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Byron's Poetical Works, Vol. 1 by Byron

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(1788-1841) produced 'Tekeli' in 1806. 'Fortress' and 'Music Mad' were
played in 1807. He had written some eight or ten popular plays before he
was twenty-one.]]

[Footnote 82: 'Vide post', 1. 591, note 3.]

[Footnote 83: William Henry West Betty (1791-1874) ("the Young Roscius")
made his first appearance on the London stage as Selim, disguised as
Achmet, in 'Barbarossa', Dec. 1, 1804, and his last, as a boy actor, in
'Tancred', and Captain Flash in 'Miss in her Teens', Mar. 17, 1806, but
acted in the provinces till 1808. So great was the excitement on the
occasion of his 'debut', that the military were held in readiness to
assist in keeping order. Having made a large fortune, he finally retired
from the stage in 1824, and passed the last fifty years of his life in
retirement, surviving his fame by more than half a century.]

[Footnote 84: All these are favourite expressions of Mr. Reynolds, and
prominent in his comedies, living and defunct. [Frederick Reynolds
(1764-1841) produced nearly one hundred plays, one of the most
successful of which was 'The Caravan, or the Driver and his Dog'. The
text alludes to his endeavour to introduce the language of ordinary life
on the stage. Compare 'The Children of Apollo', p. 9--

"But in his diction Reynolds grossly errs;
For whether the love hero smiles or mourns,
'Tis oh! and ah! and ah! and oh! by turns."]]

[Footnote 85: James Kenney (1780-1849). Among his very numerous plays,
the most successful were 'Raising the Wind' (1803), and 'Sweethearts and
Wives' (1823). 'The World' was brought out at Covent Garden, March 30,
1808, and had a considerable run. He was intimate with Charles and Mary
Lamb (see 'Letters of Charles Lamb', ii. 16, 44).]

[Footnote 85a: Mr. T. Sheridan, the new Manager of Drury Lane theatre,
stripped the Tragedy of 'Bonduca' ['Caratach' in the original 'MS'.] of
the dialogue, and exhibited the scenes as the spectacle of 'Caractacus'.
Was this worthy of his sire? or of himself? [Thomas Sheridan
(1775-1817), most famous as the son of Richard Brinsley Sheridan, and
father of Lady Dufferin, Mrs. Norton, and the Duchess of Somerset, was
author of several plays. His 'Bonduca' was played at Covent Garden, May
3, 1808. The following answer to a real or fictitious correspondent, in
the 'European Magazine' for May, 1808, is an indication of contemporary
opinion: "The Fishwoman's letter to the author of 'Caractacus' on the
art of gutting is inadmissible." For anecdotes of Thomas Sheridan, see
Angelo's 'Reminiscences', 1828, ii. 170-175. See, too, 'Epics of the
Ton', p. 264.]]

[Footnote 86: George Colman, the younger (1762-1836), wrote numerous
dramas, several of which, 'e.g. The Iron Chest' (1796), 'John Bull'
(1803), 'The Heir-at-Law' (1808), have been popular with more than one
generation of playgoers. An amusing companion, and a favourite at Court,
he was appointed Lieutenant of the Yeomen of the Guard, and examiner of
plays by Royal favour, but his reckless mode of life kept him always in
difficulties. 'John Bull' is referred to in 'Hints from Horace', line
166.]]

[Footnote 87: Richard Cumberland (1732-1811), the original of Sir
Fretful Plagiary in 'The Critic', a man of varied abilities, wrote
poetry, plays, novels, classical translations, and works of religious
controversy. He was successively Fellow of Trinity College, Cambridge,
secretary to the Lord Lieutenant of Ireland, and secretary to the Board
of Trade. His best known plays are 'The West Indian, The Wheels of
Fortune', and 'The Jew'. He published his 'Memoirs' in 1806-7.]]

[Footnote 88: Sheridan's translation of 'Pizarro', by Kotzebue, was
first played at Drury Lane, 1799. Southey wrote of it, "It is impossible
to sink below 'Pizarro'. Kotzebue's play might have passed for the worst
possible if Sheridan had not proved the possibility of making it worse"
(Southey's 'Letters', i. 87). Gifford alludes to it in a note to 'The
Maeviad' as "the translation so maliciously attributed to Sheridan."]

[Footnote 89: In all editions, previous to the fifth, it was, "Kemble
lives to tread." Byron used to say, that, of actors, "Cooke was the most
natural, Kemble the most supernatural, Kean the medium between the two;
but that Mrs. Siddons was worth them all put together." Such effect,
however, had Kean's acting on his mind, that once, on seeing him play
Sir Giles Overreach, he was seized with a fit.]

[Footnote 90: See 'supra', line 562.]

[Footnote 91: Andrew Cherry (1762-1812) acted many parts in Ireland and
in the provinces, and for a few years appeared at Drury Lane. He was
popular in Dublin, where he was known as "Little Cherry." He was painted
as Lazarillo in Jephson's 'Two Strings to Your Bow'. He wrote 'The
Travellers' (1806), 'Peter the Great' (1807), and other plays.]]

[Footnote 92: Mr. [now Sir Lumley] Skeffington is the illustrious author
of 'The Sleeping Beauty;' and some comedies, particularly 'Maids and
Bachelors: Baccalaurii' baculo magis quam lauro digni.

[Lumley St. George (afterwards Sir Lumley) Skeffington (1768-1850).
Besides the plays mentioned in the note, he wrote 'The Maid of Honour'
(1803) and 'The Mysterious Bride' (1808). 'Amatory Verses, by Tom
Shuffleton of the Middle Temple' (1815), are attributed to his pen. They
are prefaced by a dedicatory letter to Byron, which includes a coarse
but clever skit in the style of 'English Bards'. "Great Skeffington" was
a great dandy. According to Capt. Gronow ('Reminiscences', i. 63), "he
used to paint his face so that he looked like a French toy; he dressed
'a la Robespierre', and practised all the follies;... was remarkable for
his politeness and courtly manners... You always knew of his approach by
an 'avant courier' of sweet smell." His play 'The Sleeping Beauty' had a
considerable vogue.]]

[Footnote 93: Thomas John Dibdin (1771-1841), natural son of Charles
Dibdin the elder, made his first appearance on the stage at the age of
four, playing Cupid to Mrs. Siddons' Venus at the Shakespearian Jubilee
in 1775. One of his best known pieces is 'The Jew and the Doctor'
(1798). His pantomime, 'Mother Goose', in which Grimaldi took a part,
was played at Covent Garden in 1807, and is said to have brought the
management L20,000.]

[Footnote 94: Mr. Greenwood is, we believe, scene-painter to Drury Lane
theatre--as such, Mr. Skeffington is much indebted to him.]

[Footnote 95: Naldi and Catalani require little notice; for the visage
of the one, and the salary of the other, will enable us long to
recollect these amusing vagabonds. Besides, we are still black and blue
from the squeeze on the first night of the Lady's appearance in
trousers. [Guiseppe Naldi (1770-1820) made his 'debut' on the London
stage at the King's Theatre in April, 1806. In conjunction with Catalani
and Braham, he gave concerts at Willis' Rooms. Angelica Catalani (circ.
1785-1849), a famous soprano, Italian by birth and training, made her
'debut' at Venice in 1795. She remained in England for eight years
(1806-14). Her first appearance in England was at the King's Theatre, in
Portogallo's 'Semiramide,' in 1806. Her large salary was one of the
causes which provoked the O. P. (Old Prices) Riots in December, 1809, at
Covent Garden. Praed says of his 'Ball Room Belle'--

"She warbled Handel: it was grand;
She made the Catalani jealous."]

[Footnote 96: Moore says that the following twenty lines were struck off
one night after Lord Byron's return from the Opera, and sent the next
morning to the printer. The date of the letter to Dallas, with which the
lines were enclosed, suggests that the representation which provoked the
outburst was that of 'I Villegiatori Rezzani,' at the King's Theatre,
February 21, 1809. The first piece, in which Naldi and Catalani were the
principal singers, was followed by d'Egville's musical extravaganza,
'Don Quichotte, on les Noces de Gamache.' In the 'corps de ballet' were
Deshayes, for many years master of the 'ballet' at the King's Theatre;
Miss Gayton, who had played a Sylph at Drury Lane as early as 1806 (she
was married, March 18, 1809, to the Rev. William Murray, brother of Sir
James Pulteney, Bart.--'Morning Chronicle,' December 30, 1810), and
Mademoiselle Angiolini, "elegant of figure, 'petite', but finely formed,
with the manner of Vestris." Mademoiselle Presle does not seem to have
taken part in 'Don Quichotte;' but she was well known as 'premiere
danseuse' in 'La Belle Laitiere, La Fete Chinoise,' and other ballets.]]

[Footnote 97: For "whet" Editions 1-5 read "raise." Lines 632-637 are
marked "good" in the Annotated Fourth Edition.]

[Footnote 98: To prevent any blunder, such as mistaking a street for a
man, I beg leave to state, that it is the institution, and not the Duke
of that name, which is here alluded to.

