Poems from the Divan of Hafiz

For Assaf’s pomp, and the steeds of the wind, And the speech of birds, down the wind have fled, And he that was lord of them all is dead; Of his mastery nothing remains behind. Shoot not thy feathered arrow astray! A bow-shot’s length through the air it has sped, And then ... dropped down in the dusty way.

Hoping within some garden ground to find A red rose soft and sweet as thy soft cheek, Through every meadow blows the western wind, Through every garden he is fain to seek. Reveal thy face! that the whole world may be Bewildered by thy radiant loveliness; The cry of man and woman comes to thee, Open thy lips and comfort their distress!

“The arrow needs an archer, and poetry a magician.

“Lay down thine arms when Fortune is thy foe, ’Gainst Heaven’s wheel, Wrestler, try not a throw, Drink steadfastly the cup whose name is Death, Empty the dregs upon the earth, and go.”

The sons and grandsons of Hulagu succeeded him as lords of Persia and Mesopotamia, paying a nominal allegiance to the Great Khan of the Mongols in Cambalec or Pekin, but for all practical purposes independent, and the different provinces of their empire were administered by governors in their name. About the time of the birth of Hafiz, that is to say in the beginning of the fourteenth century, a certain Mahmud Shah Inju was governing the province of Fars, of which Shiraz is the capital, in the name of Abu Said, the last of the direct descendants of Hulagu. On the death of Mahmud Shah, Abu Said appointed Sheikh Hussein ibn Juban to the governorship of Fars, a lucrative and much-coveted post. Sheikh Hussein took the precaution of ordering the three sons of Mahmud Shah to be seized and imprisoned; but while they were passing through the streets of Shiraz in the hands of their captors, their mother, who accompanied them, lifted her veil and made a touching appeal to the people, calling upon them to remember the benefits they had received from their late ruler, the father of the three boys. Her words took instant effect; the inhabitants rose, released her and her sons, and drove Sheikh Hussein into exile. He, however, returned with an army supplied by Abu Said, and induced Shiraz to submit again to his rule. In 1335, a year or two after these events, Abu Said died, and the power of the house of Hulagu crumbled away. There followed a long period of anarchy, which was brought to an end when Oweis, another descendant of Hulagu, seized the throne. He and his son Ahmed reigned in Baghdad until Ahmed was driven out by the invading army of Timur. But during the years of anarchy the authority of the Sultan of Baghdad had been considerably curtailed. On Abu Said’s death, Abu Ishac, one of the three sons of Mahmud Shah Inju who had so narrowly escaped from the hands of Sheikh Hussein, took possession of Shiraz and Isfahan, finally ousting his old enemy, while Mahommad ibn Muzaffar, who had earned a name for valour in the service of Abu Said, made himself master of Yezd.

_Stanza 3._—When God had created man and made him wiser than the angels, he bound him to himself by a solemn treaty. “Am I not thy Lord who has created thee?” he demanded, and man answered “Yes.” But the Arabic word _bala_, which signifies assent, means also sorrow, and they say that the first of our fathers knew full well what a terrible gift was that life which he had received from his Lord, and sealed the treaty with a seal of grief. Therefore since the earliest day, life and sorrow have gone hand in hand, bound together by the first great pact between God and man.

Summoned by thy melody did Hafiz rise Out of the darkness near thy lips to dwell; Back to the dark again his pathway lies— Sing out, sing clear, and singing cry: Farewell!

How he first revealed his inimitable gift of song is not known. There is a tradition that upon a certain day one of his uncles was engaged in composing a poem upon Sufiism, and being but a mediocre poetaster, could get no further than the first line. Hafiz took up the sheet in his uncle’s absence and completed the verse. The uncle was not a little annoyed; he bade Hafiz finish the poem, and at the same time cursed him and his works. “They shall bring insanity,” he declared, “upon all that read them.” Men say that the curse still hangs over the Divan, therefore let no one whose reason is not strongly seated venture to study the poet. Whatever were his beginnings, it was not long before the young man rose into high repute. Abu Ishac was his first patron. “By the favour of the victorious standards of a king,” says Hafiz, “I was uplifted like a banner among the makers of verse.” There is a long poem addressed to Abu Ishac, in which he is called the King under whose feet the garden of his kingdom bursts into flower. “Oh great and holy!” cries the poet, “every man who is a servant of thine is uplifted so high that the stars of Gemini are but as his girdle.” Hafiz must have been in Shiraz when Abu Ishac was brought thither, a prisoner, from Isfahan; he may even have witnessed his execution outside Persepolis. “Fate overtook him,” he sighs, “all too speedily—alas for the violence and oppression in this world of pitfalls! alas for the grace and the mercy that dwelt among us! Hast thou not heard, oh Hafiz, the laugh of the strutting partridge? Little considered be the clutching talons of the falcon of death.”

