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The absence of any widespread interest in the centenary of Lord Byron is a marvelous illustration of the vicissitudes of literary reputation. Only in Greece was public notice taken of it. The brilliancy with which his fame burst forth, the unexampled rapidity with which it spread through Europe, the powerful influence it continued to exert on the youth of the next age, were to the men who witnessed them sure signs of the magnitude of his future renown. The decadence into which it has fallen would have been incredible to them. It was Byron's distinction to have been the first man of letters who enjoyed an international reputation at once; and one can hardly credit the fact that he has shrunk so wonderfully. In the month of his death Sir Walter Scott, in a brief article which attracted wide attention, said that it seemed almost as if the sun in heaven had been extinguished; and when Scott soon followed him, Landor, writing to Crabb Robinson, remarked that the death of these two had "put the fashionable world into deep mourning," and drew gloomy predictions, in the well-known manner of contemporaries, because the great men were leaving no successors.

Something of the shock of Byron's death and of the exaltation of his genius at the moment was due to the manner in which he met his end; he had fallen like one of his own heroes, died in a cause, and appealed to the romantic feeling of the age. Even then, however, to admire him was found to be a different thing from approving him. When the thirty-seven guns had been fired at Missolonghi, and the Turks had responded with "an exultant volley," and the ship had brought home the remains, the Abbey was refused, and he was buried in the common soil of England. Two incidents of the funeral bring him very near to us. Lady Caroline Lamb met the cortège as she was driving, and, on being told, in answer to her question, that it was Byron's, fainted in her carriage; and Mary Shelley, as she saw the procession winding down, reflected on the short-sightedness of human life, asking who could have foretold at Lerici such changes as she had witnessed in two little years.

Hobhouse, with all his efforts, could raise only a thousand pounds for a memorial, but with this he got Thorwaldsen to make a statue which was sent to England in 1834. The Abbey was again refused, and, to the discredit of the nation, this work was allowed to remain stored away in the Customhouse eleven years, because no fit place could be got to put it in. At last, in 1845, Dr. Whewell gave permission to set it up in the Library of Trinity, which it still adorns. Thirty years later came the miserable fiasco of Beaconsfield's Committee, which, far from making Newstead Abbey a national possession and gathering there the relics of Byron, placed in Hamilton Park (other sites being refused) that statue of the poet leaning on the rocks, with his dog Boatswain beside him, which can only be described as popular melodrama in stone, beautiful only for the mass of red marble which the Greek Government gave for its base. It is to be remarked, also, that at this time the Abbey was a third time practically refused, as Dean Stanley, out of respect to the action of his two predecessors, but not apparently for any other reason, precluded application for erecting a tablet there by a letter in which he said he preferred the subject should not be brought before him.

The history of monuments, however, is not necessarily proof of fame. Others of England's greatest do not sleep in the Abbey, and the hero not infrequently waits for his statue a long age. The place of fame is on the lips of men, and Macaulay, when Moore's Life came out, could speak of Byron as "the most celebrated man in Europe." The decline of his vogue was nevertheless rapid and unmistakable. We all remember Carlyle's oracle: "Close thy Byron; open thy Goethe." This must have been about 1840. But, unfortunately, as one writer observes, to open Goethe is to return to Byron's greatness. Did not Goethe tell Eckermann that a man of Byron's eminence would not come again, nor such a tragedy as Cain? He thought him greater than Milton—"vast and widely varied," whereas the latter was only simple and stately. Perhaps, as we have been told, Goethe was flattered by Byron's imitation.

Whatever was the reason, the critical judgment of Goethe is one to be weighed with regard to Byron, and to himself also, for that matter. What part Goethe's praise may have had in making Byron the hero of "Young Germany" we have no means of determining, but his works were vital in the new age there, and still his hold seems greater on the Germans, if we may judge by the test of translations and biography, than it is elsewhere on the Continent. Heine was more than touched by him, though he was far from being his duplicate, and could see the humorous side of those young Parisians—Musset the foremost—who were melancholy in the full glow of first manhood, and went about in despair dining sumptuously every day. One pities Musset, for Byron was, as much as another man can be, the secret of his fate. Lamartine caught only the sentimentality of Byron, but Musset assimilated his darker spirit, his recklessness, and license, and skepticism, and transmuted his very coarseness into a Parisian vulgarity. Stendhal and Sainte-Beuve paid tribute to him; and, to cut the subject short, Mazzini thanked him in the name of Italy, in Spain Espronceda drew his inspiration from him, and Castelar, in the later time, eulogized him for his liberating influences in the peninsula with Spanish amplitude of phrase. Karl Elze thinks that the Russian poet, Pushkin, was his child; if it were so, Byron might well be proud of what such an influence was the beginning of in Russia. This rapid survey, with its brilliant names, impresses the mind with the range and dominance of this man, although Landor's sneer, when he hoped that "the mercies which have begun with man's forgetfulness may be crowned with God's forgiveness," does not now seem so absurd as formerly.

