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dict them, because they are merely personal, whereas the others in some degree concern the reader.
You will oblige me by complying with my request of contradiction. I assure you that I know nothing of the works in question; and have the honour to be (as the correspondents to magazines say) "your constant reader," and very obedient humble servant, Venice, June 1819. BYRON.
TO LORD BYRON.
BARD of ungentle wayward mood,
At vinegar how danced your eyes,
And when in childhood's frolic hour,
For sugar plumbs you ne'er did pine;
Mustard, however strong the sort is,
Could ever set your face awry.
Soon caught the bitter, sharp, and sour, d I
And all their various power combin'd,
Produced CHILDE HAROLD and the GIAOUR.
PETITION OF THE YOUNG LADIES TO DR. MOYSE, LATE LECTURER ON THE PHILOSOPHY OF
How much your lectures we admire;
Of which we never heard before...
But now, dear Doctor, not to flatter, There is a most important matter, .:
A matter which you never touch ongelatan Ilona, shush A matter which our thoughts run much on,
A subject, if we right conjecture,
That well deserves a long, long lecture,
Deny us not, dear Doctor Moyse!
Teach us the marks of Love's beginning;
We promise you-five hundred kisses ;
And, rather than the affair be blundered,.
THE PRETENDED POWER OF WITCHCRAFT OVER THE WINDS.
ONE of the vain and groundless pretensions of the ancient professors of sorcery and witchcraft was, that they could raise, controul, and dispose of the winds. Thus Medea says,
Ventos abigoque vocoque.
Ov. Met. vii.
The witches in Macbeth converse to the same effect:
1st. Witch. A sailor's wife had chesnuts in her lap,
And mouncht, and mouncht, and mouncht; give me, quoth I.
Aroint thee, witch!-the rump-fed ronyon cries.
Her husband's to Aleppo gone, master o' the Tyger :
But in a sieve I'll thither sail,
And like a rat without a tail,
I'll do I'll do-and l'll do.
2d. Witch. I'll give thee a wind.
1st. Witch. Thou art kind.
3d. Witch. And I another.
1st. Witch. I myself have all the other,
And the very points they blow,
Though his bark cannot be lost,
Act 1. Sc. 3.
The fourth verse is an heroic of ten syllables, as appears from the three preceding ones; wherefore it ought to be reformed,
Her husband's t' Aleppo, master o' the Tyger,
T' Aleppo, is the same as to Aleppo gone; and somebody that did not relish the ellipsis, hath wrongfully inserted gone. Thus, above, you have the like ellipsis, for the sake of the metre, give me, for give me some; but what is most material in this case, the verb of motion is very often omitted in such phrases,
Come, we'll to sleep.
Buck. I'll to the king.
Brand. You shall to the Tower.
King. Let him on.
Macb. II. 5.
Macb. II. 6.
Macb. III. 5.
Henry VIII. 1. See also King Lear, I. II. III.
In short, the brevity of dialogue and conversation has produced a thousand examples of this ellipsis, not only in this, but others also of our stage authors. It is very common in other writers likewise.
The three next verses consist of eight syllables, and therefore we should read,
I'll do and I'll do--and I'll do.