"Sometimes you may find a man skilful in his trade, perfect in sagacity and in the use of arguments, but when he comes to religion he is found obstinate, so does he follow 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 the 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, he would have declared himself a Magian, or among the Ṣábians, he would have become nearly or quite like _them_."[591] Religion, then, is "a fable invented by the ancients," worthless except to those unscrupulous persons who prey upon human folly and superstition. Islam is neither better nor worse than any other creed:-- "Ḥanífs are stumbling,[592] Christians all astray, Jews wildered, Magians far on error's way. We mortals are composed of two great schools-- Enlightened knaves or else religious fools."[593] Not only does the poet emphatically reject the proud claim of Islam to possess a monopoly of truth, but he attacks most of its dogmas in detail. As to the Koran, Abu ’l-‘Alá could not altogether refrain from doubting if it was really the Word of God, but he thought so well of the style that he accepted the challenge flung down by Muḥammad and produced a rival work (_al-Fuṣúl wa-’l-Gháyát_), which appears to have been a somewhat frivolous parody of the sacred volume, though in the author's judgment its inferiority was simply due to the fact that it was not yet polished by the tongues of four centuries of readers. Another work which must have sorely offended orthodox Muḥammadans is the _Risálatu ’l-Ghufrán_ (Epistle of Forgiveness).[594] Here the Paradise of the Faithful becomes a glorified salon tenanted by various heathen poets who have been forgiven--hence the title--and received among the Blest. This idea is carried out with much ingenuity and in a spirit of audacious burlesque that reminds us of Lucian. The poets are presented in a series of imaginary conversations with a certain Shaykh ‘Alí b. Manṣúr, to whom the work is addressed, reciting and explaining their verses, quarrelling with one another, and generally behaving as literary Bohemians. The second part contains a number of anecdotes relating to the _zindíqs_ or freethinkers of Islam interspersed with quotations from their poetry and reflections on the nature of their belief, which Abu ’l-‘Alá condemns while expressing a pious hope that they are not so black as they paint themselves. At this time it may have suited him--he was over sixty--to assume the attitude of charitable orthodoxy. Like so many wise men of the East, he practised dissimulation as a fine art--