"Few people understood Byron; but I know that he had naturally a kind and feeling heart, and that there was not a single spark of malice in his composition."[54]
The private theatricals alluded to in the letters from Harrowgate were, both in prospect and performance, a source of infinite delight to him, and took place soon after his return to Southwell. How anxiously he was expected back by all parties, may be judged from the following fragment of a letter which was received by his companion during their absence from home:—
"Tell Lord Byron that, if any accident should retard his return, his mother desires he will write to her, as she shall be miserable if he does not arrive the day he fixes. Mr. W. B. has written a card to Mrs. H. to offer for the character of 'Henry Woodville,'—Mr. and Mrs. —— not approving of their son's taking a part in the play: but I believe he will persist in it. Mr. G. W. says, that sooner than the party should be disappointed, he will take any part,—sing—dance—in short, do any thing to oblige. Till Lord Byron returns, nothing can be done; and positively he must not be later than Tuesday or Wednesday."
We have already seen that, at Harrow, his talent for declamation was the only one by which Lord Byron was particularly distinguished; and in one of his note-books he adverts, with evident satisfaction, both to his school displays and to the share which he took in these representations at Southwell:—
"When I was a youth, I was reckoned a good actor. Besides Harrow speeches (in which I shone), I enacted Penruddock in the Wheel of Fortune, and Tristram Fickle in Allingham's farce of the Weathercock, for three nights (the duration of our compact), in some private theatricals at Southwell, in 1806, with great applause. The occasional prologue for our volunteer play was also of my composition. The other performers were young ladies and gentlemen of the neighbourhood, and the whole went off with great effect upon our good-natured audience."
It may, perhaps, not be altogether trifling to observe, that, in thus personating with such success two heroes so different, the young poet displayed both that love and power of versatility by which he was afterwards impelled, on a grander scale, to present himself under such opposite aspects to the world;—the gloom of Penruddock, and the whim of Tristram, being types, as it were, of the two extremes, between which his own character, in after-life, so singularly vibrated.
These representations, which form a memorable era at Southwell, took place about the latter end of September, in the house of Mr. Leacroft, whose drawing-room was converted into a neat theatre on the occasion, and whose family contributed some of the fair ornaments of its boards. The prologue which Lord Byron furnished, and which may be seen in his "Hours of Idleness," was written by him between stages, on his way from Harrowgate. On getting into the carriage at Chesterfield, he said to his companion, "Now, Pigot, I'll spin a prologue for our play;" and before they reached Mansfield, he had completed his task,—interrupting, only once, his rhyming reverie, to ask the proper pronunciation of the French word début, and, on being told it, exclaiming, in the true spirit of Byshe, "Ay, that will do for rhyme to new."
The epilogue on the occasion was from the pen of Mr. Becher; and for the purpose of affording to Lord Byron, who was to speak it, an opportunity of displaying his powers of mimicry, consisted of good-humoured portraits of all the persons concerned in the representation. Some intimation of this design having got among the actors, an alarm was felt instantly at the ridicule thus in store for them; and to quiet their apprehensions, the author was obliged to assure them that if, after having heard his epilogue at rehearsal, they did not, of themselves, pronounce it harmless, and even request that it should be preserved, he would most willingly withdraw it. In the mean time, it was concerted between this gentleman and Lord Byron that the latter should, on the morning of rehearsal, deliver the verses in a tone as innocent and as free from all point as possible,—reserving his mimicry, in which the whole sting of the pleasantry lay, for the evening of representation. The desired effect was produced;—all the personages of the green-room were satisfied, and even wondered how a suspicion of waggery could have attached itself to so well-bred a production. Their wonder, however, was of a different nature a night or two after, when, on hearing the audience convulsed with laughter at this same composition, they discovered, at last, the trick which the unsuspected mimic had played on them, and had no other resource than that of joining in the laugh which his playful imitation of the whole dramatis personæ excited.
The small volume of poems, which he had now for some time been preparing, was, in the month of November, ready for delivery to the select few among whom it was intended to circulate; and to Mr. Becher the first copy of the work was presented.[55] The influence which this gentleman had, by his love of poetry, his sociability and good sense, acquired at this period over the mind of Lord Byron, was frequently employed by him in guiding the taste of his young friend, no less in matters of conduct than of literature; and the ductility with which this influence was yielded to, in an instance I shall have to mention, will show how far from untractable was the natural disposition of Byron, had he more frequently been lucky enough to fall into hands that "knew the stops" of the instrument, and could draw out its sweetness as well as its strength.
In the wild range which his taste was now allowed to take through the light and miscellaneous literature of the day, it was but natural that he should settle with most pleasure on those works from which the feelings of his age and temperament could extract their most congenial food; and, accordingly, Lord Strangford's Camoëns and Little's Poems are said to have been, at this period, his favourite study. To the indulgence of such a taste his reverend friend very laudably opposed himself,—representing with truth, (as far, at least, as the latter author is concerned,) how much more worthy models, both in style and thought, he might find among the established names of English literature. Instead of wasting his time on the ephemeral productions of his contemporaries, he should devote himself, his adviser said, to the pages of Milton and of Shakspeare, and, above all, seek to elevate his fancy and taste by the contemplation of the sublimer beauties of the Bible. In the latter study, this gentleman acknowledges that his advice had been, to a great extent, anticipated, and that with the poetical parts of the Scripture he found Lord Byron deeply conversant:—a circumstance which corroborates the account given by his early master, Dr. Glennie, of his great proficiency in scriptural knowledge while yet but a child under his care.