Εγὼ ἀστείζομουν (ἐχοράτευα). ἐγὼ τὸ εἶπα διὰ νὰ γελάσω. Τῇ ἀληθείᾳ. Μὲ ἀρέσει κατὰ πολλά. Δὲν εἶμαι τελείως περιποι- I am not at all ceremo- Εἶμαι σύμφωνος, ἐκ συμ ητικός. Αὐτὸ εἶναι τὸ καλίτερον. Διὰ νὰ βεβαιώσῃς, νὰ ἀρνηθῇς, νὰ συγκατανεύσης, καὶ τξ. nious. This is better. So much the better. You are in the right. Το affirm, deny, consent, etc. φώνου. ἐγὼ δὲν θέλω. Εγὼ ἐναντιώνομαι εἰς τοῦτο. I object to this. Διὰ νὰ συμβουλευθῆς, νὰ Τί πρέπει νὰ κάμωμεν; Τί μὲ συμβουλεύετε νὰ κά- ὁποῖον τρόπον θέλομεν με- Τὸ πιστεύω, δὲν τὸ πι- I believe it, I do not be- Είναι καλίτερον ἐγὼ να— στεύω. lieve it. I say yes. I say no. I wager it is. I wager it is not so. Yes, by my faith. In conscience. By my life. Yes, I swear it to you. I swear to you as an honest man. Σᾶς ὀμνύω ἐπάνω εἰς τὴν I swear to you on my ho τιμήν μου. Πιστεύσετέ με. ώσω. Ήθελα βάλη στίχημα, ὅτι θέλετε διὰ τοῦτο. nour. Believe me. I can assure you of it. I would lay what bet you please on this. Μὴ τύχῃ καὶ ἀστεΐζεσθε You jest by chance ? (χορατεύετε); ὁμιλεῖτε μὲ τὰ ὅλα σας; Εγὼ σᾶς ὁμιλῶ με τὰ ὅλα μου, καὶ σᾶς λέγω τὴν ἀλήθειαν. Εγὼ σᾶς τὸ βεβαιώνω. Σταθῆτε ὀλίγον. Δὲν ἤθελεν εἶναι καλίτερον να Εγὼ ἀγαποῦσα καλίτερα. Θέλετε κάμει καλίτερα ἂν Αφήσετέ με. To consult, consider, or resolve. Αν ἤμουν εἰς τὸν τόπον σας, If I were in your place, I ἐγώ Εἶναι τὸ ἴδιον. lt is the same. The reader by the specimens below will be enabled to compare the modern with the ancient tongue. PARALLEL PASSAGES FROM ST. JOHN'S GOSPEL. Νέον. Κεφάλ. ά. 1. ΕΙΣ τὴν ἀρχὴν ἦταν ὁ λόγος· καὶ ὁ λόγος ἦτον μετὰ Θεοῦ· καὶ Θεὸς ἦτον ὁ λόγος. 2. Ετοῦτος ἦτον εἰς τὴν ἀρχὴν μετὰ Θεοῦ. 3. ὅλα τὰ πράγματα] διὰ μέσου τοῦ [λόγου] ἐχίνηκαν, καὶ χωρὶς αὐτὸν δὲν ἔγινε κανένα εἴτι ἔγινε. Αὐθεντικόν. Κεφάλ. ά. 1. ΕΝ ἀρχῇ ἦν ὁ λόγος, καὶ ὁ λόγος ἦν πρὸς τὸν Θεὸν, καὶ Θεὸς ἦν ὁ λόγος. 2. Οὗτος ἦν ἐν ἀρχῇ πρὸς τὸν Θεόν. 3. Πάντα δι' αὐτοῦ ἐγένετο· καὶ χωρὶς αὐτοῦ ἐγένετο οὐδὲ ἕν, ὃ γέγονεν. THE INSCRIPTIONS AT ORCHOMENUS, FROM MELETIUS. ΟΡΧΟΜΕΝΟΣ, κοινῶς Σκριποῦ, πόλις ποτὲ πλουσιωτάτη καὶ ἰσχυρωτάτη, πρότερον καλουμένη Βοιωτικαὶ Ἀθῆναι, εἰς τὴν ὁποίαν ἦταν ὁ Ναὸς τῶν Χαρίτων, εἰς τὸν ὁποῖον ἐπλήρωναν τέλη οἱ Θηβαῖοι, οὗτινος τὸ έδαφος ἀνεσκάφθη ποτὲ ὑπὸ τῶν Ἀσπαλάγκων. Επανηγύριζεν εἰς αὐτὴν πόλιν τὰ Χαριτήσια, τοῦ ὁποίου ἀγώνος εὗρον ἐπιγραφὰς ἐν στήλαις ἔνδον τοῦ κτισθέντος Ναοῦ ἐπ' ὀνόματι τῆς Θεοτόκου, ὑπὸ τοῦ Πρωτ τοσπαθαρίου