Pope, in fact, wherever he got it, appears to have understood the sex well, Bolingbroke, "a judge of the subject," says Warton, thought his "Epistle on the Characters of Women" his "masterpiece." And even with respect to the grosser passion, which takes occasionally the name of "romantic," accordingly as the degree of sentiment elevates it above the definition of love by Buffon, it may be remarked, that it does not always depend upon personal appearance, even in a woman. Madame Cottin was a plain woman, and might have been virtuous, it may be presumed, without much interruption. Virtuous she was, and the consequences of this inveterate virtue were that two different admirers (one an elderly gentleman) killed themselves in despair (see Lady Morgan's "France"). I would not, however, recommend this rigour to plain women in general, in the hope of securing the glory of two suicides apiece. I believe that there are few men who, in the course of their observations on life, may not have perceived that it is not the greatest female beauty who forms the longest and the strongest passions.

But, apropos of Pope.—Voltaire tells us that the Marechal Luxembourg (who had precisely Pope's figure) was not only somewhat too amatory for a great man, but fortunate in his attachments. La Valiere, the passion of Louis XIV., had an unsightly defect. The Princess of Eboli, the mistress of Philip II. of Spain, and Maugiron, the minion of Henry III. of France, had each of them lost an eye; and the famous Latin epigram was written upon them, which has, I believe, been either translated or imitated by Goldsmith:—

"Lumine Acon dextro, capta est Leonilla sinistro, Et potis est forma vincere uterque Deos; Blande puer, lumen quod habes concede sorrori, Sic tu caecus Amor, sic erit illa Venus."

Wilkes, with his ugliness, used to say that "he was but a quarter of an hour behind the handsomest man in England;" and this vaunt of his is said not to have been disproved by circumstances. Swift, when neither young, nor handsome, nor rich, nor even amiable, inspired the two most extraordinary passions upon record, Vanessa's and Stella's.

"Vanessa, aged scarce a score, Sighs for a gown of forty-four."

He requited them bitterly; for he seems to have broken the heart of the one, and worn out that of the other; and he had his reward, for he died a solitary idiot in the hands of servants.

For my own part, I am of the opinion of Pausanias. that success in love depends upon Fortune. "They particularly renounce Celestial Venus, into whose temple, &c. &c. &c. I remember, too, to have seen a building in AEgina in which there is a statue of Fortune, holding a horn of Amalthea; and near her there is a winged Love. The meaning of this is, that the success of men in love affairs depends more on the assistance of Fortune than the charms of beauty. I am persuaded, too, with Pindar (to whose opinion I submit in other particulars), that Fortune is one of the Fates, and that in a certain respect she is more powerful than her sisters."—See Pausanias, Achaics, book vii. chap.26. p.246. Taylor's "Translation."

Grimm has a remark of the same kind on the different destinies of the younger Crebillon and Rousseau. The former writes a licentious novel, and a young English girl of some fortune and family (a Miss Strafford) runs away, and crosses the sea to marry him; while Rousseau, the most tender and passionate of lovers, is obliged to espouse his chambermaid. If I recollect rightly, this remark was also repeated in the Edinburgh Review of Grimm's correspondence, seven or eight years ago.

In regard "to the strange mixture of indecent, and sometimes profane levity, which his conduct and language often exhibited," and which so much shocks Mr. Bowles, I object to the indefinite word "often;" and in extenuation of the occasional occurrence of such language it is to be recollected, that it was less the tone of Pope, than the tone of the time. With the exception of the correspondence of Pope and his friends, not many private letters of the period have come down to us; but those, such as they are—a few scattered scraps from Farquhar and others—are more indecent and coarse than any thing in Pope's letters. The comedies of Congreve, Vanbrugh, Farquhar, Cibber, &c., which naturally attempted to represent the manners and conversation of private life, are decisive upon this point; as are also some of Steele's papers, and even Addison's. We all know what the conversation of Sir R. Walpole, for seventeen years the prime minister of the country, was at his own table, and his excuse for his licentious language, viz. "that every body understood that, but few could talk rationally upon less common topics." The refinement of latter days,—which is perhaps the consequence of vice, which wishes to mask and soften itself, as much as of virtuous civilisation,—had not yet made sufficient progress. Even Johnson, in his "London," has two or three passages which cannot be read aloud, and Addison's "Drummer" some indelicate allusions.

The expression of Mr. Bowles, "his consciousness of physical defect," is not very clear. It may mean deformity or debility. If it alludes to Pope's deformity, it has been attempted to be shown that this was no insuperable objection to his being beloved. If it alludes to debility, as a consequence of Pope's peculiar conformation, I believe that it is a physical and known fact that hump-backed persons are of strong and vigorous passions. Several years ago, at Mr. Angelo's fencing rooms, when I was a pupil of him and of Mr. Jackson, who had the use of his rooms in Albany on the alternate days, I recollect a gentleman named B—ll—gh—t, remarkable for his strength, and the fineness of his figure. His skill was not inferior, for he could stand up to the great Captain Barclay himself, with the muffles on;—a task neither easy nor agreeable to a pugilistic aspirant. As the by-standers were one day admiring his athletic proportions, he remarked to us, that he had five brothers as tall and strong as himself, and that their father and mother were both crooked, and of very small stature;—I think he said, neither of them five feet high. It would not be difficult to adduce similar instances; but I abstain, because the subject is hardly refined enough for this immaculate period, this moral millenium of expurgated editions in books, manners, and royal trials of divorce.

This laudable delicacy—this crying-out elegance of the day—reminds me of a little circumstance which occurred when I was about eighteen years of age. There was then (and there may be still) a famous French "entremetteuse," who assisted young gentlemen in their youthful pastimes. We had been acquainted for some time, when something occurred in her line of business more than ordinary, and the refusal was offered to me (and doubtless to many others), probably because I was in cash at the moment, having taken up a decent sum from the Jews, and not having spent much above half of it. The adventure on the tapis, it seems, required some caution and circumspection. Whether my venerable friend doubted my politeness I cannot tell; but she sent me a letter couched in such English as a short residence of sixteen years in England had enabled her to acquire. After several precepts and instructions, the letter closed. But there was a postscript. It contained these words:—"Remember, Milor, that delicaci ensure everi succes." The delicacy of the day is exactly, in all its circumstances, like that of this respectable foreigner. "It ensures every succes," and is not a whit more moral than, and not half so honourable as, the coarser candour of our less polished ancestors.

To return to Mr. Bowles. "If what is here extracted can excite in the mind (I will not say of any 'layman', of any 'Christian', but) of any human being," &c. &c. Is not Mr. Gilchrist a "human being?" Mr. Bowles asks "whether in attributing an article," &c. &c, "to the critic, he had any reason for distinguishing him with that courtesy," &c. &c. But Mr. Bowles was wrong in "attributing the article" to Mr. Gilchrist at all; and would not have been right in calling him a dunce and a grocer, if he had written it.

Mr. Bowles is here "peremptorily called upon to speak of a circumstance which gives him the greatest pain,—the mention of a letter he received from the editor of 'The London Magazine.'" Mr. Bowles seems to have embroiled himself on all sides; whether by editing, or replying, or attributing, or quoting,—it has been an awkward affair for him.

Poor Scott is now no more. In the exercise of his vocation, he contrived at last to make himself the subject of a coroner's inquest. But he died like a brave man, and he lived an able one. I knew him personally, though slightly. Although several years my senior, we had been schoolfellows together at the "grammar-schule" (or, as the Aberdonians pronounce it, "squeel") of New Aberdeen. He did not behave to me quite handsomely in his capacity of editor a few years ago, but he was under no obligation to behave otherwise. The moment was too tempting for many friends and for all enemies. At a time when all my relations (save one) fell from me like leaves from the tree in autumn winds, and my few friends became still fewer,—when the whole periodical press (I mean the daily and weekly, not the literary press) was let loose against me in every shape of reproach, with the two strange exceptions (from their usual opposition) of "The Courier" and "The Examiner,"—the paper of which Scott had the direction was neither the last nor the least vituperative. Two years ago I met him at Venice, when he was bowed in griefs by the loss of his son, and had known, by experience, the bitterness of domestic privation. He was then earnest with me to return to England; and on my telling him, with a smile, that he was once of a different opinion, he replied to me, 'that he and others had been greatly misled; and that some pains, and rather extraordinary means, had been taken to excite them.' Scott is no more, but there are more than one living who were present at this dialogue. He was a man of very considerable talents, and of great acquirements. He had made his way, as a literary character, with high success, and in a few years. Poor fellow! I recollect his joy at some appointment which he had obtained, or was to obtain, through Sir James Mackintosh, and which prevented the further extension (unless by a rapid run to Rome) of his travels in Italy. I little thought to what it would conduct him. Peace be with him!—and may all such other faults as are inevitable to humanity be as readily forgiven him, as the little injury which he had done to one who respected his talents, and regrets his loss.

I pass over Mr. Bowles's page of explanation, upon the correspondence between him and Mr. S——. It is of little importance in regard to Pope, and contains merely a re-contradiction of a contradiction of Mr. Gilchrist's. We now come to a point where Mr. Gilchrist has, certainly, rather exaggerated matters; and, of course, Mr. Bowles makes the most of it. Capital letters, like Kean's name, "large upon the bills," are made use of six or seven times to express his sense of the outrage. The charge is, indeed, very boldly made; but, like "Ranold of the Mist's" practical joke of putting the bread and cheese into a dead man's mouth, is, as Dugald Dalgetty says, "somewhat too wild and salvage, besides wasting the good victuals."

Mr. Gilchrist charges Mr. Bowles with "suggesting" that Pope "attempted" to commit "a rape" upon Lady M. Wortley Montague. There are two reasons why this could not be true. The first is, that like the chaste Letitia's prevention of the intended ravishment by Fireblood (in Jonathan Wild), it might have been impeded by a timely compliance. The second is, that however this might be, Pope was probably the less robust of the two; and (if the Lines on Sappho were really intended for this lady) the asserted consequences of her acquiescence in his wishes would have been a sufficient punishment. The passage which Mr. Bowles quotes, however, insinuates nothing of the kind: it merely charges her with encouragement, and him with wishing to profit by it,—a slight attempt at seduction, and no more. The phrase is, "a step beyond decorum." Any physical violence is so abhorrent to human nature, that it recoils in cold blood from the very idea. But, the seduction of a woman's mind as well as person is not, perhaps, the least heinous sin of the two in morality. Dr. Johnson commends a gentleman who having seduced a girl who said, "I am afraid we have done wrong," replied, "Yes, we have done wrong,"—"for I would not pervert her mind also." Othello would not "kill Desdemona's soul." Mr. Bowles exculpates himself from Mr. Gilchrist's charge; but it is by substituting another charge against Pope. "A step beyond decorum," has a soft sound, but what does it express? In all these cases, "ce n'est que le premier pas qui coute." Has not the Scripture something upon "the lusting after a woman" being no less criminal than the crime? "A step beyond decorum," in short, any step beyond the instep, is a step from a precipice to the lady who permits it. For the gentleman who makes it it is also rather hazardous if he does not succeed, and still more so if he does.

Mr. Bowles appeals to the "Christian reader!" upon this "Gilchristian criticism." Is not this play upon such words "a step beyond decorum" in a clergyman? But I admit the temptation of a pun to be irresistible.

