CLXXXI.

The armaments which thunderstrike the walls Of rock-built cities, bidding nations quake, And Monarchs tremble in their Capitals, The oak Leviathans,[547] whose huge ribs make[qg] Their clay creator the vain title take Of Lord of thee, and Arbiter of War— These are thy toys, and, as the snowy flake, They melt into thy yeast of waves, which mar Alike the Armada's pride or spoils of Trafalgar.[548]

CLXXXII.

Thy shores are empires, changed in all save thee— Assyria—Greece—Rome—Carthage—what are they?[549] Thy waters washed[550] them power while they were free,[qh] And many a tyrant since; their shores obey The stranger, slave, or savage; their decay Has dried up realms to deserts:—not so thou, Unchangeable save to thy wild waves' play,[qi] Time writes no wrinkle on thine azure brow— Such as Creation's dawn beheld, thou rollest now.

CLXXXIII.

Thou glorious mirror, where the Almighty's form Glasses itself in tempests; in all time, Calm or convulsed—in breeze, or gale, or storm— Icing the Pole, or in the torrid clime Dark-heaving—boundless, endless, and sublime— The image of Eternity-the throne[qj] Of the Invisible; even from out thy slime[551] The monsters of the deep are made—each Zone Obeys thee—thou goest forth, dread, fathomless, alone.

CLXXXIV.

And I have loved thee, Ocean! and my joy Of youthful sports was on thy breast to be Borne, like thy bubbles, onward: from a boy[552] I wantoned with thy breakers—they to me Were a delight; and if the freshening sea Made them a terror—'twas a pleasing fear, For I was as it were a Child of thee, And trusted to thy billows far and near, And laid my hand upon thy mane—as I do here.[553]

CLXXXV.

My task is done—my song hath ceased—my theme Has died into an echo; it is fit[qk] The spell should break of this protracted dream. The torch shall be extinguished which hath lit My midnight lamp—and what is writ, is writ,— Would it were worthier! but I am not now That which I have been—and my visions flit Less palpably before me—and the glow Which in my Spirit dwelt is fluttering, faint, and low.

CLXXXVI.

Farewell! a word that must be, and hath been— A sound which makes us linger;—yet—farewell![ql] Ye! who have traced the Pilgrim to the scene[qm] Which is his last—if in your memories dwell A thought which once was his—if on ye swell A single recollection—not in vain He wore his sandal-shoon, and scallop-shell; Farewell! with him alone may rest the pain, If such there were—with you, the Moral of his Strain.[554]



FOOTNOTES:

[363] {319} MS. D., Byron's final fair copy, is in the possession of the Lady Dorchester.

[364] {321} [Compare Canto IV. stanza clxiv.—

"But where is he, the Pilgrim of my Song.... He is no more—these breathings are his last."]

[365] {322} [His marriage. Compare the epigram, "On my Wedding-Day," sent in a letter to Moore, January 2, 1820—

"Here's a happy new year!—but with reason I beg you'll permit me to say— Wish me many returns of the season, But as few as you please of the day."]

[366] {323} [Some fancy me no Chinese, because I am formed more like a man than a monster; and others wonder to find one born five thousand miles from England, endued with common sense.... He must be some Englishman in disguise."—The Citizen of the World; or a Series of Letters from a Chinese Philosopher at London, to his Friends in the East, 1762, Letter xxxiii.]

[367] [Vide ante, Introduction to Canto IV., p. 315.]

[368] {324} [Antonio Canova, sculptor, 1757-1822; Vincenzo Monti, 1754-1828; Ugo Foscolo, 1776-1827 (see Life, p. 456, etc.); Ippolito Pindemonte, 1753-1828 (see Letter to Murray, June 4, 1817), poets; Ennius Quirinus Visconti, 1751-1818, the valuer of the Elgin marbles, archaeologist; Giacomo Morelli, 1745-1819, bibliographer and scholar (the architect Cosimo Morelli, born 1732, died in 1812); Leopoldo Conte de Cicognara, 1767-1834, archaeologist; the Contessa Albrizzi, 1769?-1836, authoress of Ritratti di Uomini Illustri (see Life, pp. 331, 413, etc.); Giuseppe Mezzofanti, 1774-1849, linguist; Angelo Mai (cardinal), 1782-1854, philologist; Andreas Moustoxides, 1787-1860, a Greek archaeologist, who wrote in Italian; Francesco Aglietti (see Life, p. 378, etc.), 1757-1836; Andrea Vacca Berlinghieri, 1772-1826 (see Life, p. 339).

For biographical essays on Monti, Foscolo, and Pindemonte, see "Essay on the Present Literature of Italy" (Hobhouse's Historical Illustrations of the Fourth Canto of Childe Harold, 1818, pp. 347, sq.). See, too, Italian Literature, by R. Garnett, C.B., LL.D., 1898, pp. 333-337, 337-341, 341-342.]

[369] {325} [Shelley (notes M. Darmesteter), in his preface to the Prometheus Unbound, "emploie le mot sans demander pardon." "The mass of capabilities remains at every period materially the same; the circumstances which awaken it to action perpetually change." "Capability" in the sense of "undeveloped faculty or property; a condition physical or otherwise, capable of being converted or turned to use" (N. Eng. Dict.), appertains rather to material objects. To apply the term figuratively to the forces inherent in national character savoured of a literary indecorum. Hence the apology.]

[370] [Addison, Cato, act v. sc. 1, line 3—

"It must be so—Plato, thou reason'st well!— Else whence this pleasing hope, this fond desire, This longing after immortality?"]

[371] [Shelley chose this refrain as the motto to his unfinished lines addressed to his infant son—

"My lost William, thou in whom Some bright spirit lived——"]

[372] [Scott commented severely on this opprobrious designation of "the great and glorious victory of Waterloo," in his critique on the Fourth Canto, Q. R., No. xxxvii., April, 1818.]

[373] {326} [The substance of some letters written by an Englishman resident in Paris during the last Reign of the Emperor Napoleon. 1816. 2 vols.]

[374] [In 1817.]

[375] {327}

[Venice and La Mira on the Brenta. Copied, August, 1817. Begun, June 26. Finished, July 29th. MS. M.]

[376] [Byron sent the first stanza to Murray, July 1, 1817, "the shaft of the column as a specimen." Gifford, Frere, and many more to whom Murray "ventured to show it," expressed their approval (Memoir of John Murray, i. 385).

"'The Bridge of Sighs,'" he explains (i.e. Ponte de' Sospiri), "is that which divides, or rather joins, the palace of the Doge to the prison of the state." Compare The Two Foscari, act iv. sc. 1—

"In Venice 'but's' a traitor. But me no 'buts,' unless you would pass o'er The Bridge which few repass."

This, however, is an anachronism. The Bridge of Sighs was built by Antonio da Ponte, in 1597, more than a century after the death of Francesco Foscari. "It is," says Mr. Ruskin, "a work of no merit and of a late period, owing the interest it possesses chiefly to its pretty name, and to the ignorant sentimentalism of Byron" (Stones of Venice, 1853, ii. 304; in. 359).]

[377] [Compare Mysteries of Udolpho, by Mrs. Ann Radcliffe, 1794, ii. 35, 36—

"Its terraces crowned with airy yet majestic fabrics ... appeared as if they had been called up from the Ocean by the wand of an enchanter."]

[lb] {328} ——throned on her Seventy Isles.—[MS. M. altern. reading, D.]

[378] Sabellicus, describing the appearance of Venice, has made use of the above image, which would not be poetical were it not true.—"Quo fit ut qui superne [ex specula aliqua eminentiore] urbem contempletur, turritam telluris imaginem medio Oceano figuratam se putet inspicere." [De Venetae Urbis situ Narratio, lib. i. Ital. Ill. Script., 1600, p. 4. Marcus Antonius Coccius Sabellicus (1436-1506) wrote, inter alia, a History of Venice, published in folio in 1487, and Rhapsodiae Historiarum Enneades, a condito mundo, usque ad A.C. 1504. His description of Venice (vide supra) was published after his death in 1527. Hofmann does not give him a good character: "Obiit A.C. 1506, turpi morbo confectus, aetat. 70, relicto filio notho." But his [Greek: Au)toepita/phion] implies that he was satisfied with himself.

"Quem non res hominum, non omnis ceperat aetas, Scribentem capit haec Coccion urna brevis."

Cybele (sometimes written Cybelle and Cybēle), the "mother of the Goddesses," was represented as wearing a mural crown—"coronamque turritam gestare dicitur" (Albricus Phil., De Imag. Deor., xii.). Venice with her tiara of proud towers is the earth-goddess Cybele, having "suffered a sea-change."]

[lc] {329} From spoils of many nations and the East.—[MS. M., D. erased.]

[379] ["Gems wrought into drinking-vessels, among which the least precious were framed of turquoise, jasper, or amethyst ... unnumbered jacinths, emeralds, sapphires, chrysolites, and topazes, and, lastly, those matchless carbuncles which, placed on the High Altar of St. Mark's, blazed with intrinsic light, and scattered darkness by their own beams;—these are but a sample of the treasures which accrued to Venice" (Villehardouin, lib. in. p. 129). (See Sketches from Venetian History, 1831, i. 161.)]

[380] [After the fall of Constantinople, in 1204, "the illustrious Dandolo ... was permitted to tinge his buskins in the purple hue distinctive of the Imperial Family, to claim exemption from all feudal service to the Emperor, and to annex to the title of Doge of Venice the proud style of Despot of Romania, and Lord of One-fourth and One-eighth of the Roman Empire" (ibid., 1831, i. 167).]

[ld] Monarchs sate down——.—[D. erased.]

[381] [The gondoliers (see Hobhouse's note ii.) used to sing alternate stanzas of the Gerusalemme Liberata, capping each other like the shepherds in the Bucolics. The rival reciters were sometimes attached to the same gondola; but often the response came from a passing gondolier, a stranger to the singer who challenged the contest. Rogers, in his Italy, laments the silence which greeted the swan-song of his own gondolier—

"He sung, As in the time when Venice was Herself, Of Tancred and Erminia. On our oars We rested; and the verse was verse divine! We could not err—Perhaps he was the last— For none took up the strain, none answer'd him; And, when he ceased, he left upon my ear A something like the dying voice of Venice!" The Gondola (Poems, 1852, ii. 79).

Compare, too, Goethe's "Letters from Italy," October 6, 1786: "This evening I bespoke the celebrated song of the mariners, who chaunt Tasso and Ariosto to melodies of their own. This must actually be ordered, as it is not to be heard as a thing of course, but rather belongs to the half-forgotten traditions of former times. I entered a gondola by moonlight, with one singer before and the other behind me. They sing their song, taking up the verses alternately....

