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heroes we accordingly recognise—though with infinite modifications, the same great characteristics, -a high and audacious conception of the power of the mind,-an intense sensibility of passion,—an almost boundless capacity of tumultuous emotion, -a haunting admiration of the grandeur of disordered power, and, above all, a soul-felt, blood-felt delight in beauty, - a beauty which, in his wild creations, is often scared away from the agitated surface of life by stormier passions, but which, like a bird of calm, is for ever returning, on its soft, silvery wings, before the black swell has finally subsided into sunshine and peace.
It seems to us, that this exquisite sense of beauty has of late become still more exquisite in the soul of Byron. Parasina, the most finished of all his poems, is full of it to overflowing ;-it breathes from every page of the Prisoners of Chillon ;-but it is in Manfred that it riots and revels among the streams and waterfals, and groves, and mountains, and heavens. Irrelevant and illmanaged as many parts are of that grand drama, there is in the character of Manfred more of the self-might of Byron than in all his previous productions. He has therein brought, with wonderful power, metaphysical conceptions into forms,--and we know of no poem in which the aspect of external nature is throughout lighted up with an expression at once so beautiful, solemn and majestic. It is the poem, next to Childe Harold, which we should give to a foreigner to read, that he might know something of Byron. Shakspeare has given to those abstractions of human life and being, which are truth in the intellect, forms as full, clear, glowing as the idealized forms of visible nature. The very words of Ariel picture to us. his beautiful being. In Manfred, we see glorious but immature manifestations of similar power. The poet there creates, with delight, thoughts and feelings and fancies into visible forms, that he may cling and cleave to them, and clasp them in his passion. The beautiful Witch of the Alps seems exhaled from the luminous spray of the Cataract,--as if the poet's eyes, unsated with the beauty of inanimate nature, gave spectral apparitions of loveliness to feed the pure passion of the poet's soul.
We speak of Manfred now, because it seems to us to hold a middle place between the Tales of Byron, and Childe Harold, as far as regards the Poet himself. But we likewise do so, that we may have an opportunity of saying a few words on the moral of this poem, and a few words on a subject that may scarcely seem to fall under the legitimate province of the critic, but which, in the case of this great writer, forms so profoundly-interesting a part of his poetical character we mean, his scepticism,
The moral character of Byron's poetry has often been assailed, and we have ourselves admitted that some strong objections might be urged against it. But we think that his mind is now clearing up, like noon-day, after a stormy and disturbed morning ;--and when the change which we anticipate has been fully brought about, the moral character of his poetry will be lofty and pure. Over this fine drama, a moral feeling hangs like a sombrous thunder cloud. No other guilt but that so darkly shadowed out could have furnished so dreadful an illustration of the hideous aberrations of human nature, however noble and majestic, when left a prey to its desires, its passions and its imagination. The beauty, at one time so innocently adored, is at last soiled, profaned and violated. Affection, love, guilt, horror, remorse and death come in terrible succession, yet all darkly linked together. We think of Astartè as young, beautiful, innocent-guilty-lost-murdered—buried—judged-pardoned ; but still, in her permitted visit to earth, speaking in a voice of sorrow, and with a countenance yet pale with mortal trouble. We had but a glimpse of her in her beauty and innocence; but, at last, she rises up before us in all the mortal silence of a ghosts with fixed, glazed and passionless eyes, revealing death, judgement and eternity. The moral breathes and burns in every word,-in sadness, misery, insanity, desolation and death. The work is instinct with spirit, '-and in the agony and distraction, and all its dimly imagined causes, we behold, though broken up, confused and shattered, the elements of a purer existence.
On the other point, namely, the dark and sceptical spirit prevalent through the works of this poet, we shall not now utter all that we feel, but rather direct the notice of our readers to it as a singular phenomenon in the poetry of the age. Whoever has studied the spirit of Greek and Roman literature, must have been struck with the comparative disregard and indifference wherewith the thinking men of these exquisitely polished nations contemplated those subjects of darkness and mystery which afford, at some period or other of his life, so much disquiet-we had almost said so much agony to the mind of every reflecting modern. · It is difficult to account for this in any very satisfactory, and we suspect altogether impossible to do so in any strictly logical manner. In reading the works of Plato and his interpreter Cicero, we find the germs of all the doubts and anxieties to which we have alluded, so far as these are connected with the workings of our reason. The singularity is, that those clouds of darkness, which hang over the intellect, do not appear, so far as we can perceive, to have thrown at any time any
very alarming shade upon the feelings or temper of the ancient sceptic. We should think a very great deal of this was owing to the brilliancy and activity of his southern fancy. The lighter spirits of antiquity, like the more mercurial of our moderns, sought refuge in mere gaieté du cour and derision. The graver poets and philosophers--and poetry and philosophy were in those days seldom disunited—built up some airy and beautiful system of mysticism, each following his own devices, and suiting the erection to his own peculiarities of hope and inclination, and this being once accomplished, the mind appears to have felt quite satisfied with what it had done, and to have reposed amidst the splendours of its sand-built fantastic edifice, with as much security as if it had been grooved and rivetted into the rock of ages. The mere exercise of ingenuity in devising a system, furnished consolation to its creators or improvers. Lucretius is a striking example of all this; and it may be averred that, down to the time of Claudian, who lived in the 4th century of our era, in no classical writer of antiquity do there occur any traces of what moderns understand by the restlessness and discomfort of uncertainty as to the government of the work', and the future destinies of Man.
