The Syrian character is nothing if not complex, a mass of paradox whose contradictory elements it seems hopeless to attempt to reconcile. The politest and the most ruffianly of men, the most effusively frank and the most impenetrably wary, the most silent and the most voluble, the gayest in laughter and the most melancholy in song, is the Syrian. He will bully you so long as he has the majority, and he will beg for the privilege of tying your shoe’s latchet if the majority is with you. He will row a boat or drive a donkey under a noonday sun with a violence which threatens apoplexy; he will suddenly subside into a repose which no surrounding bustle can disturb. The captain of the _Rob Roy_ tells how in the Huleh region a native boy running alongside pointed his long gun at him at least twenty times with the cry of _bakhshish_, so close that he once knocked the barrel aside with his paddle; and yet in the tent that evening this same youngster “was my greatest favourite from his lively laugh and eyes like diamonds, and his quick perception of all I explained.” In a note on page 39 an adventure of our own is told which illustrates sufficiently the rapidity of change in the mood of the native. He is a civilised barbarian, a scrupulous fraud, an aged little child. No doubt so complex a character is traceable to many causes, but in the main it is the work of the desert. There the extreme conditions--the long hunger and the occasional surfeit, the great silence and the shrill speech in which that silence unburdens itself, the demand for desperate exertion and the long deep rest--these call forth the most opposite qualities, each in exaggerated degree.