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When such a man sat down to write a poem, embodying his view of “the Higher Law,” what could have been expected but a notable manuscript. With his poem, “the Kasidah,” we shall now concern ourselves. It purports to be a translation from the Arabic of Haji Abdu El Yezdi. Its style is like that of the Rubaiyat. It is erude, but subtile. It is brutal in its anti-theism, and yet it has a certain tender grace of melancholy, deeper than Omar’s own. It is devoid of Omar’s mysticism and epicureanism, and appallingly synthetic. It will not capture the sentimentalists, like the Rubaiyat, but, when it shall be known, it will divide honors with the now universally popular Persian poem. Burton’s “Kasidah” is miserably printed in his “Life,” but Mr. Thomas Mosher, of Portland, Maine, has issued it in beautiful and chaste form, for the edification of his clientele of searchers for the literature that is always almost, but never quite completely forgotten. The “Kasidah” was written in 1853, and it is, in its opening, much like Fitz Gerald’s Rubaiyat, though Burton never saw that gem of philosophy and song, until eight years after. “The Kasidah” was not printed until 1880. It is difficult to interpret, because it so clearly interprets itself. It must be read. It cannot be “explained.”

The Kasidah consists of about 300 couplets of remarkable vigor in condensation. It reviews all the explanations of “the sorry scheme of things” that man has contrived, and it holds forth the writer’s own view. He maintains that happiness and misery are equally divided, and distributed in this world. Self cultivation is, in his view, the sole sufficient object of human life, with due regard for others. The affections, the sympathies, and “the divine gift of Pity” are man’s highest enjoyments. He advocates suspension of judgment, with a proper suspicion of “Facts, the idlest of superstitions.” This is pure agnosticism. There runs all through the poem a sad note that heightens the courage with which the writer faces his own bleak conclusion, and, “the tinkling of the camel bell” is heard faint and far in the surge of his investive, or below the deepest deep of his despair. In Arabia, Death rides a camel, instead of a white horse, as our occidental myth has it, and the camel’s bell is the music to which all life is attuned. Burton reverts from time to time to this terrifying tintinnabulation, but he blends it with the suggested glamour of evening, until the terror merges into tenderness. The recurrence of this minor chord, in the savage sweep of Burton’s protest against the irony of existence, is a fascination that the “Kasidah” has in common with every great poem of the world. The materialism of the book is peculiar in that it is Oriental, and Orientalism is peculiarly mystical. The verse is blunt, and almost coarse in places, but here and there are gentler touches, softer tones, that search out the sorrow at the heart of things. It is worthy, in its power, of the praise of Browning, Swinburne, Theodore Watts, Gerald Massey. It is Edward Fitz Gerald minus the vine and the rose, and ali Persian silkiness. The problem he sets out to solve, and he solves it by a petitio principii, is

Why must we meet, why must we part, why must we bear this yoke of Must,
Without our leave or ask or given, by tyrant Fate on victim thrust?

The impermanence of things oppresses him, for he says in an adieu,

. . . Haply some day we meet again; Yet ne’er the self-same man shall meet; the years shall make us other men.

He crams into one couplet after another, philosophy after philosophy, creed after creed, Stoic, Epicurean, Hebraic, Persian, Christian, and puts his finger on the flaw in them all. Man comes to life as to “the Feast unbid,” and finds “the gorgeous table spread with fair-seeming Sodom-fruit, with stones that bear the shape of bread.”