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The Maqã¢Mah As Prosimetrum: a Comparative Investigation of Its Origin, Form and Function

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The Maqã¢Mah As Prosimetrum: a Comparative Investigation of Its Origin, Form and Function University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 The Maqâmah as Prosimetrum: A Comparative Investigation of its Origin, Form and Function Ailin Qian University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Comparative Literature Commons, and the Near Eastern Languages and Societies Commons Recommended Citation Qian, Ailin, "The Maqâmah as Prosimetrum: A Comparative Investigation of its Origin, Form and Function" (2012). Publicly Accessible Penn Dissertations. 562. https://repository.upenn.edu/edissertations/562 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/562 For more information, please contact [email protected]. The Maqâmah as Prosimetrum: A Comparative Investigation of its Origin, Form and Function Abstract This study investigates the prosimetric style of a renowned contribution to Arabic narrative, the Maqâmât of Badî' al-zamân al-Hamadhânî (358-398/969-1008). Al-Hamadhânî's Maqâmât corpus contains fifty-two short tales that are centered on the words and deeds of a fictitious beggar hero. They are also characterized by a consistent alternation of rhymed prose (saj') and poetry. These two distinct features of the maqâmah genre were faithfully imitated by al-Hamadhânî's successors in the following millennium. The origins of the maqâmah genre have sparked heated debates among scholars of Arabic literature. Its longevity and versatility also await an explanation. This comprehensive and comparative analysis of the Maqâmât's prose (both rhymed and plain) and poetry can provide new angles through which to consider these issues. By introducing the transfer of function/form, we argue that the prosimetric style could have been affected by the functions that the hero inherited from pre-Islamic soothsayers, who were famed for their linguistic virtuosity in both modes of expression. Analogues from the ancient Chinese, Indian, and Greek literary traditions not only suggest the maqâmah's intrinsic performability but also highlight the role of admonishers, i.e., heirs of soothsayers/shamans and performers of prosimetra in these literary traditions. The maqâmah's homage to previous Arabic genres such as annals, anecdotes, and mimes, and its impact on so-called modern drama and fiction can both be interpreted by reference to the continuity of generations of admonishers. A detailed analysis of the maqâmah's final section (envoi), episode proper, and opening formula illustrates the uniqueness of its prosimetric style which links the Arabic genre's genesis to possible Indo-Iranian and Greek inspirations. Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group Near Eastern Languages & Civilizations First Advisor Roger M. Allen Keywords fu, maqâmah, prosimetrum, saj', satire Subject Categories Comparative Literature | Near Eastern Languages and Societies This dissertation is available at ScholarlyCommons: https://repository.upenn.edu/edissertations/562 ABSTRACT THE MAQĀMAH AS PROSIMETRUM: A COMPARATIVE INVESTIGATION OF ITS ORIGIN, FORM AND FUNCTION Ailin Qian Roger M.A. Allen This study investigates the prosimetric style of a renowned contribution to Arabic narrative, the Maqāmāt of Badīʿ al-zamān al-Hamadhānī (358-398/969-1008). Al-Hamadhānī’s Maqāmāt corpus contains fifty-two short tales that are centered on the words and deeds of a fictitious beggar hero. They are also characterized by a consistent alternation of rhymed prose (sajʿ) and poetry. These two distinct features of the maqāmah genre were faithfully imitated by al-Hamadhānī’s successors in the following millennium. The origins of the maqāmah genre have sparked heated debates among scholars of Arabic literature. Its longevity and versatility also await an explanation. This comprehensive and comparative analysis of the Maqāmāt’s prose (both rhymed and plain) ii and poetry can provide new angles through which to consider these issues. By introducing the transfer of function/form, we argue that the prosimetric style could have been affected by the functions that the hero inherited from pre-Islamic soothsayers, who were famed for their linguistic virtuosity in both modes of expression. Analogues from the ancient Chinese, Indian, and Greek literary traditions not only suggest the maqāmah’s intrinsic performability but also highlight the role of admonishers, i.e., heirs of soothsayers/shamans and performers of prosimetra in these literary traditions. The maqāmah’s homage to previous Arabic genres such as annals, anecdotes, and mimes, and its impact on so-called modern drama and fiction can both be interpreted by reference to the continuity of generations of admonishers. A detailed analysis of the maqāmah’s final section (envoi), episode proper, and opening formula illustrates the uniqueness of its prosimetric style which links the Arabic genre’s genesis to possible Indo-Iranian and Greek inspirations. iii TABLE OF CONTENTS Abstract.......................................................................................................... ii Introduction .................................................................................................... 1 1. Aim of the study ...................................................................................................1 2. An Introduction on Terminology ..........................................................................3 a Prose and poetry ..............................................................................................3 b Forms and functions ........................................................................................5 c Genre translation .............................................................................................8 d Style-breaking ...............................................................................................10 Chapter I. Al-Hamadhānī and his Maqāmāt ............................................. 15 1. Hamadhān ..........................................................................................................15 2. Rayy ...................................................................................................................16 3. Nishapur .............................................................................................................18 4. Four hundred maqāmāt ......................................................................................19 5. Imlāʾ vs. inshāʾ ..................................................................................................23 6. Riwāyah and ḥikāyah .........................................................................................25 7. Al-Jāḥiẓ criticized ..............................................................................................28 8. Ayyām al-ʿArab ..................................................................................................31 9. The inner form ...................................................................................................34 10. The outer form .................................................................................................38 11. Prosimetra compared ........................................................................................40 Chapter II. Rhymed Prose .......................................................................... 50 1. Overview ............................................................................................................50 2. Rhyme ................................................................................................................51 a Sonic repetition... ........................................................................................ .51 b Three examples... ..........................................................................................53 c Easier rhyme?................................................................................................58 3. Sajʿ .....................................................................................................................61 a The kāhin .......................................................................................................61 b Un fol ............................................................................................................63 c Divinatory functions... ...................................................................................65 d The staff ........................................................................................................70 e The veil and the ochre ...................................................................................73 f Visions and dreams... .....................................................................................74 g Riddles ..........................................................................................................77 iv h Munāẓarah ....................................................................................................81 4. Fu .......................................................................................................................84 a The sources ....................................................................................................84 b The needle .....................................................................................................87 c Ritual and description ...................................................................................91
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