Mr Moore acknowledges that he was somewhat piqued at the manner in which his efforts towards a more friendly understanding were received, and hastened to close the correspondence by a short note, saying that his Lordship had made him feel the imprudence he was guilty of in wandering from the point immediately in discussion between them. This drew immediately from Lord Byron the following frank and openhearted reply:

"You must excuse my troubling you once more upon this very unpleasant subject. It would be a satisfaction to me, and I should think to yourself, that the unopened letter in Mr Hodgson's possession (supposing it to prove your own) should be returned in statu quo to the writer, particularly as you expressed yourself 'not quite easy under the manner in which I had dwelt on its miscarriage.'

"A few words more and I shall not trouble you further. I felt, and still feel, very much flattered by those parts of your correspondence which held out the prospect of our becoming acquainted. If I did not meet them, in the first instance, as perhaps I ought, let the situation in which I was placed be my defence. You have NOW declared yourself SATISFIED, and on that point we are no longer at issue. If, therefore, you still retain any wish to do me the honour you hinted at, I shall be most happy to meet you when, where, and how you please, and I presume you will not attribute my saying thus much to any unworthy motive."

The result was a dinner at the house of Mr Rogers, the amiable and celebrated author of The Pleasures of Memory, and the only guest besides the two adversaries was Mr Campbell, author of The Pleasures of Hope: a poetical group of four not easily to be matched, among contemporaries in any age or country.

The meeting could not but be interesting, and Mr Moore has described the effect it had on himself with a felicitous warmth, which showed how much he enjoyed the party, and was pleased with the friendship that ensued.

"Among the impressions," says he, "which this meeting left on me, what I chiefly remember to have remarked was, the nobleness of his air, his beauty, the gentleness of his voice and manners, and—what was naturally not the least attraction—his marked kindness for myself. Being in mourning for his mother, the colour as well of his dress as of his glossy, curling, and picturesque hair, gave more effect to the pure spiritual paleness of his features, in the expression of which, when he spoke, there was a perpetual play of lively thought, though melancholy was their habitual character when in repose."



CHAPTER XXVI



The Libel in "The Scourge"—The general Impression of his Character— Improvement in his Manners, as his Merit was acknowledgement by the Public—His Address in Management—His first Speech in Parliament— The Publication of "Childe Harold"—Its Reception and Effect

During the first winter after Lord Byron had returned to England, I was frequently with him. Childe Harold was not then published; and although the impression of his satire, English Bards and Scotch Reviewers, was still strong upon the public, he could not well be said to have been then a celebrated character. At that time the strongest feeling by which he appeared to be actuated was indignation against a writer in a scurrilous publication, called The Scourge; in which he was not only treated with unjustifiable malignity, but charged with being, as he told me himself, the illegitimate son of a murderer. I had not read the work; but the writer who could make such an absurd accusation, must have been strangely ignorant of the very circumstances from which he derived the materials of his own libel. When Lord Byron mentioned the subject to me, and that he was consulting Sir Vickery Gibbs, with the intention of prosecuting the publisher and the author, I advised him, as well as I could, to desist, simply because the allegation referred to well-known occurrences. His grand-uncle's duel with Mr. Chaworth, and the order of the House of Peers to produce evidence of his grandfather's marriage with Miss Trevannion; the facts of which being matter of history and public record, superseded the necessity of any proceeding.

Knowing how deeply this affair agitated him at that time, I was not surprised at the sequestration in which he held himself—and which made those who were not acquainted with his shy and mystical nature, apply to him the description of his own Lara:

The chief of Lara is return'd again,

And why had Lara cross'd the bounding main?— Left by his sire too young such loss to know, Lord of himself; that heritage of woe. In him, inexplicably mix'd, appear'd Much to be loved and hated, sought and fear'd, Opinion varying o'er his hidden lot, In praise or railing ne'er his name forgot. His silence form'd a theme for others' prate; They guess'd, they gazed, they fain would know his fate, What had he been? what was he, thus unknown, Who walk'd their world, his lineage only known? A hater of his kind? yet some would say, With them he could seem gay amid the gay; But own'd that smile, if oft observed and near Waned in its mirth and wither'd to a sneer; That smile might reach his lip, but pass'd not by; None e'er could trace its laughter to his eye: Yet there was softness, too, in his regard, At times a heart is not by nature hard. But once perceived, his spirit seem'd to hide Such weakness as unworthy of its pride, And stretch'd itself as scorning to redeem One doubt from others' half-withheld esteem; In self-inflicted penance of a breast Which tenderness might once have wrung from rest, In vigilance of grief that would compel The soul to hate for having loved too well. There was in him a vital scorn of all, As if the worst had fall'n which could befall. He stood a stranger in this breathing world, An erring spirit from another hurl'd; A thing of dark imaginings, that shaped By choice the perils he by chance escaped.

Such was Byron to common observance on his return. I recollect one night meeting him at the Opera. Seeing me with a gentleman whom he did not know, and to whom he was unknown, he addressed me in Italian, and we continued to converse for some time in that language. My friend, who in the meanwhile had been observing him with curiosity, conceiving him to be a foreigner, inquired in the course of the evening who he was, remarking that he had never seen a man with such a Cain-like mark on the forehead before, alluding to that singular scowl which struck me so forcibly when I first saw him, and which appears to have made a stronger impression upon me than it did upon many others. I never, in fact, could overcome entirely the prejudice of the first impression, although I ought to have been gratified by the friendship and confidence with which he always appeared disposed to treat me. When Childe Harold was printed, he sent me a quarto copy before the publication; a favour and distinction I have always prized; and the copy which he gave me of The Bride of Abydos was one he had prepared for a new edition, and which contains, in his own writing, these six lines in no other copy:

Bless'd—as the Muezzin's strain from Mecca's wall To pilgrims pure and prostrate at his call, Soft—as the melody of youthful days That steals the trembling tear of speechless praise, Sweet—as his native song to exile's ears Shall sound each tone thy long-loved voice endears.

He had not, it is true, at the period of which I am speaking, gathered much of his fame; but the gale was rising—and though the vessel was evidently yielding to the breeze, she was neither crank nor unsteady. On the contrary, the more he became an object of public interest, the less did he indulge his capricious humour. About the time when The Bride of Abydos was published, he appeared disposed to settle into a consistent character—especially after the first sale of Newstead. Before that particular event, he was often so disturbed in his mind, that he could not conceal his unhappiness, and frequently spoke of leaving England for ever.

Although few men were more under the impulses of passion than Lord Byron, there was yet a curious kind of management about him which showed that he was well aware how much of the world's favour was to be won by it. Long before Childe Harold appeared, it was generally known that he had a poem in the press, and various surmises to stimulate curiosity were circulated concerning it: I do not say that these were by his orders, or under his directions, but on one occasion I did fancy that I could discern a touch of his own hand in a paragraph in the Morning Post, in which he was mentioned as having returned from an excursion into the interior of Africa; and when I alluded to it, my suspicion was confirmed by his embarrassment.

I mention this incident not in the spirit of detraction; for in the paragraph there was nothing of puff, though certainly something of oddity—but as a tint of character, indicative of the appetite for distinction by which, about this period, he became so powerfully incited, that at last it grew into a diseased crave, and to such a degree, that were the figure allowable, it might be said, the mouth being incapable of supplying adequate means to appease it—every pore became another mouth greedy of nourishment. I am, however, hastening on too fast. Lord Byron was, at that time, far indeed from being ruled by any such inordinate passion; the fears, the timidity, and bashfulness of young desire still clung to him, and he was throbbing with doubt if he should be found worthy of the high prize for which he was about to offer himself a candidate. The course he adopted on the occasion, whether dictated by management, or the effect of accident, was, however, well calculated to attract attention to his debut as a public man.

When Childe Harold was ready for publication, he determined to make his first appearance as an orator in the House of Lords: the occasion was judiciously chosen, being a debate on the Nottingham frame-breaking bill; a subject on which it was natural to suppose he possessed some local knowledge that might bear upon a question directed so exclusively against transactions in his own county. He prepared himself as the best orators do in their first essays, not only by composing, but writing down, the whole of his speech beforehand. The reception he met with was flattering; he was complimented warmly by some of the speakers on his own side; but it must be confessed that his debut was more showy than promising. It lacked weight in metal, as was observed at the time, and the mode of delivery was more like a schoolboy's recital than a masculine grapple with an argument. It was, moreover, full of rhetorical exaggerations, and disfigured with conceits. Still it scintillated with talent, and justified the opinion that he was an extraordinary young man, probably destined to distinction, though he might not be a statesman.

