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