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17. assonance
Poetic writers sometimes repeat word-internal sounds; this occurs in the original language, and is pointed out in technical commentaries.
18. numerology
Occasionally numbers are used in symbolic ways in Scripture, especially in prophesy and apocalypse. These are particular symbols, not magical keys to interpreting everything, so be careful. Numerology is limited to a few common theologically significant numerals, like 3 (=trinity), 7 (=divine perfection), 12 (=God's people), and 40 (=divine testing).
19. onomastics
Occasionally names have meanings in the original language which relate to their actual character (sometimes called charactonyms); for example, Isaac ("Chuckles"), Ichabod (="glory has departed").
4. Biblical images of Byron's literary works.
Byron also uses the hellish biblical language of the apocalypse to carry the real possibility of these events to his readers. The whole poem can be seen as a reference to Matthew 24:29: "the sun shall be darkened." In line 32 it describes men "gnash[ing] their teeth" at the sky, a clear biblical parallel of hell. Vipers twine "themselves among the multitude, / Hissing." Two men left alive of "an enormous city" gather "holy things" around an altar, "for an unholy usage"—to burn them for light. Seeing themselves in the light of the fire, they die at the horror of seeing each other "unknowing who he was upon whose brow Famine had written Fiend." In this future, all men are made to look like fiends, emaciated, dying with "their bones as tombless as their flesh." They also act like fiends, as Byron says: "no love was left, matching the biblical prophecy that at the end of the world, "the love of many shall wax cold." In doing this, Byron is merely magnifying the events already occurring at the time. The riots, the suicides, the fear associated with the strange turn in the weather and the predicted destruction of the sun, had besieged not only people's hope for a long life, but their beliefs about God's creation and about themselves as well. By bringing out this diabolical imagery, Byron is communicating that fear; that "Darkness [or nature] had no need / of aid from them—She was the universe."
https://www.enotes.com/topics/childe-harolds-pilgrimage
https://www.supersummary.com/childe-harold-s- pilgrimage/summary/
https://en.m.wikipedia.org/wiki/Narrative_poetry
Byron's pessimistic views continue, as he mixes Biblical language with the apparent realities of science at the time. As Paley points out, it is not so much significant that Byron uses Biblical passages as that he deviates from them to make a point. For example, the thousand-year peace mentioned in the book of Revelation as coming after all the horror of the apocalypse does not exist in Byron's "Darkness." Instead, "War, which for a moment was no more, / Did glut himself again." In other words, swords are only beaten temporarily into plowshares, only to become swords of war once again. Also, the fact that the vipers are "stingless" parallels the Biblical image of the peace to follow destruction: "And the sucking child shall play in the whole of the asp." In the poem, though, the snake is rendered harmless, but the humans take advantage of this and the vipers are "slain for food." Paley continues, saying "associations of millennial imagery are consistently invoked to be bitterly frustrated."

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Wordsworth, William. “Lines: Composed a Few Miles above Tintern Abbey. . .” The Norton Anthology of English Literature. Stephen Greenblatt. 8th ed. Vol. D. New York, London: Norton, 2006. 258-62.
---.“I Wandered Lonely as a Cloud.” The Norton Anthology of English Literature. Stephen Greenblatt. 8th ed. Vol. D. New York, London: Norton, 2006. 305-6.