_The Lyrical_.--We have already noted the acceptance of the _Asrarnama_. Among the other literary influences, according to Mr. Nicholson, we may note the poems of Sana'ī, Sa'di, and Nīzamī. The fact that Jalál's poetry sometimes faintly resembles Omar Khayyám's is too slight to be of any value. Mr. Nicholson very ably sums up the nature of the _Masnavi_ and _Divan_ respectively: "The one is a majestic river, calm and deep, meandering through many a rich and varied landscape to the immeasurable ocean; the other a foaming torrent that leaps and plunges in the ethereal solitude of the hills." The poetry of Jalál is not of equal merit. His work seldom if ever has the technical polish of Jámí. There is too much of it; too much produced in the belief that all his poetry was inspired. He is fond of harping on certain words, and as far as the translations are concerned he has little sense of humour.[7] There was certainly room for a touch of humour in the poet's description of Iblis receiving from God a gift of beautiful women whereby to tempt mankind; but Jalál entirely ignores it. These weaknesses are almost lost in the strength and purity and lyrical grandeur of many of Jalál's poems. He carries us along on a torrent of heavenly music. The rhythmic, swing of his wonderful dance is soul-stirring. We seem to move exultantly, ecstatically, to the sound of the poet's singing, far behind the silver stars into the Presence of the Beloved. With what reverence, with what a glow of simile and subtle suggestion he describes the Beauty of the Beloved! With what exquisite passion he foretells the Eternal Union! Then there is a lull in this fierce spiritual song, and Jalál sings, ever so gently and with an infinite tenderness, about human tears being turned into "rain-clouds." He sings about the meeting of two friends in Paradise, with the oft-repeated refrain, "Thou and I." There seems in this poem an indescribable and almost pathetic play on the idea of human friendship and the Divine Friendship, a yearning tenderness for that human shadow, passing shadow though it be. Jalál appears to have the power of producing almost orchestral effects in his music of the Spheres. There is that terrific touch of Wagner about his poetry, and in those suggestive Wagner-pauses there is a tenderness of expression more touching, more truly great than the loud triumphant notes. Jalál has truly said: "Our journey is to the Rose-Garden of Union." He sang about, the Divine Rose-Garden; but he did not forget to sing about the roses that fade and the human hearts that ache. We seem to see Jalál ever bowing to the little child in all his wonderful singing.