melody, whilst renunciation beats the time. It can be heard in the home as well as in the heavens; discerned by the ears of common men as well as by the trained senses of the ascetic. Moreover, the body of every man is a lyre on which Brahma, “the source of all music,” plays. Everywhere Kabīr discerns the “Unstruck Music of the Infinite”— that celestial melody which the angel played to St. Francis, that ghostly symphony which filled the soul of Rolle with ecstatic joy.[1] The one figure which he adopts from the Hindu Pantheon and constantly uses, is that of Krishna the Divine Flute Player.[2] He secs the supernal music, too, in its visual embodiment, as rhythmical movement: that mysterious dance of the universe before the face of Brahma, which is at once