Mr Dallas gives a lively account of his elation on the occasion. "When he left the great chamber," says that gentleman, "I went and met him in the passage; he was glowing with success, and much agitated. I had an umbrella in my right hand, not expecting that he would put out his hand to me; in my haste to take it when offered, I had advanced my left hand: 'What!' said he, 'give your friend your left hand upon such an occasion?' I showed the cause, and immediately changing the umbrella to the other, I gave him my right hand, which he shook and pressed warmly. He was greatly elated, and repeated some of the compliments which had been paid him, and mentioned one or two of the peers who had desired to be introduced to him. He concluded by saying, that he had, by his speech, given me the best advertisement for Childe Harold's Pilgrimage."

It is upon this latter circumstance, that I have ventured to state my suspicion, that there was a degree of worldly management in making his first appearance in the House of Lords, so immediately preceding the publication of his poem. The speech was, indeed, a splendid advertisement, but the greater and brighter merits of the poem soon proved that it was not requisite, for the speech made no impression, but the poem was at once hailed with delight and admiration. It filled a vacancy in the public mind, which the excitement and inflation arising from the mighty events of the age, had created. The world, in its condition and circumstances, was prepared to receive a work, so original, vigorous, and beautiful; and the reception was such that there was no undue extravagance in the noble author saying in his memorandum, "I awoke one morning and found myself famous."

But he was not to be allowed to revel in such triumphant success with impunity. If the great spirits of the time were smitten with astonishment at the splendour of the rising fire, the imps and elves of malignity and malice fluttered their bat-wings in all directions. Those whom the poet had afflicted in his satire, and who had remained quietly crouching with lacerated shoulders in the hope that their flagellation would be forgotten, and that the avenging demon who had so punished their imbecility would pass away, were terrified from their obscurity. They came like moths to the candle, and sarcasms in the satire which had long been unheeded, in the belief that they would soon be forgotten, were felt to have been barbed with irremediable venom, when they beheld the avenger

Towering in his pride of place.



CHAPTER XXVII



Sketches of Character—His Friendly Dispositions—Introduce Prince K- -to him—Our last Interview—His continued Kindness towards me— Instance of it to one of my Friends.

For some time after the publication of Childe Harold, the noble author appeared to more advantage than I ever afterwards saw him. He was soothed by success; and the universal applause which attended his poem seemed to make him think more kindly of the world, of which he has too often complained, while it would be difficult to discover, in his career and fortunes, that he had ever received any cause from it to justify his complaint.

At no time, I imagine, could it be said that Lord Byron was one of those men who interest themselves in the concerns of others. He had always too much to do with his own thoughts about himself, to afford time for the consideration of aught that was lower in his affections. But still he had many amiable fits, and at the particular period to which I allude, he evinced a constancy in the disposition to oblige, which proved how little self-control was wanting to have made him as pleasant as he was uniformly interesting. I felt this towards myself in a matter which had certainly the grace of condescension in it, at the expense of some trouble to him. I then lived at the corner of Bridge Street, Westminster, and in going to the House of Lords he frequently stopped to inquire if I wanted a frank. His conversation, at the same time, was of a milder vein, and with the single exception of one day, while dining together at the St Alban's, it was light and playful, as if gaiety had become its habitude.

Perhaps I regarded him too curiously, and more than once it struck me that he thought so. For at times, when he was in his comfortless moods, he has talked of his affairs and perplexities as if I had been much more acquainted with them than I had any opportunity of being. But he was a subject for study, such as is rarely met with—at least, he was so to me; for his weaknesses were as interesting as his talents, and he often indulged in expressions which would have been blemishes in the reflections of other men, but which in him often proved the germs of philosophical imaginings. He was the least qualified for any sort of business of all men I have ever known; so skinless in sensibility as respected himself, and so distrustful in his universal apprehensions of human nature, as respected others. It was, indeed, a wild, though a beautiful, error of nature, to endow a spirit with such discerning faculties, and yet render it unfit to deal with mankind. But these reflections belong more properly to a general estimate of his character, than to the immediate purpose before me, which was principally to describe the happy effects which the splendid reception of Childe Harold had on his feelings; effects which, however, did not last long. He was gratified to the fullness of his hopes; but the adulation was enjoyed to excess, and his infirmities were aggravated by the surfeit. I did not, however, see the progress of the change, as in the course of the summer I went to Scotland, and soon after again abroad. But on my return, in the following spring, it was very obvious.

I found him, in one respect, greatly improved; there was more of a formed character about him; he was evidently, at the first glance, more mannered, or endeavouring to be so, and easier with the proprieties of his rank; but he had risen in his own estimation above the honours so willingly paid to his genius, and was again longing for additional renown. Not content with being acknowledged as the first poet of the age, and a respectable orator in the House of Lords, he was aspiring to the eclat of a man of gallantry; so that many of the most ungracious peculiarities of his temper, though brought under better discipline, were again in full activity.

Considering how much he was then caressed, I ought to have been proud of the warmth with which he received me. I did not, however, so often see him as in the previous year; for I was then on the eve of my marriage, and I should not so soon, after my return to London, have probably renewed my visits, but a foreign nobleman of the highest rank, who had done me the honour to treat me as a friend, came at that juncture to this country, and knowing I had been acquainted with Lord Byron, he requested me to introduce him to his Lordship. This rendered a visit preliminary to the introduction necessary; and so long as my distinguished friend remained in town, we again often met. But after he left the country my visits became few and far between; owing to nothing but that change in a man's pursuits and associates which is one among some of the evils of matrimony. It is somewhat remarkable, that of the last visit I ever paid him, he has made rather a particular memorandum. I remember well, that it was in many respects an occasion not to be at once forgotten; for, among other things, after lighter topics, he explained to me a variety of tribulations in his affairs, and I urged him, in consequence, to marry, with the frankness which his confidence encouraged; subjoining certain items of other good advice concerning a liaison which he was supposed to have formed, and which Mr Moore does not appear to have known, though it was much talked of at the time.

During that visit the youthful peculiarities of his temper and character showed all their original blemish. But, as usual, when such was the case, he was often more interesting than when in his discreeter moods. He gave me the copy of The Bride of Abydos, with a very kind inscription on it, which I have already mentioned; but still there was an impression on my mind that led me to believe he could not have been very well pleased with some parts of my counselling. This, however, appears not to have been the case; on the contrary, the tone of his record breathes something of kindness; and long after I received different reasons to believe his recollection of me was warm and friendly.

When he had retired to Genoa, I gave a gentleman a letter to him, partly that I might hear something of his real way of life, and partly in the hope of gratifying my friend by the sight of one of whom he had heard so much. The reception from his Lordship was flattering to me; and, as the account of it contains what I think a characteristic picture, the reader will, I doubt not, be pleased to see so much of it as may be made public without violating the decorum which should always be observed in describing the incidents of private intercourse, when the consent of all parties cannot be obtained to the publication.

Edinburgh, June 3, 1830.

"DEAR GALT,—Though I shall always retain a lively general recollection of my agreeable interview with Lord Byron, at Genoa, in May, 1823, so long a time has since elapsed that much of the aroma of the pleasure has evaporated, and I can but recall generalities. At that time there was an impression in Genoa that he was averse to receive visits from Englishmen, and I was indeed advised not to think of calling on him, as I might run the risk of meeting with a savage reception. However, I resolved to send your note, and to the surprise of every one the messenger brought a most polite answer, in which, after expressing the satisfaction of hearing of his old friend and fellow-traveller, he added that he would do himself the honour of calling on me the next day, which he accordingly did; but owing to the officious blundering of an Italian waiter, who mentioned I was at dinner, his Lordship sent up his card with his compliments that he would not deranger the party. I was determined, however, that he should not escape me in this way, and drove out to his residence next morning, when, upon his English valet taking up my name, I was immediately admitted.

"As every one forms a picture to himself of remarkable characters, I had depicted his Lordship in my mind as a tall, sombre, Childe Harold personage, tinctured somewhat with aristocratic hauteur. You may therefore guess my surprise when the door opened, and I saw leaning upon the lock, a light animated figure, rather petite than otherwise, dressed in a nankeen hussar-braided jacket, trousers of the same material, with a white waistcoat; his countenance pale but the complexion clear and healthful, with the hair coming down in little curls on each side of his fine forehead.

"He came towards me with an easy cheerfulness of manner, and after some preliminary inquiries concerning yourself, we entered into a conversation which lasted two hours, in the course of which I felt myself perfectly at ease, from his Lordship's natural and simple manners; indeed, so much so, that, forgetting all my anticipations, I found myself conversing with him with as fluent an intercourse of mind as I ever experienced, even with yourself.

