"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 401-404, which are in Byron's handwriting, were added to the Copy.]
[rd] {523} His latest beads and sins are counted.—[Copy.]
[428] {524} [For the use of "electric" as a metaphor, compare Coleridge's Songs of the Pixies, v. lines 59, 60—
"The electric flash, that from the melting eye
Darts the fond question and the soft reply.">[