the readers of verse in England, we might say in Europe, hastened to sit at his feet. What Mr. Wordsworth had said like a recluse, Lord Byron said like a man of the world, with less profound feeling, but with more perspicuity, energy, and conciseness. We would refer our readers to the last two cantos of Childe Harold and to Manfred, in proof of these observations. Lord Byron, like Mr. Wordsworth, had nothing dramatic in his genius. He was indeed the reverse of a great dramatist, the very antithesis to a great dramatist. All his characters, Harold looking on the sky, from which his country and the sun are disappearing together, the Giaour, standing apart in the gloom of the side aisle, and casting a haggard scowl from under his long hood at the crucifix and the censer, Conrad leaning on his sword by the watch-tower, Lara smiling on the dancers, Alp gazing steadily on the fatal cloud {357}as it passes before the moon, Manfred wandering among the precipices of Berne, Azzo on the judgment-seat, Ugo at the bar, Lambrol frowning on the siesta of his daughter and Juan, Cain presenting his unacceptable offering, are essentially the same. The varieties are varieties merely of age, situation, and outward show. If ever Lord Byron attempted to exhibit men of a different kind, he always made them either insipid or unnatural. Selim is nothing. Bonnivart is nothing. Don Juan, in the first and best cantos, is a feeble copy of the Page in the Marriage of Figaro. Johnson, the man whom Juan meets in the slave-market, is a most striking failure. How differently would Sir Walter Scott have drawn a bluff, fearless Englishman, in such a situation! The portrait would have seemed to walk out of the canvass. Sardanapalus is more coarsely drawn than any dramatic personage that we can remember. His heroism and his effeminacy, his contempt of death and his dread of a weighty helmet, his kingly resolution to be seen in the foremost ranks, and the anxiety with which he calls for a looking-glass, that he may be seen to advantage, are contrasted, it is true, with all the point of Juvenal. Indeed the hint of the character seems to have been taken from what Juvenal says of Otho: “Speculum civilis sarcina belli. Nimirum summi ducis est occidere Galbam, Et curare cutem summi constantia civis, Bedriaci in campo spolium affectare l’alati, Et pressum in faciem digitis extendere panem."