"Sitting on the shore of an island, on the bank of a canal, or on the side of a boat, a gondolier will sing away with a loud penetrating voice—the multitude admire force above everything—anxious only to be heard as far as possible. Over the silent mirror it travels far."—Travels in Italy, 1883, p. 73.]

[le] {330} The pleasure-place of all festivity.—[MS. M.]

[382] {331} [The Rialto, or Rivo alto, "the middle group of islands between the shore and the mainland," on the left of the Grand Canal, was the site of the original city, and till the sixteenth century its formal and legal designation. The Exchange, or Banco Giro, was held in the piazza, opposite the church of San Giacomo, which stands at the head of the canal to the north of the Ponto di Rialto. It was on the Rialto that Antonio rated Shylock about his "usances." "What news on the Rialto?" asks Solanio (Merchant of Venice, act i. sc. 3, line 102; act iii. sc. 1, line 1). Byron uses the word symbolically for Venetian commerce.]

[383] [Pierre is the hero of Otway's Venice Preserved. Shylock and the Moor stand where they did, but what of Pierre? If the name of Otway—"master of the tragic art"—and the title of his masterpiece—Venice Preserved, or The Plot Discovered (first played 1682)—are not wholly forgotten, Pierre and Monimia and Belvidera have "decayed," and are memorable chiefly as favourite characters of great actors and actresses. Genest notes twenty revivals of the Venice Preserved, which was played as late as October 27, 1837, when Macready played "Pierre," and Phelps "Jaffier." "No play that I know," says Hartley Coleridge (Essays, 1851, ii. 56), "gains so much by acting as Venice Preserved.... Miss O'Neill, I well remember, made me weep with Belvidera; but she would have done the same had she spoken in an unknown tongue." Byron, who professed to be a "great admirer of Otway," in a letter to Hodgson, August 22, 1811 (Letters, 1898, i. 339, note 1), alludes to some lines from Venice Preserved (act ii. sc. 3), which seem to have taken his fancy. Two lines spoken by Belvidera (act ii.), if less humorous, are more poetical—

"Oh, the day Too soon will break, and wake us to our sorrow; Come, come to bed, and bid thy cares Good night!"]

[384] {332} [Compare The Dream, i.—

"The mind can make Substance, and people planets of its own With beings brighter than have been, and give A breath to forms which can outlive all flesh."

The ideal personages of the poet's creations have the promise of immortality. The ideal forms which people his imagination transfigure and supplant the dull and grievous realities of his mortal being and circumstance; but there are "things" more radiant, more enchanting still, the "strong realities" of the heart and soul—hope, love, joy. But they pass! We wake, and lo! it was a dream.]

[lf] Denies to the dull trick of life——.—[MS. erased.]

[385]

["In youth I wrote because my mind was full, And now because I feel it growing dull." Don Juan, Canto XIV. stanza x.

In youth the poet takes refuge, in the ideal world, from the crowd and pressure of blissful possibilities; and in age, when hope is beyond hope, he peoples the solitude with beings of the mind.]

[lg] {333} And this worn feeling——.—[Editions 1816-1891.]

[lh] / springs And, may be, that which { } ——.—[MS. M.] spreads /

[li] Outshines our Fairies—things in shape and hue.—[MS. M.]

[lj] {334} ——and though I leave behind.—[MS. M.]

[lk] And make myself a home beside a softer sea.—[MS. erased.]

[ll] ——to pine Albeit is not my nature, and I twine.—[MS. M. erased]

[386] [In another mood he wrote to Murray (June 7, 1819), "I trust they won't think of 'pickling, and bringing me home to Clod or Blunderbuss Hall' [see The Rivals, act v. sc. 3]. I am sure my bones would not rest in an English grave, or my clay mix with the earth of that country." In this half-humorous outburst he deprecates, or pretends to deprecate, the fate which actually awaited his remains—burial in the family vault at Hucknall Torkard. There is, of course, no reference to a public funeral and a grave in Westminster Abbey. In the next stanza (x. line 1) he assumes the possibility of his being excluded from the Temple of Fame; but there is, perhaps, a tacit reference to burial in the Abbey. If the thought, as is probable, occurred to him, he veils it in a metaphor.]

[387] {335} The answer of the mother of Brasidas, the Lacedaemonian general, to the strangers who praised the memory of her son.

[[Greek: Brasi/das ga e~)n me
a)ne a)gathos], polloi d' e)kei/nou krei/ssones e)n te~ Spa/rte ]. Plutarchi Moralia, Apophthegmata Laconica (Tauchnitz, 1820), ii. 127.]

[lm] The widowed Adriatic mourns her Doge.—[MS. M erased.]

[388] [The Bucentaur, "the state barge in which, on Ascension Day, the Doge of Venice used to wed the Adriatic by dropping a ring into it," was broken up and rifled by the French in 1797 (note, by Rev. E. C. Owen, Childe Harold, 1897, p. 197).

Compare Goethe's "Letters from Italy," October 5, 1786: "To give a notion of the Bucentaur in one word, I should say that it is a state-galley. The older one, of which we still have drawings, justified this appellation still more than the present one, which, by its splendour, makes us forget the original....

"The vessel is all ornament; we ought to say, it is overladen with ornament; it is altogether one piece of gilt carving, for no other use.... This state-galley is a good index to show what the Venetians were, and what they considered themselves."—Travels in Italy, 1883, p. 68.

Compare, too, Wordsworth's sonnet "On the Extinction of the Venetian Republic"—

"She was a maiden City, bright and free; No guile seduced, no force could violate; And when she took unto herself a Mate, She must espouse the everlasting Sea." Works, 1888, p. 180.]

[389] {336} [For "Lion," see Hobhouse's note iii. The "Horses of St. Mark" (vide post, stanza xiii. line 1), which, according to history or legend, Augustus "conveyed" from Alexandria to Rome, Constantine from Rome to Constantinople, Dandolo, in 1204, from Constantinople to Venice, Napoleon, in 1797, from Venice to Paris, and which were restored to the Venetians by the Austrians in 1815, were at one time supposed to belong to the school of Lysippus. Haydon, who published, in 1817, a curious etching of "The Elgin Horse's Head," placed side by side with the "Head of one of the Horses ... now at Venice," subscribes the following critical note: "It is astonishing that the great principles of nature should have been so nearly lost in the time between Phidias and Lysippus. Compare these two heads. The Elgin head is all truth, the other all manner." Hobhouse pronounces the "Horses" to be "irrevocably Chian," but modern archaeologists regard both "school" and exact period as uncertain.]

[ln] Even on the pillar——.—[MS. M., D. erased.]

[390] [According to Milman (Hist. of Lat. Christianity, v. 144), the humiliation of Barbarossa at the Church of St. Mark took place on Tuesday, July 24, 1177. A propos of the return of the Pope and Emperor to the ducal palace, he quotes "a curious passage from a newly recovered poem, by Godfrey of Viterbo, an attendant on the Emperor. So great was the press in the market that the aged Pope was thrown down—

"Jam Papa perisset in arto, Caesar ibi vetulum ni relevasset eum."

"This," he remarks, "is an odd contrast of real life with romance."]

[391] {337} ["Oh, for one hour of Dundee!" was the exclamation of a Highland chieftain at the battle of Sheriff-muir, November 13, 1715 (Scott's Tales of a Grandfather, III. Series, chap. x.; Prose Works, Paris, 1830, vii. 768). Wordsworth makes the words his own in the sonnet, "In the Pass of Killicranky (an Invasion being expected, October, 1803)" (Works, 1888, p. 201)—

"O for a single hour of that Dundee, Who on that day the word of onset gave!"

And Coleridge, in a letter to Wordsworth (February 8, 1804), thinking, perhaps, less of the chieftain than the sonnet, exclaims, "'Oh for one hour of Dundee!' How often shall I sigh, 'Oh for one hour of The Recluse!'"—an aspiration which Byron would have worded differently.]

[lo] ——who quelled the imperial foe.—[MS. M. erased.] ——empire's all-conquering foe.—[MS. M.]

[392] [Compare Marino Faliero, act iv. sc. 2, lines 157, 158—

"Doge Dandolo survived to ninety summers, To vanquish empires, and refuse their crown."

"The vessels that bore the bishops of Soissons and Troyes, the Paradise and the Pilgrim, were the first which grappled with the Towers of Constantinople [April, 1204].... The bishops of Soissons and of Troyes would have placed the blind old Doge Dandolo on the imperial throne; his election was opposed by the Venetians.... But probably the wise patriotism of Dandolo himself, and his knowledge of the Venetian mind, would make him acquiesce in the loss of an honour so dangerous to his country.... Venice might have sunk to an outpost, as it were, of the Eastern Empire."—Milman's Hist. of Lat. Christianity, v. 350, 353, 354.]

[393] {338} [Hobhouse's version (see Hist. Notes, No. vi.) of the war of Chioggia is not borne out by modern research. For example, the long speech which Chinazzo attributes to the Genoese admiral, Pietro Doria, is probably mythical. The actual menace of the "bitting and bridling the horses of St. Mark" is assigned by other historians to Francesco Carrara. Doria was not killed by a stone bullet from the cannon named The Trevisara, but by the fall of the Campanile in Chioggia, which had been struck by the bullet. (Venice, an Historical Sketch of the Republic, by Horatio F. Brown, 1893, pp. 225-234.)]

[lp] ——into whence she rose.—[Editions 1818-1891.]

[394] [Compare the opening lines of Byron's Ode on Venice—

"Oh Venice! Venice! when thy marble walls Are level with the waters, there shall be A cry of nations o'er thy sunken halls, A loud lament along the sweeping sea!"

Shelley, too, in his Lines written among the Euganean Hills, bewailed the approaching doom of the "sea-girt city." But threatened cities, like threatened men, live long, and since its annexation to Italy, in 1866, a revival of trade and the re-establishment of the arsenal have brought back a certain measure of prosperity.]

[lq] {339} Even in Destruction's heart——.—[MS. M.]

[395] That is, the Lion of St. Mark, the standard of the republic, which is the origin of the word Pantaloon—Piantaleone, Pantaleon, Pantaloon.

