responded, and the coarse music which he produced to please them, disciplined him to the perfection to which he now approaches.' This was in 1822. Again, in an earlier letter of the same year: 'Space wondered less at the swift and fair creations of God when he grew weary of vacancy, than I at this spirit of an angel in the mortal paradise of a decaying body.' Goethe, in conversation with Eckermann, after death had removed the English peer and poet above all reach of flattery, said: 'The English may think of Byron as they please; but this is certain, that they can show no poet who is to be compared with him. He is different from all the others, and for the most part, greater.' That this was no hasty utterance, is proved by Euphorion's part, assigned to Byron, in Faust, as the typical modern poet, and by many parallel passages in Eckermann's book of Table Talk. Mazzini, to quote an authority of a different type, breaks, at the end of his essay on Goethe and Byron, into the following vindication of the poet's claim: The day will come when Democracy will remember all that it owes to Byron. England too will, I hope, one day remember the mission-so entirely English, yet hitherto overlooked by her— which Byron fulfilled on the continent; the European rôle given by him to English literature, and the appreciation and sympathy for England which he awakened amongst us. Before he came, all that was known of English literature was the French translation of Shakespeare, and the anathema hurled by Voltaire against the "intoxicated barbarian." It is since Byron that we Continentalists have learned to study Shakespeare and other English writers. From him dates the sympathy of all the true-hearted amongst us for this land of liberty, whose true vocation he so worthily represented among the oppressed. He led the genius of Britain on a pilgrimage throughout all Europe.' The judgments I have cited are of value when we seek to discern Byron's merits with eyes unblinded by contemporary prejudice. If we measure him from the standpoint of British literature, where of absolute perfection in verse there is perhaps less than we desire, he will scarcely bear the test of niceness to which our present rules of taste expose him. But if we try him by the standards of universal literature, where of finish and exactitude in execution there is plenty, we shall find that he has qualities of strength and elasticity, of elemental sweep and energy, which condone all defects in technical achievement. Such power, sincerity and radiance, such directness of generous enthusiasm and disengagement from local or patriotic prepossessions, such sympathy with the forces of humanity in movement after freedom, such play of humour and passion, as Byron pours into the common stock, are no slight contributions. Europe does not need to make the discount upon Byron's claims to greatness that are made by his own country. J. A. SYMONDS. WHEN WE TWO PARTED When we two parted In silence and tears, Half broken-hearted To sever for years, Pale grew thy cheek and cold, The dew of the morning They name thee before me, In secret we met In silence I grieve, That thy heart could forget, Thy spirit deceive. If I should meet thee After long years, How should I greet thee? With silence and tears. (1808.) VOL. IV. AND THOU Art dead, as yOUNG AND FAIR. And thou art dead, as young and fair As aught of mortal birth; And form so soft, and charms so rare, There is an eye which could not brook I will not ask where thou liest low, There flowers or weeds at will may grow, So I behold them not: It is enough for me to prove That what I loved, and long must love, To me there needs no stone to tell, Yet did I love thee to the last As fervently as thou, Who didst not change through all the past, The love where Death has set his seal, Nor age can chill, nor rival steal, Nor falsehood disavow: And, what were worse, thou canst not see Or wrong, or change, or fault in me. The better days of life were ours; The worst can be but mine: The sun that cheers, the storm that lowers, Shall never more be thine. The silence of that dreamless sleep I envy now too much to weep; Nor need I to repine, That all those charms have pass'd away; S The flower in ripen'd bloom unmatch'd Though by no hand untimely snatch'd, And yet it were a greater grief Since earthly eye but ill can bear I know not if I could have borne The night that follow'd such a morn Thy day without a cloud hath pass'd, As stars that shoot along the sky As once I wept, if I could weep, Yet how much less it were to gain, And more thy buried love endears February, 1812. |