From these principles flow a thousand metaphors and poetical figures, which abound in the sacred poems of the Persians and Hindus.' 2. _The poetical Imagery._—'Many zealous admirers of Hafiz insist, that by _Wine_ he invariably means _devotion_; and they have gone so far as to compose a Dictionary of Words in the _Language_, as they call it, of the Súfis. In that vocabulary _sleep_ is explained by _meditation_ on the divine perfections, and _perfume_ by _hope_ of the divine favour; _gales_ are _illapses_ of grace; _kisses_ and _embraces_, the _raptures_ of piety; _idolaters_, _infidels_, and _libertines_ are men of the purest _religion_, and their _idol_ is the Creator Himself; the _tavern_ is a retired Oratory, and its _keeper_ a sage instructor; _beauty_ denotes the _perfection_ of the Supreme Being; _tresses_ are the _expansion_ of his glory; _lips_, the hidden mysteries of his essence; _down_ on the cheek, the world of spirits, who encircle his throne; and a _black mole_, the point of indivisible unity; lastly, _wantonness_, _mirth_, and _ebriety_, mean religious ardour and abstraction from all terrestrial thoughts.'—Sir William Jones' _Works_, vol. iv. pp. 219, 227. _B_. HEGEL ON THE CHARACTER OF THE PERSIAN LYRICAL POETRY. Continuing the exposition quoted on p. xxi., Hegel goes on to say:— 'In Sublimity proper, the best objects and the most splendid forms are used only as a mere ornament of God, and they serve to proclaim the magnificence and glory of the One, being brought before our eyes only to glorify Him as the Lord of all creatures. But in Pantheism, on the contrary, the Immanence of the Divine in the objects, raises the mundane, natural, and human existence itself, to a more substantial glory of its own. The actual Life of the Spiritual in the phenomena of Nature and in human relationships, animates and spiritualises them in themselves, and establishes in turn a special relation of the subjective feeling and soul of the Poet to the objects of which he sings. His soul, filled with this living glory, is in itself calm, independent, free, self-sufficient, spacious, large; and in this affirmative identity with itself, it expands its life in imagination till it attains to the same calm unity in the Soul of things. And so it coalesces with the objects of Nature and their magnificence, becomes one with the loved one, with the cup-bearer, etc.;—in a word, with all that is worthy of praise and of love, and this in the most blissful and joyous intimacy. The Occidental Romantic inwardness of Soul shews, indeed, a similar consciousness of Life in itself; but on the whole—especially in the North—it is more unhappy, is not free, is given to yearning; or it remains more subjectively shut up in itself, and thereby becomes selfish and sensitive. Such oppressed, disturbed inner states of mind are especially expressed in the National Songs of barbarous peoples. The state of free, joyous inwardness is, on the contrary, characteristic of