My Recollections of Lord Byron Part 2

Quotations from his poems would be impossible. How choose without regretting what has been discarded? They must be read; and those must be pitied who do not feel morally better after having read them.

This is precisely what has been least done up to the present time: people have been content with reading his early poems, and with seeking Byron in "Childe Harold" or in the heroes of his Oriental poems; which is about as just as to look for Shakspeare in Iago, Milton in Satan, Goethe in Mephistopheles, or Lamartine in the blasphemies of his ninth Meditation.

Thus French critics,--disposed to identify the man with the imaginary beings of his poems, and neglecting to seek him where they could have found him, relying upon judgments formed in England, and too often by people prejudiced against Byron,--have themselves adopted false views with respect to the author and his works. Thus, again, poetry--which without any preconceived teaching or any particular doctrine of its own, without transgressing the rules laid down by art, moved the soul, purified and elevated it, and taught it to despise the base and cowardly desires of nature, and excited in it the admiration of all that is n.o.ble and heroic,--was declared to be suspicious even in France, because too often it had proclaimed openly the truth where one would have wished truth to have been disguised. Many would fain have thought otherwise, but they preferred remaining silent, and to draw from that poetry the poetical riches of which they might be in want.

Our intention being to consecrate a chapter to the examination of the moral tendency of Byron's poetry, we will not now say more. We must add, however, that these views which had been so easily adopted in France were not those of the majority of right-thinking persons in England, although they dared not proclaim their opinions then as they can now.

I shall only quote the opinion of two Englishmen of great merit (Moore and Sir Egerton Brydges), who can neither one nor the other be suspected of partiality; the first, on account of his great fear of ever wounding the susceptibilities of his countrymen, the other by the independence and n.o.bility of his character.

"How few are the pages in his poems," says Moore, "even if perused rapidly, which by their natural tendency toward virtue, or some splendid tribute to the greatness of G.o.d's works, or by an explosion of natural piety more touching than any homily, do not ent.i.tle him to be admitted in the purest temple of which Christianity may have the keep!"--_Moore_, vol. ii.

Sir Egerton Brydges, after having fully appreciated the poems of Lord Byron, says:----

"They give to the reader's best instincts an impulse which elevates, purifies, instructs, charms, and affords us the n.o.blest and purest of joys."--_Sir E. Brydges_, vol. x. p. 141.

These quotations perhaps will be found too many, but are they not necessary? Is truth which can be so easily changed equally easy to re-establish? Are not a thousand words wanted to restore a reputation which a light word or, may be, slight malice has tarnished? If the author of these pages only expressed individual opinions without adducing any proof, that is to say, without accompanying them with the disinterested and enlightened testimonies of people who have known Byron personally, these volumes might gain in interest by being condensed in a shorter s.p.a.ce.

But in shortening the road would the author attain the desired end?

would the self-imposed task be fulfilled? would his or her own convictions become those of others? Should not authors sacrifice themselves to their subject in all works inspired by a devoted spirit?

Shall it be said that oftentimes one has wished to prove what had already been conceded by every body? that the value of the proofs adduced is lessened by the fact that they are nearly all already known?

In answer, and without noticing the words "nearly all," he might say that, as truth has several aspects, one may almost, without mentioning new facts, arrive at being what might be called the guide in the tour round the soul, and fathom its depth in search of the reality; just as when we have looked at all the sides of a picture, we return to it, in order to find in it fresh beauties which may have escaped our notice on a first inspection. There are certain souls, to fathom which it is absolutely necessary to employ a retrospective method; in the same way that the pictures, for instance, of Salvator Rosa enchant on close inspection of the great beauties which in some lights seem hid by a ma.s.s of clouds.

"One can hardly employ too many means," says Ste. Beuve, "to know a man; that is, to understand him to be something more than an intellectual being. As long as we have not asked ourselves a certain number of questions about such and such an author, and as long as they have not been satisfactorily answered, we are not sure of having completely made him out, even were such questions to be wholly irrelevant to the subjects upon which he has written.

"What did he think upon religious matters?

"How did the aspect of nature affect him?

"How did he behave in regard to women?

"How about money?

"What rules did he follow?

"What was his daily life? etc., etc.

"Finally, what was his peculiar vice and foible? Every man has one.

"Not one of these questions is unimportant in order to appreciate an author or his book, provided the book does not treat of pure mathematics; and especially if it is a literary work, that is to say, a book wherein there is something about every thing."[3]

Be this opinion of an eminent critic our rule and an encouragement to our efforts.

