BYRON
It is in a certain sense a lamentable indictment upon the sheepishness and inertness of the average crowd that a figure like that of Byron should have been so exceptional in his own day and should be so exceptional still. For, godlike rascal as he was, he was made of quite normal stuff.
There was nothing about him of that rare magical quality which separates such poets as Shelley or Edgar Allan Poe or Paul Verlaine from the mass of ordinary people. The Byronic type, as it is called, has acquired a certain legendary glamour; but it is nothing, when we come really to analyse it, but the universal type of vain, impetuous, passionate youth, asserting itself with royal and resplendent insolence in defiance of the cautious discretion of middle-aged conventions.
Youth is essentially Byronic when it is natural and fearless and strong; and it is a melancholy admission of something timid and sluggish in us all that we should speak "with bated breath and whispering humbleness" of this brilliant figure. A little more courage, a little less false modesty, a little more sincerity, and the lambs of our democratic age would all show something of that leonine splendour.
There is nothing in Byron so far above the commonplace that he is out of the reach of average humanity. He is made of the same clay as we all are made of. His vanity is our vanity, his pride our pride, his vices our vices.
We are on the common earth with him; on the natural ground of our normal human infirmities; and if he puts us to shame it is only because he has the physical force and the moral courage to be himself more audaciously and frankly than we dare to be.
His genius is no rare hot-house flower. It is no wild and delicate plant growing in a remote and inhuman soil. It is simply the intensification, to a point of fine poetic fury, of emotions and attitudes and gestures which we all share under the pressure of the spirit of youth.
It is for this reason—for the reason that he expressed so completely in his wayward and imperious manner the natural feelings of normal youthfulness—that he became in his own day so legendary and symbolic a personage, and that he has become in ours a sort of flaming myth. He would never have become all this; he would never have stirred the fancy of the masses of people as he has; if there were not in his temperament something essentially simple, human, and within the comprehension of quite ordinary minds.
It might indeed be maintained that what Oscar Wilde is to the rarer and more perverse minority, Byron is to the solid majority of downright simple philistines.
The average British or American "plain blunt man" regards, and always will regard, such writers as Shelley and Poe and Verlaine and Wilde with a certain uneasy suspicion. These great poets must always seem to him a little weird and morbid and apart from common flesh and blood. He will be tempted to the end to use in reference to them the ambiguous word "degenerate." They strike him as alien and remote. They seem to have no part or lot in the world in which he lives. He suspects them of being ingrained immoralists and free-lovers. Their names convey to his mind something very sinister, something dangerous to the foundations of society.