[The Venetians were nicknamed Pantaloni. Byron, who seems to have relied on the authority of a Venetian glossary, assumes that the "by-word" may be traced to the patriotism of merchant-princes "who were reputed to hoist flags with the Venetian lion waving to the breeze on every rock and barren headland of Levantine waters" (Memoirs of Count Carlo Gozzi, translated by J. Addington Symonds, 1890, Introd. part ii. p. 44), and that in consequence of this spread-eagleism the Venetians were held up to scorn by their neighbours as "planters of the lion"—a reproach which conveyed a tribute to their prowess. A more probable explanation is that the "by-word," with its cognates "Pantaleone," the typical masque of Italian comedy—progenitor of our "Pantaloon;" and "pantaloni," "pantaloons," the typical Venetian costume—derive their origin from the baptismal name "Pantaleone," frequently given to Venetian children, in honour of St. Pantaleon of Nicomedia, physician and martyr, whose cult was much in vogue in Northern Italy, and especially in Venice, where his relics, which "coruscated with miracles," were the object of peculiar veneration.

St. Pantaleon was known to the Greek Church as [Greek: Pantelee/mon], that is, the "all-pitiful;" and in Latin his name is spelled Pantaleymon and Pantaleemon. Hagiologists seem to have been puzzled, but the compiler of the Acta Sanctorum, for July 27, St. Pantaleon's Day in the Roman calendar (xxxiii. 397-426), gives the preference to Pantaleon, and explains that he was hailed as Pantaleemon by a divine voice at the hour of his martyrdom, which proclaimed "eum non amplius esse vocandum Pantaleonem, sed Pantaleemonem."

The accompanying woodcut is the reproduction of the frontispiece of a black-letter tract, composed by Augustinus de Crema, in honour of the "translation" of one of the sainted martyr's arms to Crema, in Lombardy. It was printed at Cremona, in 1493.]

[396] {340} Shakespeare is my authority for the word "Ottomite" for Ottoman. "Which Heaven hath forbid the Ottomites" (see Othello, act ii. sc. 3, line 161).—[MS. D.]

[397] ["On 29th September (1669) Candia, and the island of Candia, passed away from Venice, after a defence which had lasted twenty-five years, and was unmatched for bravery in the annals of the Republic."—Venice, an Historical Sketch, by Horatio F. Brown, 1893, p. 378.]

[398] ["The battle of Lepanto [October 7, 1571] lasted five hours.... The losses are estimated at 8000 Christians and 30,000 Turks.... The chief glory of the victory rests with Sebastian Veniero and the Venetians."—Venice, etc., 1893, p. 368.]

[399] {341} [The story is told in Plutarch's Life of Nicias, cap. xxix. (Plut. Vit., Lipsiae, 1813, v. 154). "The dramas of Euripides were so popular throughout all Sicily, that those Athenian prisoners who knew ... portions of them, won the affections of their masters.... I cannot refrain from mentioning this story, though I fear its trustworthiness ... is much inferior to its pathos and interest."—Grote's History of Greece, 1869, vii. 186.]

[lr] And won her hopeless children from afar.—[MS. M., D. erased.]

[ls] And sends him ransomeless to bless his poet's strains.—[MS. M.] or, And sends him home to bless the poet for his strains.— [MS. D. erased.]

[lt] {342} Thy love of Tassa's verse should cut the knot.—[MS. M.]

[400] [By the Treaty of Paris, May 3, 1814, Lombardy and Venice, which since the battle of Austerlitz had formed part of the French kingdom of Naples, were once more handed over to Austria. Great Britain was represented by "a bungler even in its disgusting trade" (Don Juan, Dedication, stanza xiv.), Lord Castlereagh.]

[lu] ——for come it will and shall.—[MS. M., D. erased.]

[lv] And Otway's—Radcliffe's—Schiller's—Shakspeare's art.—[MS. M., D.]

[401] Venice Preserved; Mysteries of Udolpho; The Ghost-Seer, or Armenian; The Merchant of Venice; Othello.

[For Venice Preserved, vide ante, stanza iv. line 7, note. To the Mysteries of Udolpho Byron was indebted for more than one suggestion, vide ante, stanza i. line 4, note, and Mysteries, etc., London, 1794, 2. 39: "The air bore no sounds, but those of sweetness echoing along each margin of the canal and from gondolas on its surface, while groups of masks were seen dancing on the moonlit terraces, and seemed almost to realize the romance of fairy-land." The scene of Schiller's Der Geisterseher (Werke, 1819, x. 97, sq.) is laid at Venice. "This [the Doge's palace] was the thing that most struck my imagination in Venice—more than the Rialto, which I visited for the sake of Shylock; and more, too, than Schiller's Armenian, a novel which took a great hold of me when a boy. It is also called the Ghost Seer, and I never walked down St. Mark's by moonlight without thinking of it, and 'at nine o'clock he died!' [For allusion to the same incident, see Rogers's Italy (Poems, 1852, ii. 73).] But I hate things all fiction; and therefore the Merchant and Othello have no great associations for me: but Pierre has."—Letter to Murray, Venice, April 2, 1817. (For an earlier reference to the Ghost-seer, see Oscar of Alva: Poetical Works, 1898, i. 131, note.)]

[lw] {344} Though I have found her thus we will not part.—[MS. M.]

[402] [Shelley, in his Lines written among the Euganean Hills, allows to Venice one lingering glory "one remembrance more sublime"—

"That a tempest-cleaving swan Of the songs of Albion, Driven from his ancestral streams By the might of evil dreams, Found a nest in thee; and Ocean Welcomed him with such emotion, That its joy grew his, and sprung From his lips like music flung O'er a mighty thunder-fit, Chastening terror."]

[lx] The Past at least is mine—whate'er may come. But when the heart is full the lips must needs lie dumb.— [MS. M. erased.] ——or else mine now were cold and dumb.—[MS. M.]

[403] {344} Tannen is the plural of tanne, a species of fir peculiar to the Alps, which only thrives in very rocky parts, where scarcely soil sufficient for its nourishment can be found. On these spots it grows to a greater height than any other mountain tree.

[Byron did not "know German" (Letter to Murray, June 7, 1820), and he may, as Mr. Tozer suggests, have supposed that the word "tannen" denoted not "fir trees" generally, but a particular kind of fir tree. He refers, no doubt, to the Ebeltanne (Abies pectinata), which is not a native of this country, but grows at a great height on the Swiss Alps and throughout the mountainous region of Central Europe.]

[ly] But there are minds which as the Tannen grow.—[MS. erased.]

[lz] Of shrubless granite——.—[MS. M. erased.]

[ma] {345} In rocks and unsupporting places——.—[MS. M. erased.]

[404] [Cicero, De Finibus, II. xxix., controverts the maxim of Epicurus, that a great sorrow is necessarily of short duration, a prolonged sorrow necessarily light: "Quod autem magnum dolorem brevem longinquum levem esse dicitis, id non intelligo quale sit, video enim et magnos et eosdem bene longinquos dolores." But the sentiment is adopted by Montaigne (1. xiv.), ed. 1580, p. 66: "Tu ne la sentiras guiere long temps, si tu la sens trop; elle mettra fin a soy ou a toy; l'un et l'autre revient a un." ("Si tu ne la portes; elle t'emportera," note.) And again by Sir Thomas Brown, "Sense endureth no extremities, and sorrows destroy us or themselves" (see Darmesteter, Childe Harold, 1882, p. 193). Byron is not refining upon these conceits, but is drawing upon his own experience. Suffering which does not kill is subject to change, and "continueth not in one stay;" but it remains within call, and returns in an hour when we are not aware.]

[405] {346} [Compare Bishop Blougram's lament on the instability of unfaith—

"Just when we are safest, there's a sunset-touch, A fancy from a flower-bell, some one's death, A chorus-ending from Euripides,— And that's enough for fifty hopes and fears.

* * * * *

To rap and knock and enter in our soul, Take hands and dance there." Browning's Poetical Works, 1869, v. 268.]

[mb] A tone of music—eventide in spring. or, ——twilight—eve in spring.—[MS. M, erased.]

[406] {347} [Compare Scott's Lady of the Lake, I. xxxiii. lines 21, 22—

"They come, in dim procession led, The cold, the faithless, and the dead."]

[407] {348} ["Friuli's mountains" are the Julian Alps, which lie to the north of Trieste and north-east of Venice, "the hoar and aery Alps towards the north," which Julian and Count Maddalo (vide post, p. 349) saw from the Lido. But the Alpine height along which "a sea of glory" streamed—"the peak of the far Rhaetian hill" (stanza xxviii. line 4)—must lie to the westward of Venice, in the track of the setting sun.]

[408] The above description may seem fantastical or exaggerated to those who have never seen an Oriental or an Italian sky; yet it is but a literal and hardly sufficient delineation of an August evening (the eighteenth), as contemplated in one of many rides along the banks of the Brenta, near La Mira.

[Compare Shelley's Julian and Maddalo (Poetical Works, 1895, i. 343)—

"How beautiful is sunset, when the glow Of Heaven descends upon a land like thee, Thou Paradise of exiles, Italy! * * * * * ... We stood Looking upon the evening, and the flood, Which lay between the city and the shore, Paved with the image of the sky ... the hoar And aery Alps towards the north appeared, Thro' mist, an heaven-sustaining bulwark reared Between the East and West; and half the sky Was roofed with clouds of rich emblazonry, Dark purple at the zenith, which still grew Down the steep West into a wondrous hue, Brighter than burning gold."]

[409] {349} [The Brenta rises in Tyrol, and flowing past Padua falls into the Lagoon at Fusina. Mira, or La Mira, where Byron "colonized" in the summer of 1817, and again in 1819, is on the Brenta, some six or seven miles inland from the Lagoon.]

[410] {350} [The Abbe de Sade, in his Memoires pour la vie de Petrarque (1767), affirmed, on the strength of documentary evidence, that the Laura of the sonnets, born de Noves, was the wife of his ancestor, Hugo de Sade, and the mother of a large family. "Gibbon," says Hobhouse (note viii.), "called the abbe's memoirs a 'labour of love' (see Decline and Fall, chap. lxx. note 1), and followed him with confidence and delight;" but the poet James Beattie (in a letter to the Duchess of Gordon, August 17, 1782) disregarded them as a "romance," and, more recently, "an ingenious Scotchman" [Alexander Fraser Tytler (Lord Woodhouselee)], in an Historical and Critical Essay on the Life and Character of Petrarch (1810), had re-established "the ancient prejudice" in favour of Laura's virginity. Hobhouse appears, but his note is somewhat ambiguous, to adopt the view of "the ingenious Scotchman." To pass to contemporary criticism, Dr. Garnett, in his History of Italian Literature, 1898 (pp. 66-71), without attempting to settle "the everlasting controversy," regards the abbe's documentary evidence as for the most part worthless, and, relying on the internal evidence of the sonnets and the dialogue, and on the facts of Petrarch's life as established by his correspondence (a complete series of Petrarch's letters was published by Giuseppe Fracassetti, in 1859), inclines to the belief that it was the poet's status as a cleric, and not a husband and family, which proved a bar to his union with Laura. With regard, however, to "one piece of documentary evidence," namely, Laura de Sade's will, Dr. Garnett admits that, if this were producible, and, on being produced, proved genuine, the coincidence of the date of the will, April 3, 1348, with a note in Petrarch's handwriting, dated April 6, 1348, which records the death of Laura, would almost establish the truth of the abbe's theory "in the teeth of all objections."]

