1. The legends of this cycle really form a synthesis of those of the first two cycles, and their episodes are for the greater part repetitions of previous ones. Nevertheless, although from our point of view they are of minor importance, they represent a distinct stage in the evolution of the legend. In the former cycles the Isra, or Nocturnal Journey, and the Miraj, or Ascension, were related separately; but here the two are fused into one continuous story. One version will suffice to illustrate the earliest type of non-Christian mediæval legend that related, as in Dante’s poem, in one uninterrupted story the visit to hell and purgatory and the ascension to paradise. This version may be called the earliest, for it has been handed down to us in the voluminous Tafsir, or commentary on the Koran, by the celebrated historian Tabari, who lived in the 9th century. Briefly summarised, the legend runs as follows:—

Sole Version of Cycle III

2. The introduction is identical with that in Version A of Cycle 2. Mahomet, either in his house or the Mosque at Mecca, is suddenly awakened by Gabriel, alone or accompanied by other angels. He is purified and led on a Nocturnal Journey to Jerusalem and thence to heaven. The episodes are as follows: At the outset Mahomet meets an old woman who, decked in finery, from the roadside endeavours to entice him to tarry with her; but Mahomet turns a deaf ear and passes on unheeding. Gabriel explains that this woman is an allegory of the world. Her tinsel represents the allurements of the world, which like her is effete, for so short is life on earth that it resembles the brief years of old age. Immediately after this vision—or before it in some versions—Mahomet is called upon to halt by two voices, one from either side of his path. These are the voices of the Jewish and Christian faiths, that would fain convert him to their creeds. Proceeding, he encounters the Devil, who in turn tries to lure him from his path; but, at Gabriel’s warning, he hastens on. At last, freed from all temptations, he arrives at a stage where he is welcomed by Abraham, Moses and Jesus.

The visions that follow either represent allegories or depict the tortures of hell, some of the latter resembling and others differing from the punishments of the previous versions. Firstly, Mahomet beholds men cutting corn sown but the day before, and, in amazement, he sees the stubble grow as fast as the corn is cut. These, Gabriel informs him, are symbolic of the Moslems who devote their all to the spreading of the faith and whom God rewards seven-hundredfold. Then follows the torture of the crushed head, as in Version B of Cycle 1, and thereafter, the punishment of those who failed to make the offerings required by rite. Clothed in rags, these graze like beasts, chewing fetid herbs. Further on, the adulterers sit at a table bearing both wholesome meat and raw and putrid flesh. The latter they devour in due punishment for their lewdness, which led them to reject their wives and seek the embraces of loose women. At this juncture the travellers’ path is barred by the trunk of a tree, and in surmounting it their clothes get torn. This obstacle is a symbol of the bad Moslems who lead their brothers off the path of virtue. An aged wood-cutter, who toils to heap still higher the pile of wood he has collected, although his strength forbids his carrying his loads away, next comes into view, symbolising the rich miser who hoards the wealth he cannot use. Proceeding, they witness the torture of the hypocritical preachers, who, like the liars in Versions A and B of Cycle 1, have their tongues and lips torn. A huge bull, which, rushing out of a narrow shelter, is now vainly trying to re-enter it, is figurative of the torment undergone by the conscience of those who speak hasty words they afterwards regret. The travellers now pass through a valley, where Mahomet, breathing in the soft perfumed air, listens in rapture to a song whose words he cannot catch. The valley, Gabriel explains, represents heaven, and the voice he hears sings to the Lord, beseeching Him to fulfil His promise to the faithful. God hearkens to the prayer and renews His covenant to save all Moslems. A parallel scene in antithetic setting is now introduced. Mahomet traverses another valley, which, reeking abominably, represents hell. Another voice is heard invoking the Lord to punish all sinners, and from on high God answers that He will wreak His vengeance.

Leaving the valley of hell behind, the travellers reach the Mosque of Jerusalem, the goal of their Nocturnal Journey. The scenes laid here are of little interest. Mahomet, surrounded by angels, prays, and in turn he is greeted by the spirits of Abraham, Moses, David, Solomon and Jesus. Offered glasses of milk, water and wine, he drinks of the milk and water, and, as in Version A of Cycle 2, Gabriel applauds his choice. The story of the ascension is told in terms that are almost identical with those of that version. When he reaches the seventh heaven, however, the passage of Version B of the first cycle, depicting Abraham, is inserted with slight variations. Abraham is seen as a venerable old man, seated at the entrance to paradise between two hosts of men, the one with white, the other with spotted faces. The latter bathe in three rivers, emerging from the third with faces as white as those of the other host which they now join. The one host, Gabriel explains, are the believers of unspotted soul and the other, penitent sinners. The three rivers are symbolic of the mercy, loving-kindness and glory of God. The final stage, as in Version A of Cycle 2, is the visit to the Lotus-tree of the Boundary. The legend ends with the familiar intimate colloquy between God and the Prophet.

