Lord Byron’s Jackal: A Life of Trelawny. David Crane

in fact, it is to the author of Frankenstein that we owe the first sustained description of Trelawny that we have. The arrival of this exotic figure among their small circle was important enough to warrant a long entry in her journal, and a month later she was still sufficiently intrigued to write to an old friend, Mary Gisborne, of her giovane stravagante. He was, she said

      a kind of half Arab Englishman – whose life has been as changeful as that of Anastasius & who recounts the adventures of his youth as eloquently and well as the imagined Greek – he is clever – for his moral qualities I am yet in the dark – he is a strange web which I am endeavouring to unravel – I would fain learn if generosity is united to impetuousness – Nobility of spirit to his assumption of singularity & independence – he is six feet high – raven black hair which curls thickly & shortly like a More – dark, grey – expressive eyes – overhanging brows, upturned lips & a smile which expresses good nature & kindheartedness – his shoulders are high like an Orientalist – his voice is monotonous yet emphatic & his language as he relates the events of his life energetic & simple – whether the tale be one of blood & horror or irresistable comedy. His company is delightful for he excites me to think and if any evil shade the intercourse that time will tell.¹¹

      It seems fitting in a sense that we have no painting or description of Trelawny before this time, that we have to wait until he was the ‘finished article’ strutting the public stage to know in any detail what he might have looked like. There are moments when one feels that some glimpse of a younger and more vulnerable Trelawny might help ‘explain’ him in some way, but there is no image which even half suggests the ghost of another self – either of the boy who cried himself to sleep that first night at school, or the man who sat through Sarah Prout’s testimony in the divorce courts. By 1822, cuckold and boy were both gone, hidden behind the mask that so intrigued Mary Shelley, that stares out still from portrait after portrait done over the next fifty years – the eyes aggressive, challenging, the nose aquiline, the lines already set into the obdurate mould Millais caught in old age: the face, as Mary Shelley suggests, of Thomas Hope’s Anastasius, the one romantic outcast that Byron wept that he had not himself created.

      It has always been baffling that Trelawny could have got away with his tales and fantasies among the Pisan Circle, but at a more mundane level it is scarcely less astonishing to find the daughter of Godwin and Mary Wollstonecraft still thinking and writing of an uneducated midshipman in these terms after almost a month of his company.

      But if charm, singularity and good-looks were possibly enough to provoke her fascination with him, something more than a lazy and tolerant male camaraderie is needed to explain away the confidence with which he adjusted to the sophisticated literary and political interests of Byron and Shelley.

      The admirers of the two poets have traditionally agreed on very little but if there is one thing that does unite them it is a comforting belief that Trelawny was only a marginal figure in their Pisan Circle. The principal reason for this is a natural and proper reaction to the inflated claims he made for himself in his later memoirs, and yet even when one has discounted his exaggerations it is still clear that there was a genuine warmth in their welcome that reflects as well on him as it does on them.

      There was a kindness about Shelley and an aristocratic carelessness about Byron which must have smoothed any awkwardness, but in such a circle Trelawny would have had to earn his place with his conversation or simply disappear. In old age the force and vitality of his talk left an indelible impression on all who met him, and even at thirty he was obviously a brilliant and charismatic story-teller with the power to interest men whose lives in many ways had been more circumscribed than his own.

      Trelawny’s strength and skills, his shooting, his boxing and sailing were all valued currencies in Byron’s world and yet the explanation of his success that often goes forgotten is the simple fact that he was a man of real if unformed talent. In terms of sophistication and learning he might well have been out of his depth in this alien literary world, but if one takes out Byron and Shelley and that strange fluke of a novel, Frankenstein, was there anything produced by the Pisan Circle that could remotely compare with the books Trelawny would go on to write?

      Williams, Medwin, Taafe, Mrs. Mason, Claire Clairmont, even Leigh Hunt? – the truth is that Trelawny wrote at least one book and probably two that were beyond the compass of any of them. There is certainly nothing in his letters from this period to suggest he had yet found the voice to match his abilities, but there must have been an inner conviction of power that rubbed off on others, a strong and even savage faith in his own singularity that enabled him to brazen out his adopted role in a world whose very lifeblood was the imagination. It is again as if all those years of misery that seem so arid and sterile from the outside had been nothing of the sort, but rather an essential apprenticeship in romantic alienation, a training in disaffection whilst the inner man, fed on little more than the poetry of Byron and Shelley, shaped for himself a destiny he was ready to seize the moment it was offered him.

      Not even Trelawny, though, in the drawn-out loneliness of his life at sea or the humiliations of the divorce courts, could have anticipated that destiny would bring him to Italy in time to play his part in English Romanticism’s Götterdämmerung. Neither, during his first weeks, was there any hint of the dramas that lay ahead. Through the early months of 1822, the sexual and political tensions that were always part of their Pisan world were stirring ominously beneath the surface, and yet in the very ordinariness of Edward Williams’s journal for this same time one glimpses in its last, leisurely days a world that feels as if it might have gone on for ever.

      At the end of March their peace was threatened by an unpleasant and absurdly inflated incident with a sergeant major called Masi, a degrading brawl that ended in Masi’s wounding and ultimately Byron’s exit from Pisa. Some of the details of this incident are still obscure but it began when the party of Byron and Shelley, returning from shooting practice, took umbrage at a dragoon who galloped through their ranks on the road into Pisa. When the English gave chase there was a scuffle beneath the city gate that left Shelley on the ground and a Captain Hay wounded, but it was only when an unknown member of Byron’s household subsequently stabbed Masi outside the Palazzo Lanfranchi that the incident threatened serious consequences.

      After one fraught night through which he was not expected to live, Masi recovered from his wound. But anti-English feeling ran high in the city, and even before the Gambas, the family of Byron’s mistress Teresa Guiccioli, were expelled and Byron went with them, Shelley and Mary had determined to quit Pisa.

      The final calamity, when it came, however, sprang from a different direction with all the suddenness and violence of the Mediterranean storm that caused it. From long before Trelawny’s appearance there had been excited talk in Shelley’s circle of boats and boating expeditions, and when Trelawny arrived in January 1822 he immediately assumed, as the ex-naval man among them, a leading role in their schemes. In his journal for 15 January, Williams noted that Trelawny had brought them a model for an American schooner, and that they had settled to have a 30-foot boat built along its lines. Within days an order was placed through Daniel Roberts for this boat, together with a larger vessel that Trelawny was to skipper himself for Byron. Then, on 5 February, Trelawny wrote to Roberts again with his last, fateful instructions, dangerously reducing the original specifications for Shelley’s boat by almost half.

      Dear Roberts,

      In haste to save the Post – I have only time to tell you, that you are to consider this letter as definitive, and to cancel every other regarding the Boats.

      First, then, continue the one that you are at work upon for Lord B. She is to have Iron Keel, copper fastenings and bottom – the Cabin to be as high and roomy as possible, no expense to be spared to make her a complete BEAUTY! We should like to have four guns, one … as large as you think safe – to make a devil of a noise!– fitted with locks – the swivels of brass! – I suppose from one to three pounders.

      Now as to our Boat, we have from considerations abandoned the one we wrote about. But in her lieu – will you lay us down a small beautiful one of about 17