Chapter LXII: Appendix (6)

Mr. Bowles now has the goodness "to point out the difference between a _traducer_ and him who sincerely states what he sincerely believes." He might have spared himself the trouble. The one is a liar, who lies knowingly; the other (I speak of a scandal-monger of course) lies, charitably believing that he speaks truth, and very sorry to find himself in falsehood;--because he

"Would rather that the dean should die,
Than his prediction prove a lie."

After a definition of a "traducer," which was quite superfluous (though it is agreeable to learn that Mr. Bowles so well understands the character), we are assured, that "he feels equally indifferent, Mr. Gilchrist, for what your malice can invent, or your impudence utter." This is indubitable; for it rests not only on Mr. Bowles's assurance, but on that of Sir Fretful Plagiary, and nearly in the same words,--"and I shall treat it with exactly the same calm indifference and philosophical contempt, and so your servant."

"One thing has given Mr. Bowles concern." It is "a passage which might seem to reflect on the patronage a young man has received." MIGHT seem!! The passage alluded to expresses, that if Mr. Gilchrist be the reviewer of "a certain poet of nature," his praise and blame are equally contemptible."--Mr. Bowles, who has a peculiarly ambiguous style, where it suits him, comes off with a "_not_ to the _poet_, but the critic," &c. In my humble opinion, the passage referred to both. Had Mr. Bowles really meant fairly, he would have said so from the first--he would have been eagerly transparent.--"A certain poet of nature" is not the style of commendation. It is the very prologue to the most scandalous paragraphs of the newspapers, when

"Willing to wound, and yet afraid to strike."

"A certain high personage,"--"a certain peeress,"--"a certain illustrious foreigner,"--what do these words ever precede, but defamation? Had he felt a spark of kindling kindness for John Clare, he would have named him. There is a sneer in the sentence as it stands. How a favourable review of a deserving poet can "rather injure than promote his cause" is difficult to comprehend. The article denounced is able and amiable, and it _has_ "served" the poet, as far as poetry can be served by judicious and honest criticism.

With the two next paragraphs of Mr. Bowles's pamphlet it is pleasing to concur. His mention of "Pennie," and his former patronage of "Shoel," do him honour. I am not of those who may deny Mr. Bowles to be a benevolent man. I merely assert, that he is not a candid editor.

Mr. Bowles has been "a writer occasionally upwards of thirty years," and never wrote one word in reply in his life "to criticisms, merely _as_ criticisms." This is Mr. Lofty in Goldsmith's Good-natured Man; "and I vow by all that's honourable, my resentment has never done the men, as mere men, any manner of harm,--that is, _as mere men_."

"The letter to the editor of the newspaper" is owned; but "it was not on account of the criticism. It was because the criticism came down in a frank _directed_ to Mrs. Bowles!!!"--(the italics and three notes of admiration appended to Mrs. Bowles are copied verbatim from the quotation), and Mr. Bowles was not displeased with the criticism, but with the frank and the address. I agree with Mr. Bowles that the intention was to annoy him; but I fear that this was answered by his notice of the reception of the criticism. An anonymous letter-writer has but one means of knowing the effect of his attack. In this he has the superiority over the viper; he knows that his poison has taken effect, when he hears the victim cry;--the adder is _deaf_. The best reply to an anonymous intimation is to take no notice directly nor indirectly. I wish Mr. Bowles could see only one or two of the thousand which I have received in the course of a literary life, which, though begun early, has not yet extended to a third part of his existence as an author. I speak of _literary_ life only. Were I to add _personal_, I might double the amount of _anonymous_ letters. If he could but see the violence, the threats, the absurdity of the whole thing, he would laugh, and so should I, and thus be both gainers.

To keep up the farce,--within the last month of this present writing (1821), I have had my life threatened in the same way which menaced Mr. Bowles's fame,--excepting that the anonymous denunciation was addressed to the Cardinal Legate of Romagna, instead of to Mrs. Bowles. The Cardinal is, I believe, the elder lady of the two. I append the menace in all its barbaric but literal Italian, that Mr. Bowles may be convinced; and as this is the only "promise to pay," which the Italians ever keep, so my person has been at least as much exposed to a "shot in the gloaming," from "John Heatherblutter" (see Waverley), as ever Mr. Bowles's glory was from an editor. I am, nevertheless, on horseback and lonely for some hours (_one_ of them twilight) in the forest daily; and this, because it was my "custom in the afternoon," and that I believe if the tyrant cannot escape amidst his guards (should it be so written?), so the humbler individual would find precautions useless.

Mr. Bowles has here the humility to say, that "he must succumb; for with Lord Byron turned against him, he has no chance,"--a declaration of self-denial not much in unison with his "promise," five lines afterwards, that "for every twenty-four lines quoted by Mr. Gilchrist, or his friend, to greet him with as many from the 'Gilchrisiad';" but so much the better. Mr. Bowles has no reason to "succumb" but to Mr. Bowles. As a poet, the author of "The Missionary" may compete with the foremost of his cotemporaries. Let it be recollected, that all my previous opinions of Mr. Bowles's poetry were _written_ long before the publication of his last and best poem; and that a poet's _last_ poem should be his best, is his highest praise. But, however, he may duly and honourably rank with his living rivals. There never was so complete a proof of the superiority of Pope, as in the lines with which Mr. Bowles closes his "_to be concluded in our next_."

Mr. Bowles is avowedly the champion and the poet of nature. Art and the arts are dragged, some before, and others behind his chariot. Pope, where he deals with passion, and with the nature of the naturals of the day, is allowed even by themselves to be sublime; but they complain that too soon--

"He stoop'd to truth and moralised his song,"

and _there_ even _they_ allow him to be unrivalled. He has succeeded, and even surpassed them, when he chose, in their own _pretended_ province. Let us see what their Coryphaeus effects in Pope's. But it is too pitiable, it is too melancholy, to see Mr. Bowles "_sinning_" not "_up_" but "_down_" as a poet to his lowest depth as an editor. By the way, Mr. Bowles is always quoting Pope. I grant that there is no poet--not Shakspeare himself--who can be so often quoted, with reference to life;--but his editor is so like the devil quoting Scripture, that I could wish Mr. Bowles in his proper place, quoting in the pulpit.

And now for his lines. But it is painful--painful--to see such a suicide, though at the shrine of Pope. I can't copy them all:--

"Shall the rank, loathsome miscreant of the age
Sit, like a night-mare, grinning o'er a page."

"Whose pye-bald character so aptly suit
The two extremes of Bantam and of Brute,
Compound grotesque of sullenness and show,
The chattering magpie, and the croaking crow."