But "a hasty pamphlet was published, in which some personalities respecting Mr. Gilchrist were suffered to appear." If Mr. Bowles will write "hasty pamphlets," why is he so surprised on receiving short answers? The grand grievance to which he perpetually returns is a charge of "hypochondriacism," asserted or insinuated in the Quarterly. I cannot conceive a man in perfect health being much affected by such a charge, because his complexion and conduct must amply refute it. But were it true, to what does it amount?—to an impeachment of a liver complaint. "I will tell it to the world," exclaimed the learned Smelfungus.—"You had better," said I, "tell it to your physician." There is nothing dishonourable in such a disorder, which is more peculiarly the malady of students. It has been the complaint of the good, and the wise, and the witty, and even of the gay. Regnard, the author of the last French comedy after Moliere, was atrabilious; and Moliere himself, saturnine. Dr. Johnson, Gray, and Burns, were all more or less affected by it occasionally. It was the prelude to the more awful malady of Collins, Cowper, Swift, and Smart; but it by no means follows that a partial affliction of this disorder is to terminate like theirs. But even were it so,—

"Nor best, nor wisest, are exempt from thee; Folly—Folly's only free." PENROSE.

If this be the criterion of exemption, Mr. Bowles's last two pamphlets form a better certificate of sanity than a physician's. Mendehlson and Bayle were at times so overcome with this depression, as to be obliged to recur to seeing "puppet-shows, and counting tiles upon the opposite houses," to divert themselves. Dr. Johnson at times "would have given a limb to recover his spirits." Mr. Bowles, who is (strange to say) fond of quoting Pope, may perhaps answer,—

"Go on, obliging creatures, let me see All which disgrac'd my betters met in me."

But the charge, such as it is, neither disgraces them nor him. It is easily disproved if false; and even if proved true, has nothing in it to make a man so very indignant. Mr. Bowles himself appears to be a little ashamed of his "hasty pamphlet;" for he attempts to excuse it by the "great provocation;" that is to say, by Mr. Bowles's supposing that Mr. Gilchrist was the writer of the article in the Quarterly, which he was not.

"But, in extenuation, not only the great provocation should be remembered, but it ought to be said, that orders were sent to the London booksellers, that the most direct personal passages should be omitted entirely," &c. This is what the proverb calls "breaking a head and giving a plaster;" but, in this instance, the plaster was not spread in time, and Mr. Gilchrist does not seem at present disposed to regard Mr. Bowles's courtesies like the rust of the spear of Achilles, which had such "skill in surgery."

But "Mr. Gilchrist has no right to object, as the reader will see." I am a reader, a "gentle reader," and I see nothing of the kind. Were I in Mr. Gilchrist's place, I should object exceedingly to being abused; firstly, for what I did write, and, secondly, for what I did not write; merely because it is Mr. Bowles's will and pleasure to be as angry with me for having written in the London Magazine, as for not having written in the Quarterly Review.

"Mr. Gilchrist has had ample revenge; for he has, in his answer, said so and so," &c. &c. There is no great revenge in all this; and I presume that nobody either seeks or wishes it. What revenge? Mr. Bowles calls names, and he is answered. But Mr. Gilchrist and the Quarterly Reviewer are not poets, nor pretenders to poetry; therefore they can have no envy nor malice against Mr. Bowles: they have no acquaintance with Mr. Bowles, and can have no personal pique; they do not cross his path of life, nor he theirs. There is no political feud between them. What, then, can be the motive of their discussion of his deserts as an editor?—veneration for the genius of Pope, love for his memory, and regard for the classic glory of their country. Why would Mr. Bowles edite? Had he limited his honest endeavours to poetry, very little would have been said upon the subject, and nothing at all by his present antagonists.

Mr. Bowles calls the pamphlet a "mud-cart," and the writer a "scavenger." Afterward he asks, "Shall he fling dirt and receive rose-water?" This metaphor, by the way, is taken from Marmontel's Memoirs; who, lamenting to Chamfort the shedding of blood during the French revolution, was answered, "Do you think that revolutions are to be made with rose-water?"

For my own part, I presume that "rose-water" would be infinitely more graceful in the hands of Mr. Bowles than the substance which he has substituted for that delicate liquid. It would also more confound his adversary, supposing him a "scavenger." I remember, (and do you remember, reader, that it was in my earliest youth, "Consule Planco,")—on the morning of the great battle, (the second)—between Gulley and Gregson,—Cribb, who was matched against Horton for the second fight, on the same memorable day, awaking me (a lodger at the inn in the next room) by a loud remonstrance to the waiter against the abomination of his towels, which had been laid in lavender. Cribb was a coal-heaver—and was much more discomfited by this odoriferous effeminacy of fine linen, than by his adversary Horton, whom, he "finished in style," though with some reluctance; for I recollect that he said, "he disliked hurting him, he looked so pretty,"—Horton being a very fine fresh-coloured young man.

To return to "rose-water"—that is, to gentle means of rebuke. Does Mr. Bowles know how to revenge himself upon a hackney-coachman, when he has overcharged his fare? In case he should not, I will tell him. It is of little use to call him "a rascal, a scoundrel, a thief, an impostor, a blackguard, a villain, a raggamuffin, a—what you please;" all that he is used to—it is his mother-tongue, and probably his mother's. But look him steadily and quietly in the face, and say—"Upon my word, I think you are the ugliest fellow I ever saw in my life," and he will instantly roll forth the brazen thunders of the charioteer Salmoneus as follows:—"Hugly! what the h—ll are you? You a gentleman! Why ——!" So much easier it is to provoke—and therefore to vindicate—(for passion punishes him who feels it more than those whom the passionate would excruciate)—by a few quiet words the aggressor, than by retorting violently. The "coals of fire" of the Scripture are benefits;—but they are not the less "coals of fire."

I pass over a page of quotation and reprobation—"Sin up to my song"—"Oh let my little bark"—"Arcades ambo"—"Writer in the Quarterly Review and himself"—"In-door avocations, indeed"—"King of Brentford"—"One nosegay"—"Perennial nosegay"—"Oh Juvenes,"—and the like.

Page 12. produces "more reasons,"—(the task ought not to have been difficult, for as yet there were none)—"to show why Mr. Bowles attributed the critique in the Quarterly to Octavius Gilchrist." All these "reasons" consist of surmises of Mr. Bowles, upon the presumed character of his opponent. "He did not suppose there could exist a man in the kingdom so impudent, &c. &c. except Octavius Gilchrist."—"He did not think there was a man in the kingdom who would pretend ignorance, &c. &c. except Octavius Gilchrist."—"He did not conceive that one man in the kingdom would utter such stupid flippancy, &c. &c. except Octavius Gilchrist."—"He did not think there was one man in the kingdom who, &c. &c. could so utterly show his ignorance, combined with conceit, &c. as Octavius Gilchrist."—"He did not believe there was a man in the kingdom so perfect in Mr. Gilchrist's 'old lunes,'" &c. &c.—"He did not think the mean mind of any one in the kingdom," &c. and so on; always beginning with "any one in the kingdom," and ending with "Octavius Gilchrist," like the word in a catch. I am not "in the kingdom," and have not been much in the kingdom since I was one and twenty, (about five years in the whole, since I was of age,) and have no desire to be in the kingdom again, whilst I breathe, nor to sleep there afterwards; and I regret nothing more than having ever been "in the kingdom" at all. But though no longer a man "in the kingdom," let me hope that when I have ceased to exist, it may be said, as was answered by the master of Clanronald's henchman, his day after the battle of Sheriff-Muir, when he was found watching his chief's body. He was asked, "who that was?" he replied—"it was a man yesterday." And in this capacity, "in or out of the kingdom," I must own that I participate in many of the objections urged by Mr. Gilchrist. I participate in his love of Pope, and in his not understanding, and occasionally finding fault with, the last editor of our last truly great poet.

One of the reproaches against Mr. Gilchrist is, that he is (it is sneeringly said) an F. S. A. If it will give Mr. Bowles any pleasure, I am not an F. S. A. but a Fellow of the Royal Society at his service, in case there should be any thing in that association also which may point a paragraph.

"There are some other reasons," but "the author is now not unknown." Mr. Bowles has so totally exhausted himself upon Octavius Gilchrist, that he has not a word left for the real quarterer of his edition, although now "deterre."

The following page refers to a mysterious charge of "duplicity, in regard to the publication of Pope's letters." Till this charge is made in proper form, we have nothing to do with it: Mr. Gilchrist hints it—Mr. Bowles denies it; there it rests for the present. Mr. Bowles professes his dislike to "Pope's duplicity, not to Pope"—a distinction apparently without a difference. However, I believe that I understand him. We have a great dislike to Mr. Bowles's edition of Pope, but not to Mr. Bowles; nevertheless, he takes up the subject as warmly as if it was personal. With regard to the fact of "Pope's duplicity," it remains to be proved—like Mr. Bowles's benevolence towards his memory.

In page 14. we have a large assertion, that "the 'Eloisa' alone is sufficient to convict him of gross licentiousness." Thus, out it comes at last. Mr. Bowles does accuse Pope of "gross licentiousness," and grounds the charge upon a poem. The licentiousness is a "grand peut-etre," according to the turn of the times being. The grossness I deny. On the contrary, I do believe that such a subject never was, nor ever could be, treated by any poet with so much delicacy, mingled with, at the same time, such true and intense passion. Is the "Atys" of Catullus licentious? No, nor even gross; and yet Catullus is often a coarse writer. The subject is nearly the same, except that Atys was the suicide of his manhood, and Abelard the victim.

The "licentiousness" of the story was not Pope's,—it was a fact. All that it had of gross, he has softened;—all that it had of indelicate, he has purified;—all that it had of passionate, he has beautified;—all that it had of holy, he has hallowed. Mr. Campbell has admirably marked this in a few words (I quote from memory), in drawing the distinction between Pope and Dryden, and pointing out where Dryden was wanting "I fear," says he, "that had the subject of 'Eloisa' fallen into his (Dryden's) hands, that he would have given us but a coarse draft of her passion." Never was the delicacy of Pope so much shown as in this poem. With the facts and the letters of "Eloisa" he has done what no other mind but that of the best and purest of poets could have accomplished with such materials. Ovid, Sappho (in the Ode called hers)—all that we have of ancient, all that we have of modern poetry, sinks into nothing compared with him in this production.

Let us hear no more of this trash about "licentiousness." Is not "Anacreon" taught in our schools?—translated, praised, and edited? Are not his Odes the amatory praises of a boy? Is not Sappho's Ode on a girl? Is not this sublime and (according to Longinus) fierce love for one of her own sex? And is not Phillips's translation of it in the mouths of all your women? And are the English schools or the English women the more corrupt for all this? When you have thrown the ancients into the fire it will be time to denounce the moderns. "Licentiousness!"—there is more real mischief and sapping licentiousness in a single French prose novel, in a Moravian hymn, or a German comedy, than in all the actual poetry that ever was penned, or poured forth, since the rhapsodies of Orpheus. The sentimental anatomy of Rousseau and Mad. de S. are far more formidable than any quantity of verse. They are so, because they sap the principles, by reasoning upon the passions; whereas poetry is in itself passion, and does not systematise. It assails, but does not argue; it may be wrong, but it does not assume pretensions to Optimism.

Mr. Bowles now has the goodness "to point out the difference between a traducer and him who sincerely states what he sincerely believes." He might have spared himself the trouble. The one is a liar, who lies knowingly; the other (I speak of a scandal-monger of course) lies, charitably believing that he speaks truth, and very sorry to find himself in falsehood;—because he

"Would rather that the dean should die, Than his prediction prove a lie."

After a definition of a "traducer," which was quite superfluous (though it is agreeable to learn that Mr. Bowles so well understands the character), we are assured, that "he feels equally indifferent, Mr. Gilchrist, for what your malice can invent, or your impudence utter." This is indubitable; for it rests not only on Mr. Bowles's assurance, but on that of Sir Fretful Plagiary, and nearly in the same words,—"and I shall treat it with exactly the same calm indifference and philosophical contempt, and so your servant."

