IX.

I once was quick in feeling--that is o'er;-- My scars are callous, or I should have dashed My brain against these bars, as the sun flashed 210 In mockery through them;--- If I bear and bore The much I have recounted, and the more Which hath no words,--'t is that I would not die And sanction with self-slaughter the dull lie Which snared me here, and with the brand of shame Stamp Madness deep into my memory, And woo Compassion to a blighted name, Sealing the sentence which my foes proclaim. No--it shall be immortal!--and I make A future temple of my present cell, 220 Which nations yet shall visit for my sake.[bi] While thou, Ferrara! when no longer dwell The ducal chiefs within thee, shall fall down, And crumbling piecemeal view thy hearthless halls, A Poet's wreath shall be thine only crown,-- A Poet's dungeon thy most far renown, While strangers wonder o'er thy unpeopled walls! And thou, Leonora!--thou--who wert ashamed That such as I could love--who blushed to hear To less than monarchs that thou couldst be dear, 230 Go! tell thy brother, that my heart, untamed By grief--years--weariness--and it may be A taint of that he would impute to me-- From long infection of a den like this, Where the mind rots congenial with the abyss,-- Adores thee still;--and add--that when the towers And battlements which guard his joyous hours Of banquet, dance, and revel, are forgot, Or left untended in a dull repose, This--this--shall be a consecrated spot! 240 But _Thou_--when all that Birth and Beauty throws Of magic round thee is extinct--shalt have One half the laurel which o'ershades my grave.[188] No power in death can tear our names apart, As none in life could rend thee from my heart.[bj] Yes, Leonora! it shall be our fate To be entwined[189] for ever--but too late![190]

FOOTNOTES:

[173] {141}[A MS. of the _Gerusalemme_ is preserved and exhibited at Sir John Soane's Museum in Lincoln's Inn Fields.]

[174] [The original MS. of this poem is dated, "The Apennines, April 20, 1817."]

[175] {143}[The MS. of the _Lament of Tasso_ corresponds, save in three lines where alternate readings are superscribed, _verbatim et literatim_ with the text. A letter dated August 21, 1817, from G. Polidori to John Murray, with reference to the translation of the _Lament_ into Italian, and a dedicatory letter (in Polidori's handwriting) to the Earl of Guilford, dated August 3, 1817, form part of the same volume.]

[176] [In a letter written to his friend Scipio Gonzaga ("Di prizione in Sant' Anna, questo mese di mezzio l'anno 1579"), Tasso exclaims, "Ah, wretched me! I had designed to write, besides two epic poems of most noble argument, four tragedies, of which I had formed the plan. I had schemed, too, many works in prose, on subjects the most lofty, and most useful to human life; I had designed to unite philosophy with eloquence, in such a manner that there might remain of me an eternal memory in the world. Alas! I had expected to close my life with glory and renown; but now, oppressed by the burden of so many calamities, I have lost every prospect of reputation and of honour. The fear of perpetual imprisonment increases my melancholy; the indignities which I suffer augment it; and the squalor of my beard, my hair, and habit, the sordidness and filth, exceedingly annoy me. Sure am I, that, if she who so little has corresponded to my attachment--if she saw me in such a state, and in such affliction--she would have some compassion on me."--_Lettere di Torouato Tasso_, 1853, ii. 60.]

[177] {144}[Compare--

"The second of a tenderer sadder mood, Shall pour his soul out o'er Jerusalem."

_Prophecy of Dante_, Canto IV. lines 136, 137.]

[178] [Tasso's imprisonment in the Hospital of Sant' Anna lasted from March, 1579, to July, 1586. The _Gerusalemme_ had been finished many years before. He sent the first four cantos to his friend Scipio Gonzaga, February 17, and the last three on October 4, 1575 (_Lettere di Torquato Tasso_, 1852, i. 55-117). A mutilated first edition was published in 1580 by "Orazio _alias_ Celio de' Malespini, avventuriere intrigante" (Solerti's _Vita, etc._, 1895, i. 329).]