"It is impossible for me at present to overtake a detail of what passed, but as it produced a kind of scene, I may mention one incident.

"Having remarked that in a long course of desultory reading, I had read most of what had been said by English travellers concerning Italy; yet, on coming to it I found there was no country of which I had less accurate notions: that among other things I was much struck with the harshness of the language. He seemed to jerk at this, and immediately observed, that perhaps in going rapidly through the country, I might not have had many opportunities of hearing it politely spoken. 'Now,' said he, 'there are supposed to be nineteen dialects of the Italian language, and I shall let you hear a lady speak the principal of them, who is considered to do it very well.' I pricked up my ears at hearing this, as I considered it would afford me an opportunity of seeing the far-famed Countess Guiccioli. His Lordship immediately rose and left the apartment, returning in the course of a minute or two leading in the lady, and while arranging chairs for the trio, he said to me, 'I shall make her speak each of the principal dialects, but you are not to mind how I pronounce, for I do not speak Italian well.' After the scene had been performed he resumed to me, 'Now what do you think?' To which I answered, that my opinion still remained unaltered. He seemed at this to fall into a little revery, and then said, abruptly, 'Why 'tis very odd, Moore thought the same.' 'Does your Lordship mean Tom Moore?' 'Yes.' 'Ah, then, my Lord, I shall adhere with more pertinacity to my opinion, when I hear that a man of his exquisite taste in poetry and harmony was also of that opinion.'

"You will be asking what I thought of the lady; I had certainly heard much of her high personal attractions, but all I can say is, that in my eyes her graces did not rank above mediocrity. They were youth, plumpness, and good-nature."



CHAPTER XXVIII



A Miff with Lord Byron—Remarkable Coincidences—Plagiarisms of his Lordship

There is a curious note in the memoranda which Lord Byron kept in the year 1813, that I should not pass unnoticed, because it refers to myself, and moreover is characteristic of the excoriated sensibility with which his Lordship felt everything that touched or affected him or his.

When I had read The Bride of Abydos, I wrote to him my opinion of it, and mentioned that there was a remarkable coincidence in the story, with a matter in which I had been interested. I have no copy of the letter, and I forget the expressions employed, but Lord Byron seemed to think they implied that he had taken the story from something of mine.

The note is:

"Galt says there is a coincidence between the first part of The Bride and some story of his, whether published or not, I know not, never having seen it. He is almost the last person on whom any one would commit literary larceny, and I am not conscious of any witting thefts on any of the genus. As to originality, all pretensions are ludicrous; there is nothing new under the sun."

It is sufficiently clear that he was offended with what I had said, and was somewhat excited. I have not been able at present to find his answer to my letter, but it would appear by the subjoined that he had written to me something which led me to imagine he was offended at my observations, and that I had in consequence deprecated his wrath.

"Dec. 11, 1813.

"MY DEAR GALT,—There was no offence—there COULD be none. I thought it by no means impossible that we might have hit on something similar, particularly as you are a dramatist, and was anxious to assure you of the truth, viz. that I had not wittingly seized upon plot, sentiment, or incident; and I am very glad that I have not in any respect trenched upon your subjects. Something still more singular is, that the FIRST part, where you have found a coincidence in some events within your observations on LIFE, was DRAWN from OBSERVATION of mine also, and I meant to have gone on with the story, but on SECOND thoughts, I thought myself TWO CENTURIES at least too late for the subject; which, though admitting of very powerful feeling and description, yet is not adapted for this age, at least this country. Though the finest works of the Greeks, one of Schiller's and Alfieri's, in modern times, besides several of our OLD (and best) dramatists, have been grounded on incidents of a similar cast, I therefore altered it as you perceive, and in so doing have weakened the whole, by interrupting the train of thought; and in composition I do not think SECOND thoughts are the best, though SECOND expressions may improve the first ideas.

"I do not know how other men feel towards those they have met abroad, but to me there seems a kind of tie established between all who have met together in a foreign country, as if we had met in a state of pre-existence, and were talking over a life that has ceased; but I always look forward to renewing my travels; and though YOU, I think, are now stationary, if I can at all forward your pursuits THERE as well as here, I shall be truly glad in the opportunity. Ever yours very sincerely,

"B.

"P.S. I believe I leave town for a day or two on Monday, but after that I am always at home, and happy to see you till half-past two."

This letter was dated on Saturday, the 11th of December, 1813. On Sunday, the 12th, he made the following other note in his memorandum book:

"By Galt's answer, I find it is some story in REAL life, and not any work with which my late composition coincides. It is still more singular, for mine is drawn from EXISTENCE also."

The most amusing part of this little fracas is the denial of his Lordship, as to pilfering the thoughts and fancies of others; for it so happens, that the first passage of The Bride of Abydos, the poem in question, is almost a literal and unacknowledged translation from Goethe, which was pointed out in some of the periodicals soon after the work was published.

Then, as to his not thieving from me or mine, I believe the fact to be as he has stated; but there are singular circumstances connected with some of his other productions, of which the account is at least curious.

On leaving England I began to write a poem in the Spenserian measure. It was called The Unknown, and was intended to describe, in narrating the voyages and adventures of a pilgrim, who had embarked for the Holy Land, the scenes I expected to visit. I was occasionally engaged in this composition during the passage with Lord Byron from Gibraltar to Malta, and he knew what I was about. In stating this, I beg to be distinctly understood, as in no way whatever intending to insinuate that this work had any influence on the composition of Childe Harold's Pilgrimage, which Lord Byron began to write in Albania; but it must be considered as something extraordinary, that the two works should have been so similar in plan, and in the structure of the verse. His Lordship never saw my attempt that I know of, nor did I his poem until it was printed. It is needless to add, that beyond the plan and verse there was no other similarity between the two works; I wish there had been.

His Lordship has published a poem, called The Curse of Minerva, the subject of which is the vengeance of the goddess on Lord Elgin for the rape of the Parthenon. It has so happened that I wrote at Athens a burlesque poem on nearly the same subject (mine relates to the vengeance of all the gods) which I called The Atheniad; the manuscript was sent to his Lordship in Asia Minor, and returned to me through Mr Hobhouse. His Curse of Minerva, I saw for the first time in 1828, in Galignani's edition of his works.

In The Giaour, which he published a short time before The Bride of Abydos, he has this passage, descriptive of the anxiety with which the mother of Hassan looks out for the arrival of her son:

The browsing camels' bells are tinkling— His mother look'd from her lattice high; She saw the dews of eve besprinkling The parterre green beneath her eye: She saw the planets faintly twinkling— 'Tis twilight—sure his train is nigh. She could not rest in the garden bower, But gazed through the grate of his steepest tower: Why comes he not—and his steeds are fleet— Nor shrink they from the summer heat? Why sends not the bridegroom his promised gift; Is his heart more cold or his barb less swift?

His Lordship was well read in the Bible, and the book of Judges, chap. 5, and verse 28, has the following passage:—

"The mother of Sisera looked out at a window, and cried through the lattice, Why is his chariot so long in coming; why tarry the wheels of his chariot?"

It was, indeed, an early trick of his Lordship to filch good things. In the lamentation for Kirke White, in which he compares him to an eagle wounded by an arrow feathered from his own wing, he says,

So the struck eagle, stretch'd upon the plain, No more through rolling clouds to soar again, View'd his own feather on the fatal dart And winged the shaft that quivered in his heart.

The ancients have certainly stolen the best ideas of the moderns; this very thought may be found in the works of that ancient-modern, Waller:

That eagle's fate and mine are one, Which on the shaft that made him die, Espied a feather of his own Wherewith he wont to soar on high.

His Lordship disdained to commit any larceny on me; and no doubt the following passage from The Giaour is perfectly original:

It is as if the dead could feel The icy worm around them steal; And shudder as the reptiles creep To revel o'er their rotting sleep, Without the power to scare away The cold consumers of their clay.

I do not claim any paternity in these lines: but not the most judicious action of all my youth was to publish certain dramatic sketches, and his Lordship had the printed book in his possession long before The Giaour was published, and may have read the following passage in a dream, which was intended to be very hideous:

Then did I hear around The churme and chirruping of busy reptiles At hideous banquet on the royal dead:— Full soon methought the loathsome epicures Came thick on me, and underneath my shroud I felt the many-foot and beetle creep, And on my breast the cold worm coil and crawl.

