"Childe Harold" has also the line:

"Yes! honor decks the turf that wraps their clay;"

which is borrowed from a couplet in one of Collins's "Odes:"

"There Honor comes, a pilgrim gray,

To bless the turf that wraps their clay."

Again, in Byron's address to the ocean, in the same poem, occurs the line :

"Such as Creation's dawn beheld, thou rollest now;"

for which he is indebted to De Staël's "Corinne :"

"Mais si les vaisseaux sillonnent un moment les ondes, la vague vient effacer aussitôt cette légère marque de servitude, et la mer reparaît telle qu'elle fut au premier jour de la Création."

Add the couplet in "Lara:"

"Books, for his volume heretofore was man,

With eye more curious he appear'd to scan."

The first line of which is but another way of expressing this of Pope :

"The proper study of mankind is man.”

A second appropriation from Burton will be found in the last line of the "Corsair :".

"He left a Corsair's name to other times,

Link'd with one virtue and a thousand crimes ;"

which is taken from the Latin quotation in the following passage in Burton :

Hannibal, as he had mighty virtues, so he had many vices;

unam virtutem mille vitia comitantur; as Machiavel said of Cosmo de Medici, he had two distinct persons in him.' Anatomy of Melancholy.

There are, in "Don Juan," two passages which Byron has adopted from La Rochefoucauld's "Maxims." The first is as follows:

"In her first passion woman loves her lover;
In all the others all she loves is love,
Which grows a habit she can ne'er get over,
And fits her loosely-like an easy glove."

The original of this is in Maxim 494:—

"Dans les premières passions les femmes aiment l'amant; et dans les autres elles aiment l'amour."

The second appropriation follows close upon the first:

"Although, no doubt, her first of love affairs

Is that to which her heart is wholly granted;
Yet there are some, they say, who have had none;
But those who have ne'er end with only one."

So in Maxim 73, of the same author :

"On peut trouver des femmes qui n'ont jamais eu de galanterie; mais il est rare d'en trouver qui n'en aient jamais eu qu'une."

Another substantial plagiarism in " Don Juan" occurs in Canto III. :

"A monkey, a Dutch mastiff, a mackaw,

Two parrots, with a Persian cat and kittens,

He chose from several animals he saw;

A terrier, too, which once had been a Briton's,

Who dying on the coast of Ithica,

The peasants gave the poor dumb thing a pittance:

These to secure in this strong blowing weather,

He caged in one large hamper all together."

S

This is shown to have been taken from the following passage in one of Lady Mary Wortley Montagu's "Letters," where she speaks of the Coalition Ministry of 1757 :

"Your account of the changes in ministerial affairs does not surprise me ; but nothing could be more astonishing than their all coming in together. It puts me in mind of a friend of mine who had a large family of favourite animals; and, not knowing how to convey them to his country-house in separate equipages, he ordered a Dutch mastiff, a cat and her kittens, a monkey and a parrot, all to be packed up together in one large hamper, and sent by a waggon. One may easily guess how this set of company made their journey; and I have never been able to think of the present compound ministry without the idea of barking, scratching, and screaming."

Lord Byron draws from every available source. Mrs. Radcliffe's " Mysteries of Udolpho Udolpho" furnishes an instance, where she describes the appearance of Venice :

"Its terraces crowded with airy yet majestic fabrics, touched as they now were with the splendour of the setting sun, appeared as if they had been called up from the ocean by the wand of an enchanter."

A copy of the simile at the close will be found in the opening stanzas of the fourth Canto of "Childe Harold:"

"I stood in Venice, on the Bridge of Sighs,
A palace and a prison on each hand;

I saw from out the wave her structures rise
As from the stroke of the enchanter's wand."

Lastly, we have the passage in the "Doge of

Venice:"

"As yet 'tis but a chaos

Of darkly-brooding thoughts; my fancy is
In her first work, more nearly to the light
Holding the sleeping images of things,

For the selection of the pausing judgment."

Which Byron has copied from Dryden's Dedication to the "Rival Ladies," where he says of the progress of the work :

"When it was only a confused mass of thoughts, tumbling over one another in the dark; when the fancy was yet in its first work, moving the sleeping images of things towards the light, there to be distinguished, and there either to be chosen or rejected by the judgment."

Shelley, who had so much to lend, did not disdain to borrow. Among the few things of this kind to be met with in his poems are these lines in his little piece on Mutability."

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"Man's yesterday may ne'er be like his morrow;
Nought may endure but mutability."

The first is taken from these in Dryden :

"Man is but man, inconstant still and various;
There's no To-morrow in him like To-day;"

or, as Cowper expresses it :

"The world upon which we close our eyes at night, is never the same with that on which we open them in the morning."

The second is also a borrowed line, and may be traced, through several poets, from Ovid

downwards. The first English writer who appears to have adopted the thought is the Earl of Surrey, in this passage:

"Short is th' uncertain reign of pomp and mortal pride: New turns and changes every day

Are of inconstant chance the constant arts."

Cowley has it in the lines:

"The world's a scene of changes, and to be
Constant in Nature were inconstancy."

And Rochester in the couplet

"Since 'tis Nature's law to change,

Constancy alone is strange."

The sentiment also occurs in the French poets: Malherbe has pithily expressed it in one of his "Odes:"

"Et rien, afin que tout dure,

Ne dure éternellement."

And J.-B. Rousseau beautifully in the lines :—

"Le Temps, cette image mobile

De l'immobile Eternité."

Casimir, the Polish poet, has the same thought in the couplet :

"Quod tibi largâ dedit Hora dextrâ

Hora furaci rapiet sinistrâ."

It occurs in the lines:

"To give the sex their due,

They scarcely are to their own wishes true;

They love, they hate, and yet they know not why:

Constant in nothing but inconstancy."