Текст книги "Literary History of the Arabs "

Автор книги: Reynolds Nicholson

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The keynote of Ṣúfiism is disinterested, selfless devotion, in a word, Love. Though not wholly strange, this idea was very far from being familiar to pious Muḥammadans, who were more deeply impressed by the power and vengeance of God than by His goodness and mercy. The Koran generally represents Allah as a stern, unapproachable despot, requiring utter submission to His arbitrary will, but infinitely unconcerned with human feelings and aspirations. Such a Being could not satisfy the religious instinct, and the whole history of Ṣúfiism is a protest against the unnatural divorce between God and Man which this conception involves. Accordingly, I do not think that we need look beyond Islam for the origin of the Ṣúfí doctrines, although it would be a mistake not to recognise the part which Christian influence must have had in shaping their early development. The speculative character with which they gradually became imbued, and which in the course of time completely transformed them, was more or less latent during the Umayyad period and for nearly a century after the accession of the House of ‘Abbás. The early Ṣúfís are still on orthodox ground: their relation to Islam is not unlike that of the The early Ṣúfís. mediæval Spanish mystics to the Roman Catholic Church. They attach extraordinary value to certain points in Muḥammad's teaching and emphasise them so as to leave the others almost a dead letter. They do not indulge in profound dialectic, but confine themselves to matters bearing on practical theology. Self-abandonment, rigorous self-mortification, fervid piety, and quietism carried to the verge of apathy form the main features of their creed.

A full and vivid picture of early Ṣúfiism might be drawn from the numerous biographies in Arabic and Persian, which Ibráhím b. Adham. supply abundant details concerning the manner of life of these Muḥammadan Saints, and faithfully record their austerities, visions, miracles, and sayings. Here we have only space to add a few lines about the most important members of the group—Ibráhím b. Adham, Abú ‘Alí Shaqíq, Fuḍayl b. ‘Iyáḍ, and Rábi‘a—all of whom died between the middle and end of the second century after the Hijra (767-815 a.d.). Ibráhím belonged to the royal family of Balkh. Forty scimitars of gold and forty maces of gold were borne in front of him and behind. One day, while hunting, he heard a voice which cried, "Awake! wert thou created for this?" He exchanged his splendid robes for the humble garb and felt cap of a shepherd, bade farewell to his kingdom, and lived for nine years in a cave near Naysábúr.447 His customary prayer was, "O God, uplift me from the shame of disobedience to the glory of submission unto Thee!"

"O God!" he said, "Thou knowest that the Eight Paradises are little beside the honour which Thou hast done unto me, and beside Thy love, and beside Thy giving me intimacy with the praise of Thy name, and beside the peace of mind which Thou hast given me when I meditate on Thy majesty." And again: "You will not attain to righteousness until you traverse six passes ( ‘aqabát): the first is that you shut the door of pleasure and open the door of hardship; the second, that you shut the door of eminence and open the door of abasement; the third, that you shut the door of ease and open the door of affliction; the fourth, that you shut the door of sleep and open the door of wakefulness; the fifth, that you shut the door of riches and open the door of poverty; and the sixth, that you shut the door of expectation and open the door of making yourself ready for death."

Shaqíq, also of Balkh, laid particular stress on the duty of leaving one's self entirely in God's hands ( tawakkul), a Shaqíq of Balkh. term which is practically synonymous with passivity; e.g., the mutawakkilmust make no effort to obtain even the barest livelihood, he must not ask for anything, nor engage in any trade: his business is with God alone. One of Shaqíq's sayings was, "Nine-tenths of devotion consist in flight from mankind, the remaining tenth in silence." Similarly, Fuḍayl b. ‘Iyáḍ. Fuḍayl b. ‘Iyáḍ, a converted captain of banditti, declared that "to abstain for men's sake from doing anything is hypocrisy, while to do anything for men's sake is idolatry." It may be noticed as an argument against the Indian origin of Ṣúfiism that although the three Ṣúfís who have been mentioned were natives of Khurásán or Transoxania, and therefore presumably in touch with Buddhistic ideas, no trace can be found in their sayings of the doctrine of dying to self ( faná), which plays a great part in subsequent Ṣúfiism, and which Von Kremer and others have identified with Nirvána. We now come to a more interesting personality, in whom the ascetic and quietistic type of Ṣúfiism is transfigured by emotion and begins clearly to reveal the direction of its next advance. Every one knows that women have borne a distinguished part in the annals of European mysticism: St. Teresa, Madame Guyon, Catharine of Siena, and Juliana of Norwich, to mention but a few names at random. And notwithstanding the intellectual death to which the majority of Moslem women are condemned by their Prophet's ordinance, the Ṣúfís, like the Roman Catholics, can boast a goodly number of female saints. The oldest of these, and by Rábi‘a al-‘Adawiyya. far the most renowned, is Rábi‘a, who belonged to the tribe of ‘Adí, whence she is generally called Rábi‘a al-‘Adawiyya. She was a native of Baṣra and died at Jerusalem, probably towards the end of the second century of Islam: her tomb was an object of pilgrimage in the Middle Ages, as we learn from Ibn Khallikán (õ 1282 a.d.). Although the sayings and verses attributed to her by Ṣúfí writers may be of doubtful authenticity, there is every reason to suppose that they fairly represent the actual character of her devotion, which resembled that of all feminine mystics in being inspired by tender and ardent feeling. She was asked: "Do you love God Almighty?" "Yes." "Do you hate the Devil?" "My love of God," she replied, "leaves me no leisure to hate the Devil. I saw the Prophet in a dream. He said, 'O Rábi‘a, do you love me?' I said, 'O Apostle of God, who does not love thee?—but love of God hath so absorbed me that neither love nor hate of any other thing remains in my heart.'" Rábi‘a is said to have spoken the following verses:—

