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      'La Mira, near Venice.'

      It appears the circulation of this document must have been very private, since Moore, not over-delicate towards Lady Byron, did not think fit to print it; since John Murray neglected it, and since it has come out at this late hour for the first time.

      If Lord Byron really desired Lady Byron and her legal counsel to understand the facts herein stated, and was willing at all hazards to bring on an open examination, why was this privately circulated? Why not issued as a card in the London papers? Is it likely that Mr. Matthew Gregory Lewis, and a chosen band of friends acting as a committee, requested an audience with Lady Byron, Sir Samuel Romilly, and Dr. Lushington, and formally presented this cartel of defiance?

      We incline to think not. We incline to think that this small serpent, in company with many others of like kind, crawled secretly and privately around, and when it found a good chance, bit an honest Briton, whose blood was thenceforth poisoned by an undetected falsehood.

      The reader now may turn to the letters that Mr. Moore has thought fit to give us of this stay at La Mira, beginning with Letter 286, dated July 1, 1817,[10] where he says: 'I have been working up my impressions into a Fourth Canto of Childe Harold,' and also 'Mr. Lewis is in Venice. I am going up to stay a week with him there.'

      Next, under date La Mira, Venice, July 10,[11] he says, 'Monk Lewis is here; how pleasant!'

      Next, under date July 20, 1817, to Mr. Murray: 'I write to give you notice that I have completed the fourth and ultimate canto of Childe Harold. … It is yet to be copied and polished, and the notes are to come.'

      Under date of La Mira, August 7, 1817, he records that the new canto is one hundred and thirty stanzas in length, and talks about the price for it. He is now ready to launch it on the world; and, as now appears, on August 9, 1817, two days after, he wrote the document above cited, and put it into the hands of Mr. Lewis, as we are informed, 'for circulation among friends in England.'

      The reason of this may now be evident. Having prepared a suitable number of those whom he calls in his notes to Murray 'the initiated,' by private documents and statements, he is now prepared to publish his accusations against his wife, and the story of his wrongs, in a great immortal poem, which shall have a band of initiated interpreters, shall be read through the civilised world, and stand to accuse her after his death.

      In the Fourth Canto of 'Childe Harold,' with all his own overwhelming power of language, he sets forth his cause as against the silent woman who all this time had been making no party, and telling no story, and whom the world would therefore conclude to be silent because she had no answer to make. I remember well the time when this poetry, so resounding in its music, so mournful, so apparently generous, filled my heart with a vague anguish of sorrow for the sufferer, and of indignation at the cold insensibility that had maddened him. Thousands have felt the power of this great poem, which stands, and must stand to all time, a monument of what sacred and solemn powers God gave to this wicked man, and how vilely he abused this power as a weapon to slay the innocent.

      It is among the ruins of ancient Rome that his voice breaks forth in solemn imprecation:—

      'O Time, thou beautifier of the dead,

       Adorner of the ruin, comforter,

       And only healer when the heart hath bled!—

       Time, the corrector when our judgments err,

       The test of truth, love—sole philosopher,

       For all besides are sophists—from thy shrift

       That never loses, though it doth defer!—

       Time, the avenger! unto thee I lift

       My hands and heart and eyes, and claim of thee a gift.

      'If thou hast ever seen me too elate,

       Hear me not; but if calmly I have borne

       Good, and reserved my pride against the hate

       Which shall not whelm me, let me not have worn This iron in my soul in vain—shall THEY not mourn? And thou who never yet of human wrong Left the unbalanced scale, great Nemesis, Here where the ancients paid their worship long, Thou who didst call the Furies from the abyss, And round Orestes bid them howl and hiss For that unnatural retribution—just Had it but come from hands less near—in this Thy former realm I call thee from the dust. Dost thou not hear, my heart? awake thou shalt and must! It is not that I may not have incurred For my ancestral faults and mine, the wound Wherewith I bleed withal, and had it been conferred With a just weapon it had flowed unbound, But now my blood shall not sink in the ground.

      'But in this page a record will I seek;

       Not in the air shall these my words disperse,

       Though I be ashes—a far hour shall wreak

       The deep prophetic fulness of this verse,

       And pile on human heads the mountain of my curse.

       That curse shall be forgiveness. Have I not—

       Hear me, my Mother Earth! behold it, Heaven—

       Have I not had to wrestle with my lot?

       Have I not suffered things to be forgiven?

       Have I not had my brain seared, my heart riven,

       Hopes sapped, name blighted, life's life lied away,

       And only not to desperation driven,

       Because not altogether of such clay

       As rots into the soul of those whom I survey?

      'From mighty wrongs to petty perfidy,

       Have I not seen what human things could do—

       From the loud roar of foaming calumny,

       To the small whispers of the paltry few,

       And subtler venom of the reptile crew,

       The Janus glance of whose significant eye, Learning to lie with silence, would seem true, And without utterance, save the shrug or sigh, Deal round to happy fools its speechless obloquy?'[12]

      The reader will please notice that the lines in italics are almost, word for word, a repetition of the lines in italics in the former poem on his wife, where he speaks of a significant eye that has learned to lie in silence, and were evidently meant to apply to Lady Byron and her small circle of confidential friends.

      Before this, in the Third Canto of 'Childe Harold,' he had claimed the sympathy of the world, as a loving father, deprived by a severe fate of the solace and society of his only child:—

      'My daughter—with this name my song began—

       My daughter—with this name my song shall end—

       I see thee not and hear thee not, but none

       Can be so wrapped in thee; thou art the friend

       To whom the shadows of far years extend.

      'To aid thy mind's developments, to watch

       The dawn of little joys, to sit and see

       Almost thy very growth, to view thee catch

       Knowledge of objects—wonders yet to thee—

       And print on thy soft cheek a parent's kiss—

       This it should seem was not reserved for me.

       Yet this was in my nature—as it is,

       I know not what there is, yet something like to this.

      'Yet though dull hate as duty should be taught, I know that thou wilt love me; though my name Should be shut out from thee as spell still fraught With desolation and a broken claim, Though the grave close between us—'t were the same, I know that thou wilt love me, though to drain My blood from out thy being were an aim And an attainment—all will be in vain.'

      To all these

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