72) We have ordained the same for an admonition, and an advantage to those who travel through the deserts.
This passage, which is complete in itself, consists of four stanzas, of 5-4-3-2 verses, all of them diverse presentations of the same idea and alike in construction.
The whole group is enclosed between two single verses which correspond to one another, and form, as it were, a frame to it.
An exact observation of the Koran shows that strophes of the most varied structure occur in it, often combined with the responsion, and held together by all kinds of other literary forms. The principal characteristic of the strophe is still unity of idea, which, being in its nature relative, is subject to great variation. Nor is the strophe the final and greatest unit. As the strophe is formed by the combination of several lines or sentences, so a group is formed of a number of strophes and a great systematically constructed discourse of several groups. The same laws which govern the sentence and the verse prevail in the structure of the strophe and the formation of the group. Parallelism and antithesis are the principal elements of form in sentence and verse; they are likewise the forces that struggle for expression, and assert themselves in the structure of the strophe and the formation of the group.
The question may be raised: How did Mohammed come to adopt this form of composition? For the present, I can only advance a hypothesis in reply. Mohammed received the first impulse to meditate upon matters of religion from various wise and learned men, and through them became acquainted with the principal doctrines of Judaism and Christianity; and in like manner he must have acquired from them the tradition of this form of poetry, a form which, unlike the poetry of the heathen, was not devoted to the delight and joy of life, but to religious meditation and to ancient and pious legend. This form of composition may have been practised and preserved by the old soothsayers (Kahin) after it had been generally superseded by the new-fangled and rigidly metrical poetry. Mohammed may possibly have acquired the secret of this form of composition from such a Kahin, who had meditated upon the nature of religion. He therefore rightly rejected the title of poet, and with equal right called himself the “Seal of the Prophet”; for he spoke and wrote in the style of the prophets of old.
THE PREVALENCE OF STROPHIC FORM AND RESPONSION EXPLAINED
A careful consideration of the laws of strophic form and responsion which can be shown to exist, though in unequal measure, in the three great Semitic literatures, leads us to the conclusion that there are only three possible explanations of their occurrence. Either we have to do with a phenomenon evolved independently in different parts of the world, or these literary forms were invented by one nation and borrowed and imitated by the others, or, lastly, they must all be referred to a common origin.
The three nations among whom we find these literary forms are so widely separated in space and time that there can be no question of borrowing between them. But, again, phenomena so original and complicated could not appear in different places without something of a common origin.
Accordingly, the only possible assumption is that they may all be referred to a common origin, and that even in primitive times religious poetry was governed by these literary forms. They have been preserved in the Bible, the cuneiform inscriptions, and the Koran.