The Contemporary Review, January 1883

disclose that the duty of revenge has its obligations and sanctions, not in the inward but the outward world; not in the genius of the man—secret, individual, detached—but in the outward mind of inherited opinion and ancestral creed, that we share with others in unreflecting fellowship. The world has charge of it, and reflects it back upon him new in the actor's tears, and now—

"In this army of such mass and charge,
Led by a delicate and tender prince."

This speech must be read, like a Spartan despatch, on the [Greek: skutalê] or counterpart of Hamlet's personality. He begins, as after the player's recitation, with a confession, and ends with an excuse. He is startled into an avowal, which he qualifies by a subtle after-thought—"What is a man," he cries, who acts as I have acted, who allows

"That capability and god-like reason,
To fust in him unused?"

"A beast, no more." But as he looks at Fortinbras and his soldiers, another thought strikes him. These men act because they do not pause to think. I must have been thinking, not too little, but too much; and with that he turns short round upon his first confession, escapes from the charge of "bestial oblivion," and takes refuge in an imaginary "thinking too precisely on the event;" which indeed, as he remembers, had more than once prevented him taking his own life. But he condemns himself without cause; he cannot now return to that earlier stage of unreasoning activity in appointed paths, and the joy and grace of unconscious obedience.

When Hamlet returns from England, he takes Horatio apart to recount his adventures and unfold the plot of the king; but before he utters a word of this his settled mood is revealed to us in the graveyard scene. Hamlet, ever prone to belittle the world, is not loth to watch the making of a grave. There is the limit and boundary of what can be done or suffered; there the triumph is ended, and there the enmity is stayed. He advances step by step to look closely at the ruins of mortality; to slight the great names of kings and follow heroes to the dust. As he sees the skull tossed out of the grave, the king is already dead to him. "How the knave jowls it to the ground, as if it were Cain's jawbone, that did the first murder. This might be the pate of a politician, which this ass now o'erreaches; one that would circumvent God, might it not?" He is not satisfied till he takes the skull in his hand, and is sarcastic on beauty and festive wit, and the base uses to which we may come; when, from the other side, the procession of Ophelia advances. The grace and allurement of Ophelia had awakened in the imaginative Hamlet a feeling stronger and warmer indeed, but of the same relation to his capacity of loving as that of Romeo for Rosaline, and as easily lost in the glow or shadow of a deeper passion. That it was without depth and sacredness is plain from his delighting to ridicule and torment her father, and from his careless and equivocal jesting with her at the play. But though not a deep experience, it was of a quality different from that of other life. And the death of Ophelia had gathered into one the records of the hours of love; the first and the last; the meetings and the partings; the gifts, and flowers, and snatches of song. On these tender memories the hollow clamour of Laertes breaks with a discord so intolerable that Hamlet, who had with his usual reserve received the news of her death with the cold exclamation, "What! the fair Ophelia!" suddenly breaks into a fury and leaps into her grave.

In this study of Hamlet in relation to the ghost-story, we have seen that the effect, both of the first recital and of its subsequent confirmation, was to whet his mind against his mother; and that the passages in which this is expressed are among the final touches of the master; that the deed of revenge is only flashed upon him from without; and that, in the intervals between such awakenings of memory, he relapses to the thought-sickness of the first soliloquy; that on the only occasion when the bitterness of his sorrow leads him to meditate self-destruction, there is no question of the ghost, the murder, or the king; that the only ungovernable bit of fury is in the presence of his mother; and that from this scene the drama is developed, and the final catastrophe ensues.

V

Supposing this "preoccupation" proved, what is the particular value and significance of the fact? Before we can answer this we must set the character of Hamlet in this new light clearly before us.

