Inthesecasesthepunishmentwasexcessive;buttheoffencewasknownandproved。ThecaseofLordByronwasharder。TrueJedwoodjusticewasdealtouttohim。Firstcametheexecution，thentheinvestigation，andlastofall，orrathernotatall，theaccusation。Thepublic，withoutknowinganythingwhateveraboutthetransactionsinhisfamily，flewintoaviolentpassionwithhim，andproceededtoinventstorieswhichmightjustifyitsanger。Tenortwentydifferentaccountsoftheseparation，inconsistentwitheachother，withthemselves，andwithcommonsense，circulatedatthesametime。Whatevidencetheremightbeforanyoneofthese，thevirtuouspeoplewhorepeatedthemneitherknewnorcared。Forinfactthesestorieswerenotthecauses，buttheeffectsofthepublicindignation。TheyresembledthoseloathsomeslanderswhichLewisGoldsmith，andotherabjectlibellersofthesameclass，wereinthehabitofpublishingaboutBonaparte;suchasthathepoisonedagirlwitharsenicwhenhewasatthemilitaryschool，thathehiredagrenadiertoshootDessaixatMarengo，thathefilledSt。CloudwithallthepollutionsofCapreae。Therewasatimewhenanecdotesliketheseobtainedsomecredencefrompersonswho，hatingtheFrenchemperorwithoutknowingwhy，wereeagertobelieveanythingwhichmightjustifytheirhatred。LordByronfaredinthesameway。Hiscountrymenwereinabadhumourwithhim。Hiswritingsandhischaracterhadlostthecharmofnovelty。Hehadbeenguiltyoftheoffencewhich，ofalloffences，ispunishedmostseverely;hehadbeenover—praised;hehadexcitedtoowarmaninterest;andthepublic，withitsusualjustice，chastisedhimforitsownfolly。TheattachmentsofthemultitudebearnosmallresemblancetothoseofthewantonenchantressintheArabianTales，who，whenthefortydaysofherfondnesswereover，wasnotcontentwithdismissingherlovers，butcondemnedthemtoexpiate，inloathsomeshapes，andundercruelpenances，thecrimeofhavingoncepleasedhertoowell。
TheobloquywhichByronhadtoendurewassuchasmightwellhaveshakenamoreconstantmind。Thenewspaperswerefilledwithlampoons。Thetheatresshookwithexecrations。Hewasexcludedfromcircleswherehehadlatelybeentheobservedofallobservers。Allthosecreepingthingsthatriotinthedecayofnoblernatureshastenedtotheirrepast;andtheywereright;
theydidaftertheirkind。Itisnoteverydaythatthesavageenvyofaspiringduncesisgratifiedbytheagoniesofsuchaspirit，andthedegradationofsuchaname。
Theunhappymanlefthiscountryforever。Thehowlofcontumelyfollowedhimacrossthesea，uptheRhine，overtheAlps;itgraduallywaxedfainter;itdiedaway;thosewhohadraiseditbegantoaskeachother，what，afterall，wasthematteraboutwhichtheyhadbeensoclamorous，andwishedtoinvitebackthecriminalwhomtheyhadjustchasedfromthem。Hispoetrybecamemorepopularthanithadeverbeen;andhiscomplaintswerereadwithtearsbythousandsandtensofthousandswhohadneverseenhisface。
HehadfixedhishomeontheshoresoftheAdriatic，inthemostpicturesqueandinterestingofcities，beneaththebrightestofskies，andbythebrightestofseas。Censoriousnesswasnottheviceoftheneighbourswhomhehadchosen。Theywerearacecorruptedbyabadgovernmentandabadreligion，longrenownedforskillintheartsofvoluptuousness，andtolerantofallthecapricesofsensuality。Fromthepublicopinionofthecountryofhisadoption，hehadnothingtodread。Withthepublicopinionofthecountryofhisbirth，hewasatopenwar。Heplungedintowildanddesperateexcesses，ennobledbynogenerousortendersentiment。FromhisVenetianharam，hesentforthvolumeaftervolume，fullofeloquence，ofwit，ofpathos，ofribaldry，andofbitterdisdain。Hishealthsankundertheeffectsofhisintemperance。Hishairturnedgrey。Hisfoodceasedtonourishhim。Ahecticfeverwitheredhimup。Itseemedthathisbodyandmindwereabouttoperishtogether。
Fromthiswretcheddegradationhewasinsomemeasurerescuedbyaconnection，culpableindeed，yetsuchas，ifitwerejudgedbythestandardofmoralityestablishedinthecountrywherehelived，mightbecalledvirtuous。Butanimaginationpollutedbyvice，atemperembitteredbymisfortune，andaframehabituatedtothefatalexcitementofintoxication，preventedhimfromfullyenjoyingthehappinesswhichhemighthavederivedfromthepurestandmosttranquilofhismanyattachments。MidnightdraughtsofardentspiritsandRhenishwineshadbeguntoworktheruinofhisfineintellect。Hisverselostmuchoftheenergyandcondensationwhichhaddistinguishedit。Buthewouldnotresign，withoutastruggle，theempirewhichhehadexercisedoverthemenofhisgeneration。Anewdreamofambitionarosebeforehim;tobethechiefofaliteraryparty;tobethegreatmoverofanintellectualrevolution;toguidethepublicmindofEnglandfromhisItalianretreat，asVoltairehadguidedthepublicmindofFrancefromthevillaofFerney。Withthishope，asitshouldseem，heestablishedTheLiberal。But，powerfullyashehadaffectedtheimaginationsofhiscontemporaries，hemistookhisownpowersifhehopedtodirecttheiropinions;andhestillmoregrosslymistookhisowndisposition，ifhethoughtthathecouldlongactinconcertwithothermenofletters。Theplanfailed，andfailedignominiously。Angrywithhimself，angrywithhiscoadjutors，herelinquishedit，andturnedtoanotherproject，thelastandnoblestofhislife。
Anation，oncethefirstamongthenations，pre—eminentinknowledge，pre—eminentinmilitaryglory，thecradleofphilosophy，ofeloquence，andofthefinearts，hadbeenforagesboweddownunderacruelyoke。Alltheviceswhichoppressiongenerates，theabjectviceswhichitgeneratesinthosewhosubmittoit，theferociousviceswhichitgeneratesinthosewhostruggleagainstit，haddeformedthecharacterofthatmiserablerace。Thevalourwhichhadwonthegreatbattleofhumancivilisation，whichhadsavedEurope，whichhadsubjugatedAsia，lingeredonlyamongpiratesandrobbers。Theingenuity，oncesoconspicuouslydisplayedineverydepartmentofphysicalandmoralscience，hadbeendepravedintoatimidandservilecunning。Onasuddenthisdegradedpeoplehadrisenontheiroppressors。