"One thing has given Mr. Bowles concern." It is "a passage which might seem to reflect on the patronage a young man has received." MIGHT seem!! The passage alluded to expresses, that if Mr. Gilchrist be the reviewer of "a certain poet of nature," his praise and blame are equally contemptible."—Mr. Bowles, who has a peculiarly ambiguous style, where it suits him, comes off with a "not to the poet, but the critic," &c. In my humble opinion, the passage referred to both. Had Mr. Bowles really meant fairly, he would have said so from the first—he would have been eagerly transparent.—"A certain poet of nature" is not the style of commendation. It is the very prologue to the most scandalous paragraphs of the newspapers, when

"Willing to wound, and yet afraid to strike."

"A certain high personage,"—"a certain peeress,"—"a certain illustrious foreigner,"—what do these words ever precede, but defamation? Had he felt a spark of kindling kindness for John Clare, he would have named him. There is a sneer in the sentence as it stands. How a favourable review of a deserving poet can "rather injure than promote his cause" is difficult to comprehend. The article denounced is able and amiable, and it has "served" the poet, as far as poetry can be served by judicious and honest criticism.

With the two next paragraphs of Mr. Bowles's pamphlet it is pleasing to concur. His mention of "Pennie," and his former patronage of "Shoel," do him honour. I am not of those who may deny Mr. Bowles to be a benevolent man. I merely assert, that he is not a candid editor.

Mr. Bowles has been "a writer occasionally upwards of thirty years," and never wrote one word in reply in his life "to criticisms, merely as criticisms." This is Mr. Lofty in Goldsmith's Good-natured Man; "and I vow by all that's honourable, my resentment has never done the men, as mere men, any manner of harm,—that is, as mere men."

"The letter to the editor of the newspaper" is owned; but "it was not on account of the criticism. It was because the criticism came down in a frank directed to Mrs. Bowles!!!"—(the italics and three notes of admiration appended to Mrs. Bowles are copied verbatim from the quotation), and Mr. Bowles was not displeased with the criticism, but with the frank and the address. I agree with Mr. Bowles that the intention was to annoy him; but I fear that this was answered by his notice of the reception of the criticism. An anonymous letter-writer has but one means of knowing the effect of his attack. In this he has the superiority over the viper; he knows that his poison has taken effect, when he hears the victim cry;—the adder is deaf. The best reply to an anonymous intimation is to take no notice directly nor indirectly. I wish Mr. Bowles could see only one or two of the thousand which I have received in the course of a literary life, which, though begun early, has not yet extended to a third part of his existence as an author. I speak of literary life only. Were I to add personal, I might double the amount of anonymous letters. If he could but see the violence, the threats, the absurdity of the whole thing, he would laugh, and so should I, and thus be both gainers.

To keep up the farce,—within the last month of this present writing (1821), I have had my life threatened in the same way which menaced Mr. Bowles's fame,—excepting that the anonymous denunciation was addressed to the Cardinal Legate of Romagna, instead of to Mrs. Bowles. The Cardinal is, I believe, the elder lady of the two. I append the menace in all its barbaric but literal Italian, that Mr. Bowles may be convinced; and as this is the only "promise to pay," which the Italians ever keep, so my person has been at least as much exposed to a "shot in the gloaming," from "John Heatherblutter" (see Waverley), as ever Mr. Bowles's glory was from an editor. I am, nevertheless, on horseback and lonely for some hours (one of them twilight) in the forest daily; and this, because it was my "custom in the afternoon," and that I believe if the tyrant cannot escape amidst his guards (should it be so written?), so the humbler individual would find precautions useless.

Mr. Bowles has here the humility to say, that "he must succumb; for with Lord Byron turned against him, he has no chance,"—a declaration of self-denial not much in unison with his "promise," five lines afterwards, that "for every twenty-four lines quoted by Mr. Gilchrist, or his friend, to greet him with as many from the 'Gilchrisiad';" but so much the better. Mr. Bowles has no reason to "succumb" but to Mr. Bowles. As a poet, the author of "The Missionary" may compete with the foremost of his cotemporaries. Let it be recollected, that all my previous opinions of Mr. Bowles's poetry were written long before the publication of his last and best poem; and that a poet's last poem should be his best, is his highest praise. But, however, he may duly and honourably rank with his living rivals. There never was so complete a proof of the superiority of Pope, as in the lines with which Mr. Bowles closes his "to be concluded in our next."

Mr. Bowles is avowedly the champion and the poet of nature. Art and the arts are dragged, some before, and others behind his chariot. Pope, where he deals with passion, and with the nature of the naturals of the day, is allowed even by themselves to be sublime; but they complain that too soon—

"He stoop'd to truth and moralised his song,"

and there even they allow him to be unrivalled. He has succeeded, and even surpassed them, when he chose, in their own pretended province. Let us see what their Coryphaeus effects in Pope's. But it is too pitiable, it is too melancholy, to see Mr. Bowles "sinning" not "up" but "down" as a poet to his lowest depth as an editor. By the way, Mr. Bowles is always quoting Pope. I grant that there is no poet—not Shakspeare himself—who can be so often quoted, with reference to life;—but his editor is so like the devil quoting Scripture, that I could wish Mr. Bowles in his proper place, quoting in the pulpit.

And now for his lines. But it is painful—painful—to see such a suicide, though at the shrine of Pope. I can't copy them all:—

"Shall the rank, loathsome miscreant of the age Sit, like a night-mare, grinning o'er a page."

"Whose pye-bald character so aptly suit The two extremes of Bantam and of Brute, Compound grotesque of sullenness and show, The chattering magpie, and the croaking crow."

"Whose heart contends with thy Saturnian head, A root of hemlock, and a lump of lead. Gilchrist proceed," &c. &c.

"And thus stand forth, spite of thy venom'd foam, To give thee bite for bite, or lash thee limping home."

With regard to the last line, the only one upon which I shall venture for fear of infection, I would advise Mr. Gilchrist to keep out of the way of such reciprocal morsure—unless he has more faith in the "Ormskirk medicine" than most people, or may wish to anticipate the pension of the recent German professor, (I forget his name, but it is advertised and full of consonants,) who presented his memoir of an infallible remedy for the hydrophobia to the German diet last month, coupled with the philanthropic condition of a large annuity, provided that his cure cured. Let him begin with the editor of Pope, and double his demand.

Yours ever,

BYRON.

To John Murray, Esq.

P.S. Amongst the above-mentioned lines there occurs the following, applied to Pope—

"The assassin's vengeance, and the coward's lie."

And Mr. Bowles persists that he is a well-wisher to Pope!!! He has, then, edited an "assassin" and a "coward" wittingly, as well as lovingly. In my former letter I have remarked upon the editor's forgetfulness of Pope's benevolence. But where he mentions his faults it is "with sorrow"—his tears drop, but they do not blot them out. The "recording angel" differs from the recording clergyman. A fulsome editor is pardonable though tiresome, like a panegyrical son whose pious sincerity would demi-deify his father. But a detracting editor is a paricide. He sins against the nature of his office, and connection—he murders the life to come of his victim. If his author is not worthy to be mentioned, do not edit at all: if he be, edit honestly, and even flatteringly. The reader will forgive the weakness in favour of mortality, and correct your adulation with a smile. But to sit down "mingere in patrios cineres," as Mr. Bowles has done, merits a reprobation so strong, that I am as incapable of expressing as of ceasing to feel it.

Further Addenda.

It is worthy of remark that, after all this outcry about "in-door nature" and "artificial images," Pope was the principal inventor of that boast of the English, Modern Gardening. He divides this honour with Milton. Hear Warton:—"It hence appears, that this enchanting art of modern gardening, in which this kingdom claims a preference over every nation in Europe, chiefly owes its origin and its improvements to two great poets, Milton and Pope."

Walpole (no friend to Pope) asserts that Pope formed Kent's taste, and that Kent was the artist to whom the English are chiefly indebted for diffusing "a taste in laying out grounds." The design of the Prince of Wales's garden was copied from Pope's at Twickenham. Warton applauds "his singular effort of art and taste, in impressing so much variety and scenery on a spot of five acres." Pope was the first who ridiculed the "formal, French, Dutch, false and unnatural taste in gardening," both in prose and verse. (See, for the former, "The Guardian.")

"Pope has given not only some of our first but best rules and observations on Architecture and Gardening." (See Warton's Essay, vol. ii. p. 237, &c. &c.)

Now, is it not a shame, after this, to hear our Lakers in "Kendal Green," and our Bucolical Cockneys, crying out (the latter in a wilderness of bricks and mortar) about "Nature," and Pope's "artificial in-door habits?" Pope had seen all of nature that England alone can supply. He was bred in Windsor Forest, and amidst the beautiful scenery of Eton; he lived familiarly and frequently at the country seats of Bathurst, Cobham, Burlington, Peterborough, Digby, and Bolingbroke; amongst whose seats was to be numbered Stowe. He made his own little "five acres" a model to princes, and to the first of our artists who imitated nature. Warton thinks "that the most engaging of Kent's works was also planned on the model of Pope's,—at least in the opening and retiring shades of Venus's Vale."

It is true that Pope was infirm and deformed; but he could walk, and he could ride (he rode to Oxford from London at a stretch), and he was famous for an exquisite eye. On a tree at Lord Bathurst's is carved "Here Pope sang,"—he composed beneath it. Bolingbroke, in one of his letters, represents them both writing in the hay-field. No poet ever admired Nature more, or used her better, than Pope has done, as I will undertake to prove from his works, prose and verse, if not anticipated in so easy and agreeable a labour. I remember a passage in Walpole, somewhere, of a gentleman who wished to give directions about some willows to a man who had long served Pope in his grounds: "I understand, sir," he replied: "you would have them hang down, sir, somewhat poetical." Now, if nothing existed but this little anecdote, it would suffice to prove Pope's taste for Nature, and the impression which he had made on a common-minded man. But I have already quoted Warton and Walpole (both his enemies), and, were it necessary, I could amply quote Pope himself for such tributes to Nature as no poet of the present day has even approached.

His various excellence is really wonderful: architecture, painting, gardening, all are alike subject to his genius. Be it remembered, that English gardening is the purposed perfectioning of niggard Nature, and that without it England is but a hedge-and-ditch, double-post-and-rail, Hounslow Heath and Clapham Common sort of country, since the principal forests have been felled. It is, in general, far from a picturesque country. The case is different with Scotland, Wales, and Ireland; and I except also the lake counties and Derbyshire, together with Eton, Windsor, and my own dear Harrow on the Hill, and some spots near the coast. In the present rank fertility of "great poets of the age," and "schools of poetry"—a word which, like "schools of eloquence" and of "philosophy," is never introduced till the decay of the art has increased with the number of its professors—in the present day, then, there have sprung up two sorts of Naturals;—the Lakers, who whine about Nature because they live in Cumberland; and their under-sect (which some one has maliciously called the "Cockney School"), who are enthusiastical for the country because they live in London. It is to be observed, that the rustical founders are rather anxious to disclaim any connexion with their metropolitan followers, whom they ungraciously review, and call cockneys, atheists, foolish fellows, bad writers, and other hard names not less ungrateful than unjust. I can understand the pretensions of the aquatic gentlemen of Windermere to what Mr. Braham terms "entusumusy," for lakes, and mountains, and daffodils, and buttercups; but I should be glad to be apprised of the foundation of the London propensities of their imitative brethren to the same "high argument." Southey, Wordsworth, and Coleridge have rambled over half Europe, and seen Nature in most of her varieties (although I think that they have occasionally not used her very well); but what on earth—of earth, and sea, and Nature—have the others seen? Not a half, nor a tenth part so much as Pope. While they sneer at his Windsor Forest, have they ever seen any thing of Windsor except its brick?

