Japan AssoolatlonAssociation for MlddleMiddle East StudlesStudies

Reality and Reverie： cAbbasid − Wine and Ekphrasis in the Poetry ‘）f AbO Nuw 矗s and al Bullturi（元 好 ）

Reality and Reverie： cAbbasid Wine and Ekphrasis in the Poetry

＊ of AbU Nuw 盃s and al − Buhturi

＊ ＊ Akiko MOTOYOSHI

要 旨 ー ー ・ ー − こ の 研究の 目的 は ア ッ バ ス 朝 時代 の 詩人 、ア ブ ヌ ワ ス （AD 762 815）とア ル ブ ー ー ー フ トリ （AD 821−897）の カ シ ダ の 中 に み られ る ワイ ン と絵 画 描 写 モ チ フ を比 較 分 ・ ー ・ ー の ワ ン ッ プ の 析す る こ と で あ る 。 ア ブ ヌ ワ ス は 狩猟 様子 が 描か れ た イ カ を詩 中 ー ー ー ・ ー っ い に 描写 し 、ア ル ブ フ ト リ は イ ワ ン キ ス ラ の 壁 画 の 描 写 をお こ な て る e は ー ー じ め に 、 ワ イ ン ・モ チ フ を 含 ん だ 絵 画 的 テ マ とワ ス フ （描写 ） ま た は エ ク フ ラ シ ス （絵 画 の 描写 、厳密 に は 非言 語記 号 シ ス テ ム に よ っ て 作成 され た テ ク ス トの 言 語 化 ） の 役 割を 「幻 想」 と 「現実 」 とい う概 念 に 照 ら し合わ せ て 、 心1理 的 、 理 論 的 に 考察 す る 。 ー ー ー マ ー さ らに 、 そ の ワ ス フ が カ シ ダ の 伝統 的二 部 構造 ： ナ シ プ 、 ラ ヒ ル 、 デ ィ フ の

枠組 み に お い て どの よ うな 作 用 を果 た して い る か を調 査 す る 。 ー 理 論 的方 法 論 と し て は 、 絵 画的 テ マ の 機能 を明 らか に す る た め に 、 Murray Krieger とAndrew Becker の エ ク フ ラ シ ス に つ い て の 研 究 を用 い る 。 さ ら に 全 体 構 造 を 分 析 す る

た めに David Quintの 著 作E ρゴc and Empjre とGian Biagio Conte の The Rhetoric of

lmitationを主 に 参考 に す る 。 ワ ス フ の 働 き は 中 世ア ラ ブ注 釈 者が い うよ うな 、 単な る詩 的 対 象 の 描 写 だ け で は な ー エ し て た よ に 、 的 で も い 。 また カ シ ダ は 、 占い オ リ ン タ リス トた ち が 主 唱 き う 断片 客 ー ・ 観的 で もな い 。 そ の 具体 的 、物 質 的描写 を用 い 、 カ シ ダ は 形 而上 的 抽 象 的 な も の を い し よ して い る 。 そ の 意 で 、 こ の 二 つ の 詩 は 大変比 的 で あ る と え る ． な も表 現 うと 味 喩 ー ぜ な ら、 二 詩 にみ られ る エ ク フ ラ シ ス （絵 画の 描写） は 実は マ デ ィ フ （称 賛 ） の 役 割 の エ フ シ ス ク ニ ッ ク を 比 喩 的 に 果 た して い る か らで あ る。 ま た 、二 人 詩人 は ク ラ 的 テ を い に 、 幻 の 世 を 行 き来 せ て い る 。 に 部 造 用 る こ とに よ り、 聴 く者 想 と現 実 界 挙 さら ミ 構 か らみ た際 の 現 実 と幻 想 の 概 念 の 問題 は 、詩 人達 の 政 治的 意 図 と も密接 な 関係 が あ る 。 ー 伝統 的 カ シ ダは 普通 、 詩人 の 実 際 の 政 治的 立 場 を そ の 構 造に お い て 反 映 させ る 。 両 詩 ー 人 とも実際 は ア ッ バ ス 朝 を称 賛 しな けれ ば な らない の に 、過去 の も う存在 しな い サ サ ー ン 朝 を称 賛 し て い る 。 こ の こ とは 遠 回 し に ア ッ バ ス 朝へ の 風 刺 を表 わ し て い る ともい え る。

★ An earl 三er version of this paper was delivered al the 1996 Annual Meeting of the Middle East Studies − w 目 slater Association （⊃fNorth Amcrica inProvidence，Rhode Island，USA ，on N ovember 21 24，1996．It Ag．sociation for Middle East revised and prcscnted in ］apanese at the 1998 Annua1 Confe肥 nce of Japan on May 9−10 1998 ． StudiesinOsaka ，Iapan， ，

For their valuable commcnts and assistance ．1 am grateful to Profcssor Jaroslav Stetkevych and Professor Suzanne Stetkevydh who has been my academic advisor ． I would also like to thank Professor Hideaki Sugita for his carefU1 reading ef the manuscript and helpful ．g uggeg ． tions．

脊★ Ph ．D ． Candidate， Near Eastern Languages and Cultures ， Indiana University， USA ．

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ー ー こ れ ら の 調 査 に よ り、 カ シ ダ の 構 造 お よび テ マ に お け る 伝統 的 慣 習 を 知 る こ とな ー し に は 、 カ シ ダ 正 し 理 る こ い い を く 解 す とは 大 変 難 し と う結 論が 導き 出 され た 。 ま ー ・ ー た 、 エ ク フ ラ シ ス の 西 洋理 論 とイ ン タ ア トの 理 論 を用 い た 分 析 は 、 二 詩 人 の 意 図 ー ー を 明 ら か に さ せ 、 カ シ ダ 詩 学 に 新 しい パ ス ペ ク テ ィ ブ を与 え て くれ た と い え る で あ ろ う。

1．Introduction

−一” ”一一 Poetry licit magic as well as the visual arts and music all express artistic

powers that make them incompatible with the Almightiness of God ． Only God is to

all and might ． 亡ry ． possess power Nevertheless， poe ，particularly the qaSidatal madh

− ’ （ ode ， was allowed to flourish in tradition t panegyric ） the Arabo lslamic ， because i

and exalted the mamdnhs − glorified （patronrulers ）who were legitimized by God 冫

whereas music and considered unlawful ， painting （ in Islam）were actively

1 di・ c ・ u ・ag ・ ・ ・ve all ・・・・・・un1 d Ab 、 th idea th t p i ti g i ・wf ・ lin l・1・m i・ wid ・ ly

2 accepted ． The attempt by some Arab poe［s to describe visual art in their poems is

” equivalent to one of the modern interpretations of ekphrasis ： the verbalizah6n of

” 31t Ieal or fictitious texts composed in a non −verbal sign system ． is not a coincidence

that in Arabic ekphrastic are with matters ． 、 poems linked foreign Some of the

who employed ekphrastic were of such gaSidahpoets techniques Persian descent， as

亘 盃s and some Ab Nuw ， ekphrastic objects were related to S盃s巨nian history as shown ，

’ − in the qaSidahsof AbU Nuwas and al Buhturi． This employment of Persian elements

as poetic objects is also to be associated with the ShucUbiyyah movement of 亡he

eighth and ninth centuries AD when a of authors and ， gloup scholals claimed the

equality for non −Arabs with Arabs in Islam and even suggested the superiority of

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Reality and Reverie: CAbbasid Wine and Ekphrasis in the Poetry of Aba Nuwas and al-Bubturl (J"tiSEI:)

Persian to ATab culture, ln fact. most of the ShuCabis were Persians who developed

the movement based on pro-Persian and anti-Arab ideas.4

Due to the fact that both the qaeidah and the visual portrait serve to legitimize ' a ruler5 while preserving the social and cultural values of monarchy, the easidah in

the Arabo-Islamic tradition played a role that corresponds to the function of visual

in Western court culture.6 This function of the was crucial portraiture ' qasidah in the

Arabo-Islamic tradition for the ruler to maintain the support of his subjects and to

uphold the dignity of legitimate Islamic sovereignty. In a word, the qasidah in

Arabo-Islamic culture played a role in rnany ways comparable to visual portraiture

in other cultures. Additionally, it can be assumed that the aversien to painting in

Islam helped the qasidah tradition to develop and prosper, because the Arabo-

Islamic political institution required some means other than visual portraiture to

maintain the perfect image of the rulership, by which its greatness and authenticity

could spread throughout the realm, This means was the qasidat al-madk.