Λέοντος, ἐπὶ τῶν Βασιλέων Βασιλείου, Λέοντος, καὶ Κωνσταντίνου, ἐχούσας οὕτως. Εν μὲν τῇ μια κοινώς. “Οἶδε ἐνίκων τὸν ἀγῶνα τῶν Χαριτησίων. Σαλπιστής. Τραγωδός. Ιπποκράτης Αριστομένους Ρόδιος. Καλλίστρατος Εξακέστου Θηβαίος. Δωρόθεος Δωροθέου Ταραντινός. Καβέριχος Θεοδώρου Θηβαῖος. Αλέξανδρος Αρίστωνες Αθηναῖος. Υποκριτής. Ατταλος Αττάλου Αθηναῖος. “Μύριχος Πολυκράτους Ιερώνυμος διογίτωνος ἄνδρεσ σι χοραγείσαντες νικάσαντες διονύσου ἀνέθηκαν τίμω νος ἄρχοντος αὐλίοντος κλέος ᾄδοντος ἀλκισθένιος.” ἐν ἑτέρῳ λίθῳ. θυνάρχω ἄρχοντος, μεινὸς θεολουθίω, ἀρχι........... ὡς Εὔβωλι ἀρχεδάμω φωκεῖα........... ὃς ἀπέδωκα ἀπὸ τὰς σουγγραφῶ πέδα τῶν πολεμάρχων, κὴ τῶν και τοπτάων, ἀνελόμενος τὰς σουγγραφὼς τὰς κιμένας πὰρ εὐφρόνα, κὴ φιδίαν κὴ πασικλεῖν......... κὴ τι μόμειδον φωκείας, κὴ δαμοτελεῖν λυσιδάμω, κὴ δίονισον καφισοδώω χηρωνεῖα κατ τὸ ψάφισμα τῶ δάμω. MAWET M θυνάρχω ἄρχοντος, μεινὸς ἀλαλκομενίω Γ ἀρνῶν, πολύκλειος ταμίας ἀπέδωκε εὔξωλυ ἀρχεδάμω φωκεῖ ἀπὸ τὰς συγγραφῶ τὸ καταλύπον κατ τὸ ψά φισμα τῷ δάμω, ἀνελόμενος τὰς σουγγραφὼ τὸ καταλύπον καὶ τὸ ψάφισμα τῷ δάμω, ἀνελόμενος τὰς σουγγραφὼς τὰς κίμενας πὰρ σώφιλον, κἡ εὔ Οἶδε ἐνίκων τὸν νήμητον ἀγῶνα τῶν ὁμοδώων. φρονα φωκέας. Κὴ πὰρ διωνύσιον καφισοδώρω Παῖδας αὐληστάς. Διοκλῆς Καλλιμήδου Θηβαίος. Παῖδας ἡγεμόνας. Στρατίνος Εὐνίκου Θηβαῖος. Άνδρας Αὐλητάς. χηρωνέα, κὴ λυσίδαμον δαμοτέλιος πέδα τῶν που λεμάρχων, κὴ τῶν κατοπτάων. ἄρχοντες ἐν ἐρχομενὸ θυνάρχω, μενὸς Αλαλκομενίω, ἀποκρίνονται μὲ αὐτοὺς τοὺς λόγους. Καθὼς ὁ ἐκ ἐν δὲ Γ ἐλπτίη Μενοίταο Αρχελάω μεινὸς πράτω. Σκυθίας Ανάχαρσις, ἂν δὲν ἐπεριέρχετο τὰ πανευφρό ὁμολογᾷ Εὔβωλυ Γ' ἐλατίη, ο κὴ τῇ πύλι ἐρχομε- συνα ἐκεῖνα κλίματα τῆς Ἑλλάδος, ἂν δὲν ἐμφορεῖτο νίων. Επειδὴ κεκομίστη Εὔβωλος πὰρ τῆς πόλιος τὰ ἀξιώματα, τὰ ἤθη καὶ τοὺς νόμους τῶν Ελλήνων, τὸ δάνειν ἅπαν κατ τὰς ὁμολογίας τὰς τεθίσας ἤθελε μείνῃ Σκύθης καὶ τὸ ὄνομα καὶ τὸ πρᾶγμα θυνάρχω ἄρχοντος, μεινὸς θεολουθίω, κὴ οὐτ ὀφειλέτη οὕτω καὶ ὁ ἡμέτερος ἱατρὸς, ἂν δὲν ἐμάνθανε τὰ αὐτῷ ἔτι οὐθὲν πὰρ τὴν πόλιν, ἀλλ' ἀπέχι πάντα τοῦ Ιπποκράτους, δὲν ἐδύνατο να προχωρήσῃ εἰς περὶ παντὸς, κὴ ἀποδεδόανθι τῇ πόλι τὸ ἔχοντες τὴν τέχνην του ἂν ὁ ἐν ἡμῖν νομοθέτης δὲν ἐξέ τὰς ὁμολογίας, εἰ μὲν ποτὶ δεδομένον χρόνον Εὔ- ταζε τὰ τοῦ Σόλωνος, Λυκούργου, καὶ Πιττακοῦ, δὲν βωλυ ἐπὶ νομίας Γ' ἔτι ἀπέτταρα βούεσσι σεὺν ἵππυς ἐδύνατο νὰ ῥυθμήσῃ καὶ νὰ καλλιεργήσῃ τὰ ἤθη τῶν δια κατίης Ρι κατι προβάτος