However, I have said quite enough on this subject, both as respects myself and his seeming plagiarisms, which might be multiplied to legions. Such occasional accidental imitations are not things of much importance. All poets, and authors in general, avail themselves of their reading and knowledge to enhance the interest of their works. It can only be considered as one of Lord Byron's spurts of spleen, that he felt so much about a "coincidence," which ought not to have disturbed him; but it may be thought by the notice taken of it, that it disturbs myself more than it really does; and that it would have been enough to have merely said—Perhaps, when some friend is hereafter doing as indulgently for me, the same kind of task that I have undertaken for Byron, there may be found among my memoranda notes as little flattering to his Lordship, as those in his concerning me. I hope, however, that friend will have more respect for my memory than to imitate the taste of Mr Moore.



CHAPTER XXIX



Lord Byron in 1813—The Lady's Tragedy—Miss Milbanke—Growing Uneasiness of Lord Byron's Mind—The Friar's Ghost—The Marriage—A Member of the Drury Lane Committee—Embarrassed Affairs—The Separation

The year 1813 was perhaps the period of all Lord Byron's life in which he was seen to most advantage. The fame of Childe Harold was then in its brightest noon; and in that year he produced The Giaour and The Bride of Abydos—compositions not only of equal power, but even tinted with superior beauties. He was himself soothed by the full enjoyment of his political rank and station; and though his manners and character had not exactly answered to the stern and stately imaginations which had been formed of his dispositions and appearance, still he was acknowledged to be no common man, and his company in consequence was eagerly courted.

It forms no part of the plan of this work to repeat the gossip and tattle of private society, but occurrences happened to Lord Byron which engaged both, and some of them cannot well be passed over unnoticed. One of these took place during the spring of this year, and having been a subject of newspaper remark, it may with less impropriety be mentioned than others which were more indecorously made the topics of general discussion. The incident alluded to was an extravagant scene enacted by a lady of high rank, at a rout given by Lady Heathcote; in which, in revenge, as it was reported, for having been rejected by Lord Byron, she made a suicidal attempt with an instrument, which scarcely penetrated, if it could even inflict any permanent mark on, the skin.

The insane attachment of this eccentric lady to his Lordship was well known; insane is the only epithet that can be applied to the actions of a married woman, who, in the disguise of her page, flung herself to a man, who, as she told a friend of mine, was ashamed to be in love with her because she was not beautiful—an expression at once curious and just, evincing a shrewd perception of the springs of his Lordship's conduct, and the acuteness blended with frenzy and talent which distinguished herself. Lord Byron unquestionably at that time cared little for her. In showing me her picture, some two or three days after the affair, and laughing at the absurdity of it, he bestowed on her the endearing diminutive of vixen, with a hard- hearted adjective that I judiciously omit.

The immediate cause of this tragical flourish was never very well understood; but in the course of the evening she had made several attempts to fasten on his Lordship, and was shunned: certain it is, she had not, like Burke in the House of Commons, premeditatedly brought a dagger in her reticule, on purpose for the scene; but, seeing herself an object of scorn, she seized the first weapon she could find—some said a pair of scissors—others, more scandalously, broken jelly-glass, and attempted an incision of the jugular, to the consternation of all the dowagers, and the pathetic admiration of every Miss who witnessed or heard of the rapture.

Lord Byron at the time was in another room, talking with Prince K—, when Lord P— came, with a face full of consternation, and told them what had happened. The cruel poet, instead of being agitated by the tidings, or standing in the smallest degree in need of a smelling- bottle, knitted his scowl, and said, with a contemptuous indifference, "It is only a trick." All things considered, he was perhaps not uncharitable; and a man of less vanity would have felt pretty much as his Lordship appeared to do on the occasion. The whole affair was eminently ridiculous; and what increased the absurdity was a letter she addressed to a friend of mine on the subject, and which he thought too good to be reserved only for his own particular study.

It was in this year that Lord Byron first proposed for Miss Milbanke; having been urged by several of his friends to marry, that lady was specially recommended to him for a wife. It has been alleged, that he deeply resented her rejection of his proposal; and I doubt not, in the first instance, his vanity may have been a little piqued; but as he cherished no very animated attachment to her, and moreover, as she enjoyed no celebrity in public opinion to make the rejection important, the resentment was not, I am persuaded, either of an intense or vindictive kind. On the contrary, he has borne testimony to the respect in which he held her character and accomplishments; and an incidental remark in his journal, "I shall be in love with her again, if I don't take care," is proof enough that his anger was not of a very fierce or long-lived kind.

The account ascribed to him of his introduction to Miss Milbanke, and the history of their attachment, ought not to be omitted, because it serves to illustrate, in some degree, the state of his feelings towards her, and is so probable, that I doubt not it is in the main correct:—

"The first time of my seeing Miss Milbanke was at Lady ***'s. It was a fatal day; and I remember, that in going upstairs I stumbled, and remarked to Moore, who accompanied me, that it was a bad omen. I ought to have taken the warning. On entering the room, I observed a young lady more simply dressed than the rest of the assembly sitting alone upon a sofa. I took her for a female companion, and asked if I was right in my conjecture. 'She is a great heiress,' said he, in a whisper, that became lower as he proceeded, 'you had better marry her, and repair the old place, Newstead.'

"There was something piquant, and what we term pretty, in Miss Milbanke. Her features were small and feminine, though not regular. She had the fairest skin imaginable. Her figure was perfect for her height, and there was a simplicity, a retired modesty about her, which was very characteristic, and formed a happy contrast to the cold artificial formality and studied stiffness which is called fashion. She interested me exceedingly. I became daily more attached to her, and it ended in my making her a proposal, that was rejected. Her refusal was couched in terms which could not offend me. I was, besides, persuaded, that in declining my offer, she was governed by the influence of her mother; and was the more confirmed in my opinion, by her reviving our correspondence herself twelve months after. The tenour of her letter was, that, although she could not love me, she desired my friendship. Friendship is a dangerous word for young ladies; it is love full-fledged, and waiting for a fine day to fly."

But Lord Byron possessed this sort of irrepressible predilections— was so much the agent of impulses, that he could not keep long in unison with the world, or in harmony with his friends. Without malice, or the instigation of any ill spirit, he was continually provoking malignity and revenge. His verses on the Princess Charlotte weeping, and his other merciless satire on her father, begot him no friends, and armed the hatred of his enemies. There was, indeed, something like ingratitude in the attack on the Regent, for his Royal Highness had been particularly civil; had intimated a wish to have him introduced to him; and Byron, fond of the distinction, spoke of it with a sense of gratification. These instances, as well as others, of gratuitous spleen, only justified the misrepresentations which had been insinuated against himself, and what was humour in his nature, was ascribed to vice in his principles.

Before the year was at an end, his popularity was evidently beginning to wane: of this he was conscious himself, and braved the frequent attacks on his character and genius with an affectation of indifference, under which those who had at all observed the singular associations of his recollections and ideas, must have discerned the symptoms of a strange disease. He was tainted with a Herodian malady of the mind: his thoughts were often hateful to himself; but there was an ecstasy in the conception, as if delight could be mingled with horror. I think, however, he struggled to master the fatality, and that his resolution to marry was dictated by an honourable desire to give hostages to society, against the wild wilfulness of his imagination.

It is a curious and a mystical fact, that at the period to which I am alluding, and a very short time, only a little month, before he successfully solicited the hand of Miss Milbanke, being at Newstead, he fancied that he saw the ghost of the monk which is supposed to haunt the abbey, and to make its ominous appearance when misfortune or death impends over the master of the mansion.—The story of the apparition in the sixteenth canto of Don Juan is derived from this family legend, and Norman Abbey, in the thirteenth of the same poem, is a rich and elaborate description of Newstead.

After his proposal to Miss Milbanke had been accepted, a considerable time, nearly three months, elapsed before the marriage was completed, in consequence of the embarrassed condition in which, when the necessary settlements were to be made, he found his affairs. This state of things, with the previous unhappy controversy with himself, and anger at the world, was ill-calculated to gladden his nuptials: but, besides these real evils, his mind was awed with gloomy presentiments, a shadow of some advancing misfortune darkened his spirit, and the ceremony was performed with sacrificial feelings, and those dark and chilling circumstances, which he has so touchingly described in The Dream:—

I saw him stand Before an altar with a gentle bride; Her face was fair, but was not that which made The starlight of his boyhood:—as he stood Even at the altar, o'er his brow there came The self-same aspect, and the quivering shock That in the antique oratory shook His bosom in its solitude; and then— As in that hour—a moment o'er his face The tablet of unutterable thoughts Was traced—and then it faded as it came, And he stood calm and quiet, and he spoke The faltering vows, but heard not his own words, And all things reeled around him: he could see Not that which was, nor that which should have been— But the old mansion and the accustom'd hall, And the remembered chambers, and the place, The day, the hour, the sunshine and the shade, All things pertaining to that place and hour. And her, who was his destiny, came back, And thrust themselves between him and the light.

