What is so agonising in the doom of Sohrab is precisely the lack of moral cause such as exists in the Greek tragedies. Though we do not accept as a reality the Greek theory of retribution, we do accept it as a point of view, and it helps us, as it helped them, to endure the unspeakable horror of the Ædipus story. Sohrab goes forth, with a boy’s enthusiasm, to conquer Persia as a present to his unknown father. The two meet, and are incited to engage in single combat, each not knowing the other. After a Titanic contest, Sohrab falls fatally wounded, and only then does Rustem discover his identity. Matthew Arnold’s poem has familiarised English readers with this wonderful scene, and though the “atmosphere” with which he surrounded it, is rather classical than Eastern, his “Sohrab and Rustum” remains the finest rendering of an Eastern story in English poetry. Some blind guide blamed him for “plagiarising” Firdusi: in a few points he might have done wisely to follow his original still more closely; at least, it is a pity that he did not enshrine in his own beautiful poem Sohrab’s touching words of comfort to his distracted father: “None is immortal—why this grief?” Brave, spotless, kind, Firdusi’s hero-victim who “came as the lightning and went as the wind” will always rank with the highest in the House of the Youthful Dead. Sohrab had a horse as well as Rustem. This sort of repetition or variation which is often met with in Eastern literature pleases children, who like an incident much the better if they are already acquainted with it, but to the mature sense of the West it seems a fault in art. No doubt for this reason Matthew Arnold does not mention Sohrab’s horse, while doing full justice to Rakush. But connected with the young man’s charger there is a scene of the deepest human interest and pathos, when it is led back to his mourning, sonless mother who had watched him ride forth on it, rejoicing in its strength and in his own. It was chosen by him and saddled by him for the first time in his glad boyhood; now it is led back alone, with his arms and trappings hanging from the saddle-bows. In an agony of grief Tahmineh presses its hoofs to her breast and kisses head and face, covering them with her tears.