A gentleman, with whom I am slightly acquainted, lost in the Argyle
Rooms several thousand pounds at Backgammon.[A] It is but justice to the
manager in this instance to say, that some degree of disapprobation was
manifested: but why are the implements of gaming allowed in a place
devoted to the society of both sexes? A pleasant thing for the wives and
daughters of those who are blessed or cursed with such connections, to
hear the Billiard-Balls rattling in one room, and the dice in another!
That this is the case I myself can testify, as a late unworthy member of
an Institution which materially affects the morals of the higher orders,
while the lower may not even move to the sound of a tabor and fiddle,
without a chance of indictment for riotous behaviour. [The Argyle
Institution, founded by Colonel Greville, flourished many years before
the Argyll Rooms were built by Nash in 1818. This mention of Greville's
name caused him to demand an explanation from Byron, but the matter was
amicably settled by Moore and G. F. Leckie, who acted on behalf of the
disputants (see 'Life', pp. 160, 161).]]

[Sub-Footnote A: "True. It was Billy Way who lost the money. I knew him,
and was a subscriber to the Argyle at the time of this event."--B.,
1816.]

[Footnote 99: Petronius, "Arbiter elegantiarum" to Nero, "and a very
pretty fellow in his day," as Mr. Congreve's "Old Bachelor" saith of
Hannibal.]

[Footnote 100: "We are authorised to state that Mr. Greville, who has a
small party at his private assembly rooms at the Argyle, will receive
from 10 to 12 [p.m.] masks who have Mrs. Chichester's Institution
tickets.--Morning Post, June 7, 1809.]

[Footnote 101: See note on line 686, infra.]

[Footnote 102: 'Clodius'--"Mutato nomine de te Fabula narratur."--['MS']
[The allusion is to the well-known incidents of his intrigue with
Pompeia, Caesar's wife, and his sacrilegious intrusion into the mysteries
of the Bona Dea. The Romans had a proverb, "Clodius accuset Moechos?"
(Juv., 'Sat.' ii. 27). That "Steenie" should lecture on the "turpitude
of incontinence!" ('The Fortunes of Nigel,' cap. xxxii.)]]

[Footnote 103: I knew the late Lord Falkland well. On Sunday night I
beheld him presiding at his own table, in all the honest pride of
hospitality; on Wednesday morning, at three o'clock, I saw stretched
before me all that remained of courage, feeling, and a host of passions.
He was a gallant and successful officer: his faults were the faults of a
sailor--as such, Britons will forgive them. ["His behaviour on the field
was worthy of a better fate, and his conduct on the bed of death evinced
all the firmness of a man without the farce of repentance--I say the
farce of repentance, for death-bed repentance is a farce, and as little
serviceable to the soul at such a moment as the surgeon to the body,
though both may be useful if taken in time. Some hireling in the papers
forged a tale about an agonized voice, etc. On mentioning the
circumstance to Mr. Heaviside, he exclaimed, 'Good God! what absurdity
to talk in this manner of one who died like a lion!'--he did
more."--'MS'] He died like a brave man in a better cause; for had he
fallen in like manner on the deck of the frigate to which he was just
appointed, his last moments would have been held up by his countrymen as
an example to succeeding heroes.

[Charles John Carey, ninth Viscount Falkland, died from a wound received
in a duel with Mr. A. Powell on Feb. 28, 1809. (See Byron's letter to
his mother, March 6, 1809.) The story of "the agonized voice" may be
traced to a paragraph in the 'Morning Post,' March 2, 1809: "Lord
Falkland, after hearing the surgeon's opinion, said with a faltering
voice and as intelligibly as the agonized state of his body and mind
permitted, "I acquit Mr. Powell of all blame; in this transaction I
alone am culpable.'"]]

[Footnote 104: "Yes: and a precious chase they led me."--B., 1816.]

[Footnote 105: "'Fool' enough, certainly, then, and no wiser
since."--B., 1816.]

[Footnote 106: What would be the sentiments of the Persian Anacreon,
HAFIZ, could he rise from his splendid sepulchre at Sheeraz (where he
reposes with FERDOUSI and SADI, the Oriental Homer and Catullus), and
behold his name assumed by one STOTT of DROMORE, the most impudent and
execrable of literary poachers for the Daily Prints?]

[Footnote 107: Miles Peter Andrews (d. 1824) was the owner of large
powder-mills at Dartford. He was M.P. for Bewdley. He held a good social
position, but his intimate friends were actors and playwrights. His
'Better Late than Never' (which Reynolds and Topham helped him to write)
was played for the first time at Drury Lane, October 17, 1790, with
Kemble as Saville, and Mrs. Jordan as Augusta. He is mentioned in 'The
Baviad', l. 10; and in a note Gifford satirizes his prologue to
'Lorenzo', and describes him as an "industrious paragraph-monger."]]

[Footnote 108: In a manuscript fragment, bound in the same volume as
'British Bards', we find these lines:--

"In these, our times, with daily wonders big,
A Lettered peer is like a lettered pig;
Both know their Alphabet, but who, from thence,
Infers that peers or pigs have manly sense?
Still less that such should woo the graceful nine;
Parnassus was not made for lords and swine."]

[Footnote 109: Wentworth Dillon, 4th Earl of Roscommon (1634-1685),
author of many translations and minor poems, endeavoured (circ. 1663) to
found an English literary academy.]

[Footnote 110: John Sheffield, Earl of Mulgrave (1658), Marquis of
Normanby (1694), Duke of Buckingham (1703) (1649-1721), wrote an 'Essay
upon Poetry', and several other works.]

[Footnote 111: Lines 727-740 were added after 'British Bards' had been
printed, and are included in the First Edition, but the appearance in
'British Bards' of lines 723-726 and 741-746, which have been cut out
from Mr. Murray's MS., forms one of many proofs as to the identity of
the text of the 'MS'. and the printed Quarto.]]

[Footnote 112: Frederick Howard, 5th Earl of Carlisle, K.G. (1748-1825),
Viceroy of Ireland, 1780-1782, and Privy Seal, etc., published
'Tragedies and Poems', 1801. He was Byron's first cousin once removed,
and his guardian. 'Poems Original and Translated,' were dedicated to
Lord Carlisle, and, as an erased MS. addition to 'British Bards'
testifies, he was to have been excepted from the roll of titled
poetasters--

"Ah, who would take their titles from their rhymes?
On 'one' alone Apollo deigns to smile,
And crowns a new Roscommon in Carlisle."

Before, however, the revised Satire was sent to the press, Carlisle
ignored his cousin's request to introduce him on taking his seat in the
House of Lords, and, to avenge the slight, eighteen lines of castigation
supplanted the flattering couplet. Lord Carlisle suffered from a nervous
disorder, and Byron was informed that some readers had scented an
allusion in the words "paralytic puling." "I thank Heaven," he
exclaimed, "I did not know it; and would not, could not, if I had. I
must naturally be the last person to be pointed on defects or maladies."

In 1814 he consulted Rogers on the chance of conciliating Carlisle, and
in 'Childe Harold', iii. 29, he laments the loss of the "young and
gallant Howard" (Carlisle's youngest son) at Waterloo, and admits that
"he did his sire some wrong." But, according to Medwin ('Conversations',
1824, p. 362), who prints an excellent parody on Carlisle's lines
addressed to Lady Holland in 1822, in which he urges her to decline the
legacy of Napoleon's snuff-box, Byron made fun of his "noble relative"
to the end of the chapter ('vide post', p. 370, 'note' 2).]]

[Footnote 113: The Earl of Carlisle has lately published an
eighteen-penny pamphlet on the state of the Stage, and offers his plan
for building a new theatre. It is to be hoped his Lordship will be
permitted to bring forward anything for the Stage--except his own
tragedies. [This pamphlet was entitled 'Thoughts upon the present
condition of the stage, and upon the construction of a new Theatre',
anon. 1808.]

Line 732. None of the earlier editions, including the fifth and Murray,
1831, insert "and" between "petit-maitre" and "pamphleteer." No doubt
Byron sounded the final syllable of "maitre," 'anglice' "mailer."]]

[Footnote 114:

"Doff that lion's hide,
And hang a calf-skin on those recreant limbs."

SHAKESPEARE, 'King John.'

Lord Carlisle's works, most resplendently bound, form a conspicuous
ornament to his book-shelves:--

"The rest is all but [only, MS.] leather and prunella."

"Wrong also--the provocation was not sufficient to justify such
acerbity."--B., 1816.]

[Footnote 115: 'All the Blocks, or an Antidote to "All the Talents"' by
Flagellum (W. H. Ireland), London, 1807: 'The Groan of the Talents, or
Private Sentiments on Public Occasions,' 1807; "Gr--vile Agonistes, 'A
Dramatic Poem, 1807,' etc., etc."]

[Footnote 116: "MELVILLE'S Mantle," a parody on 'Elijah's Mantle,' a
poem. ['Elijah's Mantle, being verses occasioned by the death of that
illustrious statesman, the Right Hon. W. Pitt.' Dedicated to the Right
Rev. the Lord Bishop of Lincoln (1807), was written by James Sayer.
'Melville's Mantle, being a Parody on the poem entitled "Elijah's
Mantle"' was published by Budd, 1807. 'A Monody on the death of the R.
H. C. J. Fox,' by Richard Payne Knight, was printed for J. Payne,
1806-7. Another "Monody," 'Lines written on returning from the Funeral
of the R. H. C. J. Fox, Friday Oct'. 10, 1806, addressed to Lord
Holland, was by M. G. Lewis, and there were others.]]

