LITMIR.BIZ

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minds to skepticism and materialism! These doctrines resulted in causing "Childe Harold" to lose that traditional faith which gives peace to the soul by insuring conviction to the mind. The poet shows the impossibility of withdrawing himself from their disastrous results when arrived at the age when passions assert their rule, and when in a certain social position, they must be carried into practice. Nature not having gifted him with a sufficiently generous heart to check the disease of his mind, Childe Harold, disgusted with the sins of his youth, no longer seeks the road to virtue, but begins to experience with Solomon the vanity of human things, becomes a prey to satiety, ennui, and to insensibility to both physical and moral worth.

      Byron, who made the intellectual education of his day responsible for Childe Harold's faults, had conceived this character in his earliest days at Harrow. It was in any case, he said, a characteristic of the youth of those days, although idealized and drawn from his own imagination. His enemies and his rivals have endeavored to prove that he wished to describe in this poem the state of his own mind. They made capital out of a few historical and local circumstances, to give to their falsehood some appearance of truth. But only those who did not know him personally could be ignorant how improbable it was that any resemblance between the poet and his hero could be maintained.

      Let us confine ourselves to the remark that Lord Byron, instead of personifying his hero, personifies no one but simply the poet. Let us add, besides, that in no case could Lord Byron be made responsible for the consequences of the doctrines of the materialists, as held by his hero. Not only because of his nature, which was totally opposed to them, but also and especially because of his tendencies, which were eminently and persistently those of a spiritualist, and which clung to him throughout his life even at the time when he was accused of skepticism. This was at the time when he wrote the second canto of "Childe Harold." Thoughts, little in unison with, if not entirely opposed to his intimate convictions, sprang from his sick heart to his head: his soul became dejected, and his copious tears so obscured his eyes as to veil from them for a time the existence of the Almighty, which he seemed to question; and he appeared to think that if the Cambridge philosophy was right in doubting the soul's spirituality, its immortality might be equally questioned. These doubts having been expressed in his own, and not in his hero's name, at the outset of the second canto of "Childe Harold," led to his being also accused of skepticism.

      But if pain actually paralyzed for a time the elasticity of his mind, the latter very soon recovered its natural vigor and showed itself in all its glowing energy in the eighth and ninth stanzas, which are most delicate emanations from a beautiful soul. The first stanzas alone, however, continued to occupy the attention of some orthodox and over-scrupulous minds: poetry not necessarily being a mode of teaching philosophy. We must besides remark that the meaning of the lines is purely hypothetical. In saying that the soul might not be immortal, is it not saying much the same as was said by Locke in the words the soul is perhaps spiritual? Is not that perishable which is capable of dissolution according to the laws of the world? Lord Byron, though a stanch spiritualist at heart, derived his doubts from other much less exalted authorities. Believing implicitly in the omnipotence of the Creator, could he not modestly fear that God, who had made his soul out of nothing, might cause it to return to nothing? Might he not imagine that the contrary belief was rather the result of our wishes, of our pride, and of the importance which we love to attach to ourselves? Can the conviction of the existence of immortality, unless founded upon revelation, be any thing else but a hope or a sentiment? Pantheists alone find immortality to be the fatal consequence of their presumptuous doctrine. But what an immortality! One to be laughed at, as a philosopher of our days so well expresses it.

      Accused of skepticism, Byron replied by explaining the meaning of his lines in a note which, at the instance of Mr. Dallas, he also consented to suppress with his habitual good-nature, and in which he endeavored to show that the spirit which pervaded the whole of the poem was rather one of discouragement and despair, than raillery at religion, and that, after all, the effect of religion upon the world had been less to make men love their equals than to excite the various sects to a hatred against one another, and thus give rise to those fanatical wars which have caused so much bloodshed and injured so deeply the cause which they were intended to defend.

      In reading this note again, one can with difficulty make out what Dallas's objections were, and why he tried so hard to have it suppressed; for it savors much more of a spirit of toleration and charity than of skepticism. Lord Byron nevertheless withdrew it.

      But this was not enough to satisfy the British straight-lacedness. As the accusations against his skepticism were on the increase daily, Mr. Gifford, for whose enlightened opinion Byron ever had great respect, advised him to be more prudent, whereupon Byron replied:—

      "I will do as you advise in regard to religious matters. The best would perhaps be to avoid them altogether. Certainly the passages already published are rather too rigorously interpreted. I am no bigot of incredulity, and I did not expect that I should be accused of denying the existence of God, because I had expressed some doubts as to the immor tality of the soul. … After all, I believe my doubts to be but the effects of some mental illness."

      It is clear from this letter, the tone of which is so honest and sincere, that if in the stanzas which his rivals blamed there was really more skepticism than can be gathered from the consideration of man's littleness and God's greatness, yet it was not his real conviction. Perhaps it was only a kind of cloud overhanging the mind, produced by the great grief which weighed on his heart. These sentiments, however, must have been really his own for some time longer. In his journal of 1813 he expresses himself thus:—

      "My restlessness tells me I have something within that 'passeth show.' It is for him who made it to prolong that spark of celestial fire which illuminates yet burns this frail tenement. … In the mean time I am grateful for some good, and tolerably patient under certain evils, grace à Dieu et à mon bon tempérament."

      But all this, as we have said, amounted to the opinion that an omnipotent God is the author of our soul, which is of a totally different nature to that of our body, and that the soul being spiritual and not subjected to the laws which rule the body, the soul must be immortal. That he who made it out of nothing can cause it to return to nothing. The orthodox doctrine does not teach, as pantheism does, that our soul can not perish. It gives it only an individual immortality.

      Notwithstanding this, and indeed on account of it, he was accused of being an atheist, in a poem entitled "Anti-Byron." This poem was the work of a clever rival, who made himself the echo of a party. Murray hesitated to publish it, but Byron, who was always just, praised the poem, and advised its publication.

      "If the author thinks that I have written poetry with such tendencies, he is quite right to contradict it."

      But having done so much for others, this time, at least, he fulfilled a duty toward himself by adding:—

      "The author is however wrong on one point; I am not in the least an atheist;" and ends by saying, "It is very odd; eight lines may have produced eight thousand, if we calculate what has been and may still be said on the subject."

      He speaks of the same work to Moore, in the same tone of pleasantry:—

      "Oh, by-the-by, I had nearly forgot. There is a long poem—an 'Anti-Byron'—coming out, to prove that I have formed a conspiracy to overthrow by rhyme all religion and government, and have already made great progress! It is not very scurrilous, but serious and ethereal. I never felt myself important till I saw and heard of my being such a little Voltaire as to induce such a production."

      He therefore laughed at these accusations as too absurd. As for skepticism, he did not defend himself from a touch of it; for not only did he feel that the suspicious stanza could partly justify the belief, but also because there did exist in him a kind of religious skepticism which proceeded far more from meditation and observation than from a passion for it. Such a skepticism is in truth a sigh for conviction. A painful vision which appears to most reflective minds in a more or less indistinct and vague manner, but which appeared more forcibly to him, inasmuch as it sought to be expressed in words.

      "He," says Montaigne, "who analyzes all the circumstances which have brought about matters, and all the

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