We to the cypress groves had flown, IV. "Son of a slave"-the Pacha said- Thou, when thine arm should bend the bow, Nor strike one stroke for life and death Go! let thy less than woman's hand Thou seest yon bow-it hath a string!" V. No sound from Selim's lip was heard, But every frown and every word Pierced keener than a Christian's sword. "Son of a slave !-reproach'd with fear! Those gibes had cost another dear. Son of a slave !—and who my sire?" Thus held his thoughts their dark career; And glances ev'n of more than ire Flash forth, then faintly disappear. • Mejnoun and Leila, the Romeo and Juliet of the East. Sadi, the moral post of Persia.-B. Turkish drum, which sounds et sunrise, noon, and twilight.-B. Old Giaffir gazed upon his son And started; for within his eye Come hither, boy-what, no reply! As sneeringly these accents fell, That eye return'd him glance for glance, Till Giaffir's quail'd and shrunk askance That blood-he hath not heard-no more- Or Christian crouching in the fight- Like Houris' hymn it meets mine ear: She is the offspring of my choice; Oh! more than ev'n her mother dear, Such to my longing sight art thou; Who bless'd thy birth and bless thee now." VI. Fair, as the first that fell of womankind, The Turks abhor the Arabs (who return the compliment a hundred-fold) oven gone than they hate the Christians.-B. When heart meets heart again in dreams Elysian, Pure, as the prayer which Childhood wafts above;' Who hath not proved how feebly words essay The mind, the Music breathing from her face, Her graceful arms in meekness bending VII. "Zuleika! child of gentleness! We Moslem reck not much of blood; • This is a mistake of poets and some theologians; a child's prayer is meaningless-ta worthiest prayer is from man in the prime of his vigour and intellect-no child's prayer can be compared to that of a Fénélon This expression has met with objections. I will not refer to "him who hath not music in his soci," 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 con. nection 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 !—B. But yet the line of Carasman* His years need scarce a thought employ : VIII. In silence bow'd the virgin's head; Whate'er it was the sire forgot; Thrice clapp'd his hands, and call'd his steed,+ And mounting featly for the mead, His way amid his Delis took,¶ 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.-B. + 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.-B. Clapping of the hands calls the servants. The Turks hate a superfluous expenditure of voice, and they have no bells.-B. 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.-B. Maugrabee, Moorish mercenaries.-B. Delis, bravos who form the forlorn hope of the cavalry, and always begin the action.-B. To witness many an active deed IX. His head was lent upon his hand, His eye look'd o'er the dark blue water Mix in the game of mimic slaughter, X. No word from Selim's bosom broke; The Persian Atar-gúl's perfume,+ And sprinkled all its odours o'er The pictured roof and marble floor;§ The drops, that through his glittering vest As if that breast were marble too. A twisted fold of felt is used for scimitar practice by the Turks, and few but Musani. man 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.-B. "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.-B. "Atar-gúl," ottar of roses. The Persian is the finest.-B. 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 Constan tinople, wherein the principal feature is a noble contempt of perspective; below, arms, scimitars, &c., are in general fancifully and not inelegantly disposed.-B. |