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"Farrin, Raymond"
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The Composition and Writing of the Qur'an
This article challenges the view, common among Western academics since early last century, that the Qurʾān was left incomplete as a book and did not take final shape until well after the Prophet's death. Against this, it highlights an example of structural continuity: that of center-periphery connection between adjacent sūras. This type of connection is identified throughout the phases of revelation, from the early Meccan period to the late Medinan one. The structural consistency illuminated here indicates that one author or authority likely arranged the Qurʾān, a finding in accordance with recent stylometric analysis of the text carried out at Princeton University. It also accords with an examination of the theme of jihād in the Qurʾān, the conclusions of which were presented at the 2017 International Qur'anic Studies Association conference in Boston. Far from suggesting a multiplicity of voices, the doctrine of jihād is characterized by overall consistency and adherence to core principles, pointing to a likely single origin. Next, before the conclusion of the article, an updated hypothesis for the early writing and transmission of the Qurʾān is presented, taking into account the existence of minor variations in the old codices, the reports about an ʿUthmānic commission issuing a standard text, and the fact that no prototype manuscript has been discovered.
Journal Article
Surat al-Baqara: A Structural Analysis
[...] though, it behooves us to mention the historical circumstances at the time of revelation.\\n . . (and Muslim responses) A' 285 Believers 286.9 Unbelievers B' 258-60 Evidence of God: [...] the precise structure serves as a guide, pointing to key themes in the sura.
Journal Article
Abundance from the Desert
Abundance from the Desertprovides a comprehensive introduction to classical Arabic poetry, one of the richest of poetic traditions. Covering the period roughly of 500â€\"1250 c.e., it features original translations and illuminating discussions of a number of major classical Arabic poems from a variety of genres. The poems are presented chronologically, each situated within a specific historical and literary context. Together, the selected poems suggest the range and depth of classical Arabic poetic expression; read in sequence, they suggest the gradual evolution of a tradition. Moving beyond a mere chronicle, Farrin outlines a new approach to appreciating classical Arabic poetry based on an awareness of concentric symmetry, in which the poem's unity is viewed not as a linear progression but as an elaborate symmetrical plot. In doing so, the author presents these works in a broader, comparative light, revealing connections with other literatures. The reader is invited to examine these classical Arabic works not as isolated phenomena-notwithstanding their uniqueness and their association with a discrete tradition-but rather as part of a great multicultural heritage.This pioneering book marks an important step forward in the study of Arabic poetry. At the same time, it opens the door to this rich tradition for the general reader.
eBook
نظم القرآن وكتابته: بين أطروحات قديمة وأدلة جديدة
أهداف البحث:يُفنّد هذا البحث الطرح القائل بأن القرآن الكريم لم يكتمل ككتاب منزل خلال حياة النبي بل أخذ شكله النهائي بعد وفاته بفترة غير قصيرة، ويبحث فيما إذا كان لهذا الطرح أن يصمد أمام تحليل لواحدةٍ من الروابط البنيوية المتجلية في النص.منهج الدراسة:يتَّبع هذا البحث المنهجين التحليلي والتاريخي؛ إذ يبحث في الرابطة بين المركز والمحيط في سور متعاقبة، نزلت في مراحل شتى من مراحل نزول الوحي (إذ يُفضي بنا الاتساق البنيوي إلى استنتاج مفاده أن نظم القرآن يعود إلى مصدر واحد على الأرجح، بينما يدفع غياب الاتساق تجاه نتيجة مؤدّاها تعدد المصادر). وتَمضي هذه الدراسة إلى مقارنة النتائج مع ما توصلت إليه الدراسات الإحصائية والموضوعية الحديثة.النتائج:يسلِّط هذا البحث الضوء على الاستمرارية، وهو ما يتفق مع التحليل الأسلوبي للنص والذي يكشف عن مسلك أسلوبي متماسك، كما يتوافق البحث مع دراسة في موضوع الجهاد في القرآن بيَنت هي الأخرى التماسك والترابط النصي والتقيُّد بالمبادئ الأساسية.أصالة البحث:هذا البحث هو البحث الأول من نوعه الذي يُلقي الضوء على الاتساق في الربط بين المركز والمحيط في القرآن، وهو ما يزيد من تعظيمنا لنظم النص. وكما يساعدنا هذا البحث على فهم الروابط بين السور المتعاقبة، فإنه قد يساعدنا أيضًا في التأويل النصي. وأخيرًا، وطالما أن النتائج تُفنّد الطرح القائل بأن القرآن الكريم تم ترتيبه في مرحلة متأخرة، فإنها تقدم فرضية مُحدَّثة حول كتابة القرآن ونقله في مرحلة مبكرة؛ أخذًا في الاعتبار وجود اختلافات طفيفة في المخطوطات القديمة، والتقارير حول اللجنة التي تولت إصدار نسخة موحدة من القرآن في عهد الخليفة عثمان بن عفان، إضافةً إلى حقيقة عدم العثور على المسودّات الأولية.
