Night," which was published in The Liberal (No. i., October 14, 1822, pp. 123-137), had been read to him, and had attracted his attention. The Deformed Transformed is "a Faustish kind of drama;" and Goethe, who maintained that Byron's play as a whole was "no imitation," but "new and original, close, genuine, and spirited," could not fail to perceive that "his devil was suggested by my Mephistopheles" (Conversations, 1874, p. 174). The tempter who cannot resist the temptation of sneering at his own wiles, who mocks for mocking's sake, is not Byron's creation, but Goethe's. Lucifer talked at the clergy, if he did not "talk like a clergyman;" but the "bitter hunchback," even when he is solus, sneers as the river wanders, "at his own sweet will." He is not a doctor, but a spirit of unbelief!
The second part of The Deformed Transformed represents, in three scenes, the Siege and Sack of Rome in 1527. Byron had read Robertson's Charles the Fifth (ed. 1798, ii. 313-329) in his boyhood (Life, p. 47), but it is on record that he had studied, more or less closely, the narratives of contemporary authorities. A note to The Prophecy of Dante (Poetical Works, 1901, iv. 258) refers to the Sacco di Roma, descritto da Luigi Guicciardini, and the Ragguaglio Storico . . . sacco di Roma dell' anno MDXXVII. of Jacopo Buonaparte; and it is evident that he was familiar with Cellini's story of the marvellous gests and exploits quorum maxima pars fuit, which were wrought at "the walls by the Campo Santo," or on the ramparts of the Castle of San Angelo.
The Sack of Rome was a great national calamity, and it was something more: it was a profanation and a sacrilege. The literature which it evoked was a cry of anguish, a prophetic burden of despair. "Chants populaires," writes M. Emile Gebhart (De l'Italie, "Le Sac de Rome en 1527," 1876, pp. 267, sq.), "Nouvelles de Giraldi Cintio, en forme de Décaméron . . . récits historiques . . . de César Grollier, Dialogues anonymes . . . poésies de Pasquin, toute une littérature se developpa sur ce thème douloureux. . . . Le Lamento di Roma, œuvre étrange, d'inspiration gibeline, rappelle les espérances politiques exprimées jadis par Dante . . . 'Bien que César m'ait dépouilleé de liberté, nous avons toujours été d'accord dans une même volonté. Je ne me lamenterais pas si lui régnait; mais je crois qu'il est ressuscité, ou qu'il ressuscitera véritablement, car souvent un Ange m'a annoncé qu'un César viendrait me délivrer.'. . . Enfin, voici une chanson française que répétaient en repassant les monts les soldats du Marquis de Saluces:—
"Parlons de la déffaiete
De ces pouvres Rommains,