Discountenancedorbetrayedbythesurroundingpotentates，theyhadfoundinthemselvessomethingofthatwhichmightwellsupplytheplaceofallforeignassistance，somethingoftheenergyoftheirfathers。
Asamanofletters，LordByroncouldnotbutbeinterestedintheeventofthiscontest。Hispoliticalopinions，though，likeallhisopinions，unsettled，leanedstronglytowardsthesideofliberty。HehadassistedtheItalianinsurgentswithhispurse，and，iftheirstruggleagainsttheAustrianGovernmenthadbeenprolonged，wouldprobablyhaveassistedthemwithhissword。ButtoGreecehewasattachedbypeculiarties。Hehadwhenyoungresidedinthatcountry。Muchofhismostsplendidandpopularpoetryhadbeeninspiredbyitssceneryandbyitshistory。Sickofinaction，degradedinhisowneyesbyhisprivatevicesandbyhisliteraryfailures，piningforuntriedexcitementandhonourabledistinction，hecarriedhisexhaustedbodyandhiswoundedspirittotheGreciancamp。
Hisconductinhisnewsituationshowedsomuchvigourandgoodsenseastojustifyusinbelievingthat，ifhislifehadbeenprolonged，hemighthavedistinguishedhimselfasasoldierandapolitician。Butpleasureandsorrowhaddonetheworkofseventyyearsuponhisdelicateframe。Thehandofdeathwasuponhim:heknewit;andtheonlywishwhichheutteredwasthathemightdieswordinhand。
Thiswasdeniedtohim。Anxiety，exertion，exposure，andthosefatalstimulantswhichhadbecomeindispensabletohim，soonstretchedhimonasick—bed，inastrangeland，amidststrangefaces，withoutonehumanbeingthathelovednearhim。There，atthirty—six，themostcelebratedEnglishmanofthenineteenthcenturyclosedhisbrilliantandmiserablecareer。
Wecannotevennowretracethoseeventswithoutfeelingsomethingofwhatwasfeltbythenation，whenitwasfirstknownthatthegravehadclosedoversomuchsorrowandsomuchglory;somethingofwhatwasfeltbythosewhosawthehearse，withitslongtrainofcoaches，turnslowlynorthward，leavingbehinditthatcemeterywhichhadbeenconsecratedbythedustofsomanygreatpoets，butofwhichthedoorswereclosedagainstallthatremainedofByron。Wewellrememberthatonthatday，rigidmoralistscouldnotrefrainfromweepingforonesoyoung，soillustrious，sounhappy，giftedwithsuchraregifts，andtriedbysuchstrongtemptations。Itisunnecessarytomakeanyreflections。Thehistorycarriesitsmoralwithit。Ouragehasindeedbeenfruitfulofwarningstotheeminentandofconsolationstotheobscure。Twomenhavediedwithinourrecollection，who，atthetimeoflifeatwhichmanypeoplehavehardlycompletedtheireducation，hadraisedthemselves，eachinhisowndepartment，totheheightofglory。OneofthemdiedatLongwood;theotheratMissolonghi。
Itisalwaysdifficulttoseparatetheliterarycharacterofamanwholivesinourowntimefromhispersonalcharacter。ItispeculiarlydifficulttomakethisseparationinthecaseofLordByron。Foritisscarcelytoomuchtosay，thatLordByronneverwrotewithoutsomereference，directorindirect，tohimselfTheinterestexcitedbytheeventsofhislifeminglesitselfinourminds，andprobablyinthemindsofalmostallourreaders，withtheinterestwhichproperlybelongstohisworks。Agenerationmustpassawaybeforeitwillbepossibletoformafairjudgmentofhisbooks，consideredmerelyasbooks。Atpresenttheyarenotonlybooksbutrelics。Wewillhoweverventure，thoughwithunfeigneddiffidence，tooffersomedesultoryremarksonhispoetry。
Hislotwascastinthetimeofagreatliteraryrevolution。ThatpoeticaldynastywhichhaddethronedthesuccessorsofShakspeareandSpenserwas，initsturn，dethronedbyaracewhorepresentedthemselvesasheirsoftheancientline，solongdispossessedbyusurpers。Therealnatureofthisrevolutionhasnot，wethink，beencomprehendedbythegreatmajorityofthosewhoconcurredinit。
Whereinespeciallydoesthepoetryofourtimesdifferfromthatofthelastcentury？Ninety—ninepersonsoutofahundredwouldanswerthatthepoetryofthelastcenturywascorrect，butcoldandmechanical，andthatthepoetryofourtime，thoughwildandirregular，presentedfarmorevividimages，andexcitedthepassionsfarmorestronglythanthatofParnell，ofAddison，orofPope。Inthesamemannerweconstantlyhearitsaid，thatthepoetsoftheageofElizabethhadfarmoregenius，butfarlesscorrectness，thanthoseoftheageofAnne。Itseemstobetakenforgranted，thatthereissomeincompatibility，someantithesisbetweencorrectnessandcreativepower。Werathersuspectthatthisnotionarisesmerelyfromanabuseofwords，andthatithasbeentheparentofmanyofthefallacieswhichperplexthescienceofcriticism。
Whatismeantbycorrectnessinpoetry？Ifbycorrectnesshemeanttheconformingtoruleswhichhavetheirfoundationintruthandintheprinciplesofhumannature，thencorrectnessisonlyanothernameforexcellence。Ifbycorrectnessbemeanttheconformingtorulespurelyarbitrary，correctnessmaybeanothernamefordulnessandabsurdity。
Awriterwhodescribesvisibleobjectsfalselyandviolatestheproprietyofcharacter，awriterwhomakesthemountains\"nodtheirdrowsyheads\"atnight，oradyingmantakeleaveoftheworldwitharantlikethatofMaximin，maybesaid，inthehighandjustsenseofthephrase，towriteincorrectly。Heviolatesthefirstgreatlawofhisart。Hisimitationisaltogetherunlikethethingimitated。ThefourpoetswhoaremosteminentlyfreefromincorrectnessofthisdescriptionareHomer，Dante，Shakspeare，andMilton。Theyare，therefore，inonesense，andthatthebestsense，themostcorrectofpoets。