● Typos fixed; non-standard spelling and dialect retained. ● Used numbers for footnotes, placing them all at the end of the last chapter. ● Enclosed italics font in _underscores_.

Balm to mine eyes the dust, my head I bow Upon thy stair. Where shall I go, where from thy presence? thou Art everywhere.

An omen can be taken by opening the Koran or some other well-accredited book (the Divan of Hafiz among the number), pricking a pin into the page, and following whatever directions can be drawn from the verse thus indicated. This method is frequently used before setting out upon a journey. The stars also are consulted in order to select a favourable day for embarking upon any enterprise, certain stars having special influence over men—the influence of the moon, for instance, is dangerous to life, and one of the stars in the constellation of Cassiopea is of evil presage. Besides these omens, divinations are taken from the movements and position of certain animals and birds, and from various passing events. To meet a one-eyed man is of bad omen, especially if he is blind of the left eye, or to hear an unlucky word on setting out from your house of a morning. Lane, in one of his notes to the “Arabian Nights,” tells of a Sultan who was setting out on a raid, when one of his standards happening to strike against a cluster (or Pleiades, as they are called in Arabic) of lamps, he regarded this to be of evil import, and was about to abandon the expedition. “Oh our lord!” said one of his officers, “our standards have reached the Pleiades.” The Sultan, encouraged by this fortunate suggestion, continued on his way, and returned victorious.

From the garden of Heaven a western breeze Blows through the leaves of my garden of earth; With a love like a huri I’ld take mine ease, And wine! bring me wine, the giver of mirth! To-day the beggar may boast him a king, His banqueting-hall is the ripening field, And his tent the shadow that soft clouds fling.

Then shall all unbelievers taste A draught or two of that same wine; But if they like it not, oh haste! And let joy’s flowing cup be mine. Cup-bearer, seize to-day, nor wait Until to-morrow!—or from Fate Some passport to felicity, Some written surety bring to me!

Consider the rose that breaks into flower, Neither repines though she fade and die— The powers of the world endure for an hour, But nought shall remain of their majesty. Be not too sure of your crown, you who thought That virtue was easy and recompense yours; From the monastery to the wine-tavern doors The way is nought!

From 1353 to 1393, when Timur conquered Shiraz for the second and last time, the greater part of Persia was ruled by members of the house of Muzaffar. Scarcely a year passed undisturbed by civil war, scarcely a year in which one of the sons or grandsons of Mahommad did not suffer imprisonment or worse ills at the hands of his brothers. Mahommad himself was the first to fall. Shah Shudja seized his father while he was reading the Koran aloud with a poet of his court, and caused him to be blinded. A few years later the grim life beat itself out against the prison walls of Ka’lah-i-Safid. “Without just cause,” sings Hafiz, “the victor of victors suffered imprisonment; guiltless, the mightiest head was laid low. He had overcome Shiraz and Tabriz and Irak; at the last his own hour came. He who, in the eyes of the world, was the light he had kindled (_i.e._ Mahommad’s son, Shah Shudja), through those eyes which had gazed victorious upon the world, thrust the hot iron.” A stern and pitiless man was this Mahommad, brave in battle, wise in council, ardent in religion, but hard and cruel beyond measure, a perfidious friend and a relentless enemy. The Persian historian, Lutfallah, relates that on several occasions he had seen criminals brought before Mahommad while the Amir was engaged in reading the Koran. Laying the book aside, he would draw his sword and kill the offenders as they stood, and then return unmoved to his devotions. Shah Shudja once asked his father whether he had killed 1000 men with his own hand. “No,” replied Mahommad, “but I think that the number of them that I have slain must reach 800.”

Let not thy curls waylay my pilgrim soul, As robbers use, and plunder me no more! Years join dead year, but thine extortionate rule Is still the same, merciless as before. Sing, Hafiz, sing again of eyes that weep! For still the fountain of our tears is deep As once it was, and still with tears is full.

