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"No heart that beats reply to mine, "Yet, Leila! yet the form is thine! "And art thou, dearest, changed so much, "As meet my eye, yet mock my touch? "Ah! were thy beauties e'er so cold, "I care not; so my arms enfold "The all they ever wish'd to hold. "Alas! around a shadow prest, "They shrink upon my lonely breast; "Yet still 'tis there! In silence stands, "And beckons with beseeching hands! "With braided hair, and bright-black eye"I knew 'twas false-she could not die! "But he is dead! within the dell "I saw him buried where he fell; "He comes not, for he cannot break "From earth; why then art thou awake? "They told me wild waves roll'd above "The face I view, the form I love; "They told me 'twas a hideous tale! "I'd tell it, but my tongue would fail: "If true, and from thine ocean-cave "Thou com'st to claim a calmer grave, "Oh! pass thy dewy fingers o'er "This brow that then will burn no more; "Or place them on my hopeless heart: "But, shape or shade! whate'er thou art, "In mercy ne'er again depart! "Or farther with thee bear my soul "Than winds can waft or waters roll!






"Such is my name, and such my tale. "Confessor! to thy secret ear

"I breathe the sorrows I bewail,

"And thank thee for the generous tear "This glazing eye could never shed. "Then lay me with the humblest dead, 'And, save the cross above my head, "Be neither name nor emblem spread, By prying stranger to be read,

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"Or stay the passing pilgrim's tread."

He pass'd-nor of his name and race
Hath left a token or a trace,
Save what the father must not say
Who shrived him on his dying day:
This broken tale was all we knew
Of her he loved, or him he slew. (43)




Note 1, page 5, line 3.

That tomb, which, gleaming o'er the cliff.

A tomb above the rocks on the promontory, by some supposed the sepulchre of Themistocles.

Note 2, page 6, line 2.

Sultana of the Nightingale.

The attachment of the nightingale to the rose is a wellknown Persian fable. If I mistake not, the "Bulbul of a thousand tales" is one of his appellations.

Note 3, page 6, line 20.

Till the gay mariner's guitar.

The guitar is the constant amusement of the Greek sailor by night with a steady fair wind, and during a calm, it is accompanied always by the voice, and often by dancing.

Note 4, page 7, last line.

Where cold Obstruction's apathy.

"Ay, but to die and go we know not where,
"To lie in cold obstruction."

Measure for Measure, Act III. 130. Sc. 2.

Note 5, page 8, line 8.

The first, last look by death reveal'd.

I trust that few of my readers have ever had an opportunity of witnessing what is here attempted in description, but those who have will probably retain a painful remembrance of that singular beauty which pervades, with few exceptions, the features of the dead, a few hours, and but for a few hours, after "the spirit is not there." It is to be remarked in cases of violent death by gun-shot wounds, the expression is always that of languor, whatever the natural

energy of the sufferer's character: but in death from a stab the countenance preserves its traits of feeling or ferocity, and the mind its bias, to the last.

Note 6, page 10, line 8.

Slaves-nay, the bondsmen of a slave.

Athens is the property of the Kislar Aga (the slave of the seraglio and guardian of the women), who appoints the Waywode. A pander and eunuch-these are not polite, yet true appellations-now governs the governor of Athens!


Note 7, page 11, line 17.

'Tis calmer than thy heart, young Giaour.

Note 8, page 12, line 24.

In echoes of the far tophaike.

"Tophaike," musket.-The Bairam is announced by the cannon at sunset; the illumination of the Mosques, and the firing of all kinds of small arms, loaded with ball, proclaim it during the night.

Note 9, page 13, line 18.

Swift as the hurl'd on high jerreed.

Jerreed, or Djerrid, a blunted Turkish javelin, which is darted from horseback with great force and precision. It is a favourite exercise of the Mussulmans; but I know not if it can be called a manly one, since the most expert in the art are the Black Eunuchs of Constantinople. —I think, next to these, a Mamlouk at Smyrna was the most skilful that came within my observation.

Note 10, page 14, line 18.

He came, he went, like the Simoom.

The blast of the desert, fatal to every thing living, and often alluded to in eastern poetry.

Note 11, page 16, line 18.

To bless the sacred bread and salt."

To partake of food, to break bread and salt with your host, ensures the safety of the guest: even though an enemy, his person from that moment is sacred.

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