στὺν ἔγυς χειλίης ἀρχὶ | έμεγενῶν του ἂν ὁ ῥήτωρ δὲν ἀπηνθίζετο τὰς εὐτῷ χρόνῳ ὁ ἐνιαυτὸς ὁ μετὰ θύναρχον ἄρχοντα έρχο- φραδείας καὶ τοὺς χαριεντισμοὺς τοῦ Δημοσθένους, μενίας ἀπογραφέσθη δὲ Εὔβωλον κάτ ̓ ἐνιαυτὸν πάρ δὲν ἐνεργοῦσεν εἰς τὰς ψυχὰς τῶν ἀκροατῶν του. Av τὸν ταμίαν κὴ τὸν νόμων ἂν τάτε καύματα των ὁ Νέος Ανάχαρσις, ὁ Κύριος Αββάς Βαρθολομαῖος δὲν προβάτων, κὴ τῶν ἠγών, κὴ τῶν βουῶν, κὴ τῶν ἀνεγίνωσκε μὲ μεγάλην ἐπιμονὴν καὶ σκέψιν τοὺς πλέον ἵππων, κὴ κάτινα ἀσαμαίων θίκη τὸ πλεῖθος μεὶ ἐγκρίτους συγγραφεῖς τῶν ἑλλήνων, ἐξερευνῶν αὐτοὺς ἀπογράφεσο ὧδε πλίονα τῶν γεγραμμένων ἐν τῇ κατὰ βάθος ἐπὶ τριάκοντα δύω ἔτη, δὲν ἤθελεν ἐξυσυγχωρείσι ἡ δέκατις........... ἡ τὸ ἐννόμιον Εὔβω- φάνη τούτην τὴν περὶ ̔Ελλήνων Ιστορίαν του, ήτις λον ὀφείλει....... λις τῶν ἐρχομενίων ἀργουρίω......... Περιήγησις τοῦ Νέου Αναχάρσεως παρ' αὐτοῦ προσ τετταράκοντα Εὔβωλυ καθ ̓ ἕκαστον ἐνιαυτὸν, κὴ τόκον ωνομάσθη, καὶ εἰς ὅλας τὰς εὐρωπαϊκὰς διαλέκτους φερέτω δραχμάς..... τας μνᾶς ἑκάστας κατὰ μετεγλωττίσθη.” Καὶ ἐν ἑνὶ λόγῳ, οἱ νεώτεροι, ἂν μεῖνα........... τὸν κὴ ἔμπρακτος ἔστω τὸν ἐρχομένιον δὲν ἔπερναν δία ὁδηγοὺς τοὺς προγόνους μας ἤθελαν καὶ τὰ ἑξῆς.” ἴσως περιφέρωνται ματαίως μέχρι τοῦ νῦν. Αὐτὰ δὲν εἶναι λόγια ἐνθουσιασμένου διὰ τὸ φιλογενὲς Γραικού, εἶναι δὲ φιλαλήθους Γερμανοῦ, ὅστις ἐμετάφρασε τὸν Νέον Ανάχαρσιν ἀπὸ τοῦ Γαλλικοῦ εἰς τὸ Γερμανικόν. Αν λοιπὸν καὶ ἡμεῖς θέλωμεν νὰ μεθέξωμεν τῆς γνώσεως τῶν λαμπρῶν κατορθωμάτων, ὁποῦ ἔκαμαν οἱ θαυμαστοὶ ἐκεῖνοι προπάτορες ἡμῶν, ἂν ἐπιθυμῶμεν νὰ μάθωμεν τὴν πρόοδον καὶ αὔξησίν των εἰς τὰς τέχνας καὶ ἐπιστήμας καὶ εἰς κάθε ἄλλο εἶδος μαθή σεως, ἂν ἔχωμεν περιέργειαν νὰ γνωρίσωμεν πόθεν καταγόμεθα, καὶ ὁποίους θαυμαστοὺς καὶ μεγάλους ἄνδρας, εἰ καὶ προγόνους ἡμῶν, φεῦ, ἡμεῖς δὲν γνω ρίζομεν, εἰς καιρὸν ὁποῦ οἱ ἀλλογενεῖς θαυμάζουσιν αὐτοὺς, καὶ ὡς πατέρας παντοιασοῦν μαθήσεως σέβον ται, ἂς συνδράμωμεν άπαντες προθύμως εἰς τὴν ἔκδεσιν τοῦ θαυμασίου τούτου συγγράμματος τοῦ Νέου Αναχάρσεως. Εν ἄλλοις Λίθοις. “ Ανοδώρα σύμφορον χαῖρε.” ΝΟΚΥΈΣ. “ Καλλία πιτον ἀμφάριχος, καὶ ἄλλαι.” ἐν οὐδεμίᾳ ἐπιγραφῇ ἴδον τόνον, ἢ πνεῦμα, ἃ δὲ ἡμεῖς ὑπογράφομεν, οἱ παλαιοὶ προσέγραφον. Καὶ τὰ ἑξῆς. The following is the prospectus of a translation of Anacharsis into Romaic, by my Romaic master, Marmarotouri, who wished to publish it in England. ΕΪΔΗΣΙΣ ΤΥΠΟΓΡΑΦΙΚΗ. Πρὸς τοὺς ἐν—φιλογενεῖς καὶ φιλέλληνας. ὅΣΟΙ εἰς βιβλία