Shakespeare gives to him the rare nobility of feeling with the keenness of personal pleasure and pain, the presence or absence of moral beauty. He is one to whom public falsehood is private affliction, to whom goodness in its purity, truth in its severity, honour in its brightness, are the only goods worth a man's possessing, and the rest but a dream and the shadow of a dream. Hamlet bears his private griefs with proud composure. We have no lamentation on the death of his father, on the defection of Ophelia, on his exclusion from the throne. Among the images of horror and distress that crowd upon his mind in his mother's closet there is one on which he is silent then, and throughout the play, and that is her heartless desertion of his cause, as natural successor to the crown. To make it entirely clear that we have here no type of morbid weakness and excess, but the portrait of a representative man, we have only to look at the careful way in which all the other characters are touched and modelled so as to allow and enhance Hamlet's superiority, This is true even of Horatio. We have already remarked that in their scenes with the ghost the manhood of Hamlet is of a higher strain and dignity. And not only in resolution, but in that other manly virtue of self-reliance, his superiority is incontestable. Horatio follows Hamlet at a distance as Lucilius follows Brutus, content if from time to time he may stand at his side. Whatever is Hamlet's mood he reflects it, for to him Hamlet is always great. Horatio never questions, presumes not to give advice, echoes the scorn or laughter of his friend, is equally contemptuous of the king, and, as he never urges to action, is, if his friend is supposed to procrastinate, accomplice in his delay. Hamlet detaches himself from the world and follows his own bent; he will admit no guidance, and be subject to no dictation. He is not the man to be hag-ridden like Macbeth, or humoured into remorseful deeds like Brutus. The strong dramatic feature of his character, the secret of his attraction on the stage, is his pure and independent personality. Who has a word of solace from him, but when does he claim it? Who leaves any mark or dint of intellectual impact on that firm and self-determined mind? And if he is superior to Horatio, how much more to Laertes? Had Shakespeare wished to exalt the quality of resolution at Hamlet's expense, he would not have chosen so ignoble a representative of it as this man. A true son of Polonius, a prater of moral maxims, while he is all for Paris and its pleasures; violent, but weak; who, when he is told of the tragic and untimely death of his sister, can find nothing better to say than—

"Too much of water, hast thou, dear Ophelia?"

who, like Aufidius, has the outward habit and encounter of honour, but is a facile tool of treacherous murder in the hands of the king. Compare the conduct of the two when they are brought into collision, and the final impression they leave. The readiness with which Hamlet undertakes to fence for his uncle's wager is one of the most surprising strokes in the play. What! with the foil in his hand, no plot, no project, not even a word, not a look between him and Horatio that the occasion might be improved! What absolute freedom from the malice which in another mind is preparing his death. The treachery of Laertes is the more odious in this, that the success of his plot depends on the generous confidence of his victim. Polonius is handled in the same way with special reference to Hamlet. His thinking is marked by slowness and insincerity, and when he comes in contact with the rapid current of Hamlet's mind he is benumbed; he can only mutter, "If this is madness, there is method in it." What little portable wisdom was given to him in the first Act is soon withdrawn—he stammers in his deceit, and the old indirectness having no material of thought to work upon becomes a circumlocution of truisms. As the play proceeds he is made, as if with a second intention, more and more the antithesis, as he is the antipathy, of the prince. It is the careful portrait of what Hamlet would hate—a remnant of senile craft in the method with folly in the matter—a shy look in the dull and glazing eye, that insults the honesty of Hamlet as much as the shrivelled meaning with its pompous phrase insults his intelligence. So with the other characters; they are all made to justify his demeanour towards them. The queen is heard to confess her guilt, Ophelia is seen to act as a decoy; his college friends attempt his death.

In as far then as Hamlet is right in his verdicts, blameless in his aims, lofty in his ideal, and just in his resentment, he is a representative man; and we have not the study of a special affliction, but the fundamental drama of the soul and the world. This, whatever we may call it, was the work at which Shakespeare laboured so long, and for which he withdrew Hamlet from time to time for special study, every fresh touch telling in this direction.

VI

How far is such an interpretation consonant with the genius and method of Shakespeare? Certainly I should hardly have found courage to add another to the many studies of Hamlet had it not been for the hope of bringing out a characteristic of our great national poet that is rather unobtrusive than obscure. I mean a singular unworldliness of thought and feeling; a cherished idealism; an inborn magnanimity. Not the unworldliness of the study and the cloister, or the other-worldliness of such poets as Dante and Milton, but the unworldliness of a man of the world, the idealism that is closely allied with humour. And it is in this union and not elsewhere that the "breadth" of Shakespeare, of which we hear so much, is found. This unworldliness is elusive, ubiquitous, full of disguise. Now it is militant, and now observant; now it is fastidious in its scorn, and now it is piercing in its dissection; now it is satire, and now it is melancholy. He gives the most knightly chivalry of friendship to a merchant, and the most exquisite fidelity of service to a fool, and makes the ingrained worldliness of Cleopatra die before her love. He not only scatters through his pages rebukes of the arrogance of power and the more pitiable pride of wealth, but makes his kings deride their own ceremonies and mock their own state. Who has not observed the easy and effortless way in which his heroes and heroines move from one station to the other, from authority to service like Kent, from obscurity to splendour like Perdita, or to the greenwood from the palace like Rosalind. The change affects their happiness no more than the change of their position in the sky affects the brightness of the stars. It is all so truthful and clear that we grow more simple as we read. Lear utters but one cry of joy, and that is when he is entering a prison with Cordelia:

