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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..1018229 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #50457 (https://www.gutenberg.org/ebooks/50457) diff --git a/old/50457-8.txt b/old/50457-8.txt deleted file mode 100644 index 17318ee..0000000 --- a/old/50457-8.txt +++ /dev/null @@ -1,2643 +0,0 @@ -Project Gutenberg's The Luzumiyat of Abu'l-Ala, by Abu'l-Ala Al-Maarri - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Luzumiyat of Abu'l-Ala - Select from his Luzum ma la Yalzam and Suct us-Zand - -Author: Abu'l-Ala Al-Maarri - -Translator: Ameen Rihani - -Release Date: November 14, 2015 [EBook #50457] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE LUZUMIYAT OF ABU'L-ALA *** - - - - -Produced by Jeroen Hellingman and the Online Distributed -Proofreading Team at http://www.pgdp.net/ for Project -Gutenberg (This book was produced from scanned images of -public domain material from the Google Books project.) -This digital edition is dedicated to the people of Syria, -in the hope that the seeds of rationality will once again -find a fertile soil in your country. - - - - - - - - - THE LUZUMIYAT - OF - ABU'L-ALA - - Selected from his - Luzum ma la Yalzam and Suct uz-Zand - and first rendered into English - - - By - AMEEN RIHANI - Author of - The Book of Khaled - - - (Second Edition) - - NEW YORK - JAMES T. WHITE & CO., - 1920 - - - - - - - - - TO HIS ROYAL HIGHNESS - EMIR FEISAL - IN WHOM ARE CENTRED - THE HOPES AND ASPIRATIONS - OF THE SYRIAN PEOPLE - FOR A UNITED SYRIA - THIS BOOK - IS DEDICATED - - - - - - - - -"His poems generally known as the Luzumiyat arrest attention by their -boldness and originality as well as by the sombre and earnest tone -which pervades them."--Raynold A. Nicholson: A History of the Arabs. - - -"Abu'l-Ala is a poet many centuries ahead of his time."--Von Kremer. - - - - COPYRIGHTED 1918 BY - JAMES T. WHITE & CO. - - - - - - TO ABU'L-ALA - - - In thy fountained peristyles of Reason - Glows the light and flame of desert noons; - And in the cloister of thy pensive Fancy - Wisdom burns the spikenard of her moons. - - Closed by Fate the portals of the dwelling - Of thy sight, the light thus inward flowed; - And on the shoulders of the crouching Darkness - Thou hast risen to the highest road. - - I have seen thee walking with Canopus - Through the stellar spaces of the night; - I have heard thee asking thy Companion, - "Where be now my staff, and where thy light?" - - Abu'l-Ala, in the heaving darkness, - Didst thou not the whisperings hear of me? - In thy star-lit wilderness, my Brother, - Didst thou not a burdened shadow see? - - I have walked and I have slept beside thee, - I have laughed and I have wept as well; - I have heard the voices of thy silence - Melting in thy Jannat and thy hell. - - I remember, too, that once the Saki - Filled the antique cup and gave it thee; - Now, filled with the treasures of thy wisdom, - Thou dost pass that very cup to me. - - By the God of thee, my Syrian Brother, - Which is best, the Saki's cup or thine? - Which the mystery divine uncovers-- - If the cover covers aught divine. - - And if it lies hid in the soul of silence - Like incense in the dust of ambergris, - Wouldst thou burn it to perfume the terror - Of the caverns of the dried-up seas? - - Where'er it be, Oh! let it be, my Brother.-- - Though "thrice-imprisoned,"[9] thou hast forged us more - Solid weapons for the life-long battle - Than all the Heaven-taught Armorers of yore. - - "Thrice-imprisoned," thou wert e'en as mighty, - In the boundless kingdom of the mind, - As the whirlwind that compels the ocean, - As the thunder that compels the wind. - - "Thrice-imprisoned," thou wert freer truly - Than the liegeless Arab on his mare,-- - Freer than the bearers of the sceptre,-- - Freer than the winged lords of the air. - - "Thrice-imprisoned," thou hast sung of freedom - As but a few of all her heroes can; - Thou hast undermined the triple prison - Of the mind and heart and soul of man. - - In thy fountained peristyles of Reason - Glows the light and flame of desert noons; - And in the cloister of thy pensive Fancy - Wisdom burns the spikenard of her moons. - - - Ameen Rihani. - - - - - - - - -PREFACE. - - -When Christendom was groping amid the superstitions of the Dark Ages, -and the Norsemen were ravaging the western part of Europe, and the -princes of Islam were cutting each other's throats in the name of -Allah and his Prophet, Abu'l-Ala'l-Ma'arri was waging his bloodless war -against the follies and evils of his age. He attacked the superstitions -and false traditions of law and religion, proclaiming the supremacy -of the mind; he hurled his trenchant invectives at the tyranny, the -bigotry, and the quackery of his times, asserting the supremacy of -the soul; he held the standard of reason high above that of authority, -fighting to the end the battle of the human intellect. An intransigeant -with the exquisite mind of a sage and scholar, his weapons were never -idle. But he was, above all, a poet; for when he stood before the -eternal mystery of Life and Death, he sheathed his sword and murmured -a prayer. - -Abu'l-Ala'l-Ma'arri, [1] the Lucretius of Islam, the Voltaire of the -East, was born in the spring of the year 973 A.D., in the obscure -village of Ma'arrah, [2] which is about eighteen hours' journey south -of Halab (Aleppo). And instead of Ahmad ibn Abdallah ibn Sulaiman -ut-Tanukhi (of the tribe of Tanukh), he was called Abu'l-Ala (the -Father of the Sublime), by which patronymic of distinction he is -popularly known throughout the Arabic speaking world. - -When a boy, Abu'l-Ala was instructed by his father; and subsequently -he was sent to Halab, where he pursued his studies under the tutelage -of the grammarian Muhammad ibn Abdallah ibn us-Sad. His literary -proclivity was evinced in his boyhood, and he wrote verse, we are -told, before he was ten. Of these juvenile pieces, however, nothing -was preserved. - -He was about five years old when he fell a victim to small-pox and -almost lost his sight from it. But a weakness in his eyes continued to -trouble him and he became, in middle age, I presume, totally blind. [3] -Some of his biographers would have us believe he was born blind; -others state that he completely lost his sight when he was attacked by -the virulent disease; and a few intimate that he could see slightly -at least with the right eye. As to whether or not he was blind when -he was sent to Halab to pursue his studies, his biographers do not -agree. My theory, based on the careful perusal of his poems and on -a statement advanced by one of his biographers, [4] is that he lost -his sight gradually, and total blindness must have come upon him -either in his youth or his middle age. [5] Were we to believe that -he was born blind or that he suffered the complete loss of his sight -in his boyhood, we should be at a loss to know, not how he wrote his -books, for that was done by dictation; not how he taught his pupils, -for that was done by lectures; but how he himself was taught in the -absence in those days of a regular system of instruction for the blind. - -In 1010 A.D. he visited Baghdad, the centre of learning and -intelligence and the capital of the Abbaside Khalifs, where he passed -about two years and became acquainted with most of the literary men of -the age. [6] He attended the lectures and the readings of the leading -doctors and grammarians, meeting with a civil reception at the hand -of most of them. - -He also journeyed to Tripoli, [7] which boasted, in those days, -of many public libraries; and, stopping at Ladhekiyah, he lodged in -a monastery where he met and befriended a very learned monk. They -discussed theology and metaphysics, digressing now and then into the -profane. Indeed, the skepticism which permeates Abu'l-Ala's writings -must have been nursed in that convent by both the monk and the poet. - -These are virtually the only data extant showing the various sources -of Abu'l-Ala's learning; but to one endowed with a keen perception, -a powerful intellect, a prodigious memory, together with strong innate -literary predilections, they seem sufficient. He was especially noted -for the extraordinary memory he possessed; and around this our Arab -biographers and historians weave a thick net of anecdotes, or rather -fables. I have no doubt that one with such a prodigious memory could -retain in a few minutes what the average person could not; but when -we are told that Abu'l-Ala once heard one of his pupils speaking -with a friend in a foreign tongue, and repeated there and then the -long conversation, word for word, without having the slightest idea -of its meaning, we are disposed to be skeptical. Many such anecdotes -are recorded and quoted by his Arab biographers without as much as -intimating a single doubt. [8] The fact that he was blind partly -explains the abnormal development of his memory. - -His career as poet and scholar dates from the time he returned from -Baghdad. This, so far as is known, was the last journey he made; -and his home became henceforth his earthly prison. He calls himself -"A double-fettered Captive," [9] his solitude being the one and his -blindness the other. Like most of the scholars of his age, in the -absence of regular educational institutions, with perhaps one or two -exceptions, he had to devote a part of his time to the large number of -pupils that flocked to Ma'arrah from all parts of Asia Minor, Arabia, -and India. Aside from this, he dictated to his numerous amanuenses -on every possible and known subject. He is not only a poet of the -first rank, but an essayist, a literary critic, and a mathematician -as well. Everything he wrote was transcribed by many of his admirers, -as was the fashion then, and thus circulated far and near. Nothing, -however, was preserved but his Diwans, his Letters and the Epistle -of Forgiveness, [10] of which I shall yet have occasion to speak. [11] - -His reputation as poet and scholar had now, after his return from -Baghdad, overleaped the horizons, as one writer has it. Honors were -conferred upon him successively by the rulers and the scholars of -his age. His many noted admirers were in constant communication with -him. He was now looked upon as "the master of the learned, the chief of -the wise, and the sole monarch of the bards of his century." Ma'arrah -[12] became the Mecca of every literary aspirant; ambitious young -scholars came there for enlightenment and inspiration. And Abu'l-Ala, -although a pessimist, received them with his wonted kindness and -courtesy. He imparted to them what he knew, and told them candidly -what he would not teach, since, unlike other philosophers, he was not -able to grasp the truth, nor compass the smallest of the mysteries of -creation. In his latter days, youthful admirers sought his blessing, -which he, as the childless father of all, graciously conferred, -but with no self-assumed spiritual or temporal authority. - -For thirty years he remained a vegetarian, living the life of an -ascetic. [13] This mode of living led his enemies to accuse him of -renouncing Islam and embracing Brahminism, one of the tenets of which -forbids the slaughter of animals. The accusation was rather sustained -by the dispassionate attitude he held towards it, and, furthermore, -by his vehement denunciation of the barbarous practice of killing -animals for food or for sport. - -Most of the censors of Abu'l-Ala were either spurred to their task -by bigotry or animated by jealousy and ignorance. They held him up -to ridicule and opprobrium, and such epithets as heretic, atheist, -renegade, etc., were freely applied. But he was supremely indifferent -to them all, [14] and never would he cross swords with any particular -individual; he attacked the false doctrines they were teaching, -turning a deaf ear to the virulent vituperations they hurled upon -him. I fail to find in the three volumes of his poems, even in the -Letters, one acrimonious line savoring of personality. - -Ibn-Khillikan, The Plutarch of Arabia, who is cautious and guarded -in his statements, speaking of Abu'l-Ala, truly says: - -"His asceticism, his deep sense of right and wrong, his powerful -intellect, his prodigious memory, and his wide range of learning, -are alike acknowledged by both friend and foe." - -His pessimism was natural, in part hereditary. The man was nothing -if not genuine and sincere. Ruthlessly he said what he thought and -felt. He had no secrets to hide from the world, no thoughts which -he dared not express. His soul was as open as Nature; his mind -was the polished mirror of his age. [15] It may be that had he not -been blind-stricken and had not small-pox disfigured his features, -he might have found a palliative in human society. His pessimism -might not have been cured, but it might have been rendered at least -enticing. Good-fellowship might have robbed it of its sting. Nor is -his strong aversion to marriage, in view of these facts, surprising. - -He lived to know that "his fame spread from the sequestered village of -Ma'arrah to the utmost confines of the Arabic speaking world." In the -spring of 1055 A.D. he died, and was buried in a garden surrounding -his home. Adh-Dhahabi states that there were present at his grave -eighty poets, and that the Koran was read there two hundred times -in a fortnight. Eighty poets in the small town of Ma'arrah sounds -incredible. But we must bear in mind that almost every one who studies -the Arabic grammar has also to study prosody and versification and -thus become at least a rhymster. Even to-day, the death of a noted -person among the Arabs, is always an occasion for the display of much -eloquence and tears, both in prose and verse. - -Abu'l-Ala, beside being a poet and scholar of the first rank, was -also one of the foremost thinkers of his age. Very little is said -of his teachings, his characteristics, his many-sided intellect, in -the biographies I have read. The fact that he was a liberal thinker, -a trenchant writer,--free, candid, downright, independent, skeptical -withal,--answers for the neglect on the part of Mohammedan doctors, -who, when they do discuss him, try to conceal from the world what -his poems unquestionably reveal. I am speaking, of course, of the -neglect after his death. For during his life-time he was much honored, -as I have shown, and many distinguished travellers came especially -to Ma'arrah to see him. He was also often called upon to act as -intercessor with the Emirs for the natives of his village. [16] - -The larger collection of his poems, the Luzumiyat, [17] was published -in Cairo, in two volumes, by Azeez Zind, from an original Ms. written -in the twelfth century, under Abu'l-Ala's own title Luzum ma la -Yalzam, or the Necessity of what is Unnecessary. This title refers to -the special system of rhyming which the poet adopted. And the poems, -published in desultory fashion, were written, it seems, at different -periods of his life, and are arranged according to his particular -alphabetical system of rhyming. They bear no titles except, "And he -also says, rhyming with so and so," whatever the consonant and vowel -may be. In his Preface to the Luzumiyat he says: - -"It happened that I composed these poems during the past years, -and in them I have always aimed at the truth. They are certainly -free from the blandishments of exaggeration. And while some of them -are written in glorification of God, who is above such glory, others -are, as it were, a reminder to those who forget, a pinch to those who -sleep, and a warning to the children of the earth against the wiles -of the great world, where human rights and human gratitude are often -strangled by the same hand of Fate." - -As for the translation of these chosen quatrains, let me say at -the outset that it is almost impossible to adhere to the letter -thereof and convey the meaning without being insipid, dull, and at -times even ridiculous. There being no affinity between the Arabic -and the English, their standards of art and beauty widely differ, -and in the process of transformation the outer garment at times -must necessarily be doffed. I have always adhered to the spirit, -however, preserving the native imagery where it was not too clannish -or grotesque. I have added nothing that was foreign to the ruling idea, -nor have I omitted anything that was necessary to the completion of the -general thought. One might get an idea of what is called a scholarly -translation from the works of any of the Orientalists who have made -a study of Abu'l-Ala. The first English scholar to mention the poet, -as far as I know, was J. D. Carlisle, who in his "Specimens of Arabic -Poetry", published in 1810, has paraphrased in verse a quatrain on -Pride and Virtue. He also translated into Latin one of Abu'l-Ala's bold -epigrams, fearing, I suppose, to publish it at that time in English. - -The quatrains which are here published are culled from the three -Volumes of his poems, and they are arranged, as nearly as may be, -in the logical order of their sequence of thought. They form a kind -of eclogue, which the poet-philosopher delivers from his prison -in Ma'arrah. - -Once, in Damascus, I visited, with some friends, a distinguished Sufi; -and when the tea was being served, our host held forth on the subject -of Abu'l-Ala's creed. He quoted from the Luzumiyat to show that the -poet-philosopher of Ma'arrah was a true Sufi, and of the highest -order. "In his passionate hatred of the vile world and all the vile -material manifestations of life," quoth our host, "he was like a -dervish dancing in sheer bewilderment; a holy man, indeed, melting -in tears before the distorted image of Divinity. In his aloofness, -as in the purity of his spirit, the ecstatic negations of Abu'l-Ala -can only be translated in terms of the Sufi's creed. In his raptures, -shathat, he was as distant as Ibn ul-Arabi; and in his bewilderment, -heirat, he was as deeply intoxicated as Ibn ul-Fared. If others have -symbolized the Divinity in wine, he symbolized it in Reason, which is -the living oracle of the Soul; he has, in a word, embraced Divinity -under the cover of a philosophy of extinction."... - -This, and more such from our Sufi host, to which the guests gently -nodded understanding. One of them, a young poet and scholar, -even added that most of the irreligious opinions that are found in -the Luzumiyat were forced upon the poet by the rigorous system of -rhyming he adopted. The Rhyme, then, is responsible for the heresies -of Abu'l-Ala! Allah be praised! But this view of the matter was not -new to me. I have heard it expressed by zealous Muslem scholars, who -see in Abu'l-Ala an adversary too strong to be allowed to enlist with -the enemy. They will keep him, as one of the "Pillars of the Faith," -at any cost. Coming from them, therefore, this rhyme-begotten heresy -theory is not surprising. - -But I am surprised to find a European scholar like Professor -Margoliouth giving countenance to such views; even repeating, to -support his own argument, [18] such drivel. For if the system of -rhyme-ending imposes upon the poet his irreligious opinions, how can -we account for them in his prose writings? How, for instance, explain -his book "Al-fusul wal Ghayat" (The Chapters and the Purposes), a -work in which he parodied the Koran itself, and which only needed, -as he said, to bring it to the standard of the Book, "the polishing -of four centuries of reading in the pulpit?" And how account for his -"Risalat ul-Ghufran" (Epistle of Forgiveness), a most remarkable work -both in form and conception?--a Divina Comedia in its cotyledonous -state, as it were, only that Abu'l-Ala does not seem to have relished -the idea of visiting Juhannam. He must have felt that in his "three -earthly prisons" he had had enough of it. So he visits the Jannat -and there meets the pagan bards of Arabia lulling themselves in -eternal bliss under the eternal shades of the sidr tree, writing and -reading and discussing poetry. Now, to people the Muslem's Paradise -with heathen poets who have been forgiven,--hence the title of the -Work,--and received among the blest,--is not this clear enough, bold -enough, loud enough even for the deaf and the blind? "The idea," -says Professor Nicholson, speaking of The Epistle of Forgiveness, -[19] "is carried out with such ingenuity and in a spirit of audacious -burlesque that reminds one of Lucien." - -This does not mean, however, that the work is essentially of a -burlesque quality. Abu'l-Ala had humor; but his earnest tone is never -so little at an ebb as when he is in his happiest mood. I quote from -The Epistle of Forgiveness: - - - "Sometimes you may find a man skilful in his trade," says the - Author, "perfect in sagacity and in the use of arguments, but - when he comes to religion he is found obstinate, so does he - follow in the old groove. Piety is implanted in human nature; - it is deemed a sure refuge. To the growing child, that which - falls from his elders' lips is a lesson that abides with him all - his life. Monks in their cloisters and devotees in their mosques - accept their creed just as a story is handed down from him who - tells it, without distinguishing between a true interpreter and - a false. If one of these had found his kin among the Magians, or - among the Sabians, he would have become nearly or quite like them." - - -It does seem, too, that the strain of heterodoxy in Abu'l-Ala is partly -hereditary. His father, who was also a poet of some distinction, -and his maternal uncle, were both noted for their liberal opinions -in religious matters. And he himself, alluding in one of his poems -to those who reproached him for not making the pilgrimage to Mecca, -says that neither his father, nor his cousin, nor his uncle had -pilgrimaged at all, and that he will not be denied forgiveness, if they -are forgiven. And if they are not, he had as lief share their fate. - -But aside from his prose writings, in which, do what we may, we can not -explain away his supposed heresies, we find in the Luzumiyat themselves -his dominant ideas on religion, for instance, being a superstition; -wine, an unmitigated evil; virtue, its own reward; the cremation of the -dead, a virtue; the slaughter or even the torture of animals a crime; -[20] doubt, a way to truth; reason, the only prophet and guide;--we -find these ideas clothed in various images and expressed in varied -forms, but unmistakable in whatever guise we find them. Here, for -instance, is Professor Nicholson's almost literal translation of a -quatrain from the Luzumiyat: - - - Hanifs [21] are stumbling, Christians gone astray, - Jews wildered, Magians far on error's way:-- - We mortals are composed of two great schools, - Enlightened knaves or else religious fools. - - -And here is the same idea, done in a large picture. The translation, -literal too, is mine: - - - 'Tis strange that Kusrah and his people wash - Their faces in the staling of the kine; - And that the Christians say, Almighty God - Was tortured, mocked, and crucified in fine: - And that the Jews should picture Him as one - Who loves the odor of a roasting chine; - And stranger still that Muslems travel far - To kiss a black stone said to be divine:-- - Almighty God! will all the human race - Stray blindly from the Truth's most sacred shrine? [22] - - -The East still remains the battle-ground of the creeds. And the -Europeans, though they shook off their fetters of moral and spiritual -slavery, would keep us in ours to facilitate the conquests of European -commence. Thus the terrible Dragon, which is fed by the foreign -missionary and the native priest, by the theologians and the ulama, -and which still preys upon the heart and mind of Orient nations, is as -active to-day as it was ten centuries ago. Let those consider this, -who think Von Kremer exaggerated when he said, "Abu'l-Ala is a poet -many centuries ahead of his time." - -Before closing, I wish to call attention to a question which, though -unimportant in itself, is nevertheless worthy of the consideration -of all admirers of Arabic and Persian literature. I refer to -the similarity of thought which exists between Omar Khayyam and -Abu'l-Ala. The former, I have reason to believe, was an imitator or a -disciple of the latter. The birth of the first poet and the death of -the second are not very far apart: they both occurred about the middle -of the eleventh century. The English reading public here and abroad -has already formed its opinion of Khayyam. Let it not, therefore, -be supposed that in making this claim I aim to shake or undermine -its great faith. My desire is to confirm, not to weaken,--to expand, -not contract,--the Oriental influence on the Occidental mind. - -Whoever will take the trouble, however, to read Omar Khayyam in -conjunction with what is here translated of Abu'l-Ala, can not fail -to see the striking similarity in thought and image of certain phases -of the creed or the lack of creed of both poets. [23] To be sure, -the skepticism and pessimism of Omar are to a great extent imported -from Ma'arrah. But the Arab philosopher in his religious opinions -is far more outspoken than the Persian tent-maker. I do not say that -Omar was a plagiarist; but I say this: just as Voltaire, for instance, -acquired most of his liberal and skeptical views from Hobbes, Locke and -Bayle, so did Omar acquire his from Abu'l-Ala. In my notes to these -quatrains I have quoted in comparison from both the Fitzgerald and -the Herron-Allen versions of the Persian poet; and with so much or so -little said, I leave the matter in the hands of the reader, who, upon -a careful examination, will doubtless bear me out as to this point. - - - - - - - - - THE LUZUMIYAT OF ABU'L-ALA - - - -I - -The sable wings of Night pursuing day -Across the opalescent hills, display - The wondrous star-gems which the fiery suns -Are scattering upon their fiery way. - - - -II - -O my Companion, Night is passing fair, -Fairer than aught the dawn and sundown wear; - And fairer, too, than all the gilded days -Of blond Illusion and its golden snare. - - - -III - -Hark, in the minarets muazzens call -The evening hour that in the interval - Of darkness Ahmad might remembered be,-- -Remembered of the Darkness be they all. - - - -IV - -And hear the others who with cymbals try -To stay the feet of every passer-by: - The market-men along the darkling lane -Are crying up their wares.--Oh! let them cry. - - - -V - -Mohammed or Messiah! Hear thou me, -The truth entire nor here nor there can be; - How should our God who made the sun and moon -Give all his light to One, I cannot see. - - - -VI - -Come, let us with the naked Night now rest -And read in Allah's Book the sonnet best: - The Pleiads--ah, the Moon from them departs,-- -She draws her veil and hastens toward the west. - - - -VII - -The Pleiads follow; and our Ethiop Queen, -Emerging from behind her starry screen, - Will steep her tresses in the saffron dye -Of dawn, and vanish in the morning sheen. - - - -VIII - -The secret of the day and night is in -The constellations, which forever spin - Around each other in the comet-dust;-- -The comet-dust and humankind are kin. - - - -IX - -But whether of dust or fire or foam, the glaive -Of Allah cleaves the planet and the wave - Of this mysterious Heaven-Sea of life, -And lo! we have the Cradle of the Grave. - - - -X - -The Grave and Cradle, the untiring twain, -Who in the markets of this narrow lane - Bordered of darkness, ever give and take -In equal measure--what's the loss or gain? - - - -XI - -Ay, like the circles which the sun doth spin -Of gossamer, we end as we begin; - Our feet are on the heads of those that pass, -But ever their Graves around our Cradles grin. - - - -XII - -And what avails it then that Man be born -To joy or sorrow?