[Footnote 117: This lovely little Jessica, the daughter of the noted Jew
King, seems to be a follower of the Della Crusca school, and has
published two volumes of very respectable absurdities in rhyme, as times
go; besides sundry novels in the style of the first edition of 'The
Monk.'

"She since married the 'Morning Post'--an exceeding good match; and is
now dead--which is better."--B., 1816. [The last seven words are in
pencil, and, possibly, by another hand. The novelist "Rosa," the
daughter of "Jew King," the lordly money-lender who lived in Clarges
Street, and drove a yellow chariot, may possibly be confounded with
"Rosa Matilda," Mrs. Byrne (Gronow, 'Rem.' (1889), i. 132-136). (See
note 1, p. 358.)]

[Footnote 118: Lines 759, 760 were added for the first time in the
Fourth Edition.]

[Footnote 119: Lines 756-764, with variant ii., refer to the Della
Cruscan school, attacked by Gifford in 'The Baviad' and 'The Maeviad.'
Robert Merry (1755-1798), together with Mrs. Piozzi, Bertie Greatheed,
William Parsons, and some Italian friends, formed a literary society
called the 'Oziosi' at Florence, where they published 'The Arno
Miscellany' (1784) and 'The Florence Miscellany' (1785), consisting of
verses in which the authors "say kind things of each other" (Preface to
'The Florence Miscellany,' by Mrs. Piozzi). In 1787 Merry, who had
become a member of the Della Cruscan Academy at Florence, returned to
London, and wrote in the 'World' (then edited by Captain Topham) a
sonnet on "Love," under the signature of "Della Crusca." He was answered
by Mrs. Hannah Cowley, 'nee' Parkhouse (1743-1809), famous as the
authoress of 'The Belles Stratagem' (acted at Covent Garden in 1782), in
a sonnet called "The Pen," signed "Anna Matilda." The poetical
correspondence which followed was published in 'The British Album'
(1789, 2 vols.) by John Bell. Other writers connected with the Della
Cruscan school were "Perdita" Robinson, 'nee' Darby (1758-1800), who
published 'The Mistletoe' (1800) under the pseudonym "Laura Maria," and
to whom Merry addressed a poem quoted by Gifford in 'The Baviad' ('note'
to line 284); Charlotte Dacre, who married Byrne, Robinson's successor
as editor of the 'Morning Post,' wrote under the pseudonym of "Rosa
Matilda," and published poems ('Hours of Solitude,' 1805) and numerous
novels ('Confessions of the Nun of St. Omer's,' 1805; 'Zofloya;' 'The
Libertine,' etc.); and "Hafiz" (Robert Stott, of the 'Morning Post'). Of
these writers, "Della Crusca" Merry, and "Laura Maria" Robinson, were
dead; "Anna Matilda" Cowley, "Hafiz" Stott, and "Rosa Matilda" Dacre
were still living. John Bell (1745-1831), the publisher of 'The British
Album,' was also one of the proprietors of the 'Morning Post,' the
'Oracle,' and the 'World,' in all of which the Della Cruscans wrote. His
"Owls and Nightingales" are explained by a reference to 'The Baviad' (l.
284), where Gifford pretends to mistake the nightingale, to which Merry
("Arno") addressed some lines, for an owl. "On looking again, I find the
owl to be a nightingale!--N'importe."]]

[Footnote 120: These are the signatures of various worthies who figure
in the poetical departments of the newspapers.]

[Footnote 121: "This was meant for poor Blackett, who was then
patronised by A. I. B." (Lady Byron); "but 'that' I did not know, or
this would not have been written, at least I think not."--B., 1816.

[Joseph Blacket (1786-1810), said by Southey ('Letters,' i. 172) to
possess "force and rapidity," and to be endowed with "more powers than
Robert Bloomfield, and an intellect of higher pitch," was the son of a
labourer, and by trade a cobbler. He was brought into notice by S. J.
Pratt (who published Blacket's 'Remains' in 1811), and was befriended by
the Milbanke family. Miss Milbanke, afterwards Lady Byron, wrote (Sept.
2, 1809), "Seaham is at present the residence of a poet, by name Joseph
Blacket, one of the Burns-like and Dermody kind, whose genius is his
sole possession. I was yesterday in his company for the first time, and
was much pleased with his manners and conversation. He is extremely
diffident, his deportment is mild, and his countenance animated
melancholy and of a satirical turn. His poems certainly display a
superior genius and an enlarged mind...." Blacket died on the Seaham
estate in Sept., 1810, at the age of twenty-three. (See Byron's letter
to Dallas, June 28, 1811; his 'Epitaph for Joseph Blackett;' and 'Hints
from Horace,' l. 734.)]]

[Footnote 122: Capel Lofft, Esq., the Maecenas of shoemakers, and
Preface-writer-General to distressed versemen; a kind of gratis
Accoucheur to those who wish to be delivered of rhyme, but do not know
how to bring it forth.

[Capel Lofft (1751-1824), jurist, poet, critic, and horticulturist,
honoured himself by his kindly patronage of Robert Bloomfield
(1766-1823), who was born at Honington, near Lofft's estate of Throston,
Suffolk. Robert Bloomfield was brought up by his elder brothers--
Nathaniel a tailor, and George a shoemaker. It was in the latter's
workshop that he composed 'The Farmer's Boy,' which was published (1798)
with the help of Lofft. He also wrote 'Rural Tales' (1802), 'Good
Tidings; or News from the Farm '(1804), 'The Banks of the Wye' (1811),
etc. (See 'Hints from Horace,' line 734, notes 1 and 2.)]]

[Footnote 123: See Nathaniel Bloomfield's ode, elegy, or whatever he or
any one else chooses to call it, on the enclosures of "Honington Green."
[Nathaniel Bloomfield, as a matter of fact, called it a ballad.--'Poems'
(1803).]]

[Footnote 124: Vide 'Recollections of a Weaver in the Moorlands of
Staffordshire'. [The exact title is 'The Moorland Bard; or Poetical
Recollections of a Weaver', etc. 2 vols., 1807. The author was T.
Bakewell, who also wrote 'A Domestic Guide to Insanity', 1805.]]

[Footnote 125: It would be superfluous to recall to the mind of the
reader the authors of 'The Pleasures of Memory' and 'The Pleasures of
Hope', the most beautiful didactic poems in our language, if we except
Pope's 'Essay on Man': but so many poetasters have started up, that even
the names of Campbell and Rogers are become strange.--[Beneath this note
Byron scribbled, in 1816,--

"Pretty Miss Jaqueline
Had a nose aquiline,
And would assert rude
Things of Miss Gertrude,
While Mr. Marmion
Led a great army on,
Making Kehama look
Like a fierce Mameluke."

"I have been reading," he says, in 1813, "'Memory' again, and 'Hope'
together, and retain all my preference of the former. His elegance is
really wonderful--there is no such a thing as a vulgar line in his
book." In the annotations of 1816, Byron remarks, "Rogers has not
fulfilled the promise of his first poems, but has still very great
merit."]

[Footnote 126: GIFFORD, author of the 'Baviad' and 'Maeviad', the first
satires of the day, and translator of Juvenal, [and one (though not the
best) of the translators of Juvenal.--'British Bards'.]]

[Footnote 127: SOTHEBY, translator of WIELAND'S 'Oberon' and Virgil's
'Georgics', and author of 'Saul', an epic poem. [William Sotheby
(1757-1833) began life as a cavalry officer, but being a man of fortune,
sold out of the army and devoted himself to literature, and to the
patronage of men of letters. His translation of the 'Oberon' appeared in
1798, and of the 'Georgics' in 1800. 'Saul' was published in 1807. When
Byron was in Venice, he conceived a dislike to Sotheby, in the belief
that he had made an anonymous attack on some of his works; but, later,
his verdict was, "a good man, rhymes well (if not wisely); but is a
bore" ('Diary', 1821; 'Works', p. 509, note). He is "the solemn antique
man of rhyme" ('Beppo', st. lxiii.), and the "Botherby" of 'The Blues';
and in 'Don Juan', Canto I. st. cxvi., we read--

"Thou shalt not covet Mr. Sotheby's house
His Pegasus nor anything that's his."]]

[Footnote 128: MACNEIL, whose poems are deservedly popular, particularly
"SCOTLAND'S Scaith," and the "Waes of War," of which ten thousand copies
were sold in one month. [Hector Macneil (1746-1816) wrote in defence of
slavery in Jamaica, and was the author of several poems: 'Scotland's
Skaith, or the History of Will and Jean' (1795), 'The Waes of War, or
the Upshot of the History of Will and Jean' (1796), etc., etc.]]

[Footnote 129: Mr. GIFFORD promised publicly that the 'Baviad' and
'Maeviad' should not be his last original works: let him remember, "Mox
in reluctantes dracones." [Cf. 'New Morality,' lines 29-42.]]