The most rural of these gentlemen is my friend Leigh Hunt, who lives at Hampstead. I believe that I need not disclaim any personal or poetical hostility against that gentleman. A more amiable man in society I know not; nor (when he will allow his sense to prevail over his sectarian principles) a better writer. When he was writing his "Rimini," I was not the last to discover its beauties, long before it was published. Even then I remonstrated against its vulgarisms; which are the more extraordinary, because the author is any thing but a vulgar man. Mr. Hunt's answer was, that he wrote them upon principle; they made part of his "system!!" I then said no more. When a man talks of his system, it is like a woman's talking of her virtue. I let them talk on. Whether there are writers who could have written "Rimini," as it might have been written, I know not; but Mr. Hunt is, probably, the only poet who could have had the heart to spoil his own Capo d'Opera.

With the rest of his young people I have no acquaintance, except through some things of theirs (which have been sent out without my desire), and I confess that till I had read them I was not aware of the full extent of human absurdity. Like Garrick's "Ode to Shakspeare," they "defy criticism." These are of the personages who decry Pope. One of them, a Mr. John Ketch, has written some lines against him, of which it were better to be the subject than the author. Mr. Hunt redeems himself by occasional beauties; but the rest of these poor creatures seem so far gone that I would not "march through Coventry with them, that's flat!" were I in Mr. Hunt's place. To be sure, he has "led his ragamuffins where they will be well peppered;" but a system-maker must receive all sorts of proselytes. When they have really seen life—when they have felt it—when they have travelled beyond the far distant boundaries of the wilds of Middlesex—when they have overpassed the Alps of Highgate, and traced to its sources the Nile of the New River—then, and not till then, can it properly he permitted to them to despise Pope; who had, if not in Wales, been near it, when he described so beautifully the "artificial" works of the Benefactor of Nature and mankind, the "Man of Ross," whose picture, still suspended in the parlour of the inn, I have so often contemplated with reverence for his memory, and admiration of the poet, without whom even his own still existing good works could hardly have preserved his honest renown.

I would also observe to my friend Hunt, that I shall be very glad to see him at Ravenna, not only for my sincere pleasure in his company, and the advantage which a thousand miles or so of travel might produce to a "natural" poet, but also to point out one or two little things in "Rimini," which he probably would not have placed in his opening to that poem, if he had ever seen Ravenna;—unless, indeed, it made "part of his system!!" I must also crave his indulgence for having spoken of his disciples—by no means an agreeable or self-sought subject. If they had said nothing of Pope, they might have remained "alone with their glory" for aught I should have said or thought about them or their nonsense. But if they interfere with the "little Nightingale" of Twickenham, they may find others who will bear it—I won't. Neither time, nor distance, nor grief, nor age, can ever diminish my veneration for him, who is the great moral poet of all times, of all climes, of all feelings, and of all stages of existence. The delight of my boyhood, the study of my manhood, perhaps (if allowed to me to attain it) he may be the consolation of my age. His poetry is the Book of Life. Without canting, and yet without neglecting religion, he has assembled all that a good and great man can gather together of moral wisdom clothed in consummate beauty. Sir William Temple observes, "that of all the members of mankind that live within the compass of a thousand years, for one man that is born capable of making a great poet, there may be a thousand born capable of making as great generals and ministers of state as any in story." Here is a statesman's opinion of poetry: it is honourable to him and to the art. Such a "poet of a thousand years" was Pope. A thousand years will roll away before such another can be hoped for in our literature. But it can want them—he himself is a literature.

One word upon his so brutally abused translation of Homer. "Dr. Clarke, whose critical exactness is well known, has not been able to point out above three or four mistakes in the sense through the whole Iliad. The real faults of the translation are of a different kind." So says Warton, himself a scholar. It appears by this, then, that he avoided the chief fault of a translator. As to its other faults, they consist in his having made a beautiful English poem of a sublime Greek one. It will always hold. Cowper and all the rest of the blank pretenders may do their best and their worst: they will never wrench Pope from the hands of a single reader of sense and feeling.

The grand distinction of the under forms of the new school of poets is their vulgarity. By this I do not mean that they are coarse, but "shabby-genteel," as it is termed. A man may be coarse and yet not vulgar, and the reverse. Burns is often coarse, but never vulgar. Chatterton is never vulgar, nor Wordsworth, nor the higher of the Lake school, though they treat of low life in all its branches. It is in their finery that the new under school are most vulgar, and they may be known by this at once; as what we called at Harrow "a Sunday blood" might be easily distinguished from a gentleman, although his clothes might be the better cut, and his boots the best blackened, of the two;—probably because he made the one, or cleaned the other, with his own hands.

In the present case, I speak of writing, not of persons. Of the latter, I know nothing; of the former, I judge as it is found. Of my friend Hunt, I have already said, that he is any thing but vulgar in his manners; and of his disciples, therefore, I will not judge of their manners from their verses. They may be honourable and gentlemanly men, for what I know; but the latter quality is studiously excluded from their publications. They remind me of Mr. Smith and the Miss Broughtons at the Hampstead Assembly, in "Evelina." In these things (in private life, at least,) I pretend to some small experience; because, in the course of my youth, I have seen a little of all sorts of society, from the Christian prince and the Mussulman sultan and pacha, and the higher ranks of their countries, down to the London boxer, the "flash and the swell," the Spanish muleteer, the wandering Turkish dervise, the Scotch highlander, and the Albanian robber;—to say nothing of the curious varieties of Italian social life. Far be it from me to presume that there ever was, or can be, such a thing as an aristocracy of poets; but there is a nobility of thought and of style, open to all stations, and derived partly from talent, and partly from education,—which is to be found in Shakspeare, and Pope, and Burns, no less than in Dante and Alfieri, but which is nowhere to be perceived in the mock birds and bards of Mr. Hunt's little chorus. If I were asked to define what this gentlemanliness is, I should say that it is only to be defined by examples—of those who have it, and those who have it not. In life, I should say that most military men have it, and few naval;—that several men of rank have it, and few lawyers;—that it is more frequent among authors than divines (when they are not pedants); that fencing-masters have more of it than dancing-masters, and singers than players; and that (if it be not an Irishism to say so) it is far more generally diffused among women than among men. In poetry, as well as writing in general, it will never make entirely a poet or a poem; but neither poet nor poem will ever be good for any thing without it. It is the salt of society, and the seasoning of composition. Vulgarity is far worse than downright blackguardism; for the latter comprehends wit, humour, and strong sense at times; while the former is a sad abortive attempt at all things, "signifying nothing." It does not depend upon low themes, or even low language, for Fielding revels in both;—but is he ever vulgar? No. You see the man of education, the gentleman, and the scholar, sporting with his subject,—its master, not its slave. Your vulgar writer is always most vulgar, the higher, his subject; as the man who showed the menagerie at Pidcock's was wont to say,—"This, gentlemen, is the eagle of the sun, from Archangel, in Russia; the otterer it is, the igherer he flies." But to the proofs. It is a thing to be felt more than explained. Let any man take up a volume of Mr. Hunt's subordinate writers, read (if possible) a couple of pages, and pronounce for himself, if they contain not the kind of writing which may be likened to "shabby-genteel" in actual life. When he has done this, let him take up Pope;—and when he has laid him down, take up the cockney again—if he can.

* * * * *

Note to the passage in page 396. relative to Pope's lines upon Lady Mary W. Montague.] I think that I could show, if necessary, that Lady Mary W. Montague was also greatly to blame in that quarrel, not for having rejected, but for having encouraged him: but I would rather decline the task—though she should have remembered her own line, "He comes too near, that comes to be denied." I admire her so much—her beauty, her talents—that I should do this reluctantly. I, besides, am so attached to the very name of Mary, that as Johnson once said, "If you called a dog Harvey, I should love him;" so, if you were to call a female of the same species "Mary," I should love it better than others (biped or quadruped) of the same sex with a different appellation. She was an extraordinary woman: she could translate Epictetus, and yet write a song worthy of Aristippus. The lines,

"And when the long hours of the public are past, And we meet, with champaigne and a chicken, at last, May every fond pleasure that moment endear! Be banish'd afar both discretion and fear! Forgetting or scorning the airs of the crowd, He may cease to be formal, and I to be proud, Till," &c. &c.

There, Mr. Bowles!—what say you to such a supper with such a woman? and her own description too? Is not her "champaigne and chicken" worth a forest or two? Is it not poetry? It appears to me that this stanza contains the "puree" of the whole philosophy of Epicurus:—I mean the practical philosophy of his school, not the precepts of the master; for I have been too long at the university not to know that the philosopher was himself a moderate man. But, after all, would not some of us have been as great fools as Pope? For my part, I wonder that, with his quick feelings, her coquetry, and his disappointment, he did no more,—instead of writing some lines, which are to be condemned if false, and regretted if true.



INDEX.

* * * * *

The Roman letters refer to the Volume; the Arabic figures to the Page.

* * * * *

A.

ABERDEEN, Mrs. Byron's residence at the day school there at which Lord Byron was a pupil his allusion to the localities of affection of the people of, for his memory Absence, consolations in Abstinence, the sole remedy for plethora Abydos, Lord Byron's swimming feat from Sestos to See Bride of Abydos Abyssinia, Lord Byron's project of visiting Academical studies, effect of, on the imaginative faculty Acerbi, Giuseppe Acland, Mr., Lord Byron's school-fellow at Harrow Acting, no immaterial sensuality so delightful Actium, remains of the town of Actors, an impracticable race Ada See Byron, Augusta-Ada Adair, Robert, esq. Adams, John, the Southwell carrier Lord Byron's epitaph on Addison, Joseph, his character as a poet His conversation His 'Drummer' 'Adolphe,' Benjamin Constant's Adversity 'AEneid, the,' written for political purposes AEschylus His 'Prometheus' His 'Seven before Thebes' 'Agathon,' Wieland's history of Aglietti, Dr., MS. letters in his profession offered to Mr. Murray Albania Albanians, their character and manners Alberoni, Cardinal Albrizzi, Countess, some account of Her conversazioni Her 'Ritratti di Uomini Illustri' Her portrait of Lord Byron Alder, Mr Alexander the Great, his exclamation to the Athenians Alfieri, Vittorio, his description of his first love Effect of the representation of his 'Mira' on Lord Byron His conduct to his mother His tomb in the church of Santa Croce Coincidences between the disposition and habits of Lord Byron and His 'Life' quoted Alfred Club Algarotti, Francesco, his treatment of Lady M.W. Montagu Ali Pacha of Yanina, account of Lord Byron's visit to His letter in Latin to Lord Byron Allegra (Lord Byron's natural daughter) Her death Inscription for a tablet to her memory Allen, John, esq., a 'Helluo of books' Althorp, Viscount Alvanley (William Arden), second Lord Ambrosian library at Milan, Lord Byron's visit to 'Americani,' patriotic society so called Americans, their freedom acquired by firmness without excess Amurath, Sultan 'Anastasius,' Mr. Hope's, his character 'Anatomy of Melancholy,' a most amusing medley of quotations and classical anecdotes Ancestry, pride of, one of the most decided features of Lord Byron's character Andalusian nobleman, adventures of a young Animal food Annesley, the residence of Miss Chaworth Annesley, Mr., Lord Byron's schoolfellow at Harrow Anstey's 'Bath Guide' 'Anti-Byron,' a satire Anti-Jacobin Review Antiloctius, tomb of Antinous, the bust of, super-natural 'Antiquary,' character of Scott's novel so called 'Antony and Cleopatra,' observations on the play of Apollo Belvidere Arethusa, fountain of, Lord Byron's visit to Argenson, Marquis d', his advice to Voltaire Argyle Institution Ariosto, Lord Byron's imitation of his portrait by Titian Measure of his poetry spared by the robber who had read his 'Orlando Furioso' his courage Aristides Aristophanes, Mitchell's translation of 'Armageddon,' Townshend's poem so called Armenian Convent of St. Lazarus Language Grammar Art, not inferior to nature, for poetical purposes Arts, gulf of Ash, Thomas, author of 'The Book' Lord Byron's generous conduct towards Athens, Lord Byron's first visit to account of the maid of Atticus, Herodes Aubonne Augusta, stanzas to Augustus Caesar, his times 'Auld lang syne' Authors, an irritable set Avarice 'Away, away, ye notes of woe' 'A year ago you swore,' &c.

