XIV.

"By nature soft, his whole address held off Suspicion: though not timid, his regard Was such as rather seem'd to keep aloof, To shield himself than put you on your guard.

XV.

"Serene, accomplish'd, cheerful, but not loud, Insinuating without insinuation; Observant of the foibles of the crowd, Yet ne'er betraying this in conversation; Proud with the proud, yet courteously proud, So as to make them feel he knew his station And theirs:--without a struggle for priority He neither brook'd nor claim'd superiority.

XVI.

"That is with men: with women he was what They pleased to make or take him for."--_Canto_ xv.

LIV.

"There was the purest Platonism at bottom Of all his feelings."--_Canto_ x.]

[Footnote 3: Ste. Beuve, "Nouveaux Lundis," vol. iii. p. 28.]

[Footnote 4: When the persecution to which Lord Byron was exposed by his separation had attained its greatest height, an influential person--not belonging to the peerage--came to visit him, and told him that, if he wished to see how far the folly of men went, he had only to give orders for having it shown that nothing said against him was true, but that then he must change politics and come over to the Tory party. Lord Byron replied that he would prefer death and all kinds of tortures to such meanness. Hereupon the person in question said that he must suffer the consequences, which would be heavy, since his colleagues were determined on his ruin, out of party spirit and political hatred. It was at this time that, going one day to the House, he was insulted by the populace, and even treated in it like an outlaw. No one spoke to him, nor approached to give any explanation of such a proceeding, except Lord Holland, who was always kind to him, and indeed to every one else.

Others--such as the Duke of Suss.e.x, Lord Minto, Lord Lansdowne and Lord Grey--would fain have acted in a like manner; but they suffered themselves to be influenced by his enemies, among whom more than one was animated by personal rancor because the young lord had laughed at them and shown up their incapacity.

Lord Byron, finding himself received in this way by his colleagues, pretended not to see it, and after a few moments quitted the House, never more to set foot within it.]

[Footnote 5: Lord Byron's mind, incapable of idleness, was constantly at work, even despite himself and amid pressing active occupations. During his stay in the Ionian Islands, Missolonghi, he wrote five cantos of Don Juan. The scene of the cantos that followed was laid first in England and then in Greece. The places chosen for the action naturally rendered these last cantos the most interesting, and, besides, they explained a host of things quite justifying them. They were taken to England with Lord Byron's other papers; but there they were probably considered not sufficiently respectful toward England, on which they formed a sort of satire too outspoken with regard to living personages, and doubtless it was deemed an act of patriotism to destroy them. And so the world was deprived of them.

Lord Byron had also kept a journal since the day of his departure from Genoa up to the time when illness made the pen drop from his hand. To it he had consigned his most intimate thoughts; and we may well imagine how full of interest it must have been, written amid all the emotions agitating his soul at that time. This journal was found among his papers by a personage of high standing in Greece, who was the first to inspect them, and who, seeing his own name and conduct mentioned in no flattering terms, destroyed them in order to hide from England the unvarnished truth told of himself. Count Gamba often speaks of this journal in the letters addressed at this period to his sister.

We leave the reader to make his own comments on these too regrettable facts.]

CHAPTER I.

LORD BYRON AND M. DE LAMARTINE.

_To Count de_ ----.

Paris, 17th June, 1860.

MY DEAR COUNT,--Confiding in your willingness to oblige, I beg to ask a favor and your advice. I received, a short time ago, a prospectus of a subscription to be raised for a general addition of the works of M. de Lamartine. You are aware that when it is a question of showing my sympathy for M. de Lamartine I would never miss the opportunity of doing so; but on this occasion I see on the programme the promise of a Life of Lord Byron. Such an announcement must alarm the friends of that great man; for they remember too vividly the sixteenth number of the "Cours Litteraire" to subscribe hastily to a work when they have not more information than is therein given. You, who forget nothing, must probably remember the strange judgment of Byron formed by M. de Lamartine in that article. Identifying the man with the poet, and a.s.sociating his great name with that of Heine on account of some rather hazardous lines in "Don Juan," and forgetting the license allowed to such poetry--an imitation of the Italian poets Berni, Ariosto, Pulci, Buratti--M. de Lamartine did not forget a few personal attacks upon himself, and called Byron the founder of the school for promoting satanic laughter, while he heaped upon him the most monstrous accusations. M. de Lamartine ventured to say of Byron things which even his greatest enemies never dared to utter at that time when in England it was the custom to revile him. Although the time has not yet come when Lord Byron's life should be written, since the true sources of collecting information respecting him are unattainable so long as the people live to whom his letters were addressed, still it is easy to perceive that the time has at length arrived when in England the desire to do him justice and fairly to examine his merits is felt by the nation generally. Moore, Parry, Medwin, etc., have already attempted to make known the character of the man as distinct from that of the poet. They no longer sought to find in him a resemblance with Childe Harold, or the Corsair, or Manfred, or Don Juan, nor to judge of him by the conversations in which he sought to mystify those with whom he conversed; but they judged him by his acts and by his correspondence.

