Spanish—Lopé, copy.[336]
Russian—Strokenoff, Chokenoff, poke enough.[337]
Byron also resorts to the uses of proper names, borrowed from many tongues:
Dante’s—Cervantes.[338]
Hovel is—Mephistophelis.[339]
Tyrian—Presbyterian.[340]
Avail us—Sardanapalus.[341]
Pukes in—Euxine.[342]
It may be added, too, that he was seldom over-accurate or careful in making his rhymes exact. In one instance he rhymes certainty—philosophy—progeny.[343] Most stanzas have either double or triple rhymes, but there are occasional stanzas in which all the rhymes are single.[344]
In Don Juan run-on lines are the rule rather than the exception. Certain stanzas are really sentences in which the thought moves straight on, disregarding entirely the ordinary restrictions of versification.[345] In more than one case the idea is even carried from one stanza to another without a pause.[346] In one extraordinary instance a word is broken at the end of a line and finished at the beginning of the next,[347] following the example set by the Anti-Jacobin in Rogero’s song in The Rovers. Like a public speaker, Byron at times neglects coherence in order to keep the thread of his discourse or to digress momentarily without losing grip on his audience.