My concern in this study is the role of ekphrasis in association with the notion

of reality, reverie, and wine, In other words, I will show that the poets'

psychological states shi,ft between reality and reverie as they move into and out of

the spheres of pictorial objects and of intoxication, I will analyze the easidah7 of Abti

"Atlal Nuwas (AD 762-815), Hanah" (The Ruins of a Tavern), and the easidah of al-

"rwan Buhturi (AD 821-897), Kisra." I have selected these two qa$idahs because of

their common aspects: the employment of ekphrastic and wine motifs, and of the

motif of the Sasanians. I will investigate the functions of paintings and waEf8

(description) in association with the structural analysis. focusing on the tripartite

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organization of qasidat al-madh: nasib (consisting of the motifs of the abandoned

encampment and the poet's beloved), rakil (journey), and madik (praise), or of the

bipartite nasibLmadih.9

The minute depiction of visual objects in the two qasidahs would have been

termed waof (description) by the classical Arabic commentators. They usually

considered the dePiction of the desert or animals in Arabic poems as nothing more

than pure description and refrained from suggesting that it had any deeper function

than this in a whole qasidah. Traditional Orientalists continued this idea and

"merely characterized the Arabic qasidah as descriptive. purely objective, lacking in

"descriptive" "paratactic, imagination."iO Because of its feature, they called it

"a compartmentalized, atomistic,"ii The qasidah was relegated to plane of

nonaesthetic, nonexperiential, merely culturally descriptive usefulness."i2 Hideaki

Sugita, after his thorough comparative investigation of the depiction of visual arts

between Arabic poetry and Persian poetry (including the two poems I deal with in

"practical this essay). concluded that the Arabic qasidah shows realism" for its

"fantastic descriptive quality. in contrast to Persian poetry which exhibits

symbolism,"i3 Beyond this, I would aTgue that the waof plays an important thematic

"description." and structural role in a more complicated manner than mere In the

case of these two poets' qasidaks, the zvaof or ekphrasis functions as madih for the

Sasanian kings without the explicit expression of the words of praise. In addition,

both AbU Nuwas and al-Buhturi utilize ekphrasis in order to traverse the boundary

between the world of reality and the world of reverie. I would suggest that AbU

Nuwas' poem moves in one direction. from reverie to reality. while al-Buhturi's

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Reality and Reverie: CAbbasid Wine and Ekphrasis in the Poetry of Aba Nuwas and al-Bubturi (iilglt)

moves in the other direction, from reality to reverie. In both poems wine serves as a

facilitator of this procedure. Also, wine helps to blur the distinction between the -- two worlds. When I say reality and reverie, I mean the state of mind in reality the

poet sees and thinks of things that truly exist, while in reverie the poet views and

thiriks of things in his imagination.

My approach will fellow three steps: 1) structural and thematic exploration.

2) psychoanalytical examination and theoretical discussion of ekphrasis, 3)

structural analysis of the poets' utilization and application of qa$idah structure. For

Step 1, I will investigate closeiy each of the two qasidahs in light of ekphrasis or waEf

as madib within the conventional tripartite structure. FoT Step 2, I will show how

ekphrasis and wine are linked to the notion of reality and reverie in a comparative

CAbbasid study of the two odes. Additionally, the theoretical investigation of

ekphrasis in the comparison will be pursued. For the last step, I intend te explore

how the poetic structure of these two qasidahs refiected the poets' political

sltuatlons.

II. Ekphrasis as Madilt (praise) in Relation to the Qasidah Structure

"Atlal Hanah" by Aba Nuwas

"The The easidak of Aba Nuwas, Ruins of A Tavern (Atlal Irlanah)," though

characterized by its terseness (it consists of eight Iines, which prompted the editor to

icah term it a qit, or short poem or fragment), is widely known and recited. Ahmad

[Abd al-Majid al-Ghazali, in his commentary on Diwa'n Abi Nuwa-s, prefaces the

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"Accompanied poem: by his companions, Aba Nuwas passed by al-Mada'in, the

residence of the S5sanian Kings, where he found one of their taverns. Nothing

remained of it save its ruins."i4

1. Many an abode, whose drinking companions forsook it and set out at nightfall, still bears their traces, both recent and old:

2. A trail where a wine jar was dragged on the ground, and bunches of basil boughs, fresh ones and dry.

3. I detained my companions there; I renewed my pledge to them. Indeed I am one who detains his companions at [places] such as this.

4. I did not know who they were [that had dwelt there], except for what the deserted abodes in the east of Sabat testified.

5, We stayed there for one day, another day, a third day, while the next day was the day of departure.i5

6. The wine is passed round among us in a golden wine cup which a Persian has decorated with all sorts of pictures:

7. 0n the bottom inside of the cup is Kisra; On its sides an oryx that horsemen are hunting with bows.

"The 8. wine, [pour it] up to where the collars are buttoned; The water, [pour it] up to their caps!"

The poem of Abfi Nuwas opens with the description of the ruins of a tavern in

al-Mad5'inlCtesiphon. Lines 1-4 present the nasib mood, imagining the age of the

tavern by recognizing old and new tTaces in the atla-l. In the first two lines, the poet

speaks about drinking-companions when the Sasanid dynasty flourished in the sixth

century AD. By depicting the vestiges found in the atla'l of the tavern, the trail of a

wine jar and bundles of herbs. he reminisces about the Sasanians. Tiba-q (antithesis) is

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-- found in the first two lines a recent trace and an old trace (1. 1), fresh and dry

bundles of basiil (1. 2). These antitheses suggest the poet's intention to reduce the

temporal distance between his time and that of the Sasanians. The old trace and the

dry basil present a vestige of the Sasanians, whereas the new trace and the fresh basil ' could have been left by people who had just recently visited. AbU Nuwas tries to

recollect, or rather to imagine, the past Sasanian pomp that is now lost, transporting

himself back to an age of the splendor of the Sasanian Kings and their boon-

companions, The peet states that he did not know who they (the companions) were,

"they" except for what the deserted abodes testified (1. 4). Although can be either his

cornpanions or the drinking companions who had Ieft the abode (shown in line 1), it

is more proper to imagine the latter, because the ensuing phrase says that only the

deserted abodes can attest to who they are, Abit Nuwas is engrossed in the mood of

loss and yearning, which is the main theme of the itasib.i6 The poet and his

cornpanions stayed at the Iwan Kisra for fbur days and then departed (1. 5). which

suggests the rahll, journey, It should be noted that here, as is increasingly the case in

CAbbasid poetry, the rabil is only alluded to in the nasib-motif of departure. The

poet then begins to present a drinking scene and describes a golden wine cup which

was made by a Persian, Here an ekphrastic technique is employed. Abil Nuwa$

describes pictures of Kisra or Khusraw and his horsemen's oryx-hunt on a golden

goblet. In the end of the qasidah, he pours wine and water into the goblet.

The picture of KisrA and the figures of hoTsemen hunting an oryx can be

interpreted as a panegyric to the Sasanians, for such images of the ruler and the hunt

are conventions of the madih of the classical qasidah form. Considered together with

the nasib and rahil motifs that precede this ekphrastic motif, I would argue that Abfi

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Nuwas subtly suggests the conventional bipartite qa$idah structure by

manipulatively setting up the pictorial motif of the goblet as the madik. The

description of the golden goblet is situated in the end of the poem after the

departure scene. However, the drinking scene seems to have occurred before the

departure, and the poet appears to look back on the scene of drinking parties during

his stay in the atla-l of the tavern with his boon-companions. He places the motif of

the golden wine cup near the end of the ode, despite the chronologically

inappropriate sequence of the occurrences, thereby achieving a sequence of topics

that is consistent with the traditional tTipartite structure.

"IwanKisrA" by al-Bubturii7

1. I guarded myself from things that defile myself. ･ Iheld myself aloof from the gift of every coward.

2. I $tood firm when fate shook me, seeking to bring me ill-luck and overthrow me.

3. Bare subsistence fTom the dregs of life is all I have; the days have given me deficient measure,

4. How different is he who goes to water daily for his second drink from him who drinks after three days' thirsting,

5, As if capricious fate has come to favor the vilest of the vile.

6, In my purchasing Iraq I was duped after my selling al-Sham at a loss,

7, Do not keep testing me about my experience of this sorrow. so that you deny my calamity,

8. In the past, you knew me to be a man of quality

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who disdained lowly things, stubbornly proud.

9. The remoteness of my cousin disquieted me after his tendemess and kindness.

10. When I have been treated harshly, you won't find me in the morning where I was the night before.

11. Cares attended my mount, therefore, I turned my strong she-camel toward the white Ipalace] of al-Madfi'in.

12. I am consoled for my own bad luck asI grieve for the ruined abode of the Sasanians.

13. Continuous misfortunes remind me of them - - Misfortunes make people remember and forget

14, When they dwelt in the shadow of a high lofty palace, so dazzling it weakens the eye.