[411] {351} ["He who would seek, as I have done, the last memorials of the life and death of Petrarch in that sequestered Euganean village [Arqua is about twelve miles south-west of Padua], will still find them there. A modest house, apparently of great antiquity, passes for his last habitation. A chair in which he is said to have died is shown there. And if these details are uncertain, there is no doubt that the sarcophagus of red marble, supported on pillars, in the churchyard of Arqua, contains, or once contained, his mortal remains. Lord Byron and Mr. Hobhouse visited the spot more than sixty years ago in a sceptical frame of mind; for doubts had at that time been thrown on the very existence of Laura; and the varied details of the poet's life, which are preserved with so much fidelity in his correspondence, were almost forgotten."—Petrarch, by H. Reeve, 1879, p. 14. In a letter to Hoppner, September 12, 1817, Byron says that he was moved "to turn aside in a second visit to Arqua." Two years later, October, 1819, he in vain persuaded Moore "to spare a day or two to go with me to Arqua. I should like," he said, "to visit that tomb with you—a pair of poetical pilgrims—eh, Tom, what say you?" But "Tom" was for Rome and Lord John Russell, and ever afterwards bewailed the lost opportunity "with wonder and self-reproach" (Life, p. 423; Life, by Karl Elze, 1872, p. 235).]

[mc] {352} His mansion and his monument——.—[MS. M., D. erased.]

[md] ——formed his sepulchral fane.—[MS. M.]

[412] [Compare Wordsworth's Ode, "Intimations of," etc., xi. lines 9-11—

"The clouds that gather round the setting sun Do take a sober colouring from an eye That hath kept watch o'er man's mortality."]

[413] ["Euganeis istis in collibus ... domum parvam sed delectabilem et honestam struxi ... hic quanquam aeger corpore, tranquillus animo frater dego, sine tumultibus, sine erroribus, sine curis, legens semper et scribens, Deum laudans."—Petrarca, Epistolae Seniles, xiv. 6 (Opera, Basileae, 1581, p. 938).

See, too, the notes to Arqua (Rogers's Italy: Poems, 1852, ii. 105-109), which record the pilgrimage of other poets, Boccaccio and Alfieri, to the great laureate's tomb; and compare with Byron's stanzas the whole of that exquisite cameo, delicate and yet durable as if graved on chalcedony.]

[me] {353} Society's the school where taught to live.—[MS. M. erased.]

[mf] ——the soul with God must strive.—[MS. M. erased.]

[414] The struggle is to the full as likely to be with demons as with our better thoughts. Satan chose the wilderness for the temptation of our Saviour. And our unsullied John Locke preferred the presence of a child to complete solitude.

["He always chose to have company with him, if it were only a child; for he loved children, and took pleasure in talking with those that had been well trained" (Life of John Locke, by H. R. Fox-Bourne, ii. 537). Lady Masham's daughter Esther, and "his wife" Betty Clarke, aged eleven years, were among his child-friends.]

[mg] {354} Which dies not nor can ever pass away.—[MS. M. erased.]

[mh] The tomb a hell—and life one universal gloom.—[MS. M. erased.]

[415] [Byron passed a single day at Ferrara in April, 1817; went over the castle, cell, etc., and a few days after wrote The Lament of Tasso, the manuscript of which is dated April 20, 1817. The Fourth Canto of Childe Harold was not begun till the end of June in the same year.]

[416] [Of the ancient family of Este, Marquesses of Tuscany, Azzo V. was the first who obtained power in Ferrara in the twelfth century. A remote descendant, Nicolo III. (b. 1384, d. 1441), founded the University of Parma. He married for his second wife Parisina Malatesta (the heroine of Byron's Parisina, published February, 1816), who was beheaded for adultery in 1425. His three sons, Lionel (d. 1450), the friend of Poggio Bracciolini; Borso (d. 1471), who established printing in his states; and Ercolo (d. 1505), the friend of Boiardo,—were all patrons of letters and fosterers of the Renaissance. Their successor, Alphonso I. (1486-1534), who married Lucrezia Borgia, 1502, honoured himself by attaching Ariosto to his court, and it was his grandson, Alphonso II. (d. 1597), who first befriended and afterwards, on the score of lunacy, imprisoned Tasso in the Hospital of Sant' Anna (1579-86).]

[417] {355} [It is a fact that Tasso was an involuntary inmate of the Hospital of Sant' Anna at Ferrara for seven years and four months—from March, 1579, to July, 1586—but the causes, the character, and the place of his imprisonment have been subjects of legend and misrepresentation. It has long been known and acknowledged (see Hobhouse's Historical Illustrations, 1818, pp. 5-31) that a real or feigned passion for Duke Alphonso's sister, Leonora d'Este, was not the cause or occasion of his detention, and that the famous cell or dungeon ("nine paces by six, and about seven high") was not "the original place of the poet's confinement." It was, as Shelley says (see his letter to Peacock, November 7, 1818), "a very decent dungeon;" but it was not Tasso's. The setting of the story was admitted to be legendary, but the story itself, that a poet was shut up in a madhouse because a vindictive magnate resented his love of independence and impatience of courtly servitude, was questioned, only to be reasserted as historical. The publication of Tasso's letters by Guasti, in 1853, a review of Tasso's character and career in Symonds's Renaissance in Italy, and, more recently, Signor Angelo Solerti's monumental work, Vita di Torquato Tasso (1895), which draws largely upon the letters of contemporaries, the accounts of the ducal court, and other documentary evidence, have in a great measure exonerated the duke at the expense of the unhappy poet himself. Briefly, Tasso's intrigues with rival powers—the Medici at Florence, the papal court, and the Holy Office at Bologna—aroused the alarm and suspicion of the duke, whilst his general demeanour and his outbursts of violence and temper compelled, rather than afforded, a pretext for his confinement. Before his final and fatal return to Ferrara, he had been duly warned that he must submit to be treated as a person of disordered intellect, and that if he continued to throw out hints of designs upon his life and of persecution in high places, he would be banished from the ducal court and dominions. But return he would, and at an inauspicious moment, when the duke was preoccupied with the ceremonies and festivities of a third marriage. No one attended to him or took heed of his arrival; and, to quote his own words, "in a fit of madness" he broke out into execrations of the ducal court and family, and of the people of Ferrara. For the offence he was shut up in the Hospital of Sant' Anna, and for many months treated as an ordinary lunatic. Of the particulars of his treatment during these first eight months of his confinement, apart from Tasso's own letters, there is no evidence. The accounts of the hospital are lost, and the Libri di spesa (R. Arch. di Stato in Modena; Camer. Ducale: Casa; Amministrazione, Solerti, iii. Docu. 47) do not commence till November 20, 1579. Two years later, the Libri di spenderia (Solerti, in. Docu. 51), from January, 1582, onward, show that he was put on a more generous diet; and it is known that a certain measure of liberty and other indulgences were gradually accorded. There can, however, be little doubt that for many months his food was neglected and medical attendance withheld. His statement, that he was denied the rites of the Church, cannot be gainsaid. He was regarded as a lunatic, and, as such, he would not be permitted either to make his confession or to communicate. Worse than all, there was the terrible solitude. "E sovra tutto," he writes (May, 1580), "m'affligge la solitudine, mia crudele e natural nimica." No wonder the attacks of delirium, the "unwonted lights," the conference with a familiar spirit, followed in due course. Byron and Shelley were ignorant of the facts; and we know that their scorn and indignation were exaggerated and misplaced. But the "pity of it" remains, that the grace and glory of his age was sacrificed to ignorance and fear, if not to animosity and revenge. (See Tasso, by E. J. Hasell; History of the Italian Renaissance, by J. A. Symonds; Quart. Rev., October, 1895, No. 364, art. x.; Vita di Torquato Tasso, 1895, i. 312-314, 410-412, etc.)]

[mi] {357} And thou for no one useful purpose born.—[MS. M. erased.]

[418] [Solerti (Vita, i. 418) combats the theory advanced by Hobhouse (see note x.), that Lionardo Salviati, in order to curry favour with Alphonso, was responsible for "the opposition which the Jerusalem encountered from the Cruscan Academy." He assigns their unfavourable criticism to literary sentiment or prejudice, and not to personal animosity or intrigue. The Gerusalemme Liberata was dedicated to the glory of the house of Este; and, though the poet was in disgrace, the duke was not to be propitiated by an attack upon the poem. Moreover, Salviati did not publish his theses in his own name, but under a nom de guerre, "L'Infarinato."]

[mj] {358} And baffled Gaul whose rancour could allow.—[MS. M. erased.]

[mk] Which grates upon the teeth——.—[MS. M. erased.]

[419] [Hobhouse, in his note x., quotes Boileau, but not in full. The passage runs thus—

"Tous les jours, a la cour, un sot de qualite Peut juger de travers avec impunite, A Malherbe, a Racan, prefere Theophile, Et le clinquant du Tasse a tout l'or de Virgile."

Perhaps he divined that the phrase, "un sot de qualite," might glance back on a "noble author," who was about to admit that he could not savour Horace, and who turned aside from Mantua and memories of Virgil to visit Ferrara and the "cell" where Tasso was "encaged." (See Darmesteter's Notes to Childe Harold, pp. 201, 217.)

If "the Youth with brow serene," as Hugo calls him, had lived to read Dedain. A Lord Byron, en 1811, he would have passed a somewhat different criticism on French poetry in general—

"En vain vos legions l'environnent sans nombre, Il n'a qu'a se lever pour couvrir de son ombre A la fois tous vos fronts; Il n'a qu'a dire un mot pour couvrir vos voix greles, Comme un char en passant couvre le bruit des ailes De mille moucherons!" Les Feuilles d'Automne, par Victor Hugo, Bruxelles, 1833, pp. 59, 63.]

[ml] {359} Could mount into a mind like thine——.—[MS. M. erased.]

[mm] ——they would not form the Sun.—[MS. M.]

