He rightly remarked that Byron’s deadly sin in the eyes of the Georgian-English people was his Cosmopolitanism: he was the poetical representative of the Sturm und Drang period of the xixth century. He reflected, in his life and works, the wrath of noble minds at the collapse of the cause of freedom and the reactionary tendency of the century. Even in the distant regions of Monte Video Byron’s hundredth birthday was not forgotten, and Don Luis Desteffanio’s lecture was welcomed by literary society.
[381]. He cried out thinking of the mystical meaning of such name. So γνῶθι σεαυτόν, would mean in Sufí language—Learn from thyself what is thy Lord;—corresponding after a manner with the Christian “looking up through Nature to Nature’s God.”
[382]. The phrase prob. means so drunk that his circulation had apparently stopped.
[383]. This is the article usually worn by the professional buffoon. The cap of the “Sutarí” or jester of the Arnaut (Albanian) regiments—who is one of their professional braves—is usually a felt cone garnished with foxes’ brushes.
[384]. In Arab. “Sabbal alayhim (for Alayhinna, the usual masc. pro fem.) Al-Sattár” = lit. the Veiler let down a curtain upon them.
[385]. The barber being a surgeon and ever ready to bleed a madman.
[386]. i.e. Can play off equally well the soft-brained and the hard-headed.
[387]. i.e. a deputy (governor, etc.); in old days the governor of Constantinople; in these times a lieutenant-colonel, etc.
[388]. Which, as has been said, is the cab of Modern Egypt, like the gondola and the caïque. The heroine of the tale is a Nilotic version of “Aurora Floyd.”
[389]. In text “Rafaka” and infrà (p. 11) “Zafaka.”