B.

Bacon, Lord, on the celibacy of men of genius Inaccuracies in his Apophthegms Baillie, Joanna, the only woman capable of writing tragedy Baillie, Dr., Lord Byron put under his care ——, Dr. Matthew, consulted on Lord Byron's supposed insanity Baillie 'Long' Baillie, Mr. D. Balgounie, brig of Ballater, a residence of Lord Byron in his youth Bandello, his history of Romeo and Juliet Bankes, William, esq. Letters to Barbarossa, Aruck Barber, J.T., the painter Barff, Mr., Lord Byron's letters to, on the Greek cause Barlow, Joel, character of his 'Columbiad' Barnes, Thomas, esq. Barry, Mr., the banker of Genoa Bartley, George, the comedian ——, Mrs., the actress Bartolini, the sculptor, his bust of Lord Byron Bartorini, princess, her monument at Bologna Bath, Lord Byron at 'Bath Guide,' Anstey's Baths of Penelope, Lord Byron's visit to 'Baviad and Maeviad,' extinguishment of the Delia Cruscans by the Bay of Biscay Bayes, Mr., caricature of Dryden Beattie, Dr., his 'Minstrel' Beaumarchais, his singular good fortune Beaumont, Sir George Beauvais, Bishop of Beccaria, anecdote of Becher, Rev. John, Lord Byron's friend His epilogue to the 'Wheel of Fortune' His influence over Lord Byron Letters to Beckford, William, esq., his 'Tales' in continuation of 'Vathek' Beggar's Opera,' Gay's, a St. Giles's lampoon Behmen, Jacob, his reverses Bellingham, Lord Byron present at his execution Beloe, Rev. William, character of his 'Sexagenarian' Bembo, Cardinal, amatory correspondence between Lucretia Borgia and Benacus, the (now the Lago di Garda) Bentham, Jeremy, quackery of his followers Benzoni, Countess, her conversazioni Some account of 'Beppo, a Venetian Story' See also Bergami, the Princess of Wales's courier and chamberlain Bernadotte, Jean-Baptiste-Jules, King of Sweden Berni, the father of the Beppo style of writing Berry, Miss 'Bertram,' Mathurin's tragedy of Bettesworth, Captain (cousin of Lord Byron), the only officer in the navy who had more wounds than Lord Nelson Betty, William Henry West (the young Roscius) Beyle, M., his 'Histoire de la Peinture en Italie' His account of an interview with Lord Byron at Milan Bible, the, read through by Lord Byron before he was eight years old Biography 'Bioscope, or Dial of Life,' Mr. Grenville Penn's Birch, Alderman Blackett, Joseph, the poetical cobbler His posthumous writings Blackstone, Judge, composed his Commentaries with a bottle of port before him Blackwood's Magazine Blake, the fashionable tonsor Bland, Rev. Robert Blaquiere, Mr. Bleeding, Lord Byron's prejudice against Blessington, Earl of Letters to ——, Countess of Impromptu on her taking a villa called 'Il Paradiso' Lines written at the request of Letters to Blinkensop, Rev. Mr., his Sermon on Christianity Bloomfield, Nathaniel ——, Robert Blount, Martha, Pope's attachment to Blucher, Marshal 'BLUES, THE; a Literary Eclogue' 'Boatswain,' Lord Byron's favourite dog Boisragon, Dr. Bolivar, Simon Bolder, Mr., Lord Byron's schoolfellow at Harrow Bologna, Lord Byron's visit to the cemetery of Bolton, Mr., letters of Lord Byron to, respecting his will Bonneval, Claudius Alexander, Count de Bonstetten, M. Books, list of, read by Lord Byron before the age of 15 Borgia, Lucretia, her amatory correspondence with Cardinal Bembo 'Born in a garret Borromean Islands 'Bosquet de Julie' 'Bosworth Field,' Lord Byron's projected epic entitled Botzari, Marco, his letter to Lord Byron His death Bowers, Mr. (Lord Byron's school-master at Aberdeen) Bowles, Rev. William Lisle, his controversy concerning Pope His 'Spirit of Discovery,' His 'invariable principles of poetry,' His hypochondriacism His 'Missionary,' Lord Byron's 'Letter on his Strictures on the Life and Writings of Pope,' Lord Byron's 'Observations upon Observations; a Second Letter,' &c. Bowring, Dr., Lord Byron's letters to, on the Greek cause, and his intention to embark in it Boxing Bradshaw, Hon. Cavendish Braham, John, the singer Breme, Marquis de 'BRIDE OF ABYDOS; a Turkish Tale' Bridge of Sighs at Venice, account of Brientz, town and lake of 'Brig of Balgounie' 'British Critic' 'British Review' ——, 'my Grandmother's Review' Lord Byron's letter to the editor Broglie, Duchess of (daughter of Mad. de Stael), her character Anecdote of Her remark on the errors of clever people Brooke, Lord (Sir Fulke Greville), account of a MS. poem by Brougham, Henry, esq. (afterwards Lord Brougham and Vaux), a candidate for Westminster against Sheridan Broughton, the regicide, his monument at Vevay Brown, Isaac Hawkins, his 'Pipe of Tobacco' his 'lava buttons' Browne, Sir Thomas, his 'Religio Medici' quoted Bruce, Mr. Brummell, William, esq. Bruno, Dr., Lord Byron's medical attendant in Greece Anecdote of Brussels Bryant, Jacob, on the existence of Troy Brydges, Sir Egerton, his 'Letters on the Character and Poetical Genius of Byron' His 'Ruminator' Buchanan, Rev. Dr. Bucke, Rev. Charles Buonaparte, Lucien, his 'Charlemagne' ——, Napoleon, one of the most extraordinary of men that anakim of anarchy poor little pagod ode on his fall fortune's favourite Burdett, Sir Francis His style of eloquence Burgage Manor, Notts, the residence of Lord Byron Burgess, Sir James Bland Burke, Rt. Hon. Edmund, his oratory Burns, Robert, his habit of reading at meals His elegy on Maillie 'What would he have been His unpublished letters His rank among poets 'Often coarse, but never vulgar' Burton's 'Anatomy of Melancholy,' 'a most amusing and instructive medley' Burun, Ralph de, mentioned in Doomsday Book Busby, Dr., Dryden's reverential regard for ——, Thomas, Mus. Doct., his monologue on the opening of Drury Lane Theatre His translation of Lucretius Butler, Dr. (headmaster at Harrow) Reconciliation between Lord Byron and BYRON, Sir John, the Little, with the great beard ——, Sir John, 1st Lord, his high and honourable services ——, Sir Richard, tribute to his valour and fidelity ——, Admiral John (the grand-father of the poet), his shipwreck and sufferings ——, William, fifth Lord (grand-uncle of the poet) His trial for killing Mr. Chaworth in a duel His death His eccentric and unsocial habits BYRON, John (father of the poet), his elopement with Lady Carmarthen His marriage with Miss Catherine Gordon His death at Valenciennes ——, Mrs. (mother of the poet), descended from the Gordons of Gight Vehemence of her feelings Ballad on the occasion of her marriage Her fortune Separates from her husband Her capricious excesses of fondness and of anger Her death Lord Byron's Letters to See also ——, Honourable Augusta (sister of the poet) See Leigh, Honourable Augusta ——, (GEORGE-GORDON-BYRON), sixth Lord— 1788. Born Jan. 22 1790—1791. Taken by his mother to Aberdeen Impetuosity of his temper Affectionate sweetness and playfulness of his disposition The malformation of his foot a source of pain and uneasiness to him His early acquaintance with the Sacred Writings Instances of his quickness and energy Death of his father 1792—1795; Sent to a day-school at Aberdeen His own account of the progress of his infantine studies His sports and exercises 1796—1797. Removed into the Highlands His visits to Lachin-y-gair First awakening of his poetic talent His early love of mountain scenery Attachment for Mary Duff 1798. Succeeds to the title Made a ward of Chancery, under the guardianship of the Earl of Carlisle, and removed to Newstead Placed under the care of an empiric at Nottingham for the cure of his lameness 1799. First symptom of a tendency towards rhyming Removed to London, and put under the care of Dr. Baillie Becomes the pupil of Dr. Glennie, at Dulwich 1800-1804. His boyish love for his cousin, Margaret Parker His 'first dash into poetry' Is sent to Harrow Notices of his school-life His first Harrow verses His school friendships His mode of life as a schoolboy Accompanies his mother to Bath His early attachment to Miss Chaworth Heads a 'rebelling' at Harrow Passes the vacation at Southwell 1805. Removed to Cambridge His college friendships 1806. Aug.-Nov., prepares a collection of his poems for the press His visit to Harrowgate Southwell private theatricals Prints a volume of his poems; but, at the entreaty of Mr. Becher commits the edition to the flames 1807. Publishes 'Hours of Idleness' List of historical writers whose works he had perused at the age of nineteen Reviews Wordsworth's Poems Begins 'Bosworth Field,' an epic. Writes part of a novel 1808. His early scepticism Effect produced on his mind by the critique on 'Hours of Idleness,' in the Edinburgh Review Passes his time between the dissipations of London and Cambridge Takes up his residence at Newstead Forms the design of visiting India Prepares 'English Bards and Scotch Reviewers,' for the press 1809. His coming of age celebrated at Newstead Takes his seat in the House of Lords Loneliness of his position at this period Sets out on his travels State of mind in which he took leave of England Visits Lisbon, Seville, Cadiz, Gibraltar, Malta, Prevesa, Zitza Tepaleen Is introduced to Ali Pacha Begins 'Childe Harold' at Ioannina Visits Actium, Nicopolis; nearly lost in a Turkish ship of war proceeds through Acarnania and AEtolia towards the Morea Reaches Missolonghi Visits Patras, Vostizza, Mount Parnassus, Delphi, Lepanto, Thebes Mount Cithaeron Arrives, on Christmas-day, at Athens 1810. Spends ten weeks in visiting the monuments of Athens; makes excursions to several parts of Attica The Maid of Athens Leaves Athens for Smyrna Visits ruins of Ephesus Concludes, at Smyrna, the second canto of 'Childe Harold' April, leaves Smyrna for Constantinople Visits the Troad Swims from Sestos to Abydos May, arrives at Constantinople June, expedition through the Bosphorus to the Black Sea July Aug.—Sept., makes a tour of the Morea Returns to Athens 1811. Writes 'Hints from Horace,' and 'Curse of Minerva.' Returns to England Effect of travel on the general character of his mind and disposition His first connection with Mr. Murray Death of his mother Of his college friends, Matthews and Wingfield And of 'Thyrza' Origin of his acquaintance with Mr. Moore Act of generosity towards Mr. Hodgson 1812. Feb. 27., makes his first speech in the House of Lords Feb. 29., publishes the first and second cantos of 'Childe Harold,' Presents the copyright of the poem to Mr. Dallas Although far advanced in a fifth edition of 'English Bards,' determines to commit it to the flames Presented to the Prince Regent Writes the Address for the opening of Drury Lane Theatre 1813. April, brings out anonymously 'The Waltz' May, publishes the 'Giaour' His intercourse, through Mr. Moore, with Mr. Leigh Hunt Makes preparations for a voyage to the East Projects a journey to Abyssinia Dec., publishes the 'Bride of Abydos' Is an unsuccessful suitor for the hand of Miss Milbanke 1814. Jan., publishes the 'Corsair' April, writes 'Ode on the Fall of Napoleon Buonaparte' Comes to the resolution, not only of writing no more, but of suppressing all he had ever written May, writes 'Lara;' makes a second proposal for the hand of Miss Milbanke, and is accepted Dec., writes 'Hebrew Melodies' 1815. Jan 2., marries Miss Milbanke April, becomes personally acquainted with Sir Walter Scott May, becomes a member of the sub-committee of Drury Lane theatre Pressure of pecuniary embarrassments 1816. Jan., Lady Byron adopts the resolution of separating from him Samples of the abuse lavished on him March, writes 'Fare thee well,' and 'A Sketch' April, leaves England His route—Brussels, Waterloo, &c. Takes up his abode at the Campagne Diodati Finishes, June 27, the third canto of 'Childe Harold' Writes, June 28, 'The Prisoner of Chillon' Writes 'Darkness,' 'Epistle to Augusta,' 'Churchill's Grave,' 'Prometheus,' 'Could I remount,' 'Sonnet to Lake Leman,' and part of 'Manfred' August, an unsuccessful negotiation for a domestic reconciliation Sept., makes a tour of the Bernese Alps His intercourse with Mr. Shelley Oct., proceeds to Italy—route, Martiguy, the Simplon, Milan Verona Nov., takes up his residence at Venice Marianna Segati Studies the Armenian language 1817. Feb., finishes 'Manfred' March, translates from the Armenian, a correspondence between St. Paul and the Corinthians April Makes a short visit to Rome, and writes there a new third act to 'Manfred' July, writes, at Venice, the fourth canto of 'Childe Harold' Oct., writes 'Beppo' 1818. The Fornarina, Margaritta Cogni July, writes 'Ode on Venice' Nov., finishes 'Mazeppa' 1819. Jan., finishes second canto of 'Don Juan' April, beginning of his acquaintance with the Countess Guiccioli June, writes 'Stanzas to the Po' Dec., completes the third and fourth cantos of 'Don Juan' Removes to Ravenna 1820. Jan., domesticated with Countess Guiccioli Feb., translates first canto of the 'Morgante Maggiore' March, finishes 'Prophecy of Dante' Translates 'Francesa of Rimini' And writes 'Observations upon an Article in Blackwood's Magazine' April—July, writes 'Marino Faliero' Oct.—Nov., writes fifth canto of 'Don Juan' 1821. Feb., writes 'Letter on the Rev. W.L. Bowles's Strictures on the Life of Pope' March, 'Second Letter,' &c. May, finishes 'Sardanapalus' July, 'The Two Foscari' Sept., 'Cain' Oct., writes 'Heaven and Earth, a Mystery' and 'Vision of Judgment' Removes to Pisa 1822. Jan., finishes 'Werner' Sept, removes to Genoa His coalition with Hunt in the 'Liberal' 1823. April, turns his views towards Greece Receives a communication from the London committee May, offers to proceed to Greece, and to devote his resources to the object in view Preparations for his departure July 14., sails for Greece Reaches Argostoli Excursion to Ithaca Waits, at Cephalonia, the arrival of the Greek fleet His conversations on religion with Dr. Kennedy at Mataxata His letters to Madame Guiccioli His address to the Greek government And remonstrance to Prince Mavrocordati Testimonies to the benevolence and soundness of his views Instances of his humanity and generosity while at Cephalonia 1824. Jan. 5., arrives at Missolonghi Writes 'Lines on completing my thirty-sixth year' Intended attack upon Lepanto Is made commander-in-chief of the expedition Rupture with the Suliotes The expedition suspended His last illness His death His funeral Inscription on his monument His will His person His sensitiveness on the subject of his lameness His abstemiousness His habitual melancholy His tendency to make the worst of his own obliquities His generosity and kind-heartedness His politics His religious opinions His tendency to superstition Portraits of him Byron, Lady Her remarks on Mr. Moore's Life of Lord Byron Lord Byron's letters to ——, Honourable Augusta Ada Byron, (George) seventh lord ——, Eliza ——, Henry