This is very affectingly described; and his prose description bears testimony to its correctness. "It had been predicted by Mrs Williams that twenty-seven was to be a dangerous age for me. The fortune- telling witch was right; it was destined to prove so. I shall never forget the 2nd of January, 1815, Lady Byron was the only unconcerned person present; Lady Noel, her mother, cried; I trembled like a leaf, made the wrong responses, and after the ceremony called her Miss Milbanke.

"There is a singular history attached to the ring. The very day the match was concluded a ring of my mother's, that had been lost, was dug up by the gardener at Newstead. I thought it was sent on purpose for the wedding; but my mother's marriage had not been a fortunate one, and this ring was doomed to be the seal of an unhappier union still.

"After the ordeal was over, we set off for a country-scat of Sir Ralph's (Lady B.'s father), and I was surprised at the arrangements for the journey, and somewhat out of humour, to find the lady's maid stuck between me and my bride. It was rather too early to assume the husband; so I was forced to submit, but it was not with a very good grace. I have been accused of saying, on getting into the carriage, that I had married Lady Byron out of spite, and because she had refused me twice. Though I was for a moment vexed at her prudery, or whatever you may choose to call it, if I had made so uncavalier, not to say brutal, a speech, I am convinced Lady Byron would instantly have left the carriage to me and the maid. She had spirit enough to have done so, and would properly have resented the affront. Our honeymoon was not all sunshine; it had its clouds.

"I was not so young when my father died, but that I perfectly remember him, and had a very early horror of matrimony from the sight of domestic broils: this feeling came over me very strongly at my wedding. Something whispered me that I was sealing my own death- warrant. I am a great believer in presentiments: Socrates's demon was not a fiction; Monk Lewis had his monitor, and Napoleon many warnings. At the last moment I would have retreated, could I have done so; I called to mind a friend of mine, who had married a young, beautiful, and rich girl, and yet was miserable; he had strongly urged me against putting my neck in the same yoke."

For some time after the marriage things went on in the usual matrimonial routine, until he was chosen into the managing committee of Drury Lane; an office in which, had he possessed the slightest degree of talent for business, he might have done much good. It was justly expected that the illiterate presumption which had so long deterred poetical genius from approaching the stage, would have shrunk abashed from before him; but he either felt not the importance of the duty he had been called to perform, or, what is more probable, yielding to the allurements of the moment, forgot that duty, in the amusement which he derived from the talents and peculiarities of the players. No situation could be more unfit for a man of his temperament, than one which exposed him to form intimacies with persons whose profession, almost necessarily, leads them to undervalue the domestic virtues.

It is said, that the course of life into which he was drawn after he joined the managing committee of Drury Lane was not in unison with the methodical habits of Lady Byron. But independently of outdoor causes of connubial discontent and incompatibility of temper, their domestic affairs were falling into confusion.

"My income at this period," says Lord Byron, "was small, and somewhat bespoken. We had a house in town, gave dinner-parties, had separate carriages, and launched into every sort of extravagance. This could not last long; my wife's ten thousand pounds soon melted away. I was beset by duns, and at length an execution was levied, and the bailiffs put in possession of the very beds we had to sleep on. This was no very agreeable state of affairs, no very pleasant scene for Lady Byron to witness; and it was agreed she should pay her father a visit till the storm had blown over, and some arrangement had been made with my creditors." From this visit her Ladyship never returned; a separation took place; but too much has been said to the world respecting it, and I have no taste for the subject. Whatever was the immediate cause, the event itself was not of so rare a kind as to deserve that the attention of the public should be indelicately courted to it.

Beyond all question, however, Lord Byron's notions of connubial obligations were rather philosophical. "There are," said he to Captain Parry, "so many undefinable and nameless, and not to be named, causes of dislike, aversion, and disgust in the matrimonial state, that it is always impossible for the public, or the friends of the parties, to judge between man and wife. Theirs is a relation about which nobody but themselves can form a correct idea, or have any right to speak. As long as neither party commits gross injustice towards the other; as long as neither the woman nor the man is guilty of any offence which is injurious to the community; as long as the husband provides for his offspring, and secures the public against the dangers arising from their neglected education, or from the charge of supporting them; by what right does it censure him for ceasing to dwell under the same roof with a woman, who is to him, because he knows her, while others do not, an object of loathing? Can anything be more monstrous, than for the public voice to compel individuals who dislike each other to continue their cohabitation? This is at least the effect of its interfering with a relationship, of which it has no possible means of judging. It does not indeed drag a man to a woman's bed by physical force, but it does exert a moral force continually and effectively to accomplish the same purpose. Nobody can escape this force, but those who are too high or those who are too low for public opinion to reach; or those hypocrites who are, before others, the loudest in their approbation of the empty and unmeaning forms of society, that they may securely indulge all their propensities in secret."

In the course of the conversation, in which he is represented to have stated these opinions, he added what I have pleasure in quoting, because the sentiments are generous in respect to his wife, and strikingly characteristic of himself:—

"Lady Byron has a liberal mind, particularly as to religious opinions: and I wish when I married her that I had possessed the same command over myself that I now do. Had I possessed a little more wisdom and more forbearance, we might have been happy. I wished, when I was just married to have remained in the country, particularly till my pecuniary embarrassments were over. I knew the society of London; I knew the characters of many who are called ladies, with whom Lady Byron would necessarily have to associate, and I dreaded her contact with them. But I have too much of my mother about me to be dictated to; I like freedom from constraint; I hate artificial regulations: my conduct has always been dictated by my own feelings, and Lady Byron was quite the creature of rules. She was not permitted either to ride, or run, or walk, but as the physician prescribed. She was not suffered to go out when I wished to go: and then the old house was a mere ghost-house, I dreamed of ghosts and thought of them waking. It was an existence I could not support." Here Lord Byron broke off abruptly, saying, "I hate to speak of my family affairs, though I have been compelled to talk nonsense concerning them to some of my butterfly visitors, glad on any terms to get rid of their importunities. I long to be again on the mountains. I am fond of solitude, and should never talk nonsense, if I always found plain men to talk to."



CHAPTER XXX



Reflections on his domestic Verses—Consideration of his Works—"The Corsair"—Probabilities of the Character and Incidents of the Story— On the Difference between poetical Invention and moral Experience: illustrated by the Difference between the Genius of Shakespeare and that of Byron

The task just concluded may disappoint the expectations of some of my readers, but I would rather have said less than so much, could so little have been allowed; for I have never been able to reconcile to my notions of propriety, the exposure of domestic concerns which the world has no right claim to know, and can only urge the plea of curiosity for desiring to see explained. The scope of my undertaking comprehends only the public and intellectual character of Lord Byron; every word that I have found it necessary to say respecting his private affairs has been set down with reluctance; nor should I have touched so freely on his failings, but that the consequences have deeply influenced his poetical conceptions.

There is, however, one point connected with his conjugal differences which cannot be overlooked, nor noticed without animadversion. He was too active himself in bespeaking the public sympathy against his lady. It is true that but for that error the world might never have seen the verses written by him on the occasion; and perhaps it was the friends who were about him at the time who ought chiefly to be blamed for having given them circulation: but in saying this, I am departing from the rule I had prescribed to myself, while I ought only to have remarked that the compositions alluded to, both the Fare-thee-well and the Anathema on Mrs Charlemont, are splendid corroborations of the metaphysical fact which it is the main object of this work to illustrate, namely, that Byron was only original and truly great when he wrote from the dictates of his own breast, and described from the suggestions of things he had seen. When his imagination found not in his subject uses for the materials of his experience, and opportunities to embody them, it seemed to be no longer the same high and mysterious faculty that so ruled the tides of the feelings of others. He then appeared a more ordinary poet—— a skilful verse-maker. The necromancy which held the reader spellbound became ineffectual; and the charm and the glory which interested so intensely, and shone so radiantly on his configurations from realities, all failed and faded; for his genius dealt not with airy fancies, but had its power and dominion amid the living and the local of the actual world.

I shall now return to the consideration of his works, and the first in order is The Corsair, published in 1814. He seems to have been perfectly sensible that this beautiful composition was in his best peculiar manner. It is indeed a pirate's isle, peopled with his own creatures.

