himself (then an idolater) on reading the first verses only, was struck with admiration, and immediately professed the religion taught thereby, declaring that such words could proceed from an inspired person only. This Labîd was afterwards of great service to Mohammed, in writing answers to the satires and invectives that were made on him and his religion by the infidels, and particularly by Amri al Kais,5 prince of the tribe of Asad,6 and author of one of those seven famous poems called al Moallakât.7 The style of the Korân is generally beautiful and fluent, especially where it imitates the prophetic manner and scripture phrases. It is concise and often obscure, adorned with bold figures after the eastern taste, enlivened with florid and sententious expressions, and in many places, especially where the majesty and attributes of GOD are described, sublime and magnificent; of which the reader cannot but observe several instances, though he must not imagine the translation comes up to the original, notwithstanding my endeavours to do it justice. Though it be written in prose, yet the sentences generally conclude in a long continued rhyme, for the sake of which the sense is often interrupted, and unnecessary repetitions too frequently made, which appear still more ridiculous in a translation, where the ornament, such as it is, for whose sake they were made, cannot be perceived. However, the Arabians are so mightily delighted with this jingling, that they employ it in their most elaborate compositions, which they also embellish with frequent passages of, and allusions to, the Korân, so that it is next to impossible to understand them without being well versed in this book. It is probable the harmony of expression which the Arabians find in the Korân might contribute not a little to make them relish the doctrine therein taught, and give an efficacy to arguments which, had they been nakedly proposed without this rhetorical dress, might not have so easily prevailed. Very extraordinary effects are related of the power of words well chosen and artfully placed, which are no less powerful either to ravish or amaze than music itself; wherefore as much has been ascribed by the best orators to this part of rhetoric as to any other.1 He must have a very bad ear who is not uncommonly moved with the very cadence of a well-turned sentence; and Mohammed seems not to have been ignorant of the enthusiastic operation of rhetoric on the minds of men; for which reason he has not only employed his utmost skill in these his pretended revelations, to preserve the dignity and sublimity of style, which might seem not unworthy of the majesty of that Being, whom he gave out to be the author of them; and to imitate the prophetic manner of the Old Testament; but he has not neglected even the other arts of oratory; wherein he succeeded so well, and so strangely captivated the minds of his audience, that several of his opponents thought it the effect of witchcraft