[Footnote 130: Henry Kirke White died at Cambridge, in October 1806, in
consequence of too much exertion in the pursuit of studies that would
have matured a mind which disease and poverty could not impair, and
which Death itself destroyed rather than subdued. His poems abound in
such beauties as must impress the reader with the liveliest regret that
so short a period was allotted to talents, which would have dignified
even the sacred functions he was destined to assume.

[H. K. White (1785-1806) published 'Clifton Grove' and other poems in
1803. Two volumes of his 'Remains,' consisting of poems, letters, etc.,
with a life by Southey, were issued in 1808. His tendency to epilepsy
was increased by over-work at Cambridge. He once remarked to a friend
that "were he to paint a picture of Fame, crowning a distinguished
undergraduate after the Senate house examination, he would represent her
as concealing a Death's head under a mask of Beauty" ('Life of H. K.
W.', by Southey, i. 45). By "the soaring lyre, which else had sounded an
immortal lay," Byron, perhaps, refers to the unfinished 'Christiad,'
which, says Southey, "Henry had most at heart."]]

[Footnote 131: Lines 832-834, as they stand in the text, were inserted
in MS. in both the Annotated Copies of the Fourth Edition.]]

[Footnote 132: "I consider Crabbe and Coleridge as the first of these
times, in point of power and genius."--B., 1816.]

[Footnote 133: Mr. Shee, author of 'Rhymes on Art' and 'Elements of
Art'. [Sir Martin Archer Shee (1770-1850) was President of the Royal
Academy (1830-45). His 'Rhymes on Art' (1805) and 'Elements of Art'
(1809), a poem in six cantos, will hardly be regarded as worthy of
Byron's praise, which was probably quite genuine. He also wrote a novel,
'Harry Calverley', and other works.]]

[Footnote 134: Mr. Wright, late Consul-General for the Seven Islands, is
author of a very beautiful poem, just published: it is entitled 'Horae
Ionicae', and is descriptive of the isles and the adjacent coast of
Greece. [Walter Rodwell Wright was afterwards President of the Court of
Appeal in Malta, where he died in 1826. 'Horae Ionicae, a Poem descriptive
of the Ionian Islands, and Part of the Adjacent Coast of Greece', was
published in 1809. He is mentioned in one of Byron's long notes to
'Childe Harold', canto ii., dated Franciscan Convent, Mar. 17, 1811.]]

[Footnote 135: The translators of the Anthology have since published
separate poems, which evince genius that only requires opportunity to
attain eminence. [The Rev. Robert Bland (1779-1825) published, in 1806,
'Translations chiefly from the Greek Anthology, with Tales and
Miscellaneous Poems'. In these he was assisted (see 'Life of the Rev.
Francis Hodgson', vol. i. pp. 226-260) by Denman (afterwards Chief
Justice), by Hodgson himself, and, above all, by John Herman Merivale
(1779-1844), who subsequently, in 1813, was joint editor with him of
'Collections from the Greek Anthology', etc.]]

[Footnote 136: Erasmus Darwin (1731-1802), the grandfather of Charles
Robert Darwin. Coleridge describes his poetry as "nothing but a
succession of landscapes or paintings. It arrests the attention too
often, and so prevents the rapidity necessary to pathos."--'Anima
Poetae', 1895, p. 5. His chief works are 'The Botanic Garden' (1789-92)
and 'The Temple of Nature' (1803). Byron's censure of 'The Botanic
Garden' is inconsistent with his principles, for Darwin's verse was
strictly modelled on the lines of Pope and his followers. But the 'Loves
of the Triangles' had laughed away the 'Loves of the Plants'.]]

[Footnote 137: The neglect of 'The Botanic Garden' is some proof of
returning taste. The scenery is its sole recommendation.]

[Footnote 138: This was not Byron's mature opinion, nor had he so
expressed himself in the review of Wordsworth's 'Poems' which he
contributed to 'Crosby's Magazine' in 1807 ('Life', p. 669). His scorn
was, in part, provoked by indignities offered to Pope and Dryden, and,
in part, assumed because one Lake poet called up the rest; and it was
good sport to flout and jibe at the "Fraternity." That the day would
come when the message of Wordsworth would reach his ears and awaken his
enthusiasm, he could not, of course, foresee (see 'Childe Harold', canto
iii. stanzas 72, 'et seqq.').]]

[Footnote 139: Messrs. Lamb and Lloyd, the most ignoble followers of
Southey and Co. [Charles Lloyd (1775-1839) resided for some months under
Coleridge's roof, first in Bristol, and afterwards at Nether Stowey
(1796-1797). He published, in 1796, a folio edition of his 'Poems on the
Death of Priscilla Farmer', in which a sonnet by Coleridge and a poem of
Lamb's were included. Lamb and Lloyd contributed several pieces to the
second edition of Coleridge's Poems, published in 1797; and in 1798 they
brought out a joint volume of their own composition, named 'Poems in
Blank Verse'. 'Edmund Oliver', a novel, appeared also in 1798. An
estrangement between Coleridge and Lloyd resulted in a quarrel with
Lamb, and a drawing together of Lamb, Lloyd, and Southey. But Byron
probably had in his mind nothing more than the lines in the
'Anti-Jacobin', where Lamb and Lloyd are classed with Coleridge and
Southey as advocates of French socialism:--

"Coleridge and Southey, Lloyd and Lamb and Co.,
Tune all your mystic harps to praise Lepaux."

In later life Byron expressed a very different opinion of Lamb's
literary merits. (See the preface to 'Werner', now first published.)]]

[Footnote 140: By the bye, I hope that in Mr. Scott's next poem, his
hero or heroine will be less addicted to "Gramarye," and more to
Grammar, than the Lady of the Lay and her Bravo, William of Deloraine.]

[Footnote 141: "Unjust."--B., 1816. [In 'Frost at Midnight', first
published in 1798, Coleridge twice mentions his "Cradled infant."]]

[Footnote 142: The Rev. W. L. Bowles ('vide ante', p. 323, note 2),
published, in 1789, 'Fourteen Sonnets written chiefly on Picturesque
Spots during a Journey'.]]

[Footnote 143: It may be asked, why I have censured the Earl of
CARLISLE, my guardian and relative, to whom I dedicated a volume of
puerile poems a few years ago?--The guardianship was nominal, at least
as far as I have been able to discover; the relationship I cannot help,
and am very sorry for it; but as his Lordship seemed to forget it on a
very essential occasion to me, I shall not burden my memory with the
recollection. I do not think that personal differences sanction the
unjust condemnation of a brother scribbler; but I see no reason why they
should act as a preventive, when the author, noble or ignoble, has, for
a series of years, beguiled a "discerning public" (as the advertisements
have it) with divers reams of most orthodox, imperial nonsense. Besides,
I do not step aside to vituperate the earl: no--his works come fairly in
review with those of other Patrician Literati. If, before I escaped from
my teens, I said anything in favour of his Lordship's paper books, it
was in the way of dutiful dedication, and more from the advice of others
than my own judgment, and I seize the first opportunity of pronouncing
my sincere recantation. I have heard that some persons conceive me to be
under obligations to Lord CARLISLE: if so, I shall be most particularly
happy to learn what they are, and when conferred, that they may be duly
appreciated and publicly acknowledged. What I have humbly advanced as an
opinion on his printed things, I am prepared to support, if necessary,
by quotations from Elegies, Eulogies, Odes, Episodes, and certain
facetious and dainty tragedies bearing his name and mark:--

"What can ennoble knaves, or 'fools', or cowards?
Alas! not all the blood of all the Howards."

So says Pope. Amen!--"Much too savage, whatever the foundation might
be."--B., 1816.]

[Footnote 144: Line 952. 'Note'--

"Tollere humo, victorque virum volitare per ora."

(VIRGIL.)]

[Footnote 145:

"The devil take that 'Phoenix'! How came it there?"

--B., 1816.]

[Footnote 146: The Rev. Charles James Hoare (1781-1865), a close friend
of the leaders of the Evangelical party, gained the Seatonian Prize at
Cambridge in 1807 with his poem on the 'Shipwreck of St. Paul'.]

[Footnote 147: Edmund Hoyle, the father of the modern game of whist,
lived from 1672 to 1769. The Rev. Charles Hoyle, his "poetical
namesake," was, like Hoare, a Seatonian prizeman, and wrote an epic in
thirteen books on the 'Exodus'.]

[Footnote 148: The 'Games of Hoyle', well known to the votaries of
Whist, Chess, etc., are not to be superseded by the vagaries of his
poetical namesake ["illustrious Synonime" in 'MS.' and 'British Bards'],
whose poem comprised, as expressly stated in the advertisement, all the
"Plagues of Egypt."]

[Footnote 149: Here, as in line 391, "Fresh fish from Helicon," etc.,
Byron confounds Helicon and Hippocrene.]]

[Footnote 150: This person, who has lately betrayed the most rabid
symptoms of confirmed authorship, is writer of a poem denominated 'The
Art of Pleasing', as "Lucus a non lucendo," containing little
pleasantry, and less poetry. He also acts as ["lies as" in 'MS.']
monthly stipendiary and collector of calumnies for the 'Satirist'. If
this unfortunate young man would exchange the magazines for the
mathematics, and endeavour to take a decent degree in his university, it
might eventually prove more serviceable than his present salary.]