παντοδαπὰ ἐντρυφῶσιν, ἠξεύρουν. πόσον εἶναι τὸ χρήσιμον τῆς ἱστορίας· δι' αὐτῆς γὰρ ἐξευρίσκεται ἡ πλέον μεμακρυσμένη παλαιότης, καὶ θεωροῦνται ὡς ἐν κατόπτρω ἤθη, πράξεις καὶ διοικήσεις πολλῶν καὶ διαφόρων ἐθνῶν καὶ γενῶν, ὧν τὴν μνήμην διεσώσατο καὶ διασώσει ἡ ἱστορικὴ Διήγησις εἰς αἰῶνα τὸν ἅπαντα. Μία τέτοια ἐπιστήμη εἶναι εὐαπόκτητος, καὶ ἐν ταὐτῷ ὠφέλιμη, ἢ κρεῖττον εἰπεῖν ἀναγκαία· διατὶ λοιπὸν ἡμεῖς μόνοι νὰ τὴν ὑστερούμεθα, μὴ ἠξεύροντες οὔτε τὰς ἀρχὰς τῶν προγόνων μας, πόθεν πότε καὶ πῶς εὑρέθησαν εἰς τὰς πατρίδας μας, οὔτε τὰ ἤθη, τὰ κατορθώματα καὶ τὴν διοίκησίν των; ἣν ἐρωτής σωμεν τοὺς ἀλλογενεῖς, ἠξεύρουν νὰ μᾶς δώσουν ὄχι μόνον ἱστορικῶς τὴν ἀρχὴν καὶ πρόοδον τῶν προγόνων ἀλλὰ καὶ τοπογραφικῶς μᾶς δείχνουν τὰς θέσεις τῶν πατρίδων μας, καὶ οἱονεὶ χειραγωγοί γινόμενοι μὲ τοὺς γεωγραφικούς των πίνακας, μᾶς λέγουν, ἐδὼ εἶναι αἱ ̓Αθῆναι, ἐδω ἡ Σπάρτη, ἐκεῖ' αἱ Θήβαι, τόσα στάδια ἢ μίλια ἀπέχει ἡ μία ἐπαρχία ἀπὸ τὴν ἄλλην, τοῦτος ᾠκοδόμησε τὴν μίαν πόλιν, ἐκεῖνος τὴν ἄλλην, καὶ τλ. Προσέτι ἂν ἐρωτήσωμεν αὐτοὺς τοὺς μὴ Έλληνας χειραγωγούς μας, πόθεν ἐπαρακινήθησαν νὰ ἐξερευνήσουν ἀρχὰς τόσον παλαιὰς, ἀνυποστόλως μᾶς μας, Ημεῖς οὖν οἱ ὑπογεγραμμένοι θέλομεν ἐκτελέσει προθύμως τὴν μετάφρασιν τοῦ Βιβλίου μὲ τὴν κατὰ τὸ δυνατὸν ἡμῖν καλὴν φράσιν τῆς νῦν καθ ̓ ἡμᾶς ὁμι λίας, καὶ ἐκδόντες τοῦτο εἰς τύπον, θέλομεν τὸ καλλώπίσῃ μὲ τοὺς γεωγραφικούς πίνακας μὲ ἁπλᾶς Ρωμαϊκὰς λέξεις ἐγκεχαραγμένους εἰς ἐδικά μας γράμματα, προστιθέντες ὅτι ἄλλο χρήσιμον καὶ ἁρμόδιον εἰς τὴν ἱστορίαν. ὅλον τὸ σύγγραμμα θέλει γένει εἰς τόμους δώδεκα κατὰ μίμησιν τῆς Ἰταλικῆς ἐκδόσεως. Η τιμὴ ὅλου τοῦ συγγάμματος είναι φιορίνια δεκαέξη τῆς Βιέννης διὰ τὴν προσθήκην τῶν γεωγραφικών πινάκων. Ο φιλογενὴς οὖν συνδρομητής πρέπει νὰ πληρώσῃ εἰς κάθε τόμον φιορίνι ἕνα καὶ καραντανία εἴκοσι τῆς Βιέννης, καὶ τοῦτο χωρὶς καμμίαν πρόδισιν, ἀλλ ̓ εὐθὺς ὁποῦ θέλει τῷ παραδοθῇ ὁ τόμος τυπωμένος καὶ δεμένος. Ερρωμένοι καὶ εὐδαίμονες διαβιώειτε, Ελλήνων παῖδες. Τῆς ὑμετέρας ἀγάπης ἐξηρτημένοι, Ιωάννης Μαρμαροτεύρης. Εν Τριεστίῳ, τῇ πρώτη Οκτωβρίου, 1799. THE LORD'S PRAYER IN ROMAIC. Ὦ ΠΑΤΕΡΑ ΜΑΣ ὁποῦ εἶσαι εἰς τοὺς οὐρανοὺς, ἃς ἁγιασθῇ τὸ ὄνομά σου. Ας ἔλθῃ ἡ βασιλεία σου. Ας γένη, τὸ θέλημά σου, καθὼς εἰς τὸν οὐρανὸν, ἔτζη καὶ εἰς τὴν γῆν. Τὸ ψωμί μας τὸ καθημερινόν, δός μας το σήμερον. Καὶ συγχώρησέ μας τὰ χρέη μας, καθώς καὶ ἐμεῖς συγχωροῦμεν τοὺς χρεοφειλέτας μας. Καὶ μὴν μᾶς φέρε εἰς πειρασμὸν, ἀλλὰ ἐλευθέρωσέ μας ἀπὸ τὸν πονηρόν. ὅτι ἐδική σου εἶναι ἡ βασιλεία δὲ, ἡ δύναμις, καὶ ἡ δόξα, εἰς τοὺς αἰῶνας. Αμήν. (1) Some years afterwards, Lord Byron wrote upon a proof-sheet of Marino Faliero, "Ada, all but the mouth, is the picture of her mother, and I am glad of it."