3. As already suggested, this version is interesting, not from a comparative point of view, but because it constitutes a fusion of the versions of Cycles 1 and 2. As the date of the version is not later than that of the fragmentary tales, it would seem as if the Moslem traditionists had decided upon such fusion at an early period. This decision, no doubt, was based on considerations of art rather than theology, the object being more to satisfy, with one complete story, the curiosity of the faithful than to justify the existence of so many fragmentary and often contradictory versions of one and the same event. That this latter object, implying the necessity of accepting as authentic all those different versions, influenced the theologians of a later epoch, will be seen further on. In this version there is no trace of it. Tabari, by whom the version has been handed down to us, although himself an eminent theologian, merely records it as the work of story-tellers and omits all mention of the authenticity or otherwise of the different fragments and versions.

4. Of the two main parts of the legend, the second (the ascension) contains little that is new either in descriptive feature or episode. The first part, on the other hand, could easily be regarded as a reading of the Isra of a different cycle from those hitherto considered. Its many new episodes are precisely the visions that do not deal with realities, but are symbols of abstract ideas, of vices and virtues. A new element, moral allegory—so marked a feature of Dante’s poem—is thus introduced. Vossler⁠[69] has pointed out how successfully Dante combines the two imperfect forms of mediæval visionary style—the religious or apocalyptic, and the profane or allegorical; and he lauds Dante’s originality, for, as he truly remarks, his allegories are not derived from Capella, Prudentius, or Alan of Lille.⁠[70] The free use of allegory in this version of the Nocturnal Journey is, therefore, of interest. No doubt few of the visions can be regarded as models of the scenes in the Divine Comedy; but their mere occurrence in such number in a Moslem legend that in other respects has been shown to have had so great an influence on Dante, is significant. It may reasonably be supposed that the origin of other allegories of the great poem which, in Vossler’s opinion, cannot have been derived from its Christian or classical precursors, can be traced back to Moslem literature.

5. A systematic investigation in this direction will be made later on. Let it here suffice to cite one typical instance of the adaptation to the Divine Comedy of Moslem symbols. The resemblance between the vision of the old woman appearing at the outset of Mahomet’s journey as a symbol of the temptation of the world, and the vision seen by Dante when he reaches the fifth circle of purgatory, is obvious. The old woman, whom Mahomet sees, concealing under splendid adornments the ravages that time has made upon her charms, endeavours to draw him from the path by flattery and alluring gestures. Not until later does Gabriel interpret the vision. The old seductress is a symbol of the world, decked in finery to entice the Prophet. Had she succeeded, the Moslem people had likewise preferred worldly well-being to eternal bliss.

Dante, having traversed the fourth circle of purgatory,⁠[71] dreams of a woman who stammers and squints, is lame, one-armed, and jaundiced. Yet so skilfully does she hide her defects that it is with difficulty that Dante resists her fascination. Virgil exposes the hideousness beneath her clothes, but not until later does he interpret the vision. The woman is the eternal sorceress, as old as mankind, who ruins men with her allurements, although it is given to all to free themselves, even as Dante had done.

The general outlines of the two episodes are clearly identical; although in the detail Dante introduces classical allusions,⁠[72] which are lacking in the Moslem picture. And indeed all commentators of the Divine Comedy agree that this vision is symbolic of the false felicity of the world,⁠[73] just as Gabriel interpreted it to Mahomet as being an allegory of the fleeting pleasures of earth.⁠[74] The coincidence is significant.

6. Lastly, the resemblance of one of the descriptive features of the garden of Abraham in this version to Dante’s purgatory is remarkable. Before entering the celestial mansions, Dante has to be purified thrice in three different streams: firstly, when he leaves hell and Virgil, on the advice of Cato, washes away the spots that disfigure his face after his visit to the infernal regions, restoring the natural colour to his tear-stained cheeks⁠[75]; and a second and a third time before he leaves purgatory, when Matilda and Statius in turn immerse Dante in the Lethe and Eunoe, the waters of which efface from the mind the memory of sin and renew the supernatural power of the soul for good, thus preparing it for the bliss of heaven.⁠[76]

The idea of this threefold purification would seem to be taken direct from the scene where the souls of penitent sinners are washed in the three rivers of the garden of Abraham. The effects, here also, are both physical and moral: the natural colour is restored to their faces, and their souls, cleansed from sin by repentance, are by the grace of God made fit to enter into the glory of heaven.