateJun 1, 2014
    ISBN9781627559027
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      Book preview

      Manfred - George Gordon, Lord Byron

      MANFRED

      Lord Byron

      Wilder Publications

      Copyright © 2017

      All rights reserved, including the right to reproduce this book or portions thereof in any form whatsoever.

      Manufactured in the United States of America

      10   9   8   7   6   5   4   3   2   1

      ISBN: 978-1-62755-902-7

      Table of Contents

      Introduction to Manfred

      Dramatis Personæ

      Manfred: A Dramatic Poem

      Act I

      Scene I.—Manfred alone.—Scene, a Gothic Gallery.—Time, Midnight.

      Scene II.—The Mountain of the Jungfrau.—Time, Morning.—

      Act II

      Scene I.—A Cottage amongst the Bernese Alps.—Manfred and the Chamois Hunter.

      Scene II.—A lower Valley in the Alps.—A Cataract.

      Scene III.—The Summit of the Jungfrau Mountain.

      Scene IV.—The Hall of Arimanes.—Arimanes on his Throne, a Globe of Fire, surrounded by the Spirits.

      Act III

      Scene I.—A Hall in the Castle of Manfred.

      Scene II.—Another Chamber.

      Scene III.—The Mountains.—The Castle of Manfred at some distance.—A Terrace before a Tower.—Time, Twilight.

      Scene IV.—Interior of the Tower.

      "There are more things in heaven and earth, Horatio,

      Than are dreamt of in your philosophy."

      [Hamlet, Act i. Scene 5, Lines 166, 167.]

      [Manfred, a choral tragedy in three acts, was performed at Covent Garden Theatre, October 29-November 14, 1834 [Denvil (afterwards known as Manfred Denvil) took the part of Manfred, and Miss Ellen Tree (afterwards Mrs. Charles Kean) played The Witch of the Alps]; at Drury Lane Theatre, October 10, 1863-64 [Phelps played Manfred, Miss Rosa Le Clercq The Phantom of Astarte, and Miss Heath The Witch of the Alps]; at the Prince's Theatre, Manchester, March 27-April 20, 1867 [Charles Calvert played Manfred]; and again, in 1867, under the same management, at the Royal Alexandra Theatre, Liverpool; and at the Princess's Theatre Royal, London, August 16, 1873 [Charles Dillon played Manfred; music by Sir Henry Bishop, as in 1834].

      Overtures, etc.

      "Music to Byron's Manfred" (overture and incidental music and choruses), by R. Schumann, 1850.

      Incidental Music, composed, in 1897, by Sir Alexander Campbell Mackenzie (at the request of Sir Henry Irving); heard (in part only) at a concert in Queen's Hall, May, 1899.

      "Manfred Symphony" (four tableaux after the Poem by Byron), composed by Tschaikowsky, 1885; first heard in London, autumn, 1898.]

      Introduction to Manfred

      Byron passed four months and three weeks in Switzerland. He arrived at the Hôtel d'Angleterre at Sécheron, on Saturday, May 25, and he left the Campagne Diodati for Italy on Sunday, October 6, 1816. Within that period he wrote the greater part of the Third Canto of Childe Harold, he began and finished the Prisoner of Chillon, its seven attendant poems, and the Monody on the death of Sheridan, and he began Manfred.

      A note to the Incantation (Manfred, act i. sc. 1, lines 192-261), which was begun in July and published together with the Prisoner of Chillon, December 5, 1816, records the existence of an unfinished Witch Drama (First Edition, p. 46); but, apart from this, the first announcement of his new work is contained in a letter to Murray, dated Venice, February 15, 1817 (Letters, 1900, iv. 52). I forgot, he writes, to mention to you that a kind of Poem in dialogue (in blank verse) or drama ... begun last summer in Switzerland, is finished; it is in three acts; but of a very wild, metaphysical, and inexplicable kind. The letter is imperfect, but some pages of extracts which were forwarded under the same cover have been preserved. Ten days later (February 25) he reverts to these extracts, and on February 28 he despatches a fair copy of the first act. On March 9 he remits the third and final act of his dramatic poem (a definition adopted as a second title), but under reserve as to publication, and with a strict injunction to Murray to submit it to Mr. G[ifford] and to whomsoever you please besides. It is certain that this third act was written at Venice (Letter to Murray, April 14), and it may be taken for granted that the composition of the first two acts belongs to the tour in the Bernese Alps (September 17-29), or to the last days at Diodati (September 30 to October 5, 1816), when the estro (see Letter to Murray, January 2, 1817) was upon him, when his Passions slept, and, in spite of all that had come and gone and could not go, his spirit was uplifted by the

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