Perhaps, as a matter of fact, our literary point of view in these later days has been at once over-subtilized and underfed. Perhaps we have grown morbidly fastidious in the matter of delicacies of style, and shrinkingly averse to the slashing energy of hard-hitting, action-loving, self-assertive worldliness. It may be so; and yet, I am not sure. I can find it in me to dally with the morbid and very modern fancy that, after all, Byron has been a good deal overrated; that, after all, when we forget his personality and think only of his actual work, he cannot be compared for a moment, as an original genius, with such persons--so much less appealing to the world-obsessed feminine mind--as William Blake or Paul Verlaine! Yes; let the truth be blurted out--even though it be a confession causing suffering to one's pride--and the truth is that I, for one, though I can sit down and read Matthew Arnold and Remy de Gourmont and Paul Verlaine, for hours and hours, and though it is only because I have them all so thoroughly by heart that I don't read the great Odes of Keats any more, shall _never again,_ not even for the space of a quarter of an hour, not even as a psychological experiment, turn over the pages of a volume of Byron's Poetical Works! I think I discern what this reluctance means. It means that primarily and intrinsically what Byron did for the world was to bring into prominence and render beautiful and appealing a certain fierce rebellion against unctuous domesticity and solemn puritanism. His political propagandism of Liberty amounts to nothing now. What amounts to a great deal is that he magnificently and in an engaging, though somewhat brutal manner, broke the rules of a bourgeois social code. As a meteoric rebel against the degrading servility of what we have come to call the "Nonconformist Conscience" Byron must always have his place in the tragically slow emancipation of the human spirit. The reluctance of an ordinary sensitive modern person, genuinely devoted to poetry, to spend any more time with Byron's verses than what those great familiar lyrics printed in all the anthologies exact, is merely a proof that he is not the poet that Shelley, for instance, is. It is a melancholy commentary upon the "immortality of genius" and that "perishing only with the English language" of which conventional orators make so much, that the case should be so; but it is more important to be honest in the admission of our real feelings than to flatter the pride of the human race. The world moves on. Manners, customs, habits, moralities, ideals, all change with changing of the times. _Style alone,_ the imaginative rendering in monumental words of the most personal secrets of our individuality, gives undying interest to what men write. Sappho and Catullus, Villon and Marlowe, are as vivid and fresh to-day as are Walter de la Mare or Edgar Lee Masters.