Byron seems to be cropping up on my radar a lot lately. Melvyn Bragg’s In Our Time recently recorded a discussion of his poem Childe Harold’s Pilgrimage. I subscribe to the podcast in iTunes and listened to it during my work commute last week. My favorite part:

Melvyn Bragg: Then he left [England] in 1816, as it happens never to return, but he left notorious—he was hissed in theatres, he was hissed in the House of Lords. He was more than a scandal; he was an outrage. They wanted him out—out of the country, off the island. What had happened?

Emily Bernhard Jackson: Well, he had had an affair with his half-sister, um, of some duration, uh—

Melvyn Bragg: And that got out.

Emily Bernhard Jackson: That got out. Although, interestingly, what seems to have caused more problems were the rumours that he had practised homosexuality in the East, that he had attempted to perform sodomy with his wife and with Lady Caroline Lamb, both. Um, these were all rumours. There was a—when the Byrons separated, Lady Byron mounted a kind of campaign to make sure that she would come out well, a very modern campaign, and part of that was spreading these rumours. Um—

Melvyn Bragg: What credence do you give them?

Emily Bernhard Jackson: I would say he certainly had an affair with his sister. I would stay that’s beyond question, although he didn’t announce it to the world. I give full credence to all of them.

I think it says something kind of weird about me that I laughed when Professor Jackson said that last sentence, mainly because she set it up to sound like a smear campaign headed by Lady Byron, Annabella Milbanke, but a true one.

Caroline Lamb famously described Byron as “mad, bad, and dangerous to know,” and Melvyn Bragg and his guests hypothesized that Byron’s bad-boy reputation helped move copies of his books off the shelves. The Corsair sold 10,000 copies on its first day, apparently.

Byron will also be a character in the book I’m currently enjoying immensely: Passion by Jude Morgan—the story of the Romantic poets Byron, Shelley, and Keats as told through the voices of the women who loved them.

I have to admit that when I teach Byron, I can be somewhat irreverent, and it is my hope that Byron, wherever he is (I’m sure many folks would say hell), enjoys it a little. I think he liked being famous. One of my favorite ways to describe Byron’s death is that he was bored, so he decided to sail for Messolonghi and fight for Greek independence because that’s what you do.

He sounds like he would have been one of those guys who was fascinating to have as an acquaintance, but maddening to have as a close friend or lover. Kay Redfield Jamison, a clinical psychologist, expert on bipolar disorder, and author of Touched with Fire and The Unquiet Mind, speculates that Byron was bipolar, which would explain a lot about some of the choices he made in life. It also explains much of his behavior—by turns magnetic and charismatic, then frightening and cruel. Certainly he describes suffering from melancholy.

“My Soul is Dark”

My soul is dark—Oh! quickly string
The harp I yet can brook to hear;
And let thy gentle fingers fling
Its melting murmurs o’er mine ear.
If in this heart a hope be dear,
That sound should charm it forth again:
If in these eyes there lurk a tear,
‘Twill flow, and cease to burn my brain.

But bid the strain be wild and deep,
Nor let thy notes of joy be first:
I tell thee, minstrel, I must weep,
Or else this heavy heart will burst;
For it hath been by sorrow nursed,
And ached in sleepless silence long;
And now ’tis doom’d to know the worst,
And break at once—or yield to song.

When I read this poem, which seems to discuss Byron’s emotions on hearing music, I can’t help but notice the title seems to infer it’s really about his own turbulent feelings—the frustration he felt over being emotionally damaged or deranged in some way. His poetry must have been one of the few outlets he had for making himself feel better—his heart would “break at once—or yield to song.” And yet, he’s not without a sense of dark humor about himself. Thomas Medwin reports in The Angler in Wales, Or Days and Nights of Sportsmen, Vol. 2 that in discussion of an upcoming attack on the Castle of Lepanto in which he would act as commander-in-chief,

“I do not know how it will end,” said his Lordship, gaily, “but one thing is certain, there is no fear of my running,” at the same time glancing at his lame foot. (214)

I leave you with some audio of one of Byron’s most famous poems, “She Walks in Beauty,” set to music by Isaac Nathan. Nathan’s melodies for Byron’s poems (Hebrew Melodies) have largely been forgotten, but Byron’s poetry remains. This audio is from Romantic Era Songs.

She Walks in Beauty