Hast thou forgotten, when a sojourner Within the tavern gates and drunk with wine, I found Love’s passionate wisdom hidden there, Which in the mosque none even now divine? The goblet’s carbuncle (hast thou forgot?) Laughed out aloud, and speech flew hot And fast between thy ruby lips and mine!

_While thou wert singing, the soft summer wind That o’er Mosalla’s garden blew, the stream Of Ruknabad flowing where roses twined, Carried thy voice farther than thou could’st dream. To Isfahan and Baghdad’s Tartar horde, O’er waste and sea to Yezd and distant Ind; Yea, to the sun-setting they bore thy word._

Hafiz was married and he had a son. He laments the death of both wife and child in two poems which are translated in this volume. In spite of all the favours which he received from the great men of his day, he is said to have died poor.

“Il y avait jadis en Perse un grand roi nommé Djem ou Djemshid. Il régna sept cents ans; je ne saurai vous dire à quelle date au juste, mais ‘tant qu’il régna, il n’y eut dans son empire ni mort, ni maladie, ni vieillesse, et tous les hommes marchaient dans la taille de jouvenceaux de quinze ans; il n’y avait ni chaleur, ni froideur, et jamais ne se desséchaient les eaux ni les plantes.’ Mais le pauvre Djem n’avait point la tête solide, et, comme il faisait des immortels, il se crut Dieu et voulut être adoré. Aussitôt, le Fari Yazdan, c’est-à-dire la gloire royale qui vient de Dieu, l’abandonna; un serpent à trois têtes, nommé Zohab, vint de l’Arabie et lui prit son trône; il s’enfuit dans l’Inde et y resta chaché mille ans durant; puis un beau jour, s’étant aventuré hors de sa retraite, il fut livré au serpent, qui le scia en deux avec une arête de poisson. Entre autres splendeurs, le roi Djemshid, au temps de sa splendeur, possédait une coupe magique où il voyait tout l’univers et tout ce qui s’y passe. Certains savants prétendent que cette coupe était le soleil qui voit toute chose; d’autres, que c’était un globe terrestre mis au courant, et il me souvient qu’il y a deux ans, prenant le thé dans un café de Stamboul avec un sage d’Isfahan, nommé Habib, la conversation tomba de la tasse de thé à la coupe de Djemshid, et Habib, me mettant le doigt au front, me dit: Djam-i-Djemshid, dil-i-agah: “la coupe de Djemshid c’est le cœur de l’homme de science.””—_Darmsteter_, “_Lettres sur l’Inde_.”

The history of Persia in the fourteenth century is exceedingly confused. Beyond a succession of wars and turmoils, there is little to be learnt concerning the political conditions under which Hafiz lived. Fifty years before the birth of the poet, Hulagu, a grandson of the great Tartar invader Chinghis Khan, had conquered Baghdad, putting to death the last of the Abbaside Khalifs and extinguishing the direct line of the race that had ruled over Persia since 750. For the next 200 years there is indeed a branch of the family of Abbas living in Cairo, members of which were set up as Khalifs by the Mamluk Sultans of Egypt; but they were destitute of any real authority, and their position was that of dependants in the Mamluk court.

Sidreh and Tuba are two trees in the Garden of Paradise. The former is the abode of the angel Gabriel. Concerning the latter Sale says: “They fable that it stands in the palace of Mahommad, though a branch of it will reach to the house of every true believer; that it will be laden with pomegranates, grapes, dates, and other fruits of surprising bigness, and of tastes unknown to mortals. So that if a man desire to eat of any particular kind of fruit, it will immediately be presented to him; or if he choose flesh, birds ready dressed will be set before him, according to his wish. They add that the boughs of this tree will spontaneously bend down to the hand of the person who would gather of its fruits, and that it will supply the blessed not only with food, but also with silken garments and beasts to ride on, ready saddled and bridled and adorned with rich trappings, which will burst forth from its fruits; and that this tree is so large that a person mounted on the fleetest horse would not be able to gallop from one end of its shade to the other in a hundred years.”—_Introduction to the Koran._

During his lifetime he was too busy “teaching and composing philosophical treatises,” says his great Turkish editor, Sudi, “to gather together his songs; he used to recite them in his school, expressing a wish that these pearls might be strung together for the adornment of his contemporaries.” This was done after his death by his pupil Sayyed Kasim el Anwar, and the Divan of Hafiz is one of the most popular books in the Persian language. From India to Constantinople his songs are sung and repeated by all who speak the Persian tongue, and the number of his European translators shows that his uncle’s curse has a special and peculiar influence in Western countries. Like the Æneid, the Divan of Hafiz is consulted as a guide to future action. There are several stories of famous men who have had recourse to these _Sortes Hafizianæ_. It is related that Nadir Shah took counsel from Hafiz’s book when he was meditating an expedition against Tauris, and opened it at the following verse: “Irak and Fars thou hast conquered with thy songs, oh Hafiz; now it is the turn of Baghdad and the appointed hour of Tabriz.” Nadir Shah took this as an encouragement to fresh conquest, and went on his way rejoicing.

The whole poem has received a mystical interpretation which seems to me to add but little to its value or to its intelligibility; but in case any one should wish to gather the higher wisdom from it, I may mention that the mole, powder, and paint, of which a beautiful face does not stand in need, represent the ink, colour, dots, and lines of the Koran; and this is the explanation given to the couplet concerning Joseph and Zuleikha by a thorough-going Western mystic: “By reason of that beauty daily increasing that Joseph (the absolute existence, the real beloved, God) had, I (the first day) knew that love for him would bring Zuleikha (us, things possible) forth from the screen of chastity (the pure existence of God).” The learned translator seems to have felt that his version presented some difficulties, and he adds for the use of his weaker brethren the following comment: “In the world of non-existence and possibility, when I beheld the splendour of true beauty with different qualities, I knew for certain that Love would take us out of the ambush.” This makes everything clear.

“Let the poet place upon her fingers the jewels of the art of many hues, adorn her with the sandal-wood and the saffron of metaphor;

Like Hafiz, drain the goblet cheerfully While minstrels touch the lute and sweetly sing, For all that makes thy heart rejoice in thee Hangs of Life’s single, slender, silken string.

_Stanza 1._—Hafiz wrote this poem upon the death of his son.

What though the river of mortality Round the unstable house of Life doth roar, Weep not, oh heart, Noah shall pilot thee, And guide thine ark to the desirèd shore! The goal lies far, and perilous is thy road, Yet every path leads to that same abode Where thou shalt drop thy load—oh, weep no more!

Thy messenger the breath of dawn, and mine A stream of tears, since lover and beloved Keep not their secret; through my verses shine, Though other lays my flower’s grace have proved And countless nightingales have sung thy praise. When veiled beneath thy curls thou passest, see, To right and leftward those that welcome thee Have bartered peace and rest on thee to gaze!

Be that as it may, one who sings the cool rush of the wind of dawn, the scarlet cup of the tulip uplifted in solitary places, the fleeting shadows of the clouds, and the praise of gardens and fountains and fruitful fields, was not likely to forget that even if the world is no more than an intangible reflection of its Creator, the reflection of eternal beauty is in itself worthy to be admired. I wish I could believe that such innocent delights as these, and a wholehearted desire for truth, had been enough for our poet, but I have a shrewd suspicion that the Cup-bearer brought him a wine other than that of divine knowledge, and that his mistress is considerably more than an allegorical figure. How ever willing we may be to submit to the wise men of the East when they tell us that the revelry of the poems is always a spiritual exaltation, it must be admitted that the words of the poet carry a different conviction to Western ears. There is undoubtedly a note of sincerity in his praise of love and wine and boon-companionship, and I am inclined to think that Hafiz was one of those who, like Omar Khayyam, were wont to throw the garment of repentance annually into the fire of Spring. It must be remembered that the morality of his day was not that of our own, and that the manners of the East resemble but vaguely those of the West; and though as a religious teacher Hafiz would have been better advised if he had less frequently loosened the rein of his desires, I doubt whether his songs would have rung for us with the same passionate force. After all, the poems of St. Francis of Assisi are not much read nowadays. Nevertheless, the reader misses a sense of restraint both in the matter and in the manner of the Divan. To many Persians, Hafiz occupies the place that is filled by Shakespeare in the minds of many Englishmen. It may be a national prejudice, but I cannot bring myself to believe that the mental food supplied by the Oriental is as good as the other. But, then, our appetites are not the same.

Like an empty cup is the fate of each, That each must fill from Life’s mighty flood; Nought thy toil, though to Paradise gate thou reach, If Another has filled up thy cup with blood; Neither shade from the sweet-fruited trees could be bought By thy praying—oh Cypress of Truth, dost not see That Sidreh and Tuba were nought, and to thee All then were nought!

Those who have written poems “réellement à double sens” are careful to insist upon the mighty secrets that their words convey. “The things which wise men, who are sometimes called drunkards and sometimes seers,” says one of them, “wish to express by the words wine, cup and cup-bearer, musician, magian, and Christian girdle, are so many profound mysteries which sometimes they translate by an enigma and sometimes they reveal.” The symbols used by each writer are more or less the same; there is an accepted Sufi code with which the initiated are acquainted. “The nightingale, and none beside, knows the full worth of the rose,” sings Hafiz, “for many a one reads the leaf and understands not the meaning thereof.” But though we may not all be nightingales, we have some guide to the interpretation of the leaf. Many of the words in the Sufi dictionary have been expounded to the outer world. The tavern, for instance, is the place of instruction or worship, of which the tavern-keeper is the teacher or priest, and the wine the spirit of divine knowledge which is poured out for his disciples; the idol is God; beauty is the divine perfection; shining locks the expansion of his glory; down on the cheek denotes the cloud of spirits that encircles his throne; and a black mole is the point of indivisible unity. The catalogue might be continued to any extent; almost every word has a vague and somewhat shifting significance in the language of mysticism, which he who has a mind for such exercises may decipher if he choose.

“Khizr,” a prophet whom the Mahommadans confound with Phineas, Elias, and St. George, saying that his soul passed by metempsychosis successively through all three. He discovered the fountain of life and drank of it, thereby making himself immortal. It is said that he guided Alexander to the same fountain, which lay in the Land of Darkness. It was he, too, for whom Moses set out to seek when he had been informed by God that Al Khizr was wiser than he. He found him seated on a rock, at the meeting of the two seas, and followed him for a time, learning wisdom from him, as is related in the eighteenth chapter of the Koran. His name signifies Green; wherever his feet rested, the earth was covered with green herbs.

The Day of Hope, hid beneath Sorrow’s veil, Has shown its face—ah, cry that all may hear: Come forth! the powers of night no more prevail! Praise be to God, now that the rose is near With long-desired and flaming coronet, The cruel stinging thorns all men forget, The wind of Winter ends its proud career.

Hast thou forgotten when thy stolen glance Was turned to me, when on my happy face Clearly thy love was writ, which doth enhance All happiness? or when my sore disgrace (Hast thou forgot?) drew from thine eyes reproof, And made thee hold thy sweet red lips aloof, Dowered, like Jesus’ breath, with healing grace?

Here round thy life the vine is twined; Drink! for elsewhere what wine wilt find? Drink to her name, to hours that flew, Hours ever fresh and new and new!

I will not mourn my woeful banishment, He that has hungered for his lady’s face Shall, when she cometh, know a great content. The Zealot seeks a heavenly dwelling-place, Huris to welcome him in Paradise; Here at the tavern gate my heaven lies, I need no welcome but my lady’s grace.

Bring, bring the cup! drink we while yet we may To our soul’s ruin the forbidden draught; Perhaps a treasure-trove is hid away Among those ruins where the wine has laughed!— Perhaps the tulip knows the fickleness Of Fortune’s smile, for on her stalk’s green shaft She bears a wine-cup through the wilderness.

_Stanza 3._—The month of Sha’aban is the eighth month of the Arabic year. It is followed by Ramazan, during which month the Prophet decreed that from two hours before dawn until sunset nothing should pass the lips of his followers. The fast is so strictly observed, especially by the lower orders, that not only do they refrain from eating and drinking, but they will not even smoke until the sunset gun puts an end to the day’s abstinence. The night, however, is passed in feasting and revelry, and the richer classes will sleep late in Ramazan and shorten the long hours that must pass before they may breakfast.

There is another Khawameddin who is frequently mentioned, the Vizir of Sultan Oweis of Baghdad. He founded in Shiraz a college for Hafiz, in which the poet gave lectures on the Koran, and read out his own verses, and whither his fame drew a great number of pupils. We find Hafiz asking his benefactor for money to support this school in the following terms: “Oh discreet friend (my poem), in some retired spot to which even the wind is a stranger, come to the ear of the master, and between jest and earnest place the pointed saying, that his heart may consent unto it; then, of thy kindness, pray his munificence to tell me, if I were to ask for a small stipend, would my request be tolerated?” One cannot but hope that so charming a begging letter, couched in verse withal, was more than tolerated. It was probably this Vizir who sent a robe of honour to Hafiz which, when it came, proved to be too short for him; “but,” says the poet politely, “no favour of thine could be too short for any man.”

The tendency in dealing with a mystical poet is to read into him so-called deeper meanings, even when the simple meaning is clear enough and sufficient in itself. Hafiz is one of those who has suffered from this process; it has removed him, in great measure, from the touch of human sympathies which are, when all is said and done, a poet’s true kingdom. Of a different age, a different race, and a different civilisation from ours, there are yet snatches in his songs of that melody of human life which is everywhere the same. When he cries, “My beloved is gone and I had not even bidden him farewell!” his words are as poignant now as they were five centuries ago, and they could gain nothing from a mystical interpretation. As simple and as touching is his lament for his son: “Alas! he found it easy to depart, but unto me he left the harder pilgrimage.” And for his wife: “Then said my heart, I will rest me in this city which is illumined by her presence; already her feet were bent upon a longer journey, but my poor heart knew it not.” Not Shakespeare himself has found a more passionate image for love than: “Open my grave when I am dead, and thou shalt see a cloud of smoke rising out from it; then shalt thou know that the fire still burns in my dead heart—yea, it has set my very winding-sheet alight.” Or: “If the scent of her hair were to blow across my dust when I had been dead a hundred years, my mouldering bones would rise and come dancing out of the tomb.” And he knows of what he writes when he says, “I have estimated the influence of Reason upon Love and found that it is like that of a raindrop upon the ocean, which makes one little mark upon the water’s face and disappears.” These are the utterances of a great poet, the imaginative interpreter of the heart of man; they are not of one age, or of another, but for all time. Fitz-Gerald knew it when he declared that Hafiz rang true. “Hafiz is the most Persian of the Persians,” he says. “He is the best representative of their character, whether his Saki and wine be real or mystical. Their religion and philosophy is soon seen through, and always seems to me cuckooed over like a borrowed thing, which people once having got do not know how to parade enough. To be sure their roses and nightingales are repeated often enough. But Hafiz and old Omar Khayyam ring like true metal.” The criticism and the praise seem to me both just and delicate.

Arise! and fill a golden goblet up Until the wine of pleasure overflow, Before into thy skull’s pale empty cup A grimmer Cup-bearer the dust shall throw. Yea, to the Vale of Silence we must come; Yet shall the flagon laugh and Heaven’s dome Thrill with an answering echo ere we go!

_Songs of dead laughter, songs of love once hot, Songs of a cup once flushed rose-red with wine, Songs of a rose whose beauty is forgot, A nightingale that piped hushed lays divine: And still a graver music runs beneath The tender love notes of those songs of thine, Oh, Seeker of the keys of Life and Death!_

I had not castled, and the time is gone. What shall I play? Upon the chequered floor Of Night and Day, Death won the game—forlorn And careless now, Hafiz can lose no more.

Yet since the earliest time that man has sought To comb the locks of Speech, his goodly bride, Not one, like Hafiz, from the face of Thought Has torn the veil of Ignorance aside.

_Stanza 5._—“The lovers of wine”—that is to say the Sufis, who will be equally indifferent whether he comes to them with or without trailing clouds of human approbation, since they will judge of his worth by a different standard.

He never again gathered the honey of the roads of pilgrimage. Once, indeed, in answer to the pressing invitation of Shah Mahmud Purabi, Sultan of Bengal, he set forth for India; but a series of accidents befell him, he lost heart and returned home again. The story is told in a note to Poem XXI.

The song is sung and the pearl is strung; Come hither, oh Hafiz, and sing again! And the listening Heavens above thee hung Shall loose o’er thy verse the Pleiades’ chain.

There is a tradition that this poem was sent to the King of Golconda.

The Sufis had no difficulty in finding in the Koran texts in support of their teaching. When Mahommad exclaims, “There are times when neither cherubim nor prophet are equal unto me!” the Sufis declare that he alludes to moments of ecstatic union with God; and his account of the victory of Bedr—“Thou didst not slay them, but God slew them, and thou didst not shoot when thou didst shoot, but God shot”—they take as a proof of the Prophet’s belief in the essential oneness of God and man.[12] The whole book is twisted after this fashion into agreement with their views.