The introduction to Julian and Maddalo, directly suggested by this visit, under the slight veil of a change in the name, gives a summary of the view of his friend's character which he continued to entertain. "He is a person of the most consummate genius, and capable if he would direct his energies to such an end, of becoming the redeemer of his degraded country. But it is his weakness to be proud; he derives, from a comparison of his own extraordinary mind with the dwarfish intellects that surround him, an intense apprehension of the nothingness of human life. His passions and his powers are incomparably greater than those of other men; and instead of the latter having been employed in curbing the former, they have mutually lent each other strength;" but "in social life no human being can be more gentle, patient, and unassuming. He is cheerful, frank, and witty. His more serious conversation is a sort of intoxication; men are held by it as by a spell."
Subsequently to this visit Byron lent the villa at Este to his friend, and during the autumn weeks of their residence there were written the lines among the Euganean hills, where, in the same strain of reverence, Shelley refers to the "tempest-cleaving swan of Albion," to the "music flung o'er a mighty thunder-fit," and to the sunlike soul destined to immortalize his ocean refuge,—
As the ghost of Homer clings
Round Seamander's wasting springs,
As divinest Shakespeare's might
Fills Avon and the world with light.
"The sun," he says, at a later date, "has extinguished the glowworm;" and again, "I despair of rivalling Lord Byron, as well I may; and there is no other with whom it is worth contending."
Shelley was, in the main, not only an exquisite but a trustworthy critic; and no man was more absolutely above being influenced by the fanfaronade of rank or the din of popularity. These criticisms are therefore not to be lightly set aside, nor are they unintelligible. Perhaps those admirers of the clearer and more consistent nature, who exalt him to the rank of a greater poet, are misled by the amiable love of one of the purest characters in the history of our literature. There is at least no difficulty in understanding why he should have been, as it were, concussed by Byron's greater massiveness and energy into a sense—easy to an impassioned devotee—of inferiority. Similarly, most of the estimates— many already reversed, others reversible—by the men of that age, of each other, can be explained. We can see how it was that Shelley overestimated both the character and the powers of Hunt; and Byron depreciated Keats, and was ultimately repelled by Wordsworth, and held out his hand to meet the manly grasp of Scott. The one enigma of their criticism is the respect that they joined in paying to the witty, genial, shallow, worldly, musical Tom Moore.
This favourite of fortune and the minor muses, in the course of a short tour through the north of Italy in the autumn of 1819, found his noble friend on the 8th of October at La Mira, went with him on a sight-seeing expedition to Venice, and passed five or six days in his company. Of this visit he has recorded his impressions, some of which relate to his host's personal appearance, others to his habits and leading incidents of his life. Byron "had grown fatter, both in person and face, and the latter had suffered most by the change, having lost by the enlargement of the features some of that refined and spiritualized look that had in other times distinguished it, but although less romantic he appeared more humorous." They renewed their recollections of the old days and nights in London, and compared them with later experiences of Bores and Blues, in a manner which threatened to put to flight the historical and poetical associations naturally awakened by the City of the Sea. Byron had a rooted dislike to any approach to fine talk in the ordinary intercourse of life; and when his companion began to rhapsodize on the rosy hue of the Italian sunsets, he interrupted him with, "Come, d—n it, Tom, don't be poetical." He insisted on Moore, who sighed after what he imagined would be the greater comforts of an hotel, taking up his quarters in his palace; and as they were groping their way through the somewhat dingy entrance, cried out, "Keep clear of the dog!" and a few paces farther, "Take care, or the monkey will fly at you!" an incident recalling the old vagaries of the menagerie at Newstead. The biographer's reminiscences mainly dwell on his lordship's changing moods and tempers and gymnastic exercises, his terror of interviewing strangers, his imperfect appreciation of art, his preference of fish to flesh, his almost parsimonious economy in small matters, mingled with allusions to his domestic calamities, and frequent expressions of a growing distaste to Venetian society. On leaving the city, Moore passed a second afternoon at La Mira, had a glimpse of Allegra, and the first intimation of the existence of the notorious Memoirs. "A short time after dinner Byron left the room, and returned carrying in his hand a white leather bag. 'Look here,' he said, holding it up; 'this would be worth something to Murray, though you, I dare say, would not give sixpence for it.' 'What is it?' I asked. 'My life and adventures,' he answered. 'It is not a thing,' he answered, 'that can be published during my lifetime, but you may have it if you like. There, do whatever you please with it.' In taking the bag, and thanking him most warmly, I added, 'This will make a nice legacy for my little Tom, who shall astonish the latter days of the nineteenth century with it.'"[2] Shortly after, Moore for the last time bade his friend farewell, taking with him from Madame Guiccioli, who did the honours of the house, an introduction to her brother, Count Gamba, at Rome. "Theresa Guiccioli," says Castelar, "appears like a star on the stormy horizon of the poet's life." A young Romagnese, the daughter of a nobleman of Ravenna, of good descent but limited means, she had been educated in a convent, and married in her nineteenth year to a rich widower of sixty, in early life a friend of Alfieri, and noted as the patron of the National Theatre. This beautiful blonde, of pleasing manners, graceful presence, and a strong vein of sentiment, fostered by the reading of Chateaubriand, met Byron for the first time casually when she came in her bridal dress to one of the Albrizzi reunions; but she was only introduced to him early in the April of the following year, at the house of the Countess Benzoni. "Suddenly the young Italian found herself inspired with a passion of which till that moment her mind could not have formed the least idea; she had thought of love but as an amusement, and now became its slave." Byron, on the other hand, gave what remained of a heart, never alienated from her by any other mistress. Till the middle of the month they met every day; and when the husband took her back to Ravenna she despatched to her idol a series of impassioned letters, declaring her resolution to mould her life in accordance with his wishes. Towards the end of May she had prepared her relatives to receive Byron as a visitor. He started in answer to the summons, writing on his way the beautiful stanzas to the Po, beginning—
River that rollest by the ancient walls
Where dwells the lady of my love.
[Footnote 2: In December, 1820, Byron sent several more sheets of memoranda from Ravenna, and in the following year suggested an arrangement by which Murray paid over to Moore, who was then in difficulties, 2000_l_. for the right of publishing the whole, under the condition, among others, that Lady Byron should see them, and have the right of reply to anything that might seem to her objectionable. She on her part declined to have anything to do with them. When the Memoirs were destroyed, Moore paid back the 2000_l_., but obtained four thousand guineas for editing the Life and Correspondence.]
Again passing through Ferrara, and visiting Bologna, he left the latter on the 8th, and on his arrival at his destination found the Countess dangerously ill; but his presence, and the attentions of the famous Venetian doctor, Aglietti, who was sent for by his advice, restored her. The Count seems to have been proud of his guest. "I can't make him out at all," Byron writes; "he visits me frequently, and takes me out (like Whittington the Lord Mayor) in a coach and six horses. The fact appears to be, that he is completely governed by her—and, for that matter, so am I." Later he speaks of having got his horses from Venice, and riding or driving daily in the scenery reproduced in the third canto of Don Juan:—
Sweet hour of twilight! in the solitude
Of the pine forest, and the silent shore
Which bounds Ravenna's immemorial wood.