--why rejoice or mourn? - The doling doves are calling to the rose; -The dying rose is bleeding o'er the thorn. - - - -XIII - -And he the Messenger, who takes away -The faded garments, purple, white, and gray - Of all our dreams unto the Dyer, will -Bring back new robes to-morrow--so they say. - - - -XIV - -But now the funeral is passing by, -And in its trail, beneath this moaning sky, - The howdaj comes,--both vanish into night; -To me are one, the sob, the joyous cry. - - - -XV - -With tombs and ruined temples groans the land -In which our forbears in the drifting sand - Arise as dunes upon the track of Time -To mark the cycles of the moving hand - - - -XVI - -Of Fate. Alas! and we shall follow soon -Into the night eternal or the noon; - The wayward daughters of the spheres return -Unto the bosom of their sun or moon. - - - -XVII - -And from the last days of Thamud and 'Ad -Up to the first of Hashem's fearless lad, - Who smashed the idols of his mighty tribe, -What idols and what heroes Death has had! - - - -XVIII - -Tread lightly, for the mighty that have been -Might now be breathing in the dust unseen; - Lightly, the violets beneath thy feet -Spring from the mole of some Arabian queen. - - - -XIX - -Many a grave embraces friend and foe -Behind the curtain of this sorry show - Of love and hate inscrutable; alas! -The Fates will always reap the while they sow. - - - -XX - -The silken fibre of the fell Zakkum, -As warp and woof, is woven on the loom - Of life into a tapestry of dreams -To decorate the chariot-seat of Doom. - - - -XXI - -And still we weave, and still we are content -In slaving for the sovereigns who have spent - The savings of the toiling of the mind -Upon the glory of Dismemberment. - - - -XXII - -Nor king nor slave the hungry Days will spare; -Between their fangéd Hours alike we fare: - Anon they bound upon us while we play -Unheeding at the threshold of their Lair. - - - -XXIII - -Then Jannat or Juhannam? From the height -Of reason I can see nor fire nor light - That feeds not on the darknesses; we pass -From world to world, like shadows through the night. - - - -XXIV - -Or sleep--and shall it be eternal sleep -Somewhither in the bosom of the deep - Infinities of cosmic dust, or here -Where gracile cypresses the vigil keep! - - - -XXV - -Upon the threshing-floor of life I burn -Beside the Winnower a word to learn; - And only this: Man's of the soil and sun, -And to the soil and sun he shall return. - - - -XXVI - -And like a spider's house or sparrow's nest, -The Sultan's palace, though upon the crest - Of glory's mountain, soon or late must go: -Ay, all abodes to ruin are addrest. - - - -XXVII - -So, too, the creeds of Man: the one prevails -Until the other comes; and this one fails - When that one triumphs; ay, the lonesome world -Will always want the latest fairy-tales. - - - -XXVIII - -Seek not the Tavern of Belief, my friend, -Until the Sakis there their morals mend; - A lie imbibed a thousand lies will breed, -And thou'lt become a Saki in the end. - - - -XXIX - -By fearing whom I trust I find my way -To truth; by trusting wholly I betray - The trust of wisdom; better far is doubt -Which brings the false into the light of day. - - - -XXX - -Or wilt thou commerce have with those who make -Rugs of the rainbow, rainbows of the snake, - Snakes of a staff, and other wondrous things?-- -The burning thirst a mirage can not slake. - - - -XXXI - -Religion is a maiden veiled in prayer, -Whose bridal gifts and dowry those who care - Can buy in Mutakallem's shop of words -But I for such, a dirham can not spare. - - - -XXXII - -Why linger here, why turn another page? -Oh! seal with doubt the whole book of the age; - Doubt every one, even him, the seeming slave -Of righteousness, and doubt the canting sage. - - - -XXXIII - -Some day the weeping daughters of Hadil -Will say unto the bulbuls: "Let's appeal - To Allah in behalf of Brother Man -Who's at the mercy now of Ababil." - - - -XXXIV - -Of Ababil! I would the tale were true,-- -Would all the birds were such winged furies too; - The scourging and the purging were a boon -For me, O my dear Brothers, and for you. - - - -XXXV - -Methinks Allah divides me to complete -His problem, which with Xs is replete; - For I am free and I am too in chains -Groping along the labyrinthine street. - - - -XXXVI - -And round the Well how oft my Soul doth grope -Athirst; but lo! my Bucket hath no Rope: - I cry for water, and the deep, dark Well -Echoes my wailing cry, but not my hope. - - - -XXXVII - -Ah, many have I seen of those who fell -While drawing, with a swagger, from the Well; - They came with Rope and Bucket, and they went -Empty of hand another tale to tell. - - - -XXXVIII - -The I in me standing upon the brink -Would leap into the Well to get a drink; - But how to rise once in the depth, I cry, -And cowardly behind my logic slink. - - - -XXXIX - -And she: "How long must I the burden bear? -How long this tattered garment must I wear?" - And I: "Why wear it? Leave it here, and go -Away without it--little do I care." - - - -XL - -But once when we were quarreling, the door -Was opened by a Visitor who bore - Both Rope and Pail; he offered them and said: -"Drink, if you will, but once, and nevermore." - - - -XLI - -One draught, more bitter than the Zakkum tree, -Brought us unto the land of mystery - Where rising Sand and Dust and Flame conceal -The door of every Caravanseri. - - - -XLII - -We reach a door and there the legend find. -"To all the Pilgrims of the Human Mind: - Knock and pass on!" We knock and knock and knock; -But no one answers save the moaning wind. - - - -XLIII - -How like a door the knowledge we attain, -Which door is on the bourne of the Inane; - It opens and our nothingness is closed,-- -It closes and in darkness we remain. - - - -XLIV - -Hither we come unknowing, hence we go; -Unknowing we are messaged to and fro; - And yet we think we know all things of earth -And sky--the suns and stars we think we know. - - - -XLV - -Apply thy wit, O Brother, here and there -Upon this and upon that; but beware - Lest in the end--ah, better at the start -Go to the Tinker for a slight repair. - - - -XLVI - -And why so much ado, and wherefore lay -The burden of the years upon the day - Of thy vain dreams? Who polishes his sword -Morning and eve will polish it away. - - - -XLVII - -I heard it whispered in the cryptic streets -Where every sage the same dumb shadow meets: - "We are but words fallen from the lipe of Time -Which God, that we might understand, repeats." - - - -XLVIII - -Another said: "The creeping worm hath shown, -In her discourse on human flesh and bone, - That Man was once the bed on which she slept-- -The walking dust was once a thing of stone." - - - -XLIX - -And still another: "We are coins which fade -In circulation, coins which Allah made - To cheat Iblis: the good and bad alike -Are spent by Fate upon a passing shade." - - - -L - -And in the pottery the potter cried, -As on his work shone all the master's pride-- - "How is it, Rabbi, I, thy slave, can make -Such vessels as nobody dare deride?" - - - -LI - -The Earth then spake: "My children silent be; -Same are to God the camel and the flea: - He makes a mess of me to nourish you, -Then makes a mess of you to nourish me." - - - -LII - -Now, I believe the Potter will essay -Once more the Wheel, and from a better clay - Will make a better Vessel, and perchance -A masterpiece which will endure for aye. - - - -LIII - -With better skill he even will remould -The scattered potsherds of the New and Old; - Then you and I will not disdain to buy, -Though in the mart of Iblis they be sold. - - - -LIV - -Sooth I have told the masters of the mart -Of rusty creeds and Babylonian art - Of magic. Now the truth about myself-- -Here is the secret of my wincing heart. - - - -LV - -I muse, but in my musings I recall -The days of my iniquity; we're all-- - An arrow shot across the wilderness, -Somewhither, in the wilderness must fall. - - - -LVI - -I laugh, but in my laughter-cup I pour -The tears of scorn and melancholy sore; - I who am shattered by the hand of Doubt, -Like glass to be remoulded nevermore. - - - -LVII - -I wheedle, too, even like my slave Zeidun, -Who robs at dawn his brother, and at noon - Prostrates himself in prayer--ah, let us pray -That Night might blot us and our sins, and soon. - - - -LVIII - -But in the fatal coils, without intent, -We sin; wherefore a future punishment? - They say the metal dead a deadly steel -Becomes with Allah's knowledge and consent. - - - -LIX - -And even the repentant sinner's tear -Falling into Juhannam's very ear, - Goes to its heart, extinguishes its fire -For ever and forever,--so I hear. - - - -LX - -Between the white and purple Words of Time -In motley garb with Destiny I rhyme: - The colored glasses to the water give -The colors of a symbolry sublime. - - - -LXI - -How oft, when young, my brothers I would shun -If their religious feelings were not spun - Of my own cobweb, which I find was but -A spider's revelation of the sun. - - - -LXII - -Now, mosques and churches--even a Kaaba Stone, -Korans and Bibles--even a martyr's bone,-- - All these and more my heart can tolerate, -For my religion's love, and love alone. - - - -LXIII - -To humankind, O Brother, consecrate -Thy heart, and shun the hundred Sects that prate - About the things they little know about-- -Let all receive thy pity, none thy hate. - - - -LXIV - -The tavern and the temple also shun, -For sheikh and libertine in sooth are one; - And when the pious knave begins to pule, -The knave in purple breaks his vow anon. - - - -LXV - -"The wine's forbidden," say these honest folk, -But for themselves the law they will revoke; - The snivelling sheikh says he's without a garb, -When in the tap-house he had pawned his cloak. - - - -LXVI - -Or in the house of lust. The priestly name -And priestly turban once were those of Shame-- - And Shame is preaching in the pulpit now-- -If pulpits tumble down, I'm not to blame. - - - -LXVII - -For after she declaims upon the vows -Of Faith, she pusillanimously bows - Before the Sultan's wine-empurpled throne, -While he and all his courtezans carouse. - - - -LXVIII - -Carouse, ye sovereign lords! The wheel will roll -Forever to confound and to console: - Who sips to-day the golden cup will drink -Mayhap to-morrow in a wooden bowl-- - - - -LXIX - -And silent drink. The tumult of our mirth -Is worse than our mad welcoming of birth:-- - The thunder hath a grandeur, but the rains, -Without the thunder, quench the thirst of Earth. - - - -LXX - -The Prophets, too, among us come to teach, -Are one with those who from the pulpit preach; - They pray, and slay, and pass away, and yet -Our ills are as the pebbles on the beach. - - - -LXXI - -And though around the temple they should run -For seventy times and seven, and in the sun - Of mad devotion drool, their prayers are still -Like their desires of feasting-fancies spun. - - - -LXXII - -Oh! let them in the marshes grope, or ride -Their jaded Myths along the mountain-side; - Come up with me, O Brother, to the heights -Where Reason is the prophet and the guide. - - - -LXXIII - -"What is thy faith and creed," they ask of me, -"And who art thou? Unseal thy pedigree."-- - I am the child of Time, my tribe, mankind, -And now this world's my caravanseri. - - - -LXXIV - -Swathe thee in wool, my Sufi friend, and go -Thy way; in cotton I the wiser grow; - But we ourselves are shreds of earth, and soon -The Tailor of the Universe will sew. - - - -LXXV - -Ay! suddenly the mystic Hand will seal -The saint's devotion and the sinner's weal; - They worship Saturn, but I worship One -Before whom Saturn and the Heavens kneel. - - - -LXXVI - -Among the crumbling ruins of the creeds -The Scout upon his camel played his reeds - And called out to his people,--"Let us hence! -The pasture here is full of noxious weeds." - - - -LXXVII - -Among us falsehood is proclaimed aloud, -But truth is whispered to the phantom bowed - Of conscience; ay! and Wrong is ever crowned, -While Right and Reason are denied a shroud. - - - -LXXVIII - -And why in this dark Kingdom tribute pay? -With clamant multitudes why stop to pray? - Oh! hear the inner Voice:--"If thou'lt be right, -Do what they deem is wrong, and go thy way." - - - -LXXIX - -Thy way unto the Sun the spaces through -Where king Orion's black-eyed huris slew - The Mother of Night to guide the Wings that bear -The flame divine hid in a drop of dew. - - - -LXXX - -Hear ye who in the dust of ages creep, -And in the halls of wicked masters sleep:-- - Arise! and out of this wan weariness -Where Allah's laughter makes the Devil weep. - - - -LXXXI - -Arise! for lo! the Laughter and the Weeping -Reveal the Weapon which the Master's keeping - Above your heads; Oh! take it up and strike! -The lion of tyranny is only sleeping. - - - -LXXXII - -Evil and Virtue? Shadows on the street -Of Fate and Vanity,--but shadows meet - When in the gloaming they are hast'ning forth -To drink with Night annihilation sweet. - - - -LXXXIII - -And thus the Sun will write and will efface -The mystic symbols which the sages trace - In vain, for all the worlds of God are stored -In his enduring vessels Time and Space. - - - -LXXXIV - -For all my learning's but a veil, I guess, -Veiling the phantom of my nothingness; - Howbeit, there are those who think me wise, -And those who think me--even these I bless. - - - -LXXXV - -And all my years, as vapid as my lay, -Are bitter morsels of a mystic day,-- - The day of Fate, who carries in his lap -December snows and snow-white flowers of May. - - - -LXXXVI - -Allah, my sleep is woven through, it seems, -With burning threads of night and golden beams; - But when my dreams are evil they come true; -When they are not, they are, alas! but dreams. - - - -LXXXVII - -The subtle ways of Destiny I know; -In me she plays her game of "Give and Go." - Misfortune I receive in cash, but joy, -In drafts on Heaven or on the winds that blow. - - - -LXXXVIII - -I give and go, grim Destiny,--I play -Upon this checker-board of Night and Day - The dark game with thee, but the day will come -When one will turn the Board the other way. - - - -LXXXIX - -If my house-swallow, laboring with zest, -Felt like myself the burden of unrest, - Unlightened by inscrutable designs, -She would not build her young that cozy nest. - - - -XC - -Thy life with guiltless life-blood do not stain-- -Hunt not the children of the woods; in vain - Thou'lt try one day to wash thy bloody hand: -Nor hunter here nor hunted long remain. - - - -XCI - -Oh! cast my dust away from thee, and doff -Thy cloak of sycophancy and like stuff: - I'm but a shadow on the sandy waste,-- -Enough of thy duplicity, enough! - - - -XCII - -Behold! the Veil that hid thy soul is torn -And all thy secrets on the winds are borne: - The hand of Sin has written on thy face -"Awake, for these untimely furrows warn!" - - - -XCIII - -A prince of souls, 'tis sung in ancient lay, -One morning sought a vesture of the clay; - He came into the Pottery, the fool-- -The lucky fool was warned to stay away. - - - -XCIV - -But I was not. Oh! that the Fates decree -That I now cast aside this clay of me; - My soul and body wedded for a while -Are sick and would that separation be. - - - -XCV - -"Thou shalt not kill!"--Thy words, O God, we heed, -Though thy two Soul-devouring Angels feed - Thy Promise of another life on this,-- -To have spared us both, it were a boon indeed. - - - -XCVI - -Oh! that some one would but return to tell -If old Nubakht is burning now in hell, - Or if the workers for the Prophet's prize -Are laughing at his Paradisal sell. - - - -XCVII - -Once I have tried to string a few Pearl-seeds -Upon my Rosary of wooden beads; - But I have searched, and I have searched in vain -For pearls in all the caverns of the creeds - - - -XCVIII - -And in the palaces of wealth I found -Some beads of wisdom scattered on the ground, - Around the throne of Power, beneath the feet -Of fair-faced slaves with flowers of folly crowned. - - - -XCIX - -Thy wealth can shed no tears around thy bier, -Nor can it wash thy hands of shame and fear; - Ere thou departest with it freely part,-- -Let others plead for thee and God will hear. - - - -C - -For me thy silks and feathers have no charm -The pillow I like best is my right arm; - The comforts of this passing show I spurn, -For Poverty can do the soul no harm. - - - -CI - -The guiding hand of Allah I can see -Upon my staff: of what use then is he - Who'd be the blind man's guide? Thou silent oak, -No son of Eve shall walk with me and thee. - - - -CII - -My life's the road on which I blindly speed: -My goal's the grave on which I plant a reed - To shape my Hope, but soon the Hand unseen -Will strike, and lo! I'm but a sapless weed. - - - -CIII - -O Rabbi, curse us not if we have been -Nursed in the shadow of the Gate of Sin - Built by thy hand--yea, ev'n thine angels blink -When we are coming out and going in. - - - -CIV - -And like the dead of Ind I do not fear -To go to thee in flames; the most austere - Angel of fire a softer tooth and tongue -Hath he than dreadful Munker and Nakir. - - - -CV - -Now, at this end of Adam's line I stand -Holding my father's life-curse in my hand, - Doing no one the wrong that he did me:-- -Ah, would that he were barren as the sand! - - - -CVI - -Ay, thus thy children, though they sovereigns be, -When truth upon them dawns, will turn on thee, - Who cast them into life's dark labyrinth -Where even old Izrail can not see. - - - -CVII - -And in the labyrinth both son and sire -Awhile will fan and fuel hatred's fire; - Sparks of the log of evil are all men -Allwhere--extinguished be the race entire! - - - -CVIII - -If miracles were wrought in ancient years, -Why not to-day, O Heaven-cradled seers? - The highway's strewn with dead, the lepers weep, -If ye but knew,--if ye but saw their tears! - - - -CIX - -Fan thou a lisping fire and it will leap -In flames, but dost thou fan an ashy heap? - They would respond, indeed, whom thou dost call, -Were they not dead, alas! or dead asleep. - - - -CX - -The way of vice is open as the sky, -The way of virtue's like the needle's eye; - But whether here or there, the eager Soul -Has only two Companions--Whence and Why. - - - -CXI - -Whence come, O firmament, thy myriad lights? -Whence comes thy sap, O vineyard of the heights? - Whence comes the perfume of the rose, and whence -The spirit-larva which the body blights? - - - -CXII - -Whence does the nettle get its bitter sting? -Whence do the honey bees their honey bring? - Whence our Companions, too--our Whence and Why? -O Soul, I do not know a single thing! - - - -CXIII - -How many like us in the ages past -Have blindly soared, though like a pebble cast, - Seeking the veil of mystery to tear, -But fell accurst beneath the burning blast? - - - -CXIV - -Why try to con the book of earth and sky, -Why seek the truth which neither you nor I - Can grasp? But Death methinks the secret keeps, -And will impart it to us by and by. - - - -CXV - -The Sultan, too, relinquishing his throne -Must wayfare through the darkening dust alone - Where neither crown nor kingdom be, and he, -Part of the Secret, here and there is blown. - - - -CXVI - -To clay the mighty Sultan must return -And, chancing, help a praying slave to burn - His midnight oil before the face of Him, -Who of the Sultan makes an incense urn. - - - -CXVII - -Turned to a cup, who once the sword of state -Held o'er the head of slave and potentate, - Is now held in the tippler's trembling hand, -Or smashed upon the tavern-floor of Fate. - - - -CXVIII - -For this I say, Be watchful of the Cage -Of chance; it opes alike to fool and sage; - Spy on the moment, for to-morrow'll be, -Like yesterday, an obliterated page. - - - -CXIX - -Yea, kiss the rosy cheeks of new-born Day, -And hail eternity in every ray - Forming a halo round its infant head, -Illumining thy labyrinthine way. - - - -CXX - -But I, the thrice-imprisoned, try to troll -Strains of the song of night, which fill with dole - My blindness, my confinement, and my flesh-- -The sordid habitation of my soul. - - - -CXXI - -Howbeit, my inner vision heir shall be -To the increasing flames of mystery - Which may illumine yet my prisons all, -And crown the ever living hope of me. - - - - - - - - -NOTES TO THE QUATRAINS - - -I - -To open a poem with a few amatory lines, is a literary tradition among -Arab poets. But Abu'l-Ala, having had no occasion to evince such -tender emotions, whether real or merely academic, succeeded, as in -everything else he did, in deviating from the trodden path. I find, -however, in his minor Diwan, Suct uz-Zand, a slight manifestation -of his youthful ardor, of which this and the succeeding quatrains, -descriptive of the charms of Night, are fairly representative. - - - -III - -"Ahmad," Mohammed the Prophet. - - - -IV - -"And hear the others who with cymbals try," etc., meaning the -Christians; in the preceding quatrain he referred to the Mohammedans. - - - -VII - -Milton, in Il Penseroso, also speaks of night as "the starred Ethiop -queen"; and Shakespeare, in Romeo and Juliet, has these lines: - - - "Her beauty hangs upon the cheek of night - As a rich jewel in an Ethiop ear." - - -The source of inspiration is the same to all world-poets, who only -differ sometimes in the jars they bring to the source. - - - -XIII - -The purple, white, and gray garments, symbolizing Man's dreams of -power, of love, and of bliss. - - - -XIV - -The same idea is expressed by Omar Khayyam. Here are the first three -lines of the 122nd quatrain of Heron-Allen's literal translation: - - - "To him who understands the mysteries of the world - The joy and sorrow of the world is all the same, - Since the good and the bad of the world all come to an end." - - -"Howdaj," a sort of palanquin borne by camels; hence, a wedding or -a triumphal procession. - - - -XVII - -"Thamud" and "'Ad," two of the primitive tribes which figure -prominently in the legendary history of Arabia. They flouted and stoned -the prophets that were sent to them, and are constantly held up in the -Koran as terrible examples of the pride that goeth before destruction. - -"Hashem's fearless lad," Mohammed the Prophet. - - - -XVIII - -I quote again from Omar, Fitzgerald's translation: - - - "And this reviving Herb, whose Tender Green - Fledges the River-Lip, on which we lean-- - Ah, lean upon it lightly! for who knows - From what once lovely Lip it springs unseen." - - -In justice to both the Persian and the Arab poet, however, I give -the 43d quatrain of Heron-Allen's, which I think contains two lines -of that of Fitzgerald, together with Abu'l-Ala's own poetic-fancy. - - "Everywhere that there has been a rose or tulip bed - There has been spilled the crimson blood of a king; - Every violet shoot that grows from the earth - Is a mole that was once upon the cheek of beauty." - - - -XX - -"Zakkum," a tree which, in Mohammedan mythology, is said to have its -roots in hell, and from which are fed the dwellers of hell-fire. In -one of the Chapters of the Koran, The Saffat, I find this upon it: -"And is that a pure bounty, or the Zakkum tree? It is a tree which -groweth in hell; its fruits are like unto the heads of the devils, -who eat from it, and from it fill their stomachs." - -Zakkum is also one of the bitter-fruited trees of Arabia. And the -people there speak of "a mouthful of zakkum" when they want to describe -an unhappy experience. It is also the name of one of the plants of -the desert, whose flower is like the jasmine; and of one of the trees -of Jericho, whose fruit is like the date, but somewhat bitter. - - - -XXIII - -"Jannat," Paradise. "Juhannam," Hell. - - - -XXIX - -And Tennyson also says: - - - "There is more truth in honest doubt, - Believe me, than in all the creeds." - - - -XXXI - -"Mutakallem," disputant. The mutakallemin are the logicians and -theologians of Islam. - - - -XXXIII - -Hadil is a poetic term for dove. And in Arabic mythology it is the -name of a particular dove, which died of thirst in the days of Noah, -and is bemoaned until this day. - -"Ababil," a flock of birds, who scourged with flint-stones which -they carried in their beaks, one of the ancient Arab tribes, noted -for its idolatry and evil practices. - - - -XXXVIII, XCIII and XCIV - -I quote again from Omar, Fitzgerald's version, quatrain 44: - - - "Why, if the Soul can fling the dust aside, - And naked on the air of Heaven ride, - Were't not a shame--were't not a shame for him - In this clay carcass crippled to abide?" - - -And from Heron-Allen's, quatrain 145: - - - "O Soul, if thou canst purify thyself from the dust of the clay, - Thou, naked spirit, canst soar in the heav'ns, - The Empyrian is thy sphere--let it be thy shame - That thou comest and art a dweller within the confines of earth." - - - -XLVIII - -"The walking dust was once a thing of stone," is my rendering of -the line, - - - "And he concerning whom the world is puzzled - Is an animal evolved of inorganic matter." - - -This line of Abu'l-Ala is much quoted by his enthusiastic admirers -of the present day to prove that he anticipated Darwin's theory of -evolution. And it is remarkable how the fancy of the poet sometimes -coincides with the logical conclusions of the scientist. - - - -XLIX - -"Iblis," the devil. - - - -L - -"Rabbi," my lord God. - - - -LVI - -This quatrain is quoted by many of the Biographers of Abu'l-Ala to -prove that he is a materialist. Which argument is easily refuted, -however, with others quatrains taken at random from the Luzumiyat. - - - -LVII, LVIII and LIX - -Omar was also a confessed cynical-hypocrite. Thus runs the first line -of the 114th quatrain of Heron-Allen's: - - - "The world being fleeting I practise naught but artifice." - - -And he also chafes in the chains of his sins. Following is the 23d -quatrain of the same translation: - - - "Khayyam, why mourn for thy sins? - From grieving thus what advantage more or less dost thou gain? - Mercy was never for him who sins not, - Mercy is granted for sins; why then grieve?" - - -Abu'l-Ala, in a quatrain which I did not translate, goes even farther -in his questioning perplexity. "Why do good since thou art to be -forgiven for thy sins?" he asks. - - - -LXII - -"Kaaba Stone," the sacred black stone in the Kaaba at Meccah. - - - -LXXVII - -The American poet, Lowell, in "The Crisis," utters the same cry: - - - "Truth forever on the scaffold, - Wrong forever on the throne." - - - -XC - - - "And the poor beetle that we tread upon - In corporal sufferance finds a pang as great - As when a giant dies." - - --Shakespeare: Measure for Measure. - - -"To let go a flea is a more virtuous act than to give a dirham to -a beggar."