"Whose heart contends with thy Saturnian head,
A root of hemlock, and a lump of lead.
Gilchrist proceed," &c. &c.

"And thus stand forth, spite of thy venom'd foam,
To give thee _bite for bite_, or lash thee limping home."

With regard to the last line, the only one upon which I shall venture for fear of infection, I would advise Mr. Gilchrist to keep out of the way of such reciprocal morsure--unless he has more faith in the "Ormskirk medicine" than most people, or may wish to anticipate the pension of the recent German professor, (I forget his name, but it is advertised and full of consonants,) who presented his memoir of an infallible remedy for the hydrophobia to the German diet last month, coupled with the philanthropic condition of a large annuity, provided that his cure cured. Let him begin with the editor of Pope, and double his demand.

Yours ever,

BYRON.

_To John Murray, Esq_.

P.S. Amongst the above-mentioned lines there occurs the following, _applied_ to Pope--

"The assassin's vengeance, and the coward's lie."

And Mr. Bowles persists that he is a well-wisher to Pope!!! He has, then, edited an "assassin" and a "coward" wittingly, as well as lovingly. In my former letter I have remarked upon the editor's forgetfulness of Pope's benevolence. But where he mentions his faults it is "with sorrow"--his tears drop, but they do not blot them out. The "recording angel" differs from the recording clergyman. A fulsome editor is pardonable though tiresome, like a panegyrical son whose pious sincerity would demi-deify his father. But a detracting editor is a paricide. He sins against the nature of his office, and connection--he murders the life to come of his victim. If his author is not worthy to be mentioned, do not edit at all: if he be, edit honestly, and even flatteringly. The reader will forgive the weakness in favour of mortality, and correct your adulation with a smile. But to sit down "mingere in patrios cineres," as Mr. Bowles has done, merits a reprobation so strong, that I am as incapable of expressing as of ceasing to feel it.

_Further Addenda_.

It is worthy of remark that, after all this outcry about "_in-door_ nature" and "artificial images," Pope was the principal inventor of that boast of the English, _Modern Gardening_. He divides this honour with Milton. Hear Warton:--"It hence appears, that this _enchanting_ art of modern gardening, in which this kingdom claims a preference over every nation in Europe, chiefly owes _its origin_ and its improvements to two great poets, Milton and _Pope_."

Walpole (no friend to Pope) asserts that Pope formed _Kent's_ taste, and that Kent was the artist to whom the English are chiefly indebted for diffusing "a taste in laying out grounds." The design of the Prince of Wales's garden was copied from _Pope's_ at Twickenham. Warton applauds "his singular effort of art and taste, in impressing so much variety and scenery on a spot of five acres." Pope was the _first_ who ridiculed the "formal, French, Dutch, false and unnatural taste in gardening," both in _prose_ and verse. (See, for the former, "The Guardian.")

"Pope has given not only some of our _first_ but _best_ rules and observations on _Architecture_ and _Gardening_." (See Warton's Essay, vol. ii. p. 237, &c. &c.)

Now, is it not a shame, after this, to hear our Lakers in "Kendal Green," and our Bucolical Cockneys, crying out (the latter in a wilderness of bricks and mortar) about "Nature," and Pope's "artificial in-door habits?" Pope had seen all of nature that _England_ alone can supply. He was bred in Windsor Forest, and amidst the beautiful scenery of Eton; he lived familiarly and frequently at the country seats of Bathurst, Cobham, Burlington, Peterborough, Digby, and Bolingbroke; amongst whose seats was to be numbered _Stowe_. He made his own little "five acres" a model to princes, and to the first of our artists who imitated nature. Warton thinks "that the most engaging of _Kent_'s works was also planned on the model of Pope's,--at least in the opening and retiring shades of Venus's Vale."

It is true that Pope was infirm and deformed; but he could walk, and he could ride (he rode to Oxford from London at a stretch), and he was famous for an exquisite eye. On a tree at Lord Bathurst's is carved "Here Pope sang,"--he composed beneath it. Bolingbroke, in one of his letters, represents them both writing in the hay-field. No poet ever admired Nature more, or used her better, than Pope has done, as I will undertake to prove from his works, _prose_ and _verse_, if not anticipated in so easy and agreeable a labour. I remember a passage in Walpole, somewhere, of a gentleman who wished to give directions about some willows to a man who had long served Pope in his grounds: "I understand, sir," he replied: "you would have them hang down, sir, _somewhat poetical_." Now, if nothing existed but this little anecdote, it would suffice to prove Pope's taste for _Nature_, and the impression which he had made on a common-minded man. But I have already quoted Warton and Walpole (_both_ his enemies), and, were it necessary, I could amply quote Pope himself for such tributes to _Nature_ as no poet of the present day has even approached.

His various excellence is really wonderful: architecture, painting, _gardening_, all are alike subject to his genius. Be it remembered, that English _gardening_ is the purposed perfectioning of niggard _Nature_, and that without it England is but a hedge-and-ditch, double-post-and-rail, Hounslow Heath and Clapham Common sort of country, since the principal forests have been felled. It is, in general, far from a picturesque country. The case is different with Scotland, Wales, and Ireland; and I except also the lake counties and Derbyshire, together with Eton, Windsor, and my own dear Harrow on the Hill, and some spots near the coast. In the present rank fertility of "great poets of the age," and "schools of poetry"--a word which, like "schools of eloquence" and of "philosophy," is never introduced till the decay of the art has increased with the number of its professors--in the present day, then, there have sprung up two sorts of Naturals;--the Lakers, who whine about Nature because they live in Cumberland; and their _under-sect_ (which some one has maliciously called the "Cockney School"), who are enthusiastical for the country because they live in London. It is to be observed, that the rustical founders are rather anxious to disclaim any connexion with their metropolitan followers, whom they ungraciously review, and call cockneys, atheists, foolish fellows, bad writers, and other hard names not less ungrateful than unjust. I can understand the pretensions of the aquatic gentlemen of Windermere to what Mr. Braham terms "_entusumusy_," for lakes, and mountains, and daffodils, and buttercups; but I should be glad to be apprised of the foundation of the London propensities of their imitative brethren to the same "high argument." Southey, Wordsworth, and Coleridge have rambled over half Europe, and seen Nature in most of her varieties (although I think that they have occasionally not used her very well); but what on earth--of earth, and sea, and Nature--have the others seen? Not a half, nor a tenth part so much as Pope. While they sneer at his Windsor Forest, have they ever seen any thing of Windsor except its _brick_?