If so happy a reaction, however, is visible in England the same can not be said of France, where there being no time to read what is published elsewhere, an error is too soon embraced and ingrafted on the mind of the public as a consequence of a certain method which dispenses with all research. Hence the imaginary creation which has been called Byron, and which has been maintained in France notwithstanding its being wholly unacceptable as a portrait of the man, and totally different from the Byron known personally to some happy few who had the pleasure of beholding in him the handsomest, the most amiable of men, and the greatest genius whom G.o.d has created.

But M. de Lamartine, who wishes particularly to show the character of the man, instead of adding to the numerous proofs of courage and grandeur of mind which he has personally shown to the world--that of confessing that he has erred in his judgment of Byron--endeavors to study him only in his works. But in doing this, and even though a moral object may be found in each of Byron's works, it strikes us that M. de Lamartine would have done better to pursue this line in the a.n.a.lysis of the intellectual part of the man, and not the moral side.

"You err" (wrote Byron to Moore on the occasion of the latter saying that such a poem as the "Vision of Judgment" could not have been written in a desponding mood): "a man's poetry is a distinct faculty or soul, and has no more to do with the every-day individual than the inspiration of the Pythoness when removed from her tripod." To which Moore observes: "My remark has been hasty and inconsiderate, and Lord Byron's is the view borne out by all experience. Almost all the tragic and gloomy writers have been, in social life, mirthful persons. The author of the 'Night Thoughts' was a fellow of infinite jest; and of the pathetic Otway, Pope says, 'He! why, he would laugh all the day long; he would do nothing but laugh!'"

It is known that many licentious writers have led very regular and chaste lives; that many who have sung their success with women have not dared to declare their love to one woman; that all Sterne's sentiment was perfectly ideal, and proceeded always from the head and never from the heart; that Seneca's morality was no barrier to his practicing usury; and that, according to Plutarch, Demosthenes was a very questionable moralist in practice. Why, then, necessarily conclude that a moralist is a moral man, or a sarcastic satirist a deceitful one, or the man who describes scenes of blood and carnage a monster of cruelty?

Does not Montaigne say of authors that they must be judged by their merits, and not by their morals, nor by that show of works which they exhibit to the world? Why, then, does M. Lamartine appreciate Byron according to his satirical works, when all those who knew him a.s.sert that his real character was very different to his literary one? He did not personify, but create his heroes; which are two very different things.

Like Salvator Rosa, who, the meekest of men in private life, could only find a vent to his talent by painting scenes of brigandage and horror, so did Byron's genius require to go down into the darkest recesses of the pa.s.sions which generate remorse, crime, and heroism, to find that spark which fired his genius. But it must be owned, that even his great qualities were causes of the false judgment of the world upon him. Thus, in describing Childe Harold, he no doubt wished to paint a side of nature which had not yet been seen. At the scenes of despair, at the scenes of doubt which a.s.sail him, the poet a.s.sists rather as the historian than as the actor. And the same holds good for other poems, where he describes those peculiar diseases of the mind which great geniuses alone can comprehend, though they need not have experienced them. But it was the very life which he infused into his heroes that made it appear as if they could not personify any one but himself. And as to their faults, because he was wont to give them his qualities, it was argued, that since the latter were observable to be common to the author and the creations of his fancy, the faults of these must likewise be his. If only the faults, why not also the crimes? Thus it came that, caring little for their want of argument, Byron's enemies erected themselves into avengers of too much talent bestowed upon one single man.

