Letters and Journals of Lord Byron
Lord Byron to John Murray, 27 December 1816
“Venice, Dec. 27th, 1816.
“As the demon of silence seems to have possessed you, I am
determined to have my revenge in postage: this is my sixth or seventh letter since
summer and Switzerland. My last was an injunction to contradict and consign to confusion
that Cheapside impostor, who (I heard by a letter
from your island) had thought proper to append my name to his spurious poesy, of which I
know nothing, nor of his pretended purchase or copyright. I hope you have, at least,
received that letter.
“As the news of Venice must be very interesting to you, I
will regale you with it.
“Yesterday being the feast of St.
Stephen, every mouth was put in motion. There was nothing but fiddling and
playing on the virginals, and all kinds of conceits and divertisements, on every canal
of this aquatic city. I dined with the Countess
Albrizzi and a Paduan and Venetian party, and afterwards went to the
opera, at the Fenice theatre (which opens for the Carnival on that day),—the finest, by
the way, I have ever seen: it beats our theatres hollow in beauty and scenery, and those
of Milan and Brescia bow before it. The opera and its sirens were much like other operas
and women, but the subject of the said opera was something edifying; it turned—the plot
and conduct thereof—upon a fact narrated by Livy of a
hundred and fifty married ladies having
66 | NOTICES OF THE | A. D. 1816. |
poisoned a hundred
and fifty husbands in good old times. The bachelors of Rome believed this extraordinary
mortality to be merely the common effect of matrimony or a pestilence; but the surviving
Benedicts, being all seized with the cholic,
examined into the matter, and found that ‘their possets had been
drugged;’ the consequence of which was, much scandal and several suits at law.
This is really and truly the subject of the musical piece at the Fenice; and you
can’t conceive what pretty things are sung and recitativoed about the horrenda strage. The conclusion was a lady’s head about to be chopped off by a lictor,
but (I am sorry to say) he left it on, and she got up and sung a trio with the two
Consuls, the Senate in the back-ground being chorus. The ballet was distinguished by
nothing remarkable, except that the principal she-dancer went into convulsions because
she was not applauded on her first appearance; and the manager came forward to ask if
there was ‘ever a physician in the theatre.’ There was a Greek one in my
box, whom I wished very much to volunteer his services, being sure that in this case
these would have been the last convulsions which would have troubled the ballarina; but
he would not. The crowd was enormous, and in coming out, having a lady under my arm, I
was obliged, in making way, almost to ‘beat a Venetian and traduce the
state,’ being compelled to regale a person with an English punch in the
guts, which sent him as far back as the squeeze and the passage would admit. He did not
ask for another, but, with great signs of disapprobation and dismay, appealed to his
compatriots, who laughed at him.
“I am going on with my Armenian studies in a morning, and
assisting and stimulating in the English portion of an English and Armenian grammar, now
publishing at the convent of St. Lazarus.
“The superior of the friars is a bishop, and a fine old
fellow, with the beard of a meteor. Father
Paschal is also a learned and pious soul. He was two years in England.
“I am still dreadfully in love with the Adriatic lady whom I spake of in a former letter (and
not in this—I add, for fear of
mistakes, for the only one mentioned in the first part of this epistle is elderly and
bookish, two things which I have ceased to admire), and love in this part of the world
is no sinecure. This is also the season when every body make up
A. D. 1817. | LIFE OF LORD BYRON. | 67 |
their intrigues for the ensuing year, and cut for partners for the next
deal.
“And now, if you don’t write, I don’t know what
I won’t say or do, nor what I will. Send me some news—good news.
“Yours very truly, &c. &c. &c.
“B.
“P.S. Remember me to Mr.
Gifford, with all duty.
“I hear that the Edinburgh Review has cut up Coleridge’s Christabel, and me for praising it, which omen, I think, bodes no great
good to your forthcome or coming Canto and
Castle (of Chillon). My run of luck within the last year seems to have
taken a turn every way; but never mind, I will bring myself through in the end—if
not, I can be but where I began. In the mean time, I am not displeased to be where I
am—I mean, at Venice. My Adriatic nymph is this moment here, and I must therefore
repose from this letter.”
Father Pasquale Aucher (1774-1827)
Of the Mekhitarist Convent in Venice; he tutored Byron in Armenian and collaborated with
him on an Armenian grammar (1817).
Samuel Taylor Coleridge (1772-1834)
English poet and philosopher who projected
Lyrical Ballads (1798)
with William Wordsworth; author of
Biographia Literaria (1817),
On the Constitution of the Church and State (1829) and other
works.
William Gifford (1756-1826)
Poet, scholar, and editor who began as a shoemaker's apprentice; after Oxford he
published
The Baviad (1794),
The Maeviad
(1795), and
The Satires of Juvenal translated (1802) before becoming
the founding editor of the
Quarterly Review (1809-24).
James Johnston (1816 fl.)
Cheapside publisher who printed poems as Byron's in 1816; Byron won an injunction against
him in November 1816.
Livy (59 BC c.-17)
Roman historian; of his
History of Rome 35 books survive.
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.
Marianna Segati (1816 fl.)
Byron's first mistress in Venice, the wife of his landlord, a draper near the Piazza San
Marco.
Isabella Teotochi, Countess Albrizzi (1760-1836)
A native of Corfu, in 1796 she married her second husband, Giuseppe Albrizzi; author of a
volume of pen-portraits,
Ritratti, scritti da Isabella Teotchi
Albrizzi (1807).