the character of 'Childe Harold,' and are numerous at the commencement, where he is the prominent figure, but become less and less frequent as the story proceeds. In the second canto they are comparatively rare, and in the third and fourth they are almost wholly wanting. Their original source is to be found, no doubt, in Spenser ; but the publication of Percy's 'Reliques of Ancient English Poetry' not long before this time-in which the ballad of 'Childe Waters,' one of the prototypes of Childe Harold, occurs-had made archaisms temporarily the fashion. Perhaps the employment of them was directly suggested to Byron by Thomson's 'Castle of Indolence,' in which they are of about as frequent occurrence as in 'Childe Harold.' This is a poem of inferior merit, wholly unworthy of the author of the 'Seasons,' but Byron refers to it in his preface as one of his authorities.

These archaisms are more commonly found in the spelling, as ee, joyaunce, conynge, or in terminations, as withouten, companie, or unimportant words, as ne, moe, than in substantives and verbs, though such are found, as fytte, feere, ared. As they were mere imitations, they do not deserve serious study.

2. FIGURES OF SPEECH.

a. Oxymoron, or juxtaposition of apparently contradictory notions.

This figure is employed, sometimes for purposes of irony, sometimes to produce pleasing surprise; there is always something in the use of the words which prevents them from being absolutely contradictory.

Here all were noble, save Nobility: (1. 880)

The track

Oft trod, that never leaves a trace behind: (2. 245)
Imperial anarchs, doubling human woes: (2. 404)

To greet Albania's chief, whose dread command
Is lawless law: (2.418)

Of the o'ermaster'd victor: (4. 141)

The commonwealth of kings, the men of Rome: (4.226)
Let these describe the undescribable: (4. 473)

Deceived by its gigantic elegance. (4. 1398)

b. Climax, or progressive force of statement.

And nearer, clearer, deadlier than before: (3. 197)

A ruin-yet what ruin! from its mass

Walls, palaces, half-cities, have been rear'd: (4. 1280)

Simple, erect, severe, austere, sublime. (4.1306)

The introduction of the description of Terni is a fine instance of this figure used on a grand scale—‘The roar of waters ! ... The fall of waters! . . . The hell of waters!' (4. 613-7).

Analogous to this is Byron's peculiar method of progressively limiting a statement, by which means he suggests that conviction is strengthened by reflection.

Where the gray stones and unmolested grass

Ages, but not oblivion, feebly brave: (2.815, 816)

That two, or one, are almost what they seem: (3. 1065)
Few-none-find what they love or could have loved.

(4. 1117)

c. Hypallage, or transference of an epithet from one of two substantives to another, to which it does not properly apply, for the sake of variety.

And swarthy Nubia's mutilated son: (2.520)

By Coblentz, on a rise of gentle ground: (3.536)
Of blue Friuli's mountains. (4. 238)

Similar transferences of meaning may be seen in

Yet strength was pillar'd in each massy aisle; (1.58) i.e. the massive aisles were supported by strong pillars. Cradled nook; (4. 1339)

i. e. cradle in which the infant is hidden.

d. Use of abstract for concrete terms.

Hurl the dark bulk along; (1. 791)

i. e. the body of the slain bull.

And many a tower for some fair mischief won; (3 440) i.e. mischievous fair one.

Yet shows of what she was, when shell and ball

Rebounding idly on her strength did light; (3.556, 557)

of the fortifications of Ehrenbreitstein.

The might which I behold; (3. 649)

i. e. the mighty objects.

I have not flatter'd its rank breath, nor bow'd
To its idolatries a patient knee; (3. 1050, 1051)

i.e. the objects of its idolatry.

Compare 'those sublimities' (4. 482), 'its immensities' (4. 1400), 'the artist's toils' (4. 1364), for 'the toiling artist.'

e. Hendiadys, or use of two substantives to convey one notion.

War and wasting fire, (2.4)

for an explosion in a siege.'

Phantasy and flame, (3.58)

for 'flaming conceptions.'

Life and sufferance, (4. 182)

for 'a suffering life.'

f. Asyndeton, or omission of connecting conjunctions. Byron's peculiarity in this respect is, that he occasionally omits a conjunction between two words coupled together, whereas this usually takes place in English only when there are more than two.

Ilion, Tyre might yet survive: (1.484)

O'er vales that teem with fruits, romantic hills: (1.342)

And checks his song to execrate Godoy,

The royal wittol Charles: (1. 509, 510)

The Bactrian, Samian sage: (2.72)

The test of truth, love: (4. 1166)

Which streams too much on all years, man, have reft away: (4. 1287)

And reap from earth, sea, joy almost as dear. (4. 1583)

g. Anastrophe, or putting a word after one which it would naturally precede.

But these between a silver streamlet glides: (1. 369)

Clear, placid Leman! thy contrasted lake

With the wild world I dwelt in. (3. 797, 798)

It is most common in the use of the negative :

And thus the heart will do which not forsakes: (3.293)

Making a marvel that it not decays: (3.623)

He who hath lov'd not, here would learn that lore. (3.959)

3.

GRAMMATICAL IRREGULARITY.

The 'sense-construction,' where the meaning of a passage is regarded rather than the form, is found within certain limits in poetry in most languages, the use of it being suggested by the desire to avoid explanatory words and other kinds of prosaic diction. It should be noted also, that many of the irregularities in the passages quoted below appear less marked, when they are read in connection with their complete context.

a. Pendent participial clauses.

Until a comparatively recent period in English literature pendent participles were tolerated, though now they are condemned; and in French they are still allowed, both in prose and verse. In Byron they are of frequent occurrence, as—

Awaking with a start,

The waters heave around me: (3.5)

What leagues are lost, before the dawn of day,

Thus loitering pensive on the willing seas. (2. 178, 179)
The following are more abrupt in their transition :
And thus, untaught in youth my heart to tame,
My springs of life were poisoned: (3.59, 60)

The purple Midnight veil'd that mystic meeting
With her most starry canopy, and seating

Thyself by thine adorer, what befell? (4. 1057-9)

b. Absolute clauses.

In these no connection is marked between them and the syntax of the sentence in which they stand; they are common in English poetry.

I stood in Venice, on the Bridge of Sighs;

A palace and a prison on each hand. (4. 1, 2)

c. Other forms of anacoluthon, or interrupted construction.

He that is lonely, hither let him roam: (2.866)

Fond of a land which gave them naught but life,

Pride points the path that leads to liberty. (1. 887, 888)

d. Elliptical forms.

(1) Omission of the verb:

Since shamed full oft by later lyres on earth, (1.3)

for 'since thou hast been shamed.'

Onward he flies, nor fix'd as yet the goal, (1.328)

for nor is the goal yet fixed.'

(2) Omission of explanatory conjunction and verb: Forgets that pride to pamper'd priesthood dear; Churchman and votary alike despised, (2. 390, 391) for inasmuch as churchman and votary are, etc.' And, annual marriage now no more renew'd, The Bucentaur lies rotting unrestored, (4. 92, 93)

for 'because the annual marriage is, etc.'

(3) Omission of the relative or antecedent:

There is a spot should not be pass'd in vain: (3.600)

What want these outlaws conquerors should have: (3.429)