-P. E. In a hitherto unpublished letter, dated Verona, Novem|ber 6, 1816. Lord Byron says-"By the way, Ada's name (which I found in our pedigree, under King John's reign) is the same with that of the sister of Charlemagne, as I redde, the other day, in a book treating of the Rhine."-L. E. (2) Lord Byron quitted England, for the second and last time, on the 25th of April, 1816, attended by William Fletcher and Robert Rashton, the "yeoman" and "page" of Canto 1.; his physician, Dr. Polidori; and a Swiss valet. -LE III. In my youth's summer I did sing of one, The wandering outlaw of his own dark mind; Again I seize the theme, then but begun, And bear it with me, as the rushing wind Bears the cloud onwards: in that tale I find The furrows of long thought, and dried-up tears, Which, ebbing, leave a sterile track behind, O'er which all heavily the journeying years Plod the last sands of life,-where not a flower appears. IV. Since my young days of passion-joy, or pain, Perchance my heart and harp have lost a string, And both may jar: it may be, that in vain I would essay as I have sung to sing. Yet, though a dreary strain, to this I cling So that it wean me from the weary dream Of selfish grief or gladness-so it fling Forgetfulness around me-it shall seem To me, though to none else, a not ungrateful theme. V. He, who grown aged in this world of woe, "Tis to create, and in creating live The life we image, even as I do now. What am I? Nothing: but not so art thou, Soul of my thought! with whom I traverse earth, Invisible but gazing, as I glow Mix'd with thy spirit, blended with thy birth, And feeling still with thee in my crush'd feelings' dearth. VIL. Yet must I think less wildly:-I have thought same In strength to bear what time can not abate, And feed on bitter fruits without accusing Fate. (3) "In The Two Noble Kinsmen of Beaumont and Fletcher (a play to which the picture of passionate friendship delineated in the characters of Palamon and Arcite would be sure to draw the attention of Byron in his boyhood), we find the following passage: Oh, never Shall we two exercise, like twins of Honour, Out of this somewhat forced simile, by a judicious transposition of the comparison, and by the substitution of the more definite word waves' for seas,' Lord Byron's clear and noble thought has been produced." Moore.