"Come, let's away to prison!
We two alone will sing like birds in a cage;"

while the Queen of France has just said:

"For thee, oppressed king, am I cast down,
Myself could else outfrown false fortune's frown."

In these two lines the magnanimity of Shakespeare is pure, unveiled, as he gives us the last words of his favourite heroine: we must read them backwards and forwards to catch the portrait they enclose. We see the unconscious elevation of Cordelia's mind, not so much superior as invulnerable to mortal ills; we see this dignity and lovely pride cast down by pity and love, and then in answer to Lear's troubled and anxious look we hear in measured and steadfast tones the reassurance of perfect peace.

Remark too Shakespeare's habit of looking upon the world as a masque or pageant, not to be treated with too much respectful anxiety as if it were as real as ourselves. He who can give so perfectly the texture of common life, the solidities of common sense, likes to wave his wand over the domain of sturdy prose and incontrovertible custom, and to show how plastic it is, and how easily pierced, and how readily transformed. He has a malicious pleasure in confusing the boundaries of nature and fancy, and mocking the purblind understanding. In the "Midsummer Night's Dream" we have an ambiguous and bewildering light, with the horizon always shifting, and the boundaries of fact and fable confused with an inseparable mingling of forms; both outwardly, as when Theseus enters the forest on the skirts of the fairy crew; and inwardly in the memories of the lovers. And we are expressly told after the enchantment of the "Tempest" that this summary dealing with the solid world was not merely by way of entertainment but was a presentation of truth. And Macbeth, after grasping all that life could offer of tangible reward or palpable power, pronounces it

"such stuff as dreams are made of."

No doubt something will be said on the other side, of Shakespeare's broad and indulgent humanity, and of his toleration even of vice itself when it is convivial and amusing. It should be remembered, however, that his comedies while more realistic are not so real as his tragedies. They are, as he himself insists, entertainments; to which jovial sensuality, witty falsehood, and even hypocrisy when it is not morose are admitted, as diverting in their very aberration from the mean rule of life. So that a touch of rascality is a genuine element in comedy, as a touch of danger in sport, and the provocation of the moral sense is part of the fun. But they are all under guard. The moment they pass a certain boundary and break into reality, the moment that intemperance leads to disorder, and vice to suffering, as in real life, then suddenly Harry turns upon Falstaff, or Olivia on Sir Toby, and vice is called by its right name.

And as life awakens and reality enters, either the grace or the sentiment or the passion of unworldliness is more and more distinctly present. And in the tragedies even the pleasant vices are seen as part of a world-wide corruption that wrongs, debases, and betrays. Shakespeare has painted every phase of antagonism to the world, from the pensive aloofness of Antonio to the impassioned misanthropy of Timon. Every excited feeling emits light into the dark places of the earth, and every suffering is a revelation of more than its own injury. It is as if the soul, fully aroused, became aware by its own light of the oppression and injustice abroad upon the earth.

But there is a more vague and general disaffection to the world than is the outcome of any particular experience. It may be called a spiritual discontent which few have felt as a passion, but many have known as a mood: when that average goodness of human nature which we have found so companionable, and to which we have so pleasantly adapted ourselves, becomes "very tolerable and not to be endured;" when the world seems to be made of our vices, and our virtues seem to be looking on, or if they enter into the fray are too tame and conventional for the selfish fire and unscrupulous industry of their rivals; and when to our excited sensibility there is a taint in the moral atmosphere, and we long to escape if only to breathe more freely. This is more than a mood with Shakespeare, and is present in those slight but distinctive touches that mark the unconscious intrusion of character in an artist's work; and is frankly confessed in one of his Sonnets:–

"Tired with all these; for restful death I cry;
As to behold desert a beggar born,
And needy nothing drest in jollity,
And purest faith unhappily forsworn.....
Tired with all these, from, these would I be gone."

