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Byron founded what may be called an exoteric Lake school; and all the readers of verse in England, we might say in Europe, bastened to sit at his feet. What Mr. Wordsworth had said like a recluse, Lord Byron said like a man of the world, with less profound feeling, but with more perspicuity, energy, and concise

We would refer our readers to the last two cantos of Childe Harold and to Manfred, in proof of these observations.

Lord Byron, like Mr. Wordsworth, had nothing dramatic in bis genius. He was indeed the reverse of a great dramatist, the very antithesis to a great dramatist. All his characters, Harold looking on the sky, from which his country and the sun are disappearing together, the Giaour, standing apart in the gloom of the side aisle, and casting a haggard scowl from under his long hood at the crucifix and the censer, Conrad leaning on his sword by the watch-tower, Lara smiling on the dancers, Alp gazing steadily on the fatal cloud as it passes before the moon, Manfred wandering among the precipices of Berne, Azzo on the judgment-seat, Ugo at the bar, Lambro frowning on the siesta of his daughter and Juan, Cain presenting his unacceptable offering, are essentially the same. The varieties are varieties merely of age, situation, and outward show! If ever Lord Byron attempted to exbibit men of a different kind, he always made them either insipid or unnatus al, Selim is nothing. Bonnivart is nothing. Don Juan, in the first and best cantos, is a feeble copy of the Page in the Marriage of Figaro. Johnson, the man whom Juan meets in the slave-market, is a most striking failure. How differently would Sir Walter Scott have drawn a bluff, fearless Englishman, in such a situation! The portrait would have seemed to walk out of the canvass.

Sardanapalus is more coarsely drawn than any dramatic personage that we can remember. His

beroism and his effeminacy, his contempt of death and his dread of a weighty helmet, his kingly resolution to be seen in the foremost ranks, and the anxiety with which he calls for a looking-glass, that he may be seen to advantage, are contrasted, it is true, with all the point of Juvenal. Indeed the hint of the character seems to have been taken from what Juvenal says of Otho:

Speculum civilis sarcina belli.
Nimirum summi ducis est occidere Galbam,
Et curare cutem summi constantia civis,
Bedriaci in campo spoltum affectare Palati,
Et pressum in faciem digitis extendere panem."

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These are excellent lines in a satire. But it is not the business of the dramatist to exhibit characters in this sharp antithetical way. It is not thus that Shakspeare makes Prince Hal rise from the rake of Eastcheap into the Hero of Shrewsbury, and sink again into the rake of Eastcheap. It is not thus that Shakspeare has exhibited the union of effeminacy and valor in Antony. A dramatist cannot commit a greater error than that of following those pointed descriptions of character in which satirists and historians indulge so much. It is by rejecting what is natural that satirists and historians produce these striking characters. Their great object generally is to ascribe to every man as many contradictory qualities as possible: and this is an object easily attained. By judicious selection and judicious exaggeration, the intellect and the disposition of any human being might be described as being made up of nothing but startling contrasts. If the dramatist attempts to create a being answering to one of these descriptions, he fails, because he reverses an imperfect analytical process. He produces, not a man, but a personified epigram. Very eminent writers have fallen into this snare. Ben Jonson has given us

a Hermogenes, taken from the lively lines of Horace; but the inconsistency which is so amusing in the satire appears unnatural and disgusts us in the play. Sir Walter Scott has committed a far more glaring error of the same kind in the novel of Peveril. Admiring, as every judicious reader must admire, the keen and vigorous lines in which Dryden satirised the Duke of Buckingham, Sir Walter attempted to make a Duke of Buckinghamn to suit them, a real living Zimri; and he made, not a man,

but the most grotesque of all monsters.

A writer who should attempt to introduce into a play or a novel such a Wharton as the Wharton of Pope, or a Lord Hervey answering to Sporus, would fail in the same manner.