15. Its gate is closed before the mountain of al-Qabq toward the two uplands of Khilat and Muks.

16. Abodes [it has] that were not like the traces of Su`dfi ['s encampment] in a wild deserted land.

17. Heroic deeds [it boasts] which, were it not for my bias [toward the Arabs], CAns CAbs the heroic deeds of and could not surpass.

18. Fate has removed their age from newness until they have become like worn-out rags.

19. As if al-Jirmaz were the edifice of a grave because of lack of inhabitants and their forsaking it.

20. If you had seen it, you would know that the nights had held a funeral in it after a wedding feast.

21, It inferms you of wonders of the people whose clarity was not mixed with any confusion.

22, When you see the picture of Antioch you are in panic between the Byzantine and Persian [arrnies].

23, The Fates are standing. while AnUshirwan urges on tlhe ranks beneath his banner,

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24.In green robe over yellow which seems dyed with tumeric,

25.The battle of fighting men before him, silent, lowering their voices,

26. Some cautiously advancing with pointed spears, others fearfully protecting themselves with their shields.

27. The eye describes them as really alive, signa}ling to one another like the dumb.

28.My curiosity concerning them increases until I explore and touch them.

29.Abfi al-Ghawth has already given me a drink, generously. over the two armies,a hasty draught

30.Of a wine you would say was a star that irradiates the night, or the saliva of a sun.

3L You see it reviving the happiness and peacefulness of him who sips it.

32.It is poured into the glass of every heart; and it is the beloved of every soul,

33.I imagined that Kisra Abarwiz was offering me [the wine] and that al-Balahbadh was my boon-companion,

34.Is this a dream that has closed my eyes to doubt, or desiTe that has changed my suspicion and uncertainty [to certainty] ?

35.As if the great hall of its wonderful artistry were an open space carved out of the cliff of the mountain,

36. It is so melancholy that to one coming upon it, whether in the morning or evening, it would seem like

37.A man disquieted by the departure of the company of a beloved, dear to him, or oppressed by the divorce of a wife.

38. Time overturned its good fortune, and Jupiter remained there through the night as an inauspicious star,

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39. But it shows endurance, even though the oppressive breast of fate weighs down upon it.

40. There is no disgrace in that its broad carpet has been taken away and the curtains of white silk have been plundered.

41, Lofty, it has battlements raised up on the heads of Radwa and Quds,

42. They are clothed in white; you can see only cotton tunics.

43. Nobody knows whether it was built by men for jinn who then resided in it or by jinn for men.

44. But I see it testifying that its builders are among the kings who were not insignificant.

45. As though I saw the processions of the warriors when I reached the limit of my perception.

46, As though the delegations were standing under the sun, tired of standing behind the crowd, waiting,

47, As though the singing-girls in the midst of the pavilions were singing through dark lips or red.

48. As though the encounter were the day before yesterday and the hasty parting only yesterday,

49. As though he who desires to follow them yearns to catch up with them on the morning of the fifth day.

50. It remained prosperous and happy for a time, then their abodes became a-place for condolence and consolation.

51. The only succor I can offer it is tears deeded to be forever shed out of passion.

52. That is how I feel, though the abode is not mine by blood kinship, lts race ls not my race. ' 53. Except for the good deed of her people to my people, they have planted the seeds of a lasting bond.

54, They supported our sovereignty and strengthened its power

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by brave horsemen under the protectiori of armor,

55, They aided us against Aryat's troops by the stabbing and piercing of thToats.

56. I find myself after that fully in love with the nobles altogether from every race and origin.

[Retranslated with close reference to A. J, Arberry's translationl

In the opening, al-Buhturi presents his lament over his past misfortune, a

traditional theme of the nasib. The misfortune was largely caused by his past patron,

"my Caliph al-Muntasir (r. AD 861-862), as we find in line 9 the word cousin" which

CAdnan, "cousins" means the caliph's ancestral tribe, the Banfi who are to the poet's

ancestral tribe, the Banfi Qahtan.iS He blames the caliph for having treated him

harshly and for not having offered him even sufficient money to ]ive (1. 3). In fact, al-

Buhturi was deserted by al-Muntasir. The caliph is like one who enjoys his second

drink of water every day, while the poet is like one who drinks it only once every

fourth day (1, 4), a metaphor from bedouin life that alludes to the caliph's avarice

toward his kinsman. Since generosity is considered one of the crucial elements of

nobility in Arabo-Islamic culture, the mentioning of the caliph's stinginess expresses having his profound resentment of the caliph, He regrets that he came to Baghdad,

left al-Sham (1. 6), His entreaty to al-Munta$ir not to test him anymore underscores

his misery. His lament over his past misfortune with the melancholic tone shows a

parallel with the traditional nasib theme, weeping over the desolate ruins.

After the nasib section, filled as it is with his grief and complaint, the rabil

CAbbasid section -- again, in keeping with its diminished role, consists in explicit

-- terms of one line only line 11. It nevertheless functions with great poetic force and

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concision. The poet carries his grief over to' a decayed abode of the House of Sasan.

Usually, when a panegyric poct departs to his destination, he carries himmah

(aspiration) for his mamdQh (patron),i9 and not the humu-m (cares) that attend al-

Buhturi's mount in his rahil, Although the two words are derived from the sarne

roet, hmm, the meanings are quite dissimilar, These cares forewarn the reader that

al-Buhturi's journey may deviate from the conventional teleologica] rakil. And

indeed, we soon realize that, to assuage the cares that accompany his mount, he

turns not toward a mamdtik. but to the white palace of al-Mada]in, the ruined palace

of the Sfisfinian king Khusraw (.r. AD 531-579). Where the structural connections of

the qasidah would lead us to expect a madih. (panegyric) to a contemporary mamdah

(patron). the poet places instead an extended ekphrasis, thus ironically generating

hiia-P (satire, invective). which I will discuss later.

After a brief rahil, al-Buhturi begins to describe the ruins of al-Madaiin.

Although the aela-l is a nasih convention, the depiction of the ruins is structurally

situated here in the rabil, In the nasib, he expresses his sorrow and grief, while in the

rahil he thinks of the age of Sasanian splendor as evoked by its atla-l. However. the

poet appears to desire to present the atlaLl motif, in spite of its location in the rahil, for

"madik" the sake of his upcoming for the Sasanian king. In addition, his sorrow for

his misfortune caused by his former patron resonates in his grief over the ruined

abode of the SasEtnians; both the poet and the Sasanians were crowned with glory in

the past, whjle their present is sadly desolate.

The delineation of the wall painting (11. 22-7) can be regarded as panegyric for

the Sasanians in light of both theme and structure. That is, what begins as part of a

journey through a wasteland (rahil), becomes gradually the poets's goal and the

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subject of his madih (praise), The wall painting presents the scene of the Battle of

Antioch, which occurred in AD 540 between the Sasfinians and the Byzantines, The

nasib and rakil precede the ekphrasis of the battle scene, The theme of the painting,

the battle scene, where the valor and might of the Sasanian ruler, Khusraw or Kisra

Anashirwan are dynamically presented, signifies eulogy for the king, like AbU

Nuwas' use of ekphrasis, but with a different moti'f.

In the beginning of the depiction of the wall painting, al-Buhturi invites the

reader to behold it (1. 22). The poet attempts to show how realistic the picture is, to

the extent that the reader would be fearful to behold it. Then the poet moves to the -- descriptiQn of the pictorial objects Anashirwan, his colored outfit, and his

enemies. Al-Buhturi first focuses on the king's dashing figure and then on the

Byzantine soldiers' actions. After the ekphrasis, the poet's son pours wine for him.

The poet drinks wine and irnmerses himself further in the world of reverie. If we

consider the description of the painting as the beginning of the madih, the rest of the

poem should also be the madth However, the nnsib elements, such as the wine and

atla-l motifs, occur as well, so that the poet achieves an unusual hybrid of rnartial and

heroic motifs of the madih with the nQstalgic and melancholic mood of the nasib, Al-

Buhturi fancies that he is Anilshirwan and his son is Kisra Abarwiz, AnUshirwan's

son (1. 33). Then the melancholy of the deserted Iwftn is presented by personifying it

as a man who is compelled to divorce his bride (1. 37),

The melancholic tone of the nasib, in which he complains about his previous '

"madih. " "melancholy" patron recurs once more in this section. Line 36 mentions

which shows that the not overcome sorrow even poethas his in the madih. . after

coming through the nasib and rakil, Usually, the poet presents boasting, reunion, or

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Rea]ity and Reveriei CAbbasid Wine and Ekphrasis in the Poetry ef Aba Nuwas and al-Buljturi (Jii"I-)

something invigorating in the maditt. Even the power of wine is helpless to stimulate

him. This return to the nasib tone confirms the meaning of hum'u-m (cares), signifying

reiteration arid aimlessness, as was discussed earlier. The poet still wanders around.

