4} _As tear by tear rose gathering still_.--[Revise.]

[418] [Lines 175-182, which are in Byron's handwriting, were added to
the Copy.]

[419] {516} [The meaning is plain, but the construction is involved. The
contrast is between the blood of foes, which Hugo has shed for Azo, and
Hugo's own blood, which Azo is about to shed on the scaffold. But this
is one of Byron's incurious infelicities.]

[420] {517} Haught--haughty. "Away, _haught_ man, thou art insulting
me."--Shakespeare [_Richard II._, act iv. sc. i, line 254--"No lord of
thine, thou haught insulting man."]

[421] {518} [Lines 304, 305, and lines 310-317 are not in the Copy. They
were inserted by Byron in the Revise.]

[422] [A writer in the _Critical Review_ (February, 1816, vol. iii. p.
151) holds this couplet up to derision. "Too" is a weak ending, and,
orally at least, ambiguous.]

[423] ["I sent for _Marmion_, ... because it occurred to me there might
be a resemblance between part of _Parisina_ and a similar scene in Canto
2d. of _Marmion_. I fear there is, though I never thought of it before,
and could hardly wish to imitate that which is inimitable.... I had
completed the story on the passage from Gibbon, which, in fact, leads to
a like scene naturally, without a thought of the kind; but it comes upon
me not very comfortably."--Letter to Murray, February 3, 1816
(_Letters_, 1899, iii. 260). The scene in _Marmion_ is the one where
Constance de Beverley appears before the conclave--

"Her look composed, and steady eye,
Bespoke a matchless constancy;
And there she stood so calm and pale,
That, but her breathing did not fail,
And motion slight of eye and head,
And of her bosom, warranted
That neither sense nor pulse she lacks,
You must have thought a form of wax,
Wrought to the very life, was there--
So still she was, so pale, so fair."
Canto II. stanza xxi. lines 5-14.]

[424] {519} ["I admire the fabrication of the 'big Tear,' which is very
fine--much larger, by the way, than Shakespeare's."--Letter of John
Murray to Lord Byron (_Memoir of John Murray_, 1891, i. 354).]

[425] [Compare _Christabel_, Part I. line 253--"A sight to dream of, not
to tell!"]

[rc] {521} _For a departing beings soul_.--[Copy.]

[426] [For the peculiar use of "knoll" as a verb, compare _Childe
Harold_, Canto III. stanza xcvi. line 5; and _Werner_, act iii. sc. 3.]

[427] {522} [Lines