"Two ways I love Thee: selfishly,And next, as worthy is of Thee.'Tis selfish love that I do naughtSave think on Thee with every thought;'Tis purest love when Thou dost raiseThe veil to my adoring gaze.Not mine the praise in that or this,Thine is the praise in both, I wis."448

Whether genuine or not, these lines, with their mixture of devotion and speculation—the author distinguishes the illuminative from the contemplative life and manifestly regards the latter as the more excellent way—serve to mark the end of the ascetic school of Ṣúfiism and the rise of a new theosophy which, under the same name and still professing to be in full accord with the Koran and the Sunna, was founded to some extent upon ideas of extraneous origin—ideas irreconcilable with any revealed religion, and directly opposed to the severe and majestic simplicity of the Muḥammadan articles of faith.

The opening century of Islam was not favourable to literature. At first conquest, expansion, and organisation, then Umayyad literature. civil strife absorbed the nation's energies; then, under the Umayyads, the old pagan spirit asserted itself once more. Consequently the literature of this period consists almost exclusively of poetry, which bears few marks of Islamic influence. I need scarcely refer to the view which long prevailed in Europe that Muḥammad corrupted the taste of his countrymen by setting up the Koran as an incomparable model of poetic style, and by condemning the admired productions of the heathen bards and the art of poetry itself; nor remind my readers that in the first place the Koran is not poetical in form (so that it could not serve as a model of this The decline of Arabian poetry not due to Muḥammad. kind), and secondly, according to Muḥammadan belief, is the actual Word of God, therefore sui generisand beyond imitation. Again, the poets whom the Prophet condemned were his most dangerous opponents: he hated them not as poets but as propagators and defenders of false ideals, and because they ridiculed his teaching, while on the contrary he honoured and rewarded those who employed their talents in the right way. If the nomad minstrels and cavaliers who lived, as they sang, the free life of the desert were never equalled by the brilliant laureates of imperial Damascus and Baghdád, the causes of the decline cannot be traced to Muḥammad's personal attitude, but are due to various circumstances for which he is only responsible in so far as he founded a religious and political system that revolutionised Arabian society. The poets of the period with which we are now dealing follow slavishly in the footsteps of the ancients, as though Islam had never been. Instead of celebrating the splendid victories and heroic deeds of Moslem warriors, the bard living in a great city still weeps over the relics of his beloved's encampment in the wilderness, still rides away through The Umayyad poets. the sandy waste on the peerless camel, whose fine points he particularly describes; and if he should happen to be addressing the Caliph, it is ten to one that he will credit that august personage with all the virtues of a Bedouin Shaykh. "Fortunately the imitation of the antique qaṣída, at any rate with the greatest Umayyad poets, is to some extent only accessory to another form of art that excites our historical interest in a high degree: namely, the occasional poems (very numerous in almost all these writers), which are suggested by the mood of the moment and can shed a vivid light on contemporary history."449

