their circumstantial details; though translations exist, they are mere paraphrases; and the voluptuous images of the poet’s fancy still remain discreetly hidden in the obscurity of the original idiom. There is much similarity and repetition in Arab poetry, which the interpolations and substitutions inevitable among a people dependent for the preservation of their literature upon oral tradition will hardly account for. The existence of the Bedouin was bounded by a narrow horizon, the Desert was his world. Its familiar objects and localities, which never changed; the deeds which they recalled; the hopes which they inspired; the memory of ancestral renown with which they were associated, suggested the topics of his song. The haughtiness which was one of his most offensive characteristics, and forbade his permanent alliance or his intermarriage with other races, strengthened the feelings of reserve which had been a national peculiarity for countless generations. His ideas, his aspirations, his joys, his sorrows, evoked by the monotonous circumstances of his environment, were little subject to deviation during the course of centuries. While his religion was a compound of all degrees of fetichism, idolatry, and astral worship, his poetry was original, pure, artless, and natural. His aptitude for versification was disclosed by the most trivial occurrences of life. A rhyming stanza, which set forth an appropriate sentiment, was often the reply to an ordinary question. Where allusion was made to an historical incident, the speaker was often challenged to confirm his statement by the recitation of an original verse, or by an apt poetical quotation, as the most reliable authority. The quick perception of the Arab was shown by his ability to finish instantly a couplet corresponding in sense and measure with a line repeated by a competitor. Its general similarity to all others renders the assignment of any Arabic poem to a certain epoch impossible, for the natural taste has never varied, and a composition that was popular three hundred years before the Hegira would be equally acceptable to-day to the mountain tribes of Central Arabia. In the opening lines of most Arabic poems, and in those of the Moallakat especially, there is a dearth of individuality, and a common resemblance which would almost suggest that they had been written by the same person. The purity of style which characterizes the latter was, however, universally admitted; they were the recognized standards of grammatical correctness; they were consulted whenever a dispute arose concerning the meaning of a word or the construction of a sentence in later authors was in doubt; and among Mohammedans the authority of those Pagan compositions was never entirely superseded even by that of the Koran, whose sublimity of thought and elegance of diction were reverently ascribed to the direct inspiration of God.