though they are too miscellaneous to be introduced into a book like the present; and also those added by the editor of Murray's one-volume edition of 1837; these latter contain much graceful criticism selected from the writings of earlier critics, and illustrative notices mainly derived from Byron's letters and diaries. For the verbal interpretation of the poem the only assistance which the present Editor has obtained has been from the foreign translations. Three of these he has constantly used―viz. that in French prose by Pichot, that in Italian blank verse by Maffei, and that in German, in the metre of the original, by Gildemeister. All these are graceful, and are thoroughly agreeable reading, but they differ greatly from one another in respect of accuracy. Pichot's (which, it should be remarked, is the earliest in point of time) is seldom literal, and contains a large number of serious mistakes; that of Maffei keeps nearer to the original and is more correct; while Gildemeister's, which is a work of art of a high order, is singularly faithful, notwithstanding the elaborateness of the metre. As might be expected, it is in the most difficult passages that their help is most apt to fail; but even where they all differ from one another, and where, as sometimes happens, they all miss the mark, it is an assistance to the interpreter to see in what different ways a passage can be taken by men of intelligence and taste. To promote facility of reference, the lines in each canto have been numbered independently of the stanzas, and this mode of reference has been employed throughout in the Introduction and Notes, when nothing is stated to the contrary. The Editor's best thanks are due to Mr. John Murray, who with his accustomed liberality in such matters has allowed him to use the text of 'Childe Harold' as printed in his 'Pearl' edition of Byron's works (Lond. 1884), which was carefully revised. He also desires to acknowledge the kindness of various friends who have assisted him with suggestions and criticisms, especially the Rev. W. W. Merry, Rector of Lincoln College, and the Rev. C. W. Boase, Fellow of Exeter College. H. F. T. Oxford, 1885. ESSAY ON THE ART, STYLE, AND VERSI- FICATION OF THE POEM. (N.B.-This will be referred to in the Notes as As the diction of 'Childe Harold' is somewhat peculiar, and the poetic devices by which it is diversified are elaborate, an examination of the most salient points in the style and art em- ployed in it may be of service, both in elucidating the poem itself, and in introducing the student to some of the character- istics of poetry in general. These may be conveniently arranged under the heads of (1) Features of style; (2) Figures of speech; (3) Grammatical irregularity; after which (4) the Versification, will be examined separately. a. Effect produced by contrast. This point can only be superficially touched on, as it is a feature which pervades the poem. (1) It can be traced in the arrangement of the subject in many parts; e.g. in the transition from the description of the gay life of a man-of-war to the poet's meditations on his own solitude (2. 199); or from the thunderstorm on the Lake of Geneva to the reappearance of 'the dewy morn (3.914); or from the graceful surroundings of the tranquil Clitumnus to the wild cascade of Terni (4. 613). (2) Historical contrasts and changes of fortune are frequently dwelt upon, as might be expected from the pessimistic tendency of the poet's mind; e.g. in the comparison between the outward aspect and the political condition of Greece Unchanged in all except its foreign lord; (2. 838) or between Venice in her glory and in her slavery— or in the gentler contrast between the field of Trasimene (3) Contrast is employed to heighten pathos, as in the description of 'summer's rain' falling on the ruined roofs of a fortress which had long withstood the 'iron shower' (3. 561). But the part of the poem which especially deserves study from this point of view is the entire passage about Waterloo; e. g. in the scenes at the ball at Brussels previous to that engagement (3. 181-198), and in such expressions as— Ere evening to be trodden like the grass Which now beneath them, but above shall grow In its next verdure: (239-241) The earth is cover'd thick with other clay, Which her own clay shall cover: (250, 251) The fresh green tree, Which living waves where thou didst cease to live. (265) (4) Pictorial contrasts are introduced, as between the blazing fire and the calm bay in the night scene at Utraikey (2.622); and between the shores of Spain and of Africa, seen, the one in light, the other in shadow, in passing through the Straits of Gibraltar (2. 190); and between the boiling waters of a cataract and the peaceful rainbow above it (4. 640). (5) Finally, contrasts are frequently traceable in the expressions and words, as Immortal, though no more; though fallen, great: (2. 694) To this last category belong both the antithetical epithets and the uses of oxymoron, which are mentioned below (pp. 35 and 36). b. Dramatising the subject. In most of the great epic poems from Homer to Milton speeches have been introduced, by which means the poet is enabled to withdraw himself from view as narrator, and his characters assume something of the position of actors on a stage. In 'Childe Harold' these would have been out of place, but the writer aims at producing a similar result by other devices, which at the same time impart life and variety to the descriptions. Thus he is fond of rapidly changing the point of view, either by apostrophising the reader, and making him receive the impressions for himself, as in the description of St. Peter's at Rome— Enter its grandeur overwhelms thee not; And why? It is not lessen'd; but thy mind, Has grown colossal; (4. 1387-1390) or by addressing the actors in a scene; as in the Spanish bullfight Away, thou heedless boy! prepare the spear; (1. 757) or the localities, as Oh, thou Parnassus! whom I now survey: (1.612) Clarens! sweet Clarens, birthplace of deep love! (3.923) Sometimes, again, a supposed auditor is introduced, that the poet may impart to him his musings, as— Son of the morning, rise! approach you here! (2.19) Of the same nature is the illusion by which a sight or sound is gradually realised; as in the 'Caritas Romana '— There is a dungeon, in whose dim drear light Two forms are slowly shadow'd on my sight; (4 1324-6) and the sound of artillery before Waterloo- Did ye not hear it? No; 'twas but the wind, .... Or the car rattling o'er the stony street c. Methods of marking transition. Childe Harold' makes no pretence to unity as a poem, and therefore possesses no artistic completeness. The bond which holds it together is the personality of the poet, and that has at all events the merit of being interesting. But much cleverness is shown in the various methods by which the episodes are linked together, and the transition is facilitated from one part of the subject to another. Sometimes the 'Childe' is called upon to perform this officeBut where is Harold? (2. 136.) Thus Harold inly said, and pass'd along. (3. 460.) Sometimes an exclamation marks the change, as, on leaving Lisbon for the interior of the country-'To horse! to horse !' (1. 324); on passing from Malta to Albania-'Away! nor let me loiter in my song' (2. 316); on reaching Waterloo—'Stop !— for thy tread is on an Empire's dust!' (3. 145). Occasionally an ingenious point of connection is discovered between two alien subjects; as, in returning from a digression on Parnassus to Spain, the maids of Delphi are compared to those of Andalusia (1. 648); and, in passing to the Rhine after speaking of Napoleon's ambition, the life of action is contrasted with the study of nature's works (3. 406). Especial skill is shown in this respect in the latter part of Canto 4, where the |