published, but a dedication to Lady Charlotte Harley ("Ianthe"), written in the autumn of 1812, was prefixed to the First Canto, and ten additional stanzas were inserted towards the end of the Second Canto. _Childe Harold_, as we have it, differs to that extent from the _Childe Harold_ which, in a day and a night, made Byron "famous." The dedication to Ianthe was the outcome of a visit to Eywood, and his devotion to Ianthe's mother, Lady Oxford; but the new stanzas were probably written in 1810. In a letter to Dallas, September 7, 1811 (_Letters_, 1898, ii. 28), he writes, "I had projected an additional canto when I was in the Troad and Constantinople, and if I saw them again, it would go on." This seems to imply that a beginning had been made. In a poem, a hitherto unpublished fragment entitled _Il Diavolo Inamorato_ (_vide post_, vol. iii.), which is dated August 31, 1812, five stanzas and a half, viz. stanzas lxxiii. lines 5-9, lxxix., lxxx., lxxxi., lxxxii., xxvii. of the Second Canto of _Childe Harold_ are imbedded; and these form part of the ten additional stanzas which were first published in the seventh edition. There is, too, the fragment entitled _The Monk of Athos_, which was first published (_Life of Lord Byron_, by the Hon. Roden Noel) in 1890, which may have formed part of this projected Third Canto. No further alterations were made in the text of the poem; but an eleventh edition of _Childe Harold_, Cantos I., II., was published in 1819. The demerits of _Childe Harold_ lie on the surface; but it is difficult for the modern reader, familiar with the sight, if not the texture, of "the purple patches," and unattracted, perhaps demagnetized, by a personality once fascinating and always "puissant," to appreciate the actual worth and magnitude of the poem. We are "o'er informed;" and as with Nature, so with Art, the eye must be couched, and the film of association removed, before we can see clearly. But there is one characteristic feature of _Childe Harold_ which association and familiarity have been powerless to veil or confuse--originality of design. "By what accident," asks the Quarterly Reviewer (George Agar Ellis), "has it happened that no other English poet before Lord Byron has thought fit to employ his talents on a subject so well suited to their display?" The question can only be answered by the assertion that it was the accident of genius which inspired the poet with a "new song." _Childe Harold's Pilgrimage_ had no progenitors, and, with the exception of some feeble and forgotten imitations, it has had no descendants. The materials of the poem; the Spenserian stanza, suggested, perhaps, by Campbell's _Gertrude of Wyoming_, as well as by older models; the language, the metaphors, often appropriated and sometimes stolen from the Bible, from Shakespeare, from the classics; the sentiments and reflections coeval with reflection and sentiment, wear a familiar hue;