We are well aware that in France, now-a-days, writers do not like to use the same materials in describing a character as are used by other nations, and especially by England. A study of this kind in France must not be a judgment p.r.o.nounced upon the individual who is the object of it, and still less an inquiry. The qualities and defects of a man of genius do not const.i.tute the princ.i.p.al business of the artist. Man is now rather examined as a work of art or as an object of science. When reason has made him out, and intellectual curiosity has been satisfied, the wish to understand him is not carried out further. The subject is abandoned, lest the reader may be tired.

This may be good reasoning in many cases; but in the present perhaps the best rule is "in medio tutissimus." When a good painting is spoilt by overpolish, to wash the polish off is not to restore it to its former appearance. To arrive at this last result, however, no pains should be spared; and upon this principle we must act with regard to Byron. In psychological studies the whole depends upon all the parts, and what may at first seem unimportant may prove to be the best confirmation of the thesis. To be stopped by details (I might almost say repet.i.tions) would therefore be to exhibit a fear in adducing proof.

Can it be said that we have not sufficiently condemned? To add this interest to the volume would not have been a difficult task.

To attack is easier than to defend; but we should then have had to invent our facts, and, at the same time, to add romance to history.

The world, says a great moralist of our times, prefers a vice which amuses it rather than a virtue which bores it; but our respect for the reader convinces us that the adoption of such a means of arriving at success would forfeit their respect for us and be as repugnant to their sense of justice as to our own. As regards Byron, the means have more than once been employed, and with the more success by those who have united to their skill the charms of style.

But in claiming no talent, no power to interest, and in refusing to appear as an author from motives of pusillanimity, idleness, or self-love, is one less excusable for hiding the truth when one is acquainted with it?

If it is the duty of a man of honor and a Christian to come to the rescue of a victim to violence when it is in one's power, is it not inc.u.mbent upon one to raise a voice in the defense of those who can no longer resent an insult, when we know that they are wrongly accused? To be silent under such circ.u.mstances would be productive of remorse; and the remorse is greater when felt on the score of those whose genius const.i.tutes the monopoly of the whole world, and forms part of the common treasure of humanity, which enjoins that it should be respected.

Is not their reputation a part of the inherited treasure? To allow such reputation to be outraged would, in our minds, be as culpable as to hide a portion of a treasure which is not our own.

"Truth," says Lamartine, "does not require style. Its light s.h.i.+nes of itself; its appearance is its proof."

In publis.h.i.+ng these pages, written conscientiously and scrupulously, we confide in the opinion expressed above in the magic language of the man who can create any prestige. If the reader finds these guarantees of truth sufficient, and deigns to accept our conscientious remarks with indulgence and kindness; if, after examining Byron's character under all its aspects, after repeating his words, recalling his acts, and speaking of his life--especially of that which he led in Italy--and mentioning the various impressions which he produced upon those who knew him personally, we are justified in the reader's opinion in having endeavored to clear the reality from all the clouds which imagination has gathered round the person of Byron, and in trying to earn for his memory a little sympathy by proclaiming the truth, in place of the antipathy which falsehood has. .h.i.therto obtained for him, our object will have been obtained.

To endeavor to restore Byron's reputation is the more necessary, since Moore himself, who is his best biographer, failed not only in his duty as a friend, but as the historian of the poet's life: for he knew the truth, and dared not proclaim it. Who, for instance, could better inform us of the cause which led to Byron's separation from his wife? And yet Moore chose to keep the matter secret.

Who was better acquainted with the conduct of Byron's colleagues at the time of his conjugal differences--with the curious proposals which were made to him by them to recover their good graces--with his refusal to regain them at such a cost--with the persecution to which he was, after that, subjected--with the names of the people who instigated a popular demonstration against him--with all the bad treatment which obliged him to quit England? And yet has Moore spoken of it?[4]

Who, better than Moore, could tell of the friends on whom Byron relied, and who at the time of his divorce sided with Lady Byron, and even went so far as to aggravate the case by falsely publis.h.i.+ng reports of his having ill-treated Lady Byron and discharged loaded guns in order to frighten her?

