Byron need not have been dismayed. "The term is particularly applied on the day of marriage and during the 'honeymoon,' but is frequently used from the proclamation of the banns.... In the debate on Prince Leopold's allowance, Mr. Gladstone, being criticized for speaking of the Princess Helena as the 'bride,' said he believed that colloquially a lady when engaged was often called a 'bride.' This was met with 'Hear! Hear!' from some, and 'No! No!' from others."--_N. Engl. Dict_., art. "Bride."] [125] [The opening lines were probably suggested by Goethe's-- "Kennst du das Land wo die citronen blühn?"] [126] "Gúl," the rose. [127] {158} ["'Where the Citron,' etc. These lines are in the MS., and _omitted_ by the _Printer_, whom I _again_ request to look over it, and see that no others are _omitted_.--B." (Revise No. 1, November 13, 1813.) "I ought and do apologise to Mr.---- the Printer for charging him with an omission of the lines which I find was my own--but I also wish _he_ would not print such a stupid word as _finest_ for fairest." (Revise, November 15, 1813.) The lines, "Where the Citron," etc., are absent from a fair copy dated November 11, but are inserted as an addition in an earlier draft.] [128] "Souls made of fire, and children of the Sun, With whom revenge is virtue." Young's _Revenge_, act v. sc. 2 (_British Theatre_, 1792, p. 84). [ez] _For wild as the moment of lovers' farewell_.--[MS.] [fa] _Canto 1^st^ The Bride of Abydos. Nov. 1^st^ 1813_.--[MS.] [fb] {159} _The changing cheek and knitting brow_.--[MS. i.] [fc] _Hence--bid my daughter hither come_ _This hour decides her future doom--_ _Yet not to her these words express_ _But lead her from the tower's recess_.--[MSS. i., ii.] [These lines must have been altered in proof, for all the revises accord with the text.] [fd] {160} _With many a tale and mutual song_.--[ms] [129] Mejnoun and Leila, the Romeo and Juliet of the East. Sadi, the moral poet of Persia. [For the "story of Leila and Mujnoon," see _The Gulistan, or Rose Garden_ of ... Saadi, translated by Francis Gladwin, Boston, 1865, Tale xix. pp. 288, 289; and Gulistan ... du Cheikh Sa'di ... Traduit par W. Semelet, Paris, 1834, Notes on Chapitre V. p. 304. Sa'di "moralizes" the tale, to the effect that love dwells in the eye of the beholder. See, too, Jāmī's _Medjnoun et Leila_, translated by A. L. Chezy, Paris, 1807.] [130] Tambour. Turkish drum, which sounds at sunrise, noon, and twilight. [The "tambour" is a kind of mandoline. It is the large kettle-drum (_nagaré_) which sounds the hours.] [fe] {161} _Must walk forsooth where waters flow_ _And pore on every flower below_.--[MS. erased.] [ff] {162} _For looks of peace and hearts of ire_.--[MS.] [fg] _And calmly to his Sire's was raised_.--[MS.] [fh] {163} _No--nor the blood I call my own_.--[MS.]