We find, then, scattered through the dramas of Shakespeare a disaffection to the world as deep-grained as it is comprehensive; and we find the various elements of it—the contempt of fortune, the ideal virtue, the disinterested passion, the mysticism, the fellowship with the oppressed, the distaste of the world's enjoyment and the weariness of its burden—concentrated in Hamlet for full and exhaustive study; thus presenting what I have called the interior or fundamental drama of the soul and the world.

But the tragedy of "Hamlet" includes more than this. It is not merely the doom of suffering on a soul above a certain strain, still less is it the accidental death of a sluggard in revenge; it is the implication of a noble mind in the intrigues and malignities of a world it has renounced. In vain Hamlet contracts his ambition till it is bounded by a nutshell; he is ordered to strike for a throne. No abnegation clears him from entanglement. The world permits not his escape, but drags him back with those crooked hands of which Dante speaks, which pierce while they hold. This is the tragedy in all its fulness, the involution of the inward and outward drama to the immense advantage of both. For while the spiritual agony of Hamlet gives an incomparable dignity to the ghost-story, yet by the very interruptions and checkings and crossings of it through the accidents and oppositions of the plot, its physiognomy is more distinctly and delicately revealed. Instead of the majestic but monotonous declamation of Timon, we have every variety of that ironical humour (indicating some yet unconquered province of the soul) that guards and embalms the purer strength of feeling, keeps it airy and spiritual, and frees it from moan and heaviness. Here we have no insistance on suffering, no literary heart-breaks, no dilettante pessimism; but those indefinable harmonies of freedom and law, of the ascendency of the soul and the sovereignty of fate, of Nature and the spaces of the mind, that in the works of the great masters represent, if they do not explain, the mystery of life.

The religion of Hamlet is that faith in God which survives after the extinction of the faith in man. Losing the light of human worth and dignity through which, alone the soul can reach to the idea of what is truly divine, and with it the link between earth and heaven, Hamlet's religion is reduced to its elements again; to the vague and fragmentary hints of Nature, and instincts of the spirit; to intimations of limitless power, of mysterious destiny, of a "something after death," of a "divinity that shapes our ends;" and with these, gleams of a transcendent religion of humanity, for devotion to which he was suffering; and on the other side, binding him to the stage-plot, relics of childish superstition, half-beliefs, inherited opinions, "our circumstance and course of thought," which he adopted when he pleased,—as, for instance, when he feared lest he should dismiss the murderer to heaven, or half-believed that his blameless father was tormented in sulphurous flames for having endured a horrible death. But however obscure and indefinite the religion of Hamlet may be, and partly because it is so, and hence of universal experience, it adds reach and depth to his struggle with the world. His soul flies out of bounds and away in airy liberty on these excursions to the vast unknown, and escapes at last victorious with the light through the darkness of conscious immortality, and the lamp in his hand of "the readiness is all." There is always a certain vacuity in the positive or realistic treatment of passion, in which it is confined to the area of mortality, and after a sultry strife delivered over to the mercy of its enemies. But the world cannot so beset and beleaguer the soul as to block up the access and passage of invisible allies, or intercept the communications of infinite strength and infinite charity, or follow to its distant haunts and inaccessible refuges the migrations of thought—

"In the hoar deep to colonize."

    Franklin Leifchild.

PANISLAMISM AND THE CALIPHATE.[6 - We have received this article from a valued correspondent, whose name, for obvious reasons, is not given.—Ed.]

I use the word "Panislamism," simply because it is one of the political catchwords of the day. The prefix Pan is supposed to have some great and terrible significance. It is not long since Europe exerted all her power to save Islam from the jaws of Panslavism, but now that a Pan has been added to Islam, it has become in its turn the bugbear of Europe. It is even supposed that England was fighting with this new monster, when she put down the revolution in Egypt. England could never have so far forgotten her liberality as to take up arms against Islam, but Panislam must be crushed by a new crusade. Such is the wondrous power of a prefix. So far as I can understand the mysterious force of this word, it is designed to express the idea that the scattered fragments of the Mohammedan world have all rallied around the Caliph to join in a new attack upon Christendom, or that they are about to do so. There is just enough of truth in this idea to give it currency, and to make it desirable that the whole truth should be known. Most of the mistakes of Europe in dealing with the Ottoman empire, during the present century, have come from a misapprehension of the forces of Islam, and the position, and influence of the Sultan of Turkey. There is danger now of such a misapprehension as may lead to the most unfortunate complications.