The most rural of these gentlemen is my friend Leigh Hunt, who lives at Hampstead. I believe that I need not disclaim any personal or poetical hostility against that gentleman. A more amiable man in society I know not; nor (when he will allow his sense to prevail over his sectarian principles) a better writer. When he was writing his "Rimini," I was not the last to discover its beauties, long before it was published. Even then I remonstrated against its vulgarisms; which are the more extraordinary, because the author is any thing but a vulgar man. Mr. Hunt's answer was, that he wrote them upon principle; they made part of his "_system!!_" I then said no more. When a man talks of his system, it is like a woman's talking of her _virtue_. I let them talk on. Whether there are writers who could have written "Rimini," as it might have been written, I know not; but Mr. Hunt is, probably, the only poet who could have had the heart to spoil his own Capo d'Opera.

With the rest of his young people I have no acquaintance, except through some things of theirs (which have been sent out without my desire), and I confess that till I had read them I was not aware of the full extent of human absurdity. Like Garrick's "Ode to Shakspeare," _they "defy criticism_." These are of the personages who decry Pope. One of them, a Mr. John Ketch, has written some lines against him, of which it were better to be the subject than the author. Mr. Hunt redeems himself by occasional beauties; but the rest of these poor creatures seem so far gone that I would not "march through Coventry with them, that's flat!" were I in Mr. Hunt's place. To be sure, he has "led his ragamuffins where they will be well peppered;" but a system-maker must receive all sorts of proselytes. When they have really seen life--when they have felt it--when they have travelled beyond the far distant boundaries of the wilds of Middlesex--when they have overpassed the Alps of Highgate, and traced to its sources the Nile of the New River--then, and not till then, can it properly he permitted to them to despise Pope; who had, if not _in Wales_, been _near_ it, when he described so beautifully the "_artificial_" works of the Benefactor of Nature and mankind, the "Man of Ross," whose picture, still suspended in the parlour of the inn, I have so often contemplated with reverence for his memory, and admiration of the poet, without whom even his own still existing good works could hardly have preserved his honest renown.

I would also observe to my friend Hunt, that I shall be very glad to see him at Ravenna, not only for my sincere pleasure in his company, and the advantage which a thousand miles or so of travel might produce to a "natural" poet, but also to point out one or two little things in "Rimini," which he probably would not have placed in his opening to that poem, if he had ever seen Ravenna;--unless, indeed, it made "part of his system!!" I must also crave his indulgence for having spoken of his disciples--by no means an agreeable or self-sought subject. If they had said nothing of _Pope_, they might have remained "alone with their glory" for aught I should have said or thought about them or their nonsense. But if they interfere with the "little Nightingale" of Twickenham, they may find others who will bear it--_I_ won't. Neither time, nor distance, nor grief, nor age, can ever diminish my veneration for him, who is the great moral poet of all times, of all climes, of all feelings, and of all stages of existence. The delight of my boyhood, the study of my manhood, perhaps (if allowed to me to attain it) he may be the consolation of my age. His poetry is the Book of Life. Without canting, and yet without neglecting religion, he has assembled all that a good and great man can gather together of moral wisdom clothed in consummate beauty. Sir William Temple observes, "that of all the members of mankind that live within the compass of a thousand years, for one man that is born capable of making a _great poet_, there may be a _thousand_ born capable of making as great generals and ministers of state as any in story." Here is a statesman's opinion of poetry: it is honourable to him and to the art. Such a "poet of a thousand years" was _Pope_. A thousand years will roll away before such another can be hoped for in our literature. But it can _want_ them--he himself is a literature.

One word upon his so brutally abused translation of Homer. "Dr. Clarke, whose critical exactness is well known, has _not been_ able to point out above three or four mistakes _in the sense_ through the whole Iliad. The real faults of the translation are of a different kind." So says Warton, himself a scholar. It appears by this, then, that he avoided the chief fault of a translator. As to its other faults, they consist in his having made a beautiful English poem of a sublime Greek one. It will always hold. Cowper and all the rest of the blank pretenders may do their best and their worst: they will never wrench Pope from the hands of a single reader of sense and feeling.

The grand distinction of the under forms of the new school of poets is their _vulgarity_. By this I do not mean that they are _coarse_, but "shabby-genteel," as it is termed. A man may be _coarse_ and yet not _vulgar_, and the reverse. Burns is often coarse, but never _vulgar_. Chatterton is never vulgar, nor Wordsworth, nor the higher of the Lake school, though they treat of low life in all its branches. It is in their _finery_ that the new under school are _most_ vulgar, and they may be known by this at once; as what we called at Harrow "a Sunday blood" might be easily distinguished from a gentleman, although his clothes might be the better cut, and his boots the best blackened, of the two;--probably because he made the one, or cleaned the other, with his own hands.

In the present case, I speak of writing, not of persons. Of the latter, I know nothing; of the former, I judge as it is found. Of my friend Hunt, I have already said, that he is any thing but vulgar in his manners; and of his disciples, therefore, I will not judge of their manners from their verses. They may be honourable and _gentlemanly_ men, for what I know; but the latter quality is studiously excluded from their publications. They remind me of Mr. Smith and the Miss Broughtons at the Hampstead Assembly, in "Evelina." In these things (in private life, at least,) I pretend to some small experience; because, in the course of my youth, I have seen a little of all sorts of society, from the Christian prince and the Mussulman sultan and pacha, and the higher ranks of their countries, down to the London boxer, the "_flash and the swell_," the Spanish muleteer, the wandering Turkish dervise, the Scotch highlander, and the Albanian robber;--to say nothing of the curious varieties of Italian social life. Far be it from me to presume that there ever was, or can be, such a thing as an _aristocracy_ of _poets_; but there _is_ a nobility of thought and of style, open to all stations, and derived partly from talent, and partly from education,--which is to be found in Shakspeare, and Pope, and Burns, no less than in Dante and Alfieri, but which is nowhere to be perceived in the mock birds and bards of Mr. Hunt's little chorus. If I were asked to define what this gentlemanliness is, I should say that it is only to be defined by _examples_--of those who have it, and those who have it not. In _life_, I should say that most _military_ men have it, and few _naval_;--that several men of rank have it, and few lawyers;--that it is more frequent among authors than divines (when they are not pedants); that _fencing_-masters have more of it than dancing-masters, and singers than players; and that (if it be not an Irishism to say so) it is far more generally diffused among women than among men. In poetry, as well as writing in general, it will never _make_ entirely a poet or a poem; but neither poet nor poem will ever be good for any thing without it. It is the _salt_ of society, and the seasoning of composition. _Vulgarity_ is far worse than downright _blackguardism_; for the latter comprehends wit, humour, and strong sense at times; while the former is a sad abortive attempt at all things, "signifying nothing." It does not depend upon low themes, or even low language, for Fielding revels in both;--but is he ever _vulgar_? No. You see the man of education, the gentleman, and the scholar, sporting with his subject,--its master, not its slave. Your vulgar writer is always most vulgar, the higher, his subject; as the man who showed the menagerie at Pidcock's was wont to say,--"This, gentlemen, is the _eagle_ of the _sun_, from Archangel, in Russia; the _otterer_ it is, the _igherer_ he flies." But to the proofs. It is a thing to be felt more than explained. Let any man take up a volume of Mr. Hunt's subordinate writers, read (if possible) a couple of pages, and pronounce for himself, if they contain not the kind of writing which may be likened to "shabby-genteel" in actual life. When he has done this, let him take up Pope;--and when he has laid him down, take up the cockney again--if he can.

* * * * *

_Note to the passage in page_ 396. _relative to Pope's
lines upon Lady Mary W. Montague_.] I think that I could
show, if necessary, that Lady Mary W. Montague was also
greatly to blame in that quarrel, _not_ for having
rejected, but for having encouraged him: but I would rather
decline the task--though she should have remembered her own
line, "_He comes too near, that comes to be denied_." I
admire her so much--her beauty, her talents--that I should do
this reluctantly. I, besides, am so attached to the very name
of _Mary_, that as Johnson once said, "If you called a
dog _Harvey_, I should love him;" so, if you were to call
a female of the same species "Mary," I should love it better
than others (biped or quadruped) of the same sex with a
different appellation. She was an extraordinary woman: she
could translate _Epictetus_, and yet write a song worthy
of Aristippus. The lines,

"And when the long hours of the public are past,
And we meet, with champaigne and a chicken, at last,
May every fond pleasure that moment endear!
Be banish'd afar both discretion and fear!
Forgetting or scorning the airs of the crowd,
He may cease to be formal, and I to be proud,
Till," &c. &c.

There, Mr. Bowles!--what say you to such a supper with such a
woman? and her own description too? Is not her "_champaigne
and chicken_" worth a forest or two? Is it not poetry? It
appears to me that this stanza contains the "_puree_" of
the whole philosophy of Epicurus:--I mean the _practical_
philosophy of his school, not the precepts of the master; for
I have been too long at the university not to know that the
philosopher was himself a moderate man. But, after all, would
not some of us have been as great fools as Pope? For my part,
I wonder that, with his quick feelings, her coquetry, and his
disappointment, he did no more,--instead of writing some
lines, which are to be condemned if false, and regretted if
true.

INDEX.

* * * * *

The Roman letters refer to the Volume; the Arabic figures to the Page.

* * * * *

A.

ABERDEEN, Mrs. Byron's residence at the day school there at which Lord Byron was a pupil his allusion to the localities of affection of the people of, for his memory Absence, consolations in Abstinence, the sole remedy for plethora Abydos, Lord Byron's swimming feat from Sestos to See Bride of Abydos Abyssinia, Lord Byron's project of visiting Academical studies, effect of, on the imaginative faculty Acerbi, Giuseppe Acland, Mr., Lord Byron's school-fellow at Harrow Acting, no immaterial sensuality so delightful Actium, remains of the town of Actors, an impracticable race Ada See Byron, Augusta-Ada Adair, Robert, esq. Adams, John, the Southwell carrier Lord Byron's epitaph on Addison, Joseph, his character as a poet His conversation His 'Drummer' 'Adolphe,' Benjamin Constant's Adversity 'AEneid, the,' written for political purposes AEschylus His 'Prometheus' His 'Seven before Thebes' 'Agathon,' Wieland's history of Aglietti, Dr., MS. letters in his profession offered to Mr. Murray Albania Albanians, their character and manners Alberoni, Cardinal Albrizzi, Countess, some account of Her conversazioni Her 'Ritratti di Uomini Illustri' Her portrait of Lord Byron Alder, Mr Alexander the Great, his exclamation to the Athenians Alfieri, Vittorio, his description of his first love Effect of the representation of his 'Mira' on Lord Byron His conduct to his mother His tomb in the church of Santa Croce Coincidences between the disposition and habits of Lord Byron and His 'Life' quoted Alfred Club Algarotti, Francesco, his treatment of Lady M.W. Montagu Ali Pacha of Yanina, account of Lord Byron's visit to His letter in Latin to Lord Byron Allegra (Lord Byron's natural daughter) Her death Inscription for a tablet to her memory Allen, John, esq., a 'Helluo of books' Althorp, Viscount Alvanley (William Arden), second Lord Ambrosian library at Milan, Lord Byron's visit to 'Americani,' patriotic society so called Americans, their freedom acquired by firmness without excess Amurath, Sultan 'Anastasius,' Mr. Hope's, his character 'Anatomy of Melancholy,' a most amusing medley of quotations and classical anecdotes Ancestry, pride of, one of the most decided features of Lord Byron's character Andalusian nobleman, adventures of a young Animal food Annesley, the residence of Miss Chaworth Annesley, Mr., Lord Byron's schoolfellow at Harrow Anstey's 'Bath Guide' 'Anti-Byron,' a satire Anti-Jacobin Review Antiloctius, tomb of Antinous, the bust of, super-natural 'Antiquary,' character of Scott's novel so called 'Antony and Cleopatra,' observations on the play of Apollo Belvidere Arethusa, fountain of, Lord Byron's visit to Argenson, Marquis d', his advice to Voltaire Argyle Institution Ariosto, Lord Byron's imitation of his portrait by Titian Measure of his poetry spared by the robber who had read his 'Orlando Furioso' his courage Aristides Aristophanes, Mitchell's translation of 'Armageddon,' Townshend's poem so called Armenian Convent of St. Lazarus Language Grammar Art, not inferior to nature, for poetical purposes Arts, gulf of Ash, Thomas, author of 'The Book' Lord Byron's generous conduct towards Athens, Lord Byron's first visit to account of the maid of Atticus, Herodes Aubonne Augusta, stanzas to Augustus Caesar, his times 'Auld lang syne' Authors, an irritable set Avarice 'Away, away, ye notes of woe' 'A year ago you swore,' &c.

B.

