Recollections of the Last Days of Shelley and Byron
Chapter V.
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LAST DAYS OF SHELLEY AND BYRON. |
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CHAPTER V.
His house, his home, his heritage, his lands,
The laughing dames in whom he did delight.
* * * * *
Without a sigh he left, to cross the brine
And traverse Paynim shores and pass Earth’s central line.
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Men of books, particularly Poets, are rarely men of action,
their mental energy exhausts their bodily powers. Byron
has been generally considered an exception to this rule, he certainly so considered
himself: let us look at the facts.
In 1809, he first left England, rode on horseback through Spain and
Portugal, 400 miles, crossed the Mediterranean on board a frigate, and landed in Greece;
where he passed two years in sauntering through a portion of that small country: this, with
a trip to Smyrna, Constantinople, Malta, and Gibraltar, generally on board our men-of-war,
where you have all the ease, comfort, and most
of the luxuries of your
own homes;—this is the extent of the voyages and travels he was so proud of. Anything
more luxurious than sailing on those seas, and riding through those lands, and in such a
blessed climate, I know from experience, is not to be found in this world. Taking into
account the result of these travels as shown in his works, he might well boast; he often
said, if he had ever written a line worth preserving, it was Greece that inspired it. After
this trip he returned to England, and remained there some years, four or five; then
abandoned it for ever, passed through the Netherlands, went up the Rhine, paused for some
months in Switzerland, crossed the Alps into Italy, and never left that peninsula until the
last year of his life. He was never in France, for when he left England, Paris was in the
hands of the Allies, and he said he could not endure to witness a country associated in his
mind with so many glorious deeds of arts and arms, bullied by “certain rascal
officers, slaves in authority, the knaves of justice!”
To return, however, to his travels. If you look at a map you will see what a
narrow circle comprises his wanderings. Any man might go, and many
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have gone without the aid of steam, over the same ground in a few months—even if he
had to walk with a knapsack, where Byron rode. The
Pilgrim moved about like a Pasha, with a host of attendants, and all that he and they
required on the journey. So far as I could learn from Fletcher, his yeoman bold—and he had been with him from the time of
his first leaving England,—Byron where-ever he was, so far as it
was practicable, pursued the same lazy, dawdling habits he continued during the time I knew
him. He was seldom out of his bed before noon, when he drank a cup of very strong green
tea, without sugar or milk. At two he ate a biscuit and drank soda-water. At three he
mounted his horse and sauntered along the road—and generally the same road,—if
alone, racking his brains for fitting matter and rhymes for the coming poem, he dined at
seven, as frugally as anchorites are said in story-books to have done, at nine he visited
the family of Count Gamba, on his return home he sat
reading or composing until two or three o’clock in the morning, and then to bed,
often feverish, restless and exhausted—to dream, as he said, more than to sleep.
Something very urgent, backed by the importunity of those who had influence
over him, could alone induce him to break through the routine I have described, for a day,
and it was certain to be resumed on the next,—he was constant in this alone.
His conversation was anything but literary, except when Shelley was near him. The character he most commonly
appeared in was of the free and easy sort, such as had been in vogue when he was in London,
and George IV. was Regent; and his talk was seasoned
with anecdotes of the great actors on and off the stage, boxers, gamblers, duellists,
drunkards, &c., &c., appropriately garnished with the slang and scandal of that
day. Such things had all been in fashion, and were at that time considered accomplishments
by gentlemen; and of this tribe of Mohawks the Prince Regent was the
chief, and allowed to be the most perfect specimen. Byron, not knowing
the tribe was extinct, still prided himself on having belonged to it; of nothing was he
more indignant, than of being treated as a man of letters, instead of as a Lord and a man
of fashion: this prevented foreigners and literary people from getting on with him, for
they invariably so offended.
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His long absence had not effaced the mark
John Bull brands his children with; the instant he
loomed above the horizon, on foot or horseback, you saw at a glance he was a Britisher. He
did not understand foreigners, nor they him; and, during the time I knew him, he associated
with no Italians except the family of Count Gamba.
He seemed to take an especial pleasure in making a clean breast to every new comer, as if
to mock their previous conceptions of him, and to give the lie to the portraits published
of him. He said to me, as we were riding together alone, shortly after I knew him,
“Now, confess, you expected to find me a ‘Timon of Athens,’ or a ‘Timur the Tartar;’ or did you think I was a mere
sing-song driveller of poesy, full of what I heard Braham at a rehearsal call ‘Entusamusy;’ and are you not mystified at finding me what I am,—a man
of the world—never in earnest—laughing at all things mundane.”
