The separation of Lord and Lady Byron was the talk of the town. Two poems entitled "Fare Thee Well" and "A Sketch," which Byron had written and printed for private circulation, were published by The Champion on Sunday, April 14. The other London papers one by one followed suit. The poems, more especially "A Sketch," were provocative of criticism. There was a balance of opinion, but politics turned the scale. Byron had recently published some pro-Gallican stanzas, "On the 'Star of the Legion of Honour,'" in the Examiner (April 7), and it was felt by many that private dishonour was the outcome of public disloyalty. The Whigs defended Byron as best they could, but his own world, with one or two exceptions, ostracized him. The "excommunicating voice of society," as Moore put it, was loud and insistent. The articles of separation were signed on or about the 18th of April, and on Sunday, the 25th of April, Byron sailed from Dover for Ostend. The "Lines on Churchill's Grave" were written whilst he was waiting for a favourable wind. His route lay through the Low Countries, and by the Rhine to Switzerland. On his way he halted at Brussels and visited the field of Waterloo. He reached Geneva on the 25th of May, where he met by appointment at Dejean's Hotel d'Angleterre, Shelley, Mary Godwin and Clare (or "Claire") Clairmont. The meeting was probably at the instance of Claire, who had recently become, and aspired to remain, Byron's mistress. On the 10th of June Byron moved to the Villa Diodati on the southern shore of the lake. Shelley and his party had already settled at an adjoining villa, the Campagne Montalegre. The friends were constantly together. On the 23rd of June Byron and Shelley started for a yachting tour round the lake. They visited the castle of Chillon on the 26th of June, and, being detained by weather at the Hotel del l'Ancre, Ouchy, Byron finished (June 27-29) the third canto of Childe Harold (published November 18), and began the Prisoner of Chillon (published December 5, 1816). These and other poems of July-September 1816, e.g. "The Dream" and the first two acts of Manfred (published June 16, 1817), betray the influence of Shelley, and through him of Wordsworth, both in thought and style. Byron knew that Wordsworth had power, but was against his theories, and resented his criticism of Pope and Dryden. Shelley was a believer and a disciple, and converted Byron to the Wordsworthian creed. Moreover he was an inspiration in himself. Intimacy with Shelley left Byron a greater poet than he was before. Byron passed the summer at the Villa Diodati, where he also wrote the Monody on the Death of Sheridan, published September 9, 1816. The second half of September was spent and devoted to "an excursion in the mountains." His journal (September 18-29), which was written for and sent to Mrs Leigh, is a great prose poem, the source of the word pictures of Alpine scenery in Manfred. His old friend Hobhouse was with him and he enjoyed himself, but at the close he confesses that he could not lose his "own wretched identity" in the "majesty and the power and the glory" of nature. Remorse was scotched, not killed. On the 6th of October Byron and Hobhouse started via Milan and Verona for Venice, which was reached early in November. For the next three years Byron lived in or near Venice - at first, 1816-1817, in apartments in the Frezzeria, and after January 1818 in the central block of Mocenigo palace. Venice appealed both to his higher and his lower nature. He set himself to study her history, to understand her constitution, to learn her language. The sights and scenes with which Shakespeare and Otway, Schiller's Ghostseer, and Madame de Stael's Corinne had made him familiar, were before his eyes, not dreams but realities. He would "re-people" her with her own past, and "stamp her image" on the creations of his pen. But he had no one to live for but himself, and that self he gave over to a reprobate mind. He planned and pursued a life of deliberate profligacy. Of two of his amours we learn enough or too much from his letters to Murray and to Moore - the first with his landlord's wife, Marianna Segati, the second with Margarita Cogni (the "Fornarina"), a Venetian of the lower class, who amused him with her savagery and her wit. But, if Shelley may be trusted, there was a limit to his candour. There is abundant humour, but there is an economy of detail in his pornographic chronicle. He could not touch pitch without being defiled. But to do him justice he was never idle. He kept