--P. E. VIII. Something too much of this:-but now 'tis past, He of the breast which fain no more would feel, Wrung with the wounds which kill not, but ne'er heal; Yet Time, who changes all, had alter'd him In soul and aspect as in age: (1) years steal Fire from the mind as vigour from the limb; And life's enchanted cup but sparkles near the brim. IX. His had been quaff'd too quickly, and he found The dregs were wormwood; but he fill'd again, And from a purer fount, on holier ground, And deem'd its spring perpetual; but in vain! Still round him clung invisibly a chain Which gall'd for ever, fettering though unseen, And heavy though it clank'd not; worn with pain, Which pined although it spoke not, and grew keen, Entering with every step he took through many a scene. X. Secure in guarded coldness, he had mix'd He found in wonder-works of God and Nature's hand. XI. But who can view the ripen'd rose, nor seek To wear it? who can curiously behold The smoothness and the sheen of beauty's cheek, Nor feel the heart can never all grow old? Who can contemplate Fame through clouds unfold The star which rises o'er her steep, nor climb? Harold, once more within the vortex, roll'd On with the giddy circle, chasing Time, Yet with a nobler aim than in his youth's fond prime. XII, But soon he knew himself the most unfit Of men to herd with Man; with whom he held (1) "The first and second canto of Childe Harold's Pilgrimage produced, on their appearance in 1812, an effect upon the public, at least equal to any work which has appeared within this or the last century, and placed at once upon Lord Byron's head the garland for which other men of genius have toiled long, and which they have gained late. He was placed pre-eminent among the literary men of his country by general acclamation. It was amidst such feelings of admiration that he entered the public stage. Every thing in his manner, person, and conversation, tended to maintain the charm which his genius had flung around him; and those admitted to his conversation, far from finding that the inspired poet sunk into ordinary mortality, felt themselves attached to him, not