[179] [So, too, Gibbon was overtaken by a "sober melancholy" when he had finished the last line of the last page of the _Decline and Fall_ on the night of June 27, 1787.]

[180] {145}[Not long after his imprisonment, Tasso appealed to the mercy of Alfonso, in a canzone of great beauty, ... and ... in another ode to the princesses, whose pity he invoked in the name of their own mother, who had herself known, if not the like horrors, the like solitude of imprisonment, and bitterness of soul, made a similar appeal. (See _Life of Tasso_, by John Black, 1810, ii. 64, 408.) Black prints the canzone in full; Solerti (_Vita, etc._, i. 316-318) gives selections.]

[181] {146}["For nearly the first year of his confinement Tasso endured all the horrors of a solitary sordid cell, and was under the care of a gaoler whose chief virtue, although he was a poet and a man of letters, was a cruel obedience to the commands of his prince.... His name was Agostino Mosti.... Tasso says of him, in a letter to his sister, 'ed usa meco ogni sorte di rigore ed inumanità.'"--Hobhouse, _Historical Illustrations, etc_., 1818, pp. 20, 21, note 1.

Tasso, in a letter to Angelo Grillo, dated June 16, 1584 (Letter 288, _Le Lettere, etc_., ii. 276), complains that Mosti did not interfere to prevent him being molested by the other inmates, disturbed in his studies, and treated disrespectfully by the governor's subordinates. In the letter to his sister Cornelia, from which Hobhouse quotes, the allusion is not to Mosti, but, according to Solerti, to the Cardinal Luigi d'Este. Elsewhere (Letter 133, _Lettere_, ii. 88, 89) Tasso describes Agostino Mosti as a rigorous and zealous Churchman, but far too cultivated and courteous a gentleman to have exercised any severity towards him _proprio motu_, or otherwise than in obedience to orders.]

[182] {147}[It is highly improbable that Tasso openly indulged, or secretly nourished, a consuming passion for Leonora d'Este, and it is certain that the "Sister of his Sovereign" had nothing to do with his being shut up in the Hospital of Sant' Anna. That poet and princess had known each other for over thirteen years, that the princess was seven years older than the poet, and, in March, 1579, close upon forty-two years of age, are points to be considered; but the fact that she died in February, 1581, and that Tasso remained in confinement for five years longer, is a stronger argument against the truth of the legend. She was a beautiful woman, his patroness and benefactress, and the theme of sonnets and canzoni; but it was not for her "sweet sake" that Tasso lost either his wits or his liberty.]

[183] Compare--

"I speak not, I trace not, I breathe not thy name."

[184] {148}[Compare the following lines from the canzone entitled, "La Prima di Tre Sorelle Scritte a Madaroa Leonora d'Este ... 1567:"--

"E certo il primo dì che'l bel sereno Delia tua fronte agli occhi miei s'offerse E vidi armato spaziarvi Amore, Se non che riverenza allor converse, E Meraviglia in fredda selce il seno, Ivi pería con doppia morte il core; Ma parte degli strali, e dell' ardore Sentii pur anco entro 'l gelato marmo."]

[185] {149}[Ariosto (_Sat._ 7, Terz. 53) complains that his father chased him "not with spurs only, but with darts and lances, to turn over old texts," etc.; but Tasso was a studious and dutiful boy, and, though he finally deserted the law for poetry, and "crossed" his father's wishes and intentions, he took his own course reluctantly, and without any breach of decorum. But, perhaps, the following translations from the _Rinaldo,_ which Black supplies in his footnotes (i. 41. 97), suggested this picture of a "poetic child" at variance with the authorities:--

"Now hasting thence a verdant mead he found, Where flowers of fragrant smell adorned the ground; Sweet was the scene, and here from human eyes Apart he sits, and thus he speaks mid sighs."

## Canto I. stanza xviii.

"Thus have I sung in youth's aspiring days Rinaldo's pleasing plains and martial praise: While other studies slowly I pursued Ere twice revolved nine annual suns I viewed; Ungrateful studies, whence oppressed I groaned, A burden to myself and to the world unknown.