It has been alleged that Lord Byron was indebted to Sir Walter Scott's poem of Rokeby for the leading incidents of The Corsair, but the resemblance is not to me very obvious: besides, the whole style of the poem is so strikingly in his own manner, that even had he borrowed the plan, it was only as a thread to string his own original conceptions upon; the beauty and brilliancy of them could not be borrowed, and are not imitations.

There were two islands in the Archipelago, when Lord Byron was in Greece, considered as the chief haunts of the pirates, Stampalia, and a long narrow island between Cape Colonna and Zea. Jura also was a little tainted in its reputation. I think, however, from the description, that the pirate's isle of The Corsair is the island off Cape Colonna. It is a rude, rocky mass. I know not to what particular Coron, if there be more than one, the poet alludes; for the Coron of the Morea is neighbour to, if not in, the Mainote territory, a tract of country which never submitted to the Turks, and was exempted from the jurisdiction of Mussulman officers by the payment of an annual tribute. The Mainotes themselves are all pirates and robbers. If it be in that Coron that Byron has placed Seyd the pasha, it must be attributed to inadvertency. His Lordship was never there, nor in any part of Maina; nor does he describe the place, a circumstance which of itself goes far to prove the inadvertency. It is, however, only in making it the seat of a Turkish pasha that any error has been committed. In working out the incidents of the poem where descriptions of scenery are given, they relate chiefly to Athens and its neighbourhood. In themselves these descriptions are executed with an exquisite felicity; but they are brought in without any obvious reason wherefore. In fact, they appear to have been written independently of the poem, and are patched on "shreds of purple" which could have been spared.

The character of Conrad the Corsair may be described as a combination of the warrior of Albania and a naval officer—Childe Harold mingled with the hero of The Giaour.

A man of loneliness and mystery, Scarce seen to smile, and seldom heard to sigh; Robust, but not Herculean, to the sight, No giant frame sets forth his common height; Yet in the whole, who paused to look again Saw more than marks the crowd of vulgar men: They gaze and marvel how, and still confess That thus it is, but why they cannot guess. Sun-burnt his cheek, his forehead high and pale, The sable curls in wild profusion veil. And oft perforce his rising lip reveals The haughtier thought it curbs, but scarce conceals: Though smooth his voice, and calm his general mien, Still seems there something he would not have seen. His features' deepening lines and varying hue At times attracted, yet perplex'd the view, As if within that murkiness of mind Work'd feelings fearful, and yet undefined: Such might he be that none could truly tell, Too close inquiry his stern glance could quell. There breathed but few whose aspect could defy The full encounter of his searching eye; He had the skill, when cunning gaze to seek To probe his heart and watch his changing cheek, At once the observer's purpose to espy, And on himself roll back his scrutiny, Lest he to Conrad rather should betray Some secret thought, than drag that chief's to day.

There was a laughing devil in his sneer That raised emotions both of rage and fear; And where his frown of hatred darkly fell Hope withering fled, and mercy sigh'd, farewell.

It will be allowed that, in this portrait, some of the darker features and harsher lineaments of Byron himself are very evident, but with a more fixed sternness than belonged to him; for it was only by fits that he could put on such severity. Conrad is, however, a higher creation than any which he had previously described. Instead of the listlessness of Childe Harold, he is active and enterprising; such as the noble pilgrim would have been, but for the satiety which had relaxed his energies. There is also about him a solemnity different from the animation of the Giaour—a penitential despair arising from a cause undisclosed. The Giaour, though wounded and fettered, and laid in a dungeon, would not have felt as Conrad is supposed to feel in that situation. The following bold and terrific verses, descriptive of the maelstrom agitations of remorse, could not have been appropriately applied to the despair of grief, the predominant source of emotion in The Giaour.

There is a war, a chaos of the mind When all its elements convulsed combined, Lie dark and jarring with perturbed force, And gnashing with impenitent remorse. That juggling fiend who never spake before, But cries, "I warn'd thee," when the deed is o'er; Vain voice, the spirit burning, but unbent, May writhe, rebel—the weak alone repent.

The character of Conrad is undoubtedly finely imagined; as the painters would say, it is in the highest style of art, and brought out with sublime effect; but still it is only another phase of the same portentous meteor, that was nebulous in Childe Harold, and fiery in The Giaour. To the safe and shop-resorting inhabitants of Christendom, The Corsair seems to present many improbabilities; nevertheless, it is true to nature, and in every part of the Levant the traveller meets with individuals whose air and physiognomy remind him of Conrad. The incidents of the story, also, so wild and extravagant to the snug and legal notions of England, are not more in keeping with the character, than they are in accordance with fact and reality. The poet suffers immeasurable injustice, when it is attempted to determine the probability of the wild scenes and wilder adventurers of his tales, by the circumstances and characters of the law-regulated system of our diurnal affairs. Probability is a standard formed by experience, and it is not surprising that the anchorets of libraries should object to the improbability of The Corsair, and yet acknowledge the poetical power displayed in the composition; for it is a work which could only have been written by one who had himself seen or heard on the spot of transactions similar to those he has described. No course of reading could have supplied materials for a narration so faithfully descriptive of the accidents to which an AEgean pirate is exposed as The Corsair. Had Lord Byron never been out of England, the production of a work so appropriate in reflection, so wild in spirit, and so bold in invention, as in that case it would have been, would have entitled him to the highest honours of original conception, or been rejected as extravagant; considered as the result of things seen, and of probabilities suggested, by transactions not uncommon in the region where his genius gathered the ingredients of its sorceries, more than the half of its merits disappear, while the other half brighten with the lustre of truth.

The manners, the actions, and the incidents were new to the English mind; but to the inhabitant of the Levant they have long been familiar, and the traveller who visits that region will hesitate to admit that Lord Byron possessed those creative powers, and that discernment of dark bosoms for which he is so much celebrated; because he will see there how little of invention was necessary to form such heroes as Conrad, and how much the actual traffic of life and trade is constantly stimulating enterprise and bravery. But let it not, therefore, be supposed, that I would undervalue either the genius of the poet, or the merits of the poem, in saying so, for I do think a higher faculty has been exerted in The Corsair than in Childe Harold. In the latter, only actual things are described, freshly and vigorously as they were seen, and feelings expressed eloquently as they were felt; but in the former, the talent of combination has been splendidly employed. The one is a view from nature, the other is a composition both from nature and from history.

Lara, which appeared soon after The Corsair, is an evident supplement to it; the description of the hero corresponds in person and character with Conrad; so that the remarks made on The Corsair apply, in all respects, to Lara. The poem itself is perhaps, in elegance, superior; but the descriptions are not so vivid, simply because they are more indebted to imagination. There is one of them, however, in which the lake and abbey of Newstead are dimly shadowed, equal in sweetness and solemnity to anything the poet has ever written.

It was the night, and Lara's glassy stream The stars are studding each with imaged beam: So calm, the waters scarcely seem to stray, And yet they glide, like happiness, away; Reflecting far and fairy-like from high The immortal lights that live along the sky; Its banks are fringed with many a goodly tree, And flowers the fairest that may feast the bee: Such in her chaplet infant Dian wove, And innocence would offer to her love; These deck the shore, the waves their channel make In windings bright and mazy, like the snake. All was so still, so soft in earth and air, You scarce would start to meet a spirit there, Secure that naught of evil could delight To walk in such a scene, in such a night! It was a moment only for the good: So Lara deemed: nor longer there he stood; But turn'd in silence to his castle-gate: Such scene his soul no more could contemplate: Such scene reminded him of other days, Of skies more cloudless, moons of purer blaze; Of nights more soft and frequent, hearts that now— No, no! the storm may beat upon his brow Unfelt, unsparing; but a night like this, A night of beauty, mock'd such breast as his.

He turn'd within his solitary hall, And his high shadow shot along the wall: There were the painted forms of other times— 'Twas all they left of virtues or of crimes, Save vague tradition; and the gloomy vaults That hid their dust, their foibles, and their faults, And half a column of the pompous page, That speeds the spacious tale from age to age; Where history's pen its praise or blame supplies And lies like truth, and still most truly lies; He wand'ring mused, and as the moonbeam shone Through the dim lattice o'er the floor of stone, And the high-fretted roof and saints that there O'er Gothic windows knelt in pictured prayer; Reflected in fantastic figures grew Like life, but not like mortal life to view; His bristling locks of sable, brow of gloom, And the wide waving of his shaken plume Glanced like a spectre's attributes, and gave His aspect all that terror gives the grave.

