Public ledger. [volume] (Memphis, Tenn.) 1865-1893, 1866-11-07
BYRON.
The Deformed Transformed.


on novel called 1.-THE Three Brothers, =
from which was also selected Lewis
"Wood Demon Its origin was not,
however, wholly derived from the work
above mentioned, but owed something to
the Faust" of the great Goethe. Only
the two first parts here appear; the rest
was never completed, and Lord Byron,
having interested all competent judges
of his great ability and peculiar excel
lence as a poet, unfortunately left the
drama incomplete. Perhaps, in these
progressive times, some absurd writer,
with half-concealed name-or, 1T may
be, some affected nom de plume-will
come forward and complete it for him
Nothing surprises us nowadays. Mean
time, let us give some attention to this
fragment Of work, which, if finished,
would have borne the Byronic signet on
all its pages; and, even as we find it in
complete, is craven with the master
power of intellect.
The drsmatis persona strike us at once
as personages of no common interest.
There is Arnold, hunchbsck, with the
bump of a dromcdary rising between his
shouders-with mother who abhors
him because nature, in some wild freak,
has hopeessly deformed her child. Us
this quite natural y Let that pass. His
mother does despise him and the mis-
anthrope hence concludes that the rest
of the world will do likewise.
This object of loathing, as he con-
ceives himself to be and Gndeed is), en-
counters after many unjust and unnatura
reproaches from his mother, a fiend or
evil spirit-or potent power of darkness
which, we are at loss to determine.
Indeed, so mighty and astounding are
the demoniac effects of his arts, that we
might safely conclude the Prince oi
Darkness himself took on him the like.
ness of q tempter, as he did in the Gar
den of Eden, only, in this instance, vary
ing his tactics, and, in place of blandish'
ment and soothing persuasions, used only
plausible arguments, bold defiance, and
the allurng promise of making the mis-
cradle, i'll designed, and revolving speci'
men of humanity with whom he con-
yersel, like other men.
After q time, Arnold consents, seals
the compact with drops of his own blood
and becomes the slave of the internal
mower who had assumed the tempter &
form. He is now glorious creature, IN
his own esteem-wears the form of the
great Achilles, and performs feats OF
yalor at the taking of Rome, which make
him second only to the invincible Alarlc.
The tempting, mocking fiend accompa
n;es our transformed hero everywhere
in his own. cast away, hAn9hback shape
always ready with a biting sarcasm, aI
withering sneer, to abate the exultatlon
which his companion feels at the move
and heroic body into which he hnds his
repulsiye, soFaid form transmitted. Rome
is taken by the Bourbon, and Arnold IN
the assumed form of Psleps' slni
mounting the wall, obtains Q victory
wb;la .he brave Bourbon, falling from
the ramparts, ;s lost amidst the slSiG'
A rude soldiery now advance piliage
the temples, slay the fugitives, perpetratC
every outrage which brute force unre
strained, can commit. Arnold enters
the mighty temple OF ST. Peter, wher'
Olympia, now the goddess Of his dreams
throws herself into the arms OF death
rather than implore elemency OF the con
oueror. who quarters his soldiers IN the
nalace of her father. She strives tc
Strike down soldier insulting her. butii
taken up, more dead than alive, amongs
the fallen ruins. So ends the tale. W.
Ieaye 4 as Lord Byron left it Deatt
cuts short all preeopceived schemes will
resnect to this future life, apd if any
eomplaiu that this tale is not brought 4
a Conclusion, let them reflect that hil
Iordship died at A;ssilonghi-iq a noble
though futile, attempt 10 redeem th'
| Creeks to ancient fresdon-aPd iha
! which he did not complete, we dare no
touc,s, with profsne bands. So isE as 1
goes goes the ara -aa stands illustrated by th'
genius of Lord Byron.