[327] Only in Canto II. does the story begin at once; every other canto has a preliminary disquisition. Canto IX., containing eighty-five stanzas, uses forty-one of them before the narrative begins, and of the entire number, forty-six are clearly made up of extraneous material. Of the ninety stanzas in Canto XI., over fifty are occupied with Byron’s satire on English society and contemporary events. Canto II. is, of course, filled largely with the shipwreck and the episode of Haidée; but in Canto III., over forty of the entire one hundred and eleven stanzas are discursive, and many others are partly so. [328] _Beppo_, 52. [329] For other rhymes of exceptional peculiarity, see _Don Juan_, I., 102; II., 206; II., 207; V., 5. [330] _Ibid._, I., 22. [331] _Ibid._, II., 1. [332] _Don Juan_, I., 6. [333] _Ibid._, III., 111. [334] _Ibid._, XIII., 94. [335] _Ibid._, I., 62. [336] _Ibid._, I., 11. [337] _Ibid._, VII., 15. [338] _Ibid._, VII., 3. [339] _Ibid._, XIII., 8. [340] _Ibid._, XV., 91. [341] _Ibid._, II., 207. [342] _Ibid._, V., 5. [343] _Ibid._, XIV., I. See also I., 25; I., 67; XVI., 4. [344] _Ibid._, I., 154; II., 13, 22, 38. [345] A characteristic example is _Ibid._, IX., 34. [346] _Don Juan_, I., 123–124; V., 8–9; V., 18–19; VIII., 109–110. [347] _Ibid._, I., 120. [348] _Ibid._, XV., 72. [349] _Ibid._, VI., 64; VII., 21; VIII., 30; XIII., 75; XIV., 29, 63; XVI., 60, 94, 98. [350] _Ibid._, I., 34; VI., 47; VIII., 32. [351] _Ibid._, IV., 42. [352] _Ibid._, VII., 27. [353] _Don Juan_, XI., 20. [354] _Ibid._, III., 6. See also I., 63, 65, 72; II., 172, 179; IX., 15, 59; XIII., 6, 19. [355] Many imitations and parodies of _Don Juan_ were printed during Byron’s lifetime, and afterwards; among them were Canto XVII. of _Don Juan_, by One who desires to remain a very great Unknown (1832); _Don Juan Junior_, a Poem, by Byron’s Ghost (1839); _A Sequel to Don Juan_ (1843); _The Termination of the Sixteenth Canto of Lord Byron’s Don Juan_ (1864), by Harry W. Wetton. [356] Byron’s influence upon the literature of the nineteenth century may be studied in Otto Weddigen’s treatise _Lord Byron’s Einfluss auf die Europaischen Litteraturen der Neuzeit_ and in Richard Ackermann’s _Lord Byron_ (pp. 158–182). Collins numbers among his disciples in Germany, Wilhelm Mueller, Heine, Von Platen, Adalbert Chamisso, Karl Lebrecht, Immermann, and Christian Grabbe; among his French imitators, Lamartine, Hugo, de la Vigne, and de Musset; among his followers in Russia, Poushkin and Lermontoff. To these should be added Giovanni Berchet in Italy, and José de Espronceda in Spain. No other English poet, except Shakspere, has impressed his personality so strongly upon foreign countries. [357] _Letters_, vi., 377–399.