The Sabbath comes, a day of blessed rest:
What hallows it upon this Christian shore?
Lo! it is sacred to a solemn Feast:
Hark! heard you not the forest-monarch's roar?
Crashing the lance, he snuffs the spouting gore
Of man and steed, o'erthrown beneath his horn;
The thronged arena shakes with shouts for more;
Yells the mad crowd o'er entrails freshly torn,
Nor shrinks the female eye, nor ev'n affects to mourn.
The seventh day this—the Jubilee of man!
London! right well thou know'st the day of prayer:
Then thy spruce citizen, washed artisan,
And smug apprentice gulp their weekly air:
- [As he intimates in the Preface to Childe Harold, Byron had originally intended to introduce "variations" in his poem of a droll or satirical character. Beattie, Thomson, Ariosto, were sufficient authorities for these humorous episodes. The stanzas on the Convention of Cintra (stanzas xxv.-xxviii. of the MS.), and the four stanzas on Sir John Carr; the concluding stanzas of the MS., which were written in this lighter vein, were suppressed at the instance of Dallas, or Murray, or Gifford. From a passage in a letter to Dallas (August 21, 1811), it appears that Byron had almost made up his mind to leave out "the two stanzas of a buffooning cast on London's Sunday" (Letters, 1898, i. 335). But, possibly, owing to their freedom from any compromising personalities, or because wiser counsels prevailed, they were allowed to stand, and continued (wrote Moore in 1832) to "disfigure the poem."]
- [A whiskey is a light carriage in which the traveller is whisked along.]