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Instead of putting into his friend, the Anglo-Germanist Williams Taylor's mouth, the opinion "that as we are aware that others frequently misinterpret us, we are equally liable to fall into the same error with respect to them," he alters it to the very different one, "That there is always some eye upon us; and that it is impossible to keep anything we do from the world, as it will assuredly be divulged by somebody as soon as it is his interest to do so."

In the autobiography even the sketches are intimate, like that of the "Anglo-Germanist," William Taylor; and they are not less surprising than the Spanish sketches, from the Rommany chal who "fought in the old Roman fashion. He bit, he kicked, and screamed like a wild cat of Benygant; casting foam from his mouth, and fire from his eyes" from this man upwards and downwards.

In "Wild Wales" he recalls translating Danish poems "over the desk of his ancient master, the gentleman solicitor of East Anglia," and learning Welsh by reading a Welsh "Paradise Lost" side by side with the original, and by having lessons on Sunday afternoons at his father's house from a groom named Lloyd. His chief master was William Taylor, the "Anglo-Germanist" of "Lavengro."

The writer had just entered into his eighteenth year, when he met at the table of a certain Anglo-Germanist an individual, apparently somewhat under thirty, of middle stature, a thin and weaselly figure, a sallow complexion, a certain obliquity of vision, and a large pair of spectacles.