* * * * *

But this first-fruit of new awakened powers! Dear offspring of a few short studious hours! Thou infant volume child of fancy born Where Brenta's waves the sunny meads adorn."

## Canto XII. stanza xc.]

[bh] {150}_My mind like theirs adapted to its grave_.--[MS.]

[186] ["Nor do I lament," wrote Tasso, shortly after his confinement, "that my heart is deluged with almost constant misery, that my head is always heavy and often painful, that my sight and hearing are much impaired, and that all my frame is become spare and meagre; but, passing all this with a short sigh, what I would bewail is the infirmity of my mind.... My mind sleeps, not thinks; my fancy is chill, and forms no pictures; my negligent senses will no longer furnish the images of things; my hand is sluggish in writing, and my pen seems as if it shrunk from the office. I feel as if I were chained in all my operations, and as if I were overcome by an unwonted numbness and oppressive stupor."--_Opere_, Venice, 1738, viii. 258, 263.]

[187] [In a letter to Maurizio Cataneo, dated December 25, 1585, Tasso gives an account of his sprite (_folletto_): "The little thief has stolen from me many crowns.... He puts all my books topsy-turvy (_mi mette tutti i libri sottosopra_), opens my chest and steals my keys, so that I can keep nothing." Again, December 30, with regard to his hallucinations he says, "Know then that in addition to the wonders of the Folletto ... I have many nocturnal alarms. For even when awake I have seemed to behold small flames in the air, and sometimes my eyes sparkle in such a manner, that I dread the loss of sight, and I have ... seen sparks issue from them."--Letters 454, 456, _Le Lettere_, 1853, ii. 475, 479.]

[bi] {151}

/ _nations yet_ \ _Which_ < > _shall visit for my sake_.--[MS.] \ _after days_ /

[188] {152}["Tasso, notwithstanding the criticisms of the Cruscanti, would have been crowned in the Capitol, but for his death," Reply to _Blackwood's Edinburgh Magazine_ (Ravenna, March 15, 1820), _Letters_, 1900, iv. Appendix IX. p. 487.]

[bj]

/ _wrench_ \ _As none in life could_ < > _thee from my heart_.--[MS.] \ _wring_ /

[189] [Compare--

"From Life's commencement to its slow decline We are entwined."

_Epistle to Augusta_, stanza xvi. lines 6, 7, _vide ante_, p. 62.]

[190] [The Apennines, April 20, 1817.]

BEPPO:

A VENETIAN STORY.

_Rosalind_. Farewell, Monsieur Traveller; Look, you lisp, and wear strange suits: disable all the benefits of your own country; be out of love with your Nativity, and almost chide God for making you that countenance you are; or I will scarce think you have swam in a _Gondola_.

_As You Like It_, act iv, sc. I, lines 33-35.

_Annotation of the Commentators_. That is, _been at Venice_, which was much visited by the young English gentlemen of those times, and was _then_ what _Paris_ is _now_--the seat of all dissoluteness.--S. A.[191]

[The initials S. A. (Samuel Ayscough) are not attached to this note, but to another note on the same page (see _Dramatic Works_ of William Shakspeare, 1807, i. 242).]

INTRODUCTION TO _BEPPO_

_BEPPO_ was written in the autumn (September 6--October 12, _Letters_, 1900, iv. 172) of 1817, whilst Byron was still engaged on the additional stanzas of the Fourth Canto of _Childe Harold_. His new poem, as he admitted from the first, was "after the excellent manner" of John Hookham Frere's _jeu d'esprit_, known as _Whistlecraft_ (_Prospectus and Specimen of an intended National Work_ by William and Robert Whistlecraft, London, 1818[192]), which must have reached him in the summer of 1817. Whether he divined the identity of "Whistlecraft" from the first, or whether his guess was an after-thought, he did not hesitate to take the water and shoot ahead of his unsuspecting rival. It was a case of plagiarism _in excelsis_, and the superiority of the imitation to the original must be set down to the genius of the plagiary, unaided by any profound study of Italian literature, or an acquaintance at first hand with the parents and inspirers of _Whistlecraft_.

