خلاصه ماشینی:
The late Nizam, Mir Mahboob Ali Khan, was a student of the well-known poet Dagh, His pen-name was Asif, and his work ranks among the best in Urdu literature.
which could influence the con• ception of the Divine Comedy, was the legend of the nocturnal journey (isrd') of Muhammad and of his ascension to heaven f mi'raj)-a legend, which was widely current in popular versions in Muslim countries since the ninth cen• tury at least, and had been enriched and poecized by theologians, mystics and literary men in successive centuries.
In these legends, Muhammad or an or• dinary mortal is, like Dante in his poem, the principal character of the journey, who relates the events and describes the scenery.
The sufis or Muslim rnvs• tics, especially Ibn al-'Arabi of Murcia (in Spain), use like Dance the dramatic journey of a man, Muhammad, across the ultrarnundnnc regions and his ascen• sion to the heavens as symbols of the regeneration of soul by faith and theo• logical virtues.
A considerable number of scenes, descriptions, episodes and topographical details of the Divine Comedy, the proto• types of which do not appear in the various redactions of the Muhammadan Mi'raj, havetheirprecedents and models in other documents of Islamic literature, viz.
• the Qur'an or the Traditions des-' cribing the final judgement and the next life or the doctrinal writings of Muslim theologians and philosophers, especially the mystics, who have systematized, interpreted and rationalized the docu• ments of Islamic religion.
Eighty years later, Dante gives us in marvellous verses a poetical description of those very places in the next world.