--Abu'l-Ala. - - - -XCIII and XCIV - -Omar too, in the 157th quatrain of Heron-Allen's-- - - - "Had I charge of the matter I would not have come, - And likewise could I control my going, where could I go?" - - - -XCV - -"Thy two soul-devouring angels," the angels of death and resurrection. - - - -XCVI - -"Nubakht," one of the opponents of the Prophet Mohammed. - - - -CIII - -"Rabbi," my lord God. - - - -CIV - -"And like the dead of Ind," referring to the practice of the Hindus -who burn their dead. - -"Munker" and "Nakir," the two angels who on the Day of Judgment open -the graves of the dead and cross-examine them--the process is said to -be very cruel--as to their faith. Whosoever is found wanting in this -is pushed back into the grave and thence thrown into Juhannam. No -wonder Abu'l-Ala prefers cremation. - - - -CV - -He wrote his own epitaph, which is: - - - "This wrong to me was by my father done, - But never by me to any one." - - - -CVI - -"Izrail," the angel of death. - - - -CXV, CXVI and CXVII - -These will suggest to the reader Shakespeare's lines: - - - "Imperial Caesar, dead and turned to clay, - Might stop a hole to keep the wind away; - O, that that earth, which kept the world in awe, - Should stop a wall t'expel the winter's flaw." - - - -CXVIII - -Compare this with Omar's: - - - "Thou hast no power over the morrow, - And anxiety about the morrow is useless to thee: - Waste not thou the moment, if thy heart is not mad, - For the value of the remainder of thy life is not certain." - - - - - - - - -PRESS AND PERSONAL NOTICES - - -Mr. Rihani's book is soundly workmanlike, with adequate scholarship, -and is often very felicitous. He has done a real service to modern -understanding of an important though slightly known literature in -presenting these selections with sufficient annotation.--New York -Evening Sun. - - -The Luzumiyat. By Abu'l-Ala. Born in Syria, in the tenth century A. D., -this poet, scholar, teacher, philosopher and pessimist became known as -"the Voltaire of the East," and may well be read for the beauty of -his work, even if there is little agreement with his general ideas -of life.--The Christian Century. - - -Abu'l-Ala is a true poet, with a philosophy much nobler than Omar's, -and Mr. Rihani's translation has rare poetic qualities.--Edwin Markham. - - - If I had but a garden for a bower - Wherein the roses of Damascus flower, - How happy, with the Luzumiyat in hand, - To pass the afternoon and sunset hour! - - Clinton Scollard. - - -"The Luzumiyat" of Abu'l-Ala, as rendered into English by Mr. Ameen -Rihani, is more than a mere translation--it is excellent poetry. Aside -from its interest as a literary curiosity, it possesses intrinsic value -as literature of a high quality. The historical matter contained in -the preface of the book, as well as the notes following the preface, -will appeal to the scholar who makes a study of the best expressions -of Oriental thought.--James B. Kenyon. - - -The first English rendition of the Luzumiyat of Abu'l-Ala, comes from -Ameen Rihani, the author of the Book of Khaled, who has selected the -quatrains from three volumes of the works of the Syrian poet. For -those who cling to a childish haze concerning Assyrians and Syrians, -we would add that while the Assyrian comes down like a wolf on the -fold, the Syrian, at least this particular one, has a tread like Omar -Khayyam. Therein lies the chief interest of the Luzumiyat, unfair -as it may be, in view of the fact that Abu'l-Ala died at about the -time Omar was born. So marked and far-reaching is the resemblance, -that we might almost bring ourselves to the belief that in Omar -Khayyam was recreated the soul of Abu'l-Ala, with subtle changes, -notable among them the casting off of the tenets of prohibition, -and a substitution of fatalism for stoicism.--The Sun (New York). - - -What Fitzgerald did for the Man of Neishapur in his wonderful version -of the Rubaiyat, Mr. Rihani has done, in scarcely inferior measure, -for his own remote ancestor Abu'l-Ala. Mr. Rihani, who is a poet and -essayist in English as well as in Arabic, has made a permanent addition -to Literature. The Luzumiyat can not be displaced.--Michael Monahan. - - -Mr. Rihani has rendered valuable service to Literature in making -the career of "The Lucretius of Islam," as he happily calls him, -known to the general reader in the English-speaking world.... The -similarity of the Luzumiyat to Omar Khayyam under certain aspects, -should win for Rihani's brilliant rendering a generous measure of -recognition. As it is, the rare merits of the book, the critical power -of the preface, the skill and sincere feeling exhibited in the verse, -and the wide knowledge of English Literature shown in the notes, -make it, to my mind, a little masterpiece.--Percy White. - - -The similarity in some parts of the Luzumiyat to Omar Khayyam is -striking. But Abu'l-Ala, to my mind, is a greater poet, and he is -at times so remarkably modern. I am glad to make his acquaintance -through your excellent translation.--R. B. Cunninghame Graham. - - -There is a compelling power in his attack on hypocrisy and quackery, -in his recognition of the supremacy of reason and the human soul. Those -who still fondly turn to the "Rubaiyat" for enjoyment will surely -find stimulus, too, and pleasure in these ruthless rhymes.--Asia. - - - - - - - - -NOTES - - -[1] My learned friend, Count E. de Mulinen, called my attention to -the work of Von Kremer on Abu'l-Ala. And I have seen copies of a -certain German Asiatic Review in which were published translations, -made by that eminent Orientalist, of many poems from the Luzumiyat. He -speaks of Abu'l-Ala as one of the greatest moralists of all times, -whose profound genius anticipated much that is commonly attributed -to the so-called modern spirit of enlightenment. - -Professor D. S. Margoliouth has also translated into English the -Letters of Abu'l-Ala, which were published with the Arabic Text at the -Clarendon Press, Oxford, 1898. Also Professor Raynold A. Nicholson, -in his work, "A Literary History of the Arabs," discusses the poet at -length and renders into English some poems from the Luzumiyat. A work -was published by Charles Carrington, Paris, 1904, under the title, -"Un Précurseur d'Omar Khayyam, Le Poéte Aveugle: Extraits de Poémes -et de Lettres d'Abu'l-Ala al-Ma'arri." And another, "The Diwan of -Abu'l-Ala," done into English by Henry Baerlein, who must have helped -himself freely to the Quatrains of Von Kremer. - -[2] For a picturesque description of the squalidness and sordidness of -Ma'arrah and its people, see Letter XX of "The Letters of Abu'l-Ala," -Oxford Edition. - -[3] When he visited Baghdad he was about thirty-seven years of age. And -when he went to attend a lecture there by one of the leading scholars, -he was called by the lecturer, istabl, which is Syrian slang for blind. - -[4] "He was four years of age when he had the attack of small-pox. The -sight of his left eye was entirely lost and the eyeball of his right -had turned white. Al-Hafiz us-Silafi relates: 'Abu Muhammad Abdallah -told me that he visited him (Abu'l-Ala) once with his uncle and -found him sitting on an old hair matting. He was very old, and the -disease that attacked him in his boyhood had left its deep traces -on his emaciated face. He bade me come near him and blessed me as -he placed his hand on my head. I was a boy then, and I can picture -him before me now. I looked into his eyes and remarked how the one -was horribly protruding, and the other, buried in its socket, could -barely be seen.'"--Ibn Khillikan. - -[5] "How long he retained any sort of vision is not certain. His -frequent references in his writings to stars, flowers, and the forms of -the Arabic letters imply that he could see a little at least some years -after this calamity."--D. S. Margoliouth: The Letters of Abu'l-Ala. - -"He used to play chess and nard."--Safadi. - -[6] For an interesting account of Literary Society in Baghdad see -Renan's "Islam and Science"; also the Biography to the Letters of -Abu'l-Ala. Prof. Margoliouth, though not unfair in his judgment of the -poet, is unnecessarily captious at times. He would seem partial to the -suffrage of orthodox Mohammedans with regard to Abu'l-Ala's unorthodox -religious views. But they have a reason, these ulama, for endeavoring -to keep a genius like Abu'l-Ala within the pale of belief. Which -reason, let us hope, has no claim on Prof. Margoliouth. And in his -attempt to depreciate Abu'l-Ala as a disinterested and independent -scholar and poet, he does not escape the inconsistency which often -follows in the wake of cavil. Read this, for instance: - - - "Like many of those who have failed to secure material prosperity, - he found comfort in a system which flatters the vanity of those - who have not succeeded by teaching that success is not worth - attaining." - - -And this, not on the same page perhaps, but close to it: - - - "For though other roads towards obtaining the means of supporting - himself at Baghdad have been open to him, that which he refused - to follow (the profession of an encomiast, i. e. a sycophant, - a toady) was the most certain." - - -[7] Biography of Abu'l-Ala by Adh-Dhahabi. - -[8] "The Letters, which abound in quotations, enable us to -gauge the power of his memory better than these wonder-loving -narrators."--D. S. Margoliouth. - -[9] In one of his poems he speaks of three prisons, his body being -the third. Here is Professor Nicholson's translation: - - - Methink I am thrice-imprisoned--ask not me - Of news that need no telling-- - By loss of sight, confinement in my house, - And this vile body for my spirit's dwelling. - - -[10] Also his Commentary on the works of the poet Al-Mutanabbi. - -[11] Adh-Dhahabi gives the titles of forty-eight of his works, to -which Safadi adds fourteen. A literary baggage of considerable bulk, -had not most of it perished when the Crusaders took Ma'arrah in -1098. Now, the Luzumiyat, the Letters, Suct uz-Zand and the Epistle -of Forgiveness can be obtained in printed form. - -[12] "What he says of Al-Maghribi in the First Letter became literally -true of himself: 'As Sinai derives its fame from Moses and the Stone -from Abraham, so Ma'arrah is from this time (after his return from -Baghdad) known by him.'"--D. S. Margoliouth. - -[13] Even before he visited Baghdad he had a pension of thirty dinars -(about $100), half of which he paid to his servant, and the other half -was sufficient to secure for him the necessaries of life. "He lived -on lentils and figs," says Adh-Dhahabi; "he slept on a felt mattress; -he wore nothing but cotton garments; and his dwelling was furnished -with a straw matting." - -[14] We have the following from Adh-Dhahabi: - -"One of these critics came one day to Abu'l-Ala and relating the -conversation himself said, 'What is it that is quoted and said about -you?' I asked. - -'It is false; they are jealous of me,' he replied. - -'And what have you to incite their jealousy? You have left for them -both this world and the other.' - -'And the other?' murmured the poet, questioning, ruminating. 'And -the other, too?'" - -[15] "His poems, generally known as the Luzumiyat, arrest attention by -their boldness and originality as well as by the sombre and earnest -tone which pervades them."--Raynold A. Nicholson: A Literary History -of the Arabs. - -[16] The Governor of Halab, Salih ibn Mirdas, passed once by Ma'arrah, -when thirty of its distinguished citizens were imprisoned on account -of a riot in the town the previous year. Abu'l-Ala being asked to -intercede for them, was led to Salih, who received him most politely -and asked him what he desired. The poet, in eloquent but unflattering -speech, asked Salih 'to take and give forgiveness.' And the Governor, -not displeased, replied: 'I grant it you.' Whereupon the prisoners -were released. - -[17] "His poems leave no aspect of the age (in which he lived) -untouched, and present a vivid picture of degeneracy and corruption, -in which tyrannous rulers, venal judges, hypocritical and unscrupulous -theologians, swindling astrologers, roving swarms of dervishes and -godless Carmathians, occupy a prominent place."--Raynold A. Nicholson: -A Literary History of the Arabs. - -[18] "The Mohammedan critics who thought he let his opinions be guided -by his pen probably came near the truth. And any man who writes in such -fetters as the meter (he means the rhyme-ending; for Abu'l-Ala made -use of every known meter of Arabic prosody) of the Luzumiyat imposes, -can exercise but slight control over his thoughts."--D. S. Margoliouth: -Letters of Abu'l-Ala. - -[19] This work, of which Professor Nicholson says there are but -two copies extant, one in Constantinople and the other in his own -Collection, was published in Cairo, in 1907, edited by Sheikh Ibrahim -ul-Yazeji. - -[20] "To let go a flea is a more virtuous act than to give a dirham -to a beggar."--Abu'l-Ala. - -[21] The Orthodox, i. e. the Mohammedans. - -[22] I do not find these verses in the printed copies of either the -Luzumiyat or Suct uz-Zand. But they are quoted, from some Ms. copy -I suppose, by the historian Abu'l-Fida. - -[23] Omar wrote poetry in Arabic too. My learned friend, Isa Iskandar -Maluf of Zehleh, Mt. Lebanon, showed me some quatrains of "Omar the -Tent-maker and Astronomer," in an old Arabic Ms. which bear a striking -resemblance to some of Abu'l-Ala's both in thought and style. - - - - - - -End of Project Gutenberg's The Luzumiyat of Abu'l-Ala, by Abu'l-Ala Al-Maarri - -*** END OF THIS PROJECT GUTENBERG EBOOK THE LUZUMIYAT OF ABU'L-ALA *** - -***** This file should be named 50457-8.txt or 50457-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/0/4/5/50457/ - -Produced by Jeroen Hellingman and the Online Distributed -Proofreading Team at http://www.pgdp.net/ for Project -Gutenberg (This book was produced from scanned images of -public domain material from the Google Books project.) -This digital edition is dedicated to the people of Syria, -in the hope that the seeds of rationality will once again -find a fertile soil in your country. - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Luzumiyat of Abu'l-Ala - Select from his Luzum ma la Yalzam and Suct us-Zand - -Author: Abu'l-Ala Al-Maarri - -Translator: Ameen Rihani - -Release Date: November 14, 2015 [EBook #50457] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK THE LUZUMIYAT OF ABU'L-ALA *** - - - - -Produced by Jeroen Hellingman and the Online Distributed -Proofreading Team at http://www.pgdp.net/ for Project -Gutenberg (This book was produced from scanned images of -public domain material from the Google Books project.) -This digital edition is dedicated to the people of Syria, -in the hope that the seeds of rationality will once again -find a fertile soil in your country. - - - - - - -</pre> - -<div class="front"> -<div class="div1 cover"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divBody"> -<p class="par first"></p> -<div class="figure xd21e110width"><img src="images/new-cover.jpg" alt= -"Newly Designed Front Cover." width="480" height="720"></div> -<p class="par"><span class="pagenum">[<a id="xd21e114" href="#xd21e114" -name="xd21e114">1</a>]</span></p> -</div> -</div> -<div class="div1 frenchtitle"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divBody"> -<p class="par first xd21e116">THE LUZUMIYAT OF ABU’L-ALA -<span class="pagenum">[<a id="xd21e118" href="#xd21e118" name= -"xd21e118">3</a>]</span></p> -</div> -</div> -<div class="div1 dedication"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divBody"> -<p class="par first xd21e116">TO HIS ROYAL HIGHNESS<br> -<b>EMIR FEISAL</b><br> -IN WHOM ARE CENTRED<br> -THE HOPES AND ASPIRATIONS<br> -OF THE SYRIAN PEOPLE<br> -FOR A UNITED SYRIA<br> -THIS BOOK<br> -IS DEDICATED <span class="pagenum">[<a id="xd21e139" href="#xd21e139" -name="xd21e139">5</a>]</span></p> -</div> -</div> -<div class="titlePage"> -<div class="docTitle"> -<div class="mainTitle">THE LUZUMIYAT<br> -OF<br> -ABU’L-ALA</div> -<div class="subTitle">Selected from his<br> -<i>Luzum ma la Yalzam and Suct uz-Zand</i><br> -and first rendered into English</div> -</div> -<div class="byline">By<br> -<span class="docAuthor">AMEEN RIHANI</span><br> -Author of<br> -<i>The Book of Khaled</i></div> -<div class="docImprint">(Second Edition)<br> -NEW YORK<br> -JAMES T. WHITE & CO.,<br> -<span class="docDate">1920</span></div> -</div> -<p><span class="pagenum">[<a id="xd21e178" href="#xd21e178" name= -"xd21e178">6</a>]</span></p> -<div class="div1 review"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divBody"> -<p class="par first">“His poems generally known as the Luzumiyat -arrest attention by their boldness and originality as well as by the -sombre and earnest tone which pervades them.”—<i>Raynold A. -Nicholson: A History of the Arabs.</i></p> -<p class="par">“Abu’l-Ala is a poet many centuries ahead of -his time.”—<i>Von Kremer.</i></p> -<p class="par xd21e116">COPYRIGHTED 1918 BY<br> -JAMES T. WHITE & CO. <span class="pagenum">[<a id="xd21e194" href= -"#xd21e194" name="xd21e194">7</a>]</span></p> -</div> -</div> -<div id="dedication2" class="div1 dedication"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">TO ABU’L-ALA</h2> -<div class="lgouter"> -<div class="lg"> -<p class="line">In thy fountained peristyles of Reason</p> -<p class="line xd21e202">Glows the light and flame of desert noons;</p> -<p class="line">And in the cloister of thy pensive Fancy</p> -<p class="line xd21e202">Wisdom burns the spikenard of her moons.</p> -</div> -<div class="lg"> -<p class="line">Closed by Fate the portals of the dwelling</p> -<p class="line xd21e202">Of thy sight, the light thus inward -flowed;</p> -<p class="line">And on the shoulders of the crouching Darkness</p> -<p class="line xd21e202">Thou hast risen to the highest road.</p> -</div> -<div class="lg"> -<p class="line">I have seen thee walking with Canopus</p> -<p class="line xd21e202">Through the stellar spaces of the night;</p> -<p class="line">I have heard thee asking thy Companion,</p> -<p class="line xd21e202">“Where be now my staff, and where thy -light?”</p> -</div> -<div class="lg"> -<p class="line">Abu’l-Ala, in the heaving darkness,</p> -<p class="line xd21e202">Didst thou not the whisperings hear of me?</p> -<p class="line">In thy star-lit wilderness, my Brother,</p> -<p class="line xd21e202">Didst thou not a burdened shadow see?</p> -</div> -<p><span class="pagenum">[<a id="xd21e235" href="#xd21e235" name= -"xd21e235">8</a>]</span></p> -<div class="lg"> -<p class="line">I have walked and I have slept beside thee,</p> -<p class="line xd21e202">I have laughed and I have wept as well;</p> -<p class="line">I have heard the voices of thy silence</p> -<p class="line xd21e202">Melting in thy Jannat and thy hell.</p> -</div> -<div class="lg"> -<p class="line">I remember, too, that once the Saki</p> -<p class="line xd21e202">Filled the antique cup and gave it thee;</p> -<p class="line">Now, filled with the treasures of thy wisdom,</p> -<p class="line xd21e202">Thou dost pass that very cup to me.</p> -</div> -<div class="lg"> -<p class="line">By the God of thee, my Syrian Brother,</p> -<p class="line xd21e202">Which is best, the Saki’s cup or -thine?</p> -<p class="line">Which the mystery divine uncovers—</p> -<p class="line xd21e202">If the cover covers aught divine.</p> -</div> -<div class="lg"> -<p class="line">And if it lies hid in the soul of silence</p> -<p class="line xd21e202">Like incense in the dust of ambergris,</p> -<p class="line">Wouldst thou burn it to perfume the terror</p> -<p class="line xd21e202">Of the caverns of the dried-up seas?</p> -</div> -<div class="lg"> -<p class="line">Where’er it be, Oh! let it be, my -Brother.—</p> -<p class="line xd21e202">Though -“thrice-imprisoned,”<a class="pseudonoteref" href= -"#note.i">9</a> thou hast forged us more</p> -<p class="line">Solid weapons for the life-long battle</p> -<p class="line xd21e202">Than all the Heaven-taught Armorers of -yore.</p> -</div> -<p><span class="pagenum">[<a id="xd21e284" href="#xd21e284" name= -"xd21e284">9</a>]</span></p> -<div class="lg"> -<p class="line">“Thrice-imprisoned,” thou wert e’en -as mighty,</p> -<p class="line xd21e202">In the boundless kingdom of the mind,</p> -<p class="line">As the whirlwind that compels the ocean,</p> -<p class="line xd21e202">As the thunder that compels the wind.</p> -</div> -<div class="lg"> -<p class="line">“Thrice-imprisoned,” thou wert freer -truly</p> -<p class="line xd21e202">Than the liegeless Arab on his -mare,—</p> -<p class="line">Freer than the bearers of the sceptre,—</p> -<p class="line xd21e202">Freer than the winged lords of the air.</p> -</div> -<div class="lg"> -<p class="line">“Thrice-imprisoned,” thou hast sung of -freedom</p> -<p class="line xd21e202">As but a few of all her heroes can;</p> -<p class="line">Thou hast undermined the triple prison</p> -<p class="line xd21e202">Of the mind and heart and soul of man.</p> -</div> -<div class="lg"> -<p class="line">In thy fountained peristyles of Reason</p> -<p class="line xd21e202">Glows the light and flame of desert noons;</p> -<p class="line">And in the cloister of thy pensive Fancy</p> -<p class="line xd21e202">Wisdom burns the spikenard of her moons.</p> -</div> -</div> -</div> -<div class="divBody"> -<p class="par first signed"><i>Ameen Rihani.</i> <span class= -"pagenum">[<a id="xd21e326" href="#xd21e326" name= -"xd21e326">11</a>]</span></p> -</div> -</div> -<div id="preface" class="div1 preface"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">PREFACE.</h2> -</div> -<div class="divBody"> -<p class="par first">When Christendom was groping amid the -superstitions of the Dark Ages, and the Norsemen were ravaging the -western part of Europe, and the princes of Islam were cutting each -other’s throats in the name of Allah and his Prophet, -Abu’l-Ala’l-Ma’arri was waging his bloodless war -against the follies and evils of his age. He attacked the superstitions -and false traditions of law and religion, proclaiming the supremacy of -the mind; he hurled his trenchant invectives at the tyranny, the -bigotry, and the quackery of his times, asserting the supremacy of the -soul; he held the standard of reason high above that of authority, -fighting to the end the battle of the human intellect. An intransigeant -with the exquisite mind of a sage and scholar, his weapons were never -idle. But he was, above all, a poet; for when he stood before the -eternal mystery of Life and Death, he sheathed his sword and murmured a -prayer.</p> -<p class="par">Abu’l-Ala’l-Ma’arri,<a class="noteref" -id="xd21e334src" href="#xd21e334" name="xd21e334src">1</a> the -Lucretius of Islam, the Voltaire of the East, was born in the spring of -the year 973 A.D., in the obscure village of Ma’arrah,<a class= -"noteref" id="xd21e346src" href="#xd21e346" name="xd21e346src">2</a> -<span class="pagenum">[<a id="xd21e349" href="#xd21e349" name= -"xd21e349">12</a>]</span>which is about eighteen hours’ journey -south of Halab (Aleppo). And instead of Ahmad ibn Abdallah ibn Sulaiman -ut-Tanukhi (of the tribe of Tanukh), he was called Abu’l-Ala (the -Father of the Sublime), by which patronymic of distinction he is -popularly known throughout the Arabic speaking world.</p> -<p class="par">When a boy, Abu’l-Ala was instructed by his -father; and subsequently he was sent to Halab, where he pursued his -studies under the tutelage of the grammarian Muhammad ibn Abdallah ibn -us-Sad. His literary proclivity was evinced in his boyhood, and he -wrote verse, we are told, before he was ten. Of these juvenile pieces, -however, nothing was preserved.</p> -<p class="par">He was about five years old when he fell a victim to -small-pox and almost lost his sight from it. But a weakness in his eyes -continued to trouble him and he became, in middle age, I presume, -totally blind.<a class="noteref" id="xd21e355src" href="#xd21e355" -name="xd21e355src">3</a> Some of his biographers would have us believe -he was born blind; others state that he completely lost his sight when -he was attacked by the virulent disease; and a few intimate that he -could see slightly at least with the right eye. As to whether or not he -was blind when he was sent to Halab to pursue his studies, his -biographers do not agree. My theory, based on the careful perusal of -his poems and on a statement advanced by one of his -biographers,<a class="noteref" id="xd21e363src" href="#xd21e363" name= -"xd21e363src">4</a> is that <span class="pagenum">[<a id="xd21e366" -href="#xd21e366" name="xd21e366">13</a>]</span>he lost his sight -gradually, and total blindness must have come upon him either in his -youth or his middle age.<a class="noteref" id="xd21e368src" href= -"#xd21e368" name="xd21e368src">5</a> Were we to believe that he was -born blind or that he suffered the complete loss of his sight in his -boyhood, we should be at a loss to know, not how he wrote his books, -for that was done by dictation; not how he taught his pupils, for that -was done by lectures; but how he himself was taught in the absence in -those days of a regular system of instruction for the blind.</p> -<p class="par">In 1010 A.D. he visited Baghdad, the centre of learning -and intelligence and the capital of the Abbaside Khalifs, where he -passed about two years and became acquainted with most of the literary -men of the age.<a class="noteref" id="xd21e382src" href="#xd21e382" -name="xd21e382src">6</a> He attended the lectures and the readings of -the leading doctors and grammarians, meeting with a civil reception at -the hand of most of them.</p> -<p class="par">He also journeyed to Tripoli,<a class="noteref" id= -"xd21e405src" href="#xd21e405" name="xd21e405src">7</a> which boasted, -in those days, of many public libraries; and, stopping at Ladhekiyah, -he lodged in a monastery where he met and befriended a very learned -monk. They discussed theology and metaphysics, <span class="corr" id= -"xd21e408" title="Source: disgressing">digressing</span> now and then -into the profane. Indeed, the skepticism which permeates -Abu’l-Ala’s writings must have been nursed in that convent -by both the monk and the poet. <span class="pagenum">[<a id="xd21e411" -href="#xd21e411" name="xd21e411">14</a>]</span></p> -<p class="par">These are virtually the only data extant showing the -various sources of Abu’l-Ala’s learning; but to one endowed -with a keen perception, a powerful intellect, a prodigious memory, -together with strong innate literary predilections, they seem -sufficient. He was especially noted for the extraordinary memory he -possessed; and around this our Arab biographers and historians weave a -thick net of anecdotes, or rather fables. I have no doubt that one with -such a prodigious memory could retain in a few minutes what the average -person could not; but when we are told that Abu’l-Ala once heard -one of his pupils speaking with a friend in a foreign tongue, and -repeated there and then the long conversation, word for word, without -having the slightest idea of its meaning, we are disposed to be -skeptical. Many such anecdotes are recorded and quoted by his Arab -biographers without as much as intimating a single doubt.<a class= -"noteref" id="xd21e414src" href="#xd21e414" name="xd21e414src">8</a> -The fact that he was blind partly explains the abnormal development of -his memory.