Questions with regard to his personality, his morals, his theological opinions, his qualifications as an artist, his grammar, his technique, and so forth, have, perhaps inevitably, absorbed the attention of friend and foe, and the one point on which all might agree has been overlooked, namely, the fact that he taught us a great deal which it is desirable and agreeable to know--which has passed into common knowledge through the medium of his poetry. It is true that he wrote his plays and poems at lightning speed, and that if he was at pains to correct some obvious blunders, he expended but little labour on picking his phrases or polishing his lines; but it is also true that he read widely and studied diligently, in order to prepare himself for an outpouring of verse, and that so far from being a superficial observer or inaccurate recorder, his authority is worth quoting in questions of fact and points of detail. The appreciation of poetry is a matter of taste, and still more of temperament. Readers cannot be coerced into admiration, or scolded into disapproval and contempt. But if they are willing or can be persuaded to read with some particularity and attention the writings of the illustrious dead, not entirely as partisans, or with the view to dethroning other "Monarchs of Parnassus," they will divine the secret of their fame, and will understand, perhaps recover, the "first rapture" of contemporaries. Byron sneered and carped at Southey as a "scribbler of all works." He was himself a reader of all works, and without some measure of book-learning and not a little research the force and significance of his various numbers are weakened or obliterated. It is with the hope of supplying this modicum of book-learning that the Introductions and notes in this and other volumes have been compiled. I desire to acknowledge, with thanks, the courteous response of Mons. J. Capré, Commandant of the Castle of Chillon, to a letter of inquiry with regard to the "Souterrains de Chillon." I have to express my gratitude to Sir Henry Irving, to Mr. Joseph Knight, and to Mr. F. E. Taylor, for valuable information concerning the stage representation of _Manfred_ and _Marino Faliero_. I am deeply indebted to Dr. Richard Garnett, C.B., and to my friend, Mr. Thomas Hutchinson, for assistance in many important particulars during the construction of the volume. I must also record my thanks to Mr. Oscar Browning, Mr. Josceline Courtenay, and other correspondents, for information and assistance in points of difficulty. I have consulted and derived valuable information from the following works: _The Prisoner of Chillon_, etc., by the late Professor Kölbing; _Mazeppa_, by Dr. Englaender; _Marino Faliero avanti il Dogado_ and _La Congiura_ (published in the _Nuovo Archivio Veneto_), by Signor Vittorio Lazzarino; and _Selections from the Poetry of Lord Byron_, by Dr. F. I. Carpenter of Chicago, U.S.A.