The psychological focus of the poet remains on his misfortune and ill luck, In order

to forget the sorrow and turn away from it, al-Buhturi appears to immerse himself in

the marvelous and magnificent environment of the Sfisanian era which exists in his

world of reverie through the image of the painting and the intoxication.

At the same time, by mixing his melancholy, the description of the buildings,

and their desolate state, the poet identifies his demoralized and solitary situation

with the deserted ruins which used to be prosperous (11. 35-8). Yet al-Buhturi

gradually deepens the tone of panegyric, although he keeps neither too close, nor

too far away from the tone of eulogy, despite his constant involvement in nasib '

elements. In other words, he goes back and forth repeatedly between the nasib and

the madih, and because of the mixture it is very hard to say which prevails, For

example, in line 35, the poet celebrates the amazing workmanship of the Iwan, and

immediately thereafter he mentions his melancholy. Hence, the poem features a

vacillation representing the poet's own psychological state.

In addition, al-Buhturl utilizes the classical qa$ldah motif, kalkal (camel's

chest), which signifies oppressive weight and immovable fate (1. 39). As in his

employment of SuCda (1. 16). he alludes to the poetic tradition, The single term,

kalkal, implies absolute immovability and heaviness -- more than any other words.

"reusable To wit, the poet makes use of the power of language."20

As the poet's intoxication heightens, the poem securely approaches true

madib, He sees hallucinations of the Tanks of the Sasanian people, singing girls, and

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the compartments, when his intoxication attains its peak (11. 45-47). We can say that

the power of the wine helps to take the poet to rnadih. proper. That is, he takes

recourse to the intoxicating effect of wine to find hi's goal, because he is lost. Al-

Buhturi started his ode with his complaint and defeat by his former patron and then

aimed at the glory of the Sasanians instead of that of his new patron. Through the

deviation from the traditional gasidah, both in form and theme, he presents his

CAbbasid indirect hiia-' (satire, invective) against the Dynasty,2i for which he is

supposed to be a panegyrist. At the same time, he projects his guilt both for his

deviation from the poetic tradition and for his not composing panegyric for the

CAbbasid Dynasty, This guilt makes him vacillate and wander ftround without

having a goal until he seeks a recourse in the wine.

Finally, after all the vacillations, wandering about, and hallucinations, al-

Buhturi reaches the rightful madie, starting at line 52. Seen from the other side, the

'madik "'my ultimate expression of the proper is al-Buhturi's proclamation that ode is

the Arabic qa$idah."22 Al-Buhturi displays his individuality rather than his

traditionality in this ode, which accounts for his great deviation from the traditional

form and theme, The presentation of the proper madih in the end is his manifestation

of the desire to prove his victory and to certify himself as a poet of the qasidah.

Nonetheless, eulogizing the past glory of the Sasanians instead of the exjsting

CAbbasids implies the decline of the latter, He does not want to admit his defeat that

triggered the first deviation in the ode, nor explicitly acknowledge the decline of the

CAbbasids. CAbbasids. existing That is why he chose the indirect way to defame the

He does not wish to face the severe reality in terms of both his personal (misfortune)

CAbbasids). and public reality (the decay of the His goal is past glory that does net

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Realitv and Reverie: CAbbasid Winc and Ekphrasis in the Poetry of Aba Nuwas and al-Buht.uri . (liitI)

exist anymore. Thus, this ode cannot escape completely from the concept of the

CAbbasid loser's qa$idah.23 The closing line attempts to synthesize contemporary

decline with past Sasanian glory by going beyond distinctions of race and

chronology to express his admiration of-nobility from any age or race.

III. Reality and Reverie - Condensation and Essence

ln terms of comparison, both of the ekphrastic delineations of Abtt Nuwas and al-

Buhturl consist of condensation and essence of reverie. In the ojasidah of the former,

the uncertainty of the atla-l and the certainty of the picture on the goblet are

contrasted. Although the poem recollects the recent traces of some drinkers, it also

recalls the whole atla-l of the Iwan Kisra and its period. Moreover, the design on the

golden goblet demonstrates a fictitious reality that is more reliable than other

elements in the ode. Therefore, the design gives its observer an actual image that is

much clearer than that evoked by imagination and fancy. By contrast, the image that

the atla-l provides for its beholder is very limited, vague, and arnbiguous.

Furthermore. the actual image invoked by the picture can constitute the essence of

the poet's imagination and the condensation of his reverie. AbU Nuwas, however,

uses the art motif to integrate and unify the imagery of the atla-l by elucidating and

making manifest the portrayal of the fictitious real picture. He was already in the

world of reverie in the nasib to some extent by recollecting the past before ekphrasis,

which further pulls the reader into the world of imagination.

Nevertheless, Abfi Nuwas' manipulation of the picture produces a different

effect of his poem from that of al-Buhturi's employment of it. That is to say, al- ,

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Buhturi utilizes the painting motif as the introduction to the imaginative world. In

al-Buhturi's poem, the painting constitutes the condensation and esserice of reverie

because it stimulates one's imagination and draws one into the magnified

imaginative world of the painting. In order to go through the process of exciting

the imagination, it was necessary for al-Buhturi to describe the painting, because it

constitutes the foundation of the world of fancy. The foundation should be real,

certain, and manifest. The picture is the condensation of the imaginative poetic

which extends towards the illusion and reverie of the rest of the poetic discourse.

Furthermore, al-Buhtur"i takes advantage of these effects of the pictorial motif and

employs the motif as a medium or pivot point between the world of reality and the

world of reverie. As the reader views the picture through the poetic presentation,

hefshe crosses the boundary between the two worlds. Thus, al-Buhturi's approach

moves from actuality to reverie, whereas Aba Nuwas' approach is from reverie to

reality.

If the pictorial motif constitutes the overture to the imaginative sphere, the

wine motif possesses a full-scale power to pull the reader into the heart of that

sphere. Just after the pictorial description, al-Buhturi introduces the wine motif in

"qad" line 29. However, the use of and the ma7d,i(perfect) in line 29 suggests that the

poet started to drink wine before the ekphrastic description, That is, wine and

ekphrasis mutually increase the power to create the state of reverie for the poet. By

dTinking wine, the poet becomes engrossed in the illusory and imaginative world in

which he even has hallucinations. Likewise, in AbU Nuwas' qasidah. wine plays an

important role. He and his companions pass wine around among themselves, while

they become absorbed in recollecting the times of their ruins' traces.

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Rcality and Reverie: CAbbasid VLrine and Ekphrasis in the Poetry of Aba Nuwas and al-Bubturi Ol'gli)

A closer examination of the two poets' interpretation of their pictorial motifs

is in order here. Al-Buhturi presents his response to the poetic objects, whereas Aba

Nuwas only gives a clear representation of visible phenomena. In other words, al-

Buhturi presents a subjective representation, whereas Abfi Nuwas displays an

"On objective representation. Line 7 in AbU Nuwas' qa$idah says, the bottom inside

of the cup is Kisra; On its sides an oryx that horsemen are hunting with bows."

According te Andrew Sprague Becker, Aelitts Theon calls this phenomenon

"desired transparency ef language."24 This difference is associated with a question

"the of power of the illusion. Becker argues that in ekphrasis describer encourages

the audience to accept the illusion and, in so doing, diminishes attention to the ' medium or language and the mediator's experience."25 Becker continues saying,

"any description is necessarily an interpretation; a describer selects and oTganizes an

infinite variety of aspects of phenomena."26 According to Becker's argument, Abfi

Nuwas' ekphTasis would stM have an interpretative quality. It is, however, one of

clear and pure representation of vjsible phenomena, because he only describes the

material of the wine cup and its design,

In the poem of Abli Nuwas, the ekphrastic discourse is designed to turn the

listener into aviewer. That is to say, the poet directs the reader's awareness to forget

the mediating presence of poetry, language. It is hard to say that the i]lusion elicited

by the more objective description of AbU Nuwas should be greater than the illusion

elicited by the more subjective and interpretive ekphrastic description of al-

Buhturi. According to Becker, Creek and Latin handbooks of rhetorical exercise say

that the interpreter's expression of feelings helps to clarify and vivify the image,

despite the fact that the reader's awareness of the existence of the interpreter would

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seem to diminish the force of the illusion,27

