{'fraction_non_alphanumeric': 0.025493945188017845, 'fraction_numerical': 0.005098789037603569, 'mean_word_length': 4.902255639097745, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
The Oriental World of Lord Byron and the Orientalism of Literary Scholars

When analyzing Orientalism in the poetry of Lord (George Gordon) Byron (1788–1824), many critics have focused their attention on the Turkish tales as well as on Childe Harold’s Pilgrimage. It seems, though, that an investigation into the Orientalism expressed by Byron and his commentators would be incomplete without an in-depth study of Don Juan, as a large number of the poem’s cantos are situated in what is called the East. It is also essential to give more attention to the work because of the prevailing assumption existing among critics that Don Juan is a realistic and judicious portrayal of the people, religion, and culture of the Orient. For example, according to Andrew Rutherford, Byron attempted, throughout the poem, to produce a truthful account of the world through ‘his knowledge of things as they really are,’ and his realism was also ‘realistic in the fullest sense.’ While Byron is seen by Jonathon David Gross as one who truly appreciates Eastern culture, Brian Nellist looks upon him as a Western traveler who goes to the East and actually becomes an ‘emissary of that East back to the West.’ According to Anahid Melikian, Byron handled his Oriental theme with sympathy and understanding. She also states that, unlike his contemporaries, Byron did not view the Orient as either exotic or inferior. Other critics such as Guy Steffan, Elizabeth French Boyd, Omar Abdullah Bagabas, and Robinson Blann make similar claims regarding the authenticity of Don Juan. In the words