Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 2.djvu/147

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CANTO II.]
CHILDE HAROLD’S PILGRIMAGE.
113

Meantime some rude Arion's restless hand[1]
Wakes the brisk harmony that sailors love;
A circle there of merry listeners stand
Or to some well-known measure featly move,
Thoughtless, as if on shore they still were free to rove.


XXII.

Through Calpe's straits survey the steepy shore;[2]
Europe and Afric on each other gaze![3]
Lands of the dark-eyed Maid and dusky Moor
Alike beheld beneath pale Hecate's blaze:
How softly on the Spanish shore she plays![4]

Disclosing rock, and slope, and forest brown,[5]
  1. Meantime some rude musician's restless hand
    Ply's the brisk instrument that sailors love
    .—[MS. D. erased.]

  2. Through well-known straits behold the steepy shore.—[MS. erased.]
  3. [Compare Coleridge's reflections, in his diary for April 19, 1804, on entering the Straits of Gibraltar: "When I first sat down, with Europe on my left and Africa on my right, both distinctly visible, I felt a quickening of the movements in the blood, but still felt it as a pleasure of amusement rather than of thought and elevation; and at the same time, and gradually winning on the other, the nameless silent forms of nature were working in me, like a tender thought in a man who is hailed merrily by some acquaintance in his work, and answers it in the same tone" (Anima Poetæ, 1895, pp. 70, 71).]
  4. ["The moon is in the southern sky as the vessel passes through the Straits; consequently, the coast of Spain is in light, that of Africa in shadow" (Childe Harold, edited by H. F. Tozer, 1885, p. 232).]
  5. [Campbell, in Gertrude of Wyoming, Canto I. stanza ii. line 6, speaks of "forests brown;" but, as Mr. Tozer points out, "'brown' is Byron's usual epithet for landscape seen in moonlight." (Compare Canto II. stanza lxx. line 3; Parisina, i. 10; and Siege of Corinth, ii. 1.)