He would never have pleaded on his own behalf that the tyranny of
an _idee fixe_, a delusion that he was predestined to evil, was an
excuse for his shortcomings or his sins.
an _idee fixe_, a delusion that he was predestined to evil, was an
excuse for his shortcomings or his sins.
Byron
A fellow-feeling lent an intimate and
peculiar interest to the theme. He had suffered all his life from a
painful and inconvenient defect, which his proud and sensitive spirit
had magnified into a deformity. He had been stung to the quick by his
mother's taunts and his sweetheart's ridicule, by the jeers of the base
and thoughtless, by slanderous and brutal paragraphs in newspapers. He
could not forget that he was lame. If his enemies had but possessed the
wit, they might have given him "the sobriquet of _Le Diable Boiteux_"
(letter to Moore, April 2, 1823, _Letters_, 1901, vi. 179). It was no
wonder that so poignant, so persistent a calamity should be "reproduced
in his poetry" (_Life_, p. 13), or that his passionate impatience of
such a "thorn in the flesh" should picture to itself a mysterious and
unhallowed miracle of healing. It is true, as Moore says (_Life_, pp.
45, 306), that "the trifling deformity of his foot" was the embittering
circumstance of his life, that it "haunted him like a curse;" but it by
no means follows that he seriously regarded his physical peculiarity as
a stamp of the Divine reprobation, that "he was possessed by an _idee
fixe_ that every blessing would be 'turned into a curse' to him" (letter
of Lady Byron to H. C. Robinson, _Diary, etc. _, 1869, in. 435, 436). No
doubt he indulged himself in morbid fancies, played with the
extravagances of a restless imagination, and wedded them to verse; but
his intellect, "brooding like the day, a master o'er a slave," kept
guard.
He would never have pleaded on his own behalf that the tyranny of
an _idee fixe_, a delusion that he was predestined to evil, was an
excuse for his shortcomings or his sins.
Byron's very considerable obligations to _The Three Brothers_ might have
escaped notice, but the resemblance between his "Stranger," or "Caesar,"
and the Mephistopheles of "the great Goethe" was open and palpable.
If Medwin may be trusted (_Conversations_, 1824, p. 210), Byron had read
"_Faust_ in a sorry French translation," and it is probable that
Shelley's inspired rendering of "May-day Night," which was published in
_The Liberal_ (No. i. , October 14, 1822, pp. 123-137), had been read to
him, and had attracted his attention. _The Deformed Transformed_ is "a
_Faustish_ kind of drama;" and Goethe, who maintained that Byron's play
as a whole was "no imitation," but "new and original, close, genuine,
and spirited," could not fail to perceive that "his devil was suggested
by my Mephistopheles" (_Conversations_, 1874, p. 174). The tempter who
cannot resist the temptation of sneering at his own wiles, who mocks for
mocking's sake, is not Byron's creation, but Goethe's. Lucifer talked
_at_ the clergy, if he did not "talk like a clergyman;" but the "bitter
hunchback," even when he is _solus_, sneers as the river wanders, "at
his own sweet will. " He is not a doctor, but a spirit of unbelief!
The second part of _The Deformed Transformed_ represents, in three
scenes, the Siege and Sack of Rome in 1527. Byron had read Robertson's
_Charles the Fifth_ (ed. 1798, ii. 313-329) in his boyhood (_Life_, p.
peculiar interest to the theme. He had suffered all his life from a
painful and inconvenient defect, which his proud and sensitive spirit
had magnified into a deformity. He had been stung to the quick by his
mother's taunts and his sweetheart's ridicule, by the jeers of the base
and thoughtless, by slanderous and brutal paragraphs in newspapers. He
could not forget that he was lame. If his enemies had but possessed the
wit, they might have given him "the sobriquet of _Le Diable Boiteux_"
(letter to Moore, April 2, 1823, _Letters_, 1901, vi. 179). It was no
wonder that so poignant, so persistent a calamity should be "reproduced
in his poetry" (_Life_, p. 13), or that his passionate impatience of
such a "thorn in the flesh" should picture to itself a mysterious and
unhallowed miracle of healing. It is true, as Moore says (_Life_, pp.
45, 306), that "the trifling deformity of his foot" was the embittering
circumstance of his life, that it "haunted him like a curse;" but it by
no means follows that he seriously regarded his physical peculiarity as
a stamp of the Divine reprobation, that "he was possessed by an _idee
fixe_ that every blessing would be 'turned into a curse' to him" (letter
of Lady Byron to H. C. Robinson, _Diary, etc. _, 1869, in. 435, 436). No
doubt he indulged himself in morbid fancies, played with the
extravagances of a restless imagination, and wedded them to verse; but
his intellect, "brooding like the day, a master o'er a slave," kept
guard.
He would never have pleaded on his own behalf that the tyranny of
an _idee fixe_, a delusion that he was predestined to evil, was an
excuse for his shortcomings or his sins.
Byron's very considerable obligations to _The Three Brothers_ might have
escaped notice, but the resemblance between his "Stranger," or "Caesar,"
and the Mephistopheles of "the great Goethe" was open and palpable.
If Medwin may be trusted (_Conversations_, 1824, p. 210), Byron had read
"_Faust_ in a sorry French translation," and it is probable that
Shelley's inspired rendering of "May-day Night," which was published in
_The Liberal_ (No. i. , October 14, 1822, pp. 123-137), had been read to
him, and had attracted his attention. _The Deformed Transformed_ is "a
_Faustish_ kind of drama;" and Goethe, who maintained that Byron's play
as a whole was "no imitation," but "new and original, close, genuine,
and spirited," could not fail to perceive that "his devil was suggested
by my Mephistopheles" (_Conversations_, 1874, p. 174). The tempter who
cannot resist the temptation of sneering at his own wiles, who mocks for
mocking's sake, is not Byron's creation, but Goethe's. Lucifer talked
_at_ the clergy, if he did not "talk like a clergyman;" but the "bitter
hunchback," even when he is _solus_, sneers as the river wanders, "at
his own sweet will. " He is not a doctor, but a spirit of unbelief!
The second part of _The Deformed Transformed_ represents, in three
scenes, the Siege and Sack of Rome in 1527. Byron had read Robertson's
_Charles the Fifth_ (ed. 1798, ii. 313-329) in his boyhood (_Life_, p.
