Don Juan: Dedication

Bob Southey! You're a poet—Poet-laureate,
        And representative of all the race;
    Although 'tis true that you turn'd out a Tory at
        Last—yours has lately been a common case;
    And now, my Epic Renegade! what are ye at?
        With all the Lakers, in and out of place?
    A nest of tuneful persons, to my eye
    Like "four and twenty Blackbirds in a pye;II
    "Which pye being open'd they began to sing"
      (This old song and new simile holds good),
  "A dainty dish to set before the King,"
      Or Regent, who admires such kind of food;
  And Coleridge, too, has lately taken wing,
      But like a hawk encumber'd with his hood,
  Explaining Metaphysics to the nation—
  I wish he would explain his Explanation.III

  You, Bob! are rather insolent, you know,
      At being disappointed in your wish
  To supersede all warblers here below,
      And be the only Blackbird in the dish;
  And then you overstrain yourself, or so,
      And tumble downward like the flying fish
  Gasping on deck, because you soar too high, Bob,
  And fall, for lack of moisture quite a-dry, Bob!IV

  And Wordsworth, in a rather long "Excursion"
      (I think the quarto holds five hundred pages),
  Has given a sample from the vasty version
      Of his new system to perplex the sages;
  'Tis poetry—at least by his assertion,
      And may appear so when the dog-star rages—
  And he who understands it would be able
  To add a story to the Tower of Babel.V

  You—Gentlemen! by dint of long seclusion
      From better company, have kept your own
  At Keswick, and, through still continu'd fusion
      Of one another's minds, at last have grown
  To deem as a most logical conclusion,
      That Poesy has wreaths for you alone:
  There is a narrowness in such a notion,
  Which makes me wish you'd change your lakes for Ocean.VI

  I would not imitate the petty thought,
      Nor coin my self-love to so base a vice,
  For all the glory your conversion brought,
      Since gold alone should not have been its price.
  You have your salary; was't for that you wrought?
      And Wordsworth has his place in the Excise.
  You're shabby fellows—true—but poets still,
  And duly seated on the Immortal Hill.VII

  Your bays may hide the baldness of your brows—
      Perhaps some virtuous blushes—let them go—
  To you I envy neither fruit nor boughs—
      And for the fame you would engross below,
  The field is universal, and allows
      Scope to all such as feel the inherent glow:
  Scott, Rogers, Campbell, Moore and Crabbe, will try
  'Gainst you the question with posterity.VIII

  For me, who, wandering with pedestrian Muses,
      Contend not with you on the winged steed,
  I wish your fate may yield ye, when she chooses,
        The fame you envy, and the skill you need;
  And, recollect, a poet nothing loses
      In giving to his brethren their full meed
  Of merit, and complaint of present days
  Is not the certain path to future praise.IX

  He that reserves his laurels for posterity
      (Who does not often claim the bright reversion)
  Has generally no great crop to spare it, he
      Being only injur'd by his own assertion;
  And although here and there some glorious rarity
      Arise like Titan from the sea's immersion,
  The major part of such appellants go
  To—God knows where—for no one else can know.X

  If, fallen in evil days on evil tongues,
      Milton appeal'd to the Avenger, Time,
  If Time, the Avenger, execrates his wrongs,
      And makes the word "Miltonic" mean " sublime ,"
    He deign'd not to belie his soul in songs,
      Nor turn his very talent to a crime;
    He did not loathe the Sire to laud the Son,
  But clos'd the tyrant-hater he begun.XI

  Think'st thou, could he—the blind Old Man—arise
      Like Samuel from the grave, to freeze once more
  The blood of monarchs with his prophecies
      Or be alive again—again all hoar
  With time and trials, and those helpless eyes,
      And heartless daughters—worn—and pale—and poor;
  Would  he adore a sultan?  he obey
  The intellectual eunuch Castlereagh?XII

  Cold-blooded, smooth-fac'd, placid miscreant!
      Dabbling its sleek young hands in Erin's gore,
  And thus for wider carnage taught to pant,
      Transferr'd to gorge upon a sister shore,
  The vulgarest tool that Tyranny could want,
      With just enough of talent, and no more,
  To lengthen fetters by another fix'd,
  And offer poison long already mix'd.XIII

