Lord Byron and the Albanian Journey: A Literary Pilgrimage

In September 1809, Byron arrived in Albania as part of his European tour. Accompanied by his close friend John Cam Hobhouse, he crossed into Albania from Ioannina (in present-day Greece) and was soon introduced to Ali Pasha, the ruler of Southern Albania. Byron spent several days in his court in Tepelena, where he was deeply impressed by the lavish hospitality, the distinctive Albanian dress, and the people. The poet’s encounter with Albania was not merely a geographical journey but also a poetic and imaginative exploration as he “adventured on a shore unknown/which all admire, but many dread to view” (Byron, 1980, Canto II, Stanza 43).

While the depictions of the country in Childe Harold’s Pilgrimage highlighted its untamed beauty, they also retained Orientalist stereotypes of an exotic and uncivilised country:

Land of Albania! Let me bend mine eye / On thee, thou rugged nurse of savage men! (Canto II, Stanza 38).

On the other hand, however, Byron considered the people "the finest and bravest race I ever saw" (Karagjozi, 2010; 34).

His fascination with Albania extended beyond his poetry. The letters to his mother and his friend John Cam Hobhouse contain descriptions of the Albanian landscape and people as well as the Albanian colourful attire, particularly the elaborate fustanella (a traditional pleated skirt-like garment), which he later wore in a famous portrait by Thomas Phillips in 1813. He even documented Albanian polyphonic songs, further strengthening his engagement with the country’s culture (Karagjozi, 2010; 36). 

Byron played a significant role in Romantic traditions and profoundly impacted the British, European, and world cultures (Thompson, 2024; 671). He was also often considered a pioneer in writings on Albania and one who “brought fame and tourists to it as a thus far unknown country” (Krasniqi, 2023; 3). His Albanian journey inspired not only readers but also artists who depicted or reimagined the Orient playing a crucial role in shaping perceptions of places and landscapes (Light cited in Fermor, 2021; 245). The French painter Eugène Delacroix, known for his romantic depictions of the exotic, cited Byron’s poetry as a key influence (Hudhri, 1990; 75).

The poet’s impact extended to his contemporaries, such as Percy Bysshe Shelley, who referenced Ali Pasha in Hellas (1822). Politician and writer Benjamin Disraeli, inspired by Byron’s descriptions, travelled to Albania in 1830, documenting his experience in Contarini Fleming (Elsie, 1993; 8-9). These artistic and literary works contributed to shaping the image of Albania as an exotic, romanticised destination, fuelling interest among travellers and literary pilgrims (Karagjozi, 2010; 333-334; Fermor, 2021; 245).

Over two centuries after Byron’s journey, Albania continues to attract literary tourists seeking to follow in his footsteps. While 19th-century travellers were primarily aristocratic men undertaking the Grand Tour, today’s Byronian tourists are different, united by a passion for literature and history. Many travel independently, while others participate in guided tours which retrace Byron’s original itinerary, offering horseback and walking routes through Glina Village, Tepelena (the site of Ali Pasha’s former court, where Byron stayed) Gjirokastra (UNESCO heritage), and along the Vjosë River, with visits to monasteries, castles, and local communities (Our Own Expeditions, n.d.).

In 2013, the author of this entry did a content analysis of the impressions left by modern literary tourists in the footsteps of Byron in Albania and found that they often see their journey as a physical extension of their reading experience. Their motivations vary—from admiration for Byron’s poetic genius to fascination with his adventurous persona. Others are drawn by nostalgia, the allure of an unfamiliar landscape, or a desire to immerse themselves in history (Erkoçi, 2013; 99-100). For Dutch writer Tessa de Loo, her expedition to Albania was driven by childhood memories of Byron’s works and a lifelong curiosity about the country as well as the need to break off from daily routines in search of an exciting experience:

[…] you drew me … into an Oriental world whose existence I had not suspected when I stood on the Pantokrator [Corfu, Greece, from where you can see Albania] pondering the nature of the land beyond the grey mountains. I became enchanted by the exotic décor, the mishmash of peoples in their colourful costumes, the Pasha who could so easily show cruelty at one moment and tenderness the next … Life in a staid street in Holland at the end of the 20th century could not compete with that. I wanted only one thing: to go with you. I wanted to visit Ali Pasha too, as a spectre from a future age, as a voyeur, as a nostalgia sufferer (de Loo, 2011; 2).

David Fermor asserts that literary tourists following in the footsteps of Lord Byron in southern Albania reproduce “imagined geographies” of that country or create new ones (2021; 241). Some are disillusioned to find a changed country, while others appreciate moments of uncertainty that enhance the adventure:

A rickety wooden bridge, slung between stone pillars, is the only link with the town for villagers on the other side. I stood at one end, half of the planks rotted away or missing, and decided I did not need to cross. Was this where Byron and Hobhouse arrived? (Blacksearoamer, 2012).

In most cases, in addition to its literary values, the journey turns out to be a wonderful one per se thanks to the beautiful natural landscapes it offers:

Seen from the river, the long fortress wall stretches along the ridge above. It is a fine sight on a sunny morning. The turquoise river winds through the valley, the fortress on one side, hills rising on the other (Blacksearoamer, 2012).

In this pristine wilderness of mature forests and deep valleys, wildlife thrives. ... The silence was absolute ... and the uninterrupted forest that spread in all directions was truly stupendous (Tenison, 2009; 160).

Looking back, the best of Albania was its sheer beauty, the remarkable vastness of the landscape and the extreme contrasts it threw at us all the time. The scale and sweep of massive, jagged mountain ranges and huge rocks are unlike anything I have seen anywhere in the world. Beetling chasms dropping to tiny fields and ribbons of pellucid water far, far below; the bucolic charm of the Breughelesque farmers, who belong to the Byronic landscape so perfectly; and the savage harmony of high cliffs and crags disappearing into cloud-girt summits way, way above, make the scenery as romantic as any early nineteenth-century painting (Tenison, 2009; 191).

The tour also offers a way to get acquainted with traditions, taste typical food, and get to know new people as Byron himself did.

Byron’s adventurous spirit and fascination with Albania resonate with modern travellers, particularly those seeking destinations off the beaten path. Childe Harold still provides a literary lens through which visitors can explore Albania, connecting historical narratives with contemporary experiences. Despite its appeal, Byronian literary tourism in Albania remains relatively niche, partly due to expensive private tours. Greater public investment in conservation, signage, and historical interpretation would help modern literary tourists navigate the terrain better and contextualize Byron’s journey.

Lord Byron’s brief but influential encounter with Albania has left a mark on the country’s literary legacy. As Albania continues to develop its tourism industry, literary tourism inspired by Byron presents an opportunity to link cultural heritage with contemporary travel experiences. Whether inspired by Byron’s poetry, his admiration for Ali Pasha, or the allure of an untouched landscape, literary tourists can find in the once terra incognita a destination where literature and history intertwine, echoing Byron’s sentiments over two centuries ago.

How to cite this entry: Erkoçi, I. (2025). Lord Byron and the Albanian Journey: A Literary Pilgrimage. In R. Baleiro, G. Capecchi & J. Arcos-Pumarola (Eds.), E-Dictionary of Literary Tourism. University for Foreigners of Perugia. https://doi.org/10.34623/zdg2-hn59