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 199, line 8.

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

"Gúl," the rose.

Note 2, page 199, last line.

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 201, line 29.

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 201, line 30.

Till I, who heard the deep tambour.

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

Note 5, page 204, line 11.

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 Christians.

Note 6, page 205, 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 re

quest 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 206, 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 206, 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 207, line 11.

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 207, line 12.

Resign'd his gem-adorn'd Chibouque.

Chibouque, the Turkish pipe, of which the amber mouthpiece, and sometimes the ball which contains the leaf, is adorned with precious stones, if in possession of the wealthier orders.

Note 11, page 207, line 14.

With Maugrabee and Mamaluke.

Maugrabee, Moorish mercenaries.

Note 12, page 207, line 15.

His way amid his Delis took.

Deli, bravos who form the forlorn hope of the cavalry, and always begin the action.

Note 13, page 207, line 27.

Careering cleave the folded felt.

A twisted fold of felt 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 game of blunt javelins, animated and graceful.

Note 14, page 207, line 30.

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 208, line 18.

The Persian Atar-gul's perfume.

"Atar-gul," ottar of roses. The Persian is the finest.

Note 16, page 208, line 20.

The pictured roof and marble floor.

The ceiling and wainscots, or rather walls, of the Mussulman apartments are generally painted, in great houses, with one eternal and 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 209, line 4.

A message from the Bulbul bears.

It has been much doubted whether the notes of this "Lover of the rose" are sad or merry; and Mr. Fox's remarks on the subject have provoked some learned controversy as to the opinions of the ancients on the subject. I dare not venture a conjecture on the point, though a little inclined to the "errare mallem," &c. if Mr. Fox was mistaken. Note 18, page 210, line 9.

Even Azrael, from his deadly quiver.

"Azrael"—the angel of death.

Musselim, a governor, the next in rank after a Pacha; a Waywode is the third; and then come the Agas.

Note 21, page 211, line 31.

Was he not bred in Egripo?

Egripo-the Negropont.-According to the proverb, the Turks of Egripo, the Jews of Salonica, and the Greeks of Athens, are the worst of their respective races.

Note 22, page 214, line 11.

Ah! yonder see the Tchocadar.

Tchocadar"-one of the attendants who precedes a

man of authority.