I think I discern what this reluctance means. It means that primarily and intrinsically what Byron did for the world was to bring into prominence and render beautiful and appealing a certain fierce rebellion against unctuous domesticity and solemn puritanism. His political propagandism of Liberty amounts to nothing now. What amounts to a great deal is that he magnificently and in an engaging, though somewhat brutal manner, broke the rules of a bourgeois social code.
As a meteoric rebel against the degrading servility of what we have come to call the "Nonconformist Conscience" Byron must always have his place in the tragically slow emancipation of the human spirit. The reluctance of an ordinary sensitive modern person, genuinely devoted to poetry, to spend any more time with Byron's verses than what those great familiar lyrics printed in all the anthologies exact, is merely a proof that he is not the poet that Shelley, for instance, is.
It is a melancholy commentary upon the "immortality of genius" and that "perishing only with the English language" of which conventional orators make so much, that the case should be so; but it is more important to be honest in the admission of our real feelings than to flatter the pride of the human race.
The world moves on. Manners, customs, habits, moralities, ideals, all change with changing of the times.
Style alone, the imaginative rendering in monumental words of the most personal secrets of our individuality, gives undying interest to what men write. Sappho and Catullus, Villon and Marlowe, are as vivid and fresh to-day as are Walter de la Mare or Edgar Lee Masters.
If Byron can only thrill us with half-a-dozen little songs his glory-loving ghost ought to be quite content.
To last in any form at all, as the generations pass and the face of the planet alters, is a great and lucky accident. To last so that men not only read you but love you when a century's dust covers your ashes is a high and royal privilege.
To leave a name which, whether men read your work or not, whether men love your memory or not, still conjures up an image of strength and joy and courage and beauty, is a great reward.
To leave a name which must be associated for all time with the human struggle to free itself from false idealism and false morality is something beyond any reward. It is to have entered into the creative forces of Nature herself. It is to have become a fatality. It is to have merged your human, individual, personal voice with the voices of the elements which are beyond the elements. It is to have become an eternally living portion of that unutterable central flame which, though the smoke of its burning may roll back upon us and darken our path, is forever recreating the world.
Much of Byron's work, while he lived, was of necessity destructive. Such destruction is part of the secret of life. In the world of moral ideals destroyers have their place side by side with creators. The destroyers of human thoughts are the winged ministers of the thoughts of Nature. Out of the graves of ideals something rises which is beyond any ideal. We are tossed to and fro, poets and men of action alike, by powers whose intentions are dark, by unknown forces whose faces no man may ever see. From darkness to darkness we stagger across a twilight-stage.