</p> -<p class="par">His career as poet and scholar dates from the time he -returned from Baghdad. This, so far as is known, was the last journey -he made; and his home became henceforth his earthly prison. He calls -himself “A double-fettered Captive,”<a class="noteref" id= -"note.isrc" href="#note.i" name="note.isrc">9</a> his solitude being -the one and his blindness the other. Like most of the <span class= -"pagenum">[<a id="xd21e434" href="#xd21e434" name= -"xd21e434">15</a>]</span>scholars of his age, in the absence of regular -educational institutions, with perhaps one or two exceptions, he had to -devote a part of his time to the large number of pupils that flocked to -Ma’arrah from all parts of Asia Minor, Arabia, and India. Aside -from this, he dictated to his numerous amanuenses on every possible and -known subject. He is not only a poet of the first rank, but an -essayist, a literary critic, and a mathematician as well. Everything he -wrote was transcribed by many of his admirers, as was the fashion then, -and thus circulated far and near. Nothing, however, was preserved but -his Diwans, his Letters and the Epistle of Forgiveness,<a class= -"noteref" id="xd21e436src" href="#xd21e436" name="xd21e436src">10</a> -of which I shall yet have occasion to speak.<a class="noteref" id= -"xd21e439src" href="#xd21e439" name="xd21e439src">11</a></p> -<p class="par">His reputation as poet and scholar had now, after his -return from Baghdad, overleaped the horizons, as one writer has it. -Honors were conferred upon him successively by the rulers and the -scholars of his age. His many noted admirers were in constant -communication with him. He was now looked upon as “the master of -the learned, the chief of the wise, and the sole monarch of the bards -of his century.” Ma’arrah<a class="noteref" id= -"xd21e446src" href="#xd21e446" name="xd21e446src">12</a> became the -Mecca of every literary aspirant; ambitious young scholars came there -for <span class="corr" id="xd21e449" title= -"Source: enlightment">enlightenment</span> and inspiration. And -Abu’l-Ala, although a pessimist, received them with his wonted -kindness <span class="pagenum">[<a id="xd21e452" href="#xd21e452" name= -"xd21e452">16</a>]</span>and courtesy. He imparted to them what he -knew, and told them candidly what he would not teach, since, unlike -other philosophers, he was not able to grasp the truth, nor compass the -smallest of the mysteries of creation. In his latter days, youthful -admirers sought his blessing, which he, as the childless father of all, -graciously conferred, but with no self-assumed spiritual or temporal -authority.</p> -<p class="par">For thirty years he remained a vegetarian, living the -life of an ascetic.<a class="noteref" id="xd21e456src" href="#xd21e456" -name="xd21e456src">13</a> This mode of living led his enemies to accuse -him of renouncing Islam and embracing Brahminism, one of the tenets of -which forbids the slaughter of animals. The accusation was rather -sustained by the dispassionate attitude he held towards it, and, -furthermore, by his vehement denunciation of the barbarous practice of -killing animals for food or for sport.</p> -<p class="par">Most of the censors of Abu’l-Ala were either -spurred to their task by bigotry or animated by jealousy and ignorance. -They held him up to ridicule and opprobrium, and such epithets as -heretic, atheist, renegade, etc., were freely applied. But he was -supremely indifferent to them all,<a class="noteref" id="xd21e462src" -href="#xd21e462" name="xd21e462src">14</a> and never would he cross -swords with any particular individual; he attacked the false doctrines -they were teaching, turning a deaf ear to the virulent vituperations -they hurled upon him. I fail to find in the <span class= -"pagenum">[<a id="xd21e474" href="#xd21e474" name= -"xd21e474">17</a>]</span>three volumes of his poems, even in the -Letters, one acrimonious line savoring of personality.</p> -<p class="par">Ibn-Khillikan, The Plutarch of Arabia, who is cautious -and guarded in his statements, speaking of Abu’l-Ala, truly -says:</p> -<p class="par">“His asceticism, his deep sense of right and -wrong, his powerful intellect, his prodigious memory, and his wide -range of learning, are alike acknowledged by both friend and -foe.”</p> -<p class="par">His pessimism was natural, in part hereditary. The man -was nothing if not genuine and sincere. Ruthlessly he said what he -thought and felt. He had no secrets to hide from the world, no thoughts -which he dared not express. His soul was as open as Nature; his mind -was the polished mirror of his age.<a class="noteref" id="xd21e482src" -href="#xd21e482" name="xd21e482src">15</a> It may be that had he not -been blind-stricken and had not small-pox disfigured his features, he -might have found a palliative in human society. His pessimism might not -have been cured, but it might have been rendered at least enticing. -Good-fellowship might have robbed it of its sting. Nor is his strong -aversion to marriage, in view of these facts, surprising.</p> -<p class="par">He lived to know that “his fame spread from the -sequestered village of Ma’arrah to the utmost confines of the -Arabic speaking world.” In the spring of 1055 A.D. he died, and -was buried in a <span class="pagenum">[<a id="xd21e487" href= -"#xd21e487" name="xd21e487">18</a>]</span>garden surrounding his home. -Adh-Dhahabi states that there were present at his grave eighty poets, -and that the Koran was read there two hundred times in a fortnight. -Eighty poets in the small town of Ma’arrah sounds incredible. But -we must bear in mind that almost every one who studies the Arabic -grammar has also to study prosody and versification and thus become at -least a rhymster. Even to-day, the death of a noted person among the -Arabs, is always an occasion for the display of much eloquence and -tears, both in prose and verse.</p> -<p class="par">Abu’l-Ala, beside being a poet and scholar of the -first rank, was also one of the foremost thinkers of his age. Very -little is said of his teachings, his characteristics, his many-sided -intellect, in the biographies I have read. The fact that he was a -liberal thinker, a trenchant writer,—free, candid, downright, -independent, skeptical withal,—answers for the neglect on the -part of Mohammedan doctors, who, when they do discuss him, try to -conceal from the world what his poems unquestionably reveal. I am -speaking, of course, of the neglect after his death. For during his -life-time he was much honored, as I have shown, and many distinguished -travellers came especially to Ma’arrah to see him. He was also -often called upon to act as intercessor with the Emirs for the natives -of his village.<a class="noteref" id="xd21e491src" href="#xd21e491" -name="xd21e491src">16</a> <span class="pagenum">[<a id="xd21e494" href= -"#xd21e494" name="xd21e494">19</a>]</span></p> -<p class="par">The larger collection of his poems, the -Luzumiyat,<a class="noteref" id="xd21e497src" href="#xd21e497" name= -"xd21e497src">17</a> was published in Cairo, in two volumes, by Azeez -Zind, from an original Ms. written in the twelfth century, under -Abu’l-Ala’s own title <i lang="ar-latn">Luzum ma la -Yalzam</i>, or the Necessity of what is Unnecessary. This title refers -to the special system of rhyming which the poet adopted. And the poems, -published in desultory fashion, were written, it seems, at different -periods of his life, and are arranged according to his particular -alphabetical system of rhyming. They bear no titles except, “And -he also says, rhyming with so and so,” whatever the consonant and -vowel may be. In his Preface to the Luzumiyat he says:</p> -<p class="par">“It happened that I composed these poems during -the past years, and in them I have always aimed at the truth. They are -certainly free from the blandishments of exaggeration. And while some -of them are written in glorification of God, who is above such glory, -others are, as it were, a reminder to those who forget, a pinch to -those who sleep, and a warning to the children of the earth against the -wiles of the great world, where human rights and human gratitude are -often strangled by the same hand of Fate.”</p> -<p class="par">As for the translation of these chosen quatrains, let me -say at the outset that it is almost impossible <span class= -"pagenum">[<a id="xd21e507" href="#xd21e507" name= -"xd21e507">20</a>]</span>to adhere to the letter thereof and convey the -meaning without being insipid, dull, and at times even ridiculous. -There being no affinity between the Arabic and the English, their -standards of art and beauty widely differ, and in the process of -transformation the outer garment at times must necessarily be doffed. I -have always adhered to the spirit, however, preserving the native -imagery where it was not too clannish or grotesque. I have added -nothing that was foreign to the ruling idea, nor have I omitted -anything that was necessary to the completion of the general thought. -One might get an idea of what is called a scholarly translation from -the works of any of the Orientalists who have made a study of -Abu’l-Ala. The first English scholar to mention the poet, as far -as I know, was J. D. Carlisle, who in his “Specimens of Arabic -Poetry”, published in 1810, has paraphrased in verse a quatrain -on Pride and Virtue. He also translated into Latin one of -Abu’l-Ala’s bold epigrams, fearing, I suppose, to publish -it at that time in English.</p> -<p class="par">The quatrains which are here published are culled from -the three Volumes of his poems, and they are arranged, as nearly as may -be, in the logical order of their sequence of thought. They form a kind -of eclogue, which the poet-philosopher delivers from his prison in -Ma’arrah. <span class="pagenum">[<a id="xd21e511" href= -"#xd21e511" name="xd21e511">21</a>]</span></p> -<p class="par">Once, in Damascus, I visited, with some friends, a -distinguished Sufi; and when the tea was being served, our host held -forth on the subject of Abu’l-Ala’s creed. He quoted from -the Luzumiyat to show that the poet-philosopher of Ma’arrah was a -true Sufi, and of the highest order. “In his passionate hatred of -the vile world and all the vile material manifestations of life,” -quoth our host, “he was like a dervish dancing in sheer -bewilderment; a holy man, indeed, melting in tears before the distorted -image of Divinity. In his aloofness, as in the purity of his spirit, -the ecstatic negations of Abu’l-Ala can only be translated in -terms of the Sufi’s creed. In his raptures, <i lang= -"ar-latn">shathat</i>, he was as distant as Ibn ul-Arabi; and in his -bewilderment, <i lang="ar-latn">heirat</i>, he was as deeply -intoxicated as Ibn ul-Fared. If others have symbolized the Divinity in -wine, he symbolized it in Reason, which is the living oracle of the -Soul; he has, in a word, embraced Divinity under the cover of a -philosophy of extinction.”...</p> -<p class="par">This, and more such from our Sufi host, to which the -guests gently nodded understanding. One of them, a young poet and -scholar, even added that most of the irreligious opinions that are -found in the Luzumiyat were forced upon the poet by the rigorous system -of rhyming he adopted. The Rhyme, <span class="pagenum">[<a id= -"xd21e523" href="#xd21e523" name="xd21e523">22</a>]</span>then, is -responsible for the heresies of Abu’l-Ala! Allah be praised! But -this view of the matter was not new to me. I have heard it expressed by -zealous Muslem scholars, who see in Abu’l-Ala an adversary too -strong to be allowed to enlist with the enemy. They will keep him, as -one of the “Pillars of the Faith,” at any cost. Coming from -them, therefore, this rhyme-begotten heresy theory is not -surprising.</p> -<p class="par">But I am surprised to find a European scholar like -Professor Margoliouth giving countenance to such views; even repeating, -to support his own argument,<a class="noteref" id="xd21e527src" href= -"#xd21e527" name="xd21e527src">18</a> such drivel. For if the system of -rhyme-ending imposes upon the poet his irreligious opinions, how can we -account for them in his prose writings? How, for instance, explain his -book “<i lang="ar-latn">Al-fusul wal Ghayat</i><span class="corr" -id="xd21e532" title="Not in source">”</span> (The Chapters and -the Purposes), a work in which he parodied the Koran itself, and which -only needed, as he said, to bring it to the standard of the Book, -“the polishing of four centuries of reading in the pulpit?” -And how account for his “<i lang="ar-latn">Risalat -ul-Ghufran</i>” (Epistle of Forgiveness), a most remarkable work -both in form and conception?—a Divina Comedia in its cotyledonous -state, as it were, only that Abu’l-Ala does not seem to have -relished the idea of visiting Juhannam. He must have felt that in his -“three earthly prisons” <span class="pagenum">[<a id= -"xd21e538" href="#xd21e538" name="xd21e538">23</a>]</span>he had had -enough of it. So he visits the Jannat and there meets the pagan bards -of Arabia lulling themselves in eternal bliss under the eternal shades -of the <i lang="ar-latn">sidr</i> tree, writing and reading and -discussing poetry. Now, to people the Muslem’s Paradise with -heathen poets who have been forgiven,—hence the title of the -Work,—and received among the blest,—is not this clear -enough, bold enough, loud enough even for the deaf and the blind? -“The idea,” says Professor Nicholson, speaking of The -Epistle of Forgiveness,<a class="noteref" id="xd21e544src" href= -"#xd21e544" name="xd21e544src">19</a> “is carried out with such -ingenuity and in a spirit of audacious burlesque that reminds one of -Lucien.”</p> -<p class="par">This does not mean, however, that the work is -essentially of a burlesque quality. Abu’l-Ala had humor; but his -earnest tone is never so little at an ebb as when he is in his happiest -mood. I quote from The Epistle of Forgiveness:</p> -<div class="blockquote"> -<p class="par first">“Sometimes you may find a man skilful in his -trade,” says the Author, “perfect in sagacity and in the -use of arguments, but when he comes to religion he is found obstinate, -so does he follow in the old groove. Piety is implanted in human -nature; it is deemed a sure refuge. To the growing child, that which -falls from his elders’ lips is a lesson that abides with him all -his life. Monks in their cloisters and devotees in their mosques accept -their creed just as a story is handed down from him who tells it, -without distinguishing between a true interpreter and a <span class= -"pagenum">[<a id="xd21e552" href="#xd21e552" name= -"xd21e552">24</a>]</span>false. If one of these had found his kin among -the Magians, or among the Sabians, he would have become nearly or quite -like them.”</p> -</div> -<p class="par"></p> -<p class="par">It does seem, too, that the strain of heterodoxy in -Abu’l-Ala is partly hereditary. His father, who was also a poet -of some distinction, and his maternal uncle, were both noted for their -liberal opinions in religious matters. And he himself, alluding in one -of his poems to those who reproached him for not making the pilgrimage -to Mecca, says that neither his father, nor his cousin, nor his uncle -had pilgrimaged at all, and that he will not be denied forgiveness, if -they are forgiven. And if they are not, he had as lief share their -fate.</p> -<p class="par">But aside from his prose writings, in which, do what we -may, we can not explain away his supposed heresies, we find in the -Luzumiyat themselves his dominant ideas on religion, for instance, -being a superstition; wine, an unmitigated evil; virtue, its own -reward; the cremation of the dead, a virtue; the slaughter or even the -torture of animals a crime;<a class="noteref" id="xd21e559src" href= -"#xd21e559" name="xd21e559src">20</a> doubt, a way to truth; reason, -the only prophet and guide;—we find these ideas clothed in -various images and expressed in varied forms, but unmistakable in -whatever guise we find them. Here, for instance, is Professor -Nicholson’s almost literal translation of a quatrain from the -Luzumiyat: <span class="pagenum">[<a id="xd21e562" href="#xd21e562" -name="xd21e562">25</a>]</span></p> -<div class="lgouter"> -<p class="line">Hanifs<a class="noteref" id="xd21e566src" href= -"#xd21e566" name="xd21e566src">21</a> are stumbling, Christians gone -astray,</p> -<p class="line">Jews wildered, Magians far on error’s -way:—</p> -<p class="line">We mortals are composed of two great schools,</p> -<p class="line">Enlightened knaves or else religious fools.</p> -</div> -<p class="par first">And here is the same idea, done in a large -picture. The translation, literal too, is mine:</p> -<div class="lgouter"> -<p class="line">’Tis strange that Kusrah and his people wash</p> -<p class="line xd21e202">Their faces in the staling of the kine;</p> -<p class="line">And that the Christians say, Almighty God</p> -<p class="line xd21e202">Was tortured, mocked, and crucified in -fine:</p> -<p class="line">And that the Jews should picture Him as one</p> -<p class="line xd21e202">Who loves the odor of a roasting chine;</p> -<p class="line">And stranger still that Muslems travel far</p> -<p class="line xd21e202">To kiss a black stone said to be -divine:—</p> -<p class="line">Almighty God! will all the human race</p> -<p class="line xd21e202">Stray blindly from the Truth’s most -sacred shrine?<a class="noteref" id="xd21e601src" href="#xd21e601" -name="xd21e601src">22</a></p> -</div> -<p class="par first">The East still remains the battle-ground of the -creeds. And the Europeans, though they shook off <i>their</i> fetters -of moral and spiritual slavery, would keep us in ours to facilitate the -conquests of European commence. Thus the terrible Dragon, which is fed -by the foreign missionary and the native priest, by the theologians and -the ulama, and which still preys upon the heart and mind of Orient -nations, is as active to-day as it was ten centuries ago. Let those -consider this, who think Von Kremer exaggerated when he said, -“Abu’l-Ala is a poet many centuries ahead of his -time.” <span class="pagenum">[<a id="xd21e608" href="#xd21e608" -name="xd21e608">26</a>]</span></p> -<p class="par">Before closing, I wish to call attention to a question -which, though unimportant in itself, is nevertheless worthy of the -consideration of all admirers of Arabic and Persian literature. I refer -to the similarity of thought which exists between Omar Khayyam and -Abu’l-Ala. The former, I have reason to believe, was an imitator -or a disciple of the latter. The birth of the first poet and the death -of the second are not very far apart: they both occurred about the -middle of the eleventh century. The English reading public here and -abroad has already formed its opinion of Khayyam. Let it not, -therefore, be supposed that in making this claim I aim to shake or -undermine its great faith. My desire is to confirm, not to -weaken,—to expand, not contract,—the Oriental influence on -the Occidental mind.</p> -<p class="par">Whoever will take the trouble, however, to read Omar -Khayyam in conjunction with what is here translated of Abu’l-Ala, -can not fail to see the striking similarity in thought and image of -certain phases of the creed or the lack of creed of both -poets.<a class="noteref" id="xd21e613src" href="#xd21e613" name= -"xd21e613src">23</a> To be sure, the skepticism and pessimism of Omar -are to a great extent imported from Ma’arrah. But the Arab -philosopher in his religious opinions is far more outspoken than the -Persian tent-maker. I do not say that Omar was a plagiarist; but I say -<span class="pagenum">[<a id="xd21e616" href="#xd21e616" name= -"xd21e616">27</a>]</span>this: just as Voltaire, for instance, acquired -most of his liberal and skeptical views from Hobbes, Locke and Bayle, -so did Omar acquire his from Abu’l-Ala. In my notes to these -quatrains I have quoted in comparison from both the Fitzgerald and the -Herron-Allen versions of the Persian poet; and with so much or so -little said, I leave the matter in the hands of the reader, who, upon a -careful examination, will doubtless bear me out as to this point. -<span class="pagenum">[<a id="xd21e618" href="#xd21e618" name= -"xd21e618">35</a>]</span></p> -</div> -<div class="footnotes"> -<hr class="fnsep"> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e334" href="#xd21e334src" name="xd21e334">1</a></span> My learned -friend, Count E. de Mulinen, called my attention to the work of Von -Kremer on Abu’l-Ala. And I have seen copies of a certain German -Asiatic Review in which were published translations, made by that -eminent Orientalist, of many poems from the Luzumiyat. He speaks of -Abu’l-Ala as one of the greatest moralists of all times, whose -profound genius anticipated much that is commonly attributed to the -so-called modern spirit of <span class="corr" id="xd21e337" title= -"Source: enlightment">enlightenment</span>.</p> -<p class="par footnote">Professor D. S. Margoliouth has also translated -into English the Letters of Abu’l-Ala, which were published with -the Arabic Text at the Clarendon Press, Oxford, 1898. Also Professor -Raynold A. Nicholson, in his work, “A Literary History of the -Arabs,” discusses the poet at length and renders into English -some poems from the Luzumiyat. A work was published by Charles -Carrington, Paris, 1904, under the title, “<span lang="fr">Un -Précurseur d’Omar Khayyam, Le Poéte Aveugle: -Extraits de Poémes et de Lettres d’Abu’l-Ala -al-Ma’arri.</span>” And another, “The Diwan of -Abu’l-Ala,” done into English by Henry Baerlein, who must -have helped himself freely to the Quatrains of Von -Kremer. <a class="fnarrow" href="#xd21e334src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e346" href="#xd21e346src" name="xd21e346">2</a></span> For a -picturesque description of the squalidness and sordidness of -Ma’arrah and its people, see Letter XX of “The Letters of -Abu’l-Ala,” Oxford Edition. <a class="fnarrow" href= -"#xd21e346src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e355" href="#xd21e355src" name="xd21e355">3</a></span> When he -visited Baghdad he was about thirty-seven years of age. And when he -went to attend <span class="pagenum">[<a id="xd21e357" href="#xd21e357" -name="xd21e357">30</a>]</span>a lecture there by one of the leading -scholars, he was called by the lecturer, <i lang="ar-latn">istabl</i>, -which is Syrian slang for blind. <a class="fnarrow" href= -"#xd21e355src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e363" href="#xd21e363src" name="xd21e363">4</a></span> “He -was four years of age when he had the attack of small-pox. The sight of -his left eye was entirely lost and the eyeball of his right had turned -white. Al-Hafiz us-Silafi relates: ‘Abu Muhammad Abdallah told me -that he visited him (Abu’l-Ala) once with his uncle and found him -sitting on an old hair matting. He was very old, and the disease that -attacked him in his boyhood had left its deep traces on his emaciated -face. He bade me come near him and blessed me as he placed his hand on -my head. I was a boy then, and I can picture him before me now. I -looked into his eyes and remarked how the one was horribly protruding, -and the other, buried in its socket, could barely be -seen.’”—Ibn Khillikan. <a class="fnarrow" href= -"#xd21e363src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e368" href="#xd21e368src" name="xd21e368">5</a></span> “How -long he retained any sort of vision is not certain. His frequent -references in his writings to stars, flowers, and the forms of the -Arabic letters imply that he could see a little at least some years -after this calamity.<span class="corr" id="xd21e371" title= -"Not in source">”</span>—D. S. Margoliouth: The Letters of -Abu’l-Ala.</p> -<p class="par footnote">“He used to play chess and -<i>nard</i>.”—Safadi. <a class="fnarrow" href= -"#xd21e368src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e382" href="#xd21e382src" name="xd21e382">6</a></span> For an -interesting account of Literary Society in Baghdad see Renan’s -“Islam and Science”; also the Biography to the Letters of -Abu’l-Ala. Prof. Margoliouth, though not unfair in his judgment -of the poet, is unnecessarily captious at times. He would seem partial -to the suffrage of orthodox Mohammedans with regard to -Abu’l-Ala’s unorthodox religious views. But they have a -reason, these ulama, for endeavoring to keep a genius like -Abu’l-Ala within the pale of belief. Which reason, let us hope, -has no claim on Prof. Margoliouth. And in his attempt to depreciate -Abu’l-Ala as a disinterested <span class="pagenum">[<a id= -"xd21e385" href="#xd21e385" name="xd21e385">31</a>]</span>and -independent scholar and poet, he does not escape the inconsistency -which often follows in the wake of cavil. Read this, for instance:</p> -<div class="blockquote"> -<p class="par footnote first">“Like many of those who have failed -to secure material prosperity, he found comfort in a system which -flatters the vanity of those who have not succeeded by teaching that -success is not worth attaining.”</p> -</div> -<p class="par"></p> -<p class="par footnote">And this, not on the same page perhaps, but -close to it:</p> -<div class="blockquote"> -<p class="par footnote first">“For though other roads towards -obtaining the means of supporting himself at Baghdad have been open to -him, <i>that which he refused to follow</i> (the profession of an -encomiast, <i>i. e.</i> a sycophant, a toady) was the most -certain.”</p> -</div> -<p class="par"> <a class="fnarrow" href= -"#xd21e382src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e405" href="#xd21e405src" name="xd21e405">7</a></span> Biography -of Abu’l-Ala by Adh-Dhahabi. <a class="fnarrow" href= -"#xd21e405src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e414" href="#xd21e414src" name="xd21e414">8</a></span> “The -Letters, which abound in quotations, enable us to gauge the power of -his memory better than these wonder-loving narrators.”—D. -S. Margoliouth. <a class="fnarrow" href= -"#xd21e414src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"note.i" href="#note.isrc" name="note.i">9</a></span> In one of his -poems he speaks of three prisons, his body being the third. Here is -Professor Nicholson’s translation:</p> -<div class="q"> -<div class="nestedtext"> -<div class="nestedbody"> -<div class="lgouter footnote"> -<p class="line">Methink I am thrice-imprisoned—ask not me</p> -<p class="line">Of news that need no telling—</p> -<p class="line">By loss of sight, confinement in my house,</p> -<p class="line">And this vile body for my spirit’s dwelling.</p> -</div> -</div> -</div> -</div> -<p class="par"> <a class="fnarrow" href= -"#note.isrc">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e436" href="#xd21e436src" name="xd21e436">10</a></span> Also his -Commentary on the works of the poet Al-Mutanabbi. <a class= -"fnarrow" href="#xd21e436src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e439" href="#xd21e439src" name="xd21e439">11</a></span> -Adh-Dhahabi gives the titles of forty-eight of his works, to which -Safadi adds fourteen. A literary baggage of considerable bulk, had not -most of it <span class="pagenum">[<a id="xd21e441" href="#xd21e441" -name="xd21e441">32</a>]</span>perished when the Crusaders took -Ma’arrah in 1098. Now, the Luzumiyat, the Letters, Suct uz-Zand -and the Epistle of Forgiveness can be obtained in printed -form. <a class="fnarrow" href="#xd21e439src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e446" href="#xd21e446src" name="xd21e446">12</a></span> -“What he says of Al-Maghribi in the First Letter became literally -true of himself: ‘As Sinai derives its fame from Moses and the -Stone from Abraham, so Ma’arrah is from this time (after his -return from Baghdad) known by him.’”