language, and with the same arguments, as the most ordinary persons.
The picture which the letters give of Byron, is, it is believed, unique in its completeness, while the portrait has the additional value of being painted by his own hand. Byron's career lends itself only too easily to that method of treatment, which dashes off a likeness by vigorous strokes with a full brush, seizing with false emphasis on some salient feature, and revelling in striking contrasts of light and shade. But the style here adopted by the unconscious artist is rather that in which Richardson the novelist painted his pathetic picture of Clarissa Harlowe. With slow, laborious touches, with delicate gradations of colour, sometimes with almost tedious minuteness and iteration, the gradual growth of a strangely composite character is presented, surrounded by the influences which controlled or moulded its development, and traced through all the varieties of its rapidly changing moods. Written, as Byron wrote, with habitual exaggeration, and on the impulse of the moment, his letters correct one another, and, from this point of view, every letter contained in the volume adds something to the truth and completeness of the portrait.
Round the central figure of Byron are grouped his relations and friends, and two of the most interesting features in the volume are the strength of his family affections, and the width, if not the depth, of his capacity for friendship. His father died when the child was only three years old. But a bundle of his letters, written from Valenciennes to his sister, Mrs. Leigh, in 1790-91, still exists, to attest, with startling plainness of speech, the
