XLVI. Eve of the land which still is Paradise! XLVII. England! with all thy faults I love thee still," I said at Calais, and have not forgot it; I like to speak and lucubrate my fill; I like the government (but that is not it); I like the freedom of the press and quill; I like the Habeas Corpus (when we've got it); I like a parliamentary debate, XLVIII. I like the taxes, when they're not too many; I like a beef-steak, too, as well as any; I like the weather, when it is not rainy, XLIX. Our standing army, and disbanded seamen, L. But to my tale of Laura,—for I find And, therefore, may the reader too displease The gentle reader, who may wax unkind, And caring little for the author's ease, Insist on knowing what he means, a hard And hapless situation for a bard. LI. Oh that I had the art of easy writing What should be easy reading! could I scale Parnassus, where the Muses sit inditing Those pretty poems never known to fail, appropriate pitch of his composition, and is betrayed into wething too like enthusiasm and deep feeling for the light and fantastic strain of his poetry. Neither does the fit go off, for he rises quite into rapture in the succeeding stanza. This however, the only slip of the kind in the whole workthe only passage in which the author betrays the secret which might, however, have been suspected) of his own genus, and his affinity to a higher order of poets than those to whom he has here been pleased to hold out a model.". JEFFREY.] For the received accounts of the cause of Raphael's death, see his lives. 3["The expressions blue-stocking' and ' dandy' may furnish matter for the learning of a commentator at some future period. At this moment, every English reader will understand them. Our present ephemeral dandy is akin to the maccaroni of my earlier days. The first of those expressions has become classical, by Mrs. Hannah More's poem of BasBleu,' and the other by the use of it in one of Lord Byron's poems. Though now become familiar and trite, their day may not be long. -Cadentque Quæ nunc sunt in honore vocabula.'" - LORD GLENBERVIE, Ricciardetto, 1822.] LVII. Laura, when dress'd, was (as I sang before) A pretty woman as was ever seen, Fresh as the Angel o'er a new inn door, Or frontispiece of a new Magazine, With all the fashions which the last month wore, LVIII. They went to the Ridotto; 'tis a hall Where people dance, and sup, and dance again; Its proper name, perhaps, were a masqued ball, But that's of no importance to my strain ; "T is (on a smaller scale) like our Vauxhall, Excepting that it can't be spoilt by rain: The company is "mix'd" (the phrase I quote is As much as saying, they're below your notice); LIX. For a "mix'd company" implies that, save Yourself and friends, and half a hundred more, Whom you may bow to without looking grave, The rest are but a vulgar set, the bore Of public places, where they basely brave The fashionable stare of twenty score Of well-bred persons, call'd "The World" but I, Although I know them, really don't know why. ["I liked the Dandies: they were always very civil to me; though, in general, they disliked literary people, and persecuted and mystified Madame de Stael, Lewis, Horace Twiss, and the like. The truth is, that though I gave up the business early, I had a tinge of Dandyism in my minority, and probably retained enough of it to conciliate the great ones at four and twenty."- Byron Diary, 1821.] 2 ["When Brummell was obliged to retire to France, he knew no French, and having obtained a grammar for the purpose of study, our friend Scrope Davies was asked what progress Brummell had made in French: he responded, that Brummell had been stopped, like Buonaparte in Russia, by the elements. I have put this pun into Beppo, which is a fair It needs must be and so it rather lingers : This form of verse began, I can't well break it, But must keep time and tune like public singers; But if I once get through my present measure, I'll take another when I'm next at leisure. LXIV. They went to the Ridotto ('t is a place To which I mean to go myself to-morrow, 4 Just to divert my thoughts a little space, Because I'm rather hippish, and may borrow Some spirits, guessing at what kind of face May lurk beneath each mask; and as my sorrow Slackens its pace sometimes, I'll make, or find, Something shall leave it half an hour behind.) For my part, now, I ne'er could understand Just to entitle me to make a fuss, I'd preach on this till Wilberforce and Romilly Should quote in their next speeches from my homily. exchange and no robbery;' for Scrope made his fortune at several dinners (as he owned himself), by repeating occasionally, as his own, some of the buffooneries with which I had encountered him in the morning."- Byron Diary 1821.] 3 ["Like Sylla, I have always believed that all things depend upon Fortune, and nothing upon ourselves. I am not aware of any one thought or action, worthy of being called good to myself or others, which is not to be attributed to the good goddess Fortune !". Byron Diary, 1821.] 