...completed state ; and repeat once more how truly I am ever, Your obliged And affectionate friend, BYRON. yean their cloudy wings expand Around me, and a dying Glory smiles O'er the far times, when many a...

...long-cherished associations connected with her past history excites within him, stands, like Byron, " on the bridge of sighs, A palace and a prison on each han.l ;" 702 to mourn, perchance, over her "dead doges," her crumbling ruins, and deserted commerce....

...Ponte, brought the whole edifice into its present forni, so that, on his visit in 1817, the poet " Stood in Venice on the Bridge of Sighs, A palace and a prison on each hand." Childe Harold, canto iv. 1. Cf. Raskin's Stones of Venice, London, 1853, vol. ii. pp. 302-4. WILLIAM...

...unshorn: Resembling, 'mid the torture of the scene, Love watching Madness with unalterable mien. VENICE. 1 STOOD in Venice, on the Bridge of Sighs; A palace...the enchanter's wand: A thousand years their cloudy wings expand Around me, and a dying Glory smiles O'er the far times, when many a subject land Look'd...

...enchanter." In the 1st stanza of the 4th canto of Childe Harold we have the well known lines — •' I stood in Venice on the bridge of sighs, A palace...structures rise As from the stroke of the enchanter's wand. In one of bis letters Lord Byron tells us of his fondness for the above novel. Again in Kirk White's...

...sentimentalism of Byron." Why write so harshly of that stanza of his ? — the stanza in which he says : — " I stood in Venice, on the Bridge of Sighs — A palace and a prison on each han_d ; I s aw, from out the waves, her structures rise As from the stroke of the enchanter's wand....

...ist dafür ebenso ein Mittel wie jenes Bild, das sich Childe Harold auf den ersten Blick bietet: / saw from out the wave her structures rise / As from the stroke of the Enchanter' s wand. 125 Doch der Zauberstab bringt nicht das Märchenhaft-Abweichende Venedigs zur Anschauung,...

...repeat once more how truly I am ever Tour obliged and affectionate friend, BTBON. 220 Canto IV.] 221 hough varied with a transitory storm, More beautiful...were trampled By human passions to a human chaos, No wings expand Around me, and a dying Glory smiles O'er the far times, when many a subject Look'd to...

...appearance at the very beginning of canto 4. Samuel Rogers and Wordsworth both criticized the solecism of "I stood in Venice on the Bridge of Sighs, /A Palace and a prison on each hand" (4.1). How, they complained gleefully, can he have both buildings on both hands? No doubt the carelessly...

...writing is enough to turn the brain of the reader or the author. The repetitions in the last stanza are I stood in Venice, on the Bridge of Sighs, A palace and a prison on each hand. He meant to say, that on one hand was a palace, on the other a prison. And what think you of — And...