[420] [In a letter to Murray (August 7, 1817) Byron throws out a hint that Scott might not like being called "the Ariosto of the North," and Murray seems to have caught at the suggestion. "With regard to 'the Ariosto of the North,'" rejoins Byron (September 17, 1817), "surely their themes, Chivalry, war, and love, were as like as can be; and as to the compliment, if you knew what the Italians think of Ariosto, you would not hesitate about that.... If you think Scott will dislike it, say so, and I will expunge." Byron did not know that when Scott was at college at Edinburgh he had "had the audacity to produce a composition in which he weighed Homer against Ariosto, and pronounced him wanting in the balance," or that he "made a practice of reading through ... the Orlando of Ariosto once every year" (see Memoirs of the Life, etc., 1871, pp. 12, 747); but the parallel had suggested itself. The key-note of "the harpings of the north," the chivalrous strain of "shield, lance, and brand, and plume and scarf," of "gentle courtesy," of "valour, lion-mettled lord," which the "Introduction to Marmion" preludes, had been already struck in the opening lines of the Orlando Furioso—

"Le Donne, i Cavalier', l'arme, gli amori, Le cortesie, l'audaci imprese io canto."

Scott, we may be assured, was neither disconcerted nor uplifted by the parallel. Many years before (July 6, 1812), Byron had been at pains to inform him that so august a critic as the Prince Regent "preferred you to every bard past and present," and "spoke alternately of Homer and yourself." Of the "placing" and unplacing of poets there is no end. Byron had already been sharply rebuked by the Edinburgh Review for describing Christabel as a "wild and singularly original and beautiful poem," and his appreciation of Scott provoked the expostulation of a friendlier critic. "Walter Scott," wrote Francis Hodgson, in his anonymous Monitor of Childe Harold (1818), "(credite posteri, or rather praeposteri), is designated in the Fourth Canto of Childe Harold as 'the Northern Ariosto,' and (droller still) Ariosto is denominated 'the Southern Scott.' This comes of mistaking horse-chestnuts for chestnut horses."]

[421] {361} The two stanzas xlii. and xliii. are, with the exception of a line or two, a translation of the famous sonnet of Filicaja:—"Italia, Italia, O tu, cui feo la sorte!"—Poesie Toscane 1823, p. 149.

["Italia, Italia, o tu cui feo la sorte Dono infelice di bellezza, ond'hai Funesta dote d'infiniti guai Che in fronte scritti per gran doglia porte: Deh fossi tu men bella, o almen piu forte, Onde assai piu ti paventasse, o assai T'amasse men, chi del tuo bello ai rai Par che si strugga, e pur ti sfida a morte, Che or giu dall' Alpi non vedrei torrenti Scender d'armati, ne di sangue tinta Bever l'onda del Po gallici armenti; Ne te vedrei, del non tuo ferro cinta, Pugnar col braccio di straniere genti, Per servir sempre, o vincitrice, o vinta."]

[mn] And on thy brow in characters of flame To write the words of sorrow and of shame.—[MS. M. erased.]

[mo] ——unbetrayed To death by thy vain charms——.—[MS. M. erased.]

[422] {362} The celebrated letter of Servius Sulpicius to Cicero, on the death of his daughter, describes as it then was, and now is, a path which I often traced in Greece, both by sea and land, in different journeys and voyages. "On my return from Asia, as I was sailing from AEgina towards Megara, I began to contemplate the prospect of the countries around me: AEgina was behind, Megara before me; Piraeus on the right, Corinth on the left: all which towns, once famous and flourishing, now lie overturned and buried in their ruins. Upon this sight, I could not but think presently within myself, Alas! how do we poor mortals fret and vex ourselves if any of our friends happen to die or be killed, whose life is yet so short, when the carcasses of so many noble cities lie here exposed before me in one view."—See Middleton's Cicero, 1823, ii. 144.

[The letter is to be found in Cicero's Epist. ad Familiares, iv. 5. Byron, on his return from Constantinople on July 14, 1810, left Hobhouse at the Island of Zea, and made his own way to Athens. As the vessel sailed up the Saronic Gulf, he would observe the "prospect" which Sulpicius describes.]

[mp] {363} These carcases of cities——.—[MS. M. erased.]

[423] ["By the events of the years 1813 and 1814, the house of Austria gained possession of all that belonged to her in Italy, either before or in consequence of the Peace of Campo Formio (October 17, 1797). A small portion of Ferrara, to the north of the Po (which had formed part of the Papal dominions), was ceded to her, as were the Valteline, Bormio, Chiavenna, and the ancient republic of Ragusa. The emperor constituted all these possessions into a separate and particular state, under the title of the kingdom of Venetian Lombardy."—Koch's History of Europe, p. 234.]

[424] {364} It is Poggio, who, looking from the Capitoline hill upon ruined Rome, breaks forth into the exclamation, "Ut nunc omni decore nudata, prostrata jaceat, instar Gigantei cadaveris corrupti atque undique exesi."

[See De Fortunae Varietate, ap. Nov. Thes. Ant. Rom., ap. Sallengre, i. 502.]

[425] [Compare Milton, Sonnet xxii.—

" ... my noble task, Of which all Europe talks from side to side."]

[mq] {365} Where Luxury might willingly be born. And buried Learning looks forth into fresher morn,— [MS. M. erased.]

[426] [The wealth which permitted the Florentine nobility to indulge their taste for modern, that is, refined luxury was derived from success in trade. For example, Giovanni de' Medici (1360-1428), the father of Cosmo and great-grand-father of Lorenzo de' Medici, was a banker and Levantine merchant. As for the Renaissance, to say nothing of Petrarch of Florentine parentage, two of the greatest Italian scholars and humanists—Ficino, born A.D. 1430, and Poliziano, born 1454—were Florentines; and Poggio was born A.D. 1380, at Terra Nuova on Florentine soil.]

[mr] There, too, the Goddess breathes in stone and fills.—[MS. M.]

[427] [The statue of Venus de' Medici, which stands in the Tribune of the Uffizzi Gallery at Florence, is said to be a late Greek (first or second century B.C.) copy of an early reproduction, of the Cnidian Aphrodite, the work, perhaps, of one of his sons, Kephisodotos or Timarchos. (See Histoire de la Sculpture Grecque, par Maxime Collignon, Paris, 1897, ii. 641.) In a Catalogue Raissonne of La Galerie de Florence, 1804, in the editor's possession, which opens with an eloquent tribute to the enlightenment of the Medici, la fameuse Venus is conspicuous by her absence. She had been deported to Paris by Napoleon, but when Lord Byron spent a day in Florence in April, 1817, and returned "drunk with Beauty" from the two galleries, the lovely lady, thanks to the much-abused "Powers," was once more in her proper shrine.]

[ms] ——and we draw As from a fountain of immortal hills.—[MS. M. erased.]

[428] {366} [Byron's contempt for connoisseurs and dilettanti finds expression in English Bards, etc., lines 1027-1032, and, again, in The Curse of Minerva, lines 183, 184. The "stolen copy" of The Curse was published in the New Monthly Magazine (Poetical Works, 1898, i. 453) under the title of The Malediction of Minerva; or, The Athenian Marble-Market, a title (see line 7) which must have been invented by and not for Byron. He returns to the charge in Don Juan, Canto 11. stanza cxviii. lines 5-9—

" ... a statuary, (A race of mere impostors, when all's done— I've seen much finer women ripe and real, Than all the nonsense of their stone ideal)."

Even while confessing the presence and power of "triumphal Art" in sculpture, one of "the two most artificial of the Arts" (see his letter to Murray, April 26, 1817), then first revealed to him at Florence, he took care that his enthusiasm should not be misunderstood. He had made bitter fun of the art-talk of collectors, and he was unrepentant, and, moreover, he was "not careful" to incur a charge of indifference to the fine arts in general. Among the "crowd" which found their place in his complex personality, there was "the barbarian," and there was "the philistine," and there was, too, the humourist who took a subtle pleasure in proclaiming himself "a plain man," puzzled by subtleties, and unable to catch the drift of spirits finer than his own.]

[429] {367}

[Greek: O)phthalmous e(stia~n] "Atque oculos pascat uterque suos." Ovid., Amor., lib. ii. [Eleg. 2, line 6].

[Compare, too, Lucretius, lib. i. lines 36-38—

"Atque ita, suspiciens tereti cervice reposta, Pascit amore avidos, inhians in te, Dea, visus; Eque tuo pendet resupini spiritus ore;"

and Measure for Measure, act ii. sc. 2, line 179—

"And feast upon her eyes."]

[mt] {368} Glowing and all-diffused——.—[MS. M. erased.]

[430] [As the immortals, for love's sake, divest themselves of their godhead, so do mortals, in the ecstasy of passion, recognize in the object of their love the incarnate presence of deity. Love, like music, can raise a "mortal to the skies" and "bring an angel down." In this stanza there is, perhaps, an intentional obscurity in the confusion of ideas, which are "thrown out" for the reader to shape for himself as he will or can.]

[mu] ——and our Fate——[MS. M.]

[431] {369} ["The church of Santa Croce contains much illustrious nothing. The tombs of Macchiavelli, Michael Angelo, Galileo Galilei, and Alfieri make it the Westminster Abbey of Italy" (Letter to Murray, April 26, 1817). Michael Angelo, Alfieri, and Macchiavelli are buried in the south aisle of the church; Galileo, who was first buried within the convent, now rests with his favourite pupil, Vincenzo Viviani, in a vault in the south aisle. Canova's monument to Alfieri was erected at the expense of his so-called widow, Louise, born von Stolberg, and (1772-78) consort of Prince Charles Edward.]

[432] [Vittorio Alfieri (1749-1803) is one of numerous real and ideal personages with whom, as he tells us (Life, p. 644), Byron was wont to be compared. Moore perceives and dwells on the resemblance. A passage in Alfieri's autobiography (La Vie de V. A. ecrite par Lui-meme, Paris, 1809, p. 17) may have suggested the parallel—

"Voici une esquisse du caractere que je manifestais dans les premieres annees de ma raison naissante. Taciturne et tranquille pour l'ordinaire, mais quelquefois extremement petulant et babillard, presque toujours dans les extremes, obstine et rebelle a la force, fort soumis aux avis qu'on me donnait avec amitie, contenu plutot par la crainte d'etre gronde que par toute autre chose, d'une timidite excessive, et inflexible quand on voulait me prendre a rebours."

The resemblance, as Byron admits, "related merely to our apparent personal dispositions." Both were noble, both were poets, both were "patrician republicans," and both were lovers of pleasure as well as lovers and students of literature; but their works do not provoke comparison. "The quality of 'a narrow elevation' which [Matthew] Arnold finds in Alfieri," is not characteristic of the author of Childe Harold and Don Juan.

Of this stanza, however, Alfieri's fine sonnet to Florence may have been the inspiration. I have Dr. Garnett's permission to cite the following lines of his admirable translation (Italian Literature, 1898, p. 321):—

"Was Angelo born here? and he who wove Love's charm with sorcery of Tuscan tongue, Indissolubly blent? and he whose song Laid bare the world below to world above? And he who from the lonely valley clove The azure height and trod the stars among? And he whose searching mind the monarch's wrong, Fount of the people's misery did prove?"]

