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to them in the reality of his character. Calumny followed upon calumny. Unable to find him at fault, they interpreted his words themselves, and gave them a different meaning. Every thing was figurative of some wickedness, and to the simplest expressions some vile intention was attributed.

      They depreciated his works, in which are to be found such admirable and varied types of women characters, that they even surpass in beauty those of Shakspeare (Angiolina, Myrrha, Anna): they said that Faliero wanted interest, that Sardanapalus was a voluptuary; that Satan in "Cain" did not speak as a theologian (how could he?), that there were irreverent tendencies in his sacred dramas—and finally that his declaration—

      "My altars are the mountains and the ocean,

       Earth, air, stars—all that springs from the great Whole,

       Who hath produced, and will receive the soul,"

      was hazardous, and almost that of an atheist. Atheist! he! who considered atheists fools.

      All this, no doubt, might have again called for his contempt, but on his way from Ravenna to Pisa he wrote the outpourings of his mind in a poem, the last lines of which are:—

      "Oh Fame! if I e'er took delight in thy praises,

       'Twas less for the sake of thy high-sounding phrases,

       Than to see the bright eyes of the dear one discover,

       The thought that I was not unworthy to love her.

       "There chiefly I sought thee, there only I found thee; Her glance was the best of the rays that surround thee; When it sparkled o'er aught that was bright in my story, I knew it was love, and I felt it was glory."

      His heart was wounded by the persecutions to which those he loved were subjected. His thoughts were for his daughter, who was growing up in the midst of her father's enemies, and for his beloved sister who was praying for him. He contemplated in the future the time when he could show the moral and heroic power of his soul. He looked forward to the great deeds by which he was going to astonish them, and perhaps call for their admiration, instead of his writings, which had never reaped for him any thing but pain.

      "If I live," he wrote to Moore, "you will see that I shall do something better than rhyming."

      Truth however, when told by such men as Byron, and however ungraciously received, must guide in the end the steps of those who walk in its wake.

      This has been the case with Byron's poetry. Its influence over the minds of Englishmen has been very salutary and great, and is one of the principal causes which brought on a reform of the rooted prejudices and opinions of the public in England, by the necessity under which it placed them of looking into the defects of the law and of the constitution, to which they had hitherto so crouchingly submitted. Since then the feeling of good-will toward other nations has materially increased in that great country.

      Others have improved the way which Byron opened up for reform, and thanks to him England at his death began to lose her excessive susceptibility. She became accustomed to listen to the truth, and those who now proclaim it are not required to be exiled, or to suffer as Byron did up to the time of his death. His sufferings, no doubt, paved his way to everlasting glory, but his heroic death left him at the mercy of the enemies who survived him.

      If ever a premature death was unfortunate, Byron's was; not only for him, because he was on the point of giving to the world the proof of those virtues which had been denied him, but also for humanity, by the loss of various treasures which will probably never be found again.

      The epoch, however, of faint words and unbecoming silence has gone by even in England. Already one of the greatest men of England has claimed a monument in Westminster Abbey, which had been denied to his memory by the bigoted rancor of the man who was dean at the time of Byron's death, denied to that poet whom another great English statesman has called "a great writer, but a still greater man."

      There remains a still more imperious duty to be fulfilled by those who have been able to appreciate his great qualities. That duty is to proclaim them and to prevent the further spread of falsehood and error as to his real character.

      This is a very long letter, my dear count, but you know how long all letters must be which are intended to refute opinions and to rectify judgments. M. de Lamartine has the excellent habit of listening to your advice, and that is why I have had at heart to let you know the truth about Byron. The present work will adduce the proofs of the appreciations contained in this letter. I know that you do not require them, but also that the public does.

      Pray accept, etc.——.

      FOOTNOTES:

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      [6] Galt says, "It was in the course of the passage to the island of Zea, where he was put on shore, that one of the most emphatic incidents of his life occurred; an incident which throws a remarkable gleam into the springs and intricacies of his character, more perhaps than any thing which has yet been mentioned. One day, as he was walking the quarter-deck, he lifted an attaghan (it might be one of the midshipmen's weapons), and unsheathing it, said, contemplating the blade, 'I should like to know how a person feels after committing murder.' By those who have inquiringly noticed the extraordinary cast of his metaphysical associations, this dagger scene must be regarded as both impressive and solemn; the wish to know how a man felt after committing murder does not imply any desire to perpetrate the crime. The feeling might be appreciated by experiencing any actual degree of guilt; for it is not the deed—the sentiment which follows it makes the horror. But it is doing injustice to suppose the expression of such a wish dictated by desire. Lord Byron has been heard to express, in the eccentricity of conversation, wishes for a more intense knowledge of remorse than murder itself could give. There is, however, a wide and wild difference between the curiosity that prompts the wish to know the exactitude of any feeling or idea, and the direful passions that instigate to guilty gratifications."—Galt, 152.

      His curiosity was psychological and philosophical, that of a great artist wishing to explore the heart of man in its darkest depths.

      On the eve of his departure from Rome he assisted at the execution of three assassins, remaining to the end, although this spectacle threw him into a perfect fever, causing such thirst and trembling that he could hardly hold up his opera-glass.

      At Venice he preferred Madame Benzoni's conversation to that of Madame Albrizzi, because she was more thoroughly Venetian, and as such more fitted for the study he wished to make of national manners. He used to say that every thing in the world ought to be seen once, and it is to this idea that we must specially attribute some of the oddities so exaggerated and so much criticised during his short stay at Venice, for in reality he had none of these tastes.

      Parry says, "Lord Byron had an insatiable curiosity, he was forever making questions and researches. He wished me to relate to him all the most trifling incidents of my life in America, Virginia, and Canada."—Parry, 180.

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