—D. S. -Margoliouth. <a class="fnarrow" href="#xd21e446src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e456" href="#xd21e456src" name="xd21e456">13</a></span> Even -before he visited Baghdad he had a pension of thirty dinars (about -$100), half of which he paid to his servant, and the other half was -sufficient to secure for him the necessaries of life. “He lived -on lentils and figs,” says Adh-Dhahabi; “he slept on a felt -mattress; he wore nothing but cotton garments; and his dwelling was -furnished with a straw matting.” <a class="fnarrow" href= -"#xd21e456src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e462" href="#xd21e462src" name="xd21e462">14</a></span> We have -the following from Adh-Dhahabi:</p> -<p class="par footnote">“One of these critics came one day to -Abu’l-Ala and relating the conversation himself said, ‘What -is it that is quoted and said about you?’ I asked.</p> -<p class="par footnote">‘It is false; they are jealous of -me,’ he replied.</p> -<p class="par footnote">‘And what have you to incite their -jealousy? You have left for them both this world and the -other.’</p> -<p class="par footnote">‘And the other?’ murmured the poet, -questioning, ruminating. ‘And the other, -too?’” <a class="fnarrow" href= -"#xd21e462src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e482" href="#xd21e482src" name="xd21e482">15</a></span> “His -poems, generally known as the Luzumiyat, arrest attention by their -boldness and originality as well as by the sombre and earnest tone -which pervades them.”—Raynold A. Nicholson: A Literary -History of the Arabs. <a class="fnarrow" href= -"#xd21e482src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e491" href="#xd21e491src" name="xd21e491">16</a></span> The -Governor of Halab, Salih ibn Mirdas, passed once by Ma’arrah, -when thirty of its distinguished citizens were imprisoned on account of -a riot in the town the previous year. Abu’l-Ala being asked to -intercede for them, was led to Salih, who received him most politely -and asked him what he desired. The poet, in eloquent but unflattering -speech, asked Salih ‘to take and give forgiveness.’ And the -Governor, not displeased, replied: ‘I grant it you.’ -Whereupon the prisoners were released. <a class="fnarrow" href= -"#xd21e491src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e497" href="#xd21e497src" name="xd21e497">17</a></span> “His -poems leave no aspect of the age (in which he lived) untouched, and -present a vivid picture of degeneracy and corruption, in which -tyrannous rulers, venal judges, hypocritical and unscrupulous -theologians, swindling astrologers, roving swarms of dervishes and -godless Carmathians, occupy a prominent place.”—Raynold A. -Nicholson: A Literary History of the Arabs. <a class="fnarrow" -href="#xd21e497src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e527" href="#xd21e527src" name="xd21e527">18</a></span> “The -Mohammedan critics who thought he let his opinions be guided by his pen -probably came near the truth. And any man who writes in such fetters as -the meter (he means the rhyme-ending; for Abu’l-Ala made use of -every known meter of Arabic prosody) of the Luzumiyat imposes, can -exercise but slight control over his thoughts.”—D. S. -Margoliouth: Letters of Abu’l-Ala. <a class="fnarrow" href= -"#xd21e527src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e544" href="#xd21e544src" name="xd21e544">19</a></span> This work, -of which Professor Nicholson says there are but two copies extant, one -in Constantinople and the other in his own Collection, was published in -Cairo, in 1907, edited by Sheikh Ibrahim ul-Yazeji. <a class= -"fnarrow" href="#xd21e544src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e559" href="#xd21e559src" name="xd21e559">20</a></span> “To -let go a flea is a more virtuous act than to give a dirham to a -beggar.”—Abu’l-Ala. <a class="fnarrow" href= -"#xd21e559src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e566" href="#xd21e566src" name="xd21e566">21</a></span> The -Orthodox, <i>i. e.</i> the Mohammedans. <a class="fnarrow" href= -"#xd21e566src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e601" href="#xd21e601src" name="xd21e601">22</a></span> I do not -find these verses in the printed copies of either the Luzumiyat or Suct -uz-Zand. But they are quoted, from some Ms. copy I suppose, by the -historian Abu’l-Fida. <a class="fnarrow" href= -"#xd21e601src">↑</a></p> -<p class="par footnote"><span class="label"><a class="noteref" id= -"xd21e613" href="#xd21e613src" name="xd21e613">23</a></span> Omar wrote -poetry in Arabic too. My learned friend, Isa Iskandar Maluf of Zehleh, -Mt. Lebanon, showed me some quatrains of “Omar the Tent-maker and -Astronomer,” in an old Arabic Ms. which bear a striking -resemblance to some of Abu’l-Ala’s both in thought and -style. <a class="fnarrow" href="#xd21e613src">↑</a></p> -</div> -</div> -</div> -<div class="body"> -<div id="luzumiyat" class="div1 chapter"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">THE LUZUMIYAT OF ABU’L-ALA</h2> -<p><span class="pagenum">[<a id="xd21e623" href="#xd21e623" name= -"xd21e623">37</a>]</span></p> -<div id="s1" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">I</h3> -<div class="lgouter"> -<p class="line">The sable wings of Night pursuing day</p> -<p class="line">Across the opalescent hills, display</p> -<p class="line xd21e202">The wondrous star-gems which the fiery -suns</p> -<p class="line">Are scattering upon their fiery way.</p> -</div> -</div> -</div> -<div id="s2" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">II</h3> -<div class="lgouter"> -<p class="line">O my Companion, Night is passing fair,</p> -<p class="line">Fairer than aught the dawn and sundown wear;</p> -<p class="line xd21e202">And fairer, too, than all the gilded days</p> -<p class="line">Of blond Illusion and its golden snare.</p> -</div> -<p><span class="pagenum">[<a id="xd21e648" href="#xd21e648" name= -"xd21e648">38</a>]</span></p> -</div> -</div> -<div id="s3" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">III</h3> -<div class="lgouter"> -<p class="line">Hark, in the minarets muazzens call</p> -<p class="line">The evening hour that in the interval</p> -<p class="line xd21e202">Of darkness Ahmad might remembered -be,—</p> -<p class="line">Remembered of the Darkness be they all.</p> -</div> -</div> -</div> -<div id="s4" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">IV</h3> -<div class="lgouter"> -<p class="line">And hear the others who with cymbals try</p> -<p class="line">To stay the feet of every passer-by:</p> -<p class="line xd21e202">The market-men along the darkling lane</p> -<p class="line">Are crying up their wares.—Oh! let them -cry<span class="corr" id="xd21e673" title="Source: ,">.</span></p> -</div> -<p><span class="pagenum">[<a id="xd21e675" href="#xd21e675" name= -"xd21e675">39</a>]</span></p> -</div> -</div> -<div id="s5" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">V</h3> -<div class="lgouter"> -<p class="line">Mohammed or Messiah! Hear thou me,</p> -<p class="line">The truth entire nor here nor there can be;</p> -<p class="line xd21e202">How should our God who made the sun and -moon</p> -<p class="line">Give all his light to One, I cannot see.</p> -</div> -</div> -</div> -<div id="s6" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">VI</h3> -<div class="lgouter"> -<p class="line">Come, let us with the naked Night now rest</p> -<p class="line">And read in Allah’s Book the sonnet best:</p> -<p class="line xd21e202">The Pleiads—ah, the Moon from them -departs,—</p> -<p class="line">She draws her veil and hastens toward the west.</p> -</div> -<p><span class="pagenum">[<a id="xd21e700" href="#xd21e700" name= -"xd21e700">40</a>]</span></p> -</div> -</div> -<div id="s7" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">VII</h3> -<div class="lgouter"> -<p class="line">The Pleiads follow; and our Ethiop Queen,</p> -<p class="line">Emerging from behind her starry screen,</p> -<p class="line xd21e202">Will steep her tresses in the saffron dye</p> -<p class="line">Of dawn, and vanish in the morning sheen.</p> -</div> -</div> -</div> -<div id="s8" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">VIII</h3> -<div class="lgouter"> -<p class="line">The secret of the day and night is in</p> -<p class="line">The constellations, which forever spin</p> -<p class="line xd21e202">Around each other in the -comet-dust;—</p> -<p class="line">The comet-dust and humankind are kin.</p> -</div> -<p><span class="pagenum">[<a id="xd21e725" href="#xd21e725" name= -"xd21e725">41</a>]</span></p> -</div> -</div> -<div id="s9" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">IX</h3> -<div class="lgouter"> -<p class="line">But whether of dust or fire or foam, the glaive</p> -<p class="line">Of Allah cleaves the planet and the wave</p> -<p class="line xd21e202">Of this mysterious Heaven-Sea of life,</p> -<p class="line">And lo! we have the Cradle of the Grave.</p> -</div> -</div> -</div> -<div id="s10" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">X</h3> -<div class="lgouter"> -<p class="line">The Grave and Cradle, the untiring twain,</p> -<p class="line">Who in the markets of this narrow lane</p> -<p class="line xd21e202">Bordered of darkness, ever give and take</p> -<p class="line">In equal measure—what’s the loss or -gain?</p> -</div> -<p><span class="pagenum">[<a id="xd21e751" href="#xd21e751" name= -"xd21e751">42</a>]</span></p> -</div> -</div> -<div id="s11" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XI</h3> -<div class="lgouter"> -<p class="line">Ay, like the circles which the sun doth spin</p> -<p class="line">Of gossamer, we end as we begin;</p> -<p class="line xd21e202">Our feet are on the heads of those that -pass,</p> -<p class="line">But ever their Graves around our Cradles grin.</p> -</div> -</div> -</div> -<div id="s12" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XII</h3> -<div class="lgouter"> -<p class="line">And what avails it then that Man be born</p> -<p class="line">To joy or sorrow?—why rejoice or mourn?</p> -<p class="line xd21e202">The doling doves are calling to the rose;</p> -<p class="line">The dying rose is bleeding o’er the thorn.</p> -</div> -<p><span class="pagenum">[<a id="xd21e776" href="#xd21e776" name= -"xd21e776">43</a>]</span></p> -</div> -</div> -<div id="s13" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XIII</h3> -<div class="lgouter"> -<p class="line">And he the Messenger, who takes away</p> -<p class="line">The faded garments, purple, white, and gray</p> -<p class="line xd21e202">Of all our dreams unto the Dyer, will</p> -<p class="line">Bring back new robes to-morrow—so they say.</p> -</div> -</div> -</div> -<div id="s14" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XIV</h3> -<div class="lgouter"> -<p class="line">But now the funeral is passing by,</p> -<p class="line">And in its trail, beneath this moaning sky,</p> -<p class="line xd21e202">The howdaj comes,—both vanish into -night;</p> -<p class="line">To me are one, the sob, the joyous cry.</p> -</div> -<p><span class="pagenum">[<a id="xd21e801" href="#xd21e801" name= -"xd21e801">44</a>]</span></p> -</div> -</div> -<div id="s15" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XV</h3> -<div class="lgouter"> -<p class="line">With tombs and ruined temples groans the land</p> -<p class="line">In which our forbears in the drifting sand</p> -<p class="line xd21e202">Arise as dunes upon the track of Time</p> -<p class="line">To mark the cycles of the moving hand</p> -</div> -</div> -</div> -<div id="s16" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XVI</h3> -<div class="lgouter"> -<p class="line">Of Fate. Alas! and we shall follow soon</p> -<p class="line">Into the night eternal or the noon;</p> -<p class="line xd21e202">The wayward daughters of the spheres -return</p> -<p class="line">Unto the bosom of their sun or moon.</p> -</div> -<p><span class="pagenum">[<a id="xd21e826" href="#xd21e826" name= -"xd21e826">45</a>]</span></p> -</div> -</div> -<div id="s17" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XVII</h3> -<div class="lgouter"> -<p class="line">And from the last days of Thamud and ‘Ad</p> -<p class="line">Up to the first of Hashem’s fearless lad,</p> -<p class="line xd21e202">Who smashed the idols of his mighty tribe,</p> -<p class="line">What idols and what heroes Death has had!</p> -</div> -</div> -</div> -<div id="s18" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XVIII</h3> -<div class="lgouter"> -<p class="line">Tread lightly, for the mighty that have been</p> -<p class="line">Might now be breathing in the dust unseen;</p> -<p class="line xd21e202">Lightly, the violets beneath thy feet</p> -<p class="line">Spring from the mole of some Arabian queen.</p> -</div> -<p><span class="pagenum">[<a id="xd21e851" href="#xd21e851" name= -"xd21e851">46</a>]</span></p> -</div> -</div> -<div id="s19" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XIX</h3> -<div class="lgouter"> -<p class="line">Many a grave embraces friend and foe</p> -<p class="line">Behind the curtain of this sorry show</p> -<p class="line xd21e202">Of love and hate inscrutable; alas!</p> -<p class="line">The Fates will always reap the while they sow.</p> -</div> -</div> -</div> -<div id="s20" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XX</h3> -<div class="lgouter"> -<p class="line">The silken fibre of the fell Zakkum,</p> -<p class="line">As warp and woof, is woven on the loom</p> -<p class="line xd21e202">Of life into a tapestry of dreams</p> -<p class="line">To decorate the chariot-seat of Doom.</p> -</div> -<p><span class="pagenum">[<a id="xd21e876" href="#xd21e876" name= -"xd21e876">47</a>]</span></p> -</div> -</div> -<div id="s21" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXI</h3> -<div class="lgouter"> -<p class="line">And still we weave, and still we are content</p> -<p class="line">In slaving for the sovereigns who have spent</p> -<p class="line xd21e202">The savings of the toiling of the mind</p> -<p class="line">Upon the glory of Dismemberment.</p> -</div> -</div> -</div> -<div id="s22" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXII</h3> -<div class="lgouter"> -<p class="line">Nor king nor slave the hungry Days will spare;</p> -<p class="line">Between their fangéd Hours alike we fare:</p> -<p class="line xd21e202">Anon they bound upon us while we play</p> -<p class="line">Unheeding at the threshold of their Lair.</p> -</div> -<p><span class="pagenum">[<a id="xd21e902" href="#xd21e902" name= -"xd21e902">48</a>]</span></p> -</div> -</div> -<div id="s23" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXIII</h3> -<div class="lgouter"> -<p class="line">Then Jannat or Juhannam? From the height</p> -<p class="line">Of reason I can see nor fire nor light</p> -<p class="line xd21e202">That feeds not on the darknesses; we pass</p> -<p class="line">From world to world, like shadows through the -night.</p> -</div> -</div> -</div> -<div id="s24" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXIV</h3> -<div class="lgouter"> -<p class="line">Or sleep—and shall it be eternal sleep</p> -<p class="line">Somewhither in the bosom of the deep</p> -<p class="line xd21e202">Infinities of cosmic dust, or here</p> -<p class="line">Where gracile cypresses the vigil keep!</p> -</div> -<p><span class="pagenum">[<a id="xd21e927" href="#xd21e927" name= -"xd21e927">49</a>]</span></p> -</div> -</div> -<div id="s25" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXV</h3> -<div class="lgouter"> -<p class="line">Upon the threshing-floor of life I burn</p> -<p class="line">Beside the Winnower a word to learn;</p> -<p class="line xd21e202">And only this: Man’s of the soil and -sun,</p> -<p class="line">And to the soil and sun he shall return.</p> -</div> -</div> -</div> -<div id="s26" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXVI</h3> -<div class="lgouter"> -<p class="line">And like a spider’s house or sparrow’s -nest,</p> -<p class="line">The Sultan’s palace, though upon the crest</p> -<p class="line xd21e202">Of glory’s mountain, soon or late must -go:</p> -<p class="line">Ay, all abodes to ruin are addrest.</p> -</div> -<p><span class="pagenum">[<a id="xd21e952" href="#xd21e952" name= -"xd21e952">50</a>]</span></p> -</div> -</div> -<div id="s27" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXVII</h3> -<div class="lgouter"> -<p class="line">So, too, the creeds of Man: the one prevails</p> -<p class="line">Until the other comes; and this one fails</p> -<p class="line xd21e202">When that one triumphs; ay, the lonesome -world</p> -<p class="line">Will always want the latest fairy-tales.</p> -</div> -</div> -</div> -<div id="s28" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXVIII</h3> -<div class="lgouter"> -<p class="line">Seek not the Tavern of Belief, my friend,</p> -<p class="line">Until the Sakis there their morals mend;</p> -<p class="line xd21e202">A lie imbibed a thousand lies will breed,</p> -<p class="line">And thou’lt become a Saki in the end.</p> -</div> -<p><span class="pagenum">[<a id="xd21e977" href="#xd21e977" name= -"xd21e977">51</a>]</span></p> -</div> -</div> -<div id="s29" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXIX</h3> -<div class="lgouter"> -<p class="line">By fearing whom I trust I find my way</p> -<p class="line">To truth; by trusting wholly I betray</p> -<p class="line xd21e202">The trust of wisdom; better far is doubt</p> -<p class="line">Which brings the false into the light of day.</p> -</div> -</div> -</div> -<div id="s30" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXX</h3> -<div class="lgouter"> -<p class="line">Or wilt thou commerce have with those who make</p> -<p class="line">Rugs of the rainbow, rainbows of the snake,</p> -<p class="line xd21e202">Snakes of a staff, and other wondrous -things?—</p> -<p class="line">The burning thirst a mirage can not slake.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1002" href="#xd21e1002" name= -"xd21e1002">52</a>]</span></p> -</div> -</div> -<div id="s31" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXXI</h3> -<div class="lgouter"> -<p class="line">Religion is a maiden veiled in prayer,</p> -<p class="line">Whose bridal gifts and dowry those who care</p> -<p class="line xd21e202">Can buy in Mutakallem’s shop of -words</p> -<p class="line">But I for such, a dirham can not spare.</p> -</div> -</div> -</div> -<div id="s32" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXXII</h3> -<div class="lgouter"> -<p class="line">Why linger here, why turn another page?</p> -<p class="line">Oh! seal with doubt the whole book of the age;</p> -<p class="line xd21e202">Doubt every one, even him, the seeming -slave</p> -<p class="line">Of righteousness, and doubt the canting sage.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1028" href="#xd21e1028" name= -"xd21e1028">53</a>]</span></p> -</div> -</div> -<div id="s33" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXXIII</h3> -<div class="lgouter"> -<p class="line">Some day the weeping daughters of Hadil</p> -<p class="line">Will say unto the bulbuls: “Let’s -appeal</p> -<p class="line xd21e202">To Allah in behalf of Brother Man</p> -<p class="line">Who’s at the mercy now of Ababil.”</p> -</div> -</div> -</div> -<div id="s34" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXXIV</h3> -<div class="lgouter"> -<p class="line">Of Ababil! I would the tale were true,—</p> -<p class="line">Would all the birds were such winged furies too;</p> -<p class="line xd21e202">The scourging and the purging were a boon</p> -<p class="line">For me, O my dear Brothers, and for you.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1053" href="#xd21e1053" name= -"xd21e1053">54</a>]</span></p> -</div> -</div> -<div id="s35" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXXV</h3> -<div class="lgouter"> -<p class="line">Methinks Allah divides me to complete</p> -<p class="line">His problem, which with Xs is replete;</p> -<p class="line xd21e202">For I am free and I am too in chains</p> -<p class="line">Groping along the labyrinthine street.</p> -</div> -</div> -</div> -<div id="s36" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXXVI</h3> -<div class="lgouter"> -<p class="line">And round the Well how oft my Soul doth grope</p> -<p class="line">Athirst; but lo! my Bucket hath no Rope:</p> -<p class="line xd21e202">I cry for water, and the deep, dark Well</p> -<p class="line">Echoes my wailing cry, but not my hope.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1078" href="#xd21e1078" name= -"xd21e1078">55</a>]</span></p> -</div> -</div> -<div id="s37" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXXVII</h3> -<div class="lgouter"> -<p class="line">Ah, many have I seen of those who fell</p> -<p class="line">While drawing, with a swagger, from the Well;</p> -<p class="line xd21e202">They came with Rope and Bucket, and they -went</p> -<p class="line">Empty of hand another tale to tell.</p> -</div> -</div> -</div> -<div id="s38" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXXVIII</h3> -<div class="lgouter"> -<p class="line">The <i>I</i> in me standing upon the brink</p> -<p class="line">Would leap into the Well to get a drink;</p> -<p class="line xd21e202">But how to rise once in the depth, I cry,</p> -<p class="line">And cowardly behind my logic slink.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1106" href="#xd21e1106" name= -"xd21e1106">56</a>]</span></p> -</div> -</div> -<div id="s39" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XXXIX</h3> -<div class="lgouter"> -<p class="line">And she: “How long must I the burden bear?</p> -<p class="line">How long this tattered garment must I wear?”</p> -<p class="line xd21e202">And I: “Why wear it? Leave it here, and -go</p> -<p class="line">Away without it—little do I care.”</p> -</div> -</div> -</div> -<div id="s40" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XL</h3> -<div class="lgouter"> -<p class="line">But once when we were quarreling, the door</p> -<p class="line">Was opened by a Visitor who bore</p> -<p class="line xd21e202">Both Rope and Pail; he offered them and -said:</p> -<p class="line">“Drink, if you will, but once, and -nevermore.”</p> -</div> -<p><span class="pagenum">[<a id="xd21e1131" href="#xd21e1131" name= -"xd21e1131">57</a>]</span></p> -</div> -</div> -<div id="s41" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XLI</h3> -<div class="lgouter"> -<p class="line">One draught, more bitter than the Zakkum tree,</p> -<p class="line">Brought us unto the land of mystery</p> -<p class="line xd21e202">Where rising Sand and Dust and Flame -conceal</p> -<p class="line">The door of every Caravanseri.</p> -</div> -</div> -</div> -<div id="s42" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XLII</h3> -<div class="lgouter"> -<p class="line">We reach a door and there the legend find.</p> -<p class="line">“To all the Pilgrims of the Human Mind:</p> -<p class="line xd21e202">Knock and pass on!” We knock and knock -and knock;</p> -<p class="line">But no one answers save the moaning wind<span class= -"corr" id="xd21e1156" title="Not in source">.</span></p> -</div> -<p><span class="pagenum">[<a id="xd21e1158" href="#xd21e1158" name= -"xd21e1158">58</a>]</span></p> -</div> -</div> -<div id="s43" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XLIII</h3> -<div class="lgouter"> -<p class="line">How like a door the knowledge we attain,</p> -<p class="line">Which door is on the bourne of the Inane;</p> -<p class="line xd21e202">It opens and our nothingness is -closed,—</p> -<p class="line">It closes and in darkness we remain.</p> -</div> -</div> -</div> -<div id="s44" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XLIV</h3> -<div class="lgouter"> -<p class="line">Hither we come unknowing, hence we go;</p> -<p class="line">Unknowing we are messaged to and fro;</p> -<p class="line xd21e202">And yet we think we know all things of -earth</p> -<p class="line">And sky—the suns and stars we think we know.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1184" href="#xd21e1184" name= -"xd21e1184">59</a>]</span></p> -</div> -</div> -<div id="s45" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XLV</h3> -<div class="lgouter"> -<p class="line">Apply thy wit, O Brother, here and there</p> -<p class="line">Upon this and upon that; but beware</p> -<p class="line xd21e202">Lest in the end—ah, better at the -start</p> -<p class="line">Go to the Tinker for a slight repair.</p> -</div> -</div> -</div> -<div id="s46" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XLVI</h3> -<div class="lgouter"> -<p class="line">And why so much ado, and wherefore lay</p> -<p class="line">The burden of the years upon the day</p> -<p class="line xd21e202">Of thy vain dreams? Who polishes his sword</p> -<p class="line">Morning and eve will polish it away.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1209" href="#xd21e1209" name= -"xd21e1209">60</a>]</span></p> -</div> -</div> -<div id="s47" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XLVII</h3> -<div class="lgouter"> -<p class="line">I heard it whispered in the cryptic streets</p> -<p class="line">Where every sage the same dumb shadow meets:</p> -<p class="line xd21e202">“We are but words fallen from the lipe -of Time</p> -<p class="line">Which God, that we might understand, -repeats.”</p> -</div> -</div> -</div> -<div id="s48" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XLVIII</h3> -<div class="lgouter"> -<p class="line">Another said: “The creeping worm hath shown,</p> -<p class="line">In her discourse on human flesh and bone,</p> -<p class="line xd21e202">That Man was once the bed on which she -slept—</p> -<p class="line">The walking dust was once a thing of stone.”</p> -</div> -<p><span class="pagenum">[<a id="xd21e1234" href="#xd21e1234" name= -"xd21e1234">61</a>]</span></p> -</div> -</div> -<div id="s49" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XLIX</h3> -<div class="lgouter"> -<p class="line">And still another: “We are coins which fade</p> -<p class="line">In circulation, coins which Allah made</p> -<p class="line xd21e202">To cheat Iblis: the good and bad alike</p> -<p class="line">Are spent by Fate upon a passing shade.”</p> -</div> -</div> -</div> -<div id="s50" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">L</h3> -<div class="lgouter"> -<p class="line">And in the pottery the potter cried,</p> -<p class="line">As on his work shone all the master’s -pride—</p> -<p class="line xd21e202">“How is it, Rabbi, I, thy slave, can -make</p> -<p class="line">Such vessels as nobody dare deride?”</p> -</div> -<p><span class="pagenum">[<a id="xd21e1259" href="#xd21e1259" name= -"xd21e1259">62</a>]</span></p> -</div> -</div> -<div id="s51" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LI</h3> -<div class="lgouter"> -<p class="line">The Earth then spake: “My children silent be;</p> -<p class="line">Same are to God the camel and the flea:</p> -<p class="line xd21e202">He makes a mess of me to nourish you,</p> -<p class="line">Then makes a mess of you to nourish me.”