This is one of Byron’s longer poems, spanning more than eighty lines. Gothic and dark in nature, it is not broken up into stanzas. The poem is instead arranged as one long piece of text in order to convey its theme of “eternal space” and the darkness of the night. As with many other poems, Byron uses nature to explore the characters of men. He indicates that “Happy were those who dwelt within the eye/Of the volcanos…” and uses light as an attribute that is associated with happiness and hope. On the other hand, the lines “And men forgot their passions in the dread/Of this their desolation,” convey the opposite. At end of the poem, Byron explores the world without nature and without man (“seasonless, herbless, treelss, manless, lifeless”). This world has no highs and lows as the world around us (“And nothing stirred within their silent depths”) but that is what also makes this world dead and empty.
This is another short Byron poem of three stanzas and twelve lines. The poem conveys the concept of “a-roving” by incorporating words that play with the long ‘o’ sound in “roving.” Words and phrases like “no more,” “moon,” “sword,” and “too soon,” depict the actual motion of “a-roving” in order to illustrate the idea to the reader. Other words such as “loving” are rhymed with “roving” and help to further propagate the idea of motion even though they do not have the long ‘o’ sound. Byron rhymes the end syllables of each line but the rhymes alternate and further contribute to conveying the idea of motion. For example, in the second stanza, soft words like “sheath” and “breathe” alternate with arresting words like “breast” and “rest.”
This is a short poem of two stanzas and sixteen lines. It is written in first person with only one mention of the author. What is particularly interesting about this poem is the personification of the concept of beauty. While the metaphor of nature as a woman (Mother Nature) is nothing new, Byron’s interpretation remains fresh because of his way of grounding the metaphor in very specific and concrete details. In particular, the word beauty is capitalized and depicted as as a mother with daughters, starting with the first line (“There be none of Beauty’s daughters”). Byron then elaborates on this idea in the second stanza in the lines “Whose breast is gently heaving/Like an infant’s asleep.” Here words like “breast” and “infant” are used to reinforce the concept of Beauty as not only an abstract mother but also one with specific offspring (daughters).
This short poem consists of three stanzas and a total of fifteen lines. It is written in third person and the author makes no mention of himself as the speaker. The poem begins with the line “she walks in beauty” which also serves as the poem’s title and uses it to create the simile. “She walks in beauty, like the night” is a comparison that permeates and defines the rest of the poem. Images of the “one shade the more,” “one ray the less,” and “raven” reinforce this simile and characteristics like “cloudless,” clear and calm help define the night. By pointing out that clear and calm nights typically follow good and peaceful days, Byron finishes the poem and the comparison between this night and this peaceful, good, and innocent woman (“So soft, so calm,…But tell of days in goodness spent,/A mind at peace with all below…”).
This is a relatively short lyric and song poem, of ten stanzas of four lines each. Byron is the speaker and he refers to himself in the first person. In the second stanza, Byron uses imagery from nature as a metaphor for his age. In particular, he compares his days to “a yellow leaf” and writes that “the flowers and fruits of love are gone.” Yellow leaves are a sign of maturity but not full fledged old age. In the fall, after the fruits and flowers are gone, the leaves turn colors and fall off. Thus, in this poem, Byron conveys that, like the leaves, his age makes him mature and seasoned but not yet old and full of regret.