There are three only even among the great poets of modern times, who have chosen to depict, in their full shape and vigour, those agonies to which great and meditative intellects are, in the present progress of human history, exposed by the eternal recurrence of a deep and discontented scepticism. But there is only one who has dared to represent himself as the victim of these nameless and undefinable sufferings. Goëthe chose for his doubts and his darkness the terrible disguise of the mysterious Faustus. Schiller, with still greater boldness, planted the same anguish in the restless, haughty and heroic bosom of Wallenstein. But Byron has sought no external symbol in which to embody the inquietudes of his soul. He takes the world and all that it inherit for his arena and his spectators; and he displays himself before their gaze, wrestling unceasingly and ineffectually with the demon that torments him. At times there is something mournful and depressing in his scepticism; ut oftener, it is of a high and solemn character, approaching to the very verge of a confiding faith. Whatever the poet may believe, we his readers always feel ourselves too much ennobled and elevated even by his melancholy, not to be confirmed in our own belief by the very doubts so majestically corceived and uttered. His scepticism, if it ever approaches to a creed, carries with it its reputation in its grandeur. Their is neither philosoVOL. XXX. No, 59,
phy nor religion in those bitter and savage taunts which have been cruelly thrown out, from many quarters, against those moods of mind which are involuntary, and will not pass away ;the shadows and spectres which still haunt his imagination, may once have disturbed our own ;-through his gloom there are frequent flashes of illumination ;-and the sublime sadness which, to him, is breathed from the mysteries of mortal existence, is always joined with a longing after immortality, and expressed in language that is itself divine.
But it is our duty now to give our readers an analysis of the concluding Canto of Childe Harold; and as it is, in our opinion, the finest of them all, our extracts shall be abundant. The poem which it brings to an end is perhaps the most original in the language, both in conception and execution. It is no more like Beattie's Minstrel than Paradise Lost—though the former production was in the Noble author's mind when first thinking of Childe Harold. A great poet, who gives himself up, free and unconfined, to the impulses of his genius, as Byron has done in the better part of this singular creation, shows to us a spirit as it is sent out from the hands of Nature, to range over the earth and the societies of men. Even Shakspeare himself submits to the shackles of history and society. But here Byron traverses the whole earth, borne along by the whirlwind of his own spirit. Wherever a forest frowns, or a temple glitters—there he is privileged to bend his flight. He may suddenly start up from his solitary dream by the secret fountain of the desert, and descend at once into the tumult of peopled, or the silence of desolated cities. Whatever lives now-has perished heretofore-or may exist hereafter-and that has within it a power to kindle passion, may become the material of his all-embracing song. There are no unities of time or place to fetter him,-and we fly with him from hilltop to hilltop, and from tower to tower, over all the solitude of nature, and all the magnificence of art. When the past pageants of history seem too dim and faded, he can turn to the splendid spectacles that have dignified our own days; and the images of kings and conquerors of old may give place to those yet living in sovereignty or exile. Indeed, much of the power which Harold holds over us is derived from this source. He lives in a sort of sympathy with the public mind—sometimes wholly distinct from it-sometimes acting in opposition to it—sometimes blending with it,--but, at all times, --in all his thoughts and actions having a reference to the public mind. His spirit need not go back into the past,—though it often does so, -to bring the objects of its love back to carth in more beautiful life.
istence he paints is-now. The objects he presents are marked out to him by men's present regards. It is his to speak of all those great political events which have been objects of such
passionate sympathy to the nation. And when he does speak of them, he either gives us back our own feelings, raised into powerful poetry, or he endeavours to displace them from our breasts, and to substitute others of his own. In either case, it is a living speaker standing up before us, and ruling our minds. But chiefly he speaks our own feelings, exalted in thought, language, and passion. The whole substance and basis of his poem is, therefore, popular. All the scenes through which he has travelled, were, at the very moment, of strong interest to the public mind, and that interest still hangs over them. His travels were not, at first, the self-impelled act of a mind severing itself in lonely roaming from all participation with the society to which it belonged, but rather obeying the general motion of the mind of that society. The southern regions of Europe have been like a world opening upon us with fresh and novel beauty, and our souls have enjoyed themselves there, of late years, with a sort of romantic pleasure. This fanciful and romantic feeling was common to those who went to see those countries, and to those who remained at home to hear the nar., rations of the adventurers,--so that all the Italian, Grecian, Peninsular, Ionian and Ottoman feeling which pervades Childe Harold, singularly suited as it is to the genius of Byron, was not first brought upon the English mind by the power of that genius, but was there already in great force and activity.
There can be no limits set to the interest that attaches to a great poet thus going forth, like a spirit, from the heart of a powerful and impassioned people, to range among the objects and events to them most pregnant with passion,--who is, as it were, the representative of our most exalted intellect,--and who often seems to disclose within ourselves that splendour with which he invests our own ordinary conceptions. The consciousness that he is so considered by a great people, must give a kingly power and confidence to a poet. He feels himself entitled, and, as it were, elected to survey the phenomena of the times, and to report upon them in poetry. He is the speculator of the passing might and greatness of his own generation. But though he speaks to the public, at all times, he does not consider them as bis judges. He looks upon them as sentient existences that are important to his poetical existence, -but, so that he command their feelings and passions, he cares not for their censure or their praise,- for his fame is more than mere literary fame; and he aims in poetry, like the fallen chief whose image is so often be