Conrad and Medora part, to meet no more in life
‘But she is nothing—wherefore is he here?...
By the first glance on that still, marble brow—
It was enough—she died—what recked it how?
The love of youth, the hope of better years,
The source of softest wishes, tenderest fears,
The only living thing he could not hate,
Was reft at once—and he deserved his fate,
But did not feel it less.’
The blow he feared the most had fallen at last. The only woman whom he loved had withdrawn her society from him, and his heart,
‘Formed for softness—warped to wrong,
Betrayed too early, and beguiled too long,’
was petrified at last!
‘Yet tempests wear, and lightning cleaves the rock;
If such his heart, so shattered it the shock.
There grew one flower beneath its rugged brow,
Though dark the shade—it sheltered—saved till now.
The thunder came—that bolt hath blasted both,
The Granite’s firmness, and the Lily’s growth:
The gentle plant hath left no leaf to tell
Its tale, but shrunk and withered where it fell;
And of its cold protector, blacken round
But shivered fragments on the barren ground!’
In moments of deep emotion, even the most reticent of men may sometimes reveal themselves. ‘The Giaour,’ ‘The Bride of Abydos,’ and ‘The Corsair,’ formed a trilogy, through which the tragedy of Byron’s life swept like a musical theme. Those poems acted like a recording instrument which, by registering his transient moods, was destined ultimately to betray a secret which he had been at so much pains to hide. In ‘The Giaour’ we see remorse for a crime, which he was at first willing to expiate in sorrow and repentance. In ‘The Bride of Abydos’ we find him, in an access of madness and passion, proposing to share the fate of his victim, if she will but consent to fly with him. Happily for both, Mary would never have consented to an act of social suicide. In ‘The Corsair’ we behold his dreams dispelled by the death of his Love and the hope of better years.
‘He asked no question—all were answered now!’
With the dramatic fate of Medora the curtain falls, and the poet, in whom
‘I suoi pensieri in lui dormir non ponno,’