Read in this order the Ḳur-án becomes intelligible. It is still confused in its progression and strangely mixed in its contents; but the development of Moḥammad’s faith can be traced in it, and we can see dimly into the workings of his mind, as it struggles with the deep things of God, wrestles with the doubts which echoed the cavils of the unbelievers, soars upwards on the wings of ecstatic faith, till at last it gains the repose of fruition. Studied thus, the Ḳur-án is no longer dull reading to one who cares to look upon the working of a passionate troubled human soul, and who can enter into its trials and share in the joy of its triumphs. In the soorahs revealed at Mekka, Moḥammad has but one theme—God; and one object—to draw his people away from their idols and bring them to the feet of that God. He tells them of Him in glowing language, that comes from the heart’s white heat. He points to the glories of nature, and tells them these are God’s works. With all the brilliant imagery of the Arab, he tries to show them what God is, to convince them of His power and His wisdom and His justice. The soorahs of this period are short, for they are pitched in too high a key to be long sustained. The language has the ring of poetry, though no part of the Ḳur-án complies with the demands of Arab metre. The sentences are short and full of half-restrained energy, yet with a musical cadence. The thought is often only half expressed; one feels the speaker has essayed a thing beyond words, and has suddenly discovered the impotence of language, and broken off with the sentence unfinished. There is the fascination of true poetry about these earliest soorahs; as we read them we understand the enthusiasm of the Prophet’s followers, though we cannot fully realise the beauty and the power, inasmuch as we cannot hear them hurled forth with Moḥammad’s fiery eloquence. From first to last the Ḳur-án is essentially a book to be heard, not read, but this is especially the case with the earliest chapters.