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 ever will. Even the Italian poets, working in a language more flexible and ductile than ours, could never turn their native metre to such uses, could never handle their national weapon with such grace and strength. The terza rima remains their own, after all our efforts to adapt it; it bears here only forced flowers and crude fruits; but the ottava rima Byron has fairly conquered and wrested from them. Before the appearance of "Beppo" no one could foresee what a master's hand might make of the instrument; and no one could predict its further use and its dormant powers before the advent of "Don Juan." In the "Vision of Judgment" it appears finally perfected; the metre fits the sense as with close and pliant armour, the perfect panoply of Achilles. A poem so short and hasty, based on a matter so worthy of brief contempt and long oblivion as the funeral and the fate of George III., bears about it at first sight no great sign or likelihood of life. But this poem which we have by us stands alone, not in Byron's work only, but in the work of the world. Satire in earlier times had changed her rags for robes; Juvenal had clothed with fire, and Dryden with majesty, that wandering and bastard Muse. Byron gave her wings to fly with, above the reach even of these.