The first essential point, which must always be kept in mind by those who would understand the movements of the Mohammedan world, is the exact relation of the Ottoman Sultans to the Caliphate. The word Caliph means the vicar or the successor of the Prophet. The origin and history of the Caliphate is well known, but it may be well to give a brief résumé of it here. During the life of the Prophet it was his custom to name a Caliph to act for him when he was absent from Medina. During his last illness he named his father-in-law, Abou-Bekir, and after his death this appointment was confirmed by election. Omar, Osman, and Ali were successively chosen to this office, and these four are recognized by all orthodox Mohammedans as perfect Caliphs. The Persians and other Shiites recognize only Ali. It is said that the Prophet predicted that the true Caliphate would continue only thirty years. His words are quoted: "The Caliphate after me will be for thirty years. After this there will be only powers established by force, usurpation, and tyranny." The death of Ali and the usurpation of Mouawiye came just thirty years after the death of the Prophet, and this was the end of the true and perfect Caliphate. The sixty-eight imperfect Caliphs who followed were all of the family of the Prophet, although of different branches, but they fulfilled the demand of the sacred law, that the Caliph must be of the family of Koreish, who was a direct descendant from Abraham. Mouawiye and the Ommiades, fourteen in all, were of the same branch as Osman, the third Caliph. The Abassides of Kufa, Bagdad, and Cairo, fifty-four in all, descended from Abas, the great-uncle of the Prophet. There were many others who at different times usurped the name of Caliph, but these seventy-two are all who are recognized as universal Caliphs. Mohammed XII., the last of these died in obscurity in Egypt in 1538. The power of the Caliphs gradually decayed, until for hundreds of years it was little more than nominal, and exclusively religious.

The claim of the Ottoman Sultans to the Caliphate dates back to the time of Sultan Selim I. This Sultan conquered Egypt and over-threw the dynasty of the Mamelukes. He found at Cairo the Caliph Mohammed XII., and brought him as a prisoner to Constantinople. He was kept at the fortress of the Seven Towers for several years, and then sent back to Egypt with a small pension. While Selim was in Cairo, the Shereeff of Mecca presented to him the keys of the holy cities, and accepted him as their protector. In 1517 Mohammed XII. also made over to him all his right and title to the Caliphate. This involuntary cession, and the voluntary homage of the Shereeff of Mecca are the only titles possessed by the Ottoman Sultans to the Caliphate, which, according to the word of the Prophet himself, must always remain in his own family. If the Ommiades and the Abassides were imperfect Caliphs, it is plain that the Ottoman Sultans must be doubly imperfect. It was easy, however, for an all-powerful Sultan to obtain an opinion from the Ulema that his claim was well-founded; and it has been very generally recognized by orthodox Mohammedans, in spite of its essential weakness. When the time comes, however, that the Ottoman Sultans are no longer powerful, it will be still more easy to obtain an opinion that the Shereeff of Mecca, who is of the family of the Prophet, is the true Caliph.

The Ottoman Sultans have also assumed the other and more generally used title of Imam-ul-Mussilmin, which may be roughly translated Grand Pontiff of all the Moslems, although, strictly speaking, the functions of an Imam are not priestly. This title is based upon an article of the Mohammedan faith which says—"The Mussulmans ought to be governed by an Imam, who has the right and authority to secure obedience to the law, to defend the frontiers, to raise armies, to collect tithes, to put down rebels, to celebrate public prayers on Fridays, and at Beiram," &c. This article of faith is based upon the words of the Prophet—"He who dies without recognizing the authority of the Imam of his time, is judged to have died in ignorance and infidelity."

The law goes on to say—"All Moslems ought to be governed by one Imam. His authority is absolute, and embraces everything. All are bound to submit to him. No country can render submission to any other."

Under this law the Ottoman Sultans claim absolute and unquestioning obedience from all Moslems throughout the world; but their right to this title rests upon the same foundation as that upon which is based the title of Caliph. The Prophet himself said, and the accepted law repeats, that the Imam-ul-Mussilmin must be of the family of Koreish. The Ottoman Sultans belong not only to a different family, but to a different race.