WhenitissaidthatVirgil，thoughhehadlessgeniusthanHomer，wasamorecorrectwriter，whatsenseisattachedtothewordcorrectness？IsitmeantthatthestoryoftheAeneidisdevelopedmoreskilfullythanthatoftheOdyssey？thattheRomandescribesthefaceoftheexternalworld，ortheemotionsofthemind，moreaccuratelythantheGreek？thatthecharactersofAchatesandMnestheusaremorenicelydiscriminated，andmoreconsistentlysupported，thanthoseofAchilles，ofNestor，andofUlysses？Thefactincontestablyisthat，foreveryviolationofthefundamentallawsofpoetrywhichcanbefoundinHomer，itwouldbeeasytofindtwentyinVirgil。
TroilusandCressidaisperhapsofalltheplaysofShakspearethatwhichiscommonlyconsideredasthemostincorrect。Yetitseemstousinfinitelymorecorrect，inthesoundsenseoftheterm，thanwhatarecalledthemostcorrectplaysofthemostcorrectdramatists。Compareit，forexample，withtheIphigenieofRacine。WearesurethattheGreeksofShakspearebearafargreaterresemblancethantheGreeksofRacinetotherealGreekswhobesiegedTroy;andforthisreason，thattheGreeksofShakspearearehumanbeings，andtheGreeksofRacinemerenames，merewordsprintedincapitalsattheheadofparagraphsofdeclamation。Racine，itistrue，wouldhaveshudderedatthethoughtofmakingawarrioratthesiegeofTroyquoteAristotle。
Butofwhatuseisittoavoidasingleanachronism，whenthewholeplayisoneanachronism，thesentimentsandphrasesofVersaillesinthecampofAulis？
Inthesenseinwhichwearenowusingthewordcorrectness，wethinkthatSirWalterScott，Mr。Wordsworth，Mr。Coleridge，arefarmorecorrectpoetsthanthosewhoarecommonlyextolledasthemodelsofcorrectness，Pope，forexample，andAddison。ThesingledescriptionofamoonlightnightinPope’sIliadcontainsmoreinaccuraciesthancanbefoundinalltheExcursion。ThereisnotasinglesceneinCato，inwhichallthatconducestopoeticalillusion，alltheproprietyofcharacter，oflanguage，ofsituation，isnotmoregrosslyviolatedthaninanypartoftheLayoftheLastMinstrel。NomancanpossiblythinkthattheRomansofAddisonresembletherealRomanssocloselyasthemoss—troopersofScottresembletherealmoss—troopers。WatTinlinnandWilliamofDelorainearenot，itistrue，personsofsomuchdignityasCato。Butthedignityofthepersonsrepresentedhasaslittletodowiththecorrectnessofpoetryaswiththecorrectnessofpainting。WepreferagipsybyReynoldstohisMajesty’sheadonasignpost，andaBordererbyScotttoaSenatorbyAddison。
Inwhatsense，then，isthewordcorrectnessusedbythosewhosay，withtheauthorofthePursuitsofLiterature，thatPopewasthemostcorrectofEnglishPoets，andthatnexttoPopecamethelateMr。Gifford？Whatisthenatureandvalueofthatcorrectness，thepraiseofwhichisdeniedtoMacbeth，toLear，andtoOthello，andgiventoHoole’stranslationsandtoalltheSeatonianprize—poems？Wecandiscovernoeternalrule，norulefoundedinreasonandinthenatureofthings，whichShakspearedoesnotobservemuchmorestrictlythanPope。Butifbycorrectnessbemeanttheconformingtoanarrowlegislationwhich，whilelenienttothemalainse，multiplies，withoutashadowofareason，themalaprohibita，ifbycorrectnessbemeantastrictattentiontocertainceremoniousobservances，whicharenomoreessentialtopoetrythanetiquettetogoodgovernment，orthanthewashingsofaPhariseetodevotion，then，assuredly，PopemaybeamorecorrectpoetthanShakspeare;and，ifthecodewerealittlealtered，ColleyCibbermightbeamorecorrectpoetthanPope。Butitmaywellbedoubtedwhetherthiskindofcorrectnessbeamerit，nay，whetheritbenotanabsolutefault。
Itwouldbeamusingtomakeadigestoftheirrationallawswhichbadcriticshaveframedforthegovernmentofpoets。Firstincelebrityandinabsurditystandthedramaticunitiesofplaceandtime。Nohumanbeinghaseverbeenabletofindanythingthatcould，evenbycourtesy，becalledanargumentfortheseunities，exceptthattheyhavebeendeducedfromthegeneralpracticeoftheGreeks。ItrequiresnoveryprofoundexaminationtodiscoverthattheGreekdramas，oftenadmirableascompositions，are，asexhibitionsofhumancharacterandhumanlife，farinferiortotheEnglishplaysoftheageofElizabeth。EveryscholarknowsthatthedramaticpartoftheAtheniantragedieswasatfirstsubordinatetothelyricalpart。Itwould，therefore，havebeenlittlelessthanamiracleifthelawsoftheAthenianstagehadbeenfoundtosuitplaysinwhichtherewasnochorus。Allthegreatestmasterpiecesofthedramaticarthavebeencomposedindirectviolationoftheunities，andcouldneverhavebeencomposediftheunitieshadnotbeenviolated。Itisclear，forexample，thatsuchacharacterasthatofHamletcouldneverhavebeendevelopedwithinthelimitstowhichAlfiericonfinedhimself。YetsuchwasthereverenceofliterarymenduringthelastcenturyfortheseunitiesthatJohnsonwho，muchtohishonour，tooktheoppositeside，was，ashesays，\"frightenedathisowntemerity，\"and\"afraidtostandagainsttheauthoritieswhichmightbeproducedagainsthim。\"
Thereareotherrulesofthesamekindwithoutend。\"Shakspeare，\"
saysRymer，\"oughtnottohavemadeOthelloblack;fortheheroofatragedyoughtalwaystobewhite。\"\"Milton，\"saysanothercritic，\"oughtnottohavetakenAdamforhishero;fortheheroofanepicpoemoughtalwaystobevictorious。\"\"Milton，\"saysanother，\"oughtnottohaveputsomanysimilesintohisfirstbook;forthefirstbookofanepicpoemoughtalwaystobethemostunadorned。TherearenosimilesinthefirstbookoftheIliad。\"\"Milton，\"saysanother，\"oughtnottohaveplacedinanepicpoemsuchlinesasthese:
’WhilethusIcalled，andstrayedIknewnotwhither。’\"
Andwhynot？Thecriticisreadywithareason，alady’sreason。
