1. Rhymes
and strophes
There is no
attempt in the quran QurŸån to produce the strict rhyme
of poetry. In an Arabic poem each verse had to end in
the same consonant or consonants surrounded by the same
vowels-an interchange of i æ and u was allowed, though
considered a weakness. Short inflectional vowels
following the rhyme-consonant were usually retained,
and, if retained, were pronounced long at the end of the
line. Only in very exceptional cases is it possible to
find this type of rhyme in the quran QurŸån. What one
finds rather is assonance, in which short inflectional
vowels at the end of a verse are disregarded, and for
the rest, the vowels, particularly their length, and the
fall of the accent, that is the form of the end-word of
the verse, are of more importance than the consonants.
Of course the consonant may remain the same, but that is
not essential. Thus in sura 112 the four verses rhyme in
-ad, if one disregards the inflections; in 105 the rhyme
is in il - æl, if one disregards end-vowels and allows
u õ in place of i æ in the last verse. In sura 103 r is
rhyme-consonant, but the inflections vary and have to be
disregarded, though, for pronunciation, we require a
short vowel sound of some kind after the r, or,
alternatively, a short vowel before it which is not in
the form. In sura 54, where r as a rhyme-consonant is
carried through 55 verses, we have not only to disregard
the end-vowels but to accept variations of the preceding
vowel, i and u and even a occurring in that position;
the assonance is technically described as fail - faÿil,
that is, an open syllable with short vowel which takes
the accent, followed by a syllable with short vowel
closed by r which thus becomes a rhyme-consonant. On the
other hand, the accusative termination -an is often
retained, being probably pronounced as a - å; for
example in suras 18, 72 and 100, where the accusative
termination seems to be essential to the rhyme. Further,
the feminine termination -atun loses not only its
inflections but also its t sound, as in sura 104 where,
if one drops end-vowels and pronounces the feminine
termination as a å or a, there is a consistent assonance
formed by an accented syllable followed by a short
unaccented syllable and the ending (technically faala
faÿala) in which both vowels and consonants are
variable, but the place of the accent and the ending -a
remain the same. The actual rhyme-words are: lúmaza,
addada ÿaddada, ákhlada, hutama al-øúþama, hutama al-øúþama,
muqada al-mõqada, afida al-áfŸida, musada múŸãada,
mumáddada; this illustrates the retention of the same
sound formation with variation of consonant, and even of
vowel. In sura 99 we have a similar assonance, formed by
a long accented a å, followed by a short syllable, and
the feminine suffix ha - hå, that is alaha - ålahå, the
ha - hå being in one verse replaced by the plural suffix
-hum. The assonance of sura 47 is the same, but with
greater variation of suffix.
The
structure of the Arabic language, in which words fall
into definite types of forms, was favourable to the
production of such assonances. Even in the short suras,
however, there is a tendency to rely in part for the
assonance on grammatical terminations, such as the
suffix ha - hå in suras 99 and 91. In the longer suras
this tendency increases. Thus in 55 the assonance
depends largely upon the dual-ending an - ån. Often in
the longer suras, though seldom carried through without
a break, the assonance is a - å(l), that is, a long a å
vowel followed by a (variable) consonant; so in parts of
suras 2, 3, 14, 38, 39, 40 and sporadically elsewhere.
In the great majority of the suras of any length,
however, and even in some short ones, the prevailing
assonance is i - æ(l), that is, a long i æ or u õ sound
(these interchange freely) followed by a consonant. This
is formed largely by the plural endings of nouns and
verbs, un - õn and in - æn, varied by words of the form
technically known as fail faÿil, one of the commonest
forms in Arabic. By far the greater part of the quran
QurŸån shows this assonance.
