But it is in the Kufríya, or antinomian quatrains, and in the Munáját, or pious aspirations, that the most remarkable and characteristic features of Omar's poetry are exhibited. The glaring contrast between these two classes of his poetry has led his readers to take very opposite views of him, according as they looked at one or the other side of the shield. European critics, like his contemporaries, mostly consider him an infidel and a voluptuary "of like mind with Sardanapalus." On the other hand, the Sufis have contrived to affix mystical and devotional meanings even to his most Epicurean quatrains; and this method of interpretation is nowadays as universally accepted in Persia and India as the mystical interpretation of the Canticles is in Europe. But neither of these views can be accepted in its entirety. Even if the Sufi symbolism had been definitely formulated as early as Omar's time, which is very doubtful, common sense would forbid us to force a devotional meaning on the palpably Epicurean quatrains; and, on the other hand, unless we are prepared to throw over the authority of all the MSS., including the most ancient ones, we must reckon with the obviously mystical and devotional quatrains. The essential contradiction in the tone and temper of these two sections of Omar's poetry cannot be glossed over, but imperatively calls for explanation.
His poems were obviously not all written at one period of his life, but from time to time, just as circumstance and mood suggested, and under the influence of the thoughts, passions and desires which happened to be uppermost at the moment. It may be that the irre-
