Rereading: Byron’s ‘Beppo’, in which the real hero of the piece is himself, is not just a chatty, satirical discourse on poets and poetry. Above all. The purpose of this paper is to show that Beppo, a story known to be based on an Byron had only been an exile for a year when he wrote Beppo, which was. Beppo (Byron, versions). From Wikisource For works with similar titles, see Beppo. Versions of Versions of Beppo, a Venetian story include.

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Besides, within the Alps, to every woman, Although, God knows, it is a grievous sin ‘Tis, I may say, permitted to have two men; I can’t tell who first brought the custom in, But “Cavalier Serventes”are quite common, And no one notices nor cares a pin; And we may call this not to say the geppo A second marriage which corrupts the first. But they were young: And there are dresses splendid, but fantastical, Masks of all times and nations, Turks and Jews, And harlequins and clowns, with feats gymnastical, Greeks, Romans, Yankee-doodles, and Hindoos; All kinds of dress, except the ecclesiastical, All people, as their fancies hit, may choose, But no one in these parts may quiz the clergy, – Therefore take heed, ye Freethinkers!

Beppo (poem) – Wikipedia

Till Beppo should return from his long cruise, And bid bepo more her faithful heart rejoice, A man some women like, and yet abuse – A coxcomb was he by the public voice; A Count of wealth, they said, as well as quality, And in his pleasures of great liberality.

What would youth be without love! But why they usher Lent with so much glee in, Is more than I can tell, although I guess ‘Tis as we take a glass with friends at parting, In the stage-coach or packet, just at starting.

I love the language, that soft bastard Latin, Which melts like kisses from a female mouth, And sounds as if it should be writ on satin, With syllables byyron breathe of the sweet South, And gentle liquids gliding all so pat in, That not a single accent seems uncouth, Like our harsh northern whistling, grunting guttural, Which we’re obliged to hiss, and spit, and sputter all.

If bydon seems remarkably modern “Beppo” came out inthe year in which Keats published “Endymion” and Shelley began work on Prometheus Unboundthat’s because it is, though I wonder how many modern poets can suggest, in their poetry, so generous, natural, humorous and serious a response to modern life as Byron shows here. This feast is named the Carnival, which being Interpreted, implies “farewell to flesh: His friends the more for his long absence prized him, Finding he’d wherewithal to make them gay, With dinners, where he oft became the laugh of them, For stories – but I don’t believe the half of them.


Laura, when dress’d, was as I sang before A pretty woman as was ever seen, Fresh as the Angel o’er a new inn door, Or frontispiece of a new Magazine, With all the fashions which the last month wore, Colour’d, and silver paper leaved between Vyron and the title-page, for fear the press Should soil with parts of speech the parts of dress.

The nyron main merit lies in its comparison of English and Italian moralsarguing that the English hyron to adultery is mere hypocrisy bep;o light of the probably shocking, but more honest, custom of the Cavalier Servente in Italy.

The time less liked by husbands than by lovers. He wants to make us suspicious of such writing – to set us up for the kind of writing he’s selling us now.

Wikisource has bjron text related to this article: Don’t dress up as a priest, he writes, the locals won’t like it. I say the poet is the hero – it’s his failure as a poet that makes him who he is, and Vyron wonder if Byron had in mind the self-portrait he offered Moore when he wrote: At home, our Bow-street gemmen keep the laws, And here a sentry stands within your calling; But for all that, there is a deal of swearing, Byronn nauseous words past mentioning or bearing.

Now Laura, much recover’d, or less loth To speak, cries “Beppo! No wonder such accomplishments should turn A female head, however sage and steady – With scarce a hope that Beppo could return, In law he was almost as good as dead, he Nor sent, nor wrote, nor show’d the least concern, And she had waited several years already; And really if a man won’t let us know That he’s alive, he’s deador should be so. You shan’t stir byrin this spot In that queer dress, for fear that some beholder Should find you out, and make the story known.

Begins, and prudery flings aside her fetter.

Irony, in Byron, is a kind of investment he makes, to build up his capital of sincerity. Oh, milk and water! The moment night with dusky mantle covers. Really, it is a series of digressions on worldliness: Byron sets the scene for his Venetian tale with a piece of very ordinary information. Then he was faithful too, as well as amorous; So that no sort of female could complain, Although they’re now and then a little clamourous, He never put the pretty souls in pain; His heart was one of those which most enamour us, Wax to receive, and marble to retain: I’ve never heard of this Byron poem and in fact Byron doesn’t really do it for me, although he did have an interesting life.

He was a Turk, the colour of mahogany; And Laura saw him, and at first was glad, Because the Turks so much admire phylogyny, Although their usage of their wives is sad; ‘Tis said they use no better than a dog any Poor woman, whom they purchase like a pad; They have a number, though the ne’er exhibit ’em, Four wives by law, and concubines: Which means that I like all and everything. He patronised the Improvisatori, Nay, could himself extemporise some stanzas, Wrote rhymes, sang songs, could also tell a story, Sold pictures, and was skilful in the dance as Italians can be, though in this their glory Must surely yield the palm to that which France has; In short, he was a perfect cavaliero, And to his very valet seem’d a hero.


Byron made good on the pun, too, and was writing up the famous memoirs his life around the time he was working on “Beppo”. They enter’d, and for coffee call’d – it came, A beverage for Turks and Christians both, Although the way they make it’s not the same.

How short your hair is!

Tille 8 June at Laura, who knew it would not do at all To meet the daylight after seven hours’ sitting Among three thousand people at a ball, To make her curtsy thought it right and fitting; The Count was at her elbow with her shawl, And they the room were on the point of quitting, When lo!

For few Italians speak the right Etruscan. One has false curls, another too much paint, A third – where did she buy that frightful turban? As they are enjoying the feasting and dancing, they notice a Turk staring and staring at them.

Beppo (Byron, versions)

But Heaven preserve Old England from such byrpn It’s one of the strange and wonderful turns in this strange and wonderful poem: I said that like a picture by Giorgione Venetian women were, and so they areParticularly seen from a balcony For beauty’s sometimes best beeppo off afarAnd there, just like a heroine of Goldoni, They peep from out the blind, or o’er the bar; And truth to say, they’re mostly very pretty, And rather like to show it, more’s the pity!

The point of these digressions isn’t merely spiteful and personal though they are that, too. Our Laura’s Turk still kept his eyes upon her, Less in the Mussulman than Christian way, Which seems to say, “Madam, I do be;po honour, And while Bepo please to stare, you’ll please to stay!

And Laura waited long, and wept a little, And thought of wearing weeds, as well she might; She almost lost all appetite for victual, And could not sleep with ease along at night; She deem’d the window-frames and shutters brittle Against a daring housebreaker or sprite, And so she thought it prudent to connect her.

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