Any one acquainted, however slightly, with the mystical poetry of Islam must have remarked that the aspiration of the soul towards God is expressed, as a rule, in almost the same terms which might be used by an Oriental Anacreon or Herrick. The resemblance, indeed, is often so close that, unless we have some clue to the poet’s intention, we are left in doubt as to his meaning. In some cases, perhaps, the ambiguity serves an artistic purpose, as in the odes of Hafiz, but even when the poet is not deliberately keeping his readers suspended between earth and heaven, it is quite easy to mistake a mystical hymn for a drinking-song or a serenade. Ibn al-ʿArabī, the greatest theosophist whom the Arabs have produced, found himself obliged to write a commentary on some of his poems in order to refute the scandalous charge that they were designed to celebrate the charms of his mistress. Here are a few lines: “Oh, her beauty--the tender maid! Its brilliance gives light like lamps to one travelling in the dark. She is a pearl hidden in a shell of hair as black as jet, A pearl for which Thought dives and remains unceasingly in the deeps of that ocean. He who looks upon her deems her to be a gazelle of the sand-hills, because of her shapely neck and the loveliness of her gestures.” It has been said that the Sūfīs invented this figurative style as a mask for mysteries which they desired to keep secret. That desire was natural in those who proudly claimed to possess an esoteric doctrine known only to themselves; moreover, a plain statement of what they believed might have endangered their liberties, if not their lives. But, apart from any such motives, the Sūfīs adopt the symbolic style because there is no other possible way of interpreting mystical experience. So little does knowledge of the infinite revealed in ecstatic vision need an artificial disguise that it cannot be communicated at all except through types and emblems drawn from the sensible world, which, imperfect as they are, may suggest and shadow forth a deeper meaning than appears on the surface. “Gnostics,” says Ibn al-ʿArabī, “cannot impart their feelings to other men; they can only indicate them symbolically to those who have begun to experience the like.” What kind of symbolism each mystic will prefer depends on his temperament and character. If he be a religious artist, a spiritual poet, his ideas of reality are likely to clothe themselves instinctively in forms of beauty and glowing images of human love. To him the rosy cheek of the beloved represents the divine essence manifested through its attributes; her dark curls signify the One veiled by the Many; when he says, “Drink wine that it may set you free from yourself,” he means, “Lose your phenomenal self in the rapture of divine contemplation.” I might fill pages with further examples.