Вернер или наследство

by Lord Byron, Джордж Гордон Байрон, Николай Александрович Холодковский (Translator)

Стихотворная драме «Вернер или наследство» была впервые опубликована в 1822 г. и затем с переменным успехом шла на различных сценах Старого и Нового Света. Драма публиковалась с авторским посвящение И.В.Гете. Вернер, граф Зигедорф ‑ потомок славных богемских рыцарей. Но жизнь его почти вся целиком прошла в бедности и все его стремления сводятся только к тому, чтобы вернуть себе наследие отцов. Он потерял расположенее своего сурового отца и был изгнан из дома отчасти вследствие какого-то увлечения юности, но главным образом потому, что он женился на итальянке, дочери зажиточного тосканского горожанина, и отец его этот брак считал неравным.

238 pages, Kindle Edition

First published January 1, 1822

About the author

George Gordon Byron (invariably known as Lord Byron), later Noel, 6th Baron Byron of Rochdale FRS was a British poet and a leading figure in Romanticism. Amongst Byron's best-known works are the brief poems She Walks in Beauty, When We Two Parted, and So, we'll go no more a roving, in addition to the narrative poems Childe Harold's Pilgrimage and Don Juan. He is regarded as one of the greatest British poets and remains widely read and influential, both in the English-speaking world and beyond.

Byron's notabilty rests not only on his writings but also on his life, which featured upper-class living, numerous love affairs, debts, and separation. He was notably described by Lady Caroline Lamb as "mad, bad, and dangerous to know". Byron served as a regional leader of Italy's revolutionary organization, the Carbonari, in its struggle against Austria. He later travelled to fight against the Ottoman Empire in the Greek War of Independence, for which Greeks revere him as a national hero. He died from a fever contracted while in Messolonghi in Greece.

Reviews

[Anja · Rating 4 out of 5]

This has a strange ending I really like. No catharsis, Ulric ascending from perceived heroism to perceived villainy although none of it seems to touch him… very interesting character. Feels more like a flesh embodiment of hunterly urges than a person, but not in a shallow way. It’s more like he was wearing a person-mask at the beginning — cast there by the praise of other characters — that was gently slipping off the whole time. Even when he’d go pale at a potential confrontation, he didn’t feel any more human in my head because of it. The contemporary critics should’ve given this more credit! Maybe they did, but all I seem to see are the shit reviews