The Works of Lord Byron Volume II Part 33

["Mount Tomerit, or Tomohr," says Mr. Tozer, "lies north-east of Tepalen, and therefore the sun could not set behind it" (_Childe Harold_, 1885, p. 272). But, writing to Drury, May 3, 1810, Byron says that "he penetrated as far as Mount Tomarit." Probably by "Tomarit" he does not mean Mount Tomohr, which lies to the north-east of Berat, but Mount Olytsika, ancient Tomaros (_vide ante_, p. 132, note 1), which lies to the west of Janina, between the valley of Tcharacovista and the sea. "Elle domine," writes M. Carapanos, "toutes les autres montagnes qui l'entourent." "Laos," Mr. Tozer thinks, "is a mere blunder for Aous, the Viosa (or Voioussa), which joins the Derapuli a few miles south of Tepaleni, and flows under the walls of the city" (_Dodone et ses Ruines_, 1878, p. 8). (For the Aous and approach to Tepeleni, see _Travels in Albania_, i. 91.)]

26.

And Laos wide and fierce came roaring by.

Stanza lv. line 2.

The river Laos was full at the time the author pa.s.sed it; and, immediately above Tepaleen, was to the eye as wide as the Thames at Westminster; at least in the opinion of the author and his fellow-traveller. In the summer it must be much narrower. It certainly is the finest river in the Levant; neither Achelous, Alpheus, Acheron, Scamander, nor Cayster, approached it in breadth or beauty.

27.

And fellow-countrymen have stood aloof.

Stanza lxvi. line 8.

Alluding to the wreckers of Cornwall.

28.

The red wine circling fast.

Stanza lxxi. line 2.

The Albanian Mussulmans do not abstain from wine, and, indeed, very few of the others.

29.

Each Palikar his sabre from him cast.

Stanza lxxi. line 7.

Palikar, shortened when addressed to a single person, from ?a???a??

[Palikari] [pa??????? [palleka/ri]], a general name for a soldier amongst the Greeks and Albanese, who speak Romaic: it means, properly, "a lad."

30.

While thus in concert, etc.

Stanza lxxii. line 9.

As a specimen of the Albanian or Arnaout dialect of the Illyric, I here insert two of their most popular choral songs, which are generally chanted in dancing by men or women indiscriminately. The first words are merely a kind of chorus without meaning, like some in our own and all other languages.

1. Bo, Bo, Bo, Bo, Bo, Bo, 1. Lo, Lo, I come, I come; Naciarura, popuso. be thou silent.

2. Naciarura na civin 2. I come, I run; open the Ha pen derini ti hin. door that I may enter.

3. Ha pe uderi escrotini 3. Open the door by halves, Ti vin ti mar servetini. that I may take my turban.

4. Caliriote me surme 4. Caliriotes[-] with the dark Ea ha pe pse dua tive. eyes, open the gate that I may enter.

5. Buo, Bo, Bo, Bo, Bo, 5. Lo, Lo, I hear thee, my soul.

Gi egem spirta esimiro.

6. Caliriote vu le funde 6. An Arnaout girl, in costly Ede vete tunde tunde. garb, walks with graceful pride.

7. Caliriote me surme 7. Caliriot maid of the dark Ti mi put e poi mi le. eyes, give me a kiss.

8. Se ti puta citi mora 8. If I have kissed thee, what hast thou gained?

Si mi ri ni veti udo gia. My soul is consumed with fire.

9. Va le ni il che cadale 9. Dance lightly, more Celo more, more celo. gently, and gently still.

10. Plu hari ti tirete 10. Make not so much dust Plu huron cia pra seti. to destroy your embroidered hose.

[-]The Albanese, particularly the women, are frequently termed "Caliriotes," for what reason I inquired in vain.

The last stanza would puzzle a commentator: the men have certainly buskins of the most beautiful texture, but the ladies (to whom the above is supposed to be addressed) have nothing under their little yellow boots and slippers but a well-turned and sometimes very white ankle. The Arnaout girls are much handsomer than the Greeks, and their dress is far more picturesque. They preserve their shape much longer also, from being always in the open air. It is to be observed, that the Arnaout is not a _written_ language: the words of this song, therefore, as well as the one which follows, are spelt according to their p.r.o.nunciation. They are copied by one who speaks and understands the dialect perfectly, and who is a native of Athens.

1. Ndi sefda tinde ulavossa 1. I am wounded by thy love, and Vettimi upri vi lofsa. have loved but to scorch myself.

2. Ah vaisisso mi privi lofse 2. Thou hast consumed me! Ah, maid!

Si mi rini mi la vosse. thou has struck me to the heart.

3. Uti tasa roba stua 3. I have said I wish no dowry, Sitti eve tulati dua. but thine eyes and eyelashes.

4. Roba stinori ssidua 4. The accursed dowry I Qu mi sini vetti dua. want not, but thee only.

5. Qurmini dua civileni 5. Give me thy charms, and Roba ti siarmi tildi eni. let the portion feed the flames.

6. Utara pisa vaisisso me 6. I have loved thee, maid, simi rin ti hapti with a sincere soul, but Eti mi bire a piste si gui thou hast left me like dendroi tiltati. a withered tree.

7. Udi vura udorini udiri 7. If I have placed my hand on cicova cilti mora thy bosom, what have I gained?

Udorini talti hollna u ede my hand is withdrawn, but caimoni mora. retains the flame.

I believe the two last stanzas, as they are in a different measure, ought to belong to another ballad. An idea something similar to the thought in the last lines was expressed by Socrates, whose arm having come in contact with one of his "?pokolpioi [hupokolpioi]," Critobulus or Cleobulus, the philosopher complained of a shooting pain as far as his shoulder for some days after, and therefore very properly resolved to teach his disciples in future without touching them.

31.

Tambourgi! Tambourgi! thy 'larum afar.

Song, stanza 1, line 1.

These stanzas are partly taken from different Albanese songs, as far as I was able to make them out by the exposition of the Albanese in Romaic and Italian.

32.

Remember the moment when Previsa fell.

Song, stanza 8, line 1.

It was taken by storm from the French [October, 1798].

33.

Fair Greece! sad relic of departed Worth! etc.

Stanza lxxiii. line 1.