"And David's lips are lockt; but in divine
High piping Pehlevi, with 'Wine! Wine! Wine!
Red Wine!'—the Nightingale cries to the Rose
That sallow cheek of hers to incarnadine."
Rubáiyát, etc., 1899, p. 29, and note, p. 62.
Byron was indebted for his information to a note on a passage in Vathek, by S. Henley (Vathek, 1893, p. 217).]
[57] {87} The guitar is the constant amusement of the Greek sailor by night; with a steady fair wind, and during a calm, it is accompanied always by the voice, and often by dancing.
[ [ch] {88} Should wanton in a wilderness.—[MS.]
[ci] The first draft of this celebrated passage differs in many particulars from the Fair Copy, which, with the exception of the passages marked as vars. i. (p. 89) and i. (p. 90), is the same as the text. It ran as follows:—
He who hath bent him o'er the dead
Ere the first day of death is fled—
The first dark day of Nothingness
The last of doom and of distress—
Before Corruption's cankering fingers
Hath tinged the hue where Beauty lingers
And marked the soft and settled air
That dwells with all but Spirit there
The fixed yet tender lines that speak
Of Peace along the placid cheek
And—but for that sad shrouded eye
That fires not—pleads not—weeps not—now—
And but for that pale chilling brow
Whose touch tells of Mortality
And curdles to the Gazer's heart
As if to him it could impart
The doom he only looks upon—
Yes but for these and these alone,
A moment—yet—a little hour
We still might doubt the Tyrant's power.
The eleven lines following (88-98) were not emended in the Fair Copy, and are included in the text. The Fair Copy is the sole MS. authority for the four concluding lines of the paragraph.
[58] [Compare "Beyond Milan the country wore the aspect of a wider devastation; and though everything seemed more quiet, the repose was like that of death spread over features which retain the impression of the last convulsions."—Mysteries of Udolpho, by Mrs. Ann Radcliffe, 1794, ii. 29.]
[cj] {89}