Bacon, Lord, on the celibacy of men of genius
Inaccuracies in his Apophthegms
Baillie, Joanna, the only woman capable of writing tragedy
Baillie, Dr., Lord Byron put under his care
----, Dr. Matthew, consulted on Lord Byron's supposed insanity
Baillie 'Long'
Baillie, Mr. D.
Balgounie, brig of
Ballater, a residence of Lord Byron in his youth
Bandello, his history of Romeo and Juliet
Bankes, William, esq.
Letters to
Barbarossa, Aruck
Barber, J.T., the painter
Barff, Mr., Lord Byron's letters to, on the Greek cause
Barlow, Joel, character of his 'Columbiad'
Barnes, Thomas, esq.
Barry, Mr., the banker of Genoa
Bartley, George, the comedian
----, Mrs., the actress
Bartolini, the sculptor, his bust of Lord Byron
Bartorini, princess, her monument at Bologna
Bath, Lord Byron at
'Bath Guide,' Anstey's
Baths of Penelope, Lord Byron's visit to
'Baviad and Maeviad,' extinguishment of the Delia Cruscans by the
Bay of Biscay
Bayes, Mr., caricature of Dryden
Beattie, Dr., his 'Minstrel'
Beaumarchais, his singular good fortune
Beaumont, Sir George
Beauvais, Bishop of
Beccaria, anecdote of
Becher, Rev. John, Lord Byron's friend
His epilogue to the 'Wheel of Fortune'
His influence over Lord Byron
Letters to
Beckford, William, esq., his 'Tales' in continuation of 'Vathek'
Beggar's Opera,' Gay's, a St. Giles's lampoon
Behmen, Jacob, his reverses
Bellingham, Lord Byron present at his execution
Beloe, Rev. William, character of his 'Sexagenarian'
Bembo, Cardinal, amatory correspondence between Lucretia Borgia and
Benacus, the (now the Lago di Garda)
Bentham, Jeremy, quackery of his followers
Benzoni, Countess, her conversazioni
Some account of
'Beppo, a Venetian Story'
See also
Bergami, the Princess of Wales's courier and chamberlain
Bernadotte, Jean-Baptiste-Jules, King of Sweden
Berni, the father of the Beppo style of writing
Berry, Miss
'Bertram,' Mathurin's tragedy of
Bettesworth, Captain (cousin of Lord Byron), the only officer in the
navy who had more wounds than Lord Nelson
Betty, William Henry West (the young Roscius)
Beyle, M., his 'Histoire de la Peinture en Italie'
His account of an interview with Lord Byron at Milan
Bible, the, read through by Lord Byron before he was eight years old
Biography
'Bioscope, or Dial of Life,' Mr. Grenville Penn's
Birch, Alderman
Blackett, Joseph, the poetical cobbler
His posthumous writings
Blackstone, Judge, composed his Commentaries with a bottle of port
before him
Blackwood's Magazine
Blake, the fashionable tonsor
Bland, Rev. Robert
Blaquiere, Mr.
Bleeding, Lord Byron's prejudice against
Blessington, Earl of
Letters to
----, Countess of
Impromptu on her taking a villa called 'Il Paradiso'
Lines written at the request of
Letters to
Blinkensop, Rev. Mr., his Sermon on Christianity
Bloomfield, Nathaniel
----, Robert
Blount, Martha, Pope's attachment to
Blucher, Marshal
'BLUES, THE; a Literary Eclogue'
'Boatswain,' Lord Byron's favourite dog
Boisragon, Dr.
Bolivar, Simon
Bolder, Mr., Lord Byron's schoolfellow at Harrow
Bologna, Lord Byron's visit to the cemetery of
Bolton, Mr., letters of Lord Byron to, respecting his will
Bonneval, Claudius Alexander, Count de
Bonstetten, M.
Books, list of, read by Lord Byron before the age of 15
Borgia, Lucretia, her amatory correspondence with Cardinal Bembo
'Born in a garret
Borromean Islands
'Bosquet de Julie'
'Bosworth Field,' Lord Byron's projected epic entitled
Botzari, Marco, his letter to Lord Byron
His death
Bowers, Mr. (Lord Byron's school-master at Aberdeen)
Bowles, Rev. William Lisle, his controversy concerning Pope
His 'Spirit of Discovery,'
His 'invariable principles of poetry,'
His hypochondriacism
His 'Missionary,'
Lord Byron's 'Letter on his Strictures on the Life and Writings of
Pope,'
Lord Byron's 'Observations upon Observations; a Second Letter,' &c.
Bowring, Dr., Lord Byron's letters to, on the Greek cause, and his
intention to embark in it
Boxing
Bradshaw, Hon. Cavendish
Braham, John, the singer
Breme, Marquis de
'BRIDE OF ABYDOS; a Turkish Tale'
Bridge of Sighs at Venice, account of
Brientz, town and lake of
'Brig of Balgounie'
'British Critic'
'British Review'
----, 'my Grandmother's Review'
Lord Byron's letter to the editor
Broglie, Duchess of (daughter of Mad. de Stael), her character
Anecdote of
Her remark on the errors of clever people
Brooke, Lord (Sir Fulke Greville), account of a MS. poem by
Brougham, Henry, esq. (afterwards Lord Brougham and Vaux), a candidate
for Westminster against Sheridan
Broughton, the regicide, his monument at Vevay
Brown, Isaac Hawkins, his 'Pipe of Tobacco'
his 'lava buttons'
Browne, Sir Thomas, his 'Religio Medici' quoted
Bruce, Mr.
Brummell, William, esq.
Bruno, Dr., Lord Byron's medical attendant in Greece
Anecdote of
Brussels
Bryant, Jacob, on the existence of Troy
Brydges, Sir Egerton, his 'Letters on the Character and Poetical Genius
of Byron'
His 'Ruminator'
Buchanan, Rev. Dr.
Bucke, Rev. Charles
Buonaparte, Lucien, his 'Charlemagne'
----, Napoleon, one of the most extraordinary of men
that anakim of anarchy
poor little pagod
ode on his fall
fortune's favourite
Burdett, Sir Francis
His style of eloquence
Burgage Manor, Notts, the residence of Lord Byron
Burgess, Sir James Bland
Burke, Rt. Hon. Edmund, his oratory
Burns, Robert, his habit of reading at meals
His elegy on Maillie
'What would he have been
His unpublished letters
His rank among poets
'Often coarse, but never vulgar'
Burton's 'Anatomy of Melancholy,' 'a most amusing and instructive
medley'
Burun, Ralph de, mentioned in Doomsday Book
Busby, Dr., Dryden's reverential regard for
----, Thomas, Mus. Doct., his monologue on the opening of Drury Lane
Theatre
His translation of Lucretius
Butler, Dr. (headmaster at Harrow)
Reconciliation between Lord Byron and
BYRON, Sir John, the Little, with the great beard
----, Sir John, 1st Lord, his high and honourable services
----, Sir Richard, tribute to his valour and fidelity
----, Admiral John (the grand-father of the poet), his shipwreck
and sufferings
----, William, fifth Lord (grand-uncle of the poet)
His trial for killing Mr. Chaworth in a duel
His death
His eccentric and unsocial habits
BYRON, John (father of the poet), his elopement with Lady Carmarthen
His marriage with Miss Catherine Gordon
His death at Valenciennes
----, Mrs. (mother of the poet), descended from the Gordons of Gight
Vehemence of her feelings
Ballad on the occasion of her marriage
Her fortune
Separates from her husband
Her capricious excesses of fondness and of anger
Her death
Lord Byron's Letters to
See also
----, Honourable Augusta (sister of the poet)
See Leigh, Honourable Augusta
----, (GEORGE-GORDON-BYRON), sixth Lord--
1788. Born Jan. 22
1790--1791. Taken by his mother to Aberdeen
Impetuosity of his temper
Affectionate sweetness and playfulness of his disposition
The malformation of his foot a source of pain and uneasiness to him
His early acquaintance with the Sacred Writings
Instances of his quickness and energy
Death of his father
1792--1795; Sent to a day-school at Aberdeen
His own account of the progress of his infantine studies
His sports and exercises
1796--1797. Removed into the Highlands
His visits to Lachin-y-gair
First awakening of his poetic talent
His early love of mountain scenery
Attachment for Mary Duff
1798. Succeeds to the title
Made a ward of Chancery, under the guardianship of the Earl of
