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'Tis from her cypress' summit heard,

That melts in air the liquid word:
"Tis from her lowly virgin earth
That white rose takes its tender birth.
There late was laid a marble stone;
Eve saw it placed—the Morrow gone ! 1200
It was no mortal arm that bore
That deep-fix'd pillar to the shore;
For there, as Helle's legends tell,
Next morn 'twas found where Selim fell;
Lash'd by the tumbling tide, whose wave 1205
Denied his bones a holier grave:
And there by night, reclined, 'tis said,
Is seen a ghastly turban'd head :
And hence extended by the billow,
'Tis named the “Pirate-phantom's pillow !" 1210
Where first it lay that mourning flower

Hath flourish'd; flourisheth this hour,
Alone and dewy, coldly pure and pale;
As weeping Beauty's cheek at Sorrows' tale!



The Bride of Abydos.

Note 1, page 9, line 8. Wax faint o'er the gardens of Gül in her bloom. “Gúl,” the rose.

Note 2, page 9, line 17.
Can he smile on such deeds as his children have done !

“Souls made of fire and children of the Sun,
“With whom Revenge is Virtue."

Young's REVENGE.

Note 3, page 12, line 2.

With Mejnoun's tale, or Sadi's song. Mejnoun and Leila, the Romeo and Juliet of the East. Sadi, the moral poet of Persia.

Note 4, page 12, line 3.

Till I, who heard the deep tambour. Tambour, Turkish drum, which sounds at sunrise, noon, and twilight.

Note 5, page 14, line 21.

He is an Arab to my sight. The Turks abhor the Arabs (who return the compliment a hundred fold) even more than they hate the Chris. tians.

Note 6, page 16, line 2. The mind, the Music breathing from her face. This expression has met with objections. I will not refer to “ Him who hath not Music in his soul," but merely request the reader to recollect, for ten seconds, the features of the woman whom he believes to be the most beautiful : and if be then does not comprehend fully what is feebly expressed in the above line, I shall be sore ry for us both. For an eloquent passage in the latest work of the first female writer of this, perhaps, of any age, on the analogy (and the immediate comparison excited by that analogy) between “ painting and music,” see vol. iii. cap. 10. DE L'ALLEMAGNE. And is not this connexion still stronger with the original than the copy? With the colouring of Nature than of Art! After all, this is rather to be felt than described; still I think there are some who will understand it, at least they would have done had they beheld the countenance whose speaking harmony suggested the idea; for this passage is not drawn from imagination but memory, that mirror which Affliction dashes to the earth, and looking down upon the fragments, only beholds the reflection multiplied!

Note 7, page 16, line 24.

But yet the line of Carasman. Carasman Oglou, or Kara Osman Oglou, is the principal landholder in Turkey; he governs Magnesia : those who, by a kind of feudal tenure, possess land on condition of service, are called Timariots: they serve as Spahis, according to the extent of territory, and bring a certain number into the field, generally cavalry.

Note 8, page 17, line 7.

And teach the messenger what fate. Wher a Pacha is sufficiently strong to resist, the single messenger, who is always the first bearer of the order for bis death, is strangled instead, and sometimes five or six, one after the other, on the same errand, by command of the refractory patient; if, on the contrary, he is weak or loyal, he bows, kisses the Sultan's respectable signature, and is bow-strung with great complacency.In 1810, several of these presents were exhibited in the niche of the Seraglio gate ; among others, the head of the Pacha of Bagdat, a brave young man, cut off by treachery, after a desperate resistance.

Note 9, page 17, line 26. Thrice clapp'd his hands, and call'd his steed. Clapping of the hands calls the servants. The Turks hate a superfluous expenditure of voice, and they have no bells.

Note 10, page 17, line 27.

Resign'd his gem-adorn'd Chibouque. Chibouque, the Turkish pipe, of which the amber mouth-piece, and sometimes the ball which contains the leaf, is adorned with precious stones, if in possession of the wealthier orders.

Note 11, page 18, line 2.

With Maugrabee and Mamaluke. Maugrabee, Moorish mercenaries.

Note 12, page 18, line 3.

His way amid his Delis took. Deli, bravos who form the forlorn hope of the cavalry, and always begin the action.

Note 13, page 18, line 15.

Careering cleave the folded felt. A twisted fold of fell is used for scimitar practice by the Turks, and few but Mussulman arms can cut through it at a single stroke : sometimes a tough turban is used for the same purpose. The jerreed is a ganie of blunt javelins, animated and graceful.

Note 14, page 18, line 18. Nor heard their Ollahs wild and loud. Ollahs,” " Alla il Allah, the “ Leilies," as the Spanish poets call them, the sound is Ollah ; a cry of which the Turks, for a silent people, are somewhat profuse, particularly during the jerreed, or in the chase, but mostly in battle. Their animation in the field, and gravity in the chamber, with their pipes and comboloios, form an amusing contrast.

Note 15, page 19, line 12.

The Persian Atar-gul's perfume. “Atar-gul,” ottar of roses. The Persian is the finest.

Note 16, page 19, line 14.

The pictured roof and marble floor. The ceiling and waioscots, or rather walls, of the Mussulman apartments are generally painted, in great houses with one eternalland highly coloured view of Constantinople, wherein the principal feature is a noble contempt of perspective ; below, arms, scimitars, &c. are in general fancifully and not inelegantly disposed.

Note 17, page 20, line 2.

A message from the Bulbul bears. It has been much doubted whether the notes of this

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