With an
assonance depending thus upon grammatical endings there
may occasionally be doubt as to whether it was really
intended. The varying systems of verse-numbering depend
to some extent, though not entirely, upon varying
judgement as to where the rhyme was intended to fall in
particular cases; but it cannot be doubted that there
was assonance at the end of verses. In passages with
short verses and frequently recurring assonances this is
unmistakable. Yet even in suras in which the verses are
long, there are special turns of phrase employed in
order to produce the assonance. Thus the preposition mim
with a plural participle is often used where a
participle in the singular would have sufficiently given
the sense; so that we get phrases like 'one of the
witnesses' instead of simply 'a witness' (min shahidin
ash-shåhidæn instead of shahid shåhid) because the
former gives the rhyming plural-ending, while the latter
does not [3.81/75; f. 60/53; 7.106/3]. kanu Kånõ 'were',
with an imperfect or participle in the plural often
takes the place of a simple perfect plural; for example
in 2.5 7/4 and 7.37/5. Or an imperfect plural may be
used where a perfect might have been expected, as in
5.70/4. Occasionally a phrase is added at the end of a
verse which is really otiose as regards sense but
supplies the assonance, as in 12.10 and 21.68, 79, 104,
Sometimes the sense is strained in order to produce the
rhyme, for instance in sura 4, where statements
regarding God are thrown into the past by the use of
kana kåna, 'was', in front of them and are thereby given
the accusative ending on which the rhyme depends. The
form of a proper name is occasionally modified for the
sake of rhyme, as sinin Sænæn [95.2] and ilyasin Ilyåsæn
[37.130].
Statements
regarding God occur frequently at the end of verses,
especially in the long suras where the verses also are
of some length. Where the verses are short, the word or
phrase which carries the rhyme forms as a rule an
integral part of the grammatical structure and is
necessary to the sense. In a few passages it appears
that the phrases which carry the rhyme can be detached
without dislocating the structure of what remains [e.g.
41.9/8-12/11]. Usually the phrase is appropriate to the
context, but stands apart from the rest of the verse.
These detachable rhyme-phrases-most of which carry the
assonance in i æ(1)-tend to be repeated, and to assume a
set form which recurs either verbally or with slight
changes in wording. Thus inna fi dhalika dhålika la
ayatan la-åyatan li l muminin li-l-muŸminæn 'truly in
that is a sign for the believers', often closes the
account of a 'sign'. ala ÿAlå llahi llåhi
fa-l-yatawakhal il muminun il-muŸminõn (il mutawakkilun
il-mutawakkilõn) 'in God let the believers (the
trustful) trust' occurs 9 times. wa llahu Wa-llåhu alim
ÿalæm hakim øakæm 'and God is all-knowing, wise' occurs
12 times, or, if we include slight modifications, 18
times. Other combinations of adjectives referring to God
are frequently used in the same way. Perhaps the most
frequent of all such phrases is inna llaha llåha ala
ÿalå kulli shayin shay'in qadir, 'verily God over
everything has power', which is used 6 times in sura 2,
4 times in sura 3, 4 times in sura 5, and some 18 times
in other suras. There is a certain effectiveness in the
use of these sententious phrases regarding God. Mostly
they close a deliverance, and serve at once to press
home a truth by repetition and to clinch the authority
of what is laid down. They act as a kind of refrain.
The use of
an actual refrain, in the sense of the same words
occurring at more or less regular intervals, is sparse
in the quran QurŸån. One is used in sura 55, where the
words 'Which then of the benefits of your Lord will you
two count false?' occur in verses 12, 15, 18, 21, and
from there on in practically each alternate verse,
without regard to the sense. The same tendency to
increasing frequency and disregard of sense appears in
the use of the words, 'Woe that day to those who count
false!' as a kind of refrain before sections of sura 77.
More effective didactically is the use of the refrain in
the groups of stories of former prophets which occur in
various suras [e.g. 11, 26, 37, 54]. The stories in
these groups not only show similarities of wording
throughout, but are often closed by the same formula.
In addition
to the rhymes which occur at the end of the verses, we
can occasionally detect rhymes, different from the
end-rhymes, occurring in the middle of verses. These
give the impression of a varied arrangement of rhymes.
Rudolf Geyer pointed out some of these, and argued that
stanzas with such varied rhymes were sometimes
deliberately intended in the quran QurŸån. 1 If that
were so, we should expect the same form to recur. In
going through Geyer's examples, however, we do not get
the impression that any pre-existing forms of stanza
were being reproduced, or indeed that any fixed forms of
stanza were being used. There are no fixed patterns. All
that can be said is that in some passages there is such
a mixture of rhymes, just as, within a sura there are
often breaks in the regular recurring rhyme at the end
of the verses. As will be seen, however, these facts may
be otherwise explained.
A similar
argument applies to the contention advanced by D. H.