Carlisle, and removed to Newstead
Placed under the care of an empiric at Nottingham for the cure of
his lameness
1799. First symptom of a tendency towards rhyming
Removed to London, and put under the care of Dr. Baillie
Becomes the pupil of Dr. Glennie, at Dulwich
1800-1804. His boyish love for his cousin, Margaret Parker
His 'first dash into poetry'
Is sent to Harrow
Notices of his school-life
His first Harrow verses
His school friendships
His mode of life as a schoolboy
Accompanies his mother to Bath
His early attachment to Miss Chaworth
Heads a 'rebelling' at Harrow
Passes the vacation at Southwell
1805. Removed to Cambridge
His college friendships
1806. Aug.-Nov., prepares a collection of his poems for the press
His visit to Harrowgate
Southwell private theatricals
Prints a volume of his poems; but, at the entreaty of Mr. Becher
commits the edition to the flames
1807. Publishes 'Hours of Idleness'
List of historical writers whose works he had perused at the age
of nineteen
Reviews Wordsworth's Poems
Begins 'Bosworth Field,' an epic. Writes part of a novel
1808. His early scepticism
Effect produced on his mind by the critique on 'Hours of Idleness,'
in the Edinburgh Review
Passes his time between the dissipations of London and Cambridge
Takes up his residence at Newstead
Forms the design of visiting India
Prepares 'English Bards and Scotch Reviewers,' for the press
1809. His coming of age celebrated at Newstead
Takes his seat in the House of Lords
Loneliness of his position at this period
Sets out on his travels
State of mind in which he took leave of England
Visits Lisbon, Seville, Cadiz, Gibraltar, Malta, Prevesa, Zitza
Tepaleen
Is introduced to Ali Pacha
Begins 'Childe Harold' at Ioannina
Visits Actium, Nicopolis; nearly lost in a Turkish ship of war
proceeds through Acarnania and AEtolia towards the Morea
Reaches Missolonghi
Visits Patras, Vostizza, Mount Parnassus, Delphi, Lepanto, Thebes
Mount Cithaeron
Arrives, on Christmas-day, at Athens
1810. Spends ten weeks in visiting the monuments of Athens; makes
excursions to several parts of Attica
The Maid of Athens
Leaves Athens for Smyrna
Visits ruins of Ephesus
Concludes, at Smyrna, the second canto of 'Childe Harold'
April, leaves Smyrna for Constantinople
Visits the Troad
Swims from Sestos to Abydos
May, arrives at Constantinople
June, expedition through the Bosphorus to the Black Sea
July
Aug.--Sept., makes a tour of the Morea
Returns to Athens
1811. Writes 'Hints from Horace,' and 'Curse of Minerva.'
Returns to England
Effect of travel on the general character of his mind and
disposition
His first connection with Mr. Murray
Death of his mother
Of his college friends, Matthews and Wingfield
And of 'Thyrza'
Origin of his acquaintance with Mr. Moore
Act of generosity towards Mr. Hodgson
1812. Feb. 27., makes his first speech in the House of Lords
Feb. 29., publishes the first and second cantos of 'Childe Harold,'
Presents the copyright of the poem to Mr. Dallas
Although far advanced in a fifth edition of 'English Bards,'
determines to commit it to the flames
Presented to the Prince Regent
Writes the Address for the opening of Drury Lane Theatre
1813. April, brings out anonymously 'The Waltz'
May, publishes the 'Giaour'
His intercourse, through Mr. Moore, with Mr. Leigh Hunt
Makes preparations for a voyage to the East
Projects a journey to Abyssinia
Dec., publishes the 'Bride of Abydos'
Is an unsuccessful suitor for the hand of Miss Milbanke
1814. Jan., publishes the 'Corsair'
April, writes 'Ode on the Fall of Napoleon Buonaparte'
Comes to the resolution, not only of writing no more, but of
suppressing all he had ever written
May, writes 'Lara;' makes a second proposal for the hand of Miss
Milbanke, and is accepted
Dec., writes 'Hebrew Melodies'
1815. Jan 2., marries Miss Milbanke
April, becomes personally acquainted with Sir Walter Scott
May, becomes a member of the sub-committee of Drury Lane
theatre
Pressure of pecuniary embarrassments
1816. Jan., Lady Byron adopts the resolution of separating from him
Samples of the abuse lavished on him
March, writes 'Fare thee well,' and 'A Sketch'
April, leaves England
His route--Brussels, Waterloo, &c.
Takes up his abode at the Campagne Diodati
Finishes, June 27, the third canto of 'Childe Harold'
Writes, June 28, 'The Prisoner of Chillon'
Writes
'Darkness,' 'Epistle to Augusta,' 'Churchill's Grave,'
'Prometheus,' 'Could I remount,' 'Sonnet to Lake Leman,'
and part of 'Manfred'
August, an unsuccessful negotiation for a domestic reconciliation
Sept., makes a tour of the Bernese Alps
His intercourse with Mr. Shelley
Oct., proceeds to Italy--route, Martiguy, the Simplon, Milan
Verona
Nov., takes up his residence at Venice
Marianna Segati
Studies the Armenian language
1817. Feb., finishes 'Manfred'
March, translates from the Armenian, a correspondence between
St. Paul and the Corinthians
April
Makes a short visit to Rome, and writes there a new third act to
'Manfred'
July, writes, at Venice, the fourth canto of 'Childe Harold'
Oct., writes 'Beppo'
1818. The Fornarina, Margaritta Cogni
July, writes 'Ode on Venice'
Nov., finishes 'Mazeppa'
1819. Jan., finishes second canto of 'Don Juan'
April, beginning of his acquaintance with the Countess Guiccioli
June, writes 'Stanzas to the Po'
Dec., completes the third and fourth cantos of 'Don Juan'
Removes to Ravenna
1820. Jan., domesticated with Countess Guiccioli
Feb., translates first canto of the 'Morgante Maggiore'
March, finishes 'Prophecy of Dante'
Translates 'Francesa of Rimini'
And writes 'Observations upon an Article in Blackwood's
Magazine'
April--July, writes 'Marino Faliero'
Oct.--Nov., writes fifth canto of 'Don Juan'
1821. Feb., writes 'Letter on the Rev. W.L. Bowles's Strictures on
the Life of Pope'
March, 'Second Letter,' &c.
May, finishes 'Sardanapalus'
July, 'The Two Foscari'
Sept., 'Cain'
Oct., writes 'Heaven and Earth, a Mystery'
and 'Vision of Judgment'
Removes to Pisa
1822. Jan., finishes 'Werner'
Sept, removes to Genoa
His coalition with Hunt in the 'Liberal'
1823. April, turns his views towards Greece
Receives a communication from the London committee
May, offers to proceed to Greece, and to devote his resources
to the object in view
Preparations for his departure
July 14., sails for Greece
Reaches Argostoli
Excursion to Ithaca
Waits, at Cephalonia, the arrival of the Greek fleet
His conversations on religion with Dr. Kennedy at Mataxata
His letters to Madame Guiccioli
His address to the Greek government
And remonstrance to Prince Mavrocordati
Testimonies to the benevolence and soundness of his views
Instances of his humanity and generosity while at Cephalonia
1824. Jan. 5., arrives at Missolonghi
Writes 'Lines on completing my thirty-sixth year'
Intended attack upon Lepanto
Is made commander-in-chief of the expedition
Rupture with the Suliotes
The expedition suspended
His last illness
His death
His funeral
Inscription on his monument
His will
His person
His sensitiveness on the subject of his lameness
His abstemiousness
His habitual melancholy
His tendency to make the worst of his own obliquities
His generosity and kind-heartedness
His politics
His religious opinions
His tendency to superstition
Portraits of him
Byron, Lady
Her remarks on Mr. Moore's Life of Lord Byron
Lord Byron's letters to
----, Honourable Augusta Ada
Byron, (George) seventh lord
----, Eliza
----, Henry

