Cancel or select a leaf from these poems, and you will injure the whole framework equally in either case. It is not without reluctance that I have given any extracts from "Don Juan;" it is not without a full sense of the damage done to these extracts by the very act of extraction. But I could only have left them untouched with a reluctance even greater; and this plea, if it can, must excuse me. As fragments they are exquisite and noble, like the broken hand or severed foot of a Greek statue; but here as much is lost as there. Taken with their context, they regain as much of beauty and of force as the sculptured foot: or hand when, reunited to the perfect body, they resume their place and office among its vital and various limbs. This gift of life and variety is the supreme quality of Byron's chief poem; a quality which cannot be expressed by any system of extracts. Little can here be given beyond a sample or two of tragic and serious work. The buoyant beauty of surrounding verse, the "innumerable laughter" and the profound murmur of its many measures, the fervent flow of stanzas now like the ripples and now like the gulfs of the sea, can no more be shown by process of selection than any shallow salt pool left in the sand for sunbeams to drain dry can show the depth and length of the receding tide.

It would be waste of words and time here to enlarge at all upon the excellence of the pure comedy of "Don Juan." From the first canto to the sixteenth; from the defence of Julia, which is worthy of Congreve or Molière, to the study of Adeline, which is worthy of Laclos or Balzac; the elastic energy of humour never falters or