"I like... to see the Sun set, sure he'll rise to-morrow, Not through a misty morning twinkling weak as A drunken man's dead eye in maudlin sorrow, But with all Heaven t' himself; that day will break as Beauteous as cloudless, nor be forced to borrow That sort of farthing candlelight which glimmers Where reeking London's smoky caldron simmers. "I love the language, that soft bastard Latin, Which melts like kisses from a female mouth, And sounds as if it should be writ on satin, With syllables which breathe of the sweet South, And gentle liquids gliding all so pat in, That not a single accent seems uncouth, Like our harsh northern whistling, grunting guttural, Which we're obliged to hiss, and spit, and sputter all. "I like the women too (forgive my folly), From the rich peasant cheek of ruddy bronze, And large black eyes that flash on you a volley Of rays that say a thousand things at once, To the high dama's brow, more melancholy, But clear, and with a wild and liquid glance, Heart on her lips, and soul within her eyes, Soft as her clime, and sunny as her skies."[213] With other manners there existed in Italy another morality; there is one for every age, race, and sky--I mean that the ideal model varies with the circumstances which fashion it. In England the severity of the climate, the warlike energy of the race, and the liberty of the institutions prescribe an active life, severe manners, Puritanic religion, the marriage tie strictly kept, a feeling of duty and self-command. In Italy the beauty of the climate, the innate sense of the beautiful, and the despotism of the government induced an idle life, loose manners, imaginative religion, the culture of the arts, and the search after happiness. Each model has its beauties and its plots--the epicurean artist like the political moralist;[214] each shows by its greatnesses the littlenesses of the other, and, to set in relief the disadvantages of the second, Lord Byron had only to set in relief the seductions of the first.