O ye lighnings! disclose (to my sight) the Kuwaik and the two outskirts of Aleppo! flash over the castle of Batyas! Shew me the land of roses tinged with yellow, the land where the myrtle is gathered (majna). When I went to that country, it assembled around me (its delights) and greatly tranquillized my heart.

outside of Aleppo, but is now so comSâlih Ibn Ali Ibn Abd Allah Ibn al

Batyas is the name of a village which lay pletely ruined that not a trace of it remains. Abbâs Ibn Abd al-Muttalib (1) built there a castle which he inhabited and his sons (after him). It was situated between an-Nîreb and as-Sâlihiya, villages lying near each other and to the east of Aleppo. The castle was built on a hill which commands an-Nîreb, but nothing now remains of it except some mouldering ruins. So I find it written in the handwriting of a well-informed native of Aleppo.

(1) This was the father of Abd al-Malik, the Abbaside prince of whom we have spoken in the first volume, page 316.

YAKUT AL-MAUSILI, THE PENMAN

The katib (secretary or writer) Abû 'd-Durr (the father of pearls) Yâkût (hyacinth) al-Mausili (an inhabitant of Mosul, was) the son of a Musulman (abd Allah). He obtained the title of Amîn ad-Dîn (trustworthy in religion) and was surnamed alMalaki (the Malakian) after (his patron) the sultan Abû 'l-Fath Malak Shah II, the son of Saljûk, the son of Muhammad, the son of Malak Shah I. Having settled at Mosul, he studied with great assiduity under Abû Muhammad Said Ibn al-Mubarak, an Egyptian grammarian who is more generally known by the surname of Ibn adDahhân (vol. I. p. 574). He read over, under the tuition of this master, all the works composed by him, as also al-Mutanbbai's Diwân, al-Harîri's Makâmât and some other treatises. He wrote a great deal and specimens of his penmanship, which was extremely beautiful, spread abroad into (distant) countries. In the latter part of his life he remained without a rival in the art of calligraphy. The style of writing employed by) Ibn al-Bawwâb (vol. II. p. 282) in the transcription (of books),

excellent and renowned as it is, does not come up to his. He had a passion for transcribing the Sahah of al-Jauhari (vol. I. p. 22) and wrote a great number of them, each copy forming one volume. Some of them, which I have seen, are now sold for one hundred dinars (1) a piece. Numbers of students received from him lessons in writing and profited greatly under his direction. During his lifetime, he enjoyed a high reputation, and people came to study under him from all quarters. An-Najîb Abû Abd Allah al-Husain Ibn Ali Ibn Abi Bakr al-Wâsiti (of the town of Wasit) sent him a kasida which he had composed in his praise; he had never seen him, but only heard of his (eminent talent). In this poem, which is a good one of its kind, the author extols, in the highest terms, the beauty of Yâkût's handwriting. Here is the piece :

Where are the gazelles (maidens) of Aâlij and al-Musalla? those fawns that dwelt near the stream of al-Moalla? Do the branches of the willow (slender-waisted girls) still flourish on the sandhills? do full moons (handsome faces) stile shine in that horizon? Have those gazelles still got faces so beautiful that their aspect would alleviate (a lover's) sadness? Compared with these nymphs, what is the tender narcissus which, after sustaining the attacks of the zephyr, erects again its stem? Compared with those cheeks, what is the tint of the rose when the cloud sheds upon it copiously its waters and its dews? Do those knolls offer (to our sight) starlike oranges, borne on branches which are bent, down and brought near (the hand)? How could you think that any water could match that of the Tigris? they who judged so uttered a falsehood! it is by no means true; God forbid! Does any city on earth resemble the Abode of Welfare (2)? to find the like of Baghdad would be a miracle. It shows us, each day, faces different from those of yesterday and seemingly pregnant (with mischief); (it shows us) maidens of whom a sage would become enamoured, were he to see their mincing and coquetish gait. They bind their hair with Nâsirian ribbons (3) and thus reduce you to bondage (4). They pay no regard to your saying: "Were it not (that I fear)..."; they only know (how to say) these words: "(we must have) the entire (heart) or else (none at all)." That is a pasture-ground for the hearts (of lovers); on the retreat of spring it is always watered by successive showers. That is a city where a man acquires new ideas and gains the summits of learning, of gravity and of gaiety. (Baghdad,) to be perfect, requires only the possession of a hyacinth (yakût); O that she had it already to adorn her! Who will come to her aid, so that the perfume of Amîn adDîn's presence may float around her? that alone would suffice for her pre-eminence. Had she a reason to hope for Yakût's visit, even speechless things would (find a tongue and) exclaim: "A hearty welcome!" Relators of anecdotes may tell her of the perfume (which his talent spreads around), but she would feel much more pleasure at his sight. (He is) an ocean of generosity; the noblest of men follow in his steps; for the generous man, when noble deeds are done, has always followers. He unites in himself every scattered portion of knowledge; were he not living, the mother of all talents would be childless. He possesses a reed (pen) whose attacks inspire terror to the lions (powerful chiefs), and to which squadrons of horse submit with humility. When its mouth (nib) opens to let flow black (ink) upon white (paper), the white and the yellow (the swords and spears) are astounded. (He is) vigilant in guarding the