[mv] {370} Might furnish forth a Universe——.—[MS. M.]

[mw] And ruin of thy beauty, shall deny And hath denied, to every other sky Spirits that soar like thine; from thy decay {Still springs some son of the Divinity} {Still springs some work of the Divinity}—Ḍ And gilds thy ruins with reviving ray— And what these were of yore—Canova is to-day.—[MS. M.]

[433] [Compare "Lines on the Bust of Helen by Canova," which were sent in a letter to Murray, November 25, 1816—

"In this beloved marble view, Above the works and thoughts of man, What nature could, but would not, do, And Beauty and Canova can."

In Beppo (stanza xlvi.), which was written in October, 1817, there is a further allusion to the genius of Canova.]

[mx] {371} Their great Contemporary——.—[MS. M. erased.]

[434] [Dante died at Ravenna, September 14, 1321, and was buried in the Church of S. Francesco. His remains were afterwards transferred to a mausoleum in the friars' cemetery, on the north side of the church, which was raised to his memory by his friend and patron, Guido da Polenta. The mausoleum was restored more than once, and rebuilt in its present form in 1780, at the cost of Cardinal Luigi Valenti Gonzaga. On the occasion of Dante's sexcentenary, in 1865, it was discovered that at some unknown period the skeleton, with the exception of a few small bones which remained in an urn which formed part of Gonzaga's structure, had been placed for safety in a wooden box, and enclosed in a wall of the old Braccioforte Chapel, which lies outside the church towards the Piazza. "The bones found in the wooden box were placed in the mausoleum with great pomp and exultation, the poet being now considered the symbol of a united Italy. The wooden box itself has been removed to the public library."—Handbook far Northern Italy, p. 539, note.

The house which Byron occupied during his first visit to Ravenna—June 8 to August 9, 1819—is close to the Cappella Braccioforte. In January, 1820, when he wrote the Fourth Canto of Don Juan ("I pass each day where Dante's bones are laid," stanza civ.), he was occupying a suite of apartments in the Palazzo Guiccioli, No. 328 in the Via di Porta Adriana. Compare Rogers's Italy, "Bologna," Poems, ii. 118—

"Ravenna! where from Dante's sacred tomb He had so oft, as many a verse declares, Drawn inspiration."]

[435] [The story is told in Livy, lib. xxxviii. cap. 53. "Thenceforth no more was heard of Africanus. He passed his days at Liternum [on the shore of Campania], without thought or regret of Rome. Folk say that when he came to die he gave orders that he should be buried on the spot, and that there, and not at Rome, a monument should be raised over his sepulchre. His country had been ungrateful—no Roman funeral for him." It is said that his sepulchre bore the inscription: "Ingrata patria, cineres meos non habebis." According to another tradition, he was buried with his family at the Porta Capena, by the Caelian Hill.]

[436] [Compare Lucan, Pharsalia, i. I—"Bella per Emathios plusquam civilia campos."]

[437] [Petrarch's Africa brought him on the same day (August 23, 1340) offers of the laurel wreath of poetry from the University of Paris and from the Senate of Rome. He chose in favour of Rome, and was crowned on the Capitol, Easter Day, April 8, 1341. "The poet appeared in a royal mantle ... preceded by twelve noble Roman youths clad in scarlet, and the heralds and trumpeters of the Roman Senate."—Petrarch, by Henry Reeve, p. 92.]

[438] {372} [Tomasini, in the Petrarca Redivivus (pp. 168-172, ed. 1650), assigns the outrage to a party of Venetians who "broke open Petrarch's tomb, in 1630, and took away some of his bones, probably with the object of selling them." Hobhouse, in note ix., says, "that one of the arms was stolen by a Florentine," but does not quote his authority. (See the notes to H. F. Tozer's Childe Harold, p. 302.)]

[439] [Giovanni Boccaccio was born at Paris (or Certaldo) in 1313, passed the greater part of his life at Florence, died and was buried at Certaldo, whence his family are said to have sprung, in 1375. His sepulchre, which stood in the centre of the Church of St. Michael and St. James, known as the Canonica, was removed in 1783, on the plea that a recent edict forbidding burial in churches applied to ancient interments. "The stone that covered the tomb was broken, and thrown aside as useless into the adjoining cloisters" (Handbook for Central Italy, p. 171). "Ignorance," pleads Hobhouse, "may share the crime with bigotry." But it is improbable that the "hyaena bigots," that is, the ecclesiastical authorities, were ignorant that Boccaccio was a bitter satirist of Churchmen, or that "he transferred the functions and histories of Hebrew prophets and prophetesses, and of Christian saints and apostles, nay, the highest mysteries and most awful objects of Christian Faith, to the names and drapery of Greek and Roman mythology."—(Unpublished MS. note of S. T. Coleridge, written in his copy of Boccaccio's Opere, 4 vols. 1723.) They had their revenge on Boccaccio, and Byron has had his revenge on them.]

[my] Boccaccio to his parent earth, bequeathed The dust derived from thence—doth it not lie With many a sweet and solemn requiem breathed O'er him who formed the tongue of Italy That music in itself whose harmony Asks for no tune to make it song; No—torn From earth—and scattered while the silent sky Hushed its indignant Winds—with quiet scorn The Hyaena bigots thus forbade a World to mourn.— [D. erased.]

[440] {374} [Compare Beppo, stanza xliv.—

"I love the language, that soft bastard Latin, Which melts like kisses from a female mouth, And sounds as if it should be writ on satin, With syllables which breathe of the sweet South."

Compare, too, the first sentence of a letter which Byron wrote "on a blank leaf of the volume of 'Corinne,'" which Teresa [Guiccioli] left in forgetfulness in a garden in Bologna: "Amor Mio,—How sweet is this word in your Italian language!" (Life of Lord Byron, by Emilio Castelar, P. 145).]

[441] [By "Caesar's pageant" Byron means the pageant decreed by Tiberius Caesar. Compare Don Juan, Canto XV. stanza xlix.—

"And this omission, like that of the bust Of Brutus at the pageant of Tiberius."

At the public funeral of Junia, wife of Cassius and sister of Brutus, A.D. 22, the busts of her husband and brother were not allowed to be carried in the procession, because they had taken part in the assassination of Julius Caesar. But none the less, "Praefulgebant Brutus et Cassius eo ipso quod effigies eorum non videbantur" (Tacitus, Ann., iii. 76). Their glory was conspicuous in men's minds, because their images were withheld from men's eyes. As Tacitus says elsewhere (iv. 26), "Negatus honor gloriam intendit."]

[mz] {375} Shelter of exiled Empire——.—[MS. M. erased.]

[442] [The inscription on Ricci's monument to Dante, in the Church of Santa Croce—"A majoribus ter frustra decretum" —refers to the vain attempts which Florence had made to recover the remains of her exiled and once-neglected poet.]

[443] ["I also went to the Medici chapel—fine frippery in great slabs of various expensive stones, to commemorate fifty rotten and forgotten carcasses. It is unfinished, and will remain so" (Letter to Murray, April 26, 1817). The bodies of the grand-dukes lie in the crypt of the Cappella dei Principi, or Medicean Chapel, which forms part of the Church of San Lorenzo. The walls of the chapel are encrusted with rich marbles and "stones of price, to garniture the edifice." The monuments to Giuliano and Lorenzo de' Medici, son and grandson of Lorenzo the Magnificent, with Michael Angelo's allegorical figures of Night and Morning, Aurora and Twilight, are in the adjoining Cappella dei Depositi, or Sagrestia Nuova.]

[444] {376} [The Duomo, crowned with Brunelleschi's cupola, and rich in sculpture and stained glass, is, as it were, a symbol of Florence, the shrine of art. Browning, in his inspired vision of St. Peter's at Rome in Christmas Eve, catches Byron's note to sound a loftier strain—

"Is it really on the earth This miraculous dome of God?"

"It is somewhere mentioned that Michael Angelo, when he set out from Florence to build the dome of St. Peter's, turned his horse round in the road to contemplate that of the cathedral, as it rose in the grey of the morning from among the pines and cypresses of the city, and that he said, after a pause, 'Come te non voglio! Meglio di te non posso.' He never, indeed, spoke of it but with admiration; and, if we may believe tradition, his tomb, by his own desire, was to be so placed in the Santa Croce as that from it might be seen, when the doors of the church stood open, that noble work of Brunelleschi."—Rogers's Italy: Poems, ii. 315, note to p. 133, line 5—"Beautiful Florence."]

[445] {377} [Byron, contrary to traditional use (see Wordsworth's sonnet, "Near the Lake of Thrasymene;" and Rogers's Italy, see note, p. 378), sounds the final vowel in Thrasymēne. The Greek, Latin, and Italian equivalents bear him out; but, most probably, he gave Thrasymene and himself an extra syllable "vel metri vel euphoniae causa."]

[na] Where Courage perished in unyielding files.—[MS. M.]

[446] ["Tantusque fuit ardor armorum, adeo intentus pugnae animus, ut eum motum terrae, qui multarum urbium Italiae magnas partes, prostravit, avertitque cursu rapidos amnes, marce fluminibus invexit, montes lapsu ingenti proruit, nemo pugnantium senserit" (Livy, xxii. 5). Polybius says nothing about an earthquake; and Ihne (Hist, of Rome, ii. 207-210) is also silent; but Pliny (Hist. Nat., ii. 84) and Coelius Antipater (ap. Cic., De Div., i. 35), who wrote his Annales about a century after the battle of Lake Thrasymenus (B.C. 217), synchronize the earthquake and the battle. Compare, too, Rogers's Italy, "The Pilgrim:" Poems, 1852, ii. 152—

"From the Thrasymene, that now Slept in the sun, a lake of molten gold, And from the shore that once, when armies met, Rocked to and fro unfelt, so terrible The rage, the slaughter, I had turned away."

Compare, too, Wordsworth's sonnet (No. xii.), "Near the Lake of Thrasymene" (Works, 1888, p. 756)—

"When here with Carthage Rome to conflict came, An earthquake, mingling with the battle's shock, Checked not its rage; unfelt the ground did rock, Sword dropped not, javelin kept its deadly aim,— Now all is sun-bright peace."]

[nb] Fly to the clouds for refuge and withdraw From their unsteady nests——.—[MS. M.]

[nc] {379} Made fat the earth——.—[MS. M. erased]

[447] No book of travels has omitted to expatiate on the temple of the Clitumnus, between Foligno and Spoleto; and no site, or scenery, even in Italy, is more worthy a description. For an account of the dilapidation of this temple, the reader is referred to Historical Illustrations of the Fourth Canto of Childe Harold, p. 35.