Byron might have taken up his own defense, but did not care to do so, or did it carelessly in some letters written to intimate friends. To Moore he wrote:--"Like all imaginative men, I, of course, embody myself with the character while I draw it; but not a moment after the pen is from the paper." He always, however, begged that he might be judged by his acts; and a short time before he died at Missolonghi, after recommending Colonel Stanhope to desist from then pressing the necessity of giving liberty to the press, and from recommending the works of Bentham to a people who could not even read, Byron replied to the colonel's rather hasty remarks, "Judge me by my acts." This request he had often repeated, as his life was not one of those which fear the light of day.

All in vain. His enemies were not satisfied with this means of putting an end to their calumnies.

Where does M. de Lamartine find the truth which he proposes to tell the world about Byron? Not surely among the writers whose biographies of Byron were either works of revenge or of speculation, and sometimes both. Not in the conversations which Byron had with several people, and on the credulity of whom he loved to speculate. It can not, therefore, be in the biographies of men who have written erroneously, and have not understood their subject; but in Moore, in Parry, in Count Gamba's works, and, may be, in a few others. I am, however, far from saying, that Moore has acted toward Lord Byron with all that friendly feeling which Byron recommended to him on asking him to write the Life of Sheridan, "without offending the living or insulting the dead." Quite the contrary. I take it that Moore has wholly disregarded his duties as a true friend, by publishing essentially private letters, by introducing into his books certain anecdotes which he might, if even they were true, have advantageously left out; and in failing, from fear of wounding living susceptibilities, to a.s.sert with energy that which he knew to be the real case with Byron. More than any one, Moore experienced the fatal influence which injures independence in aristocratic England. An Irishman by birth, and a commoner, Moore was flattered to find himself elevated by his talents to a position in aristocratic circles which he owed to his talents, but which he was loath to resign. The English aristocracy then formed a kind of clique whose wish it was to govern England on the condition that its secret of governing should not be revealed, and was furious with Byron, who was one of them, for revealing their weaknesses and upbraiding their pretensions. Moore wished to live among the statesmen and n.o.blemen whose despotic views and bad policy Byron had openly condemned, and among those lovely islanders in whose number there might be found more Adelinas than Auroras, and to whom Byron had preferred foreign beauties. Moore, in short, wished to live with the literary men whom Byron had ridiculed in his satires, and among the high clergy, then as intolerant as they were hypocritical, and who, as Byron said, forgot Christ alone in their Christianity. Moore, whose necessity it had become to live among these open revilers and enemies of Byron, after allowing the memoirs of Byron to be burnt, because in them some of the above-named personages were unmasked, this Moore was weak enough not to proclaim energetically that Byron's character was as great as his genius, but to do so only timidly. By way of obtaining pardon even for this mite of justice to the friend who was gone, Moore actually condescended to a.s.sociate himself with those who pleaded extenuating circ.u.mstances for Byron's temper, like Walter Scott and other poets. But truth comes out, nevertheless, in Moore; and in the perusal of Byron's truthful and simple letters we find him there displayed in all his admirable and unique worth as an intellectual and a moral man. We find him adorned with all the virtues which Heaven gave him at his birth; his real goodness, which neither injustice nor misfortune could alter; his generosity, which not only made him disbelieve in ingrat.i.tude, but actually incited him to render good for evil and obliged him to own that "he could not keep his resentments;" his grat.i.tude for the little that is done for him; his sincerity; his openness of character; his greatness and disinterestedness. "His very failings were those of a sincere, a generous, and a n.o.ble mind," says a biographer who knew him well. His contempt for base actions; his love of equity; his pa.s.sion for truth, which was carried almost to a hatred of cant and hypocrisy, were the immediate causes of his want of fairness in his opinion of himself and of his self-accusation of things most contrary to his nature.

So singular a trait in his character was by no means the result of eccentricity, but the result of an exceptional a.s.sembly of rare qualities which met for the first time in one man, and which, shining in the midst of a most corrupt society, const.i.tuted almost more an anomaly which became a real defect, hurtful, however, to himself only. His ideal of the beautiful magnified weaknesses into crimes, and physical failings into deformities. Thus it is that with the saints the slightest transgression of the laws appears at once in the light of mortal sin.