Then he muttered, as to himself,—
“The world is a bundle of hay, Mankind are the asses who pull.” |
Any man who cultivates his intellectual faculty so highly as to seem at
times inspired, would be too
much above us, if, on closer inspection,
we should not find it alloyed with weaknesses akin to our own. Byron soon put you at your ease on this point. Godwin, in his ‘Thoughts on Man,’ says, “Shakespeare, amongst all his varied characters, has not attempted to
draw a perfect man;” and Pope
says,— “A perfect man’s a thing the world ne’er saw.” |
At any rate I should not seek for a model amongst men of the pen; they are too
thin-skinned and egotistical. In his perverse and moody humours, Byron
would give vent to his Satanic vein. After a long silence, one day on horseback, he began:
“I have a conscience, although the world gives me no credit for it;
I am now repenting, not of the few sins I have committed, but of the many I have not
committed. There are things, too, we should not do, if they were not forbidden. My
Don Juan was cast aside and almost
forgotten, until I heard that the pharisaic synod in John
Murray’s back parlour had pronounced it as highly immoral, and
unfit for publication. ‘Because thou art virtuous thinkest thou there shall be
no more cakes and ale?’ Now my brain is throb-
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bing
and must have vent. I opined gin was inspiration, but cant is stronger. To-day I had
another letter warning me against the Snake (Shelley). He, alone, in this age of humbug, dares stem the current, as
he did to-day the flooded Arno in his skiff, although I could not observe he made any
progress. The attempt is better than being swept along as all the rest are, with the
filthy garbage scoured from its banks.”
Taking advantage of this panegyric on Shelley, I observed, he might do him a great service at little cost, by a
friendly word or two in his next work, such as he had bestowed on authors of less merit.
Assuming a knowing look, he continued,
“All trades have their mysteries; if we crack up a popular author,
he repays us in the same coin, principal and interest. A friend may have repaid money
lent,—can’t say any of mine have; but who ever heard of the interest being
added thereto?”
I rejoined,
“By your own showing you are indebted to Shelley; some of his best verses are to express his
admiration of your genius.”
“Ay,” he said, with a significant look, “who
reads them? If we puffed the
Snake, it might not turn out a profitable investment. If he cast off the
slough of his mystifying metaphysics, he would want no puffing.”
Seeing I was not satisfied, he added,
“If we introduced Shelley
to our readers, they might draw comparisons, and they are ‘odorous.’”
After Shelley’s death,
Byron, in a letter to Moore, of the 2nd of August, 1822, says,
“There is another man gone, about whom the world was
ill-naturedly, and ignorantly, and brutally mistaken. It will, perhaps, do him justice
note, when he can be no better for it.”
In a letter to Murray of an earlier
date, he says,
“You were all mistaken about Shelley, who was without exception, the best and least selfish man I
ever knew.”
And, again, he says, “You are all mistaken about Shelley; you do not know how mild, how tolerant, how
good he was.”
What Byron says of the world, that it
will, perhaps, do Shelley justice when he can be no
better for it, is far more applicable to himself.
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If the world erred,
they did so in ignorance; Shelley was a myth to them.
Byron had no such plea to offer, but he was neither just nor
generous, and never drew his weapon to redress any wrongs but his own.
John Braham (1777 c.-1856)
English tenor who began his career at the Covent Garden and Drury Lane theaters; he
assisted Isaac Nathan in setting Byron's
Hebrew Melodies.
William Fletcher (1831 fl.)
Byron's valet, the son of a Newstead tenant; he continued in service to the end of the
poet's life, after which he was pensioned by the family. He married Anne Rood, formerly
maid to Augusta Leigh, and was living in London in 1831.
William Godwin (1756-1836)
English novelist and political philosopher; author of
An Inquiry
concerning the Principles of Political Justice (1793) and
Caleb
Williams (1794); in 1797 he married Mary Wollstonecraft.
Thomas Moore (1779-1852)
Irish poet and biographer, author of the
Irish Melodies (1807-34),
The Fudge Family in Paris (1818), and
Lalla
Rookh (1817); he was Byron's close friend and designated biographer.
John Murray II (1778-1843)
The second John Murray began the
Quarterly Review in 1809 and
published works by Scott, Byron, Austen, Crabbe, and other literary notables.
Alexander Pope (1688-1744)
English poet and satirist; author of
The Rape of the Lock (1714)
and
The Dunciad (1728).
Percy Bysshe Shelley (1792-1822)
English poet, with Byron in Switzerland in 1816; author of
Queen
Mab (1813),
The Revolt of Islam (1817),
The Cenci and
Prometheus Unbound (1820), and
Adonais (1821).
George Gordon Byron, sixth Baron Byron (1788-1824)
Don Juan. (London: 1819-1824). A burlesque poem in ottava rima published in installments: Cantos I and II published in
1819, III, IV and V in 1821, VI, VII, and VIII in 1823, IX, X, and XI in 1823, XII, XIII,
and XIV in 1823, and XV and XVI in 1824.