[448] [Compare Virgil, Georg., ii. 146—

"Hinc albi, Clitumne, greges et maxuma taurus Victima, saepe tuo perfusi flumine sacro."

The waters of certain rivers were supposed to possess the quality of making the cattle which drank from them white. (See Pliny, Hist. Nat., ii. 103; and compare Silius Italicus, Pun., iv. 545, 546—

" ...et patulis Clitumnus in arvis Candentes gelido perfundit flumine tauros.")

For a charming description of Clitumnus, see Pliny's letter "Romano Suo," Epist., viii. 8: "At the foot of a little hill covered with old and shady cypress trees, gushes out a spring, which bursts out into a number of streamlets, all of different sizes. Having struggled, so to speak, out of its confinement, it opens out into a broad basin, so clear and transparent, that you may count the pebbles and little pieces of money which are thrown into it.... The banks are clothed with an abundance of ash and poplar, which are so distinctly reflected in the clear water that they seem to be growing at the bottom of the river, and can easily be counted.... Near it stands an ancient and venerable temple, in which is a statue of the river-god Clitumnus."—Pliny's Letters, by the Rev. A. Church and the Rev. W. J. Brodribb, 1872, p. 127.]

[449] {380} [The existing temple, now used as a chapel (St. Salvatore), can hardly be Pliny's templum priscum. Hobhouse, in his Historical Illustrations, pp. 37-41, defends the antiquity of the "facade, which consists of a pediment supported by four columns and two Corinthian piers, two of the columns with spiral fluting, the others covered with fish-scaled carvings" (Handbook for Central Italy, p. 289); but in the opinion of modern archaeologists the whole of the structure belongs to the fourth or fifth century of the Christian era. It is, of course, possible, indeed probable, that ancient materials were used when the building was reconstructed. Pliny says the "numerous chapels" dedicated to other deities were scattered round the shrine of Clitumnus.]

[nd] Upon a green declivity——.—[MS. M.]

[450] {381} ["On my way back [from Rome], close to the temple by its banks, I got some famous trout out of the river Clitumnus, the prettiest little stream in all poesy."—Letter to Murray, June 4, 1817.]

[ne] There is a course where Lovers' evening tales.—[MS. M. erased.]

[451] [By "disgust," a prosaic word which seems to mar a fine stanza, Byron does not mean "distaste," aversion from the nauseous, but "tastelessness," the inability to enjoy taste. Compare the French "Avoir du degout pour la vie," "To be out of conceit with life." Byron was "a lover of Nature," but it was seldom that he felt her "healing power," or was able to lose himself in his surroundings. But now, for the moment, he experiences that sudden uplifting of the spirit in the presence of natural beauty which brings back "the splendour in the grass, the glory in the flower!"]

[nf] {382} Making it as an emerald——.—Ḍ

[ng] Leaps on from rock to rock—with mighty bound.—[MS. M.]

[452] {383} I saw the Cascata del Marmore of Terni twice, at different periods—once from the summit of the precipice, and again from the valley below. The lower view is far to be preferred, if the traveller has time for one only; but in any point of view, either from above or below, it is worth all the cascades and torrents of Switzerland put together: the Staubach, Reichenbach, Pisse Vache, fall of Arpenaz, etc., are rills in comparative appearance. Of the fall of Schaffhausen I cannot speak, not yet having seen it.

[The Falls of Reichenbach are at Rosenlaui, between Grindelwald and Meiringen; the Salanfe or Pisse-Vache descends into the valley of the Rhone near Martigny; the Nant d'Arpenaz falls into the Arve near Magland, on the road between Cluses and Sallanches.]

[453] Of the time, place, and qualities of this kind of iris, the reader will see a short account, in a note to Manfred.[Sec.1] The fall looks so much like "the Hell of waters," that Addison thought the descent alluded to by the gulf in which Alecto[Sec.2] plunged into the infernal regions. It is singular enough, that two of the finest cascades in Europe should be artificial—this of the Velino, and the one at Tivoli. The traveller is strongly recommended to trace the Velino, at least as high as the little lake called Pie' di Lup. The Reatine territory was the Italian Tempe (Cicer., Epist. ad Attic., lib. iv. 15), and the ancient naturalists ["In lacu Velino nullo non die apparere arcus"] (Plin., Hist. Nat., lib. ii. cap. lxii.), amongst other beautiful varieties, remarked the daily rainbows of the lake Velinus. A scholar of great name has devoted a treatise to this district alone. See Ald. Manut., De Reatina Urb Agroque, ap. Sallengre, Nov. Thes. Ant. Rom., 1735, tom. i. p.773, sq.

[The "Falls of the Anio," which passed over a wall built by Sixtus V., and plunged into the Grotto of Neptune, were greatly diminished in volume after an inundation which took place in 1826. The New Falls were formed in 1834.]

[[Sec.1] Manfred, act ii. sc. 1, note. This Iris is formed by the rays of the sun on the lower part of the Alpine torrents; it is exactly like a rainbow come down to pay a visit, and so close that you may walk into it: this effect lasts till noon.]

[[Sec.2] "This is the gulf through which Virgil's Alecto shoots herself into hell; for the very place, the great reputation of it, the fall of waters, the woods that encompass it, with the smoke and noise that arise from it, are all pointed at in the description ...

"'Est locus Italiae ... ... densis hunc frondibus atrum Urguet utrimque latus nemoris, medioque fragosus Dat sonitum saxis et torto vertice torrens. Hic specus horrendum et saevi spiracula Ditis Monstrantur, ruptoque ingens Acheronte vorago Pestiferas aperit fauces.' AEneid, vii. 563-570.

It was indeed the most proper place in the world for a Fury to make her exit ... and I believe every reader's imagination is pleased when he sees the angry Goddess thus sinking, as it were, in a tempest, and plunging herself into Hell, amidst such a scene of horror and confusion."—Remarks on several Parts of Italy, by Joseph Addison, Esq., 1761, pp. 100. 101.

[nh] {385}

Dares not ascend the summit—— or, Clothes a more rocky summit——.—[MS. M. erased.]

[454] In the greater part of Switzerland, the avalanches are known by the name of lauwine.

[Byron is again at fault with his German. "Lawine" (see Schiller, Wilhelm Tell, act iii. sc. 3) signifies an avalanche, not avalanches. In stanza xii. line 7 a similar mistake occurs. It may seem strange that, for the sake of local colouring, or for metrical purposes, he should substitute a foreign equivalent which required a note, for a fine word already in vogue. But in 1817 "avalanche" itself had not long been naturalized. Fifty years before, the Italian valanca and valanche had found their way into books of travel, but "avalanche" appears first (see N. Eng. Dict., art. "Avalanche") in 1789, in Coxe's Trav. Switz., xxxviii. ii. 3, and in poetry, perhaps, in Wordsworth's Descriptive Sketches, which were written in 1791-2. Like "canon" and "veldt" in our own day, it might be regarded as on probation. But the fittest has survived, and Byron's unlovely and misbegotten "lauwine" has died a natural death.]

[ni] But I have seen the virgin Jungfrau rear.—Ḍ

[455] {386} These stanzas may probably remind the reader of Ensign Northerton's remarks, "D—n Homo," etc.;[Sec.] but the reasons for our dislike are not exactly the same. I wish to express, that we become tired of the task before we can comprehend the beauty; that we learn by rote before we can get by heart; that the freshness is worn away, and the future pleasure and advantage deadened and destroyed, by the didactic anticipation, at an age when we can neither feel nor understand the power of compositions which it requires an acquaintance with life, as well as Latin and Greek, to relish, or to reason upon. For the same reason, we never can be aware of the fulness of some of the finest passages of Shakspeare ("To be or not to be," for instance), from the habit of having them hammered into us at eight years old, as an exercise, not of mind, but of memory: so that when we are old enough to enjoy them, the taste is gone, and the appetite palled. In some parts of the continent, young persons are taught from more common authors, and do not read the best classics till their maturity. I certainly do not speak on this point from any pique or aversion towards the place of my education. I was not a slow, though an idle boy; and I believe no one could, or can be, more attached to Harrow than I have always been, and with reason;—a part of the time passed there was the happiest of my life; and my preceptor, the Rev. Dr. Joseph Drury, was the best and worthiest friend I ever possessed, whose warnings I have remembered but too well, though too late when I have erred,—and whose counsels I have but followed when I have done well or wisely. If ever this imperfect record of my feelings towards him should reach his eyes, let it remind him of one who never thinks of him but with gratitude and veneration—of one who would more gladly boast of having been his pupil, if, by more closely following his injunctions, he could reflect any honour upon his instructor.

[[Sec.] "'Don't pretend to more ignorance than you have, Mr. Northerton; I suppose you have heard of the Greeks and Trojans, though, perhaps, you have never read Pope's Homer.'—'D—n Homer with all my heart,' says Northerton: 'I have the marks of him ... yet. There's Thomas of our regiment always carries a Homo in his pocket.'"—The History of Tom Jones, by H. Fielding, vii. 12.]

[456] [The construction is somewhat involved, but the meaning is obvious. As a schoolboy, the Horatian Muse could not tempt him to take the trouble to construe Horace; and, even now, Soracte brings back unwelcome memories of "confinement's lingering hour," say, "3 quarters of an hour past 3 o'clock in the afternoon, 3rd school" (see Life, p. 28). Moore says that the "interlined translations" on Byron's school-books are "a proof of the narrow extent of his classical attainments." He must soon have made up for lost time, and "conquered for the poet's sake," as numerous poetical translations from the classics, including the episode of Nisus and Euryalus, evidently a labour of love, testify. Nor, too, does the trouble he took and the pride he felt in Hints from Horace correspond with this profession of invincible distaste.]

[nj] {388} My mind to analyse——.—[MS. M.]

[nk] Yet such the inveterate impression——.—[MS. M. erased.]

[nl] ——but what it then abhorred must still abhor.—[MS. M.]

[nm] {389} ——in her tearless woe.—[MS. M.]

[457] [The tomb of the Scipios, by the Porta Latina, was discovered by the brothers Sassi, in May, 1780. It consists of "several chambers excavated in the tufa." One of the larger chambers contained the famous sarcophagus of L. Scipio Barbatus, the great-grandfather of Scipio Africanus, which is now in the Vatican in the Atrio Quadrate. When the sarcophagus was opened, in 1780, the skeleton was found to be entire. The bones were collected and removed by Angelo Quirini to his villa at Padua. The chambers contained numerous inscriptions, which were detached and removed to the Vatican. Hobhouse (Hist. Illust., pp. 169-171) is at pains to point out that the discovery of 1780 confirmed the authenticity of an inscription to Lucius, son of Barbatus Scipio, which had been brought to light in 1615, and rejected by the Roman antiquaries as a forgery. He prints two of the inscriptions (Handbook for Rome, pp. 278, 350, 351, ed. 1899).]