Müller. 2 He sought to show that composition in strophes
was characteristic of prophetic literature, in the Old
Testament as well as in the quran QurŸån, and even in
Greek tragedy. From the quran QurŸån he adduced many
passages which appear to support such a view, such as
sura 56. If we are to speak of strophic form, however,
we expect some regularity in the length and arrangement
of the strophes; but Müller failed to show that there
was any such regularity. What his evidence does show is
that many suras of the quran QurŸån fall into short
sections or paragraphs. These are not of fixed length,
however, nor do they seem to follow any pattern of
length. Their length is determined not by any
consideration of form, but by the subject or incident
treated in each.
Interpreted
in this way, Müller's contention brings out a real
characteristic of quranic QurŸånic style, namely that it
is disjointed. Only seldom do we find in it evidence of
sustained unified composition at any great length. The
longest such pieces are the addresses found in some of
the later suras. The address before uhud Uøud appears to
have become broken up and it is now difficult to decide
which sections from the middle of sura 3 ordinally
belonged to it. The address after the Day of the Trench
and the overthrow of the clan of Quragza [33.9-27],
however, and the assurance to the disappointed Muslims
after the truce of hudaybiya al-Øudaybiya [48.18-29] may
be taken as examples of fairly lengthy pieces relating
to a single occasion. Some of the narratives, too, in
the quran QurŸån, especially accounts of Moses and of
Abraham, run to considerable length; but they tend to
fall into separate incidents instead of being recounted
straightforwardly. This is particularly true of the
longest of all, the story of Joseph in sura 12. In other
suras, even where one can trace some connection in
thought, this arrangement in paragraphs is evident. In
sura 50, for instance, it is arguable that a line of
thought governs the collection of the separate pieces,
running from the Prophet's dissatisfaction with his
cajoling of the wealthy, through the sublimity of the
message, which ought to commend itself but is thwarted
by man's ingratitude for religious and temporal
benefits, up to the description of the final Judgement-day.
The distinctness of the separate pieces, however, is
more obvious than their unity; and one of them, verses
24-32 bears traces of having been fitted into a context
to which it did not originally belong. In the longer
suras devoted largely to political and legal matters,
one finds, as is natural enough, that subjects vary.
Yet, while there exist considerable blocks of
legislation devoted to one subject, for example, the
rules regarding divorce in 2.228-32, it does not appear
that any subject was dealt with systematically in a
single sura or lengthy passage. On the contrary one
mostly finds that one sura contains passages dealing
with many different subjects, while the same subject is
treated in several different suras, The quran QurŸån
itself tells us that it was delivered in separate pieces
[17.106/7; 25.32/4]; but it does not tell us anything
about the length of the pieces. The traditional accounts
of 'the occasions of revelation', however, often refer
to passages consisting of a verse or two and this
favours the assumption that the pieces were short.
Examination of the quran QurŸån itself gives further
support to this assumption. Not only do many short
pieces stand alone as separate suras but the longer
suras contain short pieces which are complete in
themselves, and could be removed without serious
derangement of the context. Consideration of the
passages introduced by a formula of direct address
exemplifies this. Thus 2.178/3-179/5 deals with
retaliation; but though it comes amongst other passages
also addressed to the believers and dealing with other
subjects, it has no necessary connection with them.
Again 5.11/14 stands by itself and is clear enough, if
only we knew the event to which it refers, but if it had
been absent we should never have suspected that
something had fallen out.
The form of
these short pieces may be illustrated from 49.13; 'O ye
people, We have created you of male and female and made
you races and tribes, that ye may show mutual
recognition; verily, the most noble of you in God's eyes
is the most pious; verily God is knowing,
well-informed'. Here, following the words of address,
there is an indication of the subject that has called
for treatment, then comes a declaration regarding it,
and finally the passage is closed by a sententious
maxim. This form is found not only in passages with
direct address, but in a multitude of others. They begin
by stating the occasion; a question has been asked, the
un-believers have said or done something, something has
happened, or some situation has arisen, The matter is
dealt with shortly, in usually not more than three or
four verses; at the end comes a general statement, often
about God, which rounds off the passage. Once the reader
has caught this lilt of quranic QurŸånic style it
becomes fairly easy to split up the suras into the
separate pieces which constitute them, and this is a
great step towards the interpretation of the quran
QurŸån . It is not, of course, to be too readily assumed
that there is no connection between these separate
pieces. There may sometimes be a connection in subject
and thought, and even where this is absent there may
still be a connection in time. On the other hand, there
may be no connection in thought between contiguous
pieces, or the sura may have been built up of pieces of
different dates that have been fitted into a sort of
scheme.