It is very difficult to judge whether representations of appearance are

poetically superior or inferior to representations of experience. Nevertheless, it

seems that the illusion or the reverie elicited by al-Buhturi's ekphrastic description

is greater than that of AbU Nuwas' ekphrasis. Ironically, the reader appears to be

drawn deeper into the visual world when the ekphrasjs contains the describer's

interpretation. I do not mean to argue, however, that al-Buhturi's ekphrasis is

superior to that of AbU Nuwas. By giving arbitrary elements or feelings and

emotion to natural signs (visual arts), al-Buhturi attempts to pull the reader into the

world of reverie with the help of verbal power. Murray Krieger says that the

distinct'ion between the natural sign or visual art and the arbitrary-conventional sign

or verbal art ("arbitrary with respect to its object, though conventional, as a code.

with respect to its community of users") has been made over the centuries.28

"figures In his celebrated essay, Laocotin, Lessing remarks that painting uses

"articulate and colors in space," and that words sounds in time,"29 In this light, al-

Buhturi associates space, which characterizes visual art, with time which

characterizes verbal art. A confusion between natural signs and arbitrary signs is

"The achieved in al-Buhturi's ekphrasis (11. 22-7). For example, line 23 says, Fates are

standing, while Anfishirwan urges on the,ranks beneath his banner." The word

"Fates" is an expression of temporal aspects, not spacial ones. The poet combines

"Fates," "Anashirwan time, with space and action: urges on the ranks beneath his

banner." Moreover, al-Buhturi portrays the fighting men who are all silent, as if

lowering their voices (1. 25). As Lessing points out that words artjculate sounds, al-

Buhturi expresses the visual referents' muteness. At one point al-Buhturi calls our

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Realitv and Reverie: [Abbasid Wine und Ekphrasis in the Poetry of Aba Nuwas and al-Buhturi . (jii"r)

"The attention to precisely this aspect of visual art, when in line 27 he says, eye

"like describes them as really alive. signaling to one another like the dumb," It states

the dumb," but the fighters are dumb, after all, becnuse they are painted, not real.

Al-Buhturi creates a world of imagination for the listener, making use of the

ekphrastic technique along with his interpretation of the painting.

-- In contra$t, Aba Nuwas represents spatial elements the physical appearance

of the golden wine cup, making words do the job of the natural sign and giving

words a picture-making capacity.30 The ekphrasis may operate when the verbal

object emulates the spatial character of the painting, despite its functioning as empty

signs.3i In this sense, Abil Nuwis attempts to emulate the force of visual arts and

seeks to represent the literally unrepresentable. He aims to freeze and fix his poetic

object, the wine cup, into a spatial form.32 His ekphrasis intends to appeal to sense,

not intelligence. Plato made an opposition between sensible and intelligible signs,

which is related to the opposition between natural and arbitrary signs,33 On the one

hand, language is a disadvantaged medium in contrast to the plastic arts that have a

sensuous function. On the other hand, it has an advantage owing to its privileged

"opens power that the sensible world to the free-ranging imagination without being

bound by the limitations of the sensible as revealed in the visual field,"34 AbU

NuwAs intends to emulate the sensible power of the natural sign as much as he can.

By doing so, he desires to create the illusion that words produce a sensible object

"beautiful" "sublime."35 and to valorize the at the expense of the In contrast to this

technique, al-Buhturi thickens the verbal medium and appreciates its opacity.36 His

"sublime" "beautiful." aim is to achieve the aleng with the

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"attention Becker calls to the medium" defamiliarization37 that awakens the

reader from the illusion or reverie. Both Abfi Nuwas and al-Buhturi bring the effect

"defamiliarization" "breaking of or the illusion"38 into full play in the end of their

ekphrastic descriptions. Although Abfi Nuwas tries to emulate the sensible power

of the visual art up until line 7, he brilliantly undercuts the quality of the natural

sign in the last line. Aba Nuwas draws the reader back to the world of reality in the

"The end of his poem, with line 8: wine, [pour it] up to where the collars are

buttoned; The water, [pour itl up to their caps!" The poet awakens the reader from

the illusory world produced by the ekphrastic royal hunt and jolts the reader back

into the real world. through the pouring of the two kinds of liquid. Inaword, the

point of contact between the wine cup and the liquid represents the point of contact

between reverie and reality, art and life.

"My As for al-Buhturi, he recites, curiosity concerning them increases

until I explore and touch them" (1. 28). Starting with line 22, the poem invites the

reader into the world of visual art, the Battle of Antioch, through ekphrastic

technique. Al-Buhturi's skillful description, with his interpretation of the picture.

gives the reader an illusion in which it seems as if the scene in the picture takes place

in reality and the people in it are alive. Despite of the poet's achievement in

producing the illusion, he himself informs the reader of the existence of the

medium, and so breaks the illusion. He is going to touch the picture, which makes

the reader realize what he/she is viewing is mere illusion, and not real. That is, al-

Buhturi spontaneously breaks the illusion that has intoxicated the reader. Al-

"the Buhturi succeeds in turning art into life. Nevertheless, he wants to say that

lifelike image is still a replica,"39 thereby foregrounding his poetic technique,

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Realitv and Reverie: CAbbasid Wine and Ekphrasis in the Poetry of Aba Nuwas and al-Bubturi (Jit.ta:>

"identity Becker explicates this phenomenon by saying that between

-- depiction and depicted is not the goal we are explicitly directed not to forget the

"the mediating presence of art."40 He also asserts that, by doing so, discourse

increases the admiration of the audience for the mimetic capabilities of the work of

art,"4i Both al-Buhturi and AbU Nuwas seek to make the reader realize the strength

of their verbal power and the mimetic power of the visual art, because the reader is

not aware of the world of illusion until the poets signify it by making the objects in

the world of reality appear. Becker's conclusion of the discussion of

"celebration defamiliarization is that the of the process, of what art can do, rather

than a need for illusion or a struggle for mimetic primacy, characterizes the mode of

mimesis in the Iliad and specifically the Shield of Achilles."42 Abfi Nuwas and al-

Buhturi too, I would argue. desire to confirm their verbal, i.e., poetic power.

"defamiliarizing "the Al-Buhturi's effect" or effect of breaking the illusion"

appears rather weak because the poet is still in the world of reverje after line 28,

Line 29, which follows the defamiliarizing part, introduces the wine motif. As I said

before, although wine appears in line 29 after the ekphrasis, the poet and his son,

Abfi al-Ghawth, began drinking wine before the ekphrasis, as indicated by the use of

perfect tense (1. 29). I believe that al-Buhturi places the wine motif after the

ekphrasis, despite the fact that he demonstrates clearly that they were already drunk

when wine first appears in the poem, because he still wants te be in the state of

reverie. Like AbU Nuwas. al-Buhturi positions the pictorial motif structurally as the

madib, Lines 1-10 make up the nasib, and lines 11-21 can be considered to be the rahil, '

followed directly by the ekphrastic description. In brief, al-Buhturi follows

rigoTously the conventional tripartite qasidah structure. although the poem after the

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ekphrasis deviates from the conventional form. The pictorial motif of the Battle of '

Antioch, representing the valor and bravery of Anashirwan and his soldiers, is

employed as madih. This employment of ekphrasis as likewise , panegyric. panegyric

explains why al-Buhturi places the wine motif after the ekphrasis with the use of

perfect tense, despite the seemingly inappropriate sequence of the motifs.

Furthermore, line 28 is ambiguous, for we do not know if the poet actually touched

the picture or not. The tense of the verb, tataearrarr (to explore) after lpattam (until) is

imperfect, not past. Therefore, the poet is still absorbed in the illusion helped by the

power of wine.

IV. Structural Intent

The concept of reality and reverie within the investigation of the tripartite structure

of the qaEidahs is intimately associated with political intent of the poets, particularly

for al-Buhturl. The structure of the classical Arabic qasidah is generally grounded

on the real political situation of the poet. A poet stands in the atli/l recalling his

memory of the lost love in the nasib, endures the difficult journey in the rahil aiming

toward his patron, and finally reaches his destination in the madik praising his

mamdith, Generally speaking, this sequence is predicated on the poet's political

relationship to his mamdfik, while the easidah is the expression of an ideal Islamic

polity. If the construetion follows the regular, conventional sequence, the poet's

political state concerning his patron should be soundly established, By contrast, if

we find the structure irregular or vacillating, the poet's relationship to his patron

should likewise be unstable. Moreover, th,e patron is supposed to be alive

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according to convention in order to be praised in the madilp, otherwise it is regarded

as a rithah' (elegy).

