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As an abbot witnesses his stoic demise, Manfred explains: "Old man! ‘tis not so difficult to die." The unconquerable individual to the end, Manfred gives his soul to neither heaven nor hell, only to death.

As Thorslev notes, Manfred conceals behind a Gothic exterior the tender heart of the Hero of Sensibility; but as a rebel, like Satan, Cain, and Prometheus, he embodies Romantic self-assertion. In Manfred Byron voiced his most profound opinions to date on the aspirations and fate of the human creature. His title character recognizes the mind’s boundaries but also its Promethean invincibility and integrity.

After four months in Switzerland, Byron, accompanied by Hobhouse, lumbered in the Napoléonic coach toward Italy in October 1816. Following a sojourn in Milan, they reached Venice the next month. The watery city enchanted Byron with its canals, gondolas, and palaces, becoming "the greenest island of my imagination." For now, he felt that he had written himself out. He began an affair with Marianna Segati, his landlord’s wife, attended the conversazione of Countess Isabella Teotochi Albrizzi, the center of Venetian literary-social life, and studied Armenian at the Armenian monastery on the island of San Lazzaro near the Lido.
Murray published Childe Harold, Canto III, on 18 November, and The Prisoner of Chillon, and Other Poems on 5 December. Within a week of publication, seven thousand copies of each volume had been sold. Reviewing these works in the December 1816 number of the Edinburgh Review, Jeffrey proclaimed that "in force of diction, and inextinguishable energy of sentiment," Byron took "precedence of all his distinguished contemporaries," Scott, Campbell, Crabbe, and Moore.

Byron set out in mid April 1817 to join Hobhouse in Rome. In Ferrara, his visit to the cell where the sixteenth-century poet Torquato Tasso had been confined for madness inspired an impassioned dramatic monologue, The Lament of Tasso. Byron identified with this "eagle-spirit of a Child of Song" who, through "Long years of outrage, calumny, and wrong," "found resource" in "the innate force" of his own spirit. Byron was "delighted" with the Eternal City, which he reached at the end of the month.

On 16 June Murray published Manfred, fearful of public reaction to its unorthodox speculations and overtones of unnatural love. To Jeffrey (Edinburgh Review, August 1817), the work suffered from "the uniformity of its terror and solemnity" as well as from its "painful and offensive" theme of incest. Despite these flaws, he said, Manfred remained "undoubtedly a work of genius and originality," its "obscurity" and "darkness" serving only "to increase its majesty, to stimulate our curiosity, and to impress us with deeper awe." Writing in 1817, Goethe considered the poem "a wonderful phenomenon" (London Magazine, May 1820).
Byron settled in mid June at the Villa Foscarini at La Mira on the Brenta, seven miles from Venice. Here, he began to distill his memories of Rome into poetry. Composing rapidly, he had completed the first draft for 126 stanzas of Childe Harold, Canto IV, by mid July, but he revised and expanded the manuscript for the rest of the year.
Continuing the pilgrimage format of the earlier cantos, the framework for this longest of the sections is a spirited Italian journey from Venice through Arqua (where Byron had seen the house and tomb of Petrarch) and Ferrara (city of Tasso and Ludovico Ariosto) to Florence and on to Rome, the setting for half of the canto.
In the prefatory letter to Hobhouse, who provided historical annotations and to whom the poem is dedicated, Byron addressed directly the matter of the hero-narrator. In this canto would be found "less of the pilgrim than in any of the preceding, and that little slightly, if at all, separated from the author speaking in his own person." Byron had "become weary of drawing a line which every one seemed determined not to perceive." A Hero of Sensibility, the pilgrim-narrator of Canto IV focuses sharply on the contrast between the transience of mighty empires, exemplified by Venice and Rome, and the transcendence of great art over human limitations, change, and death. An elegiac tone evoked by "Fall’n states and buried greatness" suffuses the verses. "A ruin amidst ruins," the pilgrim-narrator digresses easily from scenes of shattered columns and broken arches to considerations of his own sufferings and of war and liberty. Throughout, Nature is valued, not for any Wordsworthian pantheism, but for its intrinsic beauty.

The principal theme is immediately established. The days of Venice’s glory are no more, "but Beauty still is here. Nature doth not die." Literature, too, is permanent and beneficial:

The "mighty shadows" of William Shakespeare’s Shylock and Othello and of Thomas Otway’s Pierre repeople the Rialto and, unlike the bridge, "can not be swept or worn away." Transcendent also is sculpture—"poetic marble ... array’d / With an eternal glory"—as shown by the Venus de’ Medici, the Laocoön, and the Apollo Belvedere. Architecture particularly demonstrates this transcendence. There is "A spirit’s feeling," "a power / And magic" in such structures as the Colosseum seen by moonlight (also described in Manfred, III. iv); the "sublime" Pantheon, and St. Peter’s Basilica.

The sic transit gloria mundi theme in Childe Harold finds its finest Byronic expression in this canto, which traces through their history and ruins the "dying Glory" of Venice and, especially, the fall of Rome. Inviting the reader to plod with him "O’er steps of broken thrones and temples," the pilgrim-narrator is careful to point out that "A world is at our feet as fragile as our clay," leading to the inevitable ending: "‘tis thus the mighty falls."
His delineation of the dictators of ancient Rome prompts him to consider anew tyranny and liberty in his own time. He brands Napoléon as "The fool of false dominion—and a kind / Of bastard Caesar," praises George Washington and the "undefiled" origins of the United States, and blames "vile Ambition" for the failure of the French Revolution. Yet Freedom’s banner still flies, and in Freedom’s tree the sap still flows—"So shall a better spring less bitter fruit bring forth."

The fourth canto, begun with a view of a prison, ends at the edge of a free ocean. The poet is heartened:
To mingle with the Universe" becomes a substitute for the Wordsworthian transcendental leap. In his famous apostrophe to the ocean, beginning "Roll on, thou deep and dark blue ocean—roll!," Byron contrasts its permanence, power, and freedom with vanished civilizations: "Thy shores are empires, changed in all save thee—/ Assyria, Greece, Rome, Carthage, what are they?" The ocean remains, "Dark-heaving;—boundless, endless, and sublime—/ The image of Eternity...."

Melancholy colors the farewell; Byron knew that the Childe Harold theme had "died into an echo." As William J. Calvert writes, "The fourth canto is Byron’s final, complete break with the past.... He is from now on committed to truth and reason." Life in Venice had lifted his spirits. Before he finished this canto, he had begun the spritely Beppo, with which he returned to satire and prepared the way for Don Juan.

Late summer 1817 marks a significant development in Byron’s literary career. On 29 August he heard about the return of a supposedly deceased husband to his Venetian wife; she had meanwhile taken an amoroso, and then had to choose her husband, her lover, or solitary life on a pension. At this time, serendipitously, he happened to see John Hookham Frere’s Whistlecraft (1817), a mock-heroic satire in ottava rima modeled on the Italian burlesque manner of Luigi Pulci, Francesco Berni, and Abate Giambattista Casti. The demanding rhyme scheme of ottava rima—a b a b a c c—encourages comic rhymes. Its couplet allows the stanza to end with a witty punch line, with a reversal in tone from high to low, or with a clever rhyme to surprise the reader. The seriocomic mood, colloquial style, and digressions of ottava rima, no less than his fondness for couplets in his Popean satires, attracted Byron to this verse form as the medium for his witty version of the story of Venetian customs and light morals. By 10 October he had finished Beppo. His new poem, he assured Murray on 25 March 1818, would show the public that he could "write cheerfully, & repel the charge of monotony & mannerism.