C.

Cadiz, described Caesar, Julius, his times Cahir, Lady 'CAIN, a Mystery,' alleged blasphemies See also Caledonian meeting, 'Address intended to be recited at' Calvert, Mr., Lord Byron's schoolfellow at Harrow Cambridge, Lord Byron's entry into Trinity College A chaos of din and drunkenness Lord Byron's distaste to Camoens, distinguished himself in war Campbell, Thomas, esq., his first introduction to Lord Byron Coleridge lecturing against him His 'Pleasures of Hope' The best of judges His unpublished poem on a scene in Germany Inadvertencies in his 'Lives of the Poets' His 'Gertrude of Wyoming' full of false scenery See, also Canning, Right Hon. George His oratory ----, Sir Stratford, his poem entitled 'Buonaparte' Canova His early love Cant, 'the grand primum mobile of England' Cantemir, Demetrius, his 'History of the Ottoman Empire,' Carlile, Richard, folly of his trial Carlisle (Frederick Howard), fifth Earl of, becomes Lord Byron's guardian His alleged neglect of his ward Proposed reconciliation between Lord Byron and Caroline, Queen of England Carmarthen, Marchioness of Caro, Annibale, his translations from the classics Carpenter, James, the bookseller Carr, Sir John, the traveller Cartwright, Major Cary, Rev. Henry Francis, his translation of Dante Castanos, General Castellan, A.L., his 'Moeurs des Ottomans' Castlereagh, Viscount, (Robert Stewart, Marquis of Londonderry) Catholic emancipation 'Cato,' Pope's prologue to Catullus, his 'Atys' not licentious 'Cavalier Servente' Cawthorn, Mr., the bookseller Caylus, Count de 'Cecilia,' Miss Burney's Celibacy of eminent philosophers Centlivre, Mrs., character of her comedies Drove Congreve from the stage 'Cenci,' Shelley's Chamouni, remarks on the scenery of Charlemont, Lady, Lord Byron's admiration of ----, Mrs. Charles the Fifth Charlotte, the Princess, attacks upon Lord Byron in consequence of his verses to Death of Chatham, Lord, a notice of His oratory Chatterton, Thomas, self-educated Never vulgar Chaucer, Geoffrey, character of his poetry Chauncy, Captain Chaworth, Mary Anne (afterwards Mrs. Musters), Lord Byron's early attachment to His last farewell of her Her marriage Interview with, after her marriage Cheltenham, Lord Byron at Childe Alarique 'CHILDE HAROLD'S PILGRIMAGE,' the poem commenced first produced to Mr. Dallas The author's false judgment concerning Identification of Lord Byron's character with Mr. Gifford's opinion of the poem Preparations for publication Its progress through the press Mr. Moore's opinion Its publication and instantaneous success alleged resemblance to Marmion in it The 3d Canto written Progress of the 4th Canto 2500 guineas asked for it The translation confiscated in Italy 'The sublimest poetical achievement of mortal pen' Chillon, Castle of 'CHILLON, PRISONER OF Christ, what proved him the Son of God 'Christabel', Lord Byron's admiration of Cicero, Antony's treatment of Cid Cigars Cintra, the most beautiful village in the world Clare (John Fitzgibbon), Earl of Clare, John, the poet Clarens Claridge, Mr. 'Clarissa Harlowe.' Clarke, Rev. James Stanier, his 'Naufragia.' Clarke, Hewson Classical education Claudian, the 'ultimus Romanorum.' Claughton, Mr. Clayton, Mr. Clitumnus, the river Clubs Coates, Romeo, his Lothario Cobbett, William Cochrane, Lord 'Cockney school' of poetry Cogni, Margarita (the Fornarina), story of Coldham, Mr. Coleridge, Samuel Taylor, esq., his 'Devil's Walk' His 'Remorse' His 'Zopolia' His 'Biographia Literaria' His 'Christabel' Lord Byron's letters to See also Colman, George, esq., his prologue to 'Philaster' ----, George, jun., esq., parallel between Sheridan and Colocotroni Colonna, Cape Columns of Comedy more difficult to compose than Tragedy Concanen, Mr. Congreve, self-educated His comedies Driven from the stage by Mrs. Centlivre Constance (a German lady) Constant, Benjamin de, his 'Adolphe' Constantinople, St. Sophia The seraglio The first sea view Cooke, George Frederick, tragedian, an American Life of The most natural of actors Coolidge, Mr., of Boston Copet Cordova, Admiral ----, Sennorita 'Corinne,' notes written by Lord Byron in Corinth ----, capture of See 'SIEGE OF CORINTH.' Cork, Countess of Cornwall, Barry (Bryan Walter Proctor) 'CORSAIR, the; a Tale' 'Cosmopolite,' an amusing little volume full of French flippancy Cotin, L'Abbe Cottin, Madame 'Could I remount the river of my years' 'Courier' Courtenay, John, esq., anecdotes of Cowell, Mr. John, Letters to Cowley, Abraham, his 'Essays' quoted His character Cowper, Earl ----, Countess ----, William, famous at cricket and football His remark on the English system of education His spaniel 'Beau' An example of filial tenderness 'No poet' His translation of Homer Crabbe, Rev. George, the just tribute to His 'Resentment' His quality as a poet 'The father of present poesy' Crebillon, the younger, his marriage Cribb, Tom, the pugilist Cricketing, one of Lord Byron's most favourite sports 'Critic,' Sheridan's, 'too good for a farce' 'Critical Review' Croker, Right Hon. John Wilson, his query concerning the title of the 'Bride of Abydos' His 'guess' as to the origin of 'Beppo' Lord Byron's letter to His 'Boswell' quoted Crosby, Benjamin Crowe, Rev, William, his criticism in 'English Bards' Curioni, Signor, singer Curran, Right Hon. John Philpot, Lord Byron's enthusiastic praise 'Curse of Kebama' 'CURSE OF MINERVA' Curzon, Mr. Cuvier, Baron