2. Various
didactic forms
It is only
when the modern student has dissected the suras into the
short units of which they are constituted that he can
speak of the style of the quran QurŸån. The insistence
frequently met with on its disjointedness, its
formlessness and its excited, unpremeditated,
rhapsodical character, partly rests on a failure to
discern the natural divisions into which the suras fall,
and to take account of the numerous displacements and
undesigned breaks in connection. Since muhammad
Muøammad's function as a prophet was to convey messages
to his contemporaries, what should be looked for are
didactic rather than poetic or artistic forms. One such
form, indeed the prevailing one in later suras, has just
been mentioned. Various others may also be
distinguished.
(a) Slogans
or maxims.
The simplest
of these didactic forms is the short statement
introduced by the word 'Say'. There are about 250 of
these scattered throughout the quran QurŸån. Sometimes
they stand singly; elsewhere groups of them stand
together, though distinct from each other (for instance,
in 6.56-66); sometimes they are worked into the context
of a passage. These statements are of various kinds;
there are answers to questions, retorts to the arguments
or jeers of his opponents, and clarifications of
muhammad Muøammad's own position; there are one or two
prayers [e.g. 3.26/5f.]; there are two credal statements
for his followers to repeat, the word 'Say' being in the
plural [2.136/0; 29.46/5], and to these may be added
sura 112, though the verb is singular; finally, there
are a number of phrases suitable for repetition in
various circumstances, such as: 'God's guidance is the
guidance' [2.120/14]; 'God is my portion; on him let the
trusting set their trust' [39.38/9].
It is
evident that these were separate phrases designed for
repetition, and not originally as parts of suras or
longer passages. They were thus of the nature of slogans
or maxims devised for public use by themselves and only
later found their way into suras. Where a context is
given, as is usual in the later parts of the quran
QurŸån, one sees how the formula is revealed to deal
with some matter of concern to muhammad Muøammad or the
Muslims. muhammad Muøammad is asked about new moons
[2.189/5], about contributions [2.215/1], about what is
allowable [5.4/6], about 'windfalls' [8.1], and various
other matters; or some hostile argument or jeering
remark has come to his notice [e.g. 6.37]. The problem
or the criticism has led to general concern. muhammad
Muøammad may be presumed to have 'sought guidance', and
has then received the revelation instructing him what to
say. The statement or formula thus becomes a part of one
of the paragraphs already described as characteristic of
quranic QurŸånic style.
These
slogans or maxims are difficult to date, and it is
doubtful if any of those which appear in the quran
QurŸån are very early, though some of them may well be
so. They are so common, however, that the presumption is
that they were a constant element in the life of the
Muslim community, and that the repetition of such maxims
proved an effective way of stabilizing the attitudes and
practices associated with Islam.
The use of
assonance in these formulae might be expected; but it is
not found to any extent. Most of the formulae fall
naturally enough into the rhyme of the sura in which
they occur, but few of them rhyme within themselves.
Possible exceptions are 34.46/5 and 41.44. Though not
preceded by 'Say', the early passage 102.1-2 is not
unlike a slogan. On the whole, it would seem that the
association of rhythmic assonanced prose with the kahin
kåhin or soothsayer made it inappropriate for formulae
and maxims.
(b)
Soothsayer utterances.
The quran
QurŸån asserts that muhammad Muøammad is not a
soothsayer (kahin kåhin) [52.29] and that the
revelations are not the speech of a soothsayer [69.42];
and this is certainly true of the great bulk of the
quran QurŸån. The need for such a disclaimer, however,
suggests that there were similarities between some of
the early passages and the utterances of soothsayers.
Among the Semitic peoples there was a deep tradition
linking knowledge of the supernatural with unusual forms
of verbal expression, such as rhyme. An early example,
of this is to be seen in the pronouncements of Balaam in
the Old Testament [Numbers, 22-24]. Muslim writers give
some allegedly pre-Islamic Arabian examples, one of
which, foretelling muhammad Muøammad, may be thus
rendered in English:
Thou sawest
a light
Come forth
from night,
Then on
lowlands alight
Then all
devour in its flight.