That Byron wrote best when he wrote of himself and of his own, has probably been already made sufficiently apparent. In this respect he stands alone and apart from all other poets, and there will be occasion to show, that this peculiarity extended much farther over all his works, than merely to those which may be said to have required him to be thus personal. The great distinction, indeed, of his merit consists in that singularity. Shakspeare, in drawing the materials of his dramas from tales and history has, with wonderful art, given from his own invention and imagination the fittest and most appropriate sentiments and language; and admiration at the perfection with which he has accomplished this, can never be exhausted. The difference between Byron and Shakspeare consists in the curious accident, if it may be so called, by which the former was placed in circumstances which taught him to feel in himself the very sentiments that he has ascribed to his characters. Shakspeare created the feelings of his, and with such excellence, that they are not only probable to the situations, but give to the personifications the individuality of living persons. Byron's are scarcely less so; but with him there was no invention, only experience, and when he attempts to express more than he has himself known, he is always comparatively feeble.



CHAPTER XXXI



Byron determines to reside abroad—Visits the Plain of Waterloo— State of his Feelings

From different incidental expressions in his correspondence it is sufficiently evident that Byron, before his marriage, intended to reside abroad. In his letter to me of the 11th December, 1813, he distinctly states this intention, and intimates that he then thought of establishing his home in Greece. It is not therefore surprising that, after his separation from Lady Byron, he should have determined to carry this intention into effect; for at that period, besides the calumny heaped upon him from all quarters, the embarrassment of his affairs, and the retaliatory satire, all tended to force him into exile; he had no longer any particular tie to bind him to England.

On the 25th of April, 1816, he sailed for Ostend, and resumed the composition of Childe Harold, it may be said, from the moment of his embarkation. In it, however, there is no longer the fiction of an imaginary character stalking like a shadow amid his descriptions and reflections——he comes more decidedly forwards as the hero in his own person.

In passing to Brussels he visited the field of Waterloo, and the slight sketch which he has given in the poem of that eventful conflict is still the finest which has yet been written on the subject.

But the note of his visit to the field is of more importance to my present purpose, inasmuch as it tends to illustrate the querulous state of his own mind at the time.

"I went on horseback twice over the field, comparing it with my recollection of similar scenes. As a plain, Waterloo seems marked out for the scene of some great action, though this may be mere imagination. I have viewed with attention those of Platea, Troy, Mantinea, Leuctra, Chaevronae, and Marathon, and the field round Mont St Jean and Hugoumont appears to want little but a better cause and that indefinable but impressive halo which the lapse of ages throws around a celebrated spot, to vie in interest with any or all of these, except perhaps the last-mentioned."

The expression "a better cause," could only have been engendered in mere waywardness; but throughout his reflections at this period a peevish ill-will towards England is often manifested, as if he sought to attract attention by exasperating the national pride; that pride which he secretly flattered himself was to be augmented by his own fame.

I cannot, in tracing his travels through the third canto, test the accuracy of his descriptions as in the former two; but as they are all drawn from actual views they have the same vivid individuality impressed upon them. Nothing can be more simple and affecting than the following picture, nor less likely to be an imaginary scene:

By Coblentz, on a rise of gentle ground, There is a small and simple pyramid, Crowning the summit of the verdant mound; Beneath its base are heroes' ashes hid, Our enemies. And let not that forbid Honour to Marceau, o'er whose early tomb Tears, big tears, rush'd from the rough soldier's lid, Lamenting and yet envying such a doom, Falling for France, whose rights he battled to resume.

Perhaps few passages of descriptive poetry excel that in which reference is made to the column of Avenches, the ancient Aventicum. It combines with an image distinct and picturesque, poetical associations full of the grave and moral breathings of olden forms and hoary antiquity.

By a lone wall, a lonelier column rears A gray and grief-worn aspect of old days: 'Tis the last remnant of the wreck of years, And looks as with the wild-bewilder'd gaze Of one to stone converted by amaze, Yet still with consciousness; and there it stands, Making a marvel that it not decays, When the coeval pride of human hands, Levell'd Aventicum, hath strew'd her subject lands.

But the most remarkable quality in the third canto is the deep, low bass of thought which runs through several passages, and which gives to it, when considered with reference to the circumstances under which it was written, the serious character of documentary evidence as to the remorseful condition of the poet's mind. It would be, after what has already been pointed out in brighter incidents, affectation not to say, that these sad bursts of feeling and wild paroxysms, bear strong indications of having been suggested by the wreck of his domestic happiness, and dictated by contrition for the part he had himself taken in the ruin. The following reflections on the unguarded hour, are full of pathos and solemnity, amounting almost to the deep and dreadful harmony of Manfred:

To fly from, need not be to hate, mankind; All are not fit with them to stir and toil, Nor is it discontent to keep the mind Deep in its fountain, lest it overboil In the hot throng, where we become the spoil Of our infection, till too late and long We may deplore and struggle with the coil, In wretched interchange of wrong for wrong 'Midst a contentious world, striving where none are strong.

There, in a moment, we may plunge our years In fatal penitence, and in the blight Of our own soul, turn all our blood to tears, And colour things to come with hues of night; The race of life becomes a hopeless flight To those who walk in darkness: on the sea, The boldest steer but where their ports invite; But there are wanderers o'er eternity, Whose bark drives on and on, and anchor'd ne'er shall be.

These sentiments are conceived in the mood of an awed spirit; they breathe of sorrow and penitence. Of the weariness of satiety the pilgrim no more complains; he is no longer despondent from exhaustion, and the lost appetite of passion, but from the weight of a burden which he cannot lay down; and he clings to visible objects, as if from their nature he could extract a moral strength.

I live not in myself, but I become Portion of that around me; and to me, High mountains are a feeling, but the hum Of human cities tortures: I can see Nothing to loathe in nature, save to be A link reluctant in a fleshly chain, Class'd among creatures, where the soul can flee, And with the sky, the peak, the heaving plain Of ocean, or the stars, mingle, and not in vain.

These dim revelations of black and lowering thought are overshadowed with a darker hue than sorrow alone could have cast. A consciousness of sinful blame is evident amid them; and though the fantasies that loom through the mystery, are not so hideous as the guilty reveries in the weird caldron of Manfred's conscience, still they have an awful resemblance to them. They are phantoms of the same murky element, and, being more akin to fortitude than despair, prophesy not of hereafter, but oracularly confess suffering.

Manfred himself hath given vent to no finer horror than the oracle that speaks in this magnificent stanza:

I have not loved the world, nor the world me; I have not flatter'd its rank breath, nor bow'd To its idolatries a patient knee— Nor coin'd my cheek to smiles—nor cried aloud In worship of an echo;—in the crowd They could not deem me one of such; I stood Among them, but not of them; in a shroud Of thoughts which were not of their thoughts, and still could, Had I not filed my mind, which thus itself subdued.

There are times in life when all men feel their sympathies extinct, and Lord Byron was evidently in that condition, when he penned these remarkable lines; but independently of their striking beauty, the scenery in which they were conceived deserves to be considered with reference to the sentiment that pervades them. For it was amid the same obscure ravines, pine-tufted precipices and falling waters of the Alps, that he afterward placed the outcast Manfred—an additional corroboration of the justness of the remarks which I ventured to offer, in adverting to his ruminations in contemplating, while yet a boy, the Malvern hills, as if they were the scenes of his impassioned childhood. In "the palaces of nature," he first felt the consciousness of having done some wrong, and when he would infuse into another, albeit in a wilder degree, the feelings he had himself felt, he recalled the images which had ministered to the cogitations of his own contrition. But I shall have occasion to speak more of this, when I come to consider the nature of the guilt and misery of Manfred.

That Manfred is the greatest of Byron's works will probably not be disputed. It has more than the fatal mysticism of Macbeth, with the satanic grandeur of the Paradise Lost, and the hero is placed in circumstances, and amid scenes, which accord with the stupendous features of his preternatural character. How then, it may be asked, does this moral phantom, that has never been, bear any resemblance to the poet himself? Must not, in this instance, the hypothesis which assigns to Byron's heroes his own sentiments and feelings be abandoned? I think not. In noticing the deep and solemn reflections with which he was affected in ascending the Rhine, and which he has embodied in the third canto of Childe Harold, I have already pointed out a similarity in the tenour of the thoughts to those of Manfred, as well as the striking acknowledgment of the "filed" mind. There is, moreover, in the drama, the same distaste of the world which Byron himself expressed when cogitating on the desolation of his hearth, and the same contempt of the insufficiency of his genius and renown to mitigate contrition—all in strange harmony with the same magnificent objects of sight. Is not the opening soliloquy of Manfred the very echo of the reflections on the Rhine?

