Byron
Lord Byron is to be regarded as a man, as an Englishman, and as a great genius. His good qualities belong chiefly to the man, his bad to the Englishman and the peer, his talent is incommensurable.
All Englishmen, as such, are without reflection, properly so called; distractions and party spirit will not permit them to perfect themselves in quiet. But they are great as practical men.
Thus Lord Byron could never attain reflection concerning himself, and on this account his maxims in general are not successful, as is shown by his creed, “much money and no authority,” for much money always paralyzes authority.
But where he creates he always succeeds; and we may truly say that with him inspiration supplies the place of reflection. Something within him ever drove him to poetry, and then everything that came from the man, especially from his heart, was excellent. He produced his best things, as women do pretty children, without thinking about it or knowing how it was done.
He is a great talent, a born talent, and I never saw the true poetical power greater in any man than in him. In the apprehension of external objects, and a clear penetration into past situations, he is quite as great as Shakespeare. But as a pure individuality, Shakespeare is his superior. This was felt by Byron, and on this account he does not say much of Shakespeare, although he knows whole passages by heart. He would willingly have denied him altogether; for Shakespeare’s serenity is in his way, and he feels that he is no match for it. Pope he does not deny, for he had no cause to fear him. On the contrary, he mentions him, and shows him respect when he can, for he knows well enough that Pope is a mere foil to himself.
His high rank as an English peer was very injurious to Byron; for every talent is oppressed by the outer world,—how much more, then, when there is such high birth and so great a fortune. A certain middle rank is much more favorable to talent, on which account we find all great artists and poets in the middle classes. Byron’s predilection for the unbounded could not have been nearly so dangerous with more humble birth and smaller means. But as it was, he was able to put every fancy into practice, and this involved him in innumerable scrapes. Besides, how could one of such high rank be inspired with awe and respect by any rank whatever? He expressed whatever he felt, and this brought him into ceaseless conflict with the world.
Moreover, his perpetual negation and fault-finding is injurious even to his excellent works. For not only does the discontent of the poet infect the reader, but the end of all opposition is negation; and negation is nothing. If I call bad bad, what do I gain? But if I call good bad, I do a great deal of mischief. He who will work aright must never rail, must not trouble himself at all about what is ill done, but only strive to do well himself. For the great point is not to pull down, but to build up, and in this humanity finds pure joy.
I could not make use of any man as the representative of the modern poetical era except him, who undoubtedly is to be regarded as the greatest genius of our century. Byron is neither antique nor romantic, but like the present day itself. This was the sort of man I required. Then he suited me on account of his unsatisfied nature and his warlike tendency, which led to his death at Missolonghi.
Lord Byron is only great as a poet; as soon as he reflects, he is a child.