only by many noble quali ties, but by the interest of a mysterious, undefined, and almost painful curiosity. A countenance exquisitely modelled to the expression of feeling and passion, and exhibiting the remarkable contrast of very dark hair and eyebrows, with light and expressive eyes, presented to the physiognomist the most interesting subject for the exercise of his art. The predominating expression was that of deep and habitual Little in common; untaught to submit His thoughts to others, though his soul was quell'd In youth by his own thoughts; still uncompell'd, He would not yield dominion of his mind To spirits against whom his own rebell'd; Proud though in desolation; which could find A life within itself, to breathe without mankind. XIII. Where rose the mountains, there to him were friends; Where roll'd the ocean, thereon was his home; Where a blue sky, and glowing clime, extends, He had the passion and the power to roam; The desert, forest, cavern, breaker's foam, Were unto him companionship; they spake A mutual language, clearer than the tome Of his land's tongue, which he would oft forsake For Nature's pages glass'd by sunbeams on the lake. thought, which gave way to the most rapid play of features when he engaged in interesting discussion; so that a brother poet compared them to the sculpture of a beautiful alabaster vase, only seen to perfection when lighted up from within. The flashes of mirth, gaiety, indignation, or satirical dislike, which frequently animated Lord Byron's countenance, might, during an evening's conversation, be mistaken, by a stranger, for the habitual expression, so easily and so happily was it formed for them all; but those who had an opportunity of studying his features for a length of time, and upon various occasions, both of rest and emotion, will agree that their proper language was that of melancholy, Sometimes shades of this gloom interrupted even his gayest and most happy moments," Sir Walter Scott.-L. E. (2) "In the third canto of Childe Harold," says Sır Egerton Brydges, "there is much inequality. The thoughts and images are sometimes laboured; but still they are a very great improvement upon the first two cantos. Lord Byron here speaks in his own language and character, not in the tone of others;-he is describing, not inventing; therefore he has not, and cannot have, the freedom with which fiction |