I felt—I feel—Love dwells with—with the free. I am a slave, a favoured slave at best, To share his splendour, and seem very blest!

The third song starts with the love confession to Greece:

Who that beheld that Sun upon thee set, Fair Athens! could thine evening face forget?

Changed by the view of Medora waiting on the island. A boat came to the shore with terrible news and pirates decide to resque their chief by all means. Meanwhile, Gulnare’s asking to delay the “giaour”’s death provoke some suspicion in Seyd’s soul. He threatens her and makes her go away. Three days later Gulnare comes to Conrad’s prison cell one more time. Insulted by the tyran, she offers the Corsair freedom and requital: he has to kill Pasha at night. The pirate forsakes and the agitated confession of the woman follows:

The crime—'tis none to punish those of Seyd. That hatred tyrant, Conrad—he must bleed! I see thee shudder, but my soul is changed— Wronged—spurned—reviled—and it shall be avenged— Accused of what till now my heart disdained— Too faithful, though to bitter bondage chained.

*** "Gulnare—Gulnare—I never felt till now My abject fortune, withered fame so low: Seyd is mine enemy; had swept my band From earth with ruthless but with open hand, And therefore came I, in my bark of war, To smite the smiter with the scimitar; Such is my weapon—not the secret knife.”

She disappears to return at dawn: she commited everything by herself and also bought the guards loyalty – a boat with a boatman was waiting for them at the shore to take them to the island. The hero is confused: there is an implacable conflict in his soul. Circumstantionally he owes his life to another woman, but still loves only Medora. Gulnare is also embarrassed – she understood his condemnation of her crime. Only the moment’s hug and friendly kiss of a saved prisoner bring her back.

Pirates are happy to see their leader on the island. However, he pays too big price for his miraculeous salvation – there is no light in only Medora’s window of the castle. He ascends the stairs with a horrible serendipity…she is dead. Conrad’s sorrow is inescapable. His love couldn’t stand his being in captivity and he…lost his sense of life with her death and disappeared:

'Tis idle all—moons roll on moons away, And Conrad comes not, came not since that day: Nor trace nor tidings of his doom declare Where lives his grief, or perished his despair! Long mourned his band whom none could mourn beside; And fair the monument they gave his Bride: For him they raise not the recording stone— His death yet dubious, deeds too widely known; He left a Corsair's name to other times, Linked with one virtue, and a thousand crimes.

Thus, “The Corsair” — is a lyro-epic poem, in which lyric line of the protagonist and the epic one of the events are merged and joined into one. Conrad, the hero – is the purest sample of a romantic worldview in all Byron’s literary work and the poetics of “The Corsair” – is the typical construction of the Romantic poem. The culmination life’s episode is taken as the plot basis and his past and future are not explained or shown – in thissense a poem can be fragmentary. Besides, the plot is built as the chain of bright puzzle pieces, cause-and-effect links not very clear in the poem throughout its development. The hero is shown at the moment of his highest emotional tension and in this very moment his character can be revealed to its fullest. The demonic, gloomy and majestic Conrad’s character is created with help of his portrait, author’s characteristics, loving him women’s behaviour and what’s more – his own deeds. One of the leitmotif images of the poem, typical of all the Byronic poetry – is the image of the Sea, the free element as the symbol of liberty:

"O'er the glad waters of the dark blue sea, Our thoughts as boundless, and our souls as free, Far as the breeze can bear, the billows foam, Survey our empire, and behold our home!

Lyric element, piercing the poem, is revealed at best in the thread image of sea.