different from mine; nay, the more they differ from mine the more freshness and amusement they bring me. All Byron's correspondents might be sure of getting a bit of the real Byron. He never describes anything without conveying the exact effect upon himself. Writing to his publisher from Rome in 1817, he gives in a single paragraph a powerful description of the execution of three robbers by the guillotine (rather too terrible to quote), and at the end of it comes the personal effect:-- "The pain seems little, and yet the effect to the spectator and the preparation to the criminal are very striking and chilling. The first turned me quite hot and thirsty, and made me shake so that I could hardly hold the opera-glass (I was close, but was determined to see as one should see everything once, with attention); the second and third (which shows how dreadfully soon things grow indifferent), I am ashamed to say, had no effect on me as a horror, though I would have saved them if I could." How accurately this experience is described with no affectation of impassible courage (he trembles at first like a woman) or of becoming emotion afterwards, the instant that the real emotion ceased! Only some pity remains,--"I would have saved them if I could." The bits of frank criticism thrown into his letters, often quite by chance, were not the least interesting elements in Byron's correspondence. Here is an example, about a book that had been sent him:-- "Modern Greece--good for nothing; written by some one who has never been there, and, not being able to manage the Spenser stanza, has invented a thing of his own, consisting of two elegiac stanzas, an heroic line and an Alexandrine, twisted on a string. Besides, why _modern_? You may say _modern Greeks_, but surely _Greece_ itself is rather more ancient than ever it was." The carelessness of Byron in letter-writing, his total indifference to proportion and form, his inattention to the beginning, middle, and end of a letter, considered as a literary composition, are not to be counted for faults, as they would be in writings of any pretension. A friendly letter is, by its nature, a thing without pretension. The one merit of it which compensates for every defect is to carry the living writer into the reader's presence, such as he really is, not such as by study and art he might make himself out to be. Byron was energetic, impetuous, impulsive, quickly observant, disorderly, generous, open-hearted, vain. All these qualities and defects are as conspicuous in his correspondence as they were in his mode of life. There have been better letter-writers as to literary art,--to which he gave no thought,--and the literary merits that his letters possess (their clearness, their force of narrative and description, their conciseness) are not the results of study, but the characteristics of a vigorous mind.