The day will come when democracy will remember all that it owes to Byron.  England, too, will, I hope, one day remember the mission—­so entirely English, yet hitherto overlooked by her—­which Byron fulfilled on the Continent; the European role given by him to English literature, and the appreciation and sympathy for England which he awakened amongst us.

Before he came, all that was known of English literature was the French translation of Shakespeare, and the anathema hurled by Voltaire against the “intoxicated barbarian.”  It is since Byron that we Continentalists have learned to study Shakespeare and other English writers.  From him dates the sympathy of all the true-hearted amongst us for this land of liberty, whose true vocation he so worthily represented among the oppressed.  He led the genius of Britain on a pilgrimage throughout all Europe.

England will one day feel how ill it is—­not for Byron but for herself—­that the foreigner who lands upon her shores should search in vain in that temple which should be her national Pantheon, for the poet beloved and admired by all the nations of Europe, and for whose death Greece and Italy wept as it had been that of the noblest of their own sons.

In these few pages—­unfortunately very hasty—­my aim has been, not so much to criticise either Goethe or Byron, for which both time and space are wanting, as to suggest, and if possible lead, English criticism upon a broader, more impartial, and more useful path than the one generally followed.  Certain travellers of the eleventh century relate that they saw at Teneriffe a prodigiously lofty tree, which, from its immense extent of foliage, collected all the vapors of the atmosphere; to discharge them, when its branches were shaken, in a shower of pure and refreshing water.  Genius is like this tree, and the mission of criticism should be to shake the branches.  At the present day it more resembles a savage striving to hew down the noble tree to the roots.

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