C.

Cadiz, described Caesar, Julius, his times Cahir, Lady 'CAIN, a Mystery,' alleged blasphemies See also Caledonian meeting, 'Address intended to be recited at' Calvert, Mr., Lord Byron's schoolfellow at Harrow Cambridge, Lord Byron's entry into Trinity College A chaos of din and drunkenness Lord Byron's distaste to Camoens, distinguished himself in war Campbell, Thomas, esq., his first introduction to Lord Byron Coleridge lecturing against him His 'Pleasures of Hope' The best of judges His unpublished poem on a scene in Germany Inadvertencies in his 'Lives of the Poets' His 'Gertrude of Wyoming' full of false scenery See, also Canning, Right Hon. George His oratory ——, Sir Stratford, his poem entitled 'Buonaparte' Canova His early love Cant, 'the grand primum mobile of England' Cantemir, Demetrius, his 'History of the Ottoman Empire,' Carlile, Richard, folly of his trial Carlisle (Frederick Howard), fifth Earl of, becomes Lord Byron's guardian His alleged neglect of his ward Proposed reconciliation between Lord Byron and Caroline, Queen of England Carmarthen, Marchioness of Caro, Annibale, his translations from the classics Carpenter, James, the bookseller Carr, Sir John, the traveller Cartwright, Major Cary, Rev. Henry Francis, his translation of Dante Castanos, General Castellan, A.L., his 'Moeurs des Ottomans' Castlereagh, Viscount, (Robert Stewart, Marquis of Londonderry) Catholic emancipation 'Cato,' Pope's prologue to Catullus, his 'Atys' not licentious 'Cavalier Servente' Cawthorn, Mr., the bookseller Caylus, Count de 'Cecilia,' Miss Burney's Celibacy of eminent philosophers Centlivre, Mrs., character of her comedies Drove Congreve from the stage 'Cenci,' Shelley's Chamouni, remarks on the scenery of Charlemont, Lady, Lord Byron's admiration of ——, Mrs. Charles the Fifth Charlotte, the Princess, attacks upon Lord Byron in consequence of his verses to Death of Chatham, Lord, a notice of His oratory Chatterton, Thomas, self-educated Never vulgar Chaucer, Geoffrey, character of his poetry Chauncy, Captain Chaworth, Mary Anne (afterwards Mrs. Musters), Lord Byron's early attachment to His last farewell of her Her marriage Interview with, after her marriage Cheltenham, Lord Byron at Childe Alarique 'CHILDE HAROLD'S PILGRIMAGE,' the poem commenced first produced to Mr. Dallas The author's false judgment concerning Identification of Lord Byron's character with Mr. Gifford's opinion of the poem Preparations for publication Its progress through the press Mr. Moore's opinion Its publication and instantaneous success alleged resemblance to Marmion in it The 3d Canto written Progress of the 4th Canto 2500 guineas asked for it The translation confiscated in Italy 'The sublimest poetical achievement of mortal pen' Chillon, Castle of 'CHILLON, PRISONER OF Christ, what proved him the Son of God 'Christabel', Lord Byron's admiration of Cicero, Antony's treatment of Cid Cigars Cintra, the most beautiful village in the world Clare (John Fitzgibbon), Earl of Clare, John, the poet Clarens Claridge, Mr. 'Clarissa Harlowe.' Clarke, Rev. James Stanier, his 'Naufragia.' Clarke, Hewson Classical education Claudian, the 'ultimus Romanorum.' Claughton, Mr. Clayton, Mr. Clitumnus, the river Clubs Coates, Romeo, his Lothario Cobbett, William Cochrane, Lord 'Cockney school' of poetry Cogni, Margarita (the Fornarina), story of Coldham, Mr. Coleridge, Samuel Taylor, esq., his 'Devil's Walk' His 'Remorse' His 'Zopolia' His 'Biographia Literaria' His 'Christabel' Lord Byron's letters to See also Colman, George, esq., his prologue to 'Philaster' ——, George, jun., esq., parallel between Sheridan and Colocotroni Colonna, Cape Columns of Comedy more difficult to compose than Tragedy Concanen, Mr. Congreve, self-educated His comedies Driven from the stage by Mrs. Centlivre Constance (a German lady) Constant, Benjamin de, his 'Adolphe' Constantinople, St. Sophia The seraglio The first sea view Cooke, George Frederick, tragedian, an American Life of The most natural of actors Coolidge, Mr., of Boston Copet Cordova, Admiral ——, Sennorita 'Corinne,' notes written by Lord Byron in Corinth ——, capture of See 'SIEGE OF CORINTH.' Cork, Countess of Cornwall, Barry (Bryan Walter Proctor) 'CORSAIR, the; a Tale' 'Cosmopolite,' an amusing little volume full of French flippancy Cotin, L'Abbe Cottin, Madame 'Could I remount the river of my years' 'Courier' Courtenay, John, esq., anecdotes of Cowell, Mr. John, Letters to Cowley, Abraham, his 'Essays' quoted His character Cowper, Earl ——, Countess ——, William, famous at cricket and football His remark on the English system of education His spaniel 'Beau' An example of filial tenderness 'No poet' His translation of Homer Crabbe, Rev. George, the just tribute to His 'Resentment' His quality as a poet 'The father of present poesy' Crebillon, the younger, his marriage Cribb, Tom, the pugilist Cricketing, one of Lord Byron's most favourite sports 'Critic,' Sheridan's, 'too good for a farce' 'Critical Review' Croker, Right Hon. John Wilson, his query concerning the title of the 'Bride of Abydos' His 'guess' as to the origin of 'Beppo' Lord Byron's letter to His 'Boswell' quoted Crosby, Benjamin Crowe, Rev, William, his criticism in 'English Bards' Curioni, Signor, singer Curran, Right Hon. John Philpot, Lord Byron's enthusiastic praise 'Curse of Kebama' 'CURSE OF MINERVA' Curzon, Mr. Cuvier, Baron

D.

Dallas, Robert Charles, commencement of his acquaintance with Lord Byron Childe Harold first shown to him Copywright of the Corsair presented to him His ingratitude See also Lord Byron's letters to Dalrymple, Sir Hew D'Alton, John, esq., his 'Dermid' Dandies Dante, his early passion for Beatrice His infelicitous marriage His poem celebrated long before his death His popularity His gentle feelings Lord Byron's resemblance to See also 'PROPHECY OF' D'Arblay, Madame (Miss Burney), 1000 guineas asked for one of her novels Her 'Cecilia' See also Darnley, death of, a fine subject for a drama 'DARKNESS' Darwin, Dr. Erasmus, put down by the Anti-Jacobin Davies, Scrope, esq. Davy, Sir Humphry Dawkins, Mr. 'DEAR DOCTOR, I have read your play' Death Death De Bath, Lord Deformity, an incentive to distinction D'Egville, John, the ballet-master Delaval, Sir Francis Blake Delawarr (George-John West), fifth Earl Delia, poetical epistle from, to Lord Byron Delladecima, Count His opinion of Lord Byron's conduct in Greece Delphi, fountain of Demetrius Denham, his 'Cowper's Hill' Dent de Jument Dervish Tahiri, Lord Byron's faithful Arnaout guide 'Devil's Drive,' the Devil's Walk,' Porson's Devonshire, Duchess of (Lady Elizabeth Foster), her character of the Roman government 'Diary of an Invalid,' Matthews's Dibdin, Thomas, play-wright Dick, Mr. Diderot, his definition of sensibility Digestion Dioclesian Dionysius at Corinth D'Israeli, J., esq. his 'Essay on the Literary Character' His 'Quarrels of Authors' His remark on the effect of medicine upon the mind and spirits 'Distrest Mother,' excellence of the epilogue to D'Ivernois, Sir Francis Divorce Dogs, fidelity of ——-, Lord Byron's fondness for His epitaph on 'Boatswain' Don, Brig of Donegal, Lady 'DON JUAN,' a scene in it adapted from the 'Narrative of the Shipwreck of the Juno Commencement of the poem The 1st canto finished 50 copies to be printed privately 2nd canto 'Nonsensical prudery' against it Mr. Murray in a fright about it The papers not so fierce as was anticipated Authorship to be kept anonymous General outcry against the poem Spurious 3rd cantos Mr. Murray going to law The author hurt but not frightened A French lady's compliments Third canto The fifth canto hardly the beginning of the poem The Countess Guiccioli's intercession for its discontinuance Shelley's opinion of it The poem all 'real life' Errors of the press Partiality of the Germans for Permission from the Countess to continue it Three more cantos Another The 'Quarterly' Review of the poem An epitome of the author's character Donna Bianca, or White Lady of Colalto the story of her supernatural appearance D'Orsay, Count His 'Journal' Lord Byron's letter to Dorset (George-John Frederick), fourth Duke of 'LINES occasioned by the death of' Dorville, Mr Dovedale, Lord Byron's eulogy of the scenery of Dramatists, old English, 'full of gross faults' 'Not good as models' 'DREAM,' The The most mournful and picturesque story that ever came from the pen and heart of man 'One of the most interesting' of Lord Byron's poems Dreams Drummond, Sir William His 'OEdipus Judaicus' ——, Mr., Lord Byron's schoolfellow at Harrow Drury, Rev. Henry, Lord Byron's letters to ——, Rev. Dr. Joseph, his account of Lord Byron's disposition and capabilities while at Harrow Lord Byron's character of His retirement from the mastership of Harrow Drury, Mark Drury Lane Theatre 'ADDRESS, spoken at the opening of' Dryden, his praise of Oxford, at the expense of Cambridge Eulogy of his 'Fables' by Lord Byron 'Duenna,' Lord Byron's partiality for the songs in Duff, Colonel (Lord Byron's god-father) ——, Miss Mary (afterwards Mrs. Robert Cockburn), Lord Byron's boyish attachment for Dulwich, Lord Byron at school there Dumont, M Duncan, Mr., Lord Byron's writing-master at Aberdeen Dwyer, Mr Dyer's 'Grongar Hill'

