Excerpt from The Dramas of Lord Byron: A Critical Study
Most people of culture have read Manfred and Cain; Byron's other plays are now almost unknown to that portion of the "general public" that reads poetry at all. Yet these plays deserve careful perusal, all but Werner, which is about as complete a failure as anything in literature. They are not absorbingly entertaining, but they are provocative of thought. Knowledge of them is essential, moreover, to the appreciation of B3Ton's entire achievement. There have been many monographs on the individual plays, but the whole group has never been studied with any degree of adequacy.1 Such a study is here essayed. It is introduced by a brief account of the chief characteristics of the drama of the romantic period, in order that Byron's plays -- too often regarded as a group of isolated phenomena - - may be related to the general historj' of dramatic literature.
I planned to print as an appendix to this study a full Thought-Index to Byron's complete works - poems, letters, journals, and scattered prose writings; but it outgrew the space provided for it and shall be published separately.
To record indebtedness is here a pleasure: to Professor J. W. Bright for constant encouragement and criticism; to Professor W. E. Leonard, of the University of Wisconsin, who has read my book in manuscript, for several valuable suggestions; to Air. John Murray for permission to use the copyright material in the Coleridge-Prothero Byron]a to Mr. Paul Elmer More and Mr. Richard Edgcumbe for courteous replies to queries; to Mr. George Shipley and Mr. Thomas DcG. Ruth for most welcome aid with the proofs; and to my earliest and best guide in poetry as in all tilings -- my father.
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