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conduct of Lady Byron, and if his mind was not deranged, at least his soul was wounded and ill at ease, and it was this spirit that dictated "Manfred." Did he not clearly confess it himself? When he sent "Manfred" to Murray, did he not say that it was a drama as mad as the tragedy of "Lee Bedlam," in twenty-five acts, and a few comic scenes—his own being only in three acts?

      Did he not write to Moore as follows?—

      "I wrote a sort of mad drama for the sake of introducing the Alpine scenery. Almost all the dramatis personæ are spirits, ghosts, or magicians; and the scene is in the Alps and the other world, so you may suppose what a Bedlam tragedy it must be. … The third act, like the Archbishop of Grenada's homily (which savored of the palsy), has the dregs of my fever, during which it was written. It must on no account be published in its present state. … The speech of Manfred to the sun is the only part of this act I thought good myself; the rest is certainly as bad as bad can be, and I wonder what the devil possessed me."

      But let Byron's ideas take a different turn, as the lovely blue Italian sky and the refreshing breezes from the Adriatic waters contribute to quicken his blood, and other tones will be heard, wherein no longer shall the excesses, but the beauties only of energy be discernible.

      What does M. Taine say then? This new aspect does not, evidently, satisfy him! but what of that? He goes on to say that Byron's genius is falling off. If the poet takes advantage of a few moments of melancholy common to all poetical and feeling souls, M. Taine declares that the melancholy English nature is always associated with the epicurean. What is it to him, that England thinks differently? that in her opinion Lord Byron's grandest and noblest conceptions are the poems which he wrote in Italy, and even on the eve of his death? and that she finds his liveliness "too real and too ultramontane to suit her national tastes?" Nothing of this troubles M. Taine.

      Is it quite fair to judge so powerful a mind, so great and yet so simple a being as Lord Byron, only by his "Manfred," or by some other passages of his works, and especially of "Don Juan?" Can his amiable, docile, tender, and feeling nature honestly be seen in the child of three years of age, who tears his clothes because his nurse has punished him unfairly? No; all that we see is what M. Taine wishes us to see for the purpose he has in view, that is, admiration of the Lord Byron he has conceived, and who is necessary to his cause—a Byron only to be likened to a furious storm.

      Wishing Byron to appear as the type of energy, M. Taine exhibits him to our eyes in the light of Satan defying all powers on earth and in heaven. The better to mould him to the form he has chosen, he begins by disfiguring him in the arms of his mother, whom with his father and his family he scruples not to calumniate. Storms having their origin in the rupture of the elements, and a violent character being, according to M. Taine, the result of several forces acting internally and mechanically; it follows that its primary cause is to be found in the disturbed moral condition of those who have given birth to him in the circumstances under which the child was born, and in the influence under which he has been brought up. Hence the necessity of supplementing from imagination the historical and logical facts which otherwise might be at fault.

      As for Lord Byron's softness of manner, and as to that tenderness of character which was the bane of his existence—as to his real and great goodness, which made him loved always and everywhere, and which caused such bitter tears to be shed at the news of his death—these qualities are not to be sought in the strange, fanciful being who is styled Byron by M. Taine. These qualities would be out of place; they would be opposed to the idea upon which his entire system is founded. They must be merged in the energy and greatness of intellect of the poetical giant.

      Unfortunately for M. Taine, facts speak too forcibly and too inopportunely against him. Not one of the causes which he mentions, not one of the conclusions which he draws in respect to Lord Byron's character as a poet, and as a mere mortal, are to be relied upon. He, who contends that he possesses pre-eminently the power of comprehending the man and the author, insists that Lord Byron was no exception to the rule, though his best biographer, Moore, most distinctly opposes this opinion:—

      "In Lord Byron, however, this sort of pivot of character was almost wholly wanting. … So various indeed, and contradictory, were his attributes, both moral and intellectual, that he may be pronounced to have been not one, but many; nor would it be any great exaggeration of the truth to say that out of the mere partition of the properties of his single mind a plurality of characters, all different and all vigorous, might have been furnished."

      On the other hand, M. Taine, who generally pays little attention to the opinion of others, gives as Lord Byron's predominant characteristic that which phrenologists denominate "combativité." Which of the two is likely to be right? If Moore is right, Lord Byron must have been almost wanting in consistency of character; if Taine is correct, then Byron was really of a most passionate nature. But as we have proved that Lord Byron was not inconsistent, as Moore declares, except in cases where this want of consistency did not interfere with his character as a man, and, on the other hand, that no one had a less combative disposition, we are forced to arrive at the conclusion that if Byron had one dominant passion, it was most decidedly not that of "combativité." It is impossible to deny that if in his early youth signs of resistance may have appeared in his character, yet these had so completely disappeared with the development of his intellect and of his moral sentiments that no one more than himself hated controversies and discussions of all kinds. In fact, no one was more obedient to the call of reason and of friendship; and his whole life is an illustration of it.

      In order that Lord Byron should represent the English type, even if we adopt M. Taine's philosophy, he should have had a deal of Saxon blood in his veins. But this was not the case. It is the Norman blood which predominates. He may be said to have been almost borne in France, and to be of French extraction by his father, and of Scotch origin through his mother. The total absence of the Saxon element, which was so remarkable in him, was equally noticeable in his tastes, mind, sympathies, and inclinations.

      He loved France very dearly, and Pouqueville tells a story, that when Ali Pasha had got over the fright caused by the announcement that a young traveller, named Byron (his name had been pronounced Bairon, which made the Pasha believe he was a Turk in disguise), wished to see him, he received the young lord very cordially. As he had just conquered Preveza from the French, Ali Pasha thought he should be pleasing the Englishman by announcing the fact to him. Byron replied—"But I am no enemy of France. Quite the contrary, I love France."

      It might almost be said that he was quite the opposite of what a Saxon should be. Lord Byron could not remain, and, actually, lived a very short time, in England. His habits were not English, nor his mode of living. Far from over-eating, as the English, according to M. Taine, are said to do, Byron did not eat enough. He was as sober as a monk. His favorite food was vegetables. His abstinence from meat dated from his youth. His body was little adapted to the material wants of his country. This remarkable sobriety was the effect of taste and principle, and was in no ways broken by excesses which might have acted as compensations. The excesses of which M. Taine speaks must have been at the utmost some slight deviations from the real Pythagorean abstinence which he had laid down as the rule of his life. Abroad, where he lived almost all his life, he had none of the habits of his countrymen. He lived everywhere as a cosmopolitan. All that his body craved for was cleanliness, and this only served to improve his health and the marvellous beauty with which God had gifted him.

      Lord Byron was so little partial to the characteristic features and customs of the country in which he was born—"but where he would not die"—that the then so susceptible amour-propre of his countrymen reproached him with it as a most unpardonable fault.

      It was not he who would have placed England and the English above all foreigners, and Frenchmen in particular; nor was it he who would have declared them to be the princes of the human race. Justice and truth forbade his committing himself to such statements in the name of national pride.

      Are the animal rather than moral, and moral rather than intellectual instincts of energy and will, which M. Taine so much admires in the Saxon race, defects or qualities in his eyes? It is difficult to say, for one never knows when he is praising or when he is condemning. Judging by the very material causes from which he derives this energy—namely,

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