In February 1812 Byron made his maiden speech in Parliament. He spoke in behalf of the poor weavers of Nottingham, whom it was proposed to punish most severely for having destroyed the machinery that was depriving them of their bread. It is a youthful and rather elaborate speech, but full of life and warmth. Byron was quite in his element in pleading the cause of the starving and desperate crowd. He very sensibly pointed out to his countrymen that a tenth part of the sum which they had willingly voted to enable the Portuguese to carry on war, would be sufficient to relieve the misery which it was proposed to reduce to silence by imprisonment and the gallows. Byron's vigorous and obstinate hatred of war is one of the grains of sound commonsense which are to be found in solution in his poetry; it lends animation to the earlier cantos of _Childe Harold_.
His second Parliamentary speech was on the subject of Catholic Emancipation. Though it did not please, it is an excellent one; in it Byron acknowledges, and with correct logic disposes of, one of the arguments against giving religious liberty to the Catholics, namely, that it might equally well be given to the Jews. In reference to this same emancipation question, we find the following youthfully facetious entry in his notebook: "On one of the debates on the Catholic question, when we were either equal or within one (I forget which), I had been sent for in great haste to a ball, which I quitted, I confess, somewhat reluctantly, to emancipate five millions of people." Playful utterances of this kind (as another example of which take his saying: "After all we must end in marriage; and I can conceive nothing more delightful than such a state in the country, reading the county newspaper, &c, and kissing one's wife's maid") have, because they are so little in keeping with Childe Harold's melancholy, amply proved to stupid people that nothing was sacred to him. The truth was that, being very young and somewhat of a coxcomb, he considered it derogatory to his dignity to express himself with any feeling; he unconsciously adopted as his motto the saying of St. Bernard: _Plus labora celare virtutes quam vitia!_
The maiden speech was a great success, and helped to draw the attention of the public to the first two cantos of _Childe Harold_, which came out only two days after the speech had been made. The impression produced by _Childe Harold_ was astounding; Byron instantaneously became a celebrity--London's new lion, the lawful sovereign of society for the year 1812. The metropolis, as represented by its most beautiful, most distinguished, most brilliant, and most cultivated inhabitants, prostrated itself at the feet of this youth of twenty-three. If these earlier cantos of _Childe Harold_ had been distinguished by the qualities of the later, namely, profound originality and vigorous honesty, they would not have made the noise in the world they did. Great honesty and great originality never find favour at once with the general public. It was the veiledness, the vague weariness of the world and its pleasures, which impressed the crowd; the power of which they caught a glimpse, produced all the more effect by revealing itself in a somewhat theatrical manner.