But to return to Lord Byron: his women, like his men, are all of one breed. Haidee is a balf-savage and girlish Julia; Julia is a civilised and matronly Haidee. Leila is a wedded Zuleika, Zuleika a virgin Leila. Gulnare and Medora appear to have been intentionally opposed to each other. Yet the difference is a difference of situation only. A slight change of circumstances would, it should seem, have sent Gulnare to the lute of Medora, and armed Medora with the dagger of Gulnare.

It is hardly too much to say, that Lord Byron could exhibit only one man and only one woman, a man proud, moody, cynical, with defiance on his brow, and misery in his heart, a scorner of his kind, implacable in revenge, yet capable of deep and strong affection: a woman all softness and gentleness, loving to caress and to be caressed, but capable of being transformed by passion into a tigress.

Even these two characters, his only two characters, he could not exhibit dramatically. He exhibited them in the manner, not of Shakspeare, but of Clarendon. He analysed them; he made them analyse themselves; but he did not make them show themselves. We are told, for example, in many lines of great force

and spirit, that the speech of Lara was bitterly sarcastic, that he talked little of his travels, that if he was much questioned about them, his answers became short, and his brow gloomy. But we have uone of Lara's sarcastic speeches or short answers.

It is not thus that the great masters of human nature have portrayed human beings. Homer never tells us that Nestor loved to relate long stories about his youth. Shakspeare never tells us that in the mind of lago everything that is beautiful and endearing was associated with some filthy and debasing idea.

It is curious to observe the tendency which the dialogue of Lord Byron always has to lose its character of a dialogue, and to become soliloquy. The scenes be veen Manfred and the Chamois-hunter, between Manfred and the Witch of the Alps, between Manfred and the Abbot, are instances of this tendency. Manfred, after a few unimportant speeches, has all the talk to himself. The other interlocutors are nothing more than good listeners. They drop an occasional question or ejaculation which sets Manfred off again on the inexhaustible topic of his personal feelings. If we examine the fine passages in Lord Byron's dramas, the description of Rome, for example, in Manfred, the description of a Venetian revel in Marino Faliero, the concluding invective which the old doge pronounces against Venice, we shall find that there is nothing dramatic in these speeches, that they derive none of their effect from the character or situation of the speaker, and that they would have been as fine, or finer, if they had been published as fragments of blank verse by Lord Byron. There is scarcely a speech in Shakspeare of which the same could be said. No skilful reader of the plays of Shakspeare can endure to see what are called the fine things taken out, under the name of “ Beauties of

Elegant Extracts,” or to hear any single passage, “To be or not to be," for example, quoted as a sample

or

as

of the great poet.

“ To be or not to be” has merit undoubtedly as a composition. It would have merit if put into the mouth of a chorus. But its merit

a composition vanishes when compared with its merit as belonging to Hamlet. It is not too much to say that the great plays of Shakspeare would lose less by being deprived of all the passages which are commonly called the fine passages, than those passages lose by being read separately from the play. This is perhaps the highest praise which can be given to a dramatist.

On the other hand, it may be doubted whether ihere is, in all Lord Byron's plays, a single remarkable passage which owes any portion of its interest or effect to its connexion with the characters or the action. He has written only one scene, as far as we can recollect, which is dramatic even in manner, the scene between Lucifer and Cain. The couference is animated, and each of the interlocutors bas a fair share of it. But this scene, wben examined, will be found to be a confirmation of our remarks.

It is a dialogue only in form. It is a soliloquy in essence. It is in reality a debate carried on within one single unquiet and sceptical mind. The questions and the answers, the objections and the solutions, all belong to the same character.

A writer who showed so little dramatic skill in works professedly dramatic was not likely to write narrative with dramatic effect. Nothing could indeed be more rude and careless than the structure of his narrative poems. He seems to have thought, with the hero of the Rehearsal, that the plot was good for nothing but to bring in fine things. His two longest works, Childe Harold and Don Juan, have no plan whatever. Either of them might have been extended to any length, or cut short at any point. The state in which the Giaour appears illustrates the manner in which all Byron's poems were constructed. They

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