The conquests made by the successors of the Prophet brought enormous wealth into Mecca and Medína, and Music and song in the Holy Cities. when the Umayyad aristocracy gained the upper hand in ‘Uthmán's Caliphate, these towns developed a voluptuous and dissolute life which broke through every restriction that Islam had imposed. The increase of luxury produced a corresponding refinement of the poetic art. Although music was not unknown to the pagan Arabs, it had hitherto been cultivated chiefly by foreigners, especially Greek and Persian singing-girls. But in the first century after the Hijra we hear of several Arab singers,450 natives of Mecca and Medína, who set favourite passages to music: henceforth the words and the melody are inseparably united, as we learn from the Kitábu ’l-Agháníor 'Book of Songs,' where hundreds of examples are to be found. Amidst the gay throng of pleasure-seekers women naturally played a prominent part, and love, which had hitherto formed in most cases merely the conventional prelude to an ode, now began to be sung for its own sake. In this Peninsular school, as it may be named in contrast with the bold and masculine strain of the great Provincial poets whom we are about to mention, the palm unquestionably belongs to ‘Umar b. Abí Rabí‘a (õ 719 a.d.), ‘Umar b. Abí Rabí‘a. the son of a rich Meccan merchant. He passed the best part of his life in the pursuit of noble dames, who alone inspired him to sing. His poetry was so seductive that it was regarded by devout Moslems as "the greatest crime ever committed against God," and so charming withal that ‘Abdulláh b. ‘Abbás, the Prophet's cousin and a famous authority on the Koran and the Traditions, could not refrain from getting by heart some erotic verses which ‘Umar recited to him.451 The Arabs said, with truth, that the tribe of Quraysh had won distinction in every field save poetry, but we must allow that ‘Umar b. Abí Rabí‘a is a clear exception to this rule. His diction, like that of Catullus, has all the unaffected ease of refined conversation. Here are a few lines:—

"Blame me no more, O comrades! but to-dayQuietly with me beside the howdahs stay.Blame not my love for Zaynab, for to herAnd hers my heart is pledged a prisoner.Ah, can I ever think of how we metOnce at al-Khayf, and feel no fond regret?My song of other women was but jest:She reigns alone, eclipsing all the rest.Hers is my love sincere, 'tis she the flameOf passion kindles—so, a truce to blame!"452

We have no space to dwell on the minor poets of the same school, al-‘Arjí (a kinsman of the Umayyads), al-Aḥwaṣ, and many others. It has been pointed out by Dr. C. Brockelmann that the love-poetry of this epoch is largely of popular origin; e.g., the songs attributed to Jamíl, in which Buthayna is addressed, and to Majnún—the hero of countless Love-ballads. Persian and Turkish romances which celebrate his love for Laylá—are true folk-songs such as occur in the Arabian Nights, and may be heard in the streets of Beyrout or on the banks of the Tigris at the present day. Many of them are extremely beautiful. I take the following verses from a poem which is said to have been composed by Jamíl:—

"Oh, might it flower anew, that youthful prime,And restore to us, Buthayna, the bygone time!And might we again be blest as we wont to be,When thy folk were nigh and grudged what thou gavest me! Shall I ever meet Buthayna alone again,Each of us full of love as a cloud of rain?Fast in her net was I when a lad, and tillThis day my love is growing and waxing still. I have spent my lifetime, waiting for her to speak,And the bloom of youth is faded from off my cheek;But I will not suffer that she my suit deny,My love remains undying, though all things die!"453

The names of al-Akhṭal, al-Farazdaq, and Jarír stand out pre-eminently in the list of Umayyad poets. They were men Poetry in the provinces. of a very different stamp from the languishing Minnesingers and carpet-knights who, like Jamíl, refused to battle except on the field of love. It is noteworthy that all three were born and bred in Mesopotamia. The motherland was exhausted; her ambitious and enterprising youth poured into the provinces, which now become the main centres of intellectual activity.

