Sixth chapter. Setting forth the signs and evidences which became apparent through his Noble Companions and the Imáms of his House (may God be well pleased with them!).

Seventh chapter. Setting forth the evidences which were manifested through the Followers [of the Companions] and the Followers of the Followers, down to the generation of the [first] Ṣúfís.*

Conclusion (Khátima). On the punishment of his enemies.

This book is written in a very simple style, and would, if published, constitute an admirable introduction to the beliefs of the Muslims about their Prophet.

Three other mystical works which I have not had an opportunity of reading are the Lawámi' (“Gleams”), a Com­mentary on the celebrated Fuṣúṣu'l-Ḥikam of the great mystic Shaykh Muḥyi'd-Dín ibnu'l-'Arabí (composed in 896/1491), and a Commentary on the Nuṣúṣ of his disciple Shaykh Ṣadru'd-Dín al-Qunyawí. This is entitled Naqdu'n-Nuṣúṣ , and is one of Jámí's earliest works, for it was com­posed in 863/1458-59.

Of Jámí's minor works I have noted some two dozen, included by Sám Mírzá in the list of forty-six which he Jámí's minor works gives in his Tuḥfa-i-Sámí, but this latter number is more than doubled by the Mirátu'l-Khayal, * which states that Jámí left behind him some ninety works. These minor works include commentaries on portions of the Qur'án, e.g. the Súratu'l-Fátiḥa; com­mentaries on Forty Traditions and on the Traditions of Abú Dharr; theological tracts on the Divine Unity (Risála­i-Tahlíliyya and Lá iláha illa 'lláh), the Rites of the Pil­grimage (Manásik-i-Ḥajj) and the like; monographs on the lives or sayings of various eminent mystics, such as Jalálu'd-Dín Rúmí, Khwája Pársá and 'Abdu'lláh Anṣárí; tracts on Ṣúfí ethics and practice (e.g. the Ṭaríq-i-Ṣúfiyán and Taḥqíq-i-Madhhab-i-Ṣúfiyán); and commentaries on Arabic and Persian mystical verses, such as the Tá'iyya and Mímiyya (or Khamriyya) of 'Umar ibnu'l-Fáriḍ, the opening verses of the Mathnawí (also known as the Nay-náma, or “Reed-book” from its subject), a couplet of Amír Khusraw of Dihlí, and a commentary of some of his own quatrains. Besides all these Jámí wrote treatises on prosody, rhyme * and music, a commentary on the Miftáḥu'l-Ghayb, and another for his son Ḍiyá'u'd-Dín * on the well-known Arabic grammar of Ibnu'l-Ḥájib known as the Káfiya. There is also a collection of Jámí's letters (Munshá'át), and five treatises on the Mu'ammá, or Acrostic, which was so popular at this period.

Last, but not least, amongst Jámí's prose works is the Baháristán, or “Spring land,” a book similar in character The Bahár­istán and arrangement to the more celebrated Gulistán of Sa'dí, composed in 892/1487. It comprises eight chapters (each called Rawḍa, “Garden”), the first containing anecdotes about Saints and Ṣúfís; the second sayings of Philosophers and Wise Men; the third on the Justice of Kings; the fourth on Generosity; the fifth on Love; the sixth on Jokes and Witticisms; * the seventh on Poets; * and the eighth on dumb animals. The work is written in mixed prose and verse, the proportion of verse being very considerable. The text, accompanied by a German translation by Schlechta-Wssehrd, was published at Vienna in 1846. There are also several Constantinople printed editions of the text, * a complete English translation published in 1887 by the Kama Shastra Society, and an English version of the sixth book entitled “Persian Wit and Humour” by C. E. Wilson. The curious reader can therefore easily acquaint himself more fully with the con­tents of this book, even if he does not read Persian, and it is therefore superfluous to describe it more fully in this place.

It is as a poet, however, that Jámí is best known, and it is of his poetical works that we must now speak. These Jámí's poetry comprise seven mathnawí poems, known collec­tively as the Sab'a (“Septet”) or Haft Awrang (“Seven Thrones,” one of the names by which the constel­lation of the Great Bear is known in Persia), and three separate Díwáns, or collections of lyrical poetry, known respectively as the Fátiḥatu'sh-Shabáb (“Opening of Youth”), compiled in 884/1479-1480; the Wásiṭatu'l-'Iqd (“Middle of the Necklace”), compiled in 894/1489; and the Khátimatu'l-Ḥayát (“End of Life”), compiled in 896/1490-1, only two years before the author's death.

The Haft Awrang comprises the seven following poems:

(1) Silsilatu'dh-Dhahab (the “Chain of Gold”) com- The Haft Awrang posed in 890/1485.

(2) Salámán wa Absál, published by Forbes Falconer in 1850, and translated into English in 1856. This edition contains 1131 verses. Another English prose abridged translation by Edward FitzGerald was published in London in 1856 (pp. xvi + 84).

(3) Tuḥfatu'l-Aḥrár (“the Gift of the Noble”), com­posed in 886/1481, was published by Forbes Falconer in 1848, and contains 1710 verses.

(4) Subḥatu'l-Abrár (“the Rosary of the Pious”) has been twice printed (1811 and 1848) and once lithographed (1818) at Calcutta.

(5) Yúsuf u Zulaykhá, composed in 888/1483, the best known and most popular of these seven poems, was pub­lished with a German verse-translation by Rosenzweig (Vienna, 1824). There is an English translation by R. T. H. Griffith (London, 1881), and another in very mediocre verse by A. Rogers (London, 1892).

(6) Laylá wa Majnún, composed in 889/1484, has been translated into French by Chézy (Paris, 1805) and into German by Hartmann (Leipzig, 1807).

(7) Khirad-náma-i-Sikandarí (“the Book of Wisdom of Alexander”) has received the least attention of the seven poems, and, so far as I can ascertain, has never been pub­lished or translated.