  An orator of such set trash of phrase
      Ineffably—legitimately vile,
  That even its grossest flatterers dare not praise,
    Nor foes—all nations—condescend to smile,
  Not even a sprightly blunder's spark can blaze
    From that Ixion grindstone's ceaseless toil,
  That turns and turns to give the world a notion
  Of endless torments and perpetual motion.XIV


  A bungler even in its disgusting trade,
    And botching, patching, leaving still behind
  Something of which its masters are afraid,
    States to be curb'd, and thoughts to be confin'd,
  Conspiracy or Congress to be made—
    Cobbling at manacles for all mankind—
  A tinkering slave-maker, who mends old chains,
  With God and Man's abhorrence for its gains.XV


  If we may judge of matter by the mind,
    Emasculated to the marrow  It
  Hath but two objects, how to serve, and bind,
    Deeming the chain it wears even men may fit,
  Eutropius of its many masters, blind
    To worth as freedom, wisdom as to Wit,
  Fearless—because  no feeling dwells in ice,
  Its very courage stagnates to a vice.XVI


  Where shall I turn me not to  view its bonds,
    For I will never  feel them?—Italy!
  Thy late reviving Roman soul desponds
    Beneath the lie this State-thing breath'd o'er thee—
  Thy clanking chain, and Erin's yet green wounds,
    Have voices—tongues to cry aloud for me.
  Europe has slaves—allies—kings—armies still,
  And Southey lives to sing them very ill.XVII


  Meantime—Sir Laureate—I proceed to dedicate,
    In honest simple verse, this song to you,
  And, if in flattering strains I do not predicate,
    'Tis that I still retain my "buff and blue";
  My politics as yet are all to educate:
    Apostasy's so fashionable, too,
  To keep  one creed's a task grown quite Herculean;
  Is it not so, my Tory, ultra-Julian?
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Analysis (ai): The poem adopts a mocking, conversational tone, using exaggerated praise to undercut its subjects. Byron targets Southey, Coleridge, and Wordsworth with personal jabs framed as literary critique. The use of the nickname "Bob" diminishes Southey’s official stature, contrasting his role as Poet Laureate with petty ambition. Religious and political betrayal is implied through the label “Epic Renegade,” linking apostasy in belief with artistic failure.
Ideological Conflict: Byron positions himself against the Lake Poets’ turn to conservatism, viewing their earlier radicalism as abandoned for establishment approval. He equates artistic legitimacy with political integrity, suggesting that state appointments corrupt poetic authority. The Excise job mention discredits Wordsworth’s idealism as self-serving. Payment for poetry becomes a symbol of compromised vision.
Literary Community and Rivalry: The "nest of tuneful persons" critiques insular literary circles, likening them to caged birds performing for royalty. The image undermines claims of transcendence or originality. Byron frames creativity as stifled by mutual admiration and geographic seclusion. He elevates broader engagement over regional clustering of like-minded artists.
Form and Allusion: Canto-like stanzas with ottava rima reflect Byron’s narrative strategy, yet here used satirically rather than epically. The rhyme scheme enables punchlines and dismissive closures. Quotations from nursery rhyme ("four and twenty Blackbirds") mix high and low culture to deflate pretension. Classical references are minimal compared to his other works, favoring contemporary targets.
Comparative Context: Unlike Childe Harold, which meditates on history and solitude, this piece thrives on direct engagement and polemic. It lacks the introspection typical of Romantic lyricism, instead embracing public controversy. While Shelley praises idealism and Keats avoids polemic, Byron weaponizes poetry as critique. Most Romantic dedications are deferential; this inverts the convention.
Reception and Obscurity: Less studied than the main cantos of Don Juan, this dedication is often treated as prefatory noise rather than thematic anchor. Yet it establishes the poem’s anti-establishment tone and defines Byron’s stance against institutionalized art. Its combative style foreshadows the satire to come, making it structurally pivotal despite critical neglect.  (hide)
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Spankbucket - Byron is my poetic hero!
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