Farazdaq and Jarír are intimately connected by a peculiar rivalry—" Arcades ambo– id est, blackguards both." For many years they engaged in a public scolding-match ( muháját), and as neither had any scruples on the score of decency, the foulest abuse was bandied to and fro between them—abuse, however, which is redeemed from vulgarity by its literary excellence, and by the marvellous skill which the satirists display in manipulating all the vituperative resources of the Arabic language. Soon these 'Flytings' ( Naqá’iḍ) The Naqá’iḍof Jarír and Farazdaq. were recited everywhere, and each poet had thousands of enthusiastic partisans who maintained that he was superior to his rival.454 One day Muhallab b. Abí Sufra, the governor of Khurásán, who was marching against the Azáriqa, a sect of the Khárijites, heard a great clamour and tumult in the camp. On inquiring its cause, he found that the soldiers had been fiercely disputing as to the comparative merits of Jarír and Farazdaq, and desired to submit the question to his decision. "Would you expose me," said Muhallab, "to be torn in pieces by these two dogs? I will not decide between them, but I will point out to you those who care not a whit for either of them. Go to the Azáriqa! They are Arabs General interest in poetry. who understand poetry and judge it aright." Next day, when the armies faced each other, an Azraqite named ‘Abída b. Hilál stepped forth from the ranks and offered single combat. One of Muhallab's men accepted the challenge, but before fighting he begged his adversary to inform him which was the better poet—Farazdaq or Jarír? "God confound you!" cried ‘Abída, "do you ask me about poetry instead of studying the Koran and the Sacred Law?" Then he quoted a verse by Jarír and gave judgment in his favour.455 This incident affords a striking proof that the taste for poetry, far from being confined to literary circles, was diffused throughout the whole nation, and was cultivated even amidst the fatigues and dangers of war. Parallel instances occur in the history of the Athenians, the most gifted people of the West, and possibly elsewhere, but imagine British soldiers discussing questions of that kind over the camp-fires!

Akhṭal joined in the fray. His sympathies were with Farazdaq, and the naqá’iḍwhich he and Jarír composed against each other have come down to us. All these poets, like their Post-islamic brethren generally, were professional encomiasts, greedy, venal, and ready to revile any one who would not purchase their praise. Some further account of them may be interesting to the reader, especially as the anecdotes related by their biographers throw many curious sidelights on the manners of the time.

The oldest of the trio, Akhṭal (Ghiyáth b. Ghawth) of Taghlib, was a Christian, like most of his tribe—they had Akhṭal. long been settled in Mesopotamia—and remained in that faith to the end of his life, though the Caliph ‘Abdu ’l-Malik is said to have offered him a pension and 10,000 dirhems in cash if he would turn Moslem. His religion, however, was less a matter of principle than of convenience, and to him the supreme virtue of Christianity lay in the licence which it gave him to drink wine as often as he pleased. The stories told of him suggest grovelling devoutness combined with very easy morals, a phenomenon familiar to the student of mediæval Catholicism. It is related by one who was touring in Syria that he found Akhṭal confined in a church at Damascus, and pleaded his cause with the priest. The latter stopped beside Akhṭal and raising the staff on which he leaned—for he was an aged man—exclaimed: "O enemy of God, will you again defame people and satirise them and caluminate chaste women?" while the poet humbled himself and promised never to repeat the offence. When asked how it was that he, who was honoured by the Caliph and feared by all, behaved so submissively to this priest, he answered, "It is religion, it is religion."456 On another occasion, seeing the Bishop pass, he cried to his wife who was then pregnant, "Run after him and touch his robe." The poor woman only succeeded in touching the tail of the Bishop's ass, but Akhṭal consoled her with the remark, "He and the tail of his ass, there's no difference!"457 It is characteristic of the anti-Islamic spirit which appears so strongly in the Umayyads that their chosen laureate and champion should have been a Christian who was in truth a lineal descendant of the pagan bards. Pious Moslems might well be scandalised when he burst unannounced into the Caliph's presence, sumptuously attired in silk and wearing a cross of gold which was suspended from his neck by a golden chain, while drops of wine trickled from his beard,458 but their protests went unheeded at the court of Damascus, where nobody cared whether the author of a fine verse was a Moslem or a Christian, and where a poet was doubly welcome whose religion enabled him to serve his masters without any regard to Muḥammadan sentiment; so that, for example, when Yazíd I wished to take revenge on the people of Medína because one of their poets had addressed amatory verses to his sister, he turned to Akhṭal, who branded the Anṣár, the men who had brought about the triumph of Islam, in the famous lines—

"Quraysh have borne away all the honour and glory,And baseness alone is beneath the turbans of the Anṣár."459

We must remember that the poets were leaders of public opinion; their utterances took the place of political pamphlets or of party oratory for or against the Government of the day. On hearing Akhṭal's ode in praise of the Umayyad dynasty,460 ‘Abdu ’l-Malik ordered one of his clients to conduct the author through the streets of Damascus and to cry out, "Here is the poet of the Commander of the Faithful! Here is the best poet of the Arabs!"461 No wonder that he was a favourite at court and such an eminent personage that the great tribe of Bakr used to invite him to act as arbitrator whenever any controversy arose among them.462 Despite the luxury in which he lived, his wild Bedouin nature pined for freedom, and he frequently left the capital to visit his home in the desert, where he not only married and divorced several wives, but also threw himself with ardour into the feuds of his clan. We have already noticed the part which he played in the literary duel between Jarír and Farazdaq. From his deathbed he sent a final injunction to Farazdaq not to spare their common enemy.