In both Abit Nuwas' and al-Buhturi's poems, praise for bygone Sasanian

glory takes the stTuctural position that the qasidah genre normally reserves for praise

of the patron. In al-Buhturi's poem such a substitution amounts to a veiled hiinO or

eAbbisids. invective against the In both easidahs the moed of the madih. for the

Sfisaniansisthat - of the nasib rnelancholy for the lost past. The Sasanians were great

people who achieved renown and glory, which, however, is now lost. This

presentation is closely linked to the ShuCUbiyyah movement which flourished

especially in the eighth and ninth centuTies AD. In that movernent, a group of

authors and scholars demanded the equality of non-Arabs with Arabs and promoted

their own teachings in the literary field.43 Moreover, they celebrated the imperial '

and civilized Persian cultures over the primitive tribalism of Arabs.44 Hence, the

"madih. " for the -- CAbbasid -- bygone 5asanian instead of the regime in the poems of

Abfi Nuwas, who was of half-Persian descent, and al-Buhturi appears to reflect the

ShuCabiyyah movement. The sentiment of the ShuCUbiyyah movement was

flourishing in the age of these two poets, and the admiration for the Persian

civilization is clearly expressed in their poems.

Al-Buhturl's individual grief caused by his hardship and misfortune, i.e,,

maltreatment by al-Muntas. ir, constitutes a therne in his ode, In light of predominant '

David Quint's contention that the loser's epic shows nonnarratable45 repetition and a

nonteleological and aimless structure,46 we can begin to interpret the deviant

"loser," structure of al-Buhturl's qasidah. The poet here is a which leads him to

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compose the loser's qasidah, exhibiting reiteration and aimlessness. It is not the poet

who has failed, however; rather, he implies that the state of political decline ameng

the CAbbasidslArabs forces him to seek a worthy subject for his encomium in the

bygone glory of the Sasanians. The poet's looking to a lost past, rather than to a

heroic present or future, creates the predominant nasib atmosphere throughout the

qasidah.

Jaroslav Stetkevych points out that a poet utilizes the description of the

"a beloved to "turn memory into reverie" as flight from the reality of melancholy

into the irreality of reverie" in the nasib,47 Stetkevych suggests that the poet tends to

escape from the mood of the nasib, the melancholy caused by reality, into the sphere

of reverie. Then, in the madih, the poet has his feet on the ground and comes to

reality after the sobering journey of the rahil. In light of this idea, AbU Nuwas' the Sfisanian qasidak begins with reverie, for the poet himself does not know about

kings and people but imagines them only. Thus, Aba Nuwas' ode is presented in a

-- reverie to fairly straightforward manner according to the poetic convention from

reality, albeit his madih is still dedicated to lost glory. As for al-Buhturi's ode, it -- opens with his actual reality, grief and complaint concerning his past patron his

unfortunate political state, His poem diametrically contradicts the regular qasidah

construction, because it starts with reality and ends with reverie. Although al-

Buhturi arrives at praise of t[he Sasanians in the end, this panegyric is ultimately

ironic, for the Sasanians' glory existed only in the past,

"lyric 'I'." "a 'I'" Furthermore, the which is fallacious and predictable

burdened by the Arabic poetic tradition,48 is not found in al-Buhturi's nasib (first

"I" nasih). His ode's nasib is quite subjective and personal, and its lyric is not a false,

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Reality and Reverie: ['Abbasid Wine and Ekphrasis in the Poetry of AbU Nuwas and al-Buhturi O"tilt]:)

but a real "I." "the Jaroslav Stetkevych says, naive conception of reality and the

unequivocally simple cognitive optic of the pre-Islamic poet's public, wipe out the

limits 'collateral' between the subjective perception of the poet and the objective

CAbbfisid framework of his public."49 If the poetics also follows the Jahili tradition,

CAbbasid the panegyric poems are disposed to maintain the fallacious lyric "I."

Nevertheless,al-Buhturi "I." "I"s does not conceal his real as we see many between

1ines1 and "I" 13. By contrast. this real does not seem to appear in the second half of

"I" the nasib (11, 14-21). The only is found in Iine 17, and the entire mood of the nasib

is very conventional and collective rather than personal. As for Abfi Nuwas' poem,

"I" unlike al-Buhturi's, the only we find is the collective.

The contrast -- "I" "I" -- a real and a fallacieu$ corresponds to public versus

individual. Each of the topoi of the conventional tripartite form indicates not only

individuality but also publicness of the society. memory, emotion, and feelings, i.e..

collective memory. For instance, the traditional nasib shows description of the

ruined abode and lost mistress, which can be taken both as an individual memory

and as a public memory that evolved in the entire tradition and culture. In Aba NuwAs' ode, the antithesis can be seen: the individuality of the poet and publicness

of hissociety. The atlfil of iwEin Kisra joins both the memory of the poet as

individual and of the society as public in recollecting the age of the Sasfinians.

Furthermore, when the poet says that there are recent and old traces from them

"old [boon companions] in line 1, he suggests traces" as the traces of his ancestors,

Here the poet alludes to the traditional nasib motif, atltil, He establishes the

authenticity of his poem, not only by employing the motif of the ruined abode. but

"old" also by mentioning antiquity and novelty. That is to say, he integrates and

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"new" elements by mentioning the ancient traces and recent traces, and fusing them

in his mind when he recollects the memories of the two (1. 3). By this operation, the

"old" "new," opposites, and no longer contradict. The poet succeeds in the

assimilation of his innovation to the antiquity Df tradition,

Moreover, the ekphrasis in the two qasidahs constitutes a metaphorical madih, . ' ･Donald Davidson says that a metaphor has two different kinds of meaning at once: a

literal and a figurative meaning.50 These two would be defined by Conte as the ' letter (the literal meaning of the sign) and the sense (the rneaning),5i If we regard the

"Atlal ekphrastic motif of Hfinah" as a metaphor or trope of the classical rhetoric of

the madih motif in the Arabic qasidah, we can say that the pictorial motif is the letter,

and a concept of the madth is the sense. In short, the two poets' use of the ekphrastic

motif is a type of metaphor, For example, Abfi Nuwas employs the picture of the

goblet as a description of the Sasanians and as an allusion52 to panegyric upon them

at once, The picture literally means the figures of Kisra and his horsemen who are

"the hunting. and does not mean anything other than this, However, in sense," the

As Conte says, picture presents panegyric on Kisra and the pomp of the Sasanians.

"Like metaphor, allusion permits the substitution of denotation by connotation;"53

"the AbU Nuwas' employrnent of allusion allows the transformation of denotation,

"the letter," to connotation, sense."

Through the foregoing analysis it has been demonstrated that the ekphrastic

"Atlal "Iwan passages in AbL-i Nuwas' I:Ianah" and al-Bwhturl's Kisra" function not

only to describe the poetic objects, but also indirectly to fulfill an encomiastic

structural expectation. Moreover, the investigation of the ekphrastic description

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Reality and Reverie: CAbbasid VL'ine and Ekphrasis in the Poetry of Aba Nuwas and al-BuhturT(rtg]-)

with the use of Western ekphrasi[ theories has served to clarify the poets'lntentlons.

The introduction of interarts theories has provided us with new perspectiveson the

poetics of the gasidah. In order to apprehend the easidah rightly,a knowledge of the

structural and thematic conventions of the classical Arabic poetic tradi'tion is

"the "the indispensable. Otherwise, we can only grasp letter," not sense," of the

cultural tradition of the qa$idah,

Notes

1. "Licit Johann Christoph BUrgel, The Feather of Simurgh: The Magic" of the Arts iit Medieval Islam (New York: New York University Press. 1988), 1-4,

"The 2. K.A.C. Creswell, Lawfulness of Painting in Early Islam," Ars Jslamica 11-12 (1946): 159-66. Creswell points out that the prohibition of painting is not due to explicit verses in the Qur]an but to the Hadith, even though many people believe that it is proscribed in the Qur]anic verses,

3, This definition is by Claus CIUver. He explains his definition in his article. "Quotation, Enargeia, and the Functions of Ekphrasis," Pictures Into Words: The Tradition of Ekphrasis from the Renaissance to Postmodernism, ed. Els Jongeneel and Valerie Robillard (Amsterdam: Free UP. 1998), 35-51. The earlier sense of ekphrasis is a description of any kind, normally as a rhetorical exercise, whereas, in the modern sense, scholars have not reached consensus yet. According to C]Uver, "the Murray KTieger defines it as literary representation of visual art, real or "the imaginary," while James Heffernan calls it verbal representation of visual representation." See Murray Krieger, Ekphrasis, The Jllusion of The Natural Sign (Baltimore: The Johns Hopkins University Press, 1992) and James A,W, Heffernan. Museum of Words: The Poetics of Ekphrasis from Homer to Ashhery (Chicago: The University of Chicago Press, 1993). The description of the wine cup and the wall painting by our Arab poets will fit into the category of ekphrasis.

