Читать книгу Byron: The Last Phase - Edgcumbe Richard - Страница 6

Certain it is, that in proportion to the admiration which Byron’s poetic genius excited, was the severity of the censure which his fellow-countrymen bestowed on his defects as a man. The humour of the situation no doubt appealed to Byron’s acute sense of proportion, and induced him to feed the calumnies against himself, by painting his own portrait in the darkest colours. Unfortunately, the effects of such conduct long survived him; for the world is prone to take a man at his own valuation, and ‘hypocrisy reversed’ does not enter into human calculations. It is unfortunate for the fame of Byron that his whole conduct after the separation was a glaring blunder, for which no subsequent act of his, no proof of his genius, could by any possibility atone.

Truth told, the obloquy which Byron had to endure, after Lady Byron left him, was such as might well have changed his whole nature. It must indeed have been galling to that proud spirit, after having been humbly asked everywhere, to be ostentatiously asked nowhere. The injustice he suffered at the hands of those who were fed on baseless calumnies raised in his breast a feeling of profound contempt for his fellow-creatures – a contempt which led him into many follies; thus, instead of standing up against the storm and meeting his detractors face to face, as he was both capable of and justified in doing, he chose to leave England under a cloud, and, by a system of mystification, to encourage the belief that he thoroughly deserved the humiliation which had been cast upon him. As a consequence, to employ the words of Macaulay,

‘all those creeping things that riot in the decay of nobler natures hastened to their repast; and they were right; they did after their kind. It is not every day that the savage envy of aspiring dunces is gratified by the agonies of such a spirit, and the degradation of such a name.’

Lady Blessington tells us that Byron had an excellent heart, but that it was running to waste for want of being allowed to expend itself on his fellow-creatures. His heart teemed with affection, but his past experiences had checked its course, and left it to prey on the aching void in his breast. He could never forget his sorrows, which in a certain sense had unhinged his mind, and caused him to deny to others the justice that had been denied to himself. He affected to disbelieve in either love or friendship, and yet was capable of making great sacrifices for both.

‘He has an unaccountable passion for misrepresenting his own feelings and motives, and exaggerates his defects more than an enemy could do; and is often angry because we do not believe all he says against himself. If Byron were not a great poet, the charlatanism of affecting to be a Satanic character, in this our matter-of-fact nineteenth century, would be very amusing: but when the genius of the man is taken into account, it appears too ridiculous, and one feels mortified that he should attempt to pass for something that all who know him rejoice that he is not. If Byron knew his own power, he would disdain such unworthy means of attracting attention, and trust to his merit for commanding it.’

As Lady Blessington remarks in her ‘Conversations of Lord Byron,’ from which we have largely quoted, Byron’s pre-eminence as a poet gives an interest to details which otherwise would not be worth mentioning. She tells us, for instance, that one of the strongest anomalies in Byron was the exquisite taste displayed in his descriptive poetry, and the total want of it that was so apparent in his modes of life.

‘Fine scenery seemed to have no effect upon him, though his descriptions are so glowing, and the elegancies and comforts of refined life Byron appeared to as little understand as value.’

Byron appeared to be wholly ignorant of what in his class of life constituted its ordinary luxuries.

‘I have seen him,’ says Lady Blessington, ‘apparently delighted with the luxurious inventions in furniture, equipages, plate, etc., common to all persons of a certain station or fortune, and yet after an inquiry as to their prices – an inquiry so seldom made by persons of his rank – shrink back alarmed at the thought of the expense, though there was nothing alarming in it, and congratulate himself that he had no such luxuries, or did not require them. I should say that a bad and vulgar taste predominated in all Byron’s equipments, whether in dress or in furniture. I saw his bed at Genoa, when I passed through in 1826, and it certainly was the most vulgarly gaudy thing I ever saw; the curtains in the worst taste, and the cornice having his family motto of “Crede Byron” surmounted by baronial coronets. His carriages and his liveries were in the same bad taste, having an affectation of finery, but mesquin in the details, and tawdry in the ensemble. It was evident that he piqued himself on them, by the complacency with which they were referred to.’