</p> -</div> -</div> -</div> -<div id="s52" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LII</h3> -<div class="lgouter"> -<p class="line">Now, I believe the Potter will essay</p> -<p class="line">Once more the Wheel, and from a better clay</p> -<p class="line xd21e202">Will make a better Vessel, and perchance</p> -<p class="line">A masterpiece which will endure for aye.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1284" href="#xd21e1284" name= -"xd21e1284">63</a>]</span></p> -</div> -</div> -<div id="s53" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LIII</h3> -<div class="lgouter"> -<p class="line">With better skill he even will remould</p> -<p class="line">The scattered potsherds of the New and Old;</p> -<p class="line xd21e202">Then you and I will not disdain to buy,</p> -<p class="line">Though in the mart of Iblis they be sold.</p> -</div> -</div> -</div> -<div id="s54" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LIV</h3> -<div class="lgouter"> -<p class="line">Sooth I have told the masters of the mart</p> -<p class="line">Of rusty creeds and Babylonian art</p> -<p class="line xd21e202">Of magic. Now the truth about -myself—</p> -<p class="line">Here is the secret of my wincing heart.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1310" href="#xd21e1310" name= -"xd21e1310">64</a>]</span></p> -</div> -</div> -<div id="s55" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LV</h3> -<div class="lgouter"> -<p class="line">I muse, but in my musings I recall</p> -<p class="line">The days of my iniquity; we’re all—</p> -<p class="line xd21e202">An arrow shot across the wilderness,</p> -<p class="line">Somewhither, in the wilderness must fall.</p> -</div> -</div> -</div> -<div id="s56" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LVI</h3> -<div class="lgouter"> -<p class="line">I laugh, but in my laughter-cup I pour</p> -<p class="line">The tears of scorn and melancholy sore;</p> -<p class="line xd21e202">I who am shattered by the hand of Doubt,</p> -<p class="line">Like glass to be remoulded nevermore.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1335" href="#xd21e1335" name= -"xd21e1335">65</a>]</span></p> -</div> -</div> -<div id="s57" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LVII</h3> -<div class="lgouter"> -<p class="line">I wheedle, too, even like my slave Zeidun,</p> -<p class="line">Who robs at dawn his brother, and at noon</p> -<p class="line xd21e202">Prostrates himself in prayer—ah, let us -pray</p> -<p class="line">That Night might blot us and our sins, and soon.</p> -</div> -</div> -</div> -<div id="s58" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LVIII</h3> -<div class="lgouter"> -<p class="line">But in the fatal coils, without intent,</p> -<p class="line">We sin; wherefore a future punishment?</p> -<p class="line xd21e202">They say the metal dead a deadly steel</p> -<p class="line">Becomes with Allah’s knowledge and consent.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1360" href="#xd21e1360" name= -"xd21e1360">66</a>]</span></p> -</div> -</div> -<div id="s59" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LIX</h3> -<div class="lgouter"> -<p class="line">And even the repentant sinner’s tear</p> -<p class="line">Falling into Juhannam’s very ear,</p> -<p class="line xd21e202">Goes to its heart, extinguishes its fire</p> -<p class="line">For ever and forever,—so I hear.</p> -</div> -</div> -</div> -<div id="s60" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LX</h3> -<div class="lgouter"> -<p class="line">Between the white and purple Words of Time</p> -<p class="line">In motley garb with Destiny I rhyme:</p> -<p class="line xd21e202">The colored glasses to the water give</p> -<p class="line">The colors of a symbolry sublime.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1385" href="#xd21e1385" name= -"xd21e1385">67</a>]</span></p> -</div> -</div> -<div id="s61" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXI</h3> -<div class="lgouter"> -<p class="line">How oft, when young, my brothers I would shun</p> -<p class="line">If their religious feelings were not spun</p> -<p class="line xd21e202">Of my own cobweb, which I find was but</p> -<p class="line">A spider’s revelation of the sun.</p> -</div> -</div> -</div> -<div id="s62" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXII</h3> -<div class="lgouter"> -<p class="line">Now, mosques and churches—even a Kaaba Stone,</p> -<p class="line">Korans and Bibles—even a martyr’s -bone,—</p> -<p class="line xd21e202">All these and more my heart can tolerate,</p> -<p class="line">For my religion’s love, and love alone.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1410" href="#xd21e1410" name= -"xd21e1410">68</a>]</span></p> -</div> -</div> -<div id="s63" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXIII</h3> -<div class="lgouter"> -<p class="line">To humankind, O Brother, consecrate</p> -<p class="line">Thy heart, and shun the hundred Sects that prate</p> -<p class="line xd21e202">About the things they little know -about—</p> -<p class="line">Let all receive thy pity, none thy hate.</p> -</div> -</div> -</div> -<div id="s64" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXIV</h3> -<div class="lgouter"> -<p class="line">The tavern and the temple also shun,</p> -<p class="line">For sheikh and libertine in sooth are one;</p> -<p class="line xd21e202">And when the pious knave begins to pule,</p> -<p class="line">The knave in purple breaks his vow anon.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1435" href="#xd21e1435" name= -"xd21e1435">69</a>]</span></p> -</div> -</div> -<div id="s65" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXV</h3> -<div class="lgouter"> -<p class="line">“The wine’s forbidden,” say these -honest folk,</p> -<p class="line">But for themselves the law they will revoke;</p> -<p class="line xd21e202">The snivelling sheikh says he’s without -a garb,</p> -<p class="line">When in the tap-house he had pawned his -cloak<span class="corr" id="xd21e1449" title="Source: ,">.</span></p> -</div> -</div> -</div> -<div id="s66" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXVI</h3> -<div class="lgouter"> -<p class="line">Or in the house of lust. The priestly name</p> -<p class="line">And priestly turban once were those of Shame—</p> -<p class="line xd21e202">And Shame is preaching in the pulpit -now—</p> -<p class="line">If pulpits tumble down, I’m not to blame.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1463" href="#xd21e1463" name= -"xd21e1463">70</a>]</span></p> -</div> -</div> -<div id="s67" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXVII</h3> -<div class="lgouter"> -<p class="line">For after she declaims upon the vows</p> -<p class="line">Of Faith, she pusillanimously bows</p> -<p class="line xd21e202">Before the Sultan’s wine-empurpled -throne,</p> -<p class="line">While he and all his courtezans carouse.</p> -</div> -</div> -</div> -<div id="s68" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXVIII</h3> -<div class="lgouter"> -<p class="line">Carouse, ye sovereign lords! The wheel will roll</p> -<p class="line">Forever to confound and to console:</p> -<p class="line xd21e202">Who sips to-day the golden cup will drink</p> -<p class="line">Mayhap to-morrow in a wooden bowl—</p> -</div> -<p><span class="pagenum">[<a id="xd21e1488" href="#xd21e1488" name= -"xd21e1488">71</a>]</span></p> -</div> -</div> -<div id="s69" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXIX</h3> -<div class="lgouter"> -<p class="line">And silent drink. The tumult of our mirth</p> -<p class="line">Is worse than our mad welcoming of birth:—</p> -<p class="line xd21e202">The thunder hath a grandeur, but the -rains,</p> -<p class="line">Without the thunder, quench the thirst of Earth.</p> -</div> -</div> -</div> -<div id="s70" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXX</h3> -<div class="lgouter"> -<p class="line">The Prophets, too, among us come to teach,</p> -<p class="line">Are one with those who from the pulpit preach;</p> -<p class="line xd21e202">They pray, and slay, and pass away, and -yet</p> -<p class="line">Our ills are as the pebbles on the beach.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1513" href="#xd21e1513" name= -"xd21e1513">72</a>]</span></p> -</div> -</div> -<div id="s71" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXI</h3> -<div class="lgouter"> -<p class="line">And though around the temple they should run</p> -<p class="line">For seventy times and seven, and in the sun</p> -<p class="line xd21e202">Of mad devotion drool, their prayers are -still</p> -<p class="line">Like their desires of feasting-fancies spun.</p> -</div> -</div> -</div> -<div id="s72" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXII</h3> -<div class="lgouter"> -<p class="line">Oh! let them in the marshes grope, or ride</p> -<p class="line">Their jaded Myths along the mountain-side;</p> -<p class="line xd21e202">Come up with me, O Brother, to the heights</p> -<p class="line">Where Reason is the prophet and the guide.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1538" href="#xd21e1538" name= -"xd21e1538">73</a>]</span></p> -</div> -</div> -<div id="s73" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXIII</h3> -<div class="lgouter"> -<p class="line">“What is thy faith and creed,” they ask of -me,</p> -<p class="line">“And who art thou? Unseal thy -pedigree.”—</p> -<p class="line xd21e202">I am the child of Time, my tribe, mankind,</p> -<p class="line">And now this world’s my caravanseri.</p> -</div> -</div> -</div> -<div id="s74" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXIV</h3> -<div class="lgouter"> -<p class="line">Swathe thee in wool, my Sufi friend, and go</p> -<p class="line">Thy way; in cotton I the wiser grow;</p> -<p class="line xd21e202">But we ourselves are shreds of earth, and -soon</p> -<p class="line">The Tailor of the Universe will sew.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1563" href="#xd21e1563" name= -"xd21e1563">74</a>]</span></p> -</div> -</div> -<div id="s75" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXV</h3> -<div class="lgouter"> -<p class="line">Ay! suddenly the mystic Hand will seal</p> -<p class="line">The saint’s devotion and the sinner’s -weal;</p> -<p class="line xd21e202">They worship Saturn, but I worship One</p> -<p class="line">Before whom Saturn and the Heavens kneel.</p> -</div> -</div> -</div> -<div id="s76" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXVI</h3> -<div class="lgouter"> -<p class="line">Among the crumbling ruins of the creeds</p> -<p class="line">The Scout upon his camel played his reeds</p> -<p class="line xd21e202">And called out to his people,—“Let -us hence!</p> -<p class="line">The pasture here is full of noxious weeds.”</p> -</div> -<p><span class="pagenum">[<a id="xd21e1589" href="#xd21e1589" name= -"xd21e1589">75</a>]</span></p> -</div> -</div> -<div id="s77" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXVII</h3> -<div class="lgouter"> -<p class="line">Among us falsehood is proclaimed aloud,</p> -<p class="line">But truth is whispered to the phantom bowed</p> -<p class="line xd21e202">Of conscience; ay! and Wrong is ever -crowned,</p> -<p class="line">While Right and Reason are denied a shroud.</p> -</div> -</div> -</div> -<div id="s78" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXVIII</h3> -<div class="lgouter"> -<p class="line">And why in this dark Kingdom tribute pay?</p> -<p class="line">With clamant multitudes why stop to pray?</p> -<p class="line xd21e202">Oh! hear the inner Voice:—“If -thou’lt be right,</p> -<p class="line">Do what they deem is wrong, and go thy way.”</p> -</div> -<p><span class="pagenum">[<a id="xd21e1614" href="#xd21e1614" name= -"xd21e1614">76</a>]</span></p> -</div> -</div> -<div id="s79" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXIX</h3> -<div class="lgouter"> -<p class="line">Thy way unto the Sun the spaces through</p> -<p class="line">Where king Orion’s black-eyed huris slew</p> -<p class="line xd21e202">The Mother of Night to guide the Wings that -bear</p> -<p class="line">The flame divine hid in a drop of dew.</p> -</div> -</div> -</div> -<div id="s80" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXX</h3> -<div class="lgouter"> -<p class="line">Hear ye who in the dust of ages creep,</p> -<p class="line">And in the halls of wicked masters sleep:—</p> -<p class="line xd21e202">Arise! and out of this wan weariness</p> -<p class="line">Where Allah’s laughter makes the Devil weep.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1639" href="#xd21e1639" name= -"xd21e1639">77</a>]</span></p> -</div> -</div> -<div id="s81" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXXI</h3> -<div class="lgouter"> -<p class="line">Arise! for lo! the Laughter and the Weeping</p> -<p class="line">Reveal the Weapon which the Master’s keeping</p> -<p class="line xd21e202">Above your heads; Oh! take it up and -strike!</p> -<p class="line">The lion of tyranny is only sleeping.</p> -</div> -</div> -</div> -<div id="s82" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXXII</h3> -<div class="lgouter"> -<p class="line">Evil and Virtue? Shadows on the street</p> -<p class="line">Of Fate and Vanity,—but shadows meet</p> -<p class="line xd21e202">When in the gloaming they are hast’ning -forth</p> -<p class="line">To drink with Night annihilation sweet.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1664" href="#xd21e1664" name= -"xd21e1664">78</a>]</span></p> -</div> -</div> -<div id="s83" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXXIII</h3> -<div class="lgouter"> -<p class="line">And thus the Sun will write and will efface</p> -<p class="line">The mystic symbols which the sages trace</p> -<p class="line xd21e202">In vain, for all the worlds of God are -stored</p> -<p class="line">In his enduring vessels Time and Space.</p> -</div> -</div> -</div> -<div id="s84" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXXIV</h3> -<div class="lgouter"> -<p class="line">For all my learning’s but a veil, I guess,</p> -<p class="line">Veiling the phantom of my nothingness;</p> -<p class="line xd21e202">Howbeit, there are those who think me -wise,</p> -<p class="line">And those who think me—even these I bless.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1689" href="#xd21e1689" name= -"xd21e1689">79</a>]</span></p> -</div> -</div> -<div id="s85" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXXV</h3> -<div class="lgouter"> -<p class="line">And all my years, as vapid as my lay,</p> -<p class="line">Are bitter morsels of a mystic day,—</p> -<p class="line xd21e202">The day of Fate, who carries in his lap</p> -<p class="line">December snows and snow-white flowers of May.</p> -</div> -</div> -</div> -<div id="s86" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXXVI</h3> -<div class="lgouter"> -<p class="line">Allah, my sleep is woven through, it seems,</p> -<p class="line">With burning threads of night and golden beams;</p> -<p class="line xd21e202">But when my dreams are evil they come -true;</p> -<p class="line">When they are not, they are, alas! but dreams.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1714" href="#xd21e1714" name= -"xd21e1714">80</a>]</span></p> -</div> -</div> -<div id="s87" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXXVII</h3> -<div class="lgouter"> -<p class="line">The subtle ways of Destiny I know;</p> -<p class="line">In me she plays her game of “Give and -Go.”</p> -<p class="line xd21e202">Misfortune I receive in cash, but joy,</p> -<p class="line">In drafts on Heaven or on the winds that blow.</p> -</div> -</div> -</div> -<div id="s88" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXXVIII</h3> -<div class="lgouter"> -<p class="line">I give and go, grim Destiny,—I play</p> -<p class="line">Upon this checker-board of Night and Day</p> -<p class="line xd21e202">The dark game with thee, but the day will -come</p> -<p class="line">When one will turn the Board the other way.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1740" href="#xd21e1740" name= -"xd21e1740">81</a>]</span></p> -</div> -</div> -<div id="s89" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">LXXXIX</h3> -<div class="lgouter"> -<p class="line">If my house-swallow, laboring with zest,</p> -<p class="line">Felt like myself the burden of unrest,</p> -<p class="line xd21e202">Unlightened by inscrutable designs,</p> -<p class="line">She would not build her young that cozy nest.</p> -</div> -</div> -</div> -<div id="s90" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XC</h3> -<div class="lgouter"> -<p class="line">Thy life with guiltless life-blood do not -stain—</p> -<p class="line">Hunt not the children of the woods; in vain</p> -<p class="line xd21e202">Thou’lt try one day to wash thy bloody -hand:</p> -<p class="line">Nor hunter here nor hunted long remain<span class= -"corr" id="xd21e1765" title="Not in source">.</span></p> -</div> -<p><span class="pagenum">[<a id="xd21e1767" href="#xd21e1767" name= -"xd21e1767">82</a>]</span></p> -</div> -</div> -<div id="s91" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XCI</h3> -<div class="lgouter"> -<p class="line">Oh! cast my dust away from thee, and doff</p> -<p class="line">Thy cloak of sycophancy and like stuff:</p> -<p class="line xd21e202">I’m but a shadow on the sandy -waste,—</p> -<p class="line">Enough of thy duplicity, enough!</p> -</div> -</div> -</div> -<div id="s92" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XCII</h3> -<div class="lgouter"> -<p class="line">Behold! the Veil that hid thy soul is torn</p> -<p class="line">And all thy secrets on the winds are borne:</p> -<p class="line xd21e202">The hand of Sin has written on thy face</p> -<p class="line">“Awake, for these untimely furrows -warn!”</p> -</div> -<p><span class="pagenum">[<a id="xd21e1792" href="#xd21e1792" name= -"xd21e1792">83</a>]</span></p> -</div> -</div> -<div id="s93" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XCIII</h3> -<div class="lgouter"> -<p class="line">A prince of souls, ‘tis sung in ancient lay,</p> -<p class="line">One morning sought a vesture of the clay;</p> -<p class="line xd21e202">He came into the Pottery, the fool—</p> -<p class="line">The lucky fool was warned to stay away.</p> -</div> -</div> -</div> -<div id="s94" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XCIV</h3> -<div class="lgouter"> -<p class="line">But I was not. Oh! that the Fates decree</p> -<p class="line">That I now cast aside this clay of me;</p> -<p class="line xd21e202">My soul and body wedded for a while</p> -<p class="line">Are sick and would that separation be.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1817" href="#xd21e1817" name= -"xd21e1817">84</a>]</span></p> -</div> -</div> -<div id="s95" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XCV</h3> -<div class="lgouter"> -<p class="line">“Thou shalt not kill!”—Thy words, O -God, we heed,</p> -<p class="line">Though thy two Soul-devouring Angels feed</p> -<p class="line xd21e202">Thy Promise of another life on -this,—</p> -<p class="line">To have spared us both, it were a boon indeed.</p> -</div> -</div> -</div> -<div id="s96" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XCVI</h3> -<div class="lgouter"> -<p class="line">Oh! that some one would but return to tell</p> -<p class="line">If old Nubakht is burning now in hell,</p> -<p class="line xd21e202">Or if the workers for the Prophet’s -prize</p> -<p class="line">Are laughing at his Paradisal sell.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1842" href="#xd21e1842" name= -"xd21e1842">85</a>]</span></p> -</div> -</div> -<div id="s97" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XCVII</h3> -<div class="lgouter"> -<p class="line">Once I have tried to string a few Pearl-seeds</p> -<p class="line">Upon my Rosary of wooden beads;</p> -<p class="line xd21e202">But I have searched, and I have searched in -vain</p> -<p class="line">For pearls in all the caverns of the creeds</p> -</div> -</div> -</div> -<div id="s98" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XCVIII</h3> -<div class="lgouter"> -<p class="line">And in the palaces of wealth I found</p> -<p class="line">Some beads of wisdom scattered on the ground,</p> -<p class="line xd21e202">Around the throne of Power, beneath the -feet</p> -<p class="line">Of fair-faced slaves with flowers of folly crowned.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1868" href="#xd21e1868" name= -"xd21e1868">86</a>]</span></p> -</div> -</div> -<div id="s99" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">XCIX</h3> -<div class="lgouter"> -<p class="line">Thy wealth can shed no tears around thy bier,</p> -<p class="line">Nor can it wash thy hands of shame and fear;</p> -<p class="line xd21e202">Ere thou departest with it freely -part<span class="corr" id="xd21e1879" title= -"Source: .">,</span>—</p> -<p class="line">Let others plead for thee and God will hear.</p> -</div> -</div> -</div> -<div id="s100" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">C</h3> -<div class="lgouter"> -<p class="line">For me thy silks and feathers have no charm</p> -<p class="line">The pillow I like best is my right arm;</p> -<p class="line xd21e202">The comforts of this passing show I spurn,</p> -<p class="line">For Poverty can do the soul no harm.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1896" href="#xd21e1896" name= -"xd21e1896">87</a>]</span></p> -</div> -</div> -<div id="s101" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CI</h3> -<div class="lgouter"> -<p class="line">The guiding hand of Allah I can see</p> -<p class="line">Upon my staff: of what use then is he</p> -<p class="line xd21e202">Who’d be the blind man’s guide? -Thou silent oak,</p> -<p class="line">No son of Eve shall walk with me and thee.</p> -</div> -</div> -</div> -<div id="s102" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CII</h3> -<div class="lgouter"> -<p class="line">My life’s the road on which I blindly speed:</p> -<p class="line">My goal’s the grave on which I plant a reed</p> -<p class="line xd21e202">To shape my Hope, but soon the Hand unseen</p> -<p class="line">Will strike, and lo! I’m but a sapless weed.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1921" href="#xd21e1921" name= -"xd21e1921">88</a>]</span></p> -</div> -</div> -<div id="s103" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CIII</h3> -<div class="lgouter"> -<p class="line">O Rabbi, curse us not if we have been</p> -<p class="line">Nursed in the shadow of the Gate of Sin</p> -<p class="line xd21e202">Built by thy hand—yea, ev’n thine -angels blink</p> -<p class="line">When we are coming out and going in.</p> -</div> -</div> -</div> -<div id="s104" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CIV</h3> -<div class="lgouter"> -<p class="line">And like the dead of Ind I do not fear</p> -<p class="line">To go to thee in flames; the most austere</p> -<p class="line xd21e202">Angel of fire a softer tooth and tongue</p> -<p class="line">Hath he than dreadful Munker and Nakir.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1946" href="#xd21e1946" name= -"xd21e1946">89</a>]</span></p> -</div> -</div> -<div id="s105" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CV</h3> -<div class="lgouter"> -<p class="line">Now, at this end of Adam’s line I stand</p> -<p class="line">Holding my father’s life-curse in my hand,</p> -<p class="line xd21e202">Doing no one the wrong that he did -me:—</p> -<p class="line">Ah, would that he were barren as the sand!</p> -</div> -</div> -</div> -<div id="s106" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CVI</h3> -<div class="lgouter"> -<p class="line">Ay, thus thy children, though they sovereigns be,</p> -<p class="line">When truth upon them dawns, will turn on thee,</p> -<p class="line xd21e202">Who cast them into life’s dark -labyrinth</p> -<p class="line">Where even old Izrail can not see.</p> -</div> -<p><span class="pagenum">[<a id="xd21e1971" href="#xd21e1971" name= -"xd21e1971">90</a>]</span></p> -</div> -</div> -<div id="s107" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CVII</h3> -<div class="lgouter"> -<p class="line">And in the labyrinth both son and sire</p> -<p class="line">Awhile will fan and fuel hatred’s fire;</p> -<p class="line xd21e202">Sparks of the log of evil are all men</p> -<p class="line">Allwhere—extinguished be the race entire!</p> -</div> -</div> -</div> -<div id="s108" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CVIII</h3> -<div class="lgouter"> -<p class="line">If miracles were wrought in ancient years,</p> -<p class="line">Why not to-day, O Heaven-cradled seers?</p> -<p class="line xd21e202">The highway’s strewn with dead, the -lepers weep,</p> -<p class="line">If ye but knew,—if ye but saw their tears!</p> -</div> -<p><span class="pagenum">[<a id="xd21e1996" href="#xd21e1996" name= -"xd21e1996">91</a>]</span></p> -</div> -</div> -<div id="s109" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CIX</h3> -<div class="lgouter"> -<p class="line">Fan thou a lisping fire and it will leap</p> -<p class="line">In flames, but dost thou fan an ashy heap?</p> -<p class="line xd21e202">They would respond, indeed, whom thou dost -call,</p> -<p class="line">Were they not dead, alas! or dead asleep.</p> -</div> -</div> -</div> -<div id="s110" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CX</h3> -<div class="lgouter"> -<p class="line">The way of vice is open as the sky,</p> -<p class="line">The way of virtue’s like the needle’s -eye;</p> -<p class="line xd21e202">But whether here or there, the eager Soul</p> -<p class="line">Has only two Companions—Whence and Why.</p> -</div> -<p><span class="pagenum">[<a id="xd21e2022" href="#xd21e2022" name= -"xd21e2022">92</a>]</span></p> -</div> -</div> -<div id="s111" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CXI</h3> -<div class="lgouter"> -<p class="line">Whence come, O firmament, thy myriad lights?</p> -<p class="line">Whence comes thy sap, O vineyard of the heights?</p> -<p class="line xd21e202">Whence comes the perfume of the rose, and -whence</p> -<p class="line">The spirit-larva which the body blights?</p> -</div> -</div> -</div> -<div id="s112" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CXII</h3> -<div class="lgouter"> -<p class="line">Whence does the nettle get its bitter sting?</p> -<p class="line">Whence do the honey bees their honey bring?</p> -<p class="line xd21e202">Whence our Companions, too—our Whence -and Why?</p> -<p class="line">O Soul, I do not know a single thing!</p> -</div> -<p><span class="pagenum">[<a id="xd21e2047" href="#xd21e2047" name= -"xd21e2047">93</a>]</span></p> -</div> -</div> -<div id="s113" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CXIII</h3> -<div class="lgouter"> -<p class="line">How many like us in the ages past</p> -<p class="line">Have blindly soared, though like a pebble cast,</p> -<p class="line xd21e202">Seeking the veil of mystery to tear,</p> -<p class="line">But fell accurst beneath the burning blast?