We do not understand how moral it is to yield unreservedly to
enthusiasm, to the impression which great objects would fain make upon
us, and to embody that impression in worthy language. It is rare to
meet now even with young people who will abandon themselves to a heroic
emotion, or who, if they really feel it, do not try to belittle it in
expression. Byron's poetry, above most, tempts and almost compels
surrender to that which is beyond the commonplace self.
It is not true that "The Corsair" is insincere. He who hears a note of
insincerity in Conrad and Medora may have ears, but they must be those
of the translated Bottom who was proud of having "a reasonable good ear
in music." Byron's romance has been such a power exactly because men
felt that it was not fiction and that his was one of the strongest minds
of his day. He was incapable of toying with the creatures of the fancy
which had no relationship with himself and through himself with
humanity.
A word as to Byron's hold upon the people. He was able to obtain a
hearing from ordinary men and women, who knew nothing even of
Shakespeare, save what they had seen at the theatre.
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