f passing from one extreme to the other. She dwells on the
fascination exerted over her mind by the first reading of his poetry, and
tells how she "fastened on the book with a grip like steel," and carried
it off and hid it under her pillow; how it affected her "like an evil
potion," and stirred her whole being with a tempest of excitement, till
finally she, with equal weakness, flung it aside, "resolved to read that
grand poetry no more, and broke through the thraldom of that powerful
spell." The confession brings before us a type of the transitions of the
century, on its way from the Byronic to the anti-Byronic fever, of which
later state Mrs. Norton and Miss Martineau are among the most pronounced
representatives.

Byron's garrulity with regard to those delicate matters on which men of
more prudence or chivalry are wont to set the seal of silence, has often
the same practical effect as reticence; for he talks so much at
large--every page of his Journal being, by his own admission, apt to
"confute and abjure its predecessor"--that we are often none the wiser.
Amid a mass of conjecture, it is manifest that during the years between
his return from Greece and final expatriation (1811-1816), including the
whole period of his social glory--though not yet of his solid fame--he was
lured into liaisons of all sorts and shades. Some, now acknowledged as
innocent, were blared abroad by tongues less skilled in pure invention
than in distorting truth. On others, as commonplaces of a temperament "all
meridian," it were waste of time to dwell. Byron rarely put aside a
pleasure in his path; but his passions were seldom unaccompanied by
affectionate emotions, genuine while they lasted. The verses to the memory
of a lost love veiled as "Thyrza," of moderate artistic merit, were not,
as Moore alleges, mere plays of imagination, but records of a sincere
grief.[1] Another intimacy exerted so much influence on this phase of the
poet's career, that to pass it over would be like omitting Vanessa's name
from the record of Swift. Lady Caroline Lamb, granddaughter of the first
Earl Spencer, was one of those few women of our climate who, by their
romantic impetuosity, recall the "children of the sun." She read Burns in
her ninth year, and in her thirteenth idealized William Lamb (afterwards
Lord Melbourne) as a statue of Liberty. In her nineteenth (1805) she
married him, and lived for some years, during which she was a reigning
belle and toast,