</p> -</div> -</div> -</div> -<div id="s114" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CXIV</h3> -<div class="lgouter"> -<p class="line">Why try to con the book of earth and sky,</p> -<p class="line">Why seek the truth which neither you nor I</p> -<p class="line xd21e202">Can grasp? But Death methinks the secret -keeps,</p> -<p class="line">And will impart it to us by and by.</p> -</div> -<p><span class="pagenum">[<a id="xd21e2072" href="#xd21e2072" name= -"xd21e2072">94</a>]</span></p> -</div> -</div> -<div id="s115" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CXV</h3> -<div class="lgouter"> -<p class="line">The Sultan, too, relinquishing his throne</p> -<p class="line">Must wayfare through the darkening dust alone</p> -<p class="line xd21e202">Where neither crown nor kingdom be, and -he,</p> -<p class="line">Part of the Secret, here and there is blown.</p> -</div> -</div> -</div> -<div id="s116" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CXVI</h3> -<div class="lgouter"> -<p class="line">To clay the mighty Sultan must return</p> -<p class="line">And, chancing, help a praying slave to burn</p> -<p class="line xd21e202">His midnight oil before the face of Him,</p> -<p class="line">Who of the Sultan makes an incense urn.</p> -</div> -<p><span class="pagenum">[<a id="xd21e2097" href="#xd21e2097" name= -"xd21e2097">95</a>]</span></p> -</div> -</div> -<div id="s117" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CXVII</h3> -<div class="lgouter"> -<p class="line">Turned to a cup, who once the sword of state</p> -<p class="line">Held o’er the head of slave and potentate,</p> -<p class="line xd21e202">Is now held in the tippler’s trembling -hand,</p> -<p class="line">Or smashed upon the tavern-floor of Fate.</p> -</div> -</div> -</div> -<div id="s118" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CXVIII</h3> -<div class="lgouter"> -<p class="line">For this I say, Be watchful of the Cage</p> -<p class="line">Of chance; it opes alike to fool and sage;</p> -<p class="line xd21e202">Spy on the moment, for to-morrow’ll -be,</p> -<p class="line">Like yesterday, an obliterated page.</p> -</div> -<p><span class="pagenum">[<a id="xd21e2122" href="#xd21e2122" name= -"xd21e2122">96</a>]</span></p> -</div> -</div> -<div id="s119" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CXIX</h3> -<div class="lgouter"> -<p class="line">Yea, kiss the rosy cheeks of new-born Day,</p> -<p class="line">And hail eternity in every ray</p> -<p class="line xd21e202">Forming a halo round its infant head,</p> -<p class="line">Illumining thy labyrinthine way.</p> -</div> -</div> -</div> -<div id="s120" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CXX</h3> -<div class="lgouter"> -<p class="line">But I, the thrice-imprisoned, try to troll</p> -<p class="line">Strains of the song of night, which fill with dole</p> -<p class="line xd21e202">My blindness, my confinement, and my -flesh—</p> -<p class="line">The sordid habitation of my soul.</p> -</div> -</div> -</div> -<div id="s121" class="div2 section"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main">CXXI</h3> -<div class="lgouter"> -<p class="line">Howbeit, my inner vision heir shall be</p> -<p class="line">To the increasing flames of mystery</p> -<p class="line xd21e202">Which may illumine yet my prisons all,</p> -<p class="line">And crown the ever living hope of me.</p> -</div> -<p><span class="pagenum">[<a id="xd21e2160" href="#xd21e2160" name= -"xd21e2160">97</a>]</span></p> -</div> -</div> -</div> -</div> -<div id="notes" class="div1 notes"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">NOTES TO THE QUATRAINS</h2> -<div id="xd21e2164" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s1">I</a></h3> -</div> -<div class="divBody"> -<p class="par first">To open a poem with a few amatory lines, is a -literary tradition among Arab poets. But Abu’l-Ala, having had no -occasion to evince such tender emotions, whether real or merely -academic, succeeded, as in everything else he did, in deviating from -the trodden path. I find, however, in his minor Diwan, <i>Suct -uz-Zand</i><span class="corr" id="xd21e2172" title="Source: .">,</span> -a slight manifestation of his youthful ardor, of which this and the -succeeding quatrains, descriptive of the charms of Night, are fairly -representative.</p> -</div> -</div> -<div id="xd21e2175" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s3">III</a></h3> -</div> -<div class="divBody"> -<p class="par first">“Ahmad,” Mohammed the Prophet.</p> -</div> -</div> -<div id="xd21e2181" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s4">IV</a></h3> -</div> -<div class="divBody"> -<p class="par first">“And hear the others who with cymbals -try,” etc., meaning the Christians; in the preceding quatrain he -referred to the Mohammedans.</p> -</div> -</div> -<div id="xd21e2187" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s7">VII</a></h3> -</div> -<div class="divBody"> -<p class="par first">Milton, in Il Penseroso, also speaks of night as -“the starred Ethiop queen”; and Shakespeare, in Romeo and -Juliet, has these lines:</p> -<div class="lgouter"> -<p class="line">“Her beauty hangs upon the cheek of night</p> -<p class="line">As a rich jewel in an Ethiop ear.”</p> -</div> -<p class="par first">The source of inspiration is the same to all -world-poets, who only differ sometimes in the jars they bring to the -source. <span class="pagenum">[<a id="xd21e2200" href="#xd21e2200" -name="xd21e2200">98</a>]</span></p> -</div> -</div> -<div id="xd21e2201" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s13">XIII</a></h3> -</div> -<div class="divBody"> -<p class="par first">The purple, white, and gray garments, symbolizing -Man’s dreams of power, of love, and of bliss.</p> -</div> -</div> -<div id="xd21e2207" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s14">XIV</a></h3> -</div> -<div class="divBody"> -<p class="par first">The same idea is expressed by Omar Khayyam. Here -are the first three lines of the 122nd quatrain of Heron-Allen’s -literal translation:</p> -<div class="lgouter"> -<p class="line">“To him who understands the mysteries of the -world</p> -<p class="line">The joy and sorrow of the world is all the same,</p> -<p class="line">Since the good and the bad of the world all come to an -end.”</p> -</div> -<p class="par first">“Howdaj,” a sort of palanquin borne by -camels; hence, a wedding or a triumphal procession.</p> -</div> -</div> -<div id="xd21e2222" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s17">XVII</a></h3> -</div> -<div class="divBody"> -<p class="par first">“Thamud” and “’Ad,” -two of the primitive tribes which figure prominently in the legendary -history of Arabia. They flouted and stoned the prophets that were sent -to them, and are constantly held up in the Koran as terrible examples -of the pride that goeth before destruction.</p> -<p class="par">“Hashem’s fearless lad,” Mohammed the -Prophet.</p> -</div> -</div> -<div id="xd21e2230" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s18">XVIII</a></h3> -</div> -<div class="divBody"> -<p class="par first">I quote again from Omar, Fitzgerald’s -translation:</p> -<div class="lgouter"> -<p class="line">“And this reviving Herb, whose Tender Green</p> -<p class="line">Fledges the River-Lip, on which we lean—</p> -<p class="line xd21e202">Ah, lean upon it lightly! for who knows</p> -<p class="line">From what once lovely Lip it springs unseen.”</p> -</div> -<p class="par first">In justice to both the Persian and the Arab poet, -however, I give the 43d quatrain of Heron-Allen’s, which I think -contains two lines of that of Fitzgerald, together with -Abu’l-Ala’s own poetic-fancy. <span class="pagenum">[<a id= -"xd21e2247" href="#xd21e2247" name="xd21e2247">99</a>]</span></p> -<div class="lgouter"> -<p class="line">“Everywhere that there has been a rose or tulip -bed</p> -<p class="line">There has been spilled the crimson blood of a king;</p> -<p class="line">Every violet shoot that grows from the earth</p> -<p class="line">Is a mole that was once upon the cheek of -beauty.”</p> -</div> -</div> -</div> -<div id="xd21e2258" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s20">XX</a></h3> -</div> -<div class="divBody"> -<p class="par first">“Zakkum,” a tree which, in Mohammedan -mythology, is said to have its roots in hell, and from which are fed -the dwellers of hell-fire. In one of the Chapters of the Koran, The -Saffat, I find this upon it: “And is that a pure bounty, or the -Zakkum tree? It is a tree which groweth in hell; its fruits are like -unto the heads of the devils, who eat from it, and from it fill their -stomachs.”</p> -<p class="par">Zakkum is also one of the bitter-fruited trees of -Arabia. And the people there speak of “a mouthful of -zakkum” when they want to describe an unhappy experience. It is -also the name of one of the plants of the desert, whose flower is like -the jasmine; and of one of the trees of Jericho, whose fruit is like -the date, but somewhat bitter.</p> -</div> -</div> -<div id="xd21e2266" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s23">XXIII</a></h3> -</div> -<div class="divBody"> -<p class="par first">“Jannat,” Paradise. -“Juhannam,” Hell.</p> -</div> -</div> -<div id="xd21e2273" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s29">XXIX</a></h3> -</div> -<div class="divBody"> -<p class="par first">And Tennyson also says:</p> -<div class="lgouter"> -<p class="line">“There is more truth in honest doubt,</p> -<p class="line">Believe me, than in all the creeds.”</p> -</div> -</div> -</div> -<div id="xd21e2284" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s31">XXXI</a></h3> -</div> -<div class="divBody"> -<p class="par first">“Mutakallem,” disputant. The -<i>mutakallemin</i> are the logicians and theologians of Islam. -<span class="pagenum">[<a id="xd21e2293" href="#xd21e2293" name= -"xd21e2293">100</a>]</span></p> -</div> -</div> -<div id="xd21e2295" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s33">XXXIII</a></h3> -</div> -<div class="divBody"> -<p class="par first">Hadil is a poetic term for dove. And in Arabic -mythology it is the name of a particular dove, which died of thirst in -the days of Noah, and is bemoaned until this day.</p> -<p class="par">“Ababil,” a flock of birds, who scourged -with flint-stones which they carried in their beaks, one of the ancient -Arab tribes, noted for its idolatry and evil practices.</p> -</div> -</div> -<div id="xd21e2303" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s38">XXXVIII</a>, <a href="#s93">XCIII</a> -and <a href="#s94">XCIV</a></h3> -</div> -<div class="divBody"> -<p class="par first">I quote again from Omar, Fitzgerald’s -version, quatrain 44:</p> -<div class="lgouter"> -<p class="line">“Why, if the Soul can fling the dust aside,</p> -<p class="line">And naked on the air of Heaven ride,</p> -<p class="line xd21e202">Were’t not a shame—were’t -not a shame for him</p> -<p class="line">In this clay carcass crippled to abide?”</p> -</div> -<p class="par first">And from Heron-Allen’s, quatrain 145:</p> -<div class="lgouter"> -<p class="line">“O Soul, if thou canst purify thyself from the -dust of the clay,</p> -<p class="line">Thou, naked spirit, canst soar in the -heav’ns,</p> -<p class="line">The Empyrian is thy sphere—let it be thy -shame</p> -<p class="line">That thou comest and art a dweller within the confines -of earth.”</p> -</div> -</div> -</div> -<div id="xd21e2335" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s48">XLVIII</a></h3> -</div> -<div class="divBody"> -<p class="par first">“The walking dust was once a thing of -stone,” is my rendering of the line,</p> -<div class="lgouter"> -<p class="line">“And he concerning whom the world is puzzled</p> -<p class="line">Is an animal evolved of inorganic matter.”</p> -</div> -<p class="par first">This line of Abu’l-Ala is much quoted by his -enthusiastic admirers of the present day to prove <span class= -"pagenum">[<a id="xd21e2348" href="#xd21e2348" name= -"xd21e2348">101</a>]</span>that he anticipated Darwin’s theory of -evolution. And it is remarkable how the fancy of the poet sometimes -coincides with the logical conclusions of the scientist.</p> -</div> -</div> -<div id="xd21e2350" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s49">XLIX</a></h3> -</div> -<div class="divBody"> -<p class="par first">“Iblis,” the devil.</p> -</div> -</div> -<div id="xd21e2356" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s50">L</a></h3> -</div> -<div class="divBody"> -<p class="par first">“Rabbi,” my lord God.</p> -</div> -</div> -<div id="xd21e2362" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s56">LVI</a></h3> -</div> -<div class="divBody"> -<p class="par first">This quatrain is quoted by many of the Biographers -of Abu’l-Ala to prove that he is a materialist. Which argument is -easily refuted, however, with others quatrains taken at random from the -Luzumiyat.</p> -</div> -</div> -<div id="xd21e2368" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s57">LVII</a>, <a href="#s58">LVIII</a> and -<a href="#s59">LIX</a></h3> -</div> -<div class="divBody"> -<p class="par first">Omar was also a confessed cynical-hypocrite. Thus -runs the first line of the 114th quatrain of Heron-Allen’s:</p> -<div class="lgouter"> -<p class="line">“The world being fleeting I practise naught but -artifice.”</p> -</div> -<p class="par first">And he also chafes in the chains of his sins. -Following is the 23d quatrain of the same translation:</p> -<div class="lgouter"> -<p class="line">“Khayyam, why mourn for thy sins?</p> -<p class="line">From grieving thus what advantage more or less dost -thou gain?</p> -<p class="line">Mercy was never for him who sins not,</p> -<p class="line">Mercy is granted for sins; why then grieve?”</p> -</div> -<p class="par first">Abu’l-Ala, in a quatrain which I did not -translate, goes even farther in his questioning perplexity. -<span class="pagenum">[<a id="xd21e2396" href="#xd21e2396" name= -"xd21e2396">102</a>]</span>“Why do good since thou art to be -forgiven for thy sins?” he asks.</p> -</div> -</div> -<div id="xd21e2398" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s62">LXII</a></h3> -</div> -<div class="divBody"> -<p class="par first">“Kaaba Stone,” the sacred black stone -in the Kaaba at Meccah.</p> -</div> -</div> -<div id="xd21e2404" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s77">LXXVII</a></h3> -</div> -<div class="divBody"> -<p class="par first">The American poet, Lowell, in “The -Crisis,” utters the same cry:</p> -<div class="lgouter"> -<p class="line">“Truth forever on the scaffold,</p> -<p class="line">Wrong forever on the throne.”</p> -</div> -</div> -</div> -<div id="xd21e2416" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s90">XC</a></h3> -<div class="lgouter"> -<p class="line">“And the poor beetle that we tread upon</p> -<p class="line">In corporal sufferance finds a pang as great</p> -<p class="line">As when a giant dies.”</p> -</div> -</div> -<div class="divBody"> -<p class="par first">—Shakespeare: Measure for Measure.</p> -<p class="par">“To let go a flea is a more virtuous act than to -give a dirham to a beggar.”—Abu’l-Ala.</p> -</div> -</div> -<div id="xd21e2431" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s93">XCIII</a> and <a href= -"#s94">XCIV</a></h3> -</div> -<div class="divBody"> -<p class="par first">Omar too, in the 157th quatrain of -Heron-Allen’s—</p> -<div class="lgouter"> -<p class="line">“Had I charge of the matter I would not have -come,</p> -<p class="line">And likewise could I control my going, where could I -go?”</p> -</div> -</div> -</div> -<div id="xd21e2445" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s95">XCV</a></h3> -</div> -<div class="divBody"> -<p class="par first">“Thy two soul-devouring angels,” the -angels of death and resurrection. <span class="pagenum">[<a id= -"xd21e2451" href="#xd21e2451" name="xd21e2451">103</a>]</span></p> -</div> -</div> -<div id="xd21e2453" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s96">XCVI</a></h3> -</div> -<div class="divBody"> -<p class="par first">“Nubakht,” one of the opponents of the -Prophet Mohammed.</p> -</div> -</div> -<div id="xd21e2459" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s103">CIII</a></h3> -</div> -<div class="divBody"> -<p class="par first">“Rabbi,” my lord God.</p> -</div> -</div> -<div id="xd21e2465" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s104">CIV</a></h3> -</div> -<div class="divBody"> -<p class="par first">“And like the dead of Ind,” referring -to the practice of the Hindus who burn their dead.</p> -<p class="par">“Munker” and “Nakir,” the two -angels who on the Day of Judgment open the graves of the dead and -cross-examine them—the process is said to be very cruel—as -to their faith. Whosoever is found wanting in this is pushed back into -the grave and thence thrown into Juhannam. No wonder Abu’l-Ala -prefers cremation.</p> -</div> -</div> -<div id="xd21e2473" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s105">CV</a></h3> -</div> -<div class="divBody"> -<p class="par first">He wrote his own epitaph, which is:</p> -<div class="lgouter"> -<p class="line">“This wrong to me was by my father done,</p> -<p class="line xd21e202">But never by me to any one.”</p> -</div> -</div> -</div> -<div id="xd21e2484" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s106">CVI</a></h3> -</div> -<div class="divBody"> -<p class="par first">“Izrail,” the angel of death.</p> -</div> -</div> -<div id="xd21e2490" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s115">CXV</a>, <a href="#s116">CXVI</a> and -<a href="#s117">CXVII</a></h3> -</div> -<div class="divBody"> -<p class="par first">These will suggest to the reader -Shakespeare’s lines:</p> -<div class="lgouter"> -<p class="line">“Imperial <span class="corr" id="xd21e2505" -title="Source: Ceasar">Caesar</span>, dead and turned to clay,</p> -<p class="line">Might stop a hole to keep the wind away;</p> -<p class="line">O, that that earth, which kept the world in awe,</p> -<p class="line">Should stop a wall t’expel the winter’s -flaw.”</p> -</div> -<p><span class="pagenum">[<a id="xd21e2514" href="#xd21e2514" name= -"xd21e2514">104</a>]</span></p> -</div> -</div> -<div id="xd21e2515" class="div2 section"><span class= -"pagenum">[<a href="#toc">Contents</a>]</span> -<div class="divHead"> -<h3 class="main"><a href="#s118">CXVIII</a></h3> -</div> -<div class="divBody"> -<p class="par first">Compare this with Omar’s:</p> -<div class="lgouter"> -<p class="line">“Thou hast no power over the morrow,</p> -<p class="line">And anxiety about the morrow is useless to thee:</p> -<p class="line xd21e202">Waste not thou the moment, if thy heart is not -mad,</p> -<p class="line">For the value of the remainder of thy life is not -certain.”</p> -</div> -<p><span class="pagenum">[<a id="xd21e2530" href="#xd21e2530" name= -"xd21e2530">105</a>]</span></p> -</div> -</div> -</div> -</div> -<div id="reviews" class="div1 review"><span class="pagenum">[<a href= -"#toc">Contents</a>]</span> -<div class="divHead"> -<h2 class="main">PRESS AND PERSONAL NOTICES</h2> -</div> -<div class="divBody"> -<p class="par first">Mr. Rihani’s book is soundly workmanlike, -with adequate scholarship, and is often very felicitous. He has done a -real service to modern understanding of an important though slightly -known literature in presenting these selections with sufficient -annotation.—New York Evening Sun.</p> -<hr class="tb"> -<p class="par"></p> -<p class="par">The Luzumiyat. By Abu’l-Ala. Born in Syria, in the -tenth century A. D., this poet, scholar, teacher, philosopher and -pessimist became known as “the Voltaire of the East,” and -may well be read for the beauty of his work, even if there is little -agreement with his general ideas of life.—The Christian -Century.</p> -<hr class="tb"> -<p class="par"></p> -<p class="par">Abu’l-Ala is a true poet, with a philosophy much -nobler than Omar’s, and Mr. Rihani’s translation has rare -poetic qualities.—Edwin Markham.</p> -<hr class="tb"> -<p class="par"></p> -<div class="lgouter"> -<p class="line">If I had but a garden for a bower</p> -<p class="line">Wherein the roses of Damascus flower,</p> -<p class="line">How happy, with the Luzumiyat in hand,</p> -<p class="line">To pass the afternoon and sunset hour!</p> -</div> -<p class="par first signed">Clinton Scollard. <span class= -"pagenum">[<a id="xd21e2557" href="#xd21e2557" name= -"xd21e2557">106</a>]</span></p> -<hr class="tb"> -<p class="par"></p> -<p class="par">“The Luzumiyat” of Abu’l-Ala, as -rendered into English by Mr. Ameen Rihani, is more than a mere -translation—it is excellent poetry. Aside from its interest as a -literary curiosity, it possesses intrinsic value as literature of a -high quality. The historical matter contained in the preface of the -book, as well as the notes following the preface, will appeal to the -scholar who makes a study of the best expressions of Oriental -thought.—James B. Kenyon.</p> -<hr class="tb"> -<p class="par"></p> -<p class="par">The first English rendition of the Luzumiyat of -Abu’l-Ala, comes from Ameen Rihani, the author of the Book of -Khaled, who has selected the quatrains from three volumes of the works -of the Syrian poet. For those who cling to a childish haze concerning -Assyrians and Syrians, we would add that while the Assyrian comes down -like a wolf on the fold, the Syrian, at least this particular one, has -a tread like Omar Khayyam. Therein lies the chief interest of the -Luzumiyat, unfair as it may be, in view of the fact that -Abu’l-Ala died at about the time Omar was born. So marked and -far-reaching is the resemblance, that we might almost bring ourselves -to the belief that in Omar Khayyam was recreated the soul of -Abu’l-Ala, with subtle changes, notable among them the casting -off of the tenets of prohibition, and a substitution of fatalism for -stoicism.—The Sun (New York). <span class="pagenum">[<a id= -"xd21e2567" href="#xd21e2567" name="xd21e2567">107</a>]</span></p> -<hr class="tb"> -<p class="par"></p> -<p class="par">What Fitzgerald did for the Man of Neishapur in his -wonderful version of the Rubaiyat, Mr. Rihani has done, in scarcely -inferior measure, for his own remote ancestor Abu’l-Ala. Mr. -Rihani, who is a poet and essayist in English as well as in Arabic, has -made a permanent addition to Literature. The Luzumiyat can not be -displaced.—Michael Monahan.</p> -<hr class="tb"> -<p class="par"></p> -<p class="par">Mr. Rihani has rendered valuable service to Literature -in making the career of “The Lucretius of Islam,” as he -happily calls him, known to the general reader in the English-speaking -world.... The similarity of the Luzumiyat to Omar Khayyam under certain -aspects, should win for Rihani’s brilliant rendering a generous -measure of recognition. As it is, the rare merits of the book, the -critical power of the preface, the skill and sincere feeling exhibited -in the verse, and the wide knowledge of English Literature shown in the -notes, make it, to my mind, a little masterpiece.—Percy -White.</p> -<hr class="tb"> -<p class="par"></p> -<p class="par">The similarity in some parts of the Luzumiyat to Omar -Khayyam is striking. But Abu’l-Ala, to my mind, is a greater -poet, and he is at times so remarkably modern. I am glad to make his -acquaintance through your excellent translation.—R. B. -Cunninghame Graham. <span class="pagenum">[<a id="xd21e2581" href= -"#xd21e2581" name="xd21e2581">108</a>]</span></p> -<hr class="tb"> -<p class="par"></p> -<p class="par">There is a compelling power in his attack on hypocrisy -and quackery, in his recognition of the supremacy of reason and the -human soul. Those who still fondly turn to the “Rubaiyat” -for enjoyment will surely find stimulus, too, and pleasure in these -ruthless rhymes.—Asia.</p> -</div> -</div> -</div> -<div class="back"> -<div class="div1" id="toc"> -<h2 class="main">Table of Contents</h2> -<table> -<tr> -<td class="tocDivNum"></td> -<td class="tocDivTitle" colspan="7"><a href="#dedication2">TO -ABU’L-ALA</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#dedication2">7</a></td> -</tr> -<tr> -<td class="tocDivNum"></td> -<td class="tocDivTitle" colspan="7"><a href= -"#preface">PREFACE.</a></td> -<td class="tocPageNum"><a class="pageref" href="#preface">11</a></td> -</tr> -<tr> -<td class="tocDivNum"></td> -<td class="tocDivTitle" colspan="7"><a href="#luzumiyat">THE LUZUMIYAT -OF ABU’L-ALA</a></td> -<td class="tocPageNum"><a class="pageref" href="#luzumiyat">35</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">I.</td> -<td class="tocDivTitle" colspan="6"><a href="#s1">I</a></td> -<td class="tocPageNum"><a class="pageref" href="#s1">37</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">II.</td> -<td class="tocDivTitle" colspan="6"><a href="#s2">II</a></td> -<td class="tocPageNum"><a class="pageref" href="#s2">37</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">III.</td> -<td class="tocDivTitle" colspan="6"><a href="#s3">III</a></td> -<td class="tocPageNum"><a class="pageref" href="#s3">38</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">IV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s4">IV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s4">38</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">V.</td> -<td class="tocDivTitle" colspan="6"><a href="#s5">V</a></td> -<td class="tocPageNum"><a class="pageref" href="#s5">39</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">VI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s6">VI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s6">39</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">VII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s7">VII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s7">40</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">VIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s8">VIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s8">40</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">IX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s9">IX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s9">41</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">X.