E.

Eagles, a flight of Eboli, Princess of, epigram on her losing an eye Eclectic Review Eddleston, the Cambridge chorister, Lord Byron's protege Edgecombe, Mr Edgehill, Battle, seven brothers of the Byron family at Edgeworth, Richard Lovell, esq., sketch of ——, Maria Edinburgh Annual Register Edinburgh Review Its effect on the author Its review of the 'Corsair' and 'Bride of Abydos' Education, English system of Elba, Isle of, Lord Byron's 'Ode to Napoleon Buonaparte' on his retreat to Eldon, Earl of Anecdote of Elgin, Earl of, severe treatment of The 'Curse of Minerva' levelled against him Ellice, Edward, esq., letter to Ellis, George, esq. Ellison, Lord Byron's school-fellow at Harrow Elliston, Robert William, comedian, Lord Byron's wish that he should speak his 'Address' at Drury Lane theatre Eloquence, state of Endurance, of more worth than talent ENGLISH BARDS AND SCOTCH REVIEWERS, the groundwork laid before the appearance of the critique in the 'Edinburgh Review' Sent to Mr. Harness Success of the satire The author's regret in having written it Refusal to republish it Attempted publication of Englishman, Otway's three requisites for an Envy Ephesus, ruins of EPIGRAM on Moore's Operatic Farce, or Farcical Opera Erskine, Lord, his eloquence his famous pamphlet See, also Essex (George-Capel), fifth Earl of Euxine, or Black Sea, description of Ewing, Dr. Exeter 'Change

F.

Faber, Rev. George Fainting, sensation of Falconer, his 'Shipwreck' Falkland (Lucius Gary), Viscount, killed in a duel by Mr. Powell 'Father of Light! Great God of Heaven!' Falkner, Mr., Lord Byron's letter to, with a copy of his poems Fall of Terni Falmouth Fame, first tidings of, to Lord Byron See. also 'FARE THEE WELL, and if for ever' Farrell, D., esq. Fatalism 'Faust,' Goethe's 'Faustus,' Marlow's Fawcett, John, comedian 'Fazio,' Milman's tragedy of Fear Ferrara, Lord Byron's visit to Fersen, Count Fidler, Ernest Fielding, 'the prose Homer of human nature.' Finlay, Kirkman, esq. Fitzgerald, Lord Edward ——, William Thomas, esq., poetaster Flemish school of painting Fletcher, William (Lord Byron's valet) Flood, Right Hon. Henry, his debut in the House of Commons 'Florence,' the lady addressed under this title in 'Childe Harold' (Mrs., Spencer Smith) Florence, Lord Byron's visits to the picture gallery Foote, Miss, the actress (afterwards, Countess of Harrington), her debut in the 'Child of Nature' Forbes, Lady Adelaide Forresti, G. Forsyth, Joseph, esq., his 'Italy' Fortune, Lord Byron attributed everything to See, also 'Foscari, the Two; an Historical Tragedy' Foscolo, Ugo His 'Essay on Petrarch' Fountain of Arethusa, Lord Byron's visit to Fox, Right Hon. Charles James, notice of poems His Oratory ——, Henry 'Frament, A' 'FRANCESCA OF RIMINI; from the Inferno of Dante' Francis, Sir Philip, the probable author of 'Junius' 'Frankenstein,' Mrs. Shelley's Franklin, Benjamin Frederick the Second, 'the only monarch worth recording in Prussian annals' Free press in Greece Frere, Right Hon. John Hookham, his 'Whistlecraft' Fribourg Friday, supposed unluckiness of

G.

Galignani, M. Gait, John, esq., his life of Lord Byron See, also Gamba, Count Pietro, the Countess Guiccioli's letter to Mr. Moore His friendship with Lord Byron His arrest at Ravenna His notices of Lord Byron on his departure for Greece Remarks on Lord Byron's death Garrick, Sheridan's Monologue on Gay, Madame Sophie ——, Mlle. Delphine Gell, Sir William Review of his 'Geography of Ithaca,' and 'Itinerary of Greece' Geneva, Lake of George the Third, granted a pension to Mrs. Byron George the Fourth, his interview with Lord Byron His indignation against 'Cain' The 'Vault reflection' 'Georgics,' a finer poem than the AEneid Germany and the Germans Ghost, the Newstead 'Giaour, The; a Fragment of a Turkish Tale', the author's fears for it First publication of, and its brilliant success Additions to The author's endeavours to 'beat' it The story on which it is founded Gibbon, Edward, esq., his remark on public schools His acacia His remark on his own History Gifford, William, esq., his opinion of 'English Bards' Lord Byron's disinclination that 'Childe Harold' should be shown to him Influence of his opinion on Lord Byron And Jeffrey, monarch-makers in poetry and prose The 'Bride of Abydos' submitted to Lord Byron's letters to Gilchrist, Octavius Gillies, R.P., the author of 'Childe Alarique' Giordani, Signor Giorgione His 'picture of his wife His judgment of Solomon Giraud, Nicolo, Lord Byron's Greek protege 'Glenarvon,' Lady Caroline Lamb's Glenbervie (Sylvester Douglas), first Lord, his treatise on timber His 'Ricciardetto' Glennie, Dr. (Lord Byron's preceptor) His account of his pupil's studies Glover, Mrs., actress Godwin, William, Lord Byron's munificence to Goethe, his 'Kennst du das Land,' &c. imitated His saying of Lord Byron His 'Faust His remarks on 'Manfred.' Dedication of 'Marino Faliero' to His 'Werther.' His 'Giaour' story Lord Byron's letter to His tribute to the memory of Byron Goetz, Countess Gordon, Sir John, of Bogagicht ——, Sir William, grandson of James I., an ancestor of Lord Byron's ——, Duchess of ——, Mr. ——, Lord Alexander ——, Pryce, esq. Gordons of Gight Gower, Lord Granville Leveson (now Earl and Viscount Granville) 'Gradus ad Parnassum,' Lord Byron's triangular Grafton (George Henry Fitzroy), fourth Duke of Grainger, his 'Ode to Solitude.' Grant, David, his 'Battles and War Pieces.' Grattan, Right Hon. Henry, his oratory Curran's mimicry of him Gray, his description of Cambridge His preference for his Latin poems An example of filial tenderness His 'Elegy.' ——, May (Lord Byron's nurse) Greece, past and present condition of Small extent of Greek islands, resources for an emigrant population in Greeks, character of the Cause of the purity with which they wrote their own language Gregson, the pugilist Grenville (William Wyndham), Lord Greville, Colonel, challenges Lord Byron for an insinuation in 'English Bards.' Grey, Charles (afterwards Earl Grey), his oratory See also Grey de Ruthven, Lord, Newstead Abbey let to him Grillparzer, his tragedy of Sappho Character of his writings Grimaldi, Joseph, Covent Garden clown Grimm, Baron His 'Correspondence' as valuable as Muratori or Tiraboschi Grindenwald, the 'Grongar Hill,' Dyer's Guerrino, a picture of his at Milan Guiccioli, Count ——, Countess, her first introduction to Lord Byron attacked with fever sincerity of Lord Byron's attachment to her accompanies Lord Byron to Venice disinterestedness of her conduct, and returns with the Count to Ravenna Lord Byron follows her efforts for a separation the Pope pronounces for it the Countess retires to her father's villa arrest of her father and brother Shelley's opinion of her connexion with Lord Byron her intercession for the discontinuance of Don Juan Lord Byron's unwilling departure for Greece his letters to the Countess from Greece See also Guildford, Earl of Guinguene, P.L. Gulley, John, the pugilist (in 1832 M. P. for Pontefract)

H.

Hafiz, the oriental Anacreon Hailstone, Professor Hall, Captain Basil, Lord Byron's attention to his letter to Hamilton, Lady Dalrymple Hancock, Charles, esq. Lord Byron's letters to Hannibal, saying of Hanson, John, esq. (Lord Byron's solicitor) ——, Miss (afterwards Countess of Portsmouth) Lord Byron's presence at her marriage 'Hardyknute,' the fine poem so called Harrington, Earl of. See Stanhope ——, Countess of. See Foote Harley, Lady Charlotte (the 'lanthe' to whom the first and second cantos of 'Childe Harold' are dedicated) ——, Lady Jane Harness, Rev. William His sermons quoted Lord Byron's letters to Harris, his 'Philosophical Inquiries' Harrow, Lord Byron's entrance at his first Harrow verses his magnanimity in behalf of his friend Peel 'Byron's tomb' his attachment to Harrow Harrowby, Earl of Harrowgate, Lord Byron's visit to Hartington, Marquis of (afterwards sixth Duke of Devonshire) Harvey, Mrs. Jane Hatchard, Mr. John Hawke (Edward Harvey), third Lord Hay, Captain Hayley, his 'Triumphs of Temper,' Lord Byron's eulogy of Hayreddin Hazlitt, William, his style Headfort, Marchioness of 'HEBREW MELODIES' Helen, 'LINES on Canova's bust of' Hellespont, Lord Byron's swimming feat from Sestos to Abydos Hemans, Mrs., her 'Restoration' Character of her poetry Henley, Orator Herbert of Cherbury, Lord, his life much interested Lord Byron Hero and Leander Hill, Aaron 'Hills of Annesley, bleak and barren.' 'HINTS FROM HORACE,' written at Athens first produced to Mr. Dallas singular preference given by the author to them See also Hippopotamus at Exeter Change Historians, list of, perused by Lord Byron at nineteen Hoare, Mr., Lord Byron's schoolfellow at Harrow Hobbes, Thomas Hobhouse, Right Hon. Henry ——, Right Hon. Sir John Cam, Bart., his 'Journey through Albania' quoted His 'Historical Notes to Childe Harold' Hodgson, Rev. Francis, Lord Byron's well-timed assistance to His 'Friends' Lord Byron's letters to See also Hogg, James, the Ettrick shepherd Holerott, Thomas, his 'Memoirs' Holderness, Lady Holland, Lord, the allusion to commencement of Lord Byron's acquaintance with his oratory Lord Byron's letters to Holland, Lady ——, Dr. Holmes, Mr., the miniature painter Homer, geography of, Visit to the school of Hope, Thomas, esq., his 'Anastasius' Hoppner, R B., esq., his account of Lord Byron's mode of life at Venice 'LINES on the birth of his son' Lord Byron's letters to see also Horace, Lord Byron's early dislike to Quoted 'Horace in London' See 'Hints from Horace' Horestan Castle, Derbyshire, held by Lord Byron's ancestors 'Horsae Ionicae Homer, Francis, esq. 'HOURS OF IDLENESS,' first publication of a review of another in the 'Critical Review,' furious philippic in the 'Eclectic' Critique of the Edinburgh Review Howard, Hon. Frederick Hume, David, his Essays His 'Treatise of Human Nature' Hunt, John ——, Leigh, Lord Byron's first acquaintance with Described His 'Rimini' His 'Foliage' His 'Byron and some of his Contemporaries' See also Hunter, P., esq. Hurd, Bishop, his remark on academical studies Hutchinson, Colonel, his Memoirs 'Huzza! Hodgson, we are going' Hymettus Hypochondriacism

I

Ida, mount Imagination Immortality of the soul Improvisatore, account of one at Milan 'Ina,' Mrs. Wilmot's tragedy of Inchbald, Mrs., her 'Simple Story' Her 'Nature and Art' Incledon, Charles, singer 'INEZ,' Stanzas to Interlachen Invention Iris, the 'IRISH AVATAR' Irving, Washington, esq. Italian manners Italians, bad translators, except from the classics Italy, the only modern nation in Europe that has a poetical language Ithaca, excursion to

J.

