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in others as the best educated and most refined noble) and to have carried to such an excess that the apposite repetition of a witty story or of a harmonious piece of verse, either remembered or extempore, frequently sufficed to secure for the astute reciter the highest honours at the Khalif’s disposal or to save the greatest criminal or the most hated enemy from the consequences of the furious outbursts of passionate frenzy to which the monarch was subject. This characteristic it was which led him to encourage the arts and to select as his intimate companions the best-known poets and musicians of the time, (of whom two or three were always in attendance upon him at all hours of the day and night,) upon whom he lavished, with reckless prodigality, the immense sums[1] he wrung from his subjects and from whose venal praises later historians drew the false data on which they moulded the imaginary character of the great and good Khalif of the “golden prime” of Islam, a character as fabulous as that of the Cid, whom modern research has proved to have been a sort of Schinderhannes-Dalgetty, a brutal and venal swashbuckler, “fighting for his own hand,” under Arab or Spaniard, king or condottiere, as it paid him best, and solacing his leisures with the innocent pastimes of Jew-roasting and captive-baiting.[2] Like
- ↑ His gifts were, however, always liable to be resumed with interest at the donor’s caprice.
- ↑ He is said to have been in the habit of roasting his Jewish prisoners over a slow fire, to make them disgorge, and to have, on more than one occasion, caused his captives, old men, women and children, to be torn to pieces by his dogs.