4. See S. Enderwitz, "ShuiUbiyyah," Encyclopaedia of Islam, New ed. 9 vols., Leiden: Brill, 1960-97, vol. 9i 513-16.

"The Crd 5, Suzanne Stetkevych, Qasldah and the Poetics of Ceremony: Three Panegyrics to the Cordoban Caliphate," Lunguages ofPower in Islamic Spain, ed. Ross Brann, Occasional Publications of the Department of Near Eastern Studies and the Program of jewish Studies, Cornell University. VoL 3. (Bethesda: CDL Press, 1997), 25.

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6. S, Stetkevych. 1997, 27. She maintains that the panegyric qasidah in the Arabo- Islamic tradition is comparable to royal portraiture in the European convention. 15-80 7. The terrn, qa6idah, is usually defined according to its length that is between lines. See Suzanne Stetkevych, The Mute lmmortals Speak: Pre-Islamic Poetry and The light, Poetics ofRitual (Ithaca and London: Cornell University Press, 1993), 3. In this AbU Nuwfis' ode, consisting of'eight lines, is not considered as a qasidah but rather is regarded as a khamriyyah (wine poem). Nevertheless, I would view his poem in terms of thematic and structural aspects as a condensed qa$idah. He neither describes the subtlety of wine poems nor shows a monothematic poetic form as a conventional khamriyyah does. Rather his poem evokes a fuller longer qasidah by alluding to its tripartite and polythematic form. For AbU Nuwas' other khamriyya-t, see Philip F. Kennedy, The Wine Song in Classical Arabic Poetry (N.Y,: Oxford University Press Inc.. 1997).

8. A deserted encampment, an animal, wine, a battle, and a garden are reckoned as some of the representative motifs of waof (description) in the Arabic qasidah tradition, I understand the term zvaof as any kind of minute description; therefore, the description of a wine cup and a wall painting is considered waof In fact, al- Buhturi's poem of rwan Kisra that I investigate in this essay is placed under the category of wasf in Ahmad Ahmad Badawi's book, al-Bukturi (Cairo: Dar al-MaCarif, 1964).

9. Although the Arabic easidah is conventionally made up of the tripartite structure, CAbbasid the bipartite form increasingly dominates the and post-CAbbasid qasidah.

"Guises 10. Michael Sells, of The Ghtil: Dissembling Simile and Semantic Overflow in The Classical Arabic Nasib," Reorientations/Arabic and Persian Poetry, ed. Suzanne Stetkevych (Bloomington: Indiana University Press, 1994), 130.

"Arabic 11. Jaroslav Stetkevych, Poetry and Assorted Poetics," lslamic Studies: A Tradition and Jts Problems, ed. Malcolm H. Kerr (Malibu, California: Undena Publications, 1980), 116.

12. J. Stetkevych, 1980, 103-23.

13. Hideaki Sugita, Jibutsu no koe, Kaiga no shi (Tokyo: Heibonsha, 1993), 247-48, 409- 10. It is true that the Arabic qasidah has rnany descriptive verses, as Sugita has clearly shown, particularly when one sees only the isolated descriptive passages. However, the metaphorical intent of the descriptive passages comes to light when they are seen in the structural and thematic context of the entire qa$idah. The reader may be misled by arguments that appear to confirm the traditional Orientalists' idea -- that the qaFidah is merely descriptive, assessing this genre in a more narrow and negative -- manner. It is my propesal that we need to broaden the way in which we interpret the qa$idah.

114 NII-Electronic Library Service JapanJapanAssociation Association forforMiddle Middle East Studies Reality ancl Reverie: `'Abbasid Wine and Ekphrasis in the Poetry ef Aba Nuwas and al-Bu4turr

CAbd 14. Al-Hasan ibn Hani). Diwa-n Abi N"wa-s, ed. Ahmad al-Majid al-Ghazall (Beirut: Dar al-Kitab al-CArabi, 1966), 37,

15. Lines 6-7 use the present tense in the Arabic text, and logically and grammatically, line 5 casts the rest ofthe poem into the past tense, However, the effect of the imperfect in line 6 and 7 gives us a feeling of the past being relived much as the use of historical present does in English.

16.See Stetkevych,The Zephyrs Jaroslav ofNay'd: The Poetics ofNostalgia in The Classical Arabic Nasib (Chicago: The University of Chicago Press, 1993), 2.

17.AJ. Arberry, Arabic Poetry: A Primer for Students (Cambridge: Carnbridge CUbadah University Press, 1965) 72-80. See also al-Buhturi al-Ta'I, AbU al-Walid Ibn CUbayd, Diwa-'n al-Buhturi, 5 vols, ed. IIIasan Kamil al-$irafi (Cairo: Dar al-MaCariC 1963-78), 1152-62.

18. A.J. Arberry, 74.

19. S, Stetkevych, 1993, 54. Stetkevych identifies humu-m (plural of hamm) or cares as a common motif of the classical qasidah used in the transition point from the nasib to the rahil,

20. Gjan Biagio Conte, The Rhetoric ofImitation: Genre and Poetic Memory in Virgil and Other Latin Poets, trans. ed. Charles Scgal (Ithaca and London: Cornell University Press, 1986), 40-41. According to Conte, Heinrich Lausberg differentiates between "'Wiedergebrauchsrede'--language 'Verbrauchsrede,' that can be reused--and language that is used up in the currency of eveTyday living," Conte argues that "awareness reusable language signifies of the rich continuity of social order and of the specifically social nature of mankind in general."

"Al-Buhturi's 21. Richard Serrano. Poetics of Persian Abodes," Journal qf Arabic "al-Buhturi Literature XXVIII, No, 1 (1997): 68-87, Serrano also argues, transforms the trope of the abandoned encampment into a vehicle for harsh criticism of the Arab "the culture of his own day." He goes on to say, traces of the encampment become a reconstructed imperial Persian city which both precedes and nearly precludes the CAbbasid abandoned encampment as a source for an poetics." 69.

22. Conte 70. Conte maintains that if a poem exhibits the traditional poetic opening "This of its cultural tradition, it means that the poetry asserts is Poetry." Altheugh "my here al-Buhturi's ode does not suggest that ode is the Arabic qasidah" by using the opening line, it suggests so more by its structure.

23. David Quint, Epic and Empire (Princeton, New Jersey: Princeton University Press, 1993). Quint argues that epics of the defeated are nonteleological and exhibit

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AJAMESMiddle No.14 1999

narrative disjunction and episedic digression, See Ch. 4. I am aware that the Arabic qa6idah is not narrative, but in terms of its tripartite tradition, al-Buhturi's poem shows disjunction and digression.

24. Andrew Sprague Becker, The Shield ofAchilles and the Poetics qfEkphrasis (Maryland: Rowman & Littlefield Publishers, Inc., 1995), 27.

25. Becker, 27.

26. Becker, 28.

27. Becker, 29. Becker introduces (p. 24) four collections of rhetorical exercises from the first through fifth centuries AD by Aelius Theon, Hermogenes of Tarsus,

Aphthonius of Antioch, and Nikolaus of Myra.

28. Murray Krieger, Ekphrasis: 7"he Illusion of the Natural Sign (Baltimore and London: The Johns Hepkins University Press, 1992), 73.

29. Gotthold Ephraim Lessing, LaocoOn: An Essay upon the Limits of Painting and Poetry, Trans. Edward Allen McCormick (The Bobbs-Merrill Company, Inc,. 1962, Baltimore, Maryland: The Johns Hopkins University Press, 1984). 78.

30, Krieger, 1-

31. Krieger, 9.

32, Krieger, 10.

33. Plato, The Republic, trans, Paul Shorey (Cambridge, MA: Harvard University Press, and London: William Heinemann Ltd., 1935, 1942), II, pp. 441-442ff; Book X, iv-v. For a more complete discussion of this in the original, see the parallet text in Krieger, 12,

34. Krieger, 12.

35. Krieger, 24,

36. Krieger, 24.

37. Becker, 85,

38. Becker, 85.

39. BeckeT, 84.

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40, Becker, 84.

41. Becker. 85,

42. Becker, 85.

43. Ignaz Goldziher, Mustim Studies, Vol. 1 (London: George Allen & Unwin Ltd., 1966), translated from German, MtthammedaTtische Studien (Halle: Max Niemeyer 1889-1890), 137.

44. See S. Enderwitz.513-16.

"nonnarratable" 45. Quint, 120. Quint mentions in the sense of epic because an epic is a narrative. However, in our case of the Arabic qasidah, it is difficult to say that it ls a narratlve,

46, Quint, 120.

