imitations. William Lisle Bowles responded to his interment with a generous elegy in the six stanzas of "Childe Harold's Last Pilgrimage" (1826). These were written in the same form as Byron's poem and, forgiving the bitter insults that had passed between them in the course of a public controversy, now paid a magnanimous tribute to the manner of his dying. There was also a crop of French imitations on this occasion, of which the foremost was Alphonse de Lamartine's Le Dernier Chant du Pélerinage d’Harold (Paris, 1825). Despite the poet's assertion of the originality of his 'Fifth Canto', a contemporary English review found it often dependent on Byron's works. Its English translation by J. W. Lake, The Last Canto of Childe Harold's Pilgrimage, was published from Paris in 1826. Another in heroic couplets followed from London in 1827. Another French enthusiast, Jules Lefèvre-Deumier, had actually been on the way to join Byron in Greece in 1823 but a shipwreck robbed him of the opportunity to join the cause. He too recorded a pilgrimage from Paris into Switzerland in Les Pélerinages d’un Childe Harold Parisien, published in 1825 under the pseudonym D. J. C. Verfèle. In the following year Aristide Tarry published the pamphlet-length Childe-Harold aux ruines de Rome: imitation du poème de Lord Byron, which was sold in aid of the Greek combatants. A later imitation of Childe Harold’s Pilgrimage lay unacknowledged for more than a century. John Clare had started to compose his own "Child Harold" in 1841, during the years of his madness, sometimes identifying himself as Byron, sometimes as a bigamist Byronic hero. Its intricate narrative stanzas are interspersed with many more lyrics than had been Byron's poem, often on the subject of Clare's youthful love for Mary Joyce. But, though "more sustained in thought than anything else he ever attempted", it was written piecemeal and the fragments were never unified or published until midway through the 20th century. Influence The Byronic hero The protagonist of Childe Harold's Pilgrimage embodied the example of the self-exiled Byronic hero. His antinomian character is summed up in Lord Macaulay's essay on Moore’s Life of Lord Byron (Edinburgh Review, 1831). "It is hardly too much to say that Lord Byron could exhibit only one man - a man proud, moody, cynical, with defiance on his brow, and misery in his heart; a scorner of his kind, implacable in revenge, yet capable