3 (pag. 8–9). In the next paragraph, headed, “Directions for the Study of this Work,” he implores the reader not to be hasty with his criticism, and to bear in mind that every sentence, indeed every word, had been fully considered before it was written down. Yet it might easily happen that the reader could not reconcile his own view with that of the author, and in such a case he is asked to ignore the disapproved chapter or section altogether. Such disapproval Maimonides attributes to a mere misconception on the part of the reader, a fate which awaits every work composed in a mystical style. In adopting this peculiar style, he intended to reduce to a minimum the violation of the rule laid down in the Mishnah (Ḥagigah ii. 1), that metaphysics should not be taught publicly. The violation of this rule he justifies by citing the following two Mishnaic maxims: “It is time to do something in honour of the Lord” (Berakot ix. 5), and “Let all thy acts be guided by pure intentions” (Abot ii. 17). Maimonides increased the mysteriousness of the treatise, by expressing his wish that the reader should abstain from expounding the work, lest he might spread in the name of the author opinions which the latter never held. But it does not occur to him that the views he enunciates might in themselves be erroneous. He is positive that his own theory is unexceptionally correct, that his esoteric interpretations of Scriptural texts are sound, and that those who differed from him—viz., the Mutakallemim on the one hand, and the unphilosophical Rabbis on the other—are indefensibly wrong. In this respect other Jewish philosophers—e.g. Saadiah and Baḥya—were far less positive; they were conscious of their own fallibility, and invited the reader to make such corrections as might appear needful. Owing to this strong self-reliance of Maimonides, it is not to be expected that opponents would receive a fair and impartial judgment at his hands. 4 (pag. 9–11). The same self-reliance is noticeable in the next and concluding paragraph of the Introduction. Here he treats of the contradictions which are to be found in literary works, and he divides them with regard to their origin into seven classes. The first four classes comprise the apparent contradictions, which can be traced back to the employment of elliptical speech; the other three classes comprise the real contradictions, and are due to carelessness and oversight, or they are intended to serve some special purpose. The Scriptures, the Talmud, and the Midrash abound in instances of apparent contradictions; later works contain real contradictions, which escaped the notice of the writers. In the present treatise, however, there occur only such contradictions as are the result of intention and design. PART I.