further record. We learn from scattered hints that he was backward in technical scholarship, and low in his class, in which he seems to have had no ambition to stand high; but that he eagerly took to history and romance, especially luxuriating in the Arabian Nights. He was an indifferent penman, and always disliked mathematics; but was noted by masters and mates as of quick temper, eager for adventures, prone to sports, always more ready to give a blow than to take one, affectionate, though resentful.

When his cousin was killed at Corsica, in 1794, he became the next heir to the title. In 1797, a friend, meaning to compliment the boy, said, "We shall have the pleasure some day of reading your speeches in the House of Commons," he, with precocious consciousness, replied, "I hope not. If you read any speeches of mine, it will be in the House of Lords." Similarly, when, in the course of the following year, the fierce old man at Newstead died, and the young lord's name was called at school with "Dominus" prefixed to it, his emotion was so great that he was unable to answer, and burst into tears.

Belonging to this period is the somewhat shadowy record of a childish passion for a distant cousin slightly his senior, Mary Duff, with whom he claims to have fallen in love in his ninth year. We have a quaint picture of the pair sitting on the grass together, the girl's younger sister beside them playing with a doll. A German critic gravely remarks, "This strange phenomenon places him beside Dante." Byron himself, dilating on the strength of his attachment, tells us that he used to coax a maid to write letters for him, and that when he was sixteen, on being informed, by his mother, of Mary's marriage, he nearly fell into convulsions. But in the history of the calf-loves of poets it is difficult to distinguish between the imaginative afterthought and the reality. This equally applies to other recollections of later years. Moore remarks—"that the charm of scenery, which derives its chief power from fancy and association, should be felt at an age when fancy is yet hardly awake and associations are but few, can with difficulty he conceived." But between the ages of eight and ten, an appreciation of external beauty is sufficiently common. No one doubts the accuracy of Wordsworth's account, in the Prelude of his early half-sensuous delight in mountain glory. It is impossible to define the influence of Nature, either on nations or individuals, or to say beforehand what selection from his varied surroundings a poet will for artistic purposes elect to make. Shakespeare rests in meadows and glades, and leaves to Milton "Teneriffe and Atlas." Burns, who lived for a considerable part of his life in daily view of the hills of Arran, never alludes to them. But, in this respect like Shelley, Byron was inspired by a passion for the high-places of the earth. Their shadow is on half his verse. "The loftiest peaks most wrapt in clouds and snow" perpetually remind him of one of his constantly recurring refrains,—

  He who surpasses or subdues mankind,
  Must look down on the hate of those below.

In the course of 1790, after an attack of scarlet fever at Aberdeen he was taken by his mother to Ballater, and on his recovery spent much of his time in rambling about the country. "From this period," he says, "I date my love of mountainous countries. I can never forget the effect, years afterwards, in England, of the only thing I had long seen, even in miniature, of a mountain, in the Malvern Hills. After I returned to Cheltenham I used to watch them every afternoon, at sunset, with a sensation which I cannot describe." Elsewhere, in The Island he returns, amid allusions to the Alps and Apennines, to the friends of his youth:—

  The infant rapture still survived the boy,
  And Lach-na-gair with Ida look'd o'er Troy,
  Mixed Celtic memories with the Phrygian mount,
  And Highland linns with Castalie's clear fount.

The poet, owing to his physical defect, was not a great climber, and we are informed, on the authority of his nurse, that he never even scaled the easily attainable summit of the "steep frowning" hill of which he has made such effective use. But the impression of it from a distance was none the less genuine. In the midst of a generous address, in Don Juan, to Jeffrey, he again refers to the same associations with the country of his early training:—

  But I am half a Scot by birth, and bred
  A whole one; and my heart flies to my head
  As "Auld Lang Syne" brings Scotland, one and all—
  Scotch plaids, Scotch snoods, the blue hills and clear streams,
  The Dee, the Don, Balgounie's brig's black wall—
  All my boy feelings, all my gentler dreams
  Of what I then dreamt, clothed in their own pall,
  Like Banquo's offspring…

Byron's allusions to Scotland are variable and inconsistent. His satire on her reviewers was sharpened by the show of national as well as personal antipathy; and when, about the time of its production, a young lady remarked that he had a little of the northern manner of speech, he burst out "Good God! I hope not. I would rather the whole d——d country was sunk in the sea. I the Scotch accent!" But, in the passage from which we have quoted, the swirl of feeling on the other side continues,—

  I rail'd at Scots to show my wrath and wit,
  Which must be own'd was sensitive and surly.
  Yet 'tis in vain such sallies to permit;
  They cannot quench young feelings, fresh and early.
  I scotch'd, not kill'd, the Scotchman in my blood,
  And love the land of mountain and of flood.

This suggests a few words on a question of more than local interest. Byron's most careful biographer has said of him: "Although on his first expedition to Greece he was dressed in the tartan of the Gordon clan, yet the whole bent of his mind, and the character of his poetry, are anything but Scottish. Scottish nationality is tainted with narrow and provincial elements. Byron's poetic character, on the other hand, is universal and cosmopolitan. He had no attachment to localities, and never devoted himself to the study of the history of Scotland and its romantic legends." Somewhat similarly Thomas Campbell remarks of Burns, "he was the most un-Scotsmanlike of Scotchmen, having no caution." Rough national verdicts are apt to be superficial. Mr. Leslie Stephen, in a review of Hawthorne, has commented on the extent to which the nobler qualities and conquering energy of the English character are hidden, not only from foreigners, but from ourselves, by the "detestable lay figure" of John Bull. In like manner, the obtrusive type of the "canny Scot" is apt to make critics forget the hot heart that has marked the early annals of the country, from the Hebrides to the Borders, with so much violence, and at the same time has been the source of so much strong feeling and persistent purpose. Of late years, the struggle for existence, the temptations of a too ambitious and over active people in the race for wealth, and the benumbing effect of the constant profession of beliefs that have ceased to be sincere, have for the most part stifled the fervid fire in calculating prudence. These qualities have been adequately combined in Scott alone, the one massive and complete literary type of his race. Burns, to his ruin, had only the fire: the same is true of Byron, whose genius, in some respects less genuine, was indefinitely and inevitably wider. His intensely susceptible nature took a dye from every scene, city, and society through which he passed; but to the last he bore with him the marks of a descendant of the Sea-Kings, and of the mad Gordons in whose domains he had first learned to listen to the sound of the "two mighty voices" that haunted and inspired him through life.