kingdom, yet he neither aims an arrow nor bares a blade. Eloquence is sent (by him) on messages when sheets of paper can fulfil the duties of ambassadors. The arrogant then recoil, filled with terror at what he dictates and prescribes. Sometimes you see him mix with his hand the lots (of the game) of science, phrase by phrase; (so as to form a picture) like meadows enamelled with flowers, or like strings of pearls; (producing thus a piece) elegant in penmanship, brilliant in expressions and in the thoughts which they convey. O you who aspire to proficiency! prepare (for your work) like Amîn ad-Din; take your time, and fatigue your mind but gently. You, my lord! the (sworn) brother of generosity and the nurturer of glory! you, the son of high renown! you who bear off the prize! you are the full moon of which the penman, the son of a crescent (5), was the father. He that retreats (before obstacles) is good for nothing. Though he was the first (in point of time), you are more worthy of preference, for you out-ran him and he came in the second. Amîn ad-Din! you in whom God shews how he can unite, as in one sheaf, liberality and every merit! I am one of those who bear eulogiums to your tribe (your dwelling), so that it (my poem) may ever continue to roam about and be recited (6). When your eulogium is indited by a kádi (by a competent judge), an adl (competent witness) (7) can bear testimony (to its truth). Accept this virgin (piece) from a father who never troubled his mind about seeking a husband for his daughter. I desire neither reward nor recompense; but I really see that you are worthy of praise. impulse of friendship bears this (poem) towards you, and it goes, wishing to obtain a kind reception from your good opinion. Since it is difficult for me to reach you, let my heart answer for my sincerity; (that you can appreciate,) for you are a man of an excellent judgment. Continue to enjoy good health as long as the squadrons of darkness hover round the horizon! as long as the morning unsheathes the blade (of its light)!

The

Amîn ad-Dîn (Yakût) died at Mosul in the year 618 (A. D. 1221-2), at an advanced age. When he grew old, his penmanship changed (for the worse).

(1) Between forty and fifty pounds.

(2) The abode of welfare (Dâr as-Salâm) was the poetical name of Baghdad.

(3) This fashionable ribbon was perhaps named Nåsirian in honour of the sultan Saladin, whose official title was Al-Malik an-Nâsir (the victorious king).

(4) Litterally: and thus undo your knotting and untying. The expression, "to knot and untie," signifies "to possess sovereign authority, to have the power of nominating and deposing governors.

(5) The son of a crescent, in Arabic: Ibn Hildl. This was the patronymic appellation of the famous penman Ibn al-Bawwab. (See vol. II, p. 282.)

(6) I read with one of my manuscripts, and the edition of Balak. The other reading J

لا تسلا

means: "has remained inconsolable," and is evidently not to be accepted.

(7) The adl is an officer in the kâdi's court; he writes out his judgements, signs them as a witness and draws up deeds. He must be a man of approved integrity and veracity.

YAKUT AR-RUMI THE POET

Abù 'd-Durr Yâkût 1bn Abd Allah (1) ar-Rùmi (the Greek), surnamed Muhaddab ad-Din (pure in religion), was the mawla of a merchant named Abû Mansur al-Jîli. This celebrated poet, having studied the science (of law) and acquired extensive literary information, directed his genius to the composition of verses and attained proficiency in that art. When his talent raised him to distinction, he assumed the name of Abd ar-Rahmân. His place of residence, at Baghdad, was the Nizâmiya college. In the Zail (or supplement to as-Samani's historical continuation), the author, Ibn ad-Dubaîthi (vol. III. p. 102), mentions him among the Abd ar-Rahmâns, and says: "He passed his early youth in Baghdad, where he

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learned by heart the sacred text of the Korân, got some acquaintance with general "literature and learned to write a good hand. He used to recite verses of his own composition, most of which consisted in blandishments addressed to his mistress and in the expression of his passion. All these pieces are on love-matters and are "full of tenderness; many people know them by heart." He (Ibn ad-Dubaithi) then gives some passages of his poetry and mentions that one of them was recited to him by the author himself. It begins thus:

O my two friends! I swear that the night never got dark without inspiring the lover with desire or with folly.

The rest of the piece may be found in the Majmua 's-Saghir (the lesser compilation) (2). Ar-Rumi's verses have got into general circulation and are sung to music. They are full of grace and tenderness. Here is one of his poems :

If your tears cease to flow after the departure of those whom you love, all (the passion) that you affect to feel is false and counterfeit. How can you admit consolation or forget their images (seen in your dreams), now that their dwellings and native soil are deprived of their presence? May God never afflict (us) with the departure of a tribe by whose removal full moons (handsome faces) and pliant branches (slender waists) disappeared from our eyes! They set out and my heart followed in the track of their caravan; all my provision of firmness was exhausted when they went away. Since they are gone, the earth never discloses its smiles (its flowers); the willow and the lotus-tree agitate their branches no more. On the morning of our separation, care

and sadness caused my tears to flow and lighted up a fire in my heart. All the waters of Noah's flood were (poured forth) from my eyes, and the flames which the Friend of God encountered (3) raged within my bosom. If solid rocks could feel such sorrow as I endure for my beloved, (the mountains of) Ohod and Lubnan (Lebanon) would shrink (4) before it; Yazbul would melt away under such pain as mine; Rudwa would be shattered to pieces, and Thablan would sink under the weight (5). O thou whose splendid beauty holds me captive! the sovereignty of thy charms has shewed me no kindness. Be, however, as thou wilt! no one shall ever replace thee in my affection. Thou art for me a limpid fountain, and my heart is parched with thirst. Here is another of his poems:

Who will bear to Baghdad the news of what I suffer for that maid and of the love I feel for her? Who will bear my salutation to the Abode of Welfare (6)? Breath of the zephyr! carry the salutation of an ill-starred wretch to her who has harassed me and who heeds not the promises Describe to her a part only of the love which she inspired me; perhaps she may have pity on one who is borne down by passion and delirium. Declare in the public place of az-Zaurâ (Baghdad) that I have there a fawn (a maiden) whose absence has driven sleep from my eye-lids and whose beauty is marvellous; when she departed, my firmness of mind departed also and, when she turned away, she turned me over to death. When she repelled me, sleep was repelled from my eyes, and, when she shunned me, the wine which I drank was mingled with tears. My life and death are in her hands; she is for me paradise or hell; she is the only fountain where I can calm my longing and allay my thirst. Her absence is my death; her presence is, for me, life, happiness and the obtainment of my wishes. From her cheeks proceed the fires which consume me; her slender waist is the cause of my emaciation, and her languishing eyes make me languish in sickness. You who blame me cannot but excuse me : the grace of her movements indicates sufficiently that I was forced to love her and adore her.

I heard many jurisconsults in Syria and Irâk recite a piece of his which they knew by heart and which began thus :

O thou who excitest troubles in my bosom ! since thy departure, my body is emaciated through the love I bear thee and will never be restored to health until thou givest consent to my wishes by saying: "Yes." O thou who, as often as censors have blamed my love, hast offered them my justification in (letting them see) thy flowing ringlets! Tell me if my tyrant is authorized by the Wajiz to slay me? Is it said so in the Tahdib or the Shamil? Does the Muhaddab (7) say that a lover whose eyes are moist and whose tears flow in torrents deserves to be tormented? Have your seductive eyes told you it was lawful to take away our lives with glances whose magic is like that of Babel (8)?

The piece contains more verses than these, but I have here given all that I am able to recollect. A literary man recited to me, at Aleppo, some verses of Yakut ar-Rumi's, one of which was as follows:

Art thou not sweeter in qualities than (all other) maids? Why then dost thou dwell in heart which is a hell (9)?