\"Suchlines，\"sayshe，\"arenot，itmustbeallowed，unpleasingtotheear;buttheredundantsyllableoughttobeconfinedtothedrama，andnotadmittedintoepicpoetry。\"Astotheredundantsyllableinheroicrhymeonserioussubjects，ithasbeen，fromthetimeofPopedownward，proscribedbythegeneralconsentofallthecorrectschool。NomagazinewouldhaveadmittedsoincorrectacoupletasthatofDrayton。
\"Aswhenweliveduntouch’dwiththesedisgraces，Whenasourkingdomwasourdearembraces。\"
Anotherlawofheroicrhyme，which，fiftyyearsago，wasconsideredasfundamental，was，thatthereshouldbeapause，acommaatleast，attheendofeverycouplet。Itwasalsoprovidedthatthereshouldneverbeafullstopexceptattheendofaline。WelldoweremembertohaveheardamostcorrectjudgeofpoetryrevileMr。Rogersfortheincorrectnessofthatmostsweetandgracefulpassage，\"Suchgriefwasours，——itseemsbutyesterday，——
Wheninthyprime，wishingsomuchtostay，’Twasthine，Maria，thinewithoutasighAtmidnightinasister’sarmstodie。
Ohthouwertlovely;lovelywasthyframe，Andpurethyspiritasfromheavenitcame:
Andwhenrecall’dtojointheblestaboveThoudiedstavictimtoexceedinglove，Nursingtheyoungtohealth。Inhappierhours，WhenidleFancywoveluxuriantflowers，OnceinthymirththoubadstmewriteontheeAndnowIwritewhatthoushaltneversee。\"
SirRogerNewdigateisfairlyentitled，wethink，toberankedamongthegreatcriticsofthisschool。HemadealawthatnoneofthepoemswrittenfortheprizewhichheestablishedatOxfordshouldexceedfiftylines。Thislawseemstoustohaveatleastasmuchfoundationinreasonasanyofthosewhichwehavementioned;nay，muchmore，fortheworld，webelieve，isprettywellagreedinthinkingthattheshorteraprize—poemis，thebetter。
Wedonotseewhyweshouldnotmakeafewmorerulesofthesamekind;whyweshouldnotenactthatthenumberofscenesineveryactshallbethreeorsomemultipleofthree，thatthenumberoflinesineverysceneshallbeanexactsquare，thatthedramatispersonaeshallneverbemoreorfewerthansixteen，andthat，inheroicrhymes，everythirty—sixthlineshallhavetwelvesyllables。Ifweweretolaydownthesecanons，andtocallPope，Goldsmith，andAddisonincorrectwritersfornothavingcompliedwithourwhims，weshouldactpreciselyasthosecriticsactwhofindincorrectnessinthemagnificentimageryandthevariedmusicofColeridgeandShelley。
ThecorrectnesswhichthelastcenturyprizedsomuchresemblesthecorrectnessofthosepicturesofthegardenofEdenwhichweseeinoldBibles。WehaveanexactsquareenclosedbytheriversPison，Gihon，Hiddekel，andEuphrates，eachwithaconvenientbridgeinthecentre，rectangularbedsofflowers，alongcanal，neatlybrickedandrailedin，thetreeofknowledgeclippedlikeoneofthelimesbehindtheTuilleries，standinginthecentreofthegrandalley，thesnaketwinedroundit，themanontherighthand，thewomanontheleft，andthebeastsdrawnupinanexactcircleroundthem。Inonesensethepictureiscorrectenough。
Thatistosay，thesquaresarecorrect;thecirclesarecorrect;
themanandthewomanareinamostcorrectlinewiththetree;
andthesnakeformsamostcorrectspiral。
Butiftherewereapaintersogiftedthathecouldplaceonthecanvasthatgloriousparadise，seenbytheinterioreyeofhimwhoseoutwardsighthadfailedwithlongwatchingandlabouringforlibertyandtruth，iftherewereapainterwhocouldsetbeforeusthemazesofthesapphirebrook，thelakewithitsfringeofmyrtles，theflowerymeadows，thegrottoesoverhungbyvines，theforestsshiningwithHesperianfruitandwiththeplumageofgorgeousbirds，themassyshadeofthatnuptialbowerwhichshowereddownrosesonthesleepinglovers，whatshouldwethinkofaconnoisseur，whoshouldtellusthatthispainting，thoughfinerthantheabsurdpictureintheoldBible，wasnotsocorrect。Surelyweshouldanswer，itisbothfinerandmorecorrect;anditisfinerbecauseitismorecorrect。Itisnotmadeupofcorrectlydrawndiagrams;butitisacorrectpainting，aworthyrepresentationofthatwhichitisintendedtorepresent。
Itisnotinthefineartsalonethatthisfalsecorrectnessisprizedbynarrow—mindedmen，bymenwhocannotdistinguishmeansfromends，orwhatisaccidentalfromwhatisessential。M。
Jourdainadmiredcorrectnessinfencing。\"Youhadnobusinesstohitmethen。Youmustneverthrustinquarttillyouhavethrustintierce。\"M。Tomeslikedcorrectnessinmedicalpractice。\"I
standupforArtemius。Thathekilledhispatientisplainenough。Butstillheactedquiteaccordingtorule。Amandeadisamandead;andthereisanendofthematter。Butifrulesaretobebroken，thereisnosayingwhatconsequencesmayfollow。\"
WehaveheardofanoldGermanofficer，whowasagreatadmirerofcorrectnessinmilitaryoperations。HeusedtorevileBonaparteforspoilingthescienceofwar，whichhadbeencarriedtosuchexquisiteperfectionbyMarshalDaun。\"Inmyyouthweusedtomarchandcountermarchallthesummerwithoutgainingorlosingasquareleague，andthenwewentintowinterquarters。
Andnowcomesanignorant，hot—headedyoungman，whofliesaboutfromBoulognetoUlm，andfromUlmtothemiddleofMoravia，andfightsbattlesinDecember。Thewholesystemofhistacticsismonstrouslyincorrect。\"Theworldisofopinioninspiteofcriticslikethese，thattheendoffencingistohit，thattheendofmedicineistocure，thattheendofwaristoconquer，andthatthosemeansarethemostcorrectwhichbestaccomplishtheends。
