Answer to Question 1The two stanzas are virtually identical in structure and movement. The first and third lines of each stanza are in iambic pentameter, with feminine endings; the second line of each stanza has three beats, beginning with an accented syllable; the last line of each is iambic dimeter: these short, abrupt lines reinforce the theme of the brevity of life. Both stanzas also rely on alliteration (
long/
laughter/
love,
portion/
pass;
wine/
while/
within;
misty/
emerges) and long vowel sounds (
weeping,
desire,
gate;
wine,
roses,
dream) to enhance the sense of mournfulness and gloom. The slow pace and gentle rhythms common to the two stanzas also communicate an atmosphere of tragic resignation.
Answer to Question 2
- Essentially, the speaker is saying that, although love has not died, its moment has come and gone, and the time of moonlight walks and assignations has passed. Of the choices given in the question, the only one with any applicability to the poems subject matter is sad. Thus, the subject matter and the rhythm do indeed seem to operate at cross purposes. So, how shall we presume? True, even Homer nods, as the saying goes, and Ben Jonson wished that Shakespeare had blotted out a thousand of his lines. But do we really imagine that this seeming dysfunction is the result of some ineptitude on Byrons part? It seems more plausible to us that on some level, consciously or unconsciously, he has built a kind of dynamic tension into the text: perhaps the speaker affects a jaunty tone to try to console himself for his loss; ormore likely, given the assertions in the second stanzahe has grown tired of the relationship and can barely conceal his relief at its end.
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