Which the orient planet animates with light.
Hell, sin, and slavery, came,
Like bloodhounds mild and tame,
Nor preyed until their Lord had taken flight.
And this tone and movement are in clear contrast with the fever, the impetuosity, the shrillness and rapidity of the first stanza, or of the closing lines of the second:
The moon of Mahomet
Arose, and it shall set:
While, blazoned as on heaven’s immortal noon,
The Cross leads generations on.
The difference is difficult to describe except perhaps: by the aid of a musical notation. It is like the difference between two voices, and in spite of the highly characteristic matter[*] of the lines, the reader feels that not Shelley but some other poet is speaking. What Shelley is doing becomes unmistakable in the third and last stanza. The corresponding lines, again in clear contrast with the lines surrounding them, have the same strange modulation: