by heart further enormous quantities of poetry, and engaged in literary discussions which, judging by a specimen given in one of his Lives, were even more futile than discussions usually are.

The vicissitudes of fortune, always noticeably extreme in the East, brought him again to be kadi at Damascus in 1278, when his reappointment was signalized by public ceremonies, including the composition by numberless poets of congratulatory and adulatory verses, which must have been very dear to his simple old heart, and not the less so because he may have discovered from his astonishing repertory that not all were strictly original: such discoveries and the tracing back of the loans to their fount being the greatest of his pleasures.

Thereafter, until the year 1281, the Kadi lived with much honour, famed as the most learned and widely-read personage in Damascus, filling his house with scholars and discursive amateurs of verse, and engaging in conversations that are described by a friend as "most instructive, being entirely devoted to learned investigations and the elucidation of obscure points."

But Ibn Khallikan, who was now nearing three-score years and ten, was destined still to misfortune, for suddenly, in 1281, he was deposed from his kadi-ship and, more than that, thrown into prison on the charge of having made a remark detrimental to the sultan, Kalavun. A pardon soon after arriving, he was liberated and again reinstated; but after ten more months as a kadi he was, in 1282, dismissed finally, and this time he refused ever more to leave his house, and died there in the same year.

Not a word (you will say) so far as to Baghdad. But although Ibn Khallikan spent most of his life in Egypt or Syria, the greater number of his heroes were, as I have said, citizens all of the city of the romance which recently has fallen to Sir Stanley Maude's gallant forces. Yet of the romance which we shall always associate with Baghdad he knew nothing. To him it was delectable (and perhaps even romantic too—each of us having his own conception of what romance is) because grave bearded men there taught religion, explained the Koran, disputed as to points of grammar, exchanged sarcasms and swapped verses. Not, however, as I hope to show, unamusingly.

What indeed I particularly like about the book is the picture that it gives of sardonic pleasantry and intellectual and sophisticated virtuosity going quietly on side by side with all the splendours and barbarities of absolute autocracy and summary jurisdiction. It throws a new or unaccustomed light on those days. Not even yet—not even in Bloomsbury, where the poets meet—have we in England anything quite like it; whereas when Baghdad and Damascus were the theatres of these poetical and hair-splitting competitions our ancestors had but just got the woad off.

III.—Men of Letters

Those of us who know Baghdad only through the Arabian Nights and the ingenious productions of Mr. Oscar Asche, were not prepared for such a complete foreshadowing of the literary life and the literary temperament as Ibn Khallikan gives us.

Here, for example, is a poem by a book-lover—or manuscript-lover, to be more exact—written by Ibn Faris Ar-Razi, the philologer, who died before the Norman Conquest, which a later Occidental can cheerfully accept and could not much improve upon: They asked me how I was. I answered: "Well, some things succeed and some fail; when my heart is filled with cares I say: 'One day perhaps they may be dispelled.' A cat is my companion; books, the friends of my heart; and a lamp, my beloved consort." That is modern enough! Something of this kind, which is an earlier version of Omar Khayyám's famous recipe for earthly bliss, has often been attempted since by our own poets; but nothing better. Favourite books, a lighted lamp, a faithful cat, and the library were paradise enow. It is odd, by the way, that Omar Khayyám himself, although his dates qualify him, is not found in this work. But to make tents, even with leanings towards astronomy, was no high road to Ibn Khallikan's sympathies. Had Omar explained the Koran or had views on the suffixes of words, all would have been well.

While on the subject of sufficient paradises let me quote some verses by Ibn Sukkara Al-Hashimi, a famous Baghdad poet of the tenth century: The winter set in, and I provided myself with seven things necessary when the rain prevents us from pursuing our usual occupations. These things are: A shelter, a purse, a stove, a cup of wine preceded by a bit of meat, a tender maid, and a cloak.

Ibn Khallikan does not let it stop there, but fishes up from his memory a derivative, by Ibn Al-Taawizi, running thus: When seven things are collected together in the drinking-room, it is not reasonable to stay away. These are: Roast meat, a melon, honey, a young girl, wax-lights, a singer to delight us, and wine.

So much for the modernity and sense of comfort of the Persian author, as he flourished in Baghdad all those years ago. But there was then still more in publishing than yet meets the eye. The books of the juriconsult, Al-Mawardi, for example, reached posterity almost by chance. While he lived he did not publish any of his works but put them all up together in safety. On the approach of death, however, he said to a person who possessed his confidence: "The books in such a place were composed by me, but I abstained from publishing them, because I suspected, although my intention in writing them was to work in God's service, that that feeling, instead of being pure, was sullied by baser motives. Therefore, when you perceive me on the point of death and falling into agony, take my hand in yours, and if I press it, you will know thereby that none of these works has been accepted [by God] from me. In this case, you must take them all and throw them by night into the Tigris. But if I open my hand and close it not, that is the sign of their having been accepted, and that my hope in the admission of my intention as sincere and pure, has been fulfilled."

"When Al-Mawardi's death drew near," said his friend, "I took him by the hand, and he opened it without closing it on mine, whence I knew that his labours had been accepted, and I then published his works."—But what a responsibility for a friend!

Penmanship being, of course, the only medium between author and readers in those days, it follows that calligraphy was held in high esteem, and among famous calligraphers was Kabus Ibn Wushmaghir, who, although "the greatest of princes, the star of the age, and the source of justice and beneficence," thought it worth while (as all mighty rulers have not) to write a most beautiful hand. When the Sahib Ibn Abbad saw pieces in his handwriting, he used to say: "This is either the writing of Kabus or the wing of a peacock"; and he would then recite these verses of Al-Mutanabbi's: In every heart is a passion for his handwriting; it might be said that the ink which he employed was a cause of love. His presence is a comfort for every eye, and his absence an affliction.

The extraordinary literary activity of those times may be illustrated by the following passage dropped casually into the biographical notice of Ali Talib: "The grandson of this thief was the famous Al-Asmai, the philologer, who composed treatises on the following subjects: the human frame; the different species of animals; on the anwa, or influence of the stars on the weather; on the letter hamza; on the long and the short elif; on the difference between the names given to the members of the human body and those given to the