Jackson, 'John, the professor of pugilism Lord Byron's letters to Jacobson, M. 'Jacqueline,' Mr. Rogers's Jeffrey, Francis, esq., allusion to in 'English Bards' his duel with Mr. Moore his review of the 'Giaour' his criticisms on Lord Byron's works his review of Coleridge's 'Christabel' Jersey, Earl of ——, Countess of Jesus Christ Job Jocelyn, Lord, (afterwards Earl of Roden) Johnson, Dr. His prologue on opening Drury Lane theatre His 'Vanity of Human Wishes' His melancholy His 'Lives of the Poets' His 'London' Lord Byron's high opinion of him Jones, Mr., tutor at Cambridge ——, Richard, comedian Jordan, Mrs., actress Joukoffsky, the Russian poet Joy, Henry, esq., his visit to Byron Juliet's tomb See Romeo Julius Caesar, his times Jungfrau, the Junius's letters 'Juno,' shipwreck of the Jura mountains Juvenal

K.

Kay, Mr., painter Kayo, Sir Richard Kean, Edmund, tragedian, his Richard the Third Lord Byron's enthusiastic admiration of Effect of his Sir Giles Over-reach on Keats, John, his poems Died through bursting a blood-vessel on reading the article on his 'Endymion' in the Quarterly Review His depreciation of Pope Kelly, Miss, actress Kemble, John Philip, esq., his Coriolanus His Hamlet Intreats Lord Byron to write a tragedy His acting described His Othello His Iago Kennedy, Dr., his 'Conversations on religion with Lord Byron in Cephalonia' Lord Byron's letters to Kent, Mr., his taste in gardening formed by Pope Kidd, Captain Strange story related to Lord Byron by Kien Long, his 'Ode to Tea' Kinnaird, Hon. Douglas Lord Byron's letters to Klopstock Knight, Galley, esq. His 'Persian Tales' Knox, Captain (British resident at Ithaca) Kosciusko, General Koran, sublime poetical passages in

L.

La Bruytere Lachin-y-gair Lago Maggiore Lake Leman Lake School of Poetry 'Lakers,' the 'Lalla Rookh' Lamartine, M. Lamb, Hon. George ——, Lady Caroline Her 'Glenarvon' 'LAMENT OF TASSO' Lansdowne, (Henry Fitzmaurice Pitty), fourth Marquis of 'LAKA; a Tale' Lauderdale, Earl of, his oratory Laura, her portrait La Valiere, Madame Lavender, the Nottingham empiric Lawrence, Sir Thomas Leacroft, Mr. ——, Miss Leake, Colonel His 'Outlines of the Greek Revolution' Leandor and Hero Leckie, Gould Francis, esq. Leigh, Mr., Lord Byron's schoolfellow at Harrow ——, Colonel ——, Hon. Augusta (Lord Byron's sister) Leinster, Duke of Leman, Lake Le Man, Mr. Leoni, Signor, his translation of Childe Harold Lepanto, Gulf of Lerici Leveson-Gower, Lady Charlotte (afterwards Countess of Surrey) Levis, Due de Lewis, Matthew Gregory, esq. 'Liberal,' the Liberty Life Likenesses Lisbon 'Lisbon packet' Liston, Sir Robert ——, John, comedian Little's Poems Liverpool, Earl of Livy Lloyd, Charles, esq. Lobster nights, Pope's and Lord Byron's Loch Leven Locke, his treatise on education His contempt for Oxford Lockhart, J.G., esq., his 'Life of Burns' His marriage with Miss Scott ——, Mrs. Lodburgh, his 'Death Song' Lofft, Capel Londo, Andrea, the Greek patriot Account of Lord Byron's letter to Londonderry (Robert Stewart), second Marquis of Long, Edward Noel, esq., Lord Byron's schoolfellow at Harrow Long, Miss (afterwards Mrs. Long Pole Wellesley) Longevity Longmans, Messrs. Love, 'Not the principal passion for tragedy.' Success in, dependent on fortune Woman's Low spirits Lowe, Sir Hudson Lucretius Luc, Jean Andre de Ludlow, General, the regicide, his monument His domal inscription Lushington, Dr., his letter to Lady Byron Lutzerode, Baron Luxembourg, Marechal Lyttleton, George, Lord. Lord Byron compared to ——, Thomas, Lord

M.

Machinery, effects of Mackenzie, Henry, esq., his notice of Lord Byron's early poems Mackintosh, Sir James, brightest of northern constellations his review of Rogers in the Edinburgh Review a rare instance of the union of very transcendent talent and great good nature his letter in the 'Morning Chronicle high expectation of his promised history strong impression made by him on Lord Byron Macnamara, Arthur, esq. Mafra, the palace of, the boast of Portugal Mahomet Maid of Athens Account of Maintenon, Madame letters Malamocco, wall of 'MANFRED; A DRAMATIC POEM,' finished extracts sent to Mr. Murray offered to him for 300 guineas a sort of mad Drama; instructions for its title the third act to be re-written new third act sent to Mr. Murray a critique on; omission of a line critique of the 'Edinburgh Review a menaced version of the poem Goethe's remarks on Mansel, Dr., Bishop of Bristol Manton gun, Lord Byron's 'Manuel,' Mathurin's Marden, Mrs., actress Marianna Segati 'MARINO FALIERO, DOGE of VENICE; an Historical Tragedy.' Intention to write the tragedy commenced advanced into the second act completed not intended for the stage Mr. Gifford's opinion of it a note to be introduced the author's talent 'especially undramatic a phrase to be altered the poem not popular lines to be introduced reported representation of the play and its condemnation a note for the next edition Marlow, his 'Faustus.' 'Marmion.' Marriage ceremony Marriages, great cause of unhappy ones 'Mary,' Lord Byron's love for the name —— of Aberdeen Massaniello Materialism Mathews, Charles, comedian Mathurin, Rev. Charles His 'Bertram.' His 'Manuel,' Matlock, Lord Byron at Matter Matthews, John, esq., of Belmont, some account of ——, Charles Skinner, esq. Lord Byron's account of His visit to Newstead Tributes to his memory ——, Henry, esq. His 'Diary of an Invalid' Account of ——, Rev. Arthur Matthison, Frederic, his 'Letters from the Continent' Maugiron, epigram on the loss of his eye Mavrocordato, Prince Lord Byron's letters to Proclamation issued by him, on Lord Byron's death Mawman, Joseph, bookseller Mayfield, Mr. Moore's residence in Staffordshire 'MAZEPPA' Medicine, effects of, on the mind and spirits Medwin, Captain, his acquaintance with Lord Byron at Pisa Meillerie Melbourne, Lady Mendelsohn, his habitual melancholy Mengaldo, Chevalier Merivale, J.H., esq. His 'Roncesvalles' His review of 'Grimm's Correspondence' Lord Byron's letter to Metastasio Meyler, Richard, esq. Mezzophanti, 'a monster of languages' Milan cathedral Ambrosian library at Brera gallery Napoleon's triumphal arch State of society at Milbanke, Sir Ralph ——, Lady. See Noel ——, Miss (afterwards Lady Byron) See Byron Miller, Rev. Dr., his 'Essay on Probabilities' ——, William, bookseller, refuses to publish Childe Harold Millingen, Mr., His account of the consultation on Lord Byron's last illness Milman, Rev. Henry Hart, now Dean of St. Paul's, his 'Fazio' Milnes, Robert, esq. Milo Milton, his imitation of Ariosto His practice of dating his poems followed by Lord Byron His dislike to Cambridge His infelicitous marriage His disregard of painting and sculpture His politics kept him down His 'material thunder.' Mirabeau, his eloquence 'Mirra,' of Alfieri, effect of the representation of, on Lord Byron Missiaglia, Venetian bookseller Mistress, 'cannot be a friend Mitchell, T., esq., his translation of Aristophanes 'Mobility' Modern gardening, Pope the chief inventor of Moira, Earl of (afterwards Marquis of Hastings) Moliere Moncada, Marquis 'Monk,' Lewis's, 'The philtered ideas of a jaded voluptuary' Mont Blanc Montague, Edward Wortley ——, Lady Mary Wortley, proposed Italian translation of her letters and new life of three pretty notes by her Pope's lines on her Montbovon 'Monthly Literary Recreations,' Lord Byron's review of Wordsworth's poems in Monti, his Aristodemo ——, account of Moore, Thomas, esq., his prefaces to his 'Life of Lord Byron,' His first acquaintance with Lord Byron Duel between Mr. Jeffrey and His person and manners described His poetry 'LINES on his last Operatic Farce or Farcical Opera' His 'Lalla Rookh' His 'Loves of the Angels' Lord Byron's letters to See also Moore, Peter, esq. Morgan, Lady Her 'Italy' ——, Lord Byron's school-fellow at Harrow 'MORGANTE MAGGIORE, of Pulci.' translation of the first canto commenced finished not a line to be omitted the author's opinion of it 'Morning Post' Morosini. his siege of Athens Mosaic chronology Mosti, Count Mother, future conduct of a child dependent on the Muir, Mr., letter to Mule, Mrs., Lord Byron's housemaid Mueller, the historian Muloch, Muley His 'Atheism answered' Murat, Joachim, death of Muratori Murillo, Lord Byron's opinion of Murray, John, esq, his first connection with Lord Byron Childe Harold placed in his hands shows the poem to Mr. Gifford purchases the copyright 'The [Greek: anax] of publishers' recommended by Lord Byron to Mr. Moore as 'among the first of the trade,' offers 1000 guineas for the 'Giaour' and 'Bride of Abydos,' Lord Byron's high compliment to pays 1000 guineas for the 'Siege of Corinth' and 'Parisina' the 'Mokanna' of publishers' offers 1500 guineas for the 4th canto of 'Childe Harold' poetical epistle to 'Strahan, Tonson, Lintot, of the times' conduct to Mr. Moore Lord Byron's last letter to letters and allusions to, passim Music, Lord Byron's love of simple See, also Musters, Mr. John, his marriage to Miss Chaworth Musters, Mrs. See Chaworth 'MY BOAT is on the shore' 'MY DEAR Mr. Murray'