Andhaspoetrynoend，noeternalandimmutableprinciples？Ispoetry，likeheraldry，merematterofarbitraryregulation？Theheraldstellusthatcertainscutcheonsandbearingsdenotecertainconditions，andthattoputcoloursoncolours，ormetalsonmetals，isfalseblazonry。Ifallthiswerereversed，ifeverycoatofarmsinEuropewerenewfashioned，ifitweredecreedthatorshouldneverbeplacedbutonargent，orargentbutonor，thatillegitimacyshouldbedenotedbyalozenge，andwidowhoodbyabend，thenewsciencewouldbejustasgoodastheoldscience，becauseboththenewandtheoldwouldbegoodfornothing。ThemummeryofPortcullisandRougeDragon，asithasnoothervaluethanthatwhichcapricehasassignedtoit，maywellsubmittoanylawswhichcapricemayimposeonit。Butitisnotsowiththatgreatimitativeart，tothepowerofwhichallages，therudestandthemostenlightened，bearwitness。Sinceitsfirstgreatmasterpieceswereproduced，everythingthatischangeableinthisworldhasbeenchanged。Civilisationhasbeengained，lost，gainedagain。Religions，andlanguages，andformsofgovernment，andusagesofprivatelife，andmodesofthinking，allhaveundergoneasuccessionofrevolutions。Everythinghaspassedawaybutthegreatfeaturesofnature，andtheheartofman，andthemiraclesofthatartofwhichitistheofficetoreflectbacktheheartofmanandthefeaturesofnature。Thosetwostrangeoldpoems，thewonderofninetygenerations，stillretainalltheirfreshness。Theystillcommandthevenerationofmindsenrichedbytheliteratureofmanynationsandages。Theyarestill，eveninwretchedtranslations，thedelightofschool—
boys。Havingsurvivedtenthousandcapriciousfashions，havingseensuccessivecodesofcriticismbecomeobsolete，theystillremaintous，immortalwiththeimmortalityoftruth，thesamewhenperusedinthestudyofanEnglishscholar，aswhentheywerefirstchantedatthebanquetsoftheIonianprinces。
Poetryis，aswassaidmorethantwothousandyearsago，imitation。Itisanartanalogousinmanyrespectstotheartofpainting，sculpture，andacting。Theimitationsofthepainter，thesculptor，andtheactor，areindeed，withincertainlimits，moreperfectthanthoseofthepoet。Themachinerywhichthepoetemploysconsistsmerelyofwords;andwordscannot，evenwhenemployedbysuchanartistasHomerorDante，presenttothemindimagesofvisibleobjectsquitesolivelyandexactasthosewhichwecarryawayfromlookingontheworksofthebrushandthechisel。But，ontheotherhand，therangeofpoetryisinfinitelywiderthanthatofanyotherimitativeart，orthanthatofalltheotherimitativeartstogether。Thesculptorcanimitateonlyform;thepainteronlyformandcolour;theactor，untilthepoetsupplieshimwithwords，onlyform，colour，andmotion。Poetryholdstheouterworldincommonwiththeotherarts。Theheartofmanistheprovinceofpoetry，andofpoetryalone。Thepainter，thesculptor，andtheactorcanexhibitnomoreofhumanpassionandcharacterthanthatsmallportionwhichoverflowsintothegestureandtheface，alwaysanimperfect，oftenadeceitful，signofthatwhichiswithin。Thedeeperandmorecomplexpartsofhumannaturecanbeexhibitedbymeansofwordsalone。Thustheobjectsoftheimitationofpoetryarethewholeexternalandthewholeinternaluniverse，thefaceofnature，thevicissitudesoffortune，manasheisinhimself，manasheappearsinsociety，allthingswhichreallyexist，allthingsofwhichwecanformanimageinourmindsbycombiningtogetherpartsofthingswhichreallyexist。Thedomainofthisimperialartiscommensuratewiththeimaginativefaculty。
Anartessentiallyimitativeoughtnotsurelytobesubjectedtoruleswhichtendtomakeitsimitationslessperfectthantheyotherwisewouldbe;andthosewhoobeysuchrulesoughttobecalled，notcorrect，butincorrectartists。ThetruewaytojudgeoftherulesbywhichEnglishpoetrywasgovernedduringthelastcenturyistolookattheeffectswhichtheyproduced。
Itwasin1780thatJohnsoncompletedhisLivesofthePoets。Hetellsusinthatworkthat，sincethetimeofDryden，Englishpoetryhadshownnotendencytorelapseintoitsoriginalsavageness，thatitslanguagehadbeenrefined，itsnumberstuned，anditssentimentsimproved。ItmayperhapsbedoubtedwhetherthenationhadanygreatreasontoexultintherefinementsandimprovementswhichgaveitDouglasforOthello，andtheTriumphsofTemperfortheFairyQueen。
ItwasduringthethirtyyearswhichprecededtheappearanceofJohnson’sLivesthatthedictionandversificationofEnglishpoetrywere，inthesenseinwhichthewordiscommonlyused，mostcorrect。Thosethirtyyearsare，asrespectspoetry，themostdeplorablepartofourliteraryhistory。Theyhaveindeedbequeathedtousscarcelyanypoetrywhichdeservestoberemembered。TwoorthreehundredlinesofGray，twiceasmanyofGoldsmith，afewstanzasofBeattieandCollins，afewstrophesofMason，andafewcleverprologuesandsatires，werethemasterpiecesofthisageofconsummateexcellence。Theymayallbeprintedinonevolume，andthatvolumewouldbebynomeansavolumeofextraordinarymerit。Itwouldcontainnopoetryoftheveryhighestclass，andlittlewhichcouldbeplacedveryhighinthesecondclass。TheParadiseRegainedorComuswouldoutweighitall。
Atlast，whenpoetryhadfallenintosuchutterdecaythatMr。
Hayleywasthoughtagreatpoet，itbegantoappearthattheexcessoftheevilwasabouttoworkthecure。Menbecametiredofaninsipidconformitytoastandardwhichderivednoauthorityfromnatureorreason。Ashallowcriticismhadtaughtthemtoascribeasuperstitiousvaluetothespuriouscorrectnessofpoetasters。Adeepercriticismbroughtthembacktothetruecorrectnessofthefirstgreatmasters。Theeternallawsofpoetryregainedtheirpower，andthetemporaryfashionswhichhadsupersededthoselawswentafterthewigofLovelaceandthehoopofClarissa。