The person
who foretold the future in this way, the soothsayer or
kahin kåhin, does not appear to have been specially
attached to any sanctuary or god, but to have had his
own special prompter, one of the jinn or spirits, who
inspired him. Such a person might be consulted on all
sorts of matters. He would be called on for
prognostications of the future, for the solution of past
mysteries, and for decisions on litigious questions. His
oracles were often cryptic, frequently garnished with
oaths to make them more impressive, and usually couched
in the saj sajÿ or rhythmic rhymed prose of which an
example has been given.
Originally,
according to the evidence of the Arabic language, there
was little difference between the soothsayer, the poet
and the madman; and thus it is not surprising that the
quran QurŸån contains denials that muhammad Muøammad was
a poet and a madman [as in 69.41 and 52.29]. The poet or
shair shåÿir was etymologically the one who is aware,
'the knower', who had insight into matters beyond the
ken of ordinary men; but by AD 600 this connotation had
been largely lost, and the poet was conceived much as he
is nowadays, though he had greater public recognition.
Since both soothsayer and poet were aided to knowledge
of the unseen by one of the jinn, they might be
described as majnun majnõn, 'affected or inspired by
jinn'; but this word even by the seventh century had
come to have its modern meaning of 'mad'.
At least
five passages in the quran QurŸån [37.1-4; 51.1-6;
77.1-7; 79.1-14; 100.1-6] are suggestive of the
utterances of soothsayers. In each there are a number of
oaths by some female beings, which form a jingle and
lead up to an assertion which does not rhyme with the
oaths. In Arabic the last of these runs:
wa adiyati
wa-l-ÿådiyåti dabhan dabøan
wa muriyyati
wa-l-mõriyyåti qadhan qadŸøan
wa mughirati
wa-l-mughærati subhan ãubøan
fa-atharna
bi-hi naqan naqÿan
fa wasatna
fa-wasaþna bi hijaman bi-hijamÿan
inna insana
l-insåna li-rabbi-hi la kanud la-kanõd
The
following verses may be part of the original assertion
or may have been added later; and this may also be the
case in sura 79. The sense of the first five verses here
is uncertain, but the passage (which is usually
interpreted of war-horses) might perhaps be rendered:
By the
runners panting,
By the
kindlers sparking,
By the
raiders early starting,
Then they
raised up a dust-cloud,
Then they
centred in a crowd-
Truly man to
his Lord is ungrateful.
In the other
passages the feminine participles are mostly taken to
refer to angelic beings, and for this suggestion some
slight support is claimed from the quran QurŸån, since
the participle of 37.1 is used of angels (but in the
masculine) in 37.165. It may be doubted, however,
whether those who first heard muhammad Muøammad recite
these passages attached any definite meaning to the
asseverations. If there was one unequivocal
interpretation, it would seem to have been forgotten by
later Muslims. Even without a definite meaning, however,
the oaths would serve to make the final assertion more
impressive; and this was doubtless in line with the
traditional methods of soothsayers.
The
utterances of the soothsayers which were rhythmic but
not in a fixed metre, and which were assonanced but not
always exactly rhymed, are said to be in saj sajÿ, which
is thus distinct from both poetry and prose. 3 The whole
of the quran QurŸån is often said to be in saj sajÿ
because of the assonances at the end of verses; but
Muslim scholars have sometimes held that the quran
QurŸån is not in saj sajÿ in the strict sense. Certainly
the great bulk of it is very different from the
utterances of the soothsayers.
(c)
Asseverative and 'when' passages.
These random
and mysterious oaths are only impressive when used
sparingly. Sura 89 begins with four clauses so cryptic
as to be unintelligible-'By the dawn, By ten nights, By
even and odd, By the night elapsing . . .'-and these are
followed by a verse [5/4] which is probably to be taken
parenthetically, and which may either suggest the
efficacy of the asseverations (as in Paret's
translation)-'is that not for a man of understanding an
(effective) oath?'-or may (with Bell's translation)
question their value-'is there in that an oath for a man
of sense?' Yet even the former interpretation must have
left men wondering. In a passage like 52.1-8, while
there is the same device of making the statement stand
out by change of assonance, the oaths, though still
difficult to interpret, seem to have had a clear sense
for the first hearers. In other asseverative passages,
of which there are not a few, 4 the oaths are chosen as
having some bearing on the statement to which they lead
up, and this statement in the same assonance makes an
effective close to the passage. The best example is
perhaps 91.1-10, where four pairs of oaths by contrasted
things (sun and moon, day and night, heaven and earth,
and what formed the soul and implanted in it its
wickedness and piety) lead up to an assertion of the
contrast between him who purifies his soul and him who
corrupts it. This asseverative style tends to be less
frequent in later revelations. Passages occur where a
single oath comes at the beginning, but in the Medinan
period oaths hardly appear at all.