Akhṭal is commended by Arabian critics for the number and excellence of his long poems, as well as for the purity, polish, and correctness of his style. Abú ‘Ubayda put him first among the poets of Islam, while the celebrated collector of Pre-islamic poetry, Abú ‘Amr b. al-‘Alá, declared that if Akhṭal had lived a single day in the Pagan Age he would not have preferred any one to him. His supremacy in panegyric was acknowledged by Farazdaq, and he himself claims to have surpassed all competitors in three styles, viz., panegyric, satire, and erotic poetry; but there is more justification for the boast that his satires might be recited virginibus—he does not add puerisque—without causing a blush.463

Hammám b. Ghálib, generally known as Farazdaq, belonged to the tribe of Tamím, and was born at Baṣra towards the end of ‘Umar's Caliphate, His grandfather, Ṣa‘ṣa‘a, won renown in Pre-islamic times by ransoming the lives of female infants whom their parents had condemned to die (on account of Farazdaq. which he received the title, Muḥyi ’l-Maw’údát, 'He who brings the buried girls to life'), and his father was likewise imbued with the old Bedouin traditions of liberality and honour, which were rapidly growing obsolete among the demoralised populace of ‘Iráq. Farazdaq was a mauvais sujetof the type represented by François Villon, reckless, dissolute, and thoroughly unprincipled: apart from his gift of vituperation, we find nothing in him to admire save his respect for his father's memory and his constant devotion to the House of ‘Alí, a devotion which he scorned to conceal; so that he was cast into prison by the Caliph Hishám for reciting in his presence a glowing panegyric on ‘Alí's grandson, Zaynu ’l-‘Ábidín. The tragic fate of Ḥusayn at Karbalá affected him deeply, and he called on his compatriots to acquit themselves like men—

"If ye avenge not him, the son of the best of you,Then fling, fling the sword away and naught but the spindle ply."464

While still a young man, he was expelled from his native city in consequence of the lampoons which he directed against a noble family of Baṣra, the Banú Nahshal. Thereupon he fled to Medína, where he plunged into gallantry and dissipation until a shameless description of one of his intrigues again drew upon him the sentence of banishment. His poems contain many references to his cousin Nawár, whom, by means of a discreditable trick, he forced to marry him when she was on the point of giving her hand to another. The pair were ever quarrelling, and at last Farazdaq consented to an irrevocable divorce, which was witnessed by Ḥasan of Baṣra, the famous theologian. No sooner was the act complete than Farazdaq began to wish it undone, and he spoke the following verses:—465

"I feel repentance like al-Kusa‘í,466Now that Nawár has been divorced by me.She was my Paradise which I have lost,Like Adam when the Lord's command he crossed.I am one who wilfully puts out his eyes,Then dark to him the shining day doth rise!"

'The repentance of Farazdaq,' signifying bitter regret or disappointment, passed into a proverb. He died a few months before Jarír in 728 a.d., a year also made notable by the deaths of two illustrious divines, Ḥasan of Baṣra and Ibn Sírín.

Jarír b. ‘Atiyya belonged to Kulayb, a branch of the same tribe, Tamím, which produced Farazdaq. He was the court-poet Jarír. of Ḥajjáj, the dreaded governor of ‘Iráq, and eulogised his patron in such extravagant terms as to arouse the jealousy of the Caliph ‘Abdu ’l-Malik, who consequently received him, on his appearance at Damascus, with marked coldness and hauteur. But when, after several repulses, he at length obtained permission to recite a poem which he had composed in honour of the prince, and came to the verse—

"Are not ye the best of those who on camel ride,More open-handed than all in the world beside?"—

the Caliph sat up erect on his throne and exclaimed: "Let us be praised like this or in silence!"467 Jarír's fame as a satirist stood so high that to be worsted by him was reckoned a greater distinction than to vanquish any one else. The blind poet, Bashshár b. Burd (õ 783 a.d.), said: "I satirised Jarír, but he considered me too young for him to notice. Had he answered me, I should have been the finest poet in the world."468 The following anecdote shows that vituperation launched by a master like Jarír was a deadly and far-reaching weapon which degraded its victim in the eyes of his contemporaries, however he might deserve their esteem, and covered his family and tribe with lasting disgrace.