Journal Article
THE NŪNIYYA OF IBN ZAYDŪN: A STRUCTURAL AND THEMATIC ANALYSIS
AbstractIn this article I discuss the structural and thematic unity in Ibn Zaydūn's Nūniyya, perhaps the most famous poem from the period of Arab civilization in al-Andalus. I show that the ghazal is organized according to the principles of ring composition and that it is further characterized by a logical transition from formal to intimate address for the beloved and a thematic opposition between morning and night. The Nūniyya comprises five discrete sections: A - B - C - B1 - A1. Section A introduces the idea of the poet's separation from his beloved, Wallāda, and culminates in a mood of hopelessness and resignation. Morning is associated with this somber reality. In section B, Ibn Zaydūn addresses Wallāda formally and recalls that their nights together were blissful. Section C constitutes the heart of the poem, a paean to Wallāda's beauty and royal stature. At the end of C, the poet switches to an intimate form of address, having implied that, her nobility notwithstanding, he is an equal by the agency of sensual love. B1 and A1 correspond thematically to sections B and A, yet the tone becomes increasingly personal at the end of the poem, consonant with private subject matter and an appeal for a reply. The ghazal concludes at the point when figurative night, filled with its dreams of Wallāda and hopes for a response, is about to be replaced by the bleak morning hour and hopelessness of the introduction, suggesting an awareness on behalf of the poet that word from the beloved will not likely come.
Journal Article
Season's Greetings: Two 'Īd Poems by Ibn Quzmān
AbstractIn this article I analyze two of Ibn Quzmān's'Īd al-Adhā zajal s in terms of theme, structure, and import. I show that the poems are carefully constructed wholes, through which the poet subtly mocks his patron while obligating him to give up a ram. I furthermore demonstrate that these super ficially simple and lighthearted zajals have multiple layers of meaning, and that fundamentally they contain — of particular relevance to the ruling elites in twelfth-century al-Andalus — sharp social criticism about the practice of religion.
Journal Article
THE POETICS OF PERSUASION: ABŪ TAMMĀM'S PANEGYRIC TO IBN ABĪ DU ĀD
AbstractIn this article I explore the way in which an alienated and rebuffed poet might improve strained relations with his patron by means of a qasīda offering, and so obtain recompense. Taking for analysis Abū Tammām's panegyric to the judge Ibn Abī Du ād, I show how the poet tailors the tripartite pre-Islamic form to suit his individual needs. In this poem, we find Abū Tammām using the nasīb to express sorrow for the loss of the patron and to offer an indirect apology, then describing through the rahīl the privation he endured as an exile. He lauds the judge in the madīh to dispose him in his favor, but the praise gets gradually fainter as the poet becomes more assertive. He devotes most of his attention here to arguing his case, by citing precedents for magnanimity and pardon and by attributing the estrangement between them to the malice of enviers. He concludes the section by boasting of his poetic prowess, and insinuates that decorative praise could turn to withering satire if the patron does not reward him. Monetary considerations thus preponderate at the end of the qasīda , despite protestations of affection elsewhere. By illuminating Abū Tammām's subtle methods for persuading the judge, the essay increases our awareness of the poet's rhetorical skill. Furthermore, it calls attention to a latent possibility in the panegyric genre. The praise poem could well be put to uses besides celebration. The case of Abū Tammām and Ibn Abī Du ād demonstrates that a supplicant poet, before giving up on the patron and becoming hostile himself, might still exploit the form to salve old wounds and earn a prize.
Journal Article
The Price of Glory
LABID IBN RABI‘A was a late pre-Islamic poet from the tribe of ‘Amir, which occupied territory in the high plateau of Najd to the northeast of Mecca. He was born in the second half of the sixth century and rose to prominence as an eloquent spokesperson for his tribe. During his lifetime, the new religion of Islam brought by the Prophet Muhammad (d. 632) spread across the Arabian Peninsula. Labid embraced Islam and then settled in the garrison town of Kufa, where he died ca. 661. It is said that Labid reached the very old age of 145 or 157
Book Chapter
Season’s Greetings
OUR NEXT POET, Ibn Quzman, was born in Córdoba ca. 1078, and died and was buried there in 1160. Very little else is known about his life. Yet he is a major figure in the Arabic poetic tradition, recognized as the supreme master of thezajal, a vernacular, strophic genrenative to al-Andalus. He distinguished himself as poet, moreover, by relentlessly parodying hallowed conventions.
Among his works, which include an abundance ofzajalwine songs, love poems (typically bawdy in the extreme), and mock panegyrics, severalzajalsstand out. These poems are the occasional pieces presented on the advent of ‘Id
Book Chapter