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Which sets the teeth on edge; and a slight clatter Like showers which on the midnight gusts will pass,
Sounding like very supernatural water,—
For immaterialism 's a serious matter :
As wide as if a long speech were to come.
Tremendous to a mortal tympanum : His eyes were open, and (as was before Stated) his mouth. What open'd next?—the door.
CXVI. It open’d with a most infernal creak, Like that of hell.
6. Lasciate ogni speranza, Voi che entrate!” The hinge seem'd to speak,
Dreadful as Dante's rima, or this stanza;
A single shade 's sufficient to entrance a
The sea-gulls, with a steady, sober flight-
Half letting in long shadows on the light,
For he had two, both tolerably bright,-
The night before ; but, being sick of shaking,
And then to be ashamed of such mistaking.
Within him, and to quell his corporal quaking-
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,
At whatsoever risk of being defeated :
-Eternal Powers !
Chequer'd with all the tracery of the hall :
When he can't tell what 't is 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 sparedThe ghost had a remarkably sweet breath. A straggling curl show'd he had been fair-hair'd ;
A red lip, with two rows of pearl beneath, Gleam'd forth, as through the casement's ivy shroud The moon peep'd, just escaped-from a gray cloud.
His other arm forth—Wonder upon wonder !
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,
As ever lurk'd beneath a holy hood :
Forth into something much like flesh and blood; Back fell the sable frock and dreary cowl,
And they reveald (alas ! that e'er they should !) In full, voluptuous, but not o'ergrown bulk, The phantom of her frolic grace-Fitz-Fulke !
NOTES TO CANTO XVI.
Note 1. Stanza x.
If from a shell - fish or from cochineal, The composition of the old Tyrian purple, whether from a shell-fish, or from cochineal, or from kermes, is still an article of dispute; and even its colour-some say purple, others scarlet: I say nothing.
Note 2. Stanza xliii.
For a spoil'd carpet-but the “Attic Bees
Was much consoled by his own repartee. I think that it was a carpet on which Diogenes trod, with—“ Thus I trample on the pride of Plato !"_“With greater pride,” as the other replied. But as carpets are meant to be trodden upon, my memory probably misgives me, and it might be a robe, or tapestry, or a table-cloth, or some other expensive and uncynical piece of furniture.
Note 3. Stanza xlv.
To soothe our ears lest Italy should fail. I remember that the mayoress of a provincial town, somewhat surfeited with a similar display from foreign parts, did rather indecorously break through the applauses of an intelligent audience-intelligent, I mean, as to music,- for the words, besides being in recondite languages (it was some years before the peace, ere all the world had travelled, and while I was a collegian)-were sorely disguised by the performers; -this mayoress, I say, broke out with, “Rot your Italianos ! for my part, I loves a simple ballat! " Rossini will go a good way to bring most people to the same opinion, some day. Who would imagine that he was to be the successor of Mozart? However, I state this with diffidence, as a liege and loyal admirer of Italian music in general, and of much of Rossini's: but we may say, as the connoisseur did of painting, in the Vicar of Wakefield, “ that the picture would be better. painted if the painter had taken more pains."
Note 4. Stanza lix.
For gothic daring shown in English money. “ Ausu Romano, ære Veneto " is the inscription (and well inscribed in this instance) on the sea walls between the Adriatic and Venice. The walls were a republican work of the Venetians; the inscription, I believe, imperial, and inscribed by Napoleon the First. It is time to continue to him that title-there will be a second by and bye, “Spes altera mundi,” if he live ; let him not defeat it like his father. But in any case he will be preferable to the Imbeciles. There is a glorious field for him, if he knew how to cultivate it.
Note 5. Stanza lx.
« Untying» squires « to fight against the churches." Though ye untie the winds and bid them fight Against the churches.-Macbeth.
Note 6. Stanza xcvii.
They err-'t is merely what is call'd mobility. In French“ mobilité.” I am not sure that mobility is English ; but it is expressive of a quality which rather belongs to other climates, though it is sometimes seen to a great exteat in our own. It may be defined as an excessive susceptibility of immediate impressions at the same time without losing the past; and is, though sometimes apparently useful to the possessor, a most painful and unhappy attribute.
Note 7. Stanza cii.
Draperied her form with curious felicity. “Curiosa felicitas.”-PETRONIUS ARBITER.
Note 8. Stanza cxiv.
A noise like to wet fingers drawn on glass. See the account of the ghost of the uncle of Prince Charles of Saxony raised by Schroepfer—“ Karl-Karl-was—walt wolt mich ?”.
Note 9. Stanza cxx.
How odd, a single hobgoblin's non-entity
See Richard III.