My slumbers—if I slumber—are not sleep, But a continuance of enduring thought, Which then I can resist not; in my heart There is a vigil, and these eyes but close To look within—and yet I live and bear The aspect and the form of breathing man.

But the following is more impressive: it is the very phrase he would himself have employed to have spoken of the consequences of his fatal marriage:

My in juries came down on those who lov'd me, On those whom I best lov'd; I never quell'd An enemy, save in my just defence— But my embrace was fatal.

He had not, indeed, been engaged in any duel of which the issue was mortal; but he had been so far engaged with more than one, that he could easily conceive what it would have been to have quelled an enemy in just defence. But unless the reader can himself discern, by his sympathies, that there is the resemblance I contend for, it is of no use to multiply instances. I shall, therefore, give but one other extract, which breathes the predominant spirit of all Byron 's works- -that sad translation of the preacher's "vanity of vanities; all is vanity!"

Look on me! there is an order Of mortals on the earth, who do become Old in their youth and die ere middle age, Without the violence of warlike death; Some perishing of pleasure—some of study— Some worn with toil—some of mere weariness— Some of disease—and some insanity— And some of wither'd or of broken hearts; For this last is a malady which slays More than are number'd in the lists of Fate; Taking all shapes, and bearing many names. Look upon me! for even of all these things Have I partaken—and of all these things One were enough; then wonder not that I Am what I am, but that I ever was, Or, having been, that I am still on earth.



CHAPTER XXXII



Byron's Residence in Switzerland—Excursion to the Glaciers— "Manfred" founded on a magical Sacrifice, not on Guilt—Similarity between Sentiments given to Manfred and those expressed by Lord Byron in his own Person

The account given by Captain Medwin of the manner in which Lord Byron spent his time in Switzerland, has the raciness of his Lordship's own quaintness, somewhat diluted. The reality of the conversations I have heard questioned, but they relate in some instances to matters not generally known, to the truth of several of which I can myself bear witness; moreover they have much of the poet's peculiar modes of thinking about them, though weakened in effect by the reporter. No man can give a just representation of another who is not capable of putting himself into the character of his original, and of thinking with his power and intelligence. Still there are occasional touches of merit in the feeble outlines of Captain Medwin, and with this conviction it would be negligence not to avail myself of them.

"Switzerland," said his Lordship, "is a country I have been satisfied with seeing once; Turkey I could live in for ever. I never forget my predilections: I was in a wretched state of health and worse spirits when I was at Geneva; but quiet and the lake, better physicians than Polidori, soon set me up. I never led so moral a life as during my residence in that country; but I gained no credit by it. Where there is mortification there ought to be reward. On the contrary, there is no story so absurd that they did not invent at my cost. I was watched by glasses on the opposite side of the lake, and by glasses, too, that must have had very distorted optics; I was waylaid in my evening drives. I believe they looked upon me as a man-monster.

"I knew very few of the Genevese. Hentsh was very civil to me, and I have a great respect for Sismondi. I was forced to return the civilities of one of their professors by asking him and an old gentleman, a friend of Gray's, to dine with me I had gone out to sail early in the morning, and the wind prevented me from returning in time for dinner. I understand that I offended them mortally.

"Among our countrymen I made no new acquaintances; Shelley, Monk Lewis, and Hobhouse were almost the only English people I saw. No wonder; I showed a distaste for society at that time, and went little among the Genevese; besides, I could not speak French. When I went the tour of the lake with Shelley and Hobhouse, the boat was nearly wrecked near the very spot where St Preux and Julia were in danger of being drowned. It would have been classical to have been lost there, but not agreeable."

The third canto of Childe Harold, Manfred, and The Prisoner of Chillon are the fruits of his travels up the Rhine and of his sojourn in Switzerland. Of the first it is unnecessary to say more; but the following extract from the poet's travelling memorandum-book, has been supposed to contain the germ of the tragedy

"September 22, 18 16.—Left Thun in a boat, which carried us the length of the lake in three hours. The lake small, but the banks fine; rocks down to the water's edge: landed at Newhouse; passed Interlachen; entered upon a range of scenes beyond all description or previous conception; passed a rock bearing an inscription; two brothers, one murdered the other; just the place for it. After a variety of windings, came to an enormous rock; arrived at the foot of the mountain (the Jungfrau) glaciers; torrents, one of these nine hundred feet, visible descent; lodge at the curate's; set out to see the valley; heard an avalanche fall like thunder; glaciers; enormous storm comes on thunder and lightning and hail, all in perfection and beautiful. The torrent is in shape, curving over the rock, like the tail of the white horse streaming in the wind, just as might be conceived would be that of the pale horse on which Death is mounted in the Apocalypse: it is neither mist nor water, but a something between both; its immense height gives a wave, a curve, a spreading here, a condensation there, wonderful, indescribable

"September 23.—Ascent of the Wingren, the dent d'argent shining like truth on one side, on the other the clouds rose from the opposite valley, curling up perpendicular precipices like the foam of the ocean of hell during a spring-tide. It was white and sulphury, and immeasurably deep in appearance; the side we ascended was of course not of so precipitous a nature; but on arriving at the summit, we looked down on the other side upon a boiling sea of cloud dashing against the crag on which we stood. Arrived at the Greenderwold, mounted and rode to the higher glacier, twilight, but distinct, very fine; glacier like a frozen hurricane; starlight beautiful; the whole of the day was fine, and, in point of weather, as the day in which Paradise was made. Passed whole woods of withered pines, all withered, trunks stripped and lifeless, done by a single winter."

Undoubtedly in these brief and abrupt but masterly touches, hints for the scenery of Manfred may be discerned, but I can perceive nothing in them which bears the least likelihood to their having influenced the conception of that sublime work.

There has always been from the first publication of Manfred, a strange misapprehension with respect to it in the public mind. The whole poem has been misunderstood, and the odious supposition that ascribes the fearful mystery and remorse of a hero to a foul passion for his sister, is probably one of those coarse imaginations which have grown out of the calumnies and accusations heaped upon the author. How can it have happened that none of the critics have noticed that the story is derived from the human sacrifices supposed to have been in use among the students of the black art?

Manfred is represented as being actuated by an insatiable curiosity— a passion to know the forbidden secrets of the world. The scene opens with him at his midnight studies—his lamp is almost burned out—and he has been searching for knowledge and has not found it, but only that

Sorrow is knowledge: they who know the most Must mourn the deepest o'er the fatal truth, The tree of knowledge is not that of life. Philosophy and science and the springs Of wonder, and the wisdom of the world I have essayed, and in my mind there is, A power to make these subject to itself.

He is engaged in calling spirits; and, as the incantation proceeds, they obey his bidding, and ask him what he wants; he replies, "forgetfulness."

FIRST SPIRIT

Of what—of whom—and why?

MANFRED

Of that which is within me; read it there—— Ye know it, and I cannot utter it.

SPIRIT

We can but give thee that which we possess;— Ask of us subjects, sovereignty, the power O'er earth, the whole or portion, or a sign Which shall control the elements, whereof We are the dominators. Each and all— These shall be thine.

MANFRED

Oblivion, self oblivion— Can ye not wring from out the hidden realms Ye offer so profusely, what I ask?

SPIRIT

It is not in our essence, in our skill, But—thou may'st die.

MANFRED

Will death bestow it on me?

SPIRIT

We are immortal, and do not forget; We are eternal, and to us the past Is as the future, present. Art thou answer'd?

MANFRED

Ye mock me, but the power which brought ye here Hath made you mine. Slaves! scoff not at my will; The mind, the spirit, the Promethean spark, The lightning of my being is as bright, Pervading and far darting as your own, And shall not yield to yours though coop'd in clay. Answer, or I will teach you what I am.

SPIRIT

We answer as we answer'd. Our reply Is even in thine own words.

MANFRED

Why say ye so?

SPIRIT

If, as thou say'st, thine essence be as ours, We have replied in telling thee the thing Mortals call death hath naught to do with us.

MANFRED

I then have call'd you from your realms in vain.

This impressive and original scene prepares the reader to wonder why it is that Manfred is so desirous to drink of Lethe. He has acquired dominion over spirits, and he finds, in the possession of the power, that knowledge has only brought him sorrow. They tell him he is immortal, and what he suffers is as inextinguishable as his own being: why should he desire forgetfulness?—Has he not committed a great secret sin? What is it?—He alludes to his sister, and in his subsequent interview with the witch we gather a dreadful meaning concerning her fate. Her blood has been shed, not by his hand nor in punishment, but in the shadow and occultations of some unutterable crime and mystery.