John Nichol

Summary

John Nichol Byron

Byron has no relation to the master-minds whose works reflect a nation or an era, and who keep their own secrets. His verse and prose is alike biographical, and the inequalities of his style are those of his career. He lived in a glass case, and could not hide himself by his habit of burning blue lights. He was too great to do violence to his nature, which was not great enough to be really consistent. It was thus natural for him to pose as the spokesman of two ages—as a critic and as an author; and of two orders of society—as a peer, and as a poet of revolt.
Source: Gutenberg

John Nichol Byron

Such comments also point to the common error of trying to make men other than they are by lecturing them. This scion of a long line of lawless bloods—a Scandinavian Berserker, if there ever was one—the literary heir of the Eddas—was specially created to wage that war—to smite the conventionality which is the tyrant of England with the hammer of Thor, and to sear with the sarcasm of Mephistopheles the hollow hypocrisy—sham taste, sham morals, sham religion—of the society by which he was surrounded and infected, and which all but succeeded in seducing him.
Source: Gutenberg

John Nichol Byron

Byron would have been merely a more melodious Moore and a more accomplished Brummell. But the caged lion was only half tamed, and his continual growls were his redemption. His restlessness was the sign of a yet unbroken will. He fell and rose, and fell again; but never gave up the struggle that keeps alive, if it does not save, the soul. His greatness as well as his weakness lay, in the fact that from boyhood battle was the breath of his being. To tell him not to fight, was like telling Wordsworth not to reflect, or Shelley not to sing.
Source: Gutenberg

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