[Note.--An unfortunate young person of Emanuel College, Cambridge,
ycleped Hewson Clarke, has lately manifested the most rabid symptoms of
confirmed Authorship. His Disorder commenced some years ago, and the
'Newcastle Herald' teemed with his precocious essays, to the great
edification of the Burgesses of Newcastle, Morpeth, and the parts
adjacent even unto Berwick upon Tweed. These have since been abundantly
scurrilous upon the [town] of Newcastle, his native spot, Mr. Mathias
and Anacreon Moore. What these men had done to offend Mr. Hewson Clarke
is not known, but surely the town in whose markets he had sold meat, and
in whose weekly journal he had written prose deserved better treatment.
Mr. H.C. should recollect the proverb "'tis a villainous bird that
defiles his own nest." He now writes in the 'Satirist'. We recommend the
young man to abandon the magazines for mathematics, and to believe that
a high degree at Cambridge will be more advantageous, as well as
profitable in the end, than his present precarious gleanings.]

[Hewson Clarke (1787-circ. 1832) was entered at Emmanuel Coll. Camb.
circ. 1806 (see 'Postscript'). He had to leave the University without
taking a degree, and migrated to London, where he devoted his not
inconsiderable talents to contributions to the 'Satirist', the
'Scourge', etc. He also wrote: 'An Impartial History of the Naval, etc.,
Events of Europe ... from the French Revolution ... to the Conclusion of
a General Peace' (1815); and a continuation of Hume's 'History of
England', 2 vols. (1832).

The 'Satirist', a monthly magazine illustrated with coloured cartoons,
was issued 1808-1814. 'Hours of Idleness' was reviewed Jan. 1808 (i.
77-81). "The Diary of a Cantab" (June, 1808, ii. 368) contains some
verses of "Lord B----n to his Bear. To the tune of Lachin y gair." The
last verse runs thus:--

"But when with the ardour of Love I am burning,
I feel for thy torments, I feel for thy care;
And weep for thy bondage, so truly discerning
What's felt by a 'Lord', may be felt by a 'Bear'."

In August, 1808 (iii. 78-86), there is a critique on 'Poems Original and
Translated', in which the bear plays many parts. The writer "is without
his bear and is himself muzzled," etc. Towards the close of the article
a solemn sentence is passed on the author for his disregard of the
advice of parents, tutors, friends; "but," adds the reviewer, "in the
paltry volume before us we think we observe some proof that the still
small voice of conscience will be heard in the cool of the day. Even now
the gay, the gallant, the accomplished bear-leader is not happy," etc.
Hence the castigation of "the sizar of Emmanuel College."]

[Footnote 151:

"Right enough: this was well deserved, and well laid on."

(B., 1816.)]

[Footnote 152:

"Into Cambridgeshire the Emperor Probus transported a considerable
body of Vandals."

(Gibbon's 'Decline and Fall', ii. 83.) There is no reason to doubt the
truth of this assertion; the breed is still in high perfection.

We see no reason to doubt the truth of this statement, as a large stock
of the same breed are to be found there at this day.--'British Bards'.

[Lines 981-984 do not occur in the 'MS'. Lines 981, 982, are inserted in
MS. in 'British Bards'.]]

[Footnote 153: This gentleman's name requires no praise: the man who
[has surpassed Dryden and Gifford as a Translator.--'MS. British Bards']
in translation displays unquestionable genius may be well expected to
excel in original composition, of which, it is to be hoped, we shall
soon see a splendid specimen. [Francis Hodgson (1781-1852) was Byron's
lifelong friend. His 'Juvenal' appeared in 1807; 'Lady Jane Grey and
other Poems', in 1809; 'Sir Edgar, a Tale', in 1810. For other works and
details, see 'Life of the Rev. Francis Hodgson', by the Rev. James T.
Hodgson (1878).]]

[Footnote 154: Hewson Clarke, 'Esq'., as it is written.]

[Footnote 155: 'The Aboriginal Britons', an excellent ["most excellent"
in 'MS.'] poem, by Richards. [The Rev. George Richards, D.D.
(1769-1835), a Fellow of Oriel, and afterwards Rector of St.
Martin's-in-the-Fields. 'The Aboriginal Britons', a prize poem, was
published in 1792, and was followed by 'The Songs of the Aboriginal
Bards of Britain' (1792), and various other prose and poetical works.]]

[Footnote: 156. With this verse the satire originally ended.]

[Footnote 157: A friend of mine being asked, why his Grace of Portland
was likened to an old woman? replied, "he supposed it was because he was
past bearing." (Even Homer was a punster--a solitary pun.)--['MS'.] His
Grace is now gathered to his grandmothers, where he sleeps as sound as
ever; but even his sleep was better than his colleagues' waking. 1811.
[William Henry Cavendish, third Duke of Portland (1738-1809), Prime
Minister in 1807, on the downfall of the Ministry of "All the Talents,"
till his death in 1809, was, as the wits said, "a convenient block to
hang Whigs on," but was not, even in his vigour, a man of much
intellectual capacity. When Byron meditated a tour to India in 1808,
Portland declined to write on his behalf to the Directors of the East
India Company, and couched his refusal in terms which Byron fancied to
be offensive.]]

[Footnote 158: "Saw it August, 1809."--B., 1816. [The following notes
were omitted from the Fifth Edition:--

"Calpe is the ancient name of Gibraltar. Saw it August, 1809.--B.,
1816.

"Stamboul is the Turkish word for Constantinople. Was there the summer
1810."

To "Mount Caucasus," he adds, "Saw the distant ridge of,--1810, 1811"]]

[Footnote 159: Georgia.]

[Footnote 160: Mount Caucasus.]

[Footnote 161: Lord Elgin would fain persuade us that all the figures,
with and without noses, in his stoneshop, are the work of Phidias!
"Credat Judaeus!" [R. Payne Knight, in his introduction to 'Specimens of
Ancient Sculpture', published 1809, by the Dilettanti Society, throws a
doubt on the Phidian workmanship of the "Elgin" marbles. See the
Introduction to 'The Curse of Minerva'.]]

[Footnote 162: [Sir William Gell (1777-1836) published the 'Topography
of Troy' (1804), the 'Geography and Antiquities of Ithaca' (1807), and
the 'Itinerary of Greece' (1808). Byron reviewed the two last works in
the 'Monthly Review' (August, 1811), ('Life', pp. 670, 676). Fresh from
the scenes, he speaks with authority. "With Homer in his pocket and Gell
on his sumpter-mule, the Odysseus tourist may now make a very classical
and delightful excursion." The epithet in the original MS. was
"coxcomb," but becoming acquainted with Gell while the satire was in the
press, Byron changed it to "classic." In the fifth edition he altered it
to "rapid," and appended this note:--"'Rapid,' indeed! He topographised
and typographised King Priam's dominions in three days! I called him
'classic' before I saw the Troad, but since have learned better than to
tack to his name what don't belong to it."]]

[Footnote 163: Mr. Gell's 'Topography of Troy and Ithaca' cannot fail to
ensure the approbation of every man possessed of classical taste, as
well for the information Mr. Gell conveys to the mind of the reader, as
for the ability and research the respective works display.

"'Troy and Ithaca.' Visited both in 1810, 1811."--B., 1816.
"'Ithaca' passed first in 1809."--B., 1816.

"Since seeing the plain of Troy, my opinions are somewhat changed as
to the above note. Cell's survey was hasty and superficial."--B.,
1816.]

[Footnote 164:

"Singular enough, and 'din' enough, God knows."

(B., 1816).]

[Footnote 165:

"The greater part of this satire I most sincerely wish had never been
written-not only on account of the injustice of much of the critical,
and some of the personal part of it--but the tone and temper are such
as I cannot approve."

BYRON. July 14, 1816. 'Diodati, Geneva'.]

[Footnote i:

'Truth be my theme, and Censure guide my song.'

['MS. M.']

[Footnote ii:

'But thou, at least, mine own especial quill
Dipt in the dew drops from Parnassus' hill,
Shalt ever honoured and regarded be,
By more beside no doubt, yet still by me.'

['MS. M.'] ]

[Footnote iii:

'And men through life her willing slaves obey.'

['MS. Second, Third, and Fourth Editions.']]

[Footnote iv:

'Unfolds her motley store to suit the time.'--

['MS. Second, Third, and Fourth Editions.']]

[Footnote v:

'When Justice halts and Right begins to fail.'

['MS. Second, Third, and Fourth Editions.']]

[Footnote vi:

'A mortal weapon'.

['MS. M.']

[Footnote vii:

'Yet Titles sounding lineage cannot save
Or scrawl or scribbler from an equal grave,
Lamb had his farce but that Patrician name
Failed to preserve the spurious brat from shame.'

['MS.']]

[Footnote viii:

'a lucky hit.'

['Second, Third, and Fourth Editions.']]

[Footnote ix:

'No dearth of rhyme.'