To look at the matter from this point of view, however, is to confuse Byron with Byronism. There was a European mood, a temperament of the revolutionary time, that fed on Byron, but he was not its creator, and to regard him as more than a single influence of many that moulded the young men of the next generation is to give him vastly more than his due. This is the secret of his vogue in Europe, not that he liberated their minds, but that he set the fashion for minds expanding in a new age of intellectual pride and moral irresponsibility, helped to form their attitude, and was a rallying name for the faction. He was licentious, but he was neither democratical nor atheistical; he had no body of opinions properly thought out and correlated with social facts, either in politics or religion; he had no strong convictions even; but, with prejudices of rank and reminiscences of Scottish theology from which he could not free himself, he was an impulsive and therefore uneven revolter from the old régime, and never quite at home in the new camp. He preferred, he said, to be beheaded by the King and not by the mob; and the whole aristocrat spoke in the saying. Shelley wrote of him, "The canker of aristocracy needs to be cut out;" and he hits off Byron's inconsequence in religion where he speaks of him under the name of Maddalo, and contrasts him with himself. Maddalo, he says, took a wicked pleasure in drawing out his taunts against religion; but, he adds, "What Maddalo thinks on these matters is not exactly known." Byron is believed to have talked with Shelley more seriously than with any other man. He did not himself know what he thought; and his state of mind was well expressed by his remark to Lady Byron, "The trouble is, I do believe." In substance, therefore, unlike Shelley, who was democratical and atheistical on principle, Byron was far from being the ideal of the various "young" nationalities, France, Germany, Italy, and Spain, in the principal tenets dear to the age. It was rather his personality, and what they transformed him into by their worship, that had power over them in their search for "liberty;" and truly, though his ideas were incomplete and fragmentary, and inextricably blended, even in their formation, with his impulses and the accidents of his position as a pariah of genius, yet there was a contagion in his spirit, a dash of energy and of abandon, that told as blood tells more than thought.

One advantage, too, Byron had with foreign nations that with his own counts as a defect. He had no form, no art, no finish; and the poet who failed in these things can be read in our day only by a kind of sufferance, and with continual friction with what has come to be our mastering literary taste for perfection in the manner. It has been said that he consequently bore translation better than he otherwise would. His quality is power, not charm; the mood and the situation and the thought are the elements that count in his poetry, while the words are at the best eloquent or witty, but not "the living garment of light." The result was, that he could be given almost completely in a foreign language. This consideration may go far to explain the relative estimate of him by foreign writers in comparison with other English poets; for these others who have the charm that cannot be transfused, the art that will obey no master but its own Prospero, are seen, as one may say, without their singing robes; and their poetry, made prose, loses half its excellence. This, together with the German element in one portion of his work and the strong Italian influence in a larger portion, especially in Don Juan, must be taken into account in any attempt to understand why he was the best known English poet on the Continent, and perhaps, with the exception of Shakespeare, still is.

In England, Byron's reputation met with rapid decline from natural causes. It is not likely that his misconduct in morals was much against him, and Beaconsfield was wholly on the wrong track when he reminded the Byron meeting that, after half a century, a man's private life scarcely enters into the estimate of his literary genius. It seems rather Byron's lack of orthodoxy that England most resented. Society put up with much libertinism in those days in high quarters; but Byron had attacked the faith, or at least elements of it, which the Church shared in common with Calvinism, and this was too shocking a matter for a society which found hardly more than matter for gossip in natural sons and daughters. This was the reason which a bishop alleged in the House of Lords in answer to Brougham, in the debate on the second refusal of the Abbey. Byron had attacked Christianity, and he should not be interred "in the Temple of our God." The middle classes have always rejected Byron, in like manner, because he scoffed, though, no doubt, his life and the licentious portions of his poetry also offended them. From the first his skepticism was heavily against him, and probably it still remains the strongest objection to his works in the minds of Englishmen generally. In Landor's bitter attack (he had offended Landor by rhyming his name with gander) this charge is made the climax, and the passage is brief enough to quote as the best word of Byron's enemies:—

"Afterwards, whenever he wrote a bad poem, he supported his sinking fame by some signal act of profligacy: an elegy by a seduction, a heroic by an adultery, a tragedy by a divorce. On the remark of a learned man that irregularity is no indication of genius, he began to lose ground rapidly, when, on a sudden, he cried out at the Haymarket, There is no God. It was then surmised more generally and more gravely that there was something in him, and he stood upon his legs almost to the last. Say what you will, once whispered a friend of mine, there are things in him strong as poison and original as sin." This, with all its excess, is no inapt character of Byron, as English prejudice drew him.

On the other hand, much that was in his favor at first was necessarily temporary. The man had a story. He was one of the picturesque characters of the age, and while he lived he was interesting to his time merely for his personal fortunes. It was to his gain, too, that he identified his own romance with that which he early invented, appealing to the adventurous in men and to the pity and admiration of women. His heroes are strong, and strength succeeds with the sex in fiction as well as in life; and they are, besides, usually faithful in love, while their crimes are taken out of the moral region of deliberate choice by a kind of emotional sophistry, and somehow are charged to their circumstances, so that the unwary and innocent reader commiserates their villainies instead of being revolted by them. These tales (and no part of his work was more popular) are hard to read to-day, but we forget too readily what raw and bloody fiction the world had in the first score years of this century; we cannot conceive how London ran after stories of blighted brigands and sentimental corsairs, in the very thunder of Waterloo. But so it was, and Byron was more interesting in that he was the unhappy and noble original from which the pirates of his imagination were drawn. If he changed the scene and wandered over Europe as Childe Harold, he gained in sentiment; if he wore the mask of Manfred, he gained in tragedy; and if he sneered in Don Juan, there was the jaded man of the world, perhaps more interesting. He was, moreover, a peer; but a dead peer certainly is no better than a dead lion, and when he died, why,—the fashion in collars changed. Other living personalities occupied the stage; England grew steadily more sincere in religion, more strict in the standard of private morals, more exacting of seriousness in thought and of perfection in literary form; and all these influences were adverse to Byron, who made no offsetting gain in his own country from the revolutionary fervor that helped him on the Continent.

What is there left? Some stirring passages of adventure, some eloquent descriptions of nature, some personal lyrics of true poetic feeling, dramas which, it is to be hoped, have finally damned "the unities," and one great poem of the modern spirit, Don Juan. And what remains of that melodramatic Byron of women's fancies? His character has come out plain, and we are really amazed at it,—proud, sensual, selfish, and, it must be added, mean. Ignoble he was, in many ways, but, for all that, the energy of his passions, his vitality, his masterly egotism, and the splendid force of his genius, made him a commanding name and stamped him upon the succeeding European time. He cannot be neglected by history, but men certainly appear to pass him by. Arnold has endeavored to bring him back by a collection; but Arnold's critical views on poetry seem to be justifications in age for the tastes he had when he was young,—reasons after the act. A late biographer thinks that the decadence of his fame is due to the conservatism of the last half-century, and that in the revolutionary age that ought soon to be beginning, he will retrieve himself. But can this be hoped of a "revolutionary" poet whom Swinburne has cast aside? The prediction does not convince us. Byronism has gone by, and the age of the "enlightenment" in Germany and France; such a mood is not repeated. Goethe outlived Wertherism, but had Byron such good fortune? In his own character there are such defects as forbid admiration in the light of our moral ideas; and in his poems, taken apart from their time, there are other defects, both in their substance, and, unquestionably, in their form, which forbid the sort of approval that would make them in a true sense classic, as a whole, though the qualities that make Childe Harold and Don Juan great, and preserve here and there passages in other poems, are those that confer immortality. He was a poet; he was a force, also, that spent itself partly in creating a worldwide affectation, and partly in rousing and reinforcing the impulse of individual liberty on the Continent; but he is a poet no one can love, and he left a memory that no one can admire, and there is none of his works that receives the meed of perfect praise. And, as to the fruits of that vast influence, is it hard to say whether they were more good than evil?