CXVII.

The door flew wide, not swiftly-but, as fly

The sea-gulls, with a steady, sober flightAnd then swung back; nor close-but stood awry, Half letting in long shadows on the light, Which still in Juan's candlesticks burn'd high,

For he had two, both tolerably bright,—

And in the door-way, darkening darkness, stood The sable friar in his solemn hood.

CXVIII.

Don Juan shook, as erst he had been shaken

The night before; but, being sick of shaking, He first inclined to think he had been mistaken, And then to be ashamed of such mistaking; His own internal ghost began to awaken

Within him, and to quell his corporal quaking— Hinting, that soul and body on the whole Were odds against a disembodied soul.

CXIX.

And then his dread grew wrath, and his wrath fierce;
And he arose, advanced-the shade retreated;
But Juan, eager now the truth to pierce,

Follow'd; his veins no longer cold, but heated,
Resolved to thrust the mystery carte and tierce,
At whatsoever risk of being defeated:
The ghost stopp'd, menaced, then retired, until
He reach'd the ancient wall, then stood stone still.

CXX.

Juan put forth one arm-Eternal Powers!

It touch'd no soul, nor body, but the wall, On which the moonbeams fell in silvery showers Chequer'd with all the tracery of the hall: He shudder'd, as no doubt the bravest cowers When he can't tell what 'tis that doth appal. How odd, a single hobgoblin's non-entity Should cause more fear than a whole host's identity. 9

CXXI.

But still the shade remain'd; the blue eyes glared, And rather variably for stony death;

Yet one thing rather good the grave had spared—
The ghost had a remarkably sweet breath.

A straggling curl show'd he had been fair-hair'd;
A red lip, with two rows of pearls beneath,
Gleam'd forth, as through the casement's ivy shroud
The moon peep'd, just escaped from a gray cloud.

CXXII.

And Juan, puzzled, but still curious, thrust

His other arm forth-Wonder upon wonder! It press'd upon a hard but glowing bust,

Which beat as if there was a warm heart under.
He found, as people on most trials must,
That he had made at first a silly blunder,
And that in his confusion he had caught
Only the wall instead of what he sought.
CXXIII.

The ghost, if ghost it were, seem'd a sweet soul
As ever lurk'd beneath a holy hood:

A dimpled chin, a neck of ivory, stole

Forth into something much like flesh and blood; Back fell the sable frock and dreary cowl,

And they reveal'd (alas! that e'er they should!) In full, voluptuous, but not oergrown bulk, The phantom of her frolic grace-Fitz-Fulke!

Note 1. Stanza xlv.

For none likes more to bear himself conversa
Rispose allor Margatte, a distel tosto,
lo non credo piu al nero ch' all azzurre.
Ma nel cappone, o lesso, o vuogli arresto,
E credo alcuna volta anco nel bars,
Nella cervogia, e quando io n'ho nei monts,
E molto piu nell' espro che il mangarro,

Ma sopra tuito nel buon vino ho fede,

E credo che sia salvo chi gli crede.

Pucci, Morgante Maggiore, Canto 18, Stanza 154.

Note 2. Stauza Ixxi.

That e'er by precious metal was held in

This dress is Moorish, and the bracelets and bar are worn in the manner described. The reader wil per ceive hereafter, that, as the mother of Hardee was of Fer her daughter wore the garb of the country.

Note 3. Stanza lxxii.

A like gold bar, above her instep roll'd. The bar of gold above the instep is a mark of sovereign rank in the women of the families of the Deys, and is worn as such by their female relatives.

Note 4. Stanza lxxiii.

Her person if allow'd at large to run. This is no exaggeration; there were four women whom I remember to have seen, who possessed their hair in this profusion; of these, three were English, the other was a Levantine. Their hair was of that length and quantity that, when let down, it almost entirely shaded the person, so as nearly to render dress a superfluity. Of these, only one had dark hair; the Oriental's had, perhaps, the lightest colour of the four.

Note 5. Stanza cvii.

Oh Hesperus! thou bringest all good things.

Εσπερε πάντα φέρεις,

Pepsis orror, pepers aryas
Φέρεις ματερι παιδα.

Fragment of Sappho.

company for some foreign theatre; embarked them at an Italian port, and carrying them to Algiers, sold them all. One of the women, returned from her captivity, I heard sing, by a strange coincidence, in Rossini's opera of «L'Italiana in Algieri,» at Venice, in the beginning of 1817.

Note 4. Stanza lxxxvi.

From all the Pope makes yearly 't would perplex
To find three perfect pipes of the third sex..

It is strange that it should be the Pope and the Sultan who are the chief encouragers of this branch of tradewomen being prohibited as singers at St Peter's, and not deemed trust-worthy as guardians of the haram.

Note 5. Stanza ciii.

While weeds and ordure rankle round the base.

The pillar which records the battle of Ravenna is about two miles from the city, on the opposite side of the river to the road towards Forli. Gaston de Foix, who gained the battle, was killed in it; there fell on both sides twenty thousand men. The present state of the pillar and its site is described in the text.

This is no very uncommon effect of the violence of conflicting and different passions. The Doge Francis Foscari, on his deposition, in 1457, hearing the bell of St Mark announce the election of his successor, << mourut subitement d'une hémorrhagie causée par une veine qui s'éclata dans sa poitrine,» (see Sismondi and Daru, vols. i. and ii.) at the age of eighty years, when « who would have thought the old man had so much blood in him?n Before I was sixteen years of age, I was witness to a melancholy instance of the same effect of mixed passions upon a young person; who, however, did not die in consequence, at that time, but fell a victim some years afterwards to a seizure of the same kind, arising from causes intimately connected with agitation of mind.