['British Bards'.] ]

[Footnote x:

'The Press oppressed.'

['British Bards'.] ]

[Footnote xi:

'While Southey's Epics load.'

['British Bards'.] ]

[Footnote xii:

'O'er taste awhile these Infidels prevail.'

['MS.']]

[Footnote xiii:

'Erect and hail an idol of their own.'

['MS.']]

[Footnote xiv:

'Not quite a footpad-----.'

['British Bards'.] ]

[Footnote xv:

'Low may they sink to merited contempt.'

['British Bards'.]]

'And Scorn reimmerate the mean attempt!'--

['MS. First to Fourth Editions']]

[Footnote xvi:

'--though lesser bards content--'

['British Bards']

[Footnote xvii:

'How well the subject.'

['MS. First to Fourth Editions.']]

[Footnote xviii:

'A fellow feeling makes us wondrous kind.'--

['British Bards, First to Fourth Editions.']]

[Footnote xix:

'Who fain would'st.'

['British Bards, First to Fifth Editions'.]]

[Footnote xx:

'Mend thy life, and sin no more.'

['MS.']]

[Footnote xxi:

'And o'er harmonious nonsense.'

['MS. First Edition.']]

[Footnote xxii:

'In many marble-covered volumes view
Hayley, in vain attempting something new,
Whether he spin his comedies in rhyme,
Or scrawls as Wood and Barclay [A] walk, 'gainst Time.'

['MS. British Bards', and 'First to Fourth Editions.']

[Sub-Footnote A: Captain Robert Barclay (1779-1854) of Ury,
agriculturalist and pedestrian, came of a family noted for physical
strength and endurance. Byron saw him win his walk against Wood at
Newmarket. (See Angelo's 'Reminiscences' (1837), vol. ii. pp. 37-44.) In
July, 1809, Barclay completed his task of walking a thousand miles in a
thousand hours, at the rate of one mile in each and every hour. (See,
too, for an account of Barclay, 'The Eccentric Review' (1812), i.
133-150.)]]

[Footnote xxiii:

'Breaks into mawkish lines each holy Book'.

['MS. First Edition'.] ]

[Footnote xxiv:

'Thy "Sympathy" that'.

['British Bards'.] ]

[Footnote xxv:

'And shows dissolved in sympathetic tears'.
'----in thine own melting tears.--'

['MS. First to Fourth Editions'.]]

[Footnote xxvi:

'Whether in sighing winds them seek'st relief
Or Consolation in a yellow leaf.--'

['MS. first to Fourth Editions.'] ]

[Footnote xxvii:

'What pretty sounds.'

['British Bards.'] ]

[Footnote xxviii:

'Thou fain woulds't----'

['British Bards.'] ]

[Footnote xxix:

'But to soft themes'.

['British Bards, First Edition'.] ]

[Footnote xxx:

'The Bard has wove'.

['British Bards'.] ]

[Footnote xxxi:

'If Pope, since mortal, not untaught to err
Again demand a dull biographer'.

['MS'.]]

[Footnote xxxii:

'Too much in Turtle Bristol's sons delight
Too much in Bowls of Rack prolong the night.--'

['MS. Second to Fourth Editions'.]

'Too much o'er Bowls.'

['Second and Third Editions'.]]

[Footnote xxxiii:

'And yet why'.

['British Bards'.] ]

[Footnote xxxiv:

'Or old or young'.

['British Bards'.] ]

[Footnote xxxv:

--'yes, I'm sure all may.'

['Quarto Proof Sheet']

[Footnote xxxvi:

'While Cloacina's holy pontiff Lambe [3]
As he himself was damned shall try to damn'.

['British Bards'.]

[Sub-Footnote A. We have heard of persons who "when the Bagpipe sings in
the nose cannot contain their urine for affection," but Mr. L. carries
it a step further than Shakespeare's diuretic amateurs, being notorious
at school and college for his inability to contain--anything. We do not
know to what "Pipe" to attribute this additional effect, but the fact is
uncontrovertible.--['Note' to Quarto Proof bound up with 'British
Bards'.]]

[Footnote xxxvii:

'Lo! long beneath'--.

['British Bards'.]]

[Footnote xxxviii:

'And grateful to the founder of the feast
Declare his landlord can translate at least'.--

['MS. British Bards. First to Fourth Editions'.]]

[Footnote xxxix:

'--are fed because they write.'

['British Bards'.]]

[Footnote xl:

'Princes in Barrels, Counts in arbours pent.--

[MS. British Bards'.]]

[Footnote xli:

'His "damme, poohs."'

['MS. First Edition.']]

[Footnote xlii:

'While Kenny's World just suffered to proceed
Proclaims the audience very kind indeed'.--

['MS. British Bards. First to Fourth Editions'.]]

[Footnote xliii:

'Resume her throne again'.--

['MS. British Bards. First to Fourth Editions.']]

[Footnote xliv:--

'and Kemble lives to tread'.--

['British Bards. First to Fourth Editions.']]

[Footnote xlv:

'St. George [A] and Goody Goose divide the prize.'--

[MS. alternative in British Bards.]

[Sub-Footnote A: We need not inform the reader that we do not allude to
the Champion of England who slew the Dragon. Our St. George is content
to draw status with a very different kind of animal.--[Pencil note to
'British Bards'.]]]

[Footnote xlvi:

'Its humble flight to splendid Pantomimes'.

['British Bards. MS']]

[Footnote xlvii:

'Behold the new Petronius of the times
The skilful Arbiter of modern crimes.'

['MS.']

[Footnote xlviii:

'----a Paget for your wife.'

['MS. First to Fourth Editions.']]

[Footnote xlix:

'From Grosvenor Place or Square'.

['MS. British Bards'.]]

[Footnote l:

'On one alone Apollo deigns to smile
And crowns a new Roscommon in Carlisle.'

['MS. Addition to British Bards.']

'Nor e'en a hackneyed Muse will deign to smile
On minor Byron, or mature Carlisle.'

[First Edition.]

[Footnote li:

'Yet at their fiat----'
'Yet at their nausea----.'

['MS. Addition to British Bards'.]]

[Footnote lii:

'Such sneering fame.'

['British Bards']

[Footnote liii:

'Though Bell has lost his nightingales and owls,
Matilda snivels still and Hafiz howls,
And Crusca's spirit rising from the dead
Revives in Laura, Quiz, and X. Y. Z.'--

['British Bards. First to Third Editions', 1810.]]

[Footnote liv:

'None since the past have claimed the tribute due'.

['British Bards. MS'.]]

[Footnote lv:

'From Albion's cliffs to Caledonia's coast.
Some few who know to write as well as feel'.

['MS'.]]

[Footnote lvi:

'The spoiler came; and all thy promise fair
Has sought the grave, to sleep for ever there.--'

['First to Fourth Editions']]

[Footnote lvii:

'On him may meritorious honours tend
While doubly mingling,'.

['MS. erased'.]]

Footnote lviii:

'And you united Bards'.

['MS. Addition to British Bards'.]

'And you ye nameless'.

['MS. erased'.]]

[Footnote lvix:

'Translation's servile work at length disown
And quit Achaia's Muse to court your own'.

['MS. Addition to British Bards'.]]

[Footnote lx:

'Let these arise and anxious of applause'.

['British Bards. MS'.]]

[Footnote lxi:

'But not in heavy'.

['British Bards. MS'.]]

[Footnote lxii:

'Let prurient Southey cease'.

['MS. British Bards'.]]

[Footnote lxiii:

'still the babe at nurse'.

['MS'.]

'Let Lewis jilt our nurseries with alarm
With tales that oft disgust and never charm'.

[Footnote lxiv:

'But thou with powers--'

['MS. British Bards'.]]

[Footnote lxv:

'Let MOORE be lewd; let STRANGFORD steal from MOORE'.

['MS. First to Fourth Editions'.]]

[Footnote lxvi:

'For outlawed Sherwood's tales.'

['MS. Brit. Bards. Eds.' 1-4.]

[Footnote lxvii:

'And even spurns the great Seatonian prize.--'

['MS. First to Fourth Editions' (a correction in the Annotated Copy).]]

[Footnote lxviii:

'With odes by Smyth [A] and epic songs by Hoyle,
Hoyle whose learn'd page, if still upheld by whist
Required no sacred theme to bid us list.--'

['MS. British Bards.']

[Sub-Footnote A: William Smyth (1766-1849). Professor of Modern History
at Cambridge, published his 'English Lyrics' (in 1806), and several
other works.]

[Footnote lxix:

'Yet hold--as when by Heaven's supreme behest,
If found, ten righteous had preserved the Rest
In Sodom's fated town--for Granta's name
Let Hodgson's Genius plead and save her fame
But where fair Isis, etc.'

['MS.' and 'British Bards.']]

[Footnote lxx:

'See Clarke still striving piteously to please
Forgets that Doggrel leads not to degrees.--'

['MS. Fragment' bound up with 'British Bards'.]

[Footnote lxxi:

'So sunk in dullness and so lost in shame
That Smythe and Hodgson scarce redeem thy fame.--'

['MS. Addition to British Bards. First to Fourth Editions'.]]

