is troubled with the gout; if my book can produce a laugh against itself or the author, it will be of some service.  If it can set you to sleep, the benefit will be yet greater; and as some facetious personage observed half a century ago, that ‘poetry is a mere drug,’ I offer you mine as a humble assistant to the ‘eau medicinale.’  I trust you will forgive this and all my other buffooneries, and believe me to be, with great respect,

     “Your Lordship’s obliged and

     “Sincere servant,

     “BYRON.”

* * * * *

It was within two days after his speech in the House of Lords that Childe Harold appeared[44];—­and the impression which it produced upon the public was as instantaneous as it has proved deep and lasting.  The permanence of such success genius alone could secure, but to its instant and enthusiastic burst, other causes, besides the merit of the work, concurred.

There are those who trace in the peculiar character of Lord Byron’s genius strong features of relationship to the times in which he lived; who think that the great events which marked the close of the last century, by giving a new impulse to men’s minds, by habituating them to the daring and the free, and allowing full vent to “the flash and outbreak of fiery spirits,” had led naturally to the production of such a poet as Byron; and that he was, in short, as much the child and representative of the Revolution, in poesy, as another great man of the age, Napoleon, was in statesmanship and warfare.  Without going the full length of this notion, it will, at least, be conceded, that the free loose which had been given to all the passions and energies of the human mind, in the great struggle of that period, together with the constant spectacle of such astounding vicissitudes as were passing, almost daily, on the theatre of the world, had created, in all minds, and in every walk of intellect, a taste for strong excitement, which the stimulants supplied from ordinary sources were insufficient to gratify;—­that a tame deference to established authorities had fallen into disrepute, no less in literature than in politics, and that the poet who should breathe into his songs the fierce and passionate spirit of the age, and assert, untrammelled and unawed, the high dominion of genius, would be the most sure of an audience toned in sympathy with his strains.

It is true that, to the licence on religious subjects, which revelled through the first acts of that tremendous drama, a disposition of an opposite tendency had, for some time, succeeded.  Against the wit of the scoffer, not only piety, but a better taste, revolted; and had Lord Byron, in touching on such themes in Childe Harold, adopted a tone of levity or derision, (such as, unluckily, he sometimes afterwards descended to,) not all the originality and beauty of his work would have secured for it a prompt or uncontested