</td> -<td class="tocDivTitle" colspan="6"><a href="#s10">X</a></td> -<td class="tocPageNum"><a class="pageref" href="#s10">41</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s11">XI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s11">42</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s12">XII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s12">42</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s13">XIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s13">43</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XIV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s14">XIV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s14">43</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s15">XV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s15">44</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XVI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s16">XVI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s16">44</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XVII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s17">XVII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s17">45</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XVIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s18">XVIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s18">45</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XIX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s19">XIX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s19">46</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s20">XX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s20">46</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s21">XXI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s21">47</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s22">XXII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s22">47</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s23">XXIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s23">48</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXIV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s24">XXIV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s24">48</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s25">XXV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s25">49</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXVI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s26">XXVI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s26">49</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXVII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s27">XXVII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s27">50</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXVIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s28">XXVIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s28">50</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXIX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s29">XXIX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s29">51</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s30">XXX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s30">51</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXXI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s31">XXXI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s31">52</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXXII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s32">XXXII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s32">52</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXXIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s33">XXXIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s33">53</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXXIV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s34">XXXIV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s34">53</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXXV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s35">XXXV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s35">54</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXXVI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s36">XXXVI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s36">54</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXXVII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s37">XXXVII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s37">55</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXXVIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s38">XXXVIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s38">55</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXXIX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s39">XXXIX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s39">56</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XL.</td> -<td class="tocDivTitle" colspan="6"><a href="#s40">XL</a></td> -<td class="tocPageNum"><a class="pageref" href="#s40">56</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XLI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s41">XLI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s41">57</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XLII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s42">XLII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s42">57</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XLIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s43">XLIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s43">58</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XLIV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s44">XLIV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s44">58</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XLV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s45">XLV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s45">59</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XLVI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s46">XLVI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s46">59</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XLVII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s47">XLVII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s47">60</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XLVIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s48">XLVIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s48">60</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XLIX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s49">XLIX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s49">61</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">L.</td> -<td class="tocDivTitle" colspan="6"><a href="#s50">L</a></td> -<td class="tocPageNum"><a class="pageref" href="#s50">61</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s51">LI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s51">62</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s52">LII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s52">62</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s53">LIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s53">63</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LIV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s54">LIV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s54">63</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s55">LV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s55">64</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LVI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s56">LVI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s56">64</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LVII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s57">LVII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s57">65</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LVIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s58">LVIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s58">65</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LIX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s59">LIX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s59">66</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s60">LX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s60">66</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s61">LXI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s61">67</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s62">LXII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s62">67</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s63">LXIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s63">68</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXIV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s64">LXIV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s64">68</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s65">LXV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s65">69</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXVI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s66">LXVI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s66">69</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXVII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s67">LXVII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s67">70</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXVIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s68">LXVIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s68">70</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXIX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s69">LXIX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s69">71</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s70">LXX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s70">71</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s71">LXXI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s71">72</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s72">LXXII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s72">72</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s73">LXXIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s73">73</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXIV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s74">LXXIV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s74">73</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s75">LXXV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s75">74</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXVI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s76">LXXVI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s76">74</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXVII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s77">LXXVII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s77">75</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXVIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s78">LXXVIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s78">75</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXIX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s79">LXXIX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s79">76</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s80">LXXX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s80">76</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXXI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s81">LXXXI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s81">77</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXXII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s82">LXXXII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s82">77</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXXIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s83">LXXXIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s83">78</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXXIV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s84">LXXXIV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s84">78</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXXV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s85">LXXXV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s85">79</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXXVI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s86">LXXXVI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s86">79</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXXVII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s87">LXXXVII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s87">80</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXXVIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s88">LXXXVIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s88">80</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXXIX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s89">LXXXIX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s89">81</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XC.</td> -<td class="tocDivTitle" colspan="6"><a href="#s90">XC</a></td> -<td class="tocPageNum"><a class="pageref" href="#s90">81</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XCI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s91">XCI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s91">82</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XCII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s92">XCII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s92">82</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XCIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s93">XCIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s93">83</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XCIV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s94">XCIV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s94">83</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XCV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s95">XCV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s95">84</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XCVI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s96">XCVI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s96">84</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XCVII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s97">XCVII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s97">85</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XCVIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s98">XCVIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s98">85</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XCIX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s99">XCIX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s99">86</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">C.</td> -<td class="tocDivTitle" colspan="6"><a href="#s100">C</a></td> -<td class="tocPageNum"><a class="pageref" href="#s100">86</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s101">CI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s101">87</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s102">CII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s102">87</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s103">CIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s103">88</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CIV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s104">CIV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s104">88</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s105">CV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s105">89</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CVI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s106">CVI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s106">89</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CVII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s107">CVII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s107">90</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CVIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s108">CVIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s108">90</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CIX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s109">CIX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s109">91</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s110">CX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s110">91</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CXI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s111">CXI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s111">92</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CXII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s112">CXII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s112">92</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CXIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s113">CXIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s113">93</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CXIV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s114">CXIV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s114">93</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CXV.</td> -<td class="tocDivTitle" colspan="6"><a href="#s115">CXV</a></td> -<td class="tocPageNum"><a class="pageref" href="#s115">94</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CXVI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s116">CXVI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s116">94</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CXVII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s117">CXVII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s117">95</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CXVIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#s118">CXVIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#s118">95</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CXIX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s119">CXIX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s119">96</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CXX.</td> -<td class="tocDivTitle" colspan="6"><a href="#s120">CXX</a></td> -<td class="tocPageNum"><a class="pageref" href="#s120">96</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CXXI.</td> -<td class="tocDivTitle" colspan="6"><a href="#s121">CXXI</a></td> -<td class="tocPageNum"><a class="pageref" href="#s121">96</a></td> -</tr> -<tr> -<td class="tocDivNum"></td> -<td class="tocDivTitle" colspan="7"><a href="#notes">NOTES TO THE -QUATRAINS</a></td> -<td class="tocPageNum"><a class="pageref" href="#notes">97</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">I.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2164">I</a></td> -<td class="tocPageNum"><a class="pageref" href="#xd21e2164">97</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">III.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2175">III</a></td> -<td class="tocPageNum"><a class="pageref" href="#xd21e2175">97</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">IV.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2181">IV</a></td> -<td class="tocPageNum"><a class="pageref" href="#xd21e2181">97</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">VII.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2187">VII</a></td> -<td class="tocPageNum"><a class="pageref" href="#xd21e2187">97</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2201">XIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#xd21e2201">98</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XIV.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2207">XIV</a></td> -<td class="tocPageNum"><a class="pageref" href="#xd21e2207">98</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XVII.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2222">XVII</a></td> -<td class="tocPageNum"><a class="pageref" href="#xd21e2222">98</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XVIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2230">XVIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#xd21e2230">98</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XX.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2258">XX</a></td> -<td class="tocPageNum"><a class="pageref" href="#xd21e2258">99</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2266">XXIII</a></td> -<td class="tocPageNum"><a class="pageref" href="#xd21e2266">99</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXIX.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2273">XXIX</a></td> -<td class="tocPageNum"><a class="pageref" href="#xd21e2273">99</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXXI.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2284">XXXI</a></td> -<td class="tocPageNum"><a class="pageref" href="#xd21e2284">99</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XXXIII.</td> -<td class="tocDivTitle" colspan="6"><a href= -"#xd21e2295">XXXIII</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2295">100</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum"></td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2303">XXXVIII, XCIII -and XCIV</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2303">100</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XLVIII.</td> -<td class="tocDivTitle" colspan="6"><a href= -"#xd21e2335">XLVIII</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2335">100</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XLIX.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2350">XLIX</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2350">101</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">L.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2356">L</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2356">101</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LVI.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2362">LVI</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2362">101</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum"></td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2368">LVII, LVIII -and LIX</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2368">101</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXII.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2398">LXII</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2398">102</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">LXXVII.</td> -<td class="tocDivTitle" colspan="6"><a href= -"#xd21e2404">LXXVII</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2404">102</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XC.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2416">XC</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2416">102</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum"></td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2431">XCIII and -XCIV</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2431">102</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XCV.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2445">XCV</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2445">102</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">XCVI.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2453">XCVI</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2453">103</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CIII.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2459">CIII</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2459">103</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CIV.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2465">CIV</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2465">103</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CV.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2473">CV</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2473">103</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CVI.</td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2484">CVI</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2484">103</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum"></td> -<td class="tocDivTitle" colspan="6"><a href="#xd21e2490">CXV, CXVI and -CXVII</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2490">103</a></td> -</tr> -<tr> -<td></td> -<td class="tocDivNum">CXVIII.</td> -<td class="tocDivTitle" colspan="6"><a href= -"#xd21e2515">CXVIII</a></td> -<td class="tocPageNum"><a class="pageref" href= -"#xd21e2515">104</a></td> -</tr> -<tr> -<td class="tocDivNum"></td> -<td class="tocDivTitle" colspan="7"><a href="#reviews">PRESS AND -PERSONAL NOTICES</a></td> -<td class="tocPageNum"><a class="pageref" href="#reviews">105</a></td> -</tr> -</table> -</div> -<div class="transcribernote"> -<h2 class="main">Colophon</h2> -<h3 class="main">Availability</h3> -<p class="par first">This eBook is for the use of anyone anywhere at no -cost and with almost no restrictions whatsoever. You may copy it, give -it away or re-use it under the terms of the <a class="exlink xd21e48" -title="External link" href="http://www.gutenberg.org/license" rel= -"license">Project Gutenberg License</a> included with this eBook or -online at <a class="exlink xd21e48" title="External link" href= -"http://www.gutenberg.org/" rel="home">www.gutenberg.org</a>.</p> -<p class="par">This digital edition is dedicated to the people of -Syria, in the hope that the seeds of rationality will once again find a -fertile soil in your country.</p> -<p class="par">This eBook is produced by the Online Distributed -Proofreading Team at <a class="exlink xd21e48" title="External link" -href="http://www.pgdp.net/">www.pgdp.net</a>.</p> -<p class="par">Scans for this book are available from the Internet -Archive (copy <a class="seclink xd21e48" title="External link" href= -"https://archive.org/details/luzumiyatabulal00rihagoog">1</a>).</p> -<h3 class="main">Encoding</h3> -<p class="par first"></p> -<h3 class="main">Revision History</h3> -<ul> -<li>2015-11-08 Started.</li> -</ul> -<h3 class="main">External References</h3> -<p>This Project Gutenberg eBook contains external references. These -links may not work for you.</p> -<h3 class="main">Corrections</h3> -<p>The following corrections have been applied to the text:</p> -<table class="correctiontable" summary= -"Overview of corrections applied to the text."> -<tr> -<th>Page</th> -<th>Source</th> -<th>Correction</th> -</tr> -<tr> -<td class="width20"><a class="pageref" href="#xd21e337">11</a>, -<a class="pageref" href="#xd21e449">32</a></td> -<td class="width40 bottom">enlightment</td> -<td class="width40 bottom">enlightenment</td> -</tr> -<tr> -<td class="width20"><a class="pageref" href="#xd21e371">13</a>, -<a class="pageref" href="#xd21e532">22</a></td> -<td class="width40 bottom">[<i>Not in source</i>]</td> -<td class="width40 bottom">”</td> -</tr> -<tr> -<td class="width20"><a class="pageref" href="#xd21e408">31</a></td> -<td class="width40 bottom">disgressing</td> -<td class="width40 bottom">digressing</td> -</tr> -<tr> -<td class="width20"><a class="pageref" href="#xd21e673">38</a>, -<a class="pageref" href="#xd21e1449">69</a></td> -<td class="width40 bottom">,</td> -<td class="width40 bottom">.</td> -</tr> -<tr> -<td class="width20"><a class="pageref" href="#xd21e1156">57</a>, -<a class="pageref" href="#xd21e1765">81</a></td> -<td class="width40 bottom">[<i>Not in source</i>]</td> -<td class="width40 bottom">.</td> -</tr> -<tr> -<td class="width20"><a class="pageref" href="#xd21e1879">86</a>, -<a class="pageref" href="#xd21e2172">97</a></td> -<td class="width40 bottom">.</td> -<td class="width40 bottom">,</td> -</tr> -<tr> -<td class="width20"><a class="pageref" href="#xd21e2505">103</a></td> -<td class="width40 bottom">Ceasar</td> -<td class="width40 bottom">Caesar</td> -</tr> -</table> -</div> -</div> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's The Luzumiyat of Abu'l-Ala, by Abu'l-Ala Al-Maarri - -*** END OF THIS PROJECT GUTENBERG EBOOK THE LUZUMIYAT OF ABU'L-ALA *** - -***** This file should be named 50457-h.htm or 50457-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/0/4/5/50457/ - -Produced by Jeroen Hellingman and the Online Distributed -Proofreading Team at http://www.pgdp.net/ for Project -Gutenberg (This book was produced from scanned images of -public domain material from the Google Books project.) -This digital edition is dedicated to the people of Syria, -in the hope that the seeds of rationality will once again -find a fertile soil in your country. - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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