There was a poet of repute, well known by the name of Rá‘i ’l-ibil (Camel-herd), who loudly published his opinion that Farazdaq was superior to Jarír, although the latter had lauded his tribe, the Banú Numayr, whereas Farazdaq had made verses against them. One day Jarír met him and expostulated with him but got no reply. Rá‘í was riding a mule and was accompanied by his son, Jandal, who said to his father: "Why do you halt before this dog of the Banú Kulayb, as though you had anything to hope or fear from him?" At the same time he gave the mule a lash with his whip. The animal started violently and kicked Jarír, who was standing by, so that his cap fell to the ground. Rá‘í took no heed and went on his way. Jarír picked up the cap, brushed it, and replaced it on his head. Then he exclaimed in verse:—

" O Jandal! what will say Numayr of youWhen my dishonouring shaft has pierced thy sire?"

He returned home full of indignation, and after the evening prayer, having called for a jar of date-wine and a lamp, he set about his work. An old woman in the house heard him muttering, and mounted the stairs to see what ailed him. She found him crawling naked on his bed, by reason of that which was within him; so she ran down, crying "He is mad," and described what she had seen to the people of the house. "Get thee gone," they said, "we know what he is at." By daybreak Jarír had composed a satire of eighty verses against the Banú Numayr. When he finished the poem, he shouted triumphantly, " Allah Akbar!" and rode away to the place where he expected to find Rá‘í ’l-ibil and Farazdaq and their friends. He did not salute Rá‘í but immediately began to recite. While he was speaking Farazdaq and Rá‘í bowed their heads, and the rest of the company sat listening in silent mortification. When Jarír uttered the final words—

" Cast down thine eyes for shame! for thou art ofNumayr—no peer of Ka‘b nor yet Kiláb"—

Rá‘í rose and hastened to his lodging as fast as his mule could carry him. "Saddle! Saddle!" he cried to his comrades; "you cannot stay here longer, Jarír has disgraced you all." They left Baṣra without delay to rejoin their tribe, who bitterly reproached Rá‘í for the ignominy which he had brought upon Numayr; and hundreds of years afterwards his name was still a byword among his people.469

Next, but next at a long interval, to the three great poets of this epoch comes Dhu ’l-Rumma (Ghaylán b. ‘Uqba), who Dhu ’l-Rumma. imitated the odes of the desert Arabs with tiresome and monotonous fidelity. The philologists of the following age delighted in his antique and difficult style, and praised him far above his merits. It was said that poetry began with Imru’u ’l-Qays and ended with Dhu ’l-Rumma; which is true in the sense that he is the last important representative of the pure Bedouin school.

Concerning the prose writers of the period we can make only a few general observations, inasmuch as their works Prose writers of the Umayyad period. have almost entirely perished.470 In this branch of literature the same secular, non-Muḥammadan spirit prevailed which has been mentioned as characteristic of the poets who flourished under the Umayyad dynasty, and of the dynasty itself. Historical studies were encouraged and promoted by the court of Damascus. We have referred elsewhere to ‘Abíd b. Sharya, a native of Yemen, whose business it was to dress up the old legends and purvey them in a readable form to the public. Another Yemenite of Persian descent, Wahb b. Munabbih, is responsible for a great deal of the fabulous lore belonging to the domain of Awá’il(Origins) which Moslem chroniclers commonly prefix to their historical works. There seems to have been an eager demand for narratives of the Early Wars of Islam ( maghází). It is related that the Caliph ‘Abdu ’l-Malik, seeing one of these books in the hands of his son, ordered it to be burnt, and enjoined him to study the Koran instead. This anecdote shows on the part of ‘Abdu ’l-Malik a pious feeling with which he is seldom credited,471 but it shows also that histories of a legendary and popular character preceded those which were based, like the Magházíof Músá b. ‘Uqba (õ 758 a.d.) and Ibn Isḥáq's Biography of the Prophet, upon religious tradition. No work of the former class has been preserved. The strong theological influence which asserted itself in the second century of the Hijra was unfavourable to the development of an Arabian prose literature on national lines. In the meantime, however, learned doctors of divinity began to collect and write down the Ḥadíths. We have a solitary relic of this sort in the Kitábu ’l-Zuhd(Book of Asceticism) by Asad b. Músá (õ 749 a.d.). The most renowned traditionist of the Umayyad age is Muḥammad b. Muslim b. Shiháb al-Zuhrí (õ 742 a.d.), who distinguished himself by accepting judicial office under the tyrants; an act of complaisance to which his more stiff-necked and conscientious brethren declined to stoop.