Itwasinacoldandbarrenseasonthattheseedsofthatrichharvestwhichwehavereapedwerefirstsown。Whilepoetrywaseveryyearbecomingmorefeebleandmoremechanical，whilethemonotonousversificationwhichPopehadintroduced，nolongerredeemedbyhisbrilliantwitandhiscompactnessofexpression，palledontheearofthepublic，thegreatworksoftheoldmasterswereeverydayattractingmoreandmoreoftheadmirationwhichtheydeserved。TheplaysofShakspearewerebetteracted，betteredited，andbetterknownthantheyhadeverbeen。Ourfineancientballadswereagainreadwithpleasure，anditbecameafashiontoimitatethem。Manyoftheimitationswerealtogethercontemptible。Buttheyshowedthatmenhadatleastbeguntoadmiretheexcellencewhichtheycouldnotrival。Aliteraryrevolutionwasevidentlyathand。Therewasafermentinthemindsofmen，avaguecravingforsomethingnew，adispositiontohailwithdelightanythingwhichmightatfirstsightweartheappearanceoforiginality。Areformingageisalwaysfertileofimpostors。ThesameexcitedstateofpublicfeelingwhichproducedthegreatseparationfromtheseeofRomeproducedalsotheexcessesoftheAnabaptists。ThesamestirinthepublicmindofEuropewhichoverthrewtheabusesoftheoldFrenchGovernment，producedtheJacobinsandTheophilanthropists。
MacphersonandDellaCruscaweretothetruereformersofEnglishpoetrywhatKnipperdolingwastoLuther，orClootztoTurgot。ThesuccessofChatterton’sforgeriesandofthefarmorecontemptibleforgeriesofIrelandshowedthatpeoplehadbeguntolovetheoldpoetrywell，thoughnotwisely。Thepublicwasnevermoredisposedtobelievestorieswithoutevidence，andtoadmirebookswithoutmerit。Anythingwhichcouldbreakthedullmonotonyofthecorrectschoolwasacceptable。
TheforerunnerofthegreatrestorationofourliteraturewasCowper。HisliterarycareerbeganandendedatnearlythesametimewiththatofAlfieri。AcomparisonbetweenAlfieriandCowpermay，atfirstsight，appearasstrangeasthatwhichaloyalPresbyterianministerissaidtohavemadein1745betweenGeorgetheSecondandEnoch。Itmayseemthatthegentle，shy，melancholyCalvinist，whosespirithadbeenbrokenbyfaggingatschool，whohadnotcouragetoearnalivelihoodbyreadingthetitlesofbillsintheHouseofLords，andwhosefavouriteassociateswereablindoldladyandanevangelicaldivine，couldhavenothingincommonwiththehaughty，ardent，andvoluptuousnobleman，thehorse—jockey，thelibertine，whofoughtLordLigonierinHydePark，androbbedthePretenderofhisqueen。Butthoughtheprivatelivesoftheseremarkablemenpresentscarcelyanypointsofresemblance，theirliterarylivesbearacloseanalogytoeachother。Theybothfoundpoetryinitsloweststateofdegradation，feeble，artificial，andaltogethernerveless。
Theybothpossessedpreciselythetalentswhichfittedthemforthetaskofraisingitfromthatdeepabasement。Theycannot，instrictness，becalledgreatpoets。Theyhadnotinanyveryhighdegreethecreativepower，\"Thevisionandthefacultydivine\":
buttheyhadgreatvigourofthought，greatwarmthoffeeling，andwhat，intheircircumstances，wasaboveallthingsimportant，amanlinessoftastewhichapproachedtoroughness。Theydidnotdealinmechanicalversificationandconventionalphrases。Theywroteconcerningthingsthethoughtofwhichsettheirheartsonfire;andthuswhattheywrote，evenwhenitwantedeveryothergrace，hadthatinimitablegracewhichsincerityandstrongpassionimparttotherudestandmosthomelycompositions。Eachofthemsoughtforinspirationinanobleandaffectingsubject，fertileofimageswhichhadnotyetbeenhackneyed。LibertywasthemuseofAlfieri，ReligionwasthemuseofCowper。Thesametruthisfoundintheirlighterpieces。Theywerenotamongthosewhodeprecatedtheseverity，ordeploredtheabsence，ofanunrealmistressinmelodiouscommonplaces。InsteadofravingaboutimaginaryChloesandSylvias，CowperwroteofMrs。Unwin’sknitting—needles。Theonlylove—versesofAlfieriwereaddressedtoonewhomhetrulyandpassionatelyloved。\"Tuttelerimeamorosecheseguono，\"sayshe，\"tuttesonoperessa，ebensue，edileisolamente;poichemaid’altradonnapercertoconcantero。\"
Thesegreatmenwerenotfreefromaffectation。Buttheiraffectationwasdirectlyopposedtotheaffectationwhichgenerallyprevailed。Eachofthemexpressed，instrongandbitterlanguage，thecontemptwhichhefeltfortheeffeminatepoetasterswhowereinfashionbothinEnglandandinItaly。
Cowpercomplainsthat\"Mannerisallinall，whate’eriswrit，Thesubstituteforgenius，taste，andwit。\"
HepraisedPope;yetheregrettedthatPopehad\"Madepoetryameremechanicart，Andeverywarblerhadhistunebyheart。\"
Alfierispeakswithsimilarscornofthetragediesofhispredecessors。\"Micadevanodallemaniperlalanguidezza，trivialitaeprolissitadeimodiedeiverso，senzaparlarepoidellasnervatezzadeipensieri。Orperchemaiquestanostradivinalingua，simaschiaanco，edenergica，eferoce，inboccadiDante，dovraellafarsicasisbiadataedeunucaneldialogotragico？\"
Tomenthussickofthelanguidmanneroftheircontemporariesruggednessseemedavenialfault，orratherapositivemerit。
Intheirhatredofmeretriciousornament，andofwhatCowpercalls\"creamysmoothness，\"theyerredontheoppositeside。
Theirstylewastooaustere，theirversificationtooharsh。
Itisnoteasy，however，tooverratetheservicewhichtheyrenderedtoliterature。Theintrinsicvalueoftheirpoemsisconsiderable。Buttheexamplewhichtheysetofmutinyagainstanabsurdsystemwasinvaluable。ThepartwhichtheyperformedwasratherthatofMosesthanthatofJoshua。Theyopenedthehouseofbondage;buttheydidnotenterthepromisedland。
DuringthetwentyyearswhichfollowedthedeathofCowper，therevolutioninEnglishpoetrywasfullyconsummated。Noneofthewritersofthisperiod，notevenSirWalterScott，contributedsomuchtotheconsummationasLordByron。YetLordByroncontributedtoitunwillingly，andwithconstantself—reproachandshame。Allhistastesandinclinationsledhimtotakepartwiththeschoolofpoetrywhichwasgoingoutagainsttheschoolwhichwascomingin。OfPopehimselfhespokewithextravagantadmiration。HedidnotventuredirectlytosaythatthelittlemanofTwickenhamwasagreaterpoetthanShakspeareorMilton;
buthehintedprettyclearlythathethoughtso。Ofhiscontemporaries，scarcelyanyhadsomuchofhisadmirationasMr。
