And yet so sweet the tears they shed,
'Tis sorrow so unmix'd with dread,
They scarce can bear the morn to break
That melancholy spell,

And longer yet would weep and wake,
He sings so wild and well!

But when the day-blush bursts from high
Expires that magic melody.

And some have been who could believe, (So fondly youthful dreams deceive,

Yet harsh be they that blame,)
That note so piercing and profound
Will shape and syllable its sound
Into Zuleika's name.(43)

'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!
It was no mortal arm that bore
That deep-fix'd pillar to the shore;
For there, as Helle's legends tell,

Next morn 't was found where Selim fell;
Lash'd by the tumbling tide, whose wave
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!

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 Sorrow's tale!

NOTES.

NOTE 1, page 68, line 2.

Wax faint o'er the gardens of Gúl in her bloom.

"Gúl," the rose.

NOTE 2, page 68, line 11.

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 70, line 8.

With Mejnoun's tale, or Sadi's song.

Mejnoun and Leila, the Romeo and Juliet of the East. Sadi, the moral poct of Persia.

NOTE 4, page 70, line 9.

Till I, who heard the deep tambour.

Tambour, Turkish drum, which sounds at sunrise, noon, and twilight.

NOTE 5, page 72, line 19.

He is an Arab to my sight.

The Turks abhor the Arabs (who return the compliment a hundredfold) even more than they hate the Christians.

NOTE 6, page 74, line 16.

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 he then does not comprehend fully what is feebly expressed in the above line, I shall be sorry 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 75, line 9.

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 75, line 21.

And teach the messenger what fate.

When a Pacha is sufficiently strong to resist, the single messenger, who is always the first bearer of the order for his 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 bowstrung 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 76, line 10.

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 76, line 11.

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.