4 -- [In the margin of the original MS. Lord Byron has written January 19th, 1818. To-morrow will be a Sunday, and full Ridotto."] LXIX. While Laura thus was seen, and seeing, smiling, LXX. He was a Turk, the colour of mahogany; Poor woman, whom they purchase like a pad; LXXI. They lock them up, and veil, and guard them daily, As is supposed the case with northern nations; They cannot read, and so don't lisp in criticism; Have no romances, sermons, plays, reviews, — In harams learning soon would make a pretty schism! LXXIII. No solemn, antique gentleman of rhyme, Still fussily keeps fishing on, the same Of female wits, boy bards in short, a fool! LXXIV. A stalking oracle of awful phrase, LXXVI. Of these same we see several, and of others, LXXVII. The poor dear Mussulwomen whom I mention Our Christian usage of the parts of speech. LXXVIII. No chemistry for them unfolds her gases, Religious novels, moral tales, and strictures No exhibition glares with annual pictures; Why I thank God for that is no great matter, I fear I have a little turn for satire, And yet methinks the older that one grows Inclines us more to laugh than scold, though laughter Leaves us so doubly serious shortly after. Our Laura's Turk still kept his eyes upon her, The approving "Good!" (by no means Goon in law), Could staring win a woman, this had won her, Humming like flies around the newest blaze, The bluest of bluebottles you e'er saw, Teasing with blame, excruciating with praise, Gorging the little fame he gets all raw, Translating tongues he knows not even by letter, And sweating plays so middling, bad were better. LXXV. One hates an author that's all author, fellows Of coxcombry's worst coxcombs e'en the pink Are preferable to these shreds of paper, These unquench'd snuffings of the midnight taper. But Laura could not thus be led astray; She had stood fire too long and well, to boggle Even at this stranger's most outlandish ogle. LXXXII The morning now was on the point of breaking, The ball-room ere the sun begins to rise, Because when once the lamps and candles fail, His blushes make them look a little pale. 1 [Nothing can be cleverer than this caustic little diatribe, introduced a propos of the life of Turkish ladies in their harams.- JEFFREY.] LXXXIII. To see what lady best stood out the season; The name of this Aurora I 'll not mention, Although I might, for she was nought to me Laura, who knew it would not do at all To meet the daylight after seven hours' sitting Among three thousand people at a ball, To make her curtsy thought it right and fitting: The Count was at her elbow with her shawl, And they the room were on the point of quitting, When lo those cursed gondoliers had got Just in the very place where they should not. LXXXVI. In this they're like our coachmen, and the cause They make a never intermitted bawling. The Count and Laura found their boat at last, The dancers and their dresses, too, beside; (As to their palace stairs the rowers glide) "Sir," said the Count, with brow exceeding grave, "Your unexpected presence here will make It necessary for myself to crave Its import? But perhaps 't is a mistake; I hope it is so; and, at once to waive All compliment, I hope so for your sake: You understand my meaning, or you shall." 66 LXXXIX. "That lady is my wife!" Much wonder paints They only call a little on their saints, And then come to themselves, almost or quite; Which saves much hartshorn,salts,and sprinkling faces, And cutting stays, as usual in such cases. 1 ["Sate Laura with a kind of comic horror."- MS.] "And are you really, truly, now a Turk? With any other women did you wive? Is't true they use their fingers for a fork? Well, that's the prettiest shawl-as I'm alive! You'll give it me? They say you eat no pork. And how so many years did you contrive To-Bless me! did I ever? No, I never Saw a man grown so yellow! How 's your liver? XCIII. "Beppo! that beard of yours becomes you not; It shall be shaved before you're a day older: Why do you wear it? Oh! I had forgot Pray don't you think the weather here is colder? How do I look? You shan't stir from this spot In that queer dress, for fear that some beholder Should find you out, and make the story known. How short your hair is! Lord! how gray it's grown!" XCIV. What answer Beppo made to these demands Of pirates landing in a neighbouring bay, XCV. But he grew rich, and with his riches grew so And so he hired a vessel come from Spain, XCVI. Himself, and much (Heaven knows how gotten!) cash, In our opinions:-well, the ship was trim, You ask me," says Lord Byron, in a letter written in for a volume of Manners, &c. on Italy. Perhaps I am the case to know more of them than most Englishmen, because I have lived among the natives, and in parts of the Cuntry where Englishmen never resided before (I speak of Ermagna and this place particularly); but there are many reasons why I do not choose to treat in print on such a subject. Their moral is not your moral; their life is not your life; you would not understand it: it is not English, nor French, nor German, which you would all understand. The conventual stucation, the cavalier servitude, the habits of thought and living, are so entirely different, and the difference becomes so mach more striking the more you live intimately with them, that I know not how to make you comprehend a people who are at once temperate and proffigate, serious in their characters and buffoons in their amusements, capable of impressions and psons, which are at once sudden and durable (what you find in no other nation), and who actually have no society (what we