[Footnote lxxii:

'----is wove.--'

[MS. British Bards' and 'First to Fourth Editions'.]]

[Footnote lxxiii:

'And modern Britons justly praise their sires.'--

['MS. British Bards' and 'First to Fourth Editions]]

[Footnote lxxiv:

'--what her sons must know too well.'

['British Bards]]

[Footnote lxxv:

'Zeal for her honour no malignant Rage,
Has bade me spurn the follies of the age.--'

['MS. British Bards'. First Edition]]

[Footnote lxxvi:

'--Ocean's lonely Queen.'

['British Bards']]

'--Ocean's mighty Queen.'

['First to Fourth Editions']]

[Footnote: lxxvii.

'Like these thy cliffs may sink in ruin hurled
The last white ramparts of a falling world'.--

['British Bards MS.']]

[Footnote: lxxviii.

'But should I back return, no lettered rage
Shall drag my common-place book on the stage:
Let vain Valentia [A] rival luckless Carr,
And equal him whose work he sought to mar.--'

['Second to Fourth Editions'.]

[Sub-Footnote: A. Lord Valentia (whose tremendous travels are
forthcoming with due decorations, graphical, topographical,
typographical) deposed, on Sir John Carr's unlucky suit, that Mr.
Dubois's satire prevented his purchase of 'The Stranger' in
Ireland.--Oh, fie, my lord! has your lordship no more feeling for a
fellow-tourist?--but "two of a trade," they say, etc. [George Annesley,
Viscount Valentia (1769-1844), published, in 1809, 'Voyages and Travels
to India, Ceylon, the Red Sea, Abyssinia, and Egypt in the Years
1802-6'. Byron calls him "vain" Valentia, because his "accounts of
ceremonies attending his lordship's interviews with several of the petty
princes" suggest the thought "that his principal errand to India was to
measure certain rank in the British peerage against the gradations of
Asiatic royalty."--'Eclectic Review', August, 1809. In August, 1808, Sir
John Carr, author of numerous 'Travels', brought an unsuccessful action
for damages against Messrs. Hood and Sharpe, the publishers of the
parody of his works by Edward Dubois,--'My Pocket Book: or Hints for a
Ryghte Merrie and Conceitede Tour, in 4to, to be called "The Stranger in
Ireland in 1805,"' By a Knight Errant, and dedicated to the papermakers.
(See Letter to Hodgson, August 6, 1809, and suppressed stanza (stanza
Ixxxvii.) of the first canto of 'Childe Harold'.)]]

[Footnote lxxix:

'To stun mankind, with Poesy or Prose'.

['Second to Fourth Editions'.]

[Footnote lxxx:

'Thus much I've dared to do, how far my lay'.--

['First to Fourth Editions'.]]

POSTSCRIPT TO THE SECOND EDITION.

I have been informed, since the present edition went to the press, that
my trusty and well-beloved cousins, the Edinburgh Reviewers, are
preparing a most vehement critique on my poor, gentle, 'unresisting'
Muse, whom they have already so be-deviled with their ungodly ribaldry;

"Tantaene animis coelestibus Irae!"

I suppose I must say of JEFFREY as Sir ANDREW AGUECHEEK saith, "an I had
known he was so cunning of fence, I had seen him damned ere I had fought
him." What a pity it is that I shall be beyond the Bosphorus before the
next number has passed the Tweed! But I yet hope to light my pipe with
it in Persia. [1]

My Northern friends have accused me, with justice, of personality
towards their great literary Anthropophagus, Jeffery; but what else was
to be done with him and his dirty pack, who feed by "lying and
slandering," and slake their thirst by "evil speaking"? I have adduced
facts already well known, and of JEFFREY's mind I have stated my free
opinion, nor has he thence sustained any injury:--what scavenger was
ever soiled by being pelted with mud? It may be said that I quit England
because I have censured there "persons of honour and wit about town;"
but I am coming back again, and their vengeance will keep hot till my
return. Those who know me can testify that my motives for leaving
England are very different from fears, literary or personal: those who
do not, may one day be convinced. Since the publication of this thing,
my name has not been concealed; I have been mostly in London, ready to
answer for my transgressions, and in daily expectation of sundry
cartels; but, alas! "the age of chivalry is over," or, in the vulgar
tongue, there is no spirit now-a-days.

There is a youth ycleped Hewson Clarke (subaudi 'esquire'), a sizer of
Emanuel College, and, I believe, a denizen of Berwick-upon-Tweed, whom I
have introduced in these pages to much better company than he has been
accustomed to meet; he is, notwithstanding, a very sad dog, and for no
reason that I can discover, except a personal quarrel with a bear, kept
by me at Cambridge to sit for a fellowship, and whom the jealousy of his
Trinity contemporaries prevented from success, has been abusing me, and,
what is worse, the defenceless innocent above mentioned, in the
'Satirist' for one year and some months. I am utterly unconscious of
having given him any provocation; indeed, I am guiltless of having heard
his name, till coupled with the 'Satirist'. He has therefore no reason
to complain, and I dare say that, like Sir Fretful Plagiary, he is
rather 'pleased' than otherwise. I have now mentioned all who have done
me the honour to notice me and mine, that is, my bear and my book,
except the editor of the 'Satirist', who, it seems, is a gentleman--God
wot! I wish he could impart a little of his gentility to his subordinate
scribblers. I hear that Mr. JERNINGHAM[1] is about to take up the
cudgels for his Maecenas, Lord Carlisle. I hope not: he was one of the
few, who, in the very short intercourse I had with him, treated me with
kindness when a boy; and whatever he may say or do, "pour on, I will
endure." I have nothing further to add, save a general note of
thanksgiving to readers, purchasers, and publishers, and, in the words
of SCOTT, I wish

"To all and each a fair good night,
And rosy dreams and slumbers light."

[Footnote 1: The article never appeared, and Lord Byron, in the 'Hints
from Horace', taunted Jeffrey with a silence which seemed to indicate
that the critic was beaten from the field.]

[Footnote 2: Edward Jerningham (1727-1812), third son of Sir George
Jerningham, Bart., was an indefatigable versifier. Between the
publication of his first poem, 'The Nunnery', in 1766, and his last,
'The Old Bard's Farewell', in 1812, he sent to the press no less than
thirty separate compositions. As a contributor to the 'British Album',
Gifford handled him roughly in the 'Baviad' (lines 21, 22); and Mathias,
in a note to 'Pursuits of Literature', brackets him with Payne Knight as
"ecrivain du commun et poete vulgaire." He was a dandy with a literary
turn, who throughout a long life knew every one who was worth knowing.
Some of his letters have recently been published (see 'Jerningham
Letters', two vols., 1896).]

HINTS FROM HORACE: [i]

BEING AN ALLUSION IN ENGLISH VERSE TO THE EPISTLE
"AD PISONES, DE ARTE POETICA,"
AND INTENDED AS A SEQUEL TO "ENGLISH BARDS, AND SCOTCH REVIEWERS."

----"Ergo fungar vice cotis, acutum
Reddere quae ferrum valet, exsors ipsa secandi."

HOR. 'De Arte Poet'., II. 304 and 305.

"Rhymes are difficult things--they are stubborn things, Sir."

FIELDING'S 'Amelia', Vol. iii. Book; and Chap. v.

[Footnote i:

Hints from Horace (Athens, Capuchin Convent, March 12, 1811); being an
Imitation in English Verse from the Epistle, etc.

[MS, M.]

Hints from Horace: being a Partial Imitation, in English Verse, of the
Epistle 'Ad Pisones, De Arte Poetica'; and intended as a sequel to
'English Bards, and Scotch Reviewers'.

Athens, Franciscan Convent, March 12, 1811.

['Proof b'.]]

INTRODUCTION TO HINTS FROM HORACE

Three MSS. of 'Hints from Horace' are extant, two in the possession of
Lord Lovelace (MSS. L. a and b), and a third in the possession of Mr.
Murray ('MS. M'.).

Proofs of lines 173-272 and 1-272 ('Proofs a, b'), are among the Egerton
MSS. in the British Museum. They were purchased from the Rev. Alexander
Dallas, January 12, 1867, and are, doubtless, fragments of the proofs
set up in type for Cawthorn in 1811. They are in "book-form," and show
that the volume was intended to be uniform with the Fifth Edition of
'English Bards, and Scotch Reviewers', of 1811. The text corresponds
closely but not exactly with that adopted by Murray in 1831, and does
not embody the variants of the several MSS. It is probable that complete
proofs were in Moore's possession at the time when he included the
selections from the 'Hints' in his 'Letters and Journals', pp. 263-269,
and that the text of the entire poem as published in 1831 was derived
from this source. Selections, numbering in all 156 lines, had already
appeared in 'Recollections of the Life of Lord Byron', by R. C. Dallas,
1824, pp. 104-113. Byron, estimating the merit by the difficulty of the
performance, rated the 'Hints from Horace' extravagantly high. He only
forbore to publish them after the success of 'Childe Harold', because he
felt, as he states, that he should be "heaping coals of fire upon his
head" if he were in his hour of triumph to put forth a sequel to a
lampoon provoked by failure. Nine years afterwards, when he resolved to
print the work with some omissions, he gravely maintained that it
excelled the productions of his mature genius. "As far," he said, "as
versification goes, it is good; and on looking back at what I wrote
about that period, I am astonished to see how little I have trained on.
I wrote better then than now; but that comes of my having fallen into
the atrocious bad taste of the times" [September 23, 1820]. The opinion
of J. C. Hobhouse that the 'Hints' would require "a good deal of
slashing" to adapt them to the passing hour, and other considerations,
again led Byron to suspend the publication. Authors are frequently bad
judges of their own works, but of all the literary hallucinations upon
record there are none which exceed the mistaken preferences of Lord
Byron. Shortly after the appearance of 'The Corsair' he fancied that
'English Bards' was still his masterpiece; when all his greatest works
had been produced, he contended that his translation from Pulci was his
"grand performance,--the best thing he ever did in his life;" and
throughout the whole of his literary career he regarded these 'Hints
from Horace' with a special and unchanging fondness.

