George Sale, The Koran, commonly called the Alcoran of Mohammed, translated into English immediately from the original Arabic; with Explanatory Notes, taken from the most approved Commentators. To which is prefixed A Preliminary Discource (1734)
the book itself, inimitable by any human pen, (tho’ some sectaries have been of another opinion 1) and therefore insisted on as a permanent miracle, greater than that of raising the dead 2, and alone sufficient to convince the world of its divine original.
And to this miracle did Mohammed himself chiefly appeal for the confirmation of his mission, publickly challenging the most eloquent men in Arabia, which was at that time stocked with thousands whose sole study and ambition it was to excel in elegance of style and composition 3, to produce even a single chapter that might be compared with it 4. I will mention but one instance out of several, to shew that this book was really admired for the beauty of its composure by those who must be allowed to have been competent judges. A poem of Labîd Ebn Rabîa, one of the greatest wits in Arabia in Mohammed’s time, being fixed up on the gate of the temple of Mecca, an honour allowed to none but the most esteemed performances, none of the other poets durst offer any thing of their own in competition with it. But the second chapter of the Korân being fixed up by it soon after, Labîd himself (then an idolater) on reading the first verses only, was struck with admiration, and immediately professed the religion taught thereby, declaring that such words could proceed from an inspired person only. This Labîd was afterwards of great service to Mohammed, in writing answers to the satires and invectives that were made on him and his religion by the infidels, and particularly by Amri al Kais 5, prince of the tribe of Asad 6, and author of one of those seven famous poems called al Moallakât 7.
The style of the Korân is generally beautiful and fluent, especially where it imitates the prophetic manner, and scripture phrases. It is concise, and often obscure, adorned with bold figures after the eastern taste, enlivened with florid and sententious expressions, and in many places, especially where the majesty and attributes of God are described, sublime and magnificent; of which the reader cannot but observe several instances, tho’ he must not imagine the translation comes up to the original, notwithstanding my endeavours to do it justice.
Tho’ it be written in prose, yet the sentences generally conclude in a long continued rime, for the sake of which the sense is often interrupted, and unnecessary repetitions too frequently made, which
1 See after.
2 Ahmed Abd’alhalim, apud Marracc. de Alc. p. 43.
3 A noble writer therefore mistakes the question when he says these eastern religionists leave their sacred writ the sole standard of literate performance by extinguishing all true learning. For tho’ they were destitute of what we call learning, yet they were far from being ignorant, or unable to compose elegantly in their own tongue. See L. Shaftesbury’s Characteristics, Vol. 3. p. 235.
4 Al Gazali, apud Poc. Spec. 191. See Korân, c. 17. and also c. 2. p. 3. and c. 11, &c.
5 D’Herbel. Bibl. Orient. p. 512, &c.
6 Poc. Spec. p. 80.
7 See before, p. 28.