Who was better acquainted with the fact that the last cantos of "Don Juan," written in Greece, had been destroyed in England, and that the journal which he kept after his departure from Genoa had been destroyed in Greece? Moore knew it very well, and did not reveal these facts, lest he should create enemies for himself. He actually went so far as to pretend that Byron never wrote any thing in Greece.[5]

Who better than Moore knew that Byron was not irreligious?--And yet he pretended that he was. And finally, Who was better aware that Byron's greatest aim was to be useful to humanity, and yet encouraged the belief that Byron's expedition to Greece was purely to satisfy the desire that people should speak of him as a superior man? In a few words, Moore has not made the best of Byron's qualities, has kept silence over many things which might have enhanced his character in public opinion; and wished, above all, to show the greatness of his poetical genius, which was never questioned. One would almost say that Moore did not like Byron to be too well spoken of: for whenever he praises, he ever accompanies the praise with a blame, a "but" or an "if;" and instead of openly contradicting accusations which he knew to be false, and honestly proclaiming the truth, he, too, preferred to excuse the poet's supposed shortcomings. Moore was wanting in courage. He was good, amiable, and clever; but weak, poor, and a lover of rank--where, naturally, he met with many political enemies of Byron. He, therefore, dared not then tell the truth, having too many interests to consider. Hence his concessions and his sluggishness in leaving the facts as they were; and in many cases, when it was a question between the departed Byron and one of his high detractors, the one sacrificed was the dead friend who could no longer defend himself. All such considerations for the living were wrongs toward the memory of Byron.

The gravest accusation, however, to which Moore is open is, that he did not preserve the Memoirs which Byron gave him on the sworn condition that nothing should prevent their publication. The promise thus given had restored peace to Byron's mind, so confident was he that it would be fulfilled. To have broken his word is a crime for which posterity will never forgive Moore. Can it be alleged, by way of excuse, that he gave extracts from it? But besides the authenticity of the extracts, which might be questioned, of what value can be a composition like Moore's in presence of Byron's very words? No one can pretend to be identified with such a mind as Byron's in the expression of his own feelings; and, least of all, a character like Moore's.

The "Memoirs," then, which were the justification of Byron's life; the last cantos, which were the justification of the poet and of the man; the journal, which showed his prudence and sagacity beyond his age, which by the simple relation of facts proved how he had got rid of all the imperfections of youth, and at last become the follower of wisdom, so much so that he would have been one of the most virtuous men in England--all have been lost to the world: they have descended with him into the tomb, and thus made room for the malice of his detractors.

Hence the duty of not remaining silent on the subject of this highly-gifted man.

In restoring, however, facts to their true light, we do not pretend to make Byron appear always superior to humanity in his conduct as a man and a poet. Could he, with so sensitive and pa.s.sionate a nature as his was, and living only that period when pa.s.sions are strongest, have always acted as those who from age no longer are affected by them? If it is easy not to give way to our pa.s.sions at seventy, is it equally so at twenty or at thirty?

Persecuted as he was, could Byron be expected to remain unmoved? If his pa.s.sion for truth made him inexorable in some of his poems; if his pa.s.sion for justice allowed his pen at times to go beyond the limits which it should have respected; if even at times he was unjust, because he had been too much injured and irritated,--he undoubtedly would have compensated for his involuntary and slight offenses, had he not been carried off so early.

As for the imperfection of these pages,--once we have dissipated error, and caused truth to be definitely received as regards Byron,--an abler pen can easily correct it, and do away with the numberless repet.i.tions with which we are aware we shall be reproached. We could not do otherwise, as we wished to multiply proofs. Others, some day, will achieve what we have been unable to perform.

Our work is like the stream which falls from the mountain and is filled with ooze: its only merit is to swell the river into which it runs. But, sooner or later, a stronger current will purify it, and give clearness and brilliancy to it, without taking from it the merit of having increased the bulk of the waters.

Such as it is, we dedicate this humble work to the n.o.ble souls who wors.h.i.+p truth. They will feel that we have been able to place them in a more intimate connection with another great mind, and thus we shall have gained our reward.

FOOTNOTES:

[Footnote 1: He often told and promised his friends at Genoa that he would alter the pa.s.sages which are unjust and reprehensible, and that, before it was finished, "Don Juan" would become a chaste and irreproachable satire.]

[Footnote 2:

"His manner was perhaps the more seductive, Because he ne'er seemed anxious to seduce; Nothing affected, studied, or constructive Of c.o.xcombry or conquest: no abuse Of his attractions marr'd the fair perspective, To indicate a Cupidon broke loose, And seem to say, 'Resist us if you can'-- Which makes a dandy while it spoils a man.

XIII.

"Don Juan was without it; In fact, his manner was his own alone: Sincere he was----