Gifford，who，consideredasapoet，wasmerelyPope，withoutPope’switandfancy，andwhosesatiresaredecidedlyinferiorinvigourandpoignancytotheveryimperfectjuvenileperformanceofLordByronhimself。HenowandthenpraisedMr。WordsworthandMr。Coleridge，butungraciouslyandwithoutcordiality。Whenheattackedthem，hebroughthiswholesoultothework。OfthemostelaborateofMr。Wordsworth’spoemshecouldfindnothingtosay，butthatitwas\"clumsy，andfrowsy，andhisaversion。\"PeterBellexcitedhisspleentosuchadegreethatheevokedtheshadesofPopeandDryden，anddemandedofthemwhetheritwerepossiblethatsuchtrashcouldevadecontempt？InhishearthethoughthisownPilgrimageofHaroldinferiortohisImitationofHorace’sArtofPoetry，afeebleechoofPopeandJohnson。Thisinsipidperformanceherepeatedlydesignedtopublish，andwaswithheldonlybythesolicitationsofhisfriends。Hehasdistinctlydeclaredhisapprobationoftheunities，themostabsurdlawsbywhichgeniuswaseverheldinservitude。Inoneofhisworks，wethinkinhislettertoMr。Bowles，hecomparesthepoetryoftheeighteenthcenturytotheParthenon，andthatofthenineteenthtoaTurkishmosque，andboaststhat，thoughhehadassistedhiscontemporariesinbuildingtheirgrotesqueandbarbarousedifice，hehadneverjoinedthemindefacingtheremainsofachasterandmoregracefularchitecture。InanotherletterhecomparesthechangewhichhadrecentlypassedonEnglishpoetrytothedecayofLatinpoetryaftertheAugustanage。InthetimeofPope，hetellshisfriend，itwasallHoracewithus。ItisallClaudiannow。
Forthegreatoldmastersofthearthehadnoveryenthusiasticveneration。InhislettertoMr。BowlesheusesexpressionswhichclearlyindicatethathepreferredPope’sIliadtotheoriginal。Mr。MooreconfessesthathisfriendwasnoveryferventadmirerofShakspeare。OfallthepoetsofthefirstclassLordByronseemstohaveadmiredDanteandMiltonmost。YetinthefourthcantoofChildeHarold，heplacesTasso，awriternotmerelyinferiortothem，butofquiteadifferentorderofmind，onatleastafootingofequalitywiththem。Mr。Huntis，wesuspect，quitecorrectinsayingthatLordByroncouldseelittleornomeritinSpenser。
ButByronthecriticandByronthepoetweretwoverydifferentmen。Theeffectsofthenoblewriter’stheorymayindeedoftenbetracedinhispractice。Buthisdispositionledhimtoaccommodatehimselftotheliterarytasteoftheageinwhichhelived;andhistalentswouldhaveenabledhimtoaccommodatehimselftothetasteofanyage。Thoughhesaidmuchofhiscontemptformankind，andthoughheboastedthatamidsttheinconstancyoffortuneandoffamehewasall—sufficienttohimself，hisliterarycareerindicatednothingofthatlonelyandunsocialpridewhichheaffected。Wecannotconceivehim，likeMiltonorWordsworth，defyingthecriticismofhiscontemporaries，retortingtheirscorn，andlabouringonapoeminthefullassurancethatitwouldbeunpopular，andinthefullassurancethatitwouldbeimmortal。Hehassaid，bythemouthofoneofhisheroes，inspeakingofpoliticalgreatness，that\"hemustservewhofainwouldsway\";andthisheassignsasareasonfornotenteringintopoliticallife。Hedidnotconsiderthattheswaywhichhehadexercisedinliteraturehadbeenpurchasedbyservitude，bythesacrificeofhisowntastetothetasteofthepublic。
Hewasthecreatureofhisage;andwheneverhehadlivedhewouldhavebeenthecreatureofhisage。UnderCharlestheFirstByronwouldhavebeenmorequaintthanDonne。UnderCharlestheSecondtherantsofByron’srhymingplayswouldhavepittedit，boxedit，andgalleriedit，withthoseofanyBayesorBilboa。
UnderGeorgetheFirst，themonotonoussmoothnessofByron’sversificationandthetersenessofhisexpressionwouldhavemadePopehimselfenvious。
Asitwas，hewasthemanofthelastthirteenyearsoftheeighteenthcentury，andofthefirsttwenty—threeyearsofthenineteenthcentury。Hebelongedhalftotheold，andhalftothenewschoolofpoetry。Hispersonaltasteledhimtotheformer;
histhirstofpraisetothelatter;histalentswereequallysuitedtoboth。Hisfamewasacommongroundonwhichthezealotsonbothsides，Giffordforexample，andShelley，mightmeet。Hewastherepresentative，notofeitherliteraryparty，butofbothatonce，andoftheirconflict，andofthevictorybywhichthatconflictwasterminated。HispoetryfillsandmeasuresthewholeofthevastintervalthroughwhichourliteraturehasmovedsincethetimeofJohnson。IttouchestheEssayonManattheoneextremity，andtheExcursionattheother。
Thereareseveralparallelinstancesinliteraryhistory。
Voltaire，forexample，wastheconnectinglinkbetweentheFranceofLewistheFourteenthandtheFranceofLewistheSixteenth，betweenRacineandBoileauontheoneside，andCondorcetandBeaumarchaisontheother。He，likeLordByron，puthimselfattheheadofanintellectualrevolution，dreadingitallthetime，murmuringatit，sneeringatit，yetchoosingrathertomovebeforehisageinanydirectionthantobeleftbehindandforgotten。DrydenwastheconnectinglinkbetweentheliteratureoftheageofJamestheFirst，andtheliteratureoftheageofAnne。OromasdesandArimanesfoughtforhim。Arimanescarriedhimoff。ButhisheartwastothelastwithOromasdes。LordByronwas，inthesamemanner，themediatorbetweentwogenerations，betweentwohostilepoeticalsects。ThoughalwayssneeringatMr。
Wordsworth，hewasyet，thoughperhapsunconsciously，theinterpreterbetweenMr。Wordsworthandthemultitude。IntheLyricalBalladsandtheExcursionMr。Wordsworthappearedasthehighpriestofaworship，ofwhichnaturewastheidol。Nopoemshaveeverindicatedamoreexquisiteperceptionofthebeautyoftheouterworldoramorepassionateloveandreverenceforthatbeauty。Yettheywerenotpopular;anditisnotlikelythattheyeverwillbepopularasthepoetryofSirWalterScottispopular。Thefeelingwhichpervadedthemwastoodeepforgeneralsympathy。Theirstylewasoftentoomysteriousforgeneralcomprehension。Theymadeafewesotericdisciples，andmanyscoffers。LordByronfoundedwhatmaybecalledanexotericLakeschool;andallthereadersofverseinEngland，wemightsayinEurope，hastenedtositathisfeet。WhatMr。Wordsworthhadsaidlikearecluse，LordByronsaidlikeamanoftheworld，withlessprofoundfeeling，butwithmoreperspicuity，energy，andconciseness。WewouldreferourreaderstothelasttwocantosofChildeHaroldandtoManfred，inproofoftheseobservations。
