τὴν μάλ' ἐπίσσείων φοβέειν ἤρωας Ἀχαιούς.
and so on, τὴν ἄρ' ὃ γ' ἐν χείρεσσιν ἔχων—χερσὶν ἔχ' ἀτρέμα, κ.τ.λ. Moreover, while he shook it he 'shouted enormously,' σεῖσ', ἐπὶ δ' αὐτὸς αὔσε μαλά μέγα, which the statue does not. Presently when Teukros, on the other side, plies the bow, it is τόξον ἔχων ἐν χειρὶ παλίντονον. Besides, by the act of discharging an arrow, the right arm and hand are thrown back as we see,—a quite gratuitous and theatrical display in the case supposed. The conjecture of Flaxman that the statue was suggested by the bronze Apollo Alexikakos of Kalamis, mentioned by Pausanias, remains probable; though the 'hardness' which Cicero considers to distinguish the artist's workmanship from that of Muron is not by any means apparent in our marble copy, if it be one.—Feb. 16, 1880."
Page 181.
The last four lines of the ninth section of Saul which ended the first part in Bells and Pomegranates, were as follows, 1845:—
"On one head the joy and the pride, even rage like the throe
That opes the rock, helps its glad labor, and lets the gold go—
And ambition that sees a man lead it—oh, all of these—all
Combine to unite in one creature—Saul!"
Page 191. Respectability.
"These two unconventional Bohemian lovers," says Professor Corson, "strolling together at night, at their own sweet will, see down the court along which they are strolling, three lampions flare, which indicate some big place or other where the respectables do congregate; and the woman says to the companion, with a humorous sarcasm, Put forward your best foot! that is, we must be very correct passing along here in this brilliant light. By the lovers are evidently meant George Sand (the speaker) and Jules Sandeau, with whom she lived in Paris, after she left her husband, M. Dudevant. They took just such unconventional night-strolls together, in the streets of Paris."