D.

Dallas, Robert Charles, commencement of his acquaintance with Lord Byron Childe Harold first shown to him Copywright of the Corsair presented to him His ingratitude See also Lord Byron's letters to Dalrymple, Sir Hew D'Alton, John, esq., his 'Dermid' Dandies Dante, his early passion for Beatrice His infelicitous marriage His poem celebrated long before his death His popularity His gentle feelings Lord Byron's resemblance to See also 'PROPHECY OF' D'Arblay, Madame (Miss Burney), 1000 guineas asked for one of her novels Her 'Cecilia' See also Darnley, death of, a fine subject for a drama 'DARKNESS' Darwin, Dr. Erasmus, put down by the Anti-Jacobin Davies, Scrope, esq. Davy, Sir Humphry Dawkins, Mr. 'DEAR DOCTOR, I have read your play' Death Death De Bath, Lord Deformity, an incentive to distinction D'Egville, John, the ballet-master Delaval, Sir Francis Blake Delawarr (George-John West), fifth Earl Delia, poetical epistle from, to Lord Byron Delladecima, Count His opinion of Lord Byron's conduct in Greece Delphi, fountain of Demetrius Denham, his 'Cowper's Hill' Dent de Jument Dervish Tahiri, Lord Byron's faithful Arnaout guide 'Devil's Drive,' the Devil's Walk,' Porson's Devonshire, Duchess of (Lady Elizabeth Foster), her character of the Roman government 'Diary of an Invalid,' Matthews's Dibdin, Thomas, play-wright Dick, Mr. Diderot, his definition of sensibility Digestion Dioclesian Dionysius at Corinth D'Israeli, J., esq. his 'Essay on the Literary Character' His 'Quarrels of Authors' His remark on the effect of medicine upon the mind and spirits 'Distrest Mother,' excellence of the epilogue to D'Ivernois, Sir Francis Divorce Dogs, fidelity of -----, Lord Byron's fondness for His epitaph on 'Boatswain' Don, Brig of Donegal, Lady 'DON JUAN,' a scene in it adapted from the 'Narrative of the Shipwreck of the Juno Commencement of the poem The 1st canto finished 50 copies to be printed privately 2nd canto 'Nonsensical prudery' against it Mr. Murray in a fright about it The papers not so fierce as was anticipated Authorship to be kept anonymous General outcry against the poem Spurious 3rd cantos Mr. Murray going to law The author hurt but not frightened A French lady's compliments Third canto The fifth canto hardly the beginning of the poem The Countess Guiccioli's intercession for its discontinuance Shelley's opinion of it The poem all 'real life' Errors of the press Partiality of the Germans for Permission from the Countess to continue it Three more cantos Another The 'Quarterly' Review of the poem An epitome of the author's character Donna Bianca, or White Lady of Colalto the story of her supernatural appearance D'Orsay, Count His 'Journal' Lord Byron's letter to Dorset (George-John Frederick), fourth Duke of 'LINES occasioned by the death of' Dorville, Mr Dovedale, Lord Byron's eulogy of the scenery of Dramatists, old English, 'full of gross faults' 'Not good as models' 'DREAM,' The The most mournful and picturesque story that ever came from the pen and heart of man 'One of the most interesting' of Lord Byron's poems Dreams Drummond, Sir William His 'OEdipus Judaicus' ----, Mr., Lord Byron's schoolfellow at Harrow Drury, Rev. Henry, Lord Byron's letters to ----, Rev. Dr. Joseph, his account of Lord Byron's disposition and capabilities while at Harrow Lord Byron's character of His retirement from the mastership of Harrow Drury, Mark Drury Lane Theatre 'ADDRESS, spoken at the opening of' Dryden, his praise of Oxford, at the expense of Cambridge Eulogy of his 'Fables' by Lord Byron 'Duenna,' Lord Byron's partiality for the songs in Duff, Colonel (Lord Byron's god-father) ----, Miss Mary (afterwards Mrs. Robert Cockburn), Lord Byron's boyish attachment for Dulwich, Lord Byron at school there Dumont, M Duncan, Mr., Lord Byron's writing-master at Aberdeen Dwyer, Mr Dyer's 'Grongar Hill'

E.