[458] [The sepulchres were rifled, says Hobhouse (ibid., p. 173), "either to procure the necessary relics for churches dedicated to Christian saints or martyrs, or" (a likelier hypothesis) "with the expectation of finding the ornaments ... buried with the dead. The sarcophagi were sometimes transported from their site and emptied for the reception of purer ashes." He instances those of Innocent II. and Clement XII., "which were certainly constructed for heathen tenants."]

[459] {390} [The reference is to the historical inundations of the Tiber, of which a hundred and thirty-two have been recorded from the foundation of the city down to December, 1870, when the river rose to fifty-six feet—thirty feet above its normal level.]

[460] [The Goths besieged and sacked Rome under Alaric, A.D. 410, and Totila, 546. Other barbarian invaders—Genseric, a Vandal, 455; Ricimer, a Sueve, 472; Vitiges, a Dalmatian, 537; Arnulph, a Lombard, 756—may come under the head of "Goth." "The Christian," "from motives of fanaticism"—Theodosius, for instance, in 426; and Stilicho, who burned the Sibylline books—despoiled, mutilated, and pulled down temples. Subsequently, popes, too numerous to mention, laid violent hands on the temples for purposes of repair, construction, and ornamentation of Christian churches. More than once ancient structures were converted into cannon-balls. There were, too, Christian invaders and sackers of Rome: Robert Guiscard (Hofmann calls him Wiscardus), in 1004; Frederic Barbarossa, in 1167; the Connetable de Bourbon, in 1527, may be instanced. "Time and War" speak for themselves. For "Flood," vide supra. As for "Fire," during the years 1082-84 the Emperor Henry IV. burnt "a great part of the Leonine city;" and Guiscard "burnt the town from the Flaminian gate to the Antonine column, and laid waste the Esquiline to the Lateran; thence he set fire to the region from that church to the Coliseum and the Capitol." Of earthquakes Byron says nothing; but there were earthquakes, e.g. in 422 and 1349. Another foe, a destroying angel who "wasteth at noonday," modern improvement, had not yet opened a seventh seal. (See Historical Illustrations, pp. 91-168.)]

[nn] {391} She saw her glories one by one expire.—[MS. M.]

[461] [Compare Macaulay's Lays of Ancient Rome, "Prophecy of Capys," stanza xxx.—

"Blest and thrice blest the Roman Who sees Rome's brightest day, Who sees that long victorious pomp Wind down the Sacred Way, And through the bellowing Forum, And round the Suppliant's Grove, Up to the everlasting gates Of Capitolian Jove."]

[no] The double night of Ruin——.—[MS. M.]

[462] [The construction is harsh and puzzling. Apparently the subject of "hath wrapt" is the "double night of ages;" the subjects of "wrap," the "night of ages" and the "night of Ignorance;" but, even so, the sentence is ambiguous. Not less amazing is the confusion of metaphors. Rome is a "desert," through which we steer, mounted, presumably, on a camel—the "ship of the desert." Mistaken associations are, as it were, stumbling-blocks; and no sooner have we verified an association, discovered a ruined temple in the exact site which Livy's "pictured page" has assigned to it—a discovery as welcome to the antiquarian as water to the thirsty traveller—than our theory is upset, and we perceive that we have been deluded by a mirage.]

[463] {392} Orosius gives 320 for the number of triumphs [i.e. from Romulus to the double triumph of Vespasian and Titus (Hist., vii. 9)]. He is followed by Panvinius; and Panvinius by Mr. Gibbon and the modern writers.

[np] Alas, for Tully's voice, and Titus' sway And Virgil's verse; the first and last must be Her Resurrection——.—[MS. M.]

[464] Certainly, were it not for these two traits in the life of Sylla, alluded to in this stanza, we should regard him as a monster unredeemed by any admirable quality. The atonement of his voluntary resignation of empire may perhaps be accepted by us, as it seems to have satisfied the Romans, who if they had not respected must have destroyed him. There could be no mean, no division of opinion; they must have all thought, like Eucrates, that what had appeared ambition was a love of glory, and that what had been mistaken for pride was a real grandeur of soul.—("Seigneur, vous changez toutes mes idees, de la facon dont je vous vois agir. Je croyois que vous aviez de l'ambition, mais aucun amour pour la gloire; je voyois bien que votre ame etoit haute; mais je ne soupconnois pas qu'elle fut grande."—Dialogue de Sylla et d'Eucrate.) Considerations ... de la Grandeur des Romains, etc., Paris, 1795, ii. 219. By Charles de Secondat, Baron de Montesquieu.

[Stanza lxxxiii. indicates the following events in the life of Sulla. In B.C. 81 he assumed the name of Felix (or, according to Plutarch, Epaphroditus, Plut, Vitae, 1812, iv. 287), (line 1). Five years before this, B.C. 86, during the consulship of Marius and Cinna, his party had been overthrown, and his regulations annulled; but he declined to return to Italy until he had brought the war against Mithridates to a successful conclusion, B.C. 83 (lines 3-6). In B.C. 81 he was appointed dictator (line 7), and B.C. 79 he resigned his dictatorship and retired into private life (line 9).]

[nq] {394} ——how supine Into such dust deserted Rome should fade, or, In self-woven sackcloth Rome should thus be laid.—[MS. M. erased.]

[nr] The Earth beneath her shadow and displayed Her wings as with the horizon and was hailed, or, The rushings of his wings and was Almighty hailed.—[MS. M. erased.]

[ns] Sylla supreme of Victors—save our own The ablest of Usurpers—Cromwell—he Who swept off Senates—while he hewed the Throne Down to a block—immortal Villain! See What crimes, etc.—[MS. M.]

[465] On the 3rd of September Cromwell gained the victory of Dunbar [1650]; a year afterwards he obtained "his crowning mercy" of Worcester [1651]; and a few years after [1658], on the same day, which he had ever esteemed the most fortunate for him, died.

[466] {395} [The statue of Pompey in the Sala dell' Udinanza of the Palazzo Spada is no doubt a portrait, and belongs to the close of the Republican period. It cannot, however, with any certainty be identified with the statue in the Curia, at whose base "great Caesar fell." (See Antike Bildwerke in Rom., F. Matz, F. von Duhn, i. 309.)]

[467] {396} [The bronze "Wolf of the Capitol" in the Palace of the Conservators is unquestionably ancient, belonging to the end of the sixth or beginning of the fifth century B.C., and probably of Graeco-Italian workmanship. The twins, as Winckelmann pointed out (see Hobhouse's note), are modern, and were added under the impression that this was the actual bronze described by Cicero, Cat., iii. 8, and Virgil, AEn., viii. 631. (See Monuments de l'Art Antique, par Olivier Rayet, Paris, 1884, Livraison II, Planche 7.)]

[468] [The Roman "things" whom the world feared, set the fashion of shedding their blood in the pursuit of glory. The nations, of modern Europe, "bastard" Romans, have followed their example.]

[469] {397} [Compare The Age of Bronze, v.—"The king of kings, and yet of slaves the slave."]

[470] [In Comparison of the Present State of France with that of Rome, etc., published in the Morning Post, September 21, 1802, Coleridge speaks of Buonaparte as the "new Caesar," but qualifies the expression in a note: "But if reserve, if darkness, if the employment of spies and informers, if an indifference to all religions, except as instruments of state policy, with a certain strange and dark superstition respecting fate, a blind confidence in his destinies,—if these be any part of the Chief Consul's character, they would force upon us, even against our will, the name and history of Tiberius."—Essays on His Own Times, ii. 481.]

[471] [According to Suetonius, i. 37, the famous words, Veni Vidi, Vici, were blazoned on litters in the triumphal procession which celebrated Caesar's victory over Pharnaces II., after the battle of Zela (B.C. 47).]

[472] {398} [By "flee" in the "Gallic van," Byron means "fly towards, not away from, the foe." He was, perhaps, thinking of the Biblical phrases, "flee like a bird" (Ps. xi. 1), and "flee upon horses" (Isa. xxx. 16); but he was not careful to "tame down" words to his own use and purpose.]

[nt] Of pettier passions which raged angrily.—[MS. M. erased.]

[nu] At what? can he reply? his lusting is unnamed.—[MS. M. erased.]

[nv] ——How oft—how long, oh God!—[MS. M. erased.]

[473] {399} ——"Omnes poene veteres; qui nihil cognosci, nihil percipi, nihil sciri posse dixerunt; augustos sensus, imbecillos animos, brevia curricula vitar, et (ut Democritus) in profundo veritatem esse demersam; opinionibus et institutis omnia teneri; nihil veritati relinqui: deinceps omnia tenebris circumfusa esse dixerunt."—Academ., lib. I. cap. 12. The eighteen hundred years which have elapsed since Cicero wrote this, have not removed any of the imperfections of humanity: and the complaints of the ancient philosophers may, without injustice or affectation, be transcribed in a poem written yesterday.

[474] [Compare Gray's Elegy, stanza xv.—

"Full many a gem of purest ray serene The dark unfathom'd caves of ocean bear."]

[nw] And thus they sleep in some dull certainty.—[MS. M. erased.]

[475] [Compare As You Like It, act ii. sc. 7, lines 26-28—

"And so, from hour to hour, we ripe and ripe, And then, from hour to hour, we rot and rot; And thereby hangs a tale."]

[nx] {400} For such existence is as much to die.—[MS. M. erased.] or, Bequeathing their trampled natures till they die.—[MS. M. erased.]

[476] [In his speech On the Continuance of the War with France, which Pitt delivered in the House of Commons, February 17, 1800, he described Napoleon as "the child and champion of Jacobinism." At least the phrase occurs in the report which Coleridge prepared for the Morning Post of February 18, 1800, and it appears in the later edition in the Collection of Pitt's speeches. "It does not occur in the speech as reported by the Times." It is curious that in the jottings which Coleridge, Parliamentary reporter pro hac vice, scrawled in pencil in his note-book, the phrase appears as "the nursling and champion of Jacobinism;" and it is possible that the alternative of the more rhetorical but less forcible "child" was the poet's handiwork. It became a current phrase, and Coleridge more than once reverts to it in the articles which he contributed to the Morning Post in 1802. (See Essays on His Own Times, ii. 293, and iii. 1009-1019; and Letters of Samuel Taylor Coleridge, 1895, i. 327, note.)]