St. Augustin calls the greediness of his youth a crime. The result of all this was that his very virtues mystified the world and caused it to believe that the faults which he attributed to himself were nothing in comparison of those which he really had.

Byron, however, was indignant at being so unfairly treated. He treated with contempt the men who calumniated him, and as if they were idiots.

He can safely, therefore, be blamed for not urging enough his own defense. This, to my mind, const.i.tutes his capital fault, unless one considers defects of character those changes of humor which rapidly pa.s.sed from gayety to melancholy, or his pretended irritability, which was merely a slight disposition to be impatient. These were all the result of his poetical nature, added to the effects of early education and to those of certain family circ.u.mstances. It would be too hard and too unfair to attribute these slight weaknesses of character proper to great genius to a bad nature or to misanthropy.

Had Lord Byron not been impatient he must have been satisfied with his own condition and indifferent to that of others. In other words, he must have been an egotist, which he was not. He was gay by nature, and repeatedly showed it; but he had been sorely wounded by the injustice of men, and his marriage with Miss Milbank had undermined his peace and happiness. How, then, could he escape the occasional pangs of grief, and not betray outwardly the pain which devoured him inwardly. In such moments it was a relief to him to heave a sigh, or take up a pen to vent his grief in rhyme. His misanthropy was quite foreign to his nature. All those who knew him can bear testimony to the falseness of the accusation.

Moore, who knew him so well, and who always speaks the truth when no longer under the influences which at times overpower him, after speaking of the charm of Byron's manner when he saw him for the first time, ends by saying: "It may be a.s.serted that never did there exist before, and it is most probable never will exist again, a combination of such vast mental power and surpa.s.sing genius, with so many others of those advantages and attractions by which the world is in general dazzled and captivated."

When, therefore, M. de Lamartine seeks the truth in Moore, Parry, and some other biographers respecting Byron, he will find that this eminently beautiful form was in harmony with the splendid intellect and moral qualities of the man. M. de Lamartine will see that Byron was a good and devoted son, a tender father and brother, a faithful friend, and indulgent master, beloved by all who ever knew him, and who was never accused, even by his enemies, of having tried to seduce an innocent young girl, or having disturbed the peace of conjugal bliss. He will behold his charity, which was universal and unbounded; a pride which never stooped to be subservient of those in power; a firm political faith; a contempt of public dignities, so far as they reflected glory upon himself; and such a spirit of humility that he was ever ready to blame himself and follow the advice of those whom he deemed to be animated by no hostile spirit against himself.

When M. de Lamartine sees all this, not merely written down as in these pages, but actually proved by facts and irrefutable testimonies, his loyal soul must revolt and wish to do justice to himself by rejecting his former opinions. He will understand that if he himself has been called a drinker of blood by the party whom he styles bigoted and composed of old men, Byron, too, may have been calumniated. Looking, then, at the great poet in his proper light, that is, in the plenitude of his rare qualities, and considering him under each of the circ.u.mstances of his life, M. de Lamartine will own that he had misunderstood that most admirable of characters, and grant that the "satanic laughter" of which he spoke was, on the contrary, the smile which was so beautiful that it might have lighted up by its magic soft rays the dark regions of Satan. His doubts being cleared away, M. de Lamartine will end by saying that Byron was an "angel, not a demon."

Byron's misfortune was to have been born in the England of those days.

Do you remember his beautiful lines in the "Due Foscari?"--

"He might have lived, So formed for gentle privacy of life, So loving, so beloved; the native of Another land, and who so bless'd and blessing As my poor Foscari? Nothing was wanting Unto his happiness and mine save not To be Venetian."

In writing these lines Byron must have thought of his own fate. He was scarcely British by origin, and very little so by his turn of mind, or by his tastes or by the nature of his genius. "My ancestors are not Saxon, they are Norman," he said; "and my blood is all meridian."