would call so), as you may see by their comedies; they have no real comedy, not even in Goldoni, and that is because they have no society to draw it from. Their conversazioni are not society at all. They go to the theatre to talk, and into company to hold their tongues. The women sit in a circle, and the men gather into groups, or they play at dreary faro, or lotto reale," for small sums. Their academie are concerts ike our own, with better music and more form. Their best things are the carnival balls and masquerades, when every body runs mad for six weeks. After their dinners and suppers they make extempore verses and buffoon one another; but it is in a humour which you would not enter into, ye of the north. -In their houses it is better. As for the women, from the Ssherman's wife up to the nobil dama, their system has its rules, and its fitnesses, and its decorums, so as to be reduced to a kind of discipline or game at hearts, which admits few deviations, unless you wish to lose it. They are extremely tenacious, and jealous as furies, not permitting their lovers even to marry if they can help it, and keeping them always Case to them in public as in private, whenever they can. short, they transfer marriage to adultery, and strike the not out of that commandment. The reason is, that they marry for their parents, and love for themselves. They exact fidelity from a lover as a debt of honour, while they pay the husband as a tradesman, that is, not at all. You hear a person's character, male or female, canvassed, not as depending on their conduct to their husbands or wives, but to their mistress or lover. If I wrote a quarto, I don't know that I could do more than amplify what I have here noted."] In [This extremely clever and amusing performance affords a very curious and complete specimen of a kind of diction and composition of which our English literature has hitherto presented very few examples. It is, in itself, absolutely a thing of nothing-without story, characters, sentiments, or palatinat de Podolie: il avait été élevé page de Jean Casimir, et avait pris à sa cour quelque teinture des belles-lettres. Une intrigue qu'il eut dans sa jeunesse avec la femme d'un gentilhomme Polonais ayant été a sort intelligible object; -a mere piece of lively and loquacious prattling, in short, upon all kinds of frivolous subjects, of gay and desultory babbling about Italy and England, Turks, balls, literature, and fish sauces. But still there is something very engaging in the uniform gaiety, politeness, and good humour of the author, and something still more striking and admirable in the matchless facility with which he has cast into regular, and even difficult, versification the unmingled, unconstrained, and unselected language of the most light, familiar, and ordinary conversation. With great skill and felicity, he has furnished us with an example of about one hundred stanzas of good verse, entirely composed of common words, in their common places; never presenting us with one sprig of what is called poetical diction, or even making use of a single inversion, either to raise the style or assist the rhyme, but running on in an inexhaustible series of good easy colloquial phrases, and finding them fall into verse by some unaccountable and happy fatality. In this great and characteristic quality it is almost invariably excellent. In some other respects, it is more unequal. About one half is as good as possible, in the style to which it belongs; the other half bears, perhaps, too many marks of that haste with which such a work must necessarily be written. Some passages are rather too snappish, and some run too much on the cheap and rather plebeian humour of out-of-the-way rhymes, and strange-sounding words and epithets. But the greater part is extremely pleasant, amiable, and gentlemanlike. - JEFFREY.] 3[The following "lively, spirited, and pleasant tale," as Mr. Gifford calls it, on the margin of the MS., was written in the autumn of 1818, at Ravenna. We extract the following from a reviewal of the time:-"MAZEPPA is a very fine and spirited sketch of a very noble story, and is every way worthy of its author. The story is a well-known one; namely, that of the young Pole, who, being bound naked on the back of a wild horse, on account of an intrigue with the lady of a certain great noble of his country, was carried by his steed into the heart of the Ukraine, and being there picked up by some Cossacks, in a state apparently of utter hopelessness and exhaustion, recovered, and lived to be long after the prince and leader of the nation among whom he had arrived in this extraordinary manner. Lord Byron has represented the strange and wild incidents of this adventure, as being related in a half serious, half sportive way, by Mazeppa himself, to no less a person than Charles the Twelfth of Sweden, in some of whose last campaigns the Cossack Hetman took a distinguished part. He tells it during the desolate bivouack of Charles and the few friends who fled with him towards Turkey, after the bloody overthrow of Pultowa. There is not a little of beauty and gracefulness in this way of setting the picture; the age of Mazeppa-the calm, practised indifference with which he now submits to the worst of fortune's deeds - the heroic, unthinking coldness of the royal |