'But who could paint the progress of the wreck-- Himself still clinging to the dangerous deck? Safe on the shore the artist first must stand, And then the pencil trembles in his hand.' When, four years later, Byron was writing the first canto of 'Don Juan,' with feelings chastened by suffering and time, he recurred to that period--never effaced from his memory--the time when he wrote: 'When thou art gone--the loved--the lost--the one Whose smile hath gladdened--though, perchance, undone!' Time could not change the feelings of his youth, nor keep his thoughts for long from the object of his early love. 'They tell me 'tis decided you depart: 'Tis wise--'tis well, but not the less a pain; I have no further claim on your young heart, Mine is the victim, and would be again: To love too much has been the only art I used.' 'I loved, I love you, for this love have lost State, station, Heaven, Mankind's, my own esteem, And yet can not regret what it hath cost, _So dear is still the memory of that dream_; Yet, if I name my guilt, 'tis not to boast, None can deem harshlier of me than I deem.' 'All is o'er For me on earth, except some years to hide My shame and sorrow deep in my heart's core: These I could bear, but cannot cast aside The passion which still rages as before-- And so farewell--forgive me, love me--No, That word is idle now--but let it go.' * * * * * 'My heart is feminine, nor can forget-- To all, except one image, madly blind; So shakes the needle, and so stands the pole, As vibrates my fond heart to my fixed soul.' It was early in 1814 that Byron also wrote his farewell verses to Mary Chaworth, which appeared in the second edition of 'The Corsair': I. 'Farewell! if ever fondest prayer For other's weal availed on high, Mine will not all be lost in air, But waft thy name beyond the sky. 'Twere vain to speak--to weep--to sigh: Oh! more than tears of blood can tell, _When wrung from Guilt's expiring eye_, Are in that word--Farewell! Farewell! II. 'These lips are mute, these eyes are dry; But in my breast, and in my brain, Awake the pangs that pass not by, _The thought that ne'er shall sleep again_. My soul nor deigns nor dares complain, Though Grief and Passion there rebel: I only know we loved in vain-- I only feel--Farewell! Farewell!' Even in the 'Hebrew Melodies,' which were probably begun in the autumn of 1814, and finished after Byron's marriage in January, 1815, there are traces of that deathless remorse and love, whose expression could not be altogether repressed. We select some examples at random. In the poem 'Oh, snatched away in Beauty's bloom,' the poet had added two verses which were subsequently suppressed: