Poets, indeed, may take the side of reform, or may perhaps be naturally expected to take that side. The idealist and the dreamer should be attracted most powerfully by the visions of a better world and the restoration of the golden age. Shelley was among the most enthusiastic prophets of the coming era. His words, he hoped, were to be 'the trumpet of a prophecy' to 'unawakened earth.' Shelley had sat at the feet of Godwin, and represented that vague metaphysical dreaming to which the Utilitarians were radically hostile. To the literary critic, Shelley's power is the more remarkable because from a flimsy philosophy he span an imaginative tissue of such magical and marvellous beauty. But Shelley dwelt in an ethereal region, where ordinary beings found breathing difficult. There facts seemed to dissolve into thin air instead of supplying a solid and substantial base. His idealism meant unreality. His 'trumpet' did not in fact stimulate the mass of mankind, and his fame at this period was confined to a few young gentlemen of literary refinement. The man who had really stirred the world was Byron; and if the decline of Byron's fame has resulted partly from real defects, it is partly due also to the fact that his poetry was so admirably adapted to his contemporaries. Byron at least could see facts as clearly as any Utilitarian, though fact coloured by intense passion. He, like the Utilitarians, hated solemn platitudes and hypocritical conventions. I have noticed the point at which he came into contact with Bentham's disciples. His pathetic death shortly afterwards excited a singularly strong movement of sympathy. 'The news of his death,' said Carlyle at the time, 'came upon my heart like a mass of lead; and yet the thought of it sends a painful twinge through all my being, as if I had lost a brother.' At a later time he defines Byron as 'a dandy of sorrows and acquainted with grief.'[630] That hits off one aspect of Byronism. Byron was the Mirabeau of English literature, in so far as he was at once a thorough aristocrat and a strong revolutionist. He had the qualification of a true satirist. His fate was at discord with his character. He was proud of his order, and yet despised its actual leaders. He was ready alternately to boast of his vices and to be conscious that they were degrading. He shocked the respectable world by mocking 'Satanically,' as they held, at moral conventions, and yet rather denounced the hypocrisy and the heartlessness of precisians than insulted the real affections. He covered sympathy with human suffering under a mask of misanthropy, and attacked war and oppression in the character of a reckless outlaw. Full of the affectation of a 'dandy,' he was yet rousing all Europe by a cry of pure sentimentalism. It would be absurd to attribute any definite doctrine to Byron. His scepticism in religious matters was merely part of a general revolt against respectability. What he illustrates is the