It is more than probable that in his twenty-sixth year Byron had not attained to perfect self-knowledge, but there is no reason to question his sincerity. That Byron loved to surround himself with mystery, and to dissociate himself from "the general," is true enough; but it does not follow that at all times and under all circumstances he was insincere. "Once a _poseur_ always a _poseur_" is a rough-and-ready formula not invariably applicable even to a poet. But the _Bride of Abydos_ was a tonic as well as a styptic. Like the _Giaour_, it embodied a personal experience, and recalled "a country replete with the _darkest_ and _brightest_, but always the most _lively_ colours of my memory" (_Diary_, December 5, 1813). In a letter to Galt (December 11, 1813, Letters, 1898, ii. 304, reprinted from _Life of Byron_, pp. 181, 182) Byron maintains that the first part of the _Bride_ was drawn from "observations" of his own, "from existence." He had, it would appear, intended to make the story turn on the guilty love of a brother for a sister, a tragic incident of life in a Harem, which had come under his notice during his travels in the East, but "on second thoughts" had reflected that he lived "two centuries at least too late for the subject," and that not even the authority of the "finest works of the Greeks," or of Schiller (in the _Bride of Messina_), or of Alfieri (in _Mirra_), "in modern times," would sanction the intrusion of the μισητὸν [misêto\n] into English literature. The early drafts and variants of the MS. do not afford any evidence of this alteration of the plot which, as Byron thought, was detrimental to the poem as a work of art, but the undoubted fact that the _Bride of Abydos_, as well as the _Giaour_, embody recollections of actual scenes and incidents which had burnt themselves into the memory of an eye-witness, accounts not only for the fervent heat at which these Turkish tales were written, but for the extraordinary glamour which they threw over contemporary readers, to whom the local colouring was new and attractive, and who were not out of conceit with "good Monsieur Melancholy." Byron was less dissatisfied with his second Turkish tale than he had been with the _Giaour_. He apologizes for the rapidity with which it had been composed--_stans pede in uno_--but he announced to Murray (November 20) that "he was doing his best to beat the _Giaour_," and (November 29) he appraises the _Bride_ as "my first entire composition of any length." Moreover, he records (November 15), with evident gratification, the approval of his friend Hodgson, "a very sincere and by no means (at times) a flattering critic of mine," and modestly accepts the praise of such masters of letters as "Mr. Canning," Hookham Frere, Heber, Lord Holland, and of the traveller Edward Daniel Clarke.