HINTS FROM HORACE

ATHENS: CAPUCHIN CONVENT, March. 12, 1811. [i]

Who would not laugh, if Lawrence [1], hired to grace [ii]
His costly canvas with each flattered face,
Abused his art, till Nature, with a blush,
Saw cits grow Centaurs underneath his brush?
Or, should some limner join, for show or sale,
A Maid of Honour to a Mermaid's tail? [iii]
Or low Dubost [2]--as once the world has seen--
Degrade God's creatures in his graphic spleen?
Not all that forced politeness, which defends
Fools in their faults, could gag his grinning friends. 10
Believe me, Moschus, like that picture seems [iv]
The book which, sillier than a sick man's dreams,
Displays a crowd of figures incomplete,
Poetic Nightmares, without head or feet.

Poets and painters, as all artists know, [v]
May shoot a little with a lengthened bow;
We claim this mutual mercy for our task,
And grant in turn the pardon which we ask;
But make not monsters spring from gentle dams--
Birds breed not vipers, tigers nurse not lambs. 20

A laboured, long Exordium, sometimes tends
(Like patriot speeches) but to paltry ends; [vi]
And nonsense in a lofty note goes down,
As Pertness passes with a legal gown: [vii]
Thus many a Bard describes in pompous strain [viii]
The clear brook babbling through the goodly plain:
The groves of Granta, and her Gothic halls,
King's Coll-Cam's stream-stained windows, and old walls:
Or, in adventurous numbers, neatly aims
To paint a rainbow, or the river Thames. [3] 30

You sketch a tree, and so perhaps may shine [ix]--
But daub a shipwreck like an alehouse sign;
You plan a _vase_--it dwindles to a _pot_;
Then glide down Grub-street--fasting and forgot:
Laughed into Lethe by some quaint Review,
Whose wit is never troublesome till--true.

In fine, to whatsoever you aspire,
Let it at least be simple and entire.

The greater portion of the rhyming tribe [x]
(Give ear, my friend, for thou hast been a scribe) 40
Are led astray by some peculiar lure. [xi]
I labour to be brief--become obscure;
One falls while following Elegance too fast;
Another soars, inflated with Bombast;
Too low a third crawls on, afraid to fly,
He spins his subject to Satiety;
Absurdly varying, he at last engraves
Fish in the woods, and boars beneath the waves! [xii]

Unless your care's exact, your judgment nice,
The flight from Folly leads but into Vice; 50
None are complete, all wanting in some part,
Like certain tailors, limited in art.
For galligaskins Slowshears is your man [xiii]
But coats must claim another artisan. [4]
Now this to me, I own, seems much the same
As Vulcan's feet to bear Apollo's frame;
Or, with a fair complexion, to expose
Black eyes, black ringlets, but--a bottle nose!

Dear Authors! suit your topics to your strength,
And ponder well your subject, and its length; 60
Nor lift your load, before you're quite aware
What weight your shoulders will, or will not, bear.
But lucid Order, and Wit's siren voice, [xiv]
Await the Poet, skilful in his choice;
With native Eloquence he soars along,
Grace in his thoughts, and Music in his song.

Let Judgment teach him wisely to combine
With future parts the now omitted line:
This shall the Author choose, or that reject,
Precise in style, and cautious to select; 70
Nor slight applause will candid pens afford
To him who furnishes a wanting word. [xv]
Then fear not, if 'tis needful, to produce
Some term unknown, or obsolete in use,
(As Pitt has furnished us a word or two, [5]
Which Lexicographers declined to do;)
So you indeed, with care,--(but be content
To take this license rarely)--may invent.
New words find credit in these latter days,
If neatly grafted on a Gallic phrase; [xvi] 80
What Chaucer, Spenser did, we scarce refuse
To Dryden's or to Pope's maturer Muse.
If you can add a little, say why not,
As well as William Pitt, and Walter Scott?
Since they, by force of rhyme and force of lungs, [xvii]
Enriched our Island's ill-united tongues;
'Tis then--and shall be--lawful to present
Reform in writing, as in Parliament.

As forests shed their foliage by degrees,
So fade expressions which in season please; 90
And we and ours, alas! are due to Fate,
And works and words but dwindle to a date.
Though as a Monarch nods, and Commerce calls, [xviii]
Impetuous rivers stagnate in canals;
Though swamps subdued, and marshes drained, sustain [xix]
The heavy ploughshare and the yellow grain,
And rising ports along the busy shore
Protect the vessel from old Ocean's roar,
All, all, must perish; but, surviving last,
The love of Letters half preserves the past. 100
True, some decay, yet not a few revive; [xx] [6]
Though those shall sink, which now appear to thrive,
As Custom arbitrates, whose shifting sway [xxi]
Our life and language must alike obey.

The immortal wars which Gods and Angels wage,
Are they not shown in Milton's sacred page?
His strain will teach what numbers best belong
To themes celestial told in Epic song. [xxii]

The slow, sad stanza will correctly paint
The Lover's anguish, or the Friend's complaint. 110
But which deserves the Laurel--Rhyme or Blank? [xxiii]
Which holds on Helicon the higher rank?
Let squabbling critics by themselves dispute
This point, as puzzling as a Chancery suit.

Satiric rhyme first sprang from selfish spleen.
You doubt--see Dryden, Pope, St. Patrick's Dean. [7]
Blank verse is now, with one consent, allied
To Tragedy, and rarely quits her side.
Though mad Almanzor [8] rhymed in Dryden's days,
No sing-song Hero rants in modern plays; 120
Whilst modest Comedy her verse foregoes
For jest and 'pun' [9] in very middling prose.
Not that our Bens or Beaumonts show the worse,
Or lose one point, because they wrote in verse.
But so Thalia pleases to appear, [xxiv]
Poor Virgin! damned some twenty times a year!

Whate'er the scene, let this advice have weight:--
Adapt your language to your Hero's state.
At times Melpomene forgets to groan,
And brisk Thalia takes a serious tone; 130
Nor unregarded will the act pass by
Where angry Townly [10] "lifts his voice on high."
Again, our Shakespeare limits verse to Kings,
When common prose will serve for common things;
And lively Hal resigns heroic ire, [xxv]--
To "hollaing Hotspur" [11] and his sceptred sire. [xxvi]

'Tis not enough, ye Bards, with all your art,
To polish poems; they must touch the heart:
Where'er the scene be laid, whate'er the song,
Still let it bear the hearer's soul along; 140
Command your audience or to smile or weep,
Whiche'er may please you--anything but sleep.
The Poet claims our tears; but, by his leave,
Before I shed them, let me see 'him' grieve.

If banished Romeo feigned nor sigh nor tear,
Lulled by his languor, I could sleep or sneer. [xxvii]
Sad words, no doubt, become a serious face,
And men look angry in the proper place.
At double meanings folks seem wondrous sly,
And Sentiment prescribes a pensive eye; 150
For Nature formed at first the inward man,
And actors copy Nature--when they can.
She bids the beating heart with rapture bound,
Raised to the Stars, or levelled with the ground;
And for Expression's aid, 'tis said, or sung, [xxviii]
She gave our mind's interpreter--the tongue,
Who, worn with use, of late would fain dispense
(At least in theatres) with common sense;
O'erwhelm with sound the Boxes, Gallery, Pit,
And raise a laugh with anything--but Wit. 160

To skilful writers it will much import,
Whence spring their scenes, from common life or Court;
Whether they seek applause by smile or tear,
To draw a Lying Valet, [12] or a Lear, [13]
A sage, or rakish youngster wild from school,
A wandering Peregrine, or plain John Bull;
All persons please when Nature's voice prevails,
Scottish or Irish, born in Wilts or Wales.

Or follow common fame, or forge a plot; [xxix]
Who cares if mimic heroes lived or not! 170
One precept serves to regulate the scene:
Make it appear as if it _might_ have _been_.

If some Drawcansir [14] you aspire to draw,
Present him raving, and above all law:
If female furies in your scheme are planned,
Macbeth's fierce dame is ready to your hand;
For tears and treachery, for good and evil,
Constance, King Richard, Hamlet, and the Devil!
But if a new design you dare essay,
And freely wander from the beaten way, 180
True to your characters, till all be past,

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