The Mute Immortals Speak will be important for students and scholars in the fields of Middle Eastern literatures, Islamic studies, folklore, oral literature...
. . . transcends the realm of literature and poetic criticism to include virtually every field of Arabic and Islamic studies." —Roger Allen Throughout the classical Arabic literary tradition, from its roots in pre-Islamic Arabia until the end of the Golden Age in the 10th century, the courtly ode, or qasida, dominated other poetic forms. In The Poetics of Islamic Legitimacy, Suzanne Stetkevych explores how this poetry relates to ceremony and political authority and how the classical Arabic ode encoded and promoted a myth and ideology of legitimate Arabo-Islamic rule. Beginning with praise poems to pre-Islamic Arab kings, Stetkevych takes up poetry in praise of the Prophet Mohammed and odes addressed to Arabo-Islamic rulers. She explores the rich tradition of Arabic praise poems in light of ancient Near Eastern rites and ceremonies, gender, and political culture. Stetkevych's superb English translations capture the immediacy and vitality of classical Arabic poetry while opening up a multifaceted literary tradition for readers everywhere.
This study deals with the most radical of the badī' ("novel") poets of the 'Abbasid period, Abū Tammām. After a critique of classical badī' theory it proposes a redefinition of the new poetry as an exegetical metapoesis and on that basis provides analyses, accompanied by original translations, of five of Abū Tammām's most celebrated political odes and of extensive selections from his renowned anthology, the Hamāsah.
In The Cooing of the Dove and the Cawing of the Crow Suzanne Pinckney Stetkevych offers original translations, close readings, and new interpretations of selected poems from the two contrasting diwans of the blind Late ʿAbbāsid master-poet, Abū al-ʿAlāʾ al-Maʿarrī (d. 449 H./1057 C.E.). The first is Saqṭ al-Zand (Sparks of the Flint), the highly esteemed collection of qaṣīdah poetry of his youth, which he later disavowed. The second is Luzūm Mā Lā Yalzam (Requiring What Is Not Required), the programmatic double-rhymed collection from his later period of withdrawal and seclusion. She argues that the contrasting ‘poetics of engagement’ and ‘poetics of disengagement’ of the two diwans reflect the transition from High Classical to Post Classical aesthetics.
. . . transcends the realm of literature and poetic criticism to include virtually every field of Arabic and Islamic studies." —Roger Allen Throughout the classical Arabic literary tradition, from its roots in pre-Islamic Arabia until the end of the Golden Age in the 10th century, the courtly ode, or qasida, dominated other poetic forms. In The Poetics of Islamic Legitimacy, Suzanne Stetkevych explores how this poetry relates to ceremony and political authority and how the classical Arabic ode encoded and promoted a myth and ideology of legitimate Arabo-Islamic rule. Beginning with praise poems to pre-Islamic Arab kings, Stetkevych takes up poetry in praise of the Prophet Mohammed and odes addressed to Arabo-Islamic rulers. She explores the rich tradition of Arabic praise poems in light of ancient Near Eastern rites and ceremonies, gender, and political culture. Stetkevych's superb English translations capture the immediacy and vitality of classical Arabic poetry while opening up a multifaceted literary tradition for readers everywhere.
In The Cooing of the Dove and the Cawing of the Crow Suzanne Pinckney Stetkevych offers original translations, close readings, and new interpretations of selected poems from the two contrasting diwans of the blind Late ʿAbbāsid master-poet, Abū al-ʿAlāʾ al-Maʿarrī (d. 449 H./1057 C.E.). The first is Saqṭ al-Zand (Sparks of the Flint), the highly esteemed collection of qaṣīdah poetry of his youth, which he later disavowed. The second is Luzūm Mā Lā Yalzam (Requiring What Is Not Required), the programmatic double-rhymed collection from his later period of withdrawal and seclusion. She argues that the contrasting ‘poetics of engagement’ and ‘poetics of disengagement’ of the two diwans reflect the transition from High Classical to Post Classical aesthetics.
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