[202] {474}[For a résumé of M. G. Lewis's Wood Demon (afterwards re-cast as One O'clock; or, The Knight and the Wood-Demon, 1811), see "First Visit to the Theatre in London," Poems, by Hartley Coleridge, 1851, i., Appendix C, pp. cxcix.-cciii. The Wood Demon in its original form was never published.]
[203] [Mrs. Shelley inscribed the following note on the fly-leaf of her copy of The Deformed Transformed:—
"This had long been a favourite subject with Lord Byron. I think that he mentioned it also in Switzerland. I copied it—he sending a portion of it at a time, as it was finished, to me. At this time he had a great horror of its being said that he plagiarised, or that he studied for ideas, and wrote with difficulty. Thus he gave Shelley Aikins' edition of the British poets, that it might not be found in his house by some English lounger, and reported home; thus, too, he always dated when he began and when he ended a poem, to prove hereafter how quickly it was done. I do not think that he altered a line in this drama after he had once written it down. He composed and corrected in his mind. I do not know how he meant to finish it; but he said himself that the whole conduct of the story was already conceived. It was at this time that a brutal paragraph[*] alluding to his lameness appeared, which he repeated to me lest I should hear it from some one else. No action of Lord Byron's life—scarce a line he has written—but was influenced by his personal defect.">[
[[*] It is possible that Mrs. Shelley alludes to a sentence in the Memoirs, etc., of Lord Byron. (by Dr. John Watkin), 1822, p. 46: "A malformation of one of his feet, and other indications of a rickety constitution, served as a plea for suffering him to range the hills and to wander about at his pleasure on the seashore, that his frame might be invigorated by air and exercise.">[
[cv] {477} The Deformed—a drama.—B. Pisa, 1822.
[204] [Moore (Life, p. 13) quotes these lines in connection with a passage in Byron's "Memoranda," where, in speaking of his own sensitiveness on the subject of his deformed foot, he described the feeling of horror and humiliation that came over him, when his mother, in one of her fits of passion, called him "a lame brat!"... "It may be questioned," he adds, "whether that whole drama [The Deformed Transformed] was not indebted for its origin to that single recollection."
Byron's early letters (e.g. November 2, 11, 17, 1804, Letters, 1898, i. 41, 45, 48) are full of complaints of his mother's "eccentric behaviour," her "fits of phrenzy," her "caprices," "passions," and so forth; and there is convincing proof—see Life, pp. 28, 306; Letters, 1898, ii. 122 (incident at Bellingham's execution); Letters, 1901, vi. 179 (Le Diable Boiteux)—that he regarded the contraction of the muscles of his legs as a more or less repulsive deformity. And yet, to quote one of a hundred testimonies,—"with regard to Lord Byron's features, Mr. Mathews observed, that he was the only man he ever contemplated, to whom he felt disposed to apply the word beautiful" (Memoirs of Charles Matthews, 1838, ii. 380). The looker-on or the consoler computes the magnitude and the liberality of the compensation. The sufferer thinks only of his sufferings.]
[205] {478}[So, too, Prospero to Caliban, Tempest, act i. sc. 2, line 309, etc.]
[206] {479}[Compare—"Have not partook oppression." Marino Faliero, act i. sc. 2, line 468, Poetical Works, 1901, iv. 362, note 1.]
[207] {480}[Compare the story of the philosopher Jamblichus and the raising of Eros and Anteros from their "fountain-dwellings."—Manfred, act ii. sc. 2, line 93, Poetical Works, 1901, iv. 105, note 2.]