With this evident weakness in their title to the Caliphate, and the accompanying rank of universal Imam, it is a question of interest on what grounds the doctors of Mohammedan law have justified their claims, and how far these have been recognized.

In addition to the rights said to have been conferred by the Caliph Mohammed XII. and by the Shereef of Mecca upon Sultan Selim I., and by him transmitted to his posterity, the Mohammedan doctors make use of a very different argument. They say—

"The rights of the house of Othman are based upon its power and success, for one of the most ancient canonical books declares that the authority of a prince who has usurped the Caliphate by force and violence, ought not the less to be considered legitimate, because, since the end of the perfect Caliphate, the sovereign power is held to reside in the person of him who is the strongest, who is the actual ruler, and whose right to command rests upon the power of his armies."

This statement presents the real basis of the claims of the Sultans to the Caliphate. It is the right of the strongest. Any man who disputes it, does so at his peril; and, since 1517, the Ottoman Sultans have been able to command the submission of the Mohammedan world. Their title has not been seriously disputed.

But the title has this weak point in it. It is good only so long as the Sultan is strong enough to maintain it. It has not destroyed the rights of the family of Koreish. It only holds them in abeyance, until some one of that family is strong enough to put an end to the Turkish usurpation. The power of the Sultan does not depend upon the title, but the title depends upon his power. This is a point the political importance of which should never be overlooked.

We come now to our second question. How far is the claim of the Ottoman Sultans to the Caliphate now recognized in the Mohammedan world? Except with the Shiites, who have never acknowledged it, there is no open rebellion against it. But the decay of the Ottoman Empire during the last hundred years has been obvious to all the world. Not only has it been gradually dismembered, not only have many of its Mohammedan subjects been brought under the dominion of Christian Powers, and many of its Christian subjects set free, not only have its African possessions become practically independent, except Tripoli, but the house of Othman exists to-day, only because Christian Europe interfered to defend it against its own Mohammedan subjects. The house of Mohammed Ali would otherwise have taken its place. Again and again have the Sultans shown their inability to defend the frontiers of Islam. Since the advent of the present Sultan, the process of dismemberment has gone on more rapidly than ever.

The influence of these facts upon the Mohammedan world has been very marked. I cannot speak from personal knowledge of the people of India and Central Asia, but from the best information that I can obtain, I conclude that while they have lost none of their interest in Islam, while they are still interested in the fate of their Turkish brethren, they would not lift a finger to maintain the right of the Sultan to the Caliphate against any claimant of the family of the Prophet. The feeling of the Arabic-speaking Mohammedans is well known. Islam is an Arab religion; the Prophet was an Arab; the Caliph should be an Arab. The Ottoman Sultans are barbarian usurpers, who have taken and hold the Caliphate by force. The Arabs have been ready for open revolt for years, and have only waited for a leader of the house of the Prophet. Their natural leader would be the Shereef of Mecca; and it is understood that the Shereef who has just been deposed by the Sultan, as well as his predecessor who was mysteriously assassinated, was on the point of declaring himself Caliph. The new Shereef is a young man of the same family.

So far as the Turkish, Circassian, and Slavic Mohammedans are concerned, their interests are bound up with those of the Sultan. They do not distinguish between the Caliphate and the Sultanat. Their ruler is the Imam-ul-Mussilmin, their law is the Sheraat, their country is the Dar-Islam; and when they are fighting for their Sultan they are fighting for their faith. They know nothing of any other possible Caliph. But if a new Caliph should appear at Mecca, and declare the Sultan a usurper and a Kaffir, it is very doubtful whether they would stand by the Sultan. They would not know what to do.

Another element enters just now into the question of the Caliphate, of which so much has been written of late that it is only necessary to mention it here. The Mohammedan world is looking for the coming of the Mehdy. The time appointed by many traditions for his appearance has already come, the year of the Hedjira 1300. Other traditions, however, fix no definite time—they only say "towards the end of the world," and many impostors have already appeared at different times and places claiming to be the Mehdy. According to Shiite tradition, it is the twelfth Imam of the race of Ali who is to appear. At the age of twelve he was lost in a cave, where he still lives, awaiting his time. According to the Sunnis, the Mehdy is to come from Heaven with 360 celestial spirits, to purify Islam and convert the world. He will be a perfect Caliph, and will rule over all nations.