It is possible that he had read and forgotten some specimens of Pulci's _Morgante Maggiore_, which J. H. Merivale had printed in the _Monthly Magazine_ for 1806-1807, vol. xxi. pp. 304, 510, etc., and it is certain that he was familiar with his _Orlando in Roncesvalles_, published in 1814. He distinctly states that he had not seen W. S. Rose's[193] translation of Casti's _Animali Parlanti_ (first edition [anonymous], 1816), but, according to Pryse Gordon (_Personal Memoirs_, ii. 328), he had read the original. If we may trust Ugo Foscolo (see "Narrative and Romantic Poems of the Italians" in the _Quart. Rev_., April, 1819, vol. xxi. pp. 486-526), there is some evidence that Byron had read Forteguerri's _Ricciardetto_ (translated in 1819 by Sylvester (Douglas) Lord Glenbervie, and again, by John Herman Merivale, under the title of _The Two First Cantos of Richardetto_, 1820), but the parallel which he adduces (_vide post_, p. 166) is not very striking or convincing.

On the other hand, after the poem was completed (March 25, 1818), he was under the impression that "Berni was the original of _all_ ... the father of that kind [i.e. the mock-heroic] of writing;" but there is nothing to show whether he had or had not read the _rifacimento_ of Orlando's _Innamorato_, or the more distinctively Bernesque _Capitoli_. Two years later (see Letter to Murray, February 21, 1820, _Letters_, 1900, iv. 407; and "Advertisement" to _Morgante Maggiore_) he had discovered that "Pulci was the parent of _Whistlecraft_, and the precursor and model of Berni," but, in 1817, he was only at the commencement of his studies. A time came long before the "year or two" of his promise (March 25, 1818) when he had learned to simulate the _vera imago_ of the Italian Muse, and was able not only to surpass his "immediate model," but to rival his model's forerunners and inspirers. In the meanwhile a tale based on a "Venetian anecdote" (perhaps an "episode" in the history of Colonel Fitzgerald and the Marchesa Castiglione,--see Letter to Moore, December 26, 1816, _Letters_, 1900, iv. 26) lent itself to "the excellent manner of Mr. Whistlecraft," and would show "the knowing ones," that is, Murray's advisers, Gifford, Croker, Frere, etc., that "he could write cheerfully," and "would repel the charge of monotony and mannerism."

Eckermann, mindful of Goethe's hint that Byron had too much _empeiria_ (an excess of _mondanité_--a _this_-worldliness), found it hard to read _Beppo_ after _Macbeth_. "I felt," he says, "the predominance of a nefarious, empirical world, with which the mind which introduced it to us has in a certain measure associated itself" (_Conversations of Goethe, etc._, 1874, p. 175). But _Beppo_ must be taken at its own valuation. It is _A Venetian Story_, and the action takes place behind the scenes of "a comedy of Goldoni." A less subtle but a more apposite criticism may be borrowed from "Lord Byron's Combolio" (_sic_), _Blackwood's Edinburgh Magazine_, 1822, xi. 162-165.

"The story that's in it May be told in a minute; But _par parenthèse_ chatting, On this thing and that thing, Keeps the shuttlecock flying, And attention from dying."

_Beppo, a Venetian Story_ (xcv. stanzas) was published February 28, 1818; and a fifth edition, consisting of xcix. stanzas, was issued May 4, 1818.

Jeffrey, writing in the _Edinburgh Review_ (February, 1818, vol. xxix. pp. 302-310), is unconcerned with regard to _Whistlecraft_, or any earlier model, but observes "that the nearest approach to it [_Beppo_] is to be found in some of the tales and lighter pieces of Prior--a few stanzas here and there among the trash and burlesque of Peter Pindar, and in several passages of Mr. Moore, and the author of the facetious miscellany entitled the _Twopenny Post Bag_."

Other notices, of a less appreciative kind, appeared in the _Monthly Review_, March, 1818, vol. 85, pp. 285-290; and in the _Eclectic Review_, N.S., June, 1818, vol. ix. pp. 555-557.

BEPPO.[194]