Note 3. Stanza lxxx.

But sold by the impresario at no high rate. This is a fact. A few years ago a man engaged a

Note 5. Stanza liii.

Prepared for supper with a glass of rum.

In Turkey nothing is more common than for the Mussulmans to take several glasses of strong spirits by way of appetizer. I have seen them take as many as six of raki before dinner, and swear that they dined the better for it; I tried the experiment, but was like the Scotchman, who having heard that the birds called kittiewiaks were admirable whets, ate six of them, and complained that << he was no hungrier than when he began.»

Note 6. Stanza lv.

Splendid but silent, save in one, where, dropping.
A marble fountain echoes.

A common furniture.-I recollect being received by

Note 7. Stanza Ixxxvii.

The gate so splendid was in all its features. Features of a gate-a ministerial metaphor; «<the feature upon which this question hinges.»-See the «Fudge Family,» or hear Castlereagh.

Note 8. Stanza cvi.

Though on more thorough-bred or fairer fingers. There is perhaps nothing more distinctive of birth than the hand: it is almost the only sign of blood which aristocracy can generate.

Note 9. Stanza cxlvii.

Save Solyman, the glory of their line.

It may not be unworthy of remark, that Bacon, in his essay on « Empire,» hints that Solyman was the last of his line; on what authority, I know not. These are his words: «The destruction of Mustapha was so fatal to Solyman's line, as the succession of the Turks from Solyman, until this day, is suspected to be untrue, and of strange blood; for that Solymus the Second was thought to be supposititious.» But Bacon, in his historical authorities, is often inaccurate. I could give half a dozen instances from his apophthegms only.

Being in the humour of criticism, I shall proceed, after having ventured upon the slips of Bacon, to touch on one or two as trifling in the edition of the British Poets, by the justly-celebrated Campbell.-But I do this in good will, and trust it will be so taken.-If any thing could add to my opinion of the talents and true feeling of that gentleman, it would be his classical, honest, and triumphant defence of Pope, against the vulgar cant of the day, and its existing Grub-street.

The inadvertencies to which I allude are,

Firstly, in speaking of Anstey, whom he accuses of having taken « his leading characters from Smollett.» Anstey's Bath Guide was published in 1766. Smollett's Humphry Clinker (the only work of Smollett's from which Tabitha, etc. etc. could have been taken) was written during Smollett's last residence at Leghorn, in 1770.- Argal,» if there has been any borrowing, Anstey must be the creditor, and not the debtor. I refer Mr Campbell to his own data in his lives of Smollett and Anstey.

Secondly, Mr Campbell says in the life of Cowper (note to page 358, vol. 7), that « he knows not to whom Cowper alludes in these lines:

Nor be who, for the bane of thousands born,

Built God a church, and laugh'd his word to scorn..

The Calvinist meant Voltaire, and the church of Ferney, with its inscription, «Deo erexit Voltaire.>>

Thirdly, in the life of Burns, Mr C. quotes Shakspeare thus,

To gild refined gold, to paint the rose,
Or add fresh perfume to the violet..

This version by no means improves the original, which is as follows:

To gild refined gold, to paint the lily,
To throw a perfume on the violet, etc.

KING Jons.

A great poet quoting another should be correct; he should also be accurate when he accuses a Parnassian

had better borrow any thing (excepting money) than the thoughts of another-they are always sure to be reclaimed; but it is very hard, having been the lender, to be denounced as the debtor, as is the case of Anstey versus Smollett.

As there is « honour amongst thieves,» let there be some amongst poets, and give each his due,-none can afford to give it more than Mr Campbell himself, who, with a high reputation for originality, and a fame which cannot be shaken, is the only poet of the times (except Rogers) who can be reproached (and in him it is indeed a reproach) with having written too little.

CANTO VI.

Stanza lxxv.

A wood obscure, like that where Dante found.
Nel mezzo del Cammin' di nostra vita
Mi ritrovai per una Selva oscura,» etc. etc. ete.

CANTO VII.

Stanza li.

Was teaching his recruits to use the bayonet. Fact: Souvaroff did this in person.

CANTO VIII.

Note 1. Stanza viii.

All sounds it pierceth, Allah! Allah ! Ha!»

Allah! Hu!» is properly the war-cry of the Mussulmans, and they dwell long on the last syllable, which gives it a very wild and peculiar effect.

Note 2. Stanza ix.

Carnage (so Wordsworth tells yon) is God's daughter.

But thy most dreaded instrument
In working out a pure intent,

Is man array'd for mutual slaughter;
Yea, Carnage is thy daughter'

WORDSWORTE's Thanksgiving Ode. To wit, the deity's. This is perhaps as pretty a pedigree for murder, as ever was found out by Garter-Kingat-arms. What would have been said had any freespoken people discovered such a lineage?

Note 3. Stanza xviii.

Was printed Grove, although his name was Grose.

A fact; see the Waterloo Gazettes. I recollect remarking at the time to a friend :—«There is fame! a man is killed, his name is Grose, and they print it Grove » 1 was at college with the deceased, who was a very amiable and clever man, and his society in great request for his wit, gaiety, and «< chansons à boire.>

Note 4. Stanza xxiii.

As any other notion, and not national, See Major Vallency and Sir Lawrence Parsons