If, instead of being born in England then, he had come before the world when his star would have been hailed with the same love and regard that was granted to Dante in Italy, to Chateaubriand and Lamartine in France, or to Goethe in Germany, who would ever have blamed him for the slight errors which fell from his pen in "Don Juan,"--a poem written hastily and with carelessness, but of which it can be said, as Montesquieu said of the prettiest women, "their part has more gravity and importance than is generally thought." If the sense of the ridiculous is ever stronger among people whose appreciation of the beautiful is keenest, who more than Byron could have possessed it to a higher degree? Is it therefore to be marvelled at that, in order to make the truth he revealed accessible to all, and such whose minds had rusted in egotism and routine, he should have given to them a new and sarcastic form?

Had he been born anywhere but in the England of those days, he never would have been accused of mocking virtue because he claimed for it reality of character, and not that superficial form which he saw existed then in society. He believed it right to scorn the appearances of virtue put on only for the purpose of reaping its advantages. No one respected more than he did all that was really holy, virtuous, and respectable; but who could blame him for wishing to denounce hypocrisy? As for his supposed skepticism, and his expressions of despair, they may be cla.s.sed with the misgivings of Job, of Pascal, of Lamartine, of Chateaubriand, and of other great minds, for whom the unknown world is a source of constant anxiety of thought, and whose cry of despair is rather a supplication to the Almighty that He would reveal himself more to their eyes. It must be borne in mind that the skepticism which some lines in his poems denounce is one of which the desponding nature calls more for our sympathy than our denunciations, since "we discover in the midst of these doubts," says Moore, "an innate piety which might have become tepid but never quite cold." His own words should be remembered when he writes, as a note to the two first cantos of "Childe Harold," that the spirit of the stanzas reflects grief and illness, more than an obstinate and mocking skepticism; and so they do. They do not embody any conclusions, but are only the expression of a pa.s.sionate appeal to the Almighty to come to the rescue and proclaim the victory of faith.

Could any thing but a very ordinary event be seen in his separation from a wife who was in no way suited to him, and whose worth can be esteemed by the remark which she addressed to Byron some three weeks after her marriage: "When, my lord, do you intend to give up your habit of versifying?" And, alas! could he possibly be happy, born as he was in a country where party prejudices ran so high? where his first satire had created for him so many enemies? where some of his poems had roused political anger against him, and where his truth, his honesty, could not patiently bear with the hypocrisy of those who surrounded him, and where, in fact, he had had the misfortune to marry Miss Milbank?

The great minds whom G.o.d designs to be the apostles of truth on earth, make use for that purpose of the most efficacious means at their disposal. The universal genius of Byron allowed of his making use of every means to arrive at his end. He was able to be at once pathetic, comic, tragical, satirical, vehement, scoffing, bitter, and pleasant.

This universality of talents, directed against Englishmen, was injurious to his peace of mind.

When Byron went to Italy his heart was broken down with real and not imaginary sorrows. These were not of that kind which create perfection, but were the result of an unheard-of persecution on account of a family difference in which he was much more the victim than the culprit.

He required to live in a milder climate, and a softer atmosphere to breathe in. He found both at Venice; and under their influence his mind took a new turn, which had remained undeveloped while in his own clouded country.

In the study of Italian literature he met with the Bernesque poetry, which is so lightly and elegantly sarcastic. He made the acquaintance of Buratti, the clever and charming satirist. He began, himself, to perceive the baseness of men, and found in an aesthetical mockery of human failings the most copious of the poetical currents of his mind.

The more his friends and his enemies told him of the calumnies which were uttered against him, so much the more did Byron's contempt swell into disdain; and to this circ.u.mstance did "Beppo" and "Don Juan" _owe_ their appearance.

The social condition of his country and the prevalent cant opened to him a field for reflection at Venice, where customs were so different and manners so tolerant. Seeing new horizons before him, he was more than ever disgusted at the judgments of those who calumniated him, and ended by believing it to be best to laugh at their silly efforts to ruin him.

He then wrote "Beppo" and afterward "Don Juan."

He was mistaken, however, in believing that in England this new style of poetry would be liked. His jests and sarcasms were not understood by the greater portion of those against whom they were levelled. The nature of the Bernese poetry being essentially French, England could not, with its serious tendencies, like a production in which the moral purpose was artistically veiled. From that day forward a severance took place between Byron and his countrymen. What had enchanted the French displeased them, and Byron in vain translated the "Morgante" of Pulci, to show them what a priest could say in that style of poetry in a Catholic country. In vain did he write to his friends that "Don Juan"