47. J. Stetkevych, 1993, 21.

"The 48. J. Stetkevych, Arabic Lyrical Phenomenon in Context," Journal of Arabic "I" Literature VI, 1975: 72-73. He argues that lyric in Arabic qa$idah tradition does not "persona." bare the lyrical

49, J. Stetkevych, 1975, 73-4.

"What 50, Donald Davidson, metaphors mean," ed. Sheldon Sacks. 0n Metaphor (Chicago: The University of Chicago Press, 1978), 33,

51. Conte, 38,

52. Conte, 59. For Conte. the employment of the poetic tradition leads to another issue: allusion and emulation. According to him. allusion and emulation must be

"emulation distinguished: cannot exist without allusion, whereas allusion has no "The "may necessary connection with emulation." allusion," he further explains, involve an attempt to compete with the tradition recalled. In this case the allusion

aims to focus attention sharply on a restricted area of that tradjtjon in order to heighten a contrast. A known poetic form or formula is conjured up, not simply to revive it by finding it a place in a new context but also to allow it to become the 'new') weaker member of a pair ('old' versus joined by a relationship of opposition or differentiation or a relationship merely of variation."

53. Conte, 55.

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Appendix of Arabic Texts

” ” A 口浸lHanah by Abfi Nuwas

丿・・ ノ1し ・ ぴ 癖 辞 r 弾 い 戚 訴 丿 丿

」じ と白 1 匸 詠 ， を 二 ゴ 6 メ噛 」め｝ 〆ゾ 髭翻母 鬻魏 覚 じ 1 r 勾 tlv ・ ‘ G L 薗 1〆 ナメ 彦 もκ 丿 ， ら 丿 メ ｛r じ ゐ19 』 ， りt傷 ゑ庫ユ Jd 丿 L ≠ 二己 ノ ノ j ノ タ t ノ 」 ‘ 鼻 の し 覧 弓 塾 旨 鈎 甲 畛属 」丿 6 ！ ギ丿り

棚 ・ le b し ・ ・ ） ， b 丿 U 丿 L 茸 ψ 』 し 湖 eJ 老 33 ． ’

” ” lwan Kisr且 by a1−Buh ヒuri

・ ’ ・ L 丿 乙」 蔭 “＿Ek u 毒 面 ぢ ψ ノ丿 ♂ LyJk LS 鵡 、 ， ’

j s ゆ J J a 丿 ’一一 ：」 ・・：・一 し 凵 1 飢 Ul 一 ・凶 冒 丿 r 〆 」s 丿 ♂ 」｝ぢ

’ ロ ゆ ’ノ Pt る な d J s ロJ ゆ ’ 5 」 L ； Jl L P 漣 」 識 广 eYl − 6LL 歯 殉 冖 ♂ 由

一s ） I J 」丿 ぢ ひユ」 ’ 1丿 一一＿ 」 ∈ 詩 − μ 高 り c， t 1 晶 丿 9 5

ピ ぎ “ ロ E ＃ げ ’ n1 り ‘ LYI ” ・ 』 ソ v ・− j nl 。 ・f し ナ 〒 ・ OLDJI OL5 ザfYlご こ

し 」 1 〆 ∫ ｝ ♂ 州 顔 魂 1 1 「 み 声 Ol増 ♂鍾 毒．

ゐ 6 ］迎 Isla ・L… 冠 9 ソ 許 尋 一 ， レ 謁 ♪ ．

リ コ ・ oL ニ 晶」 oL ・ 」 リ 丁 e 虹 1三 三 − 許 → Lrnt xp ら 眄 A ヲ s 一 ol o ’ ” 茜 tJ ’L 唱 u 囑 炉 」 樋 ．“ ・u 」 〆 ひ ψ u ρ 3L 戸 LS eb 3 9

〒」 跳 メ 軌 甜 ノ 6 鼻 藁 叫 ， ．

【AUIua IJI 三 』 議 び ■ 慈夕 細 誤 J乙屮 ll

り ゆ ’ り ， 」 し ’ の O JT − ゐ J −・T） tsJix 」l l b 」 LS ） if み lr

118 一 NII-ElectronicN 工 工 Eleotronio Library Service Japan AssooiationAssociation forforMiddle Middle East Studies Reality and Reverie： cAbbAsid − Wine and Ekphrasis in the Poetry of Ab ［i Nuw 巨s and al Bu ！jturl（元 好）

リ ナ’ J リ リ ’一；」 ’ ， ザ 固 1 ｝よ 』」 』 」 LS yt 丿 1 1測 1 」 u 系 ≒ヴ 酬 丿3 ぽ

ゆ ） eJ り J 11 ・n ：“ 画 ｝ ！ JL， 上 ♂ O屮 LSA ） 臣 s 一 guJ

リ ゴ ， e ’ コ ヨ ． e J ｛−Ce LンLs b 」 」 v lJ 一 ⊥」一 。 凶 u 1 Li 弾 彜 Jgob σ l

り の ． − ゆ JS 亠 Lgl Li−b げ げ → ひ 丿 」k ・」）也 t−r s 一、〜 凶 ユ − 「 5 Nj ρ

’ の o e の uL5 1Lx 瀞 ； ・…一一1一 ‘ ， L r ヂL3 ＿． 3し し 《 」1 』 」 し 一 げ げ 幽 N … 物 ，こ 丿 1〉

e ） ’ b ； ロ j り リ リ J 」 島 し 」 よ コ L3 」 r 轟 lOL9 i 曝 1 」 よ ANI ・』」 ー〈 げ ♂ ’ ψ dh ド ノ J

， り o s り o J e t ほ A

｛ 一 廴一 へ 」）u ゴゾ ・Lp ー 」 ‘ ＝ 」 Lく」 σ つ ｛ ， 1e ．， r 1 こ⊃ ー q ！ σt ” ウ j 卩

け ■ a 山 し ．．，，．」． e 一 」 』 lG 。 ・ げ タ 掴 〇 L5 ］ こ｝ 幽 し」 ♪」 「

り ’ j の J “’」 O 」1 し轟→ ソ 3 γ ー L ” ： → “ 』 ｝ が ｝ ゆ ゲ 蝿 蝉

’ ’ リ J ゆ b a ノ eE ， 」ン ー 」 1 しh」 1 」 1 ・ σ ジ 广の 己 ．｝ り 登 も鋼 羶 丿 し 1三し」 ▼

et et ロ ロ ロ ’ 謁 L 臧 」 i lL5 一一a3 」 ＿1 −」 L L 二一J l1 Ψ r σ あ 飼 ÷） ob 丿 Lラ ぴ Le 三

り ぜ り E げ 丿 廴 」し殉 plL VI 与 l 三 7 ・ の ｝ ♂ メ ｝ er 』 こ戸 丿ノ u

’ jJ o J j

贐 o よ ° σ 」 丿 → → 」1 」 映丿 ▼ r兄 戸 1 紳 幽 し〜 勺 幹 JL．． レ 5

o j ノ め ノ J

・： ； ， ・ − σ 一一，bL 一一・」l ：一一 Lg し → LSYN ・ 壷 Ψ 「 う ts （： ．c J よ こ tr ∫

e serL ’〇三 昌 り ， 」 ， °鼻 S し 」 し −s1 ，L 一 ij1Jr ∫ 避 ） 叫 癌 呻 羣 ． I − 昌 了 v L f ÷r ρ e J ’

’ る ナ リ ロ n ノ

』 ・ ’・ 一 ⊥ → LsiL − 廴 」 − 一 ∫ I “ 了A σ e v LS es 」 丿 Pt − 」 ■一

’ コ り コ e J 一 芸 → − iCtr 〈．−il1 b 」IPt 1 ⊃ 粤 ， LL りtS 7 『 許 ♂ 許 y ♪ N u 詩

’ の ■ ’ の り ヨ e ’ 一 一 一 4 L sf Ul 1 ≠ 1 コ し・ −i−S 1・一 r ° げ 幣 拘 L 』 ♪ Pt 0 NL， 广 ひ

ロ ゴ づ s コ ニ マ ’“一一” 一＝一一Jl ． L ⊥」 しLL75 i ＿− o よ 一 1151L 一ゐ 1 r ー tS ≒ J ： 丿 丿 し．9丿 于 尸 ，

， 盈 ” 凵 一 。 。 − ．−a．sL −S 占 ∫ 」lti ・：；・‘！ r 「 ，．， ； LF ！廴♂紳 ♂ ≒ 」 （戸 こ旨冫 2Sl

el ， ，O r ， ‘ ， ’ “ Jl 1丿 UU − 丿 16 一：−s bT ．1 ” S −rl r r ド ｝ ． ♪ a 算 」 e

119 一 NII-ElectronicN 工 工 Eleotronio Library Service JapanJapanAssociation Association for Middle East Studies

AJAMES Ne.14 1999

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