LordByron，likeMr。Wordsworth，hadnothingdramaticinhisgenius。Hewasindeedthereverseofagreatdramatist，theveryantithesistoagreatdramatist。Allhischaracters，Haroldlookingonthesky，fromwhichhiscountryandthesunaredisappearingtogether，theGiaourstandingapartinthegloomofthesideaisle，andcastingahaggardscowlfromunderhislonghoodatthecrucifixandthecenser，Conradleaningonhisswordbythewatch—tower，Larasmilingonthedancers，Alpgazingsteadilyonthefatalcloudasitpassesbeforethemoon，ManfredwanderingamongtheprecipicesofBerne，Azzoonthejudgment—
seat，Ugoatthebar，LambrofrowningonthesiestaofhisdaughterandJuan，Cainpresentinghisunacceptableoffering，areessentiallythesame。Thevarietiesarevarietiesmerelyofage，situation，andoutwardshow。IfeverLordByronattemptedtoexhibitmenofadifferentkind，healwaysmadethemeitherinsipidorunnatural。Selimisnothing。Bonnivartisnothing。DonJuan，inthefirstandbestcantos，isafeeblecopyofthePageintheMarriageofFigaro。Johnson，themanwhomJuanmeetsintheslave—market，isamoststrikingfailure。HowdifferentlywouldSirWalterScotthavedrawnabluff，fearlessEnglishman，insuchasituation！Theportraitwouldhaveseemedtowalkoutofthecanvas。
Sardanapalusismorecloselydrawnthananydramaticpersonagethatwecanremember。Hisheroismandhiseffeminacy，hiscontemptofdeathandhisdreadofaweightyhelmet，hiskinglyresolutiontobeseenintheforemostranks，andtheanxietywithwhichhecallsforalooking—glassthathemaybeseentoadvantage，arecontrasted，itistrue，withallthepointofJuvenal。IndeedthehintofthecharacterseemstohavebeentakenfromwhatJuvenalsaysofOtho:
\"Speculumcivilissarcinabelli。
NimirumsummiducisestoccidereGalbam，Etcurarecutemsummiconstantiacivis，BedriaciincampospoliumaffectarePalatiEtpressuminfaciemdigitisextenderepanem。\"
Theseareexcellentlinesinasatire。Butitisnotthebusinessofthedramatisttoexhibitcharactersinthissharpantitheticalway。ItisnotthusthatShakspearemakesPrinceHalrisefromtherakeofEastcheapintotheheroofShrewsbury，andsinkagainintotherakeofEastcheap。ItisnotthusthatShakspearehasexhibitedtheunionofeffeminacyandvalourinAntony。A
dramatistcannotcommitagreatererrorthanthatoffollowingthosepointeddescriptionsofcharacterinwhichsatiristsandhistoriansindulgesomuch。Itisbyrejectingwhatisnaturalthatsatiristsandhistoriansproducethesestrikingcharacters。
Theirgreatobjectgenerallyistoascribetoeverymanasmanycontradictoryqualitiesaspossible:andthisisanobjecteasilyattained。Byjudiciousselectionandjudiciousexaggeration，theintellectandthedispositionofanyhumanbeingmightbedescribedasbeingmadeupofnothingbutstartlingcontrasts。Ifthedramatistattemptstocreateabeingansweringtooneofthesedescriptions，hefails，becausehereversesanimperfectanalyticalprocess。Heproduces，notaman，butapersonifiedepigram。Veryeminentwritershavefallenintothissnare。BenJonsonhasgivenusaHermogenes，takenfromthelivelylinesofHorace;buttheinconsistencywhichissoamusinginthesatireappearsunnaturalanddisgustsusintheplay。SirWalterScotthascommittedafarmoreglaringerrorofthesamekindinthenovelofPeveril。Admiring，aseveryjudiciousreadermustadmire，thekeenandvigorouslinesinwhichDrydensatirisedtheDukeofBuckingham，SirWalterattemptedtomakeaDukeofBuckinghamtosuitthem，areallivingZimri;andhemade，notaman，butthemostgrotesqueofallmonsters。AwriterwhoshouldattempttointroduceintoaplayoranovelsuchaWhartonastheWhartonofPope，oraLordHerveyansweringtoSporus，wouldfailinthesamemanner。
ButtoreturntoLordByron;hiswomen，likehismen，areallofonebreed。Haideeisahalf—savageandgirlishJulia;JuliaisacivilisedandmatronlyHaidee。LeilaisaweddedZuleika，ZuleikaavirginLeila。GulnareandMedoraappeartohavebeenintentionallyopposedtoeachother。Yetthedifferenceisadifferenceofsituationonly。Aslightchangeofcircumstanceswould，itshouldseem，havesentGulnaretotheluteofMedora，andarmedMedorawiththedaggerofGulnare。
Itishardlytoomuchtosay，thatLordByroncouldexhibitonlyonemanandonlyonewoman，aman，proud，moody，cynical，withdefianceonhisbrow，andmiseryinhisheart，ascornerofhiskind，implacableinrevenge，yetcapableofdeepandstrongaffection:awomanallsoftnessandgentleness，lovingtocaressandtobecaressed，butcapableofbeingtransformedbypassionintoatigress。
Eventhesetwocharacters，hisonlytwocharacters，hecouldnotexhibitdramatically。Heexhibitedtheminthemanner，notofShakspeare，butofClarendon。Heanalysedthem;hemadethemanalysethemselves;buthedidnotmakethemshowthemselves。Wearetold，forexample，inmanylinesofgreatforceandspirit，thatthespeechofLarawasbitterlysarcastic，thathetalkedlittleofhistravels，thatifhewasmuchquestionedaboutthem，hisanswersbecameshort，andhisbrowgloomy。ButwehavenoneofLara’ssarcasticspeechesorshortanswers。Itisnotthusthatthegreatmastersofhumannaturehaveportrayedhumanbeings。HomernevertellsusthatNestorlovedtorelatelongstoriesabouthisyouth。ShakspearenevertellsusthatinthemindofIagoeverythingthatisbeautifulandendearingwasassociatedwithsomefilthyanddebasingidea。