In one of Byron’s expansive moods – and these were rare with men, though frequent in the society of Lady Blessington – Byron, speaking of his wife, said:

‘I am certain that Lady Byron’s first idea is, what is due to herself; I mean that it is the undeviating rule of her conduct. I wish she had thought a little more of what is due to others. Now, my besetting sin is a want of that self-respect which she has in excess; and that want has produced much unhappiness to us both. But though I accuse Lady Byron of an excess of self-respect, I must in candour admit, that if any person ever had an excuse for an extraordinary portion of it, she has; as in all her thoughts, words, and deeds, she is the most decorous woman that ever existed, and must appear a perfect and refined gentlewoman even to her femme-de-chambre. This extraordinary degree of self-command in Lady Byron produced an opposite effect on me. When I have broken out, on slight provocations, into one of my ungovernable fits of rage, her calmness piqued, and seemed to reproach me; it gave her an air of superiority, that vexed and increased my wrath. I am now older and wiser, and should know how to appreciate her conduct as it deserved, as I look on self-command as a positive virtue, though it is one I have not the courage to adopt.’

In speaking of his sister, shortly before his departure for Greece, Byron maintained that he owed the little good which he could boast, to her influence over his wayward nature. He regretted that he had not known her earlier, as it might have influenced his destiny.

‘To me she was, in the hour of need, as a tower of strength. Her affection was my last rallying point, and is now the only bright spot that the horizon of England offers to my view.’ ‘Augusta,’ said Byron, ‘knew all my weaknesses, but she had love enough to bear with them. She has given me such good advice, and yet, finding me incapable of following it, loved and pitied me the more, because I was erring. This is true affection, and, above all, true Christian feeling.’

But we should not be writing about Byron and his foibles eighty-four years after his death, if he had not been wholly different to other men in his views of life. Shortly after his marriage, for no sufficient, or at least for no apparent reason, Byron chose to immolate himself, and took a sort of Tarpeian leap, passing the remainder of his existence in bemoaning his bruises, and reviling the spectators who were not responsible for his fall. One of the main results of this conduct was his separation from his child, for whom he seems to have felt the deepest affection. We find him, at the close of his life, constantly speaking of Ada, ‘sole daughter of his heart and house,’ and prophesying the advent of a love whose consolations he could never feel.

‘I often, in imagination, pass over a long lapse of years,’ said Byron, ‘and console myself for present privations, in anticipating the time when my daughter will know me by reading my works; for, though the hand of prejudice may conceal my portrait from her eyes,9 it cannot hereafter conceal my thoughts and feelings, which will talk to her when he to whom they belonged has ceased to exist. The triumph will then be mine; and the tears that my child will drop over expressions wrung from me by mental agony – the certainty that she will enter into the sentiments which dictated the various allusions to her and to myself in my works – consoles me in many a gloomy hour.’

This prophecy was amply fulfilled. It appears that, after Ada’s marriage to Lord King, Colonel Wildman met her in London, and invited her to pay him a visit at Newstead Abbey. One morning, while Ada was in the library, Colonel Wildman took down a book of poems. Ada asked the name of the author of these poems, and when shown the portrait of her father – Phillips’s well-known portrait – which hung upon the wall, Ada remained for a moment spell-bound, and then remarked ingenuously: ‘Please do not think that it is affectation on my part when I declare to you that I have been brought up in complete ignorance of all that concerns my father.’ Never until that moment had Ada seen the handwriting of her father, and, as we know, even his portrait had been hidden from her. When Byron’s genius was revealed to his daughter, an enthusiasm for his memory filled her soul. She shut herself up for hours in the rooms which Byron had used, absorbed in all the glory of one whose tenderness for her had been so sedulously concealed by her mother. On her death-bed she dictated a letter to Colonel Wildman, begging that she might be buried at Hucknall-Torkard, in the same vault as her illustrious father. And there they sleep the long sleep side by side – separated during life, united in death – the prophecy of 1816 fulfilled in 1852: