excellence in its way. In many respects this older Arab poetry makes a special appeal to us, it shows an observation of nature which is very striking, it has an undercurrent of melancholy which seems an echo of the desert, and an emotional side which seems convincing in its reality. At the same time it has very distinct limitations in its range of interest and subject matter. Undoubtedly a careful study of this early Arab poetry is a necessary preparation for a proper appreciation of the literary forms of Arabic and of its oldest vocabulary and syntax, and of recent years much attention has been given to it. But this older Arabic poetry, apparently a native production, but possibly influenced in pre-Islamic times by some external contacts as yet undefined, comes to an end soon after the fall of the 'Umayyads, save in Spain, where, under the exiled and fugitive remnant of the 'Umayyad dynasty, the production of such poetry survived. But this type of poetry is really outside our present enquiry, save to note that it was a Persian scholar, Hammad b. Sabur ar-Rawiya (d. circ. 156–159) who collected and edited the seven ancient Arabic poems known as the Mu'allaqat or "suspended," i.e., the catena or series, and thus set what may be called the classical standard of the ancient poetry and vocabulary. At the accession of the Abbasids the old Arab type passes away and the intellectual guidance of the Muslim community passes into the hands of the Persians.
