294 A Mysteryfor the Byron-Critics. Q 



writings, which can only be perceived by a study as well of these as of 

 the strange production now referred to. The novel goes on to narrate, 

 that the deformed, under the influence of bitter feelings and impious 

 sentiments occasioned by his misfortune, utters curses against Heaven 

 and maledictions on himself, so appalling, that, together with a species 

 of mystic knowledge of which he had become master, the Evil One rises 

 at his call, and, amidst an awful, yet sublime phantasmagoria conjured 

 up in a cave, succeeds in transforming the deformed into a noble shape 

 of his own choosing, in which he many years walks the earth ; and, not 

 happier than he was before, although feared and respected wherever he 

 goes, he works out that guilt, and consummates that vengeance upon his 

 own father, which gratifies his indomitable pride, and illustrates the dread 

 misanthropic grandeur of his nature. I should not have dwelt so long 

 upon this point, did it not in my mind afford so many suggestions to the 

 tracing of Byron's early impressions, and also as clearing the way for 

 whatever observations respecting the originality of " Manfred," the 

 perusal of the <e Brothers " enables me to make. Before we have done 

 with the " Deformed," however, it may be observed, that the author of 

 the romance having given the most natural, and consequently most 

 powerful circumstances and reflections incident to the situation, and 

 thus in some sort exhausted the subject, nothing could have induced 

 Byron after this to attempt it, but his own deep impressions and feelings 

 of its interest knowing as he must have done, that he could add little to 

 it without such plagiarism as it was not likely a irind like his would 

 submit to. Accordingly his drama, though somewhat more rationalized 

 in its execution (if one can use such a term), from the conception of the 

 romance, is, with all its vigour of expression, much inferior to the sub- 

 lime mysticism of the original, as well as losing, as before observed, the 

 best part of the adjuncts. 



As to the story of cc Manfred" in this romance, it is incidentally intro- 

 duced in the fourth volume, under the title of " The Guilt of Friend- 

 ship," to illustrate a case of hypothetical guilt ; or rather by an inverted 

 case, and a sophistical argument about friendship and love, to attempt 

 an excuse for a vile commerce under both of these appellations, consist- 

 ing of an imaginary mixture of fratricide and friendship, and a real one 

 of incest and adultery, too abominable to be here detailed. Whether 

 Byron is indebted to this romance in general, or to the tale of " Manfred" 

 in particular, for the original conception which induced the construction 

 of his remarkable dramatic poem of that name, must be gathered rather 

 from the general characteristics of the story, and such incidents as 

 we shall mention, than from the short tale of te The Guilt of Friendship'* 

 itself. 



The great point, both of interest in the character of " Manfred," as 

 well as of that originality in the conception for which Mr. Gait, in com- 

 mon with the world, gives the poet credit, is his being invested with a 

 mysterious guilt, which by some dread act he has incurred, but which 

 has also given him power over the spirits of the invisible world, while 

 it causes him such misery as to make him eagerly seek the waters of 

 Lethe, or to desire anxiously a deliverance from existence. What this 

 guilt consists of, is the question ; and that Byron had discovered any 

 novel species of it, may well be doubted. If the attention of the inquirer 

 is led to the present romance, with a view to any known species of guilt, 

 there is certainly no lack of it in these volumes, and the reader or the 



