[p.98] everywhere depends upon the accidents of patronage or political occurrences. A far stronger evidence of poetic feeling is afforded by the phraseology of the Arab, and the highly imaginative turn of his commonest expressions. Destitute of the poetic taste, as we define it, he certainly is: as in the Milesian, wit and fancy, vivacity and passion, are too strong for reason and judgment, the reins which guide Apollo’s car.[FN#31] And although the Badawin no longer boast a Labid or a Maysunah, yet they are passionately fond of their ancient bards.[FN#32] A man skilful in reading Al-Mutanabbi and the suspended Poems would be received by them with the honours paid by civilisation to the travelling millionaire.[FN#33] And their elders have a goodly store of ancient and modern war songs, legends, and love ditties which all enjoy. [p.99]I cannot well explain the effect of Arab poetry to one who has not visited the Desert.[FN#34] Apart from the pomp of words, and the music of the sound,[FN#35] there is a dreaminess of idea and a haze thrown over the object, infinitely attractive, but indescribable. Description, [p.100] indeed, would rob the song of indistinctness, its essence. To borrow a simile from a sister art; the Arab poet sets before the mental eye, the dim grand outlines of picture,—which must be filled up by the reader, guided only by a few glorious touches, powerfully standing out, and by the sentiment which the scene is intended to express;—whereas, we Europeans and moderns, by stippling and minute touches, produce a miniature on a large scale so objective as to exhaust rather than to arouse reflection. As the poet is a creator, the Arab’s is poetry, the European’s versical description. [FN#36] The language, “like a faithful wife, following the mind and giving birth to its offspring,” and free from that “luggage of particles” which clogs our modern tongues, leaves a mysterious vagueness between the relation of word to word, which materially assists the sentiment, not the sense, of the poem. When verbs and nouns have, each one, many different significations, only the radical or general idea suggests itself.[FN#37] Rich and varied synonyms, illustrating the finest shades of meaning, are artfully used; now scattered to startle us by distinctness, now to form as it were a star about which dimly seen satellites revolve. And, to cut short a disquisition [p.101] which might be prolonged indefinitely, there is in the Semitic dialect a copiousness of rhyme which leaves the poet almost unfettered to choose the desired expression.[FN#38] Hence it is that a stranger speaking Arabic becomes poetical as naturally as he would be witty in French and philosophic in German. Truly spake Mohammed al-Damiri, “Wisdom hath alighted upon three things—the brain of the Franks, the hands of the Chinese, and the tongues of the Arabs.”