136
CHILDE HAROLD’S PILGRIMAGE.
[CANTO II.
LVIII.
The wild Albanian kirtled to his knee,
With shawl-girt head and ornamented gun,
And gold-embroidered garments, fair to see;
The crimson-scarféd men of Macedon;
The Delhi with his cap of terror on,
And crooked glaive—the lively, supple Greek
And swarthy Nubia's mutilated son;
The bearded Turk that rarely deigns to speak,
Master of all around, too potent to be meek,
LIX.
Are mixed conspicuous: some recline in groups,[1]
Scanning the motley scene that varies round;
There some grave Moslem to devotion stoops,
- ↑ ["We were disturbed during the night by the perpetual carousal which seemed to be kept up in the gallery, and by the drum, and the voice of the 'muezzinn,' or chanter, calling the Turks to prayers from the minaret of the mosck attached to the palace. This chanter was a boy, and he sang out his hymn is a sort of loud melancholy recitative. He was a long time repeating the Eraun. The first exclamation was repeated four times, the remaining words twice; and the long and piercing note in which he concluded his confession of faith, by twice crying out the word 'hou!' ['At solemn sound of "Alia Hu!"' Giaour, i. 734] still rings in my ears."—Hobhouse's Travels in Albania, i. 95. D'Ohsonn gives the Eraun at full length: "Most high God! [four times repeated]. I acknowledge that there is no other God except God! I acknowledge that there is no other God except God! I acknowledge that Mohammed is the prophet of God! Come to prayer! Come to prayer! Come to the temple of salvation! Come to the temple of salvation! Great God! great God! There is no God except God!"—Oriental Antiquities (Philadelphia, 1788), p. 341.]
