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 and transmitted thence to London his third and fourth cantos of Childe Harold, the Prisoner of Chillon, and other poems, Manfred, and The Lament of Tasso. He also wrote, in that city, his Ode to Venice, and Beppo, which he is said to have finished at a sitting. His mode of living is accurately described in his own letters from Italy, which show him to have been equally candid and shameless in the confession of his amours. The first connexion he formed was with the wife of a linen-draper, in whose house he lodged; and highly censurable, says Mr. Moore, as was his course of life, while under the roof of this woman, 'it was venial, in comparison with the strange, head-long career of license, to which he subsequently so unrestrainedly and defyingly abandoned himself.' It will be unnecessary, after this admission from his most partial biographer, to say more than, that, after a gross and degrading course of libertinism, his desires were contracted into a passion for the Countess Guiccioli; with whom he first became acquainted in the April of 1819, and, in a few months, he became her acknowledged paramour. In the same year he was visited, at Venice, by Mr. Moore, to whom he made a present of the memoirs, which have been before alluded to. He brought them in, says Mr. Moore, one day, in a white leather bag, and holding it up, said, 'look here; this would be worth something to Murray, though you, I dare say, would not give six-*pence for it.'—'What is it?'—'My life and adventures:—it is not a thing that can be published during my life-time, but you may have it, if you like,—there, do whatever you please with it.' In giving the bag, continues Mr. Moore, he added, 'you may show it to any of our friends you think worthy of it.'

The Countess Guiccioli having gone back to Ravenna, at her husband's desire, lord Byron was about to return to England, when a letter from his inamorata changed his mind, and he resumed his connexion with her, on her separation from her husband, which took place, on an understanding that she should in future reside with her father, Count Gamba. She acoordingly, in July 1820, removed from Ravenna to the count's villa, a distance of about fifteen miles from the city, where our poet now took up his abode, visiting Madam Guiccioli once or twice in a month. After he had been about a twelvemonth at Ravenna, the state of the country began to render it unsafe for him to remain there any longer; and the Gambas (the father and brother of the Countess Guiccioli) having been exiled, he was induced to remove with them to Pisa, in the autumn of 1821. It appears, that he was himself suspected of having secretly joined the Carbonari; but, though such was the fact, and he had received warnings to discontinue his forest rides, he, as he observes, 'was not to be bullied,' and did not quit Ravenna till he had shown the authorites he was not afraid of remaining. His poetical productions, within the three last years, were, Mazeppa, his tragedies of Marino Faliero, the Two Foscari, and Sardanapalus, The Prophecy of Dante, Cain, and several cantos of Don Juan, the sixteenth canto of which he completed at Pisa. At this place he also wrote Werner, The Deformed Transformed, Heaven and Earth, and the celebrated Vision of Judgment; the two last of which appeared in The Liberal, the joint production of himself, Mr. Shelley, and Mr. Leigh Hunt, who had joined his lordship at Pisa. Of this periodical it is unnecessary to say more, in this, place, than that it failed after the fourth number, and gave rise to a