A
modification of the asseverative passage is the use of a
number of temporal clauses, introduced by idha idhå
'when', or yawma 'the day when' leading up to a
statement pressing home the fact of the Judgement upon
the conscience. In 75.26-30, a death-scene is described
in the temporal clauses, but usually it is the Last Day
which is conjured up by a selection from its
awe-inspiring phenomena. In 84.1-6 the statement of the
main clause is left unrhymed, but in all the others it
has the same rhyme as the clauses which lead up to it.
The longest of these passages is 81.1-14, where twelve
idha clauses idhå-clauses lead up to the statement: 'A
soul will know what it has presented', that is, the
deeds laid to its account. The effectiveness of such a
form is even more evident in some of the shorter pieces,
and there can be no doubt that these passages impressed
the conscience of the hearers. 5
(d) Dramatic
scenes.
A homiletic
purpose of this kind is evident throughout the quran
QurŸån. The piling up of temporal clauses did not
continue, but at all stages of the quran QurŸån the
scenes of the Judgement and the future life are evoked,
not for any speculative purpose but in order to impress
the conscience and clinch an argument. Despite all the
details which the quran QurŸån gives of the future
abodes of the blessed and the damned, there is nowhere a
full description. Such a picture seems to have been
partially given [e.g. in 55, 76 and 83], but it is not
completed. On the other hand there are short
well-polished pieces depicting luscious attractions or
lurid terrors. The same applies to the descriptions of
the Judgement; evidently the interest in these scenes is
not for their own sake but for their homiletic value.
Only once or twice does the quran QurŸån describe the
theophany, and then only partially [39.67-74; 89.22-30].
In many of
these scenes of Judgement there is a dramatic quality
which is often unrecognized, but very effective. Some of
the passages are difficult to understand, because they
are designed for oral recitation, and do not indicate by
whom the various speeches are made; this was left to be
made clear by gesture or change of voice as the passage
was delivered. As examples may be cited, 50.20/19-26/5
and 37.50/48-61/59; in both of these passages we have to
use our imagination to supply the accompanying action of
the speeches, but when this is done the result is an
intensely vivid and moving picture. Such passages, if
recited with appropriate dramatic action, must have been
very telling. This dramatic quality is, in fact, a
pervading characteristic of quranic QurŸånic style.
Direct speech is apt to be 'interjected' at any point,
as the personages mentioned in the narrative express
themselves in words. In the story of Moses in sum 20,
for example, more space is occupied by the spoken words
of the actors than by narrative. Even where narrative
predominates, the story is hardly ever told in a
straightforward manner, but tends to fall into a series
of short word-pictures; the action advances incident by
incident discontinuously, and the intervening links are
left to the imagination of the hearers.
(e)
Narratives and parables.
In the
relatively few narrative passages in the quran QurŸån,
the homiletic element is again apt to intrude. The
longest narrative is the story of Joseph in sura 12, and
there every now and then the account of events is
interrupted by a parenthesis to make clear the purpose
of God in what happened. Another of the didactic forms
of the quran QurŸån, the parable or mathal, 6 tends to
be dominated by the homiletic element. The best of these
parables is that of the Blighted Garden in sura 68. The
parable of the Two Owners of Gardens is less clear and
more didactic [18.32/1-44/2]. Others are little more
than expanded similes: 14.24/9-27/32; 16.75/7f.;
i8.45/3f.; 30.28/7; 39.29/30. That of the Unbelieving
Town is difficult to classify; [36.13/12-29/8] it is
perhaps a simile expanded into a story.
(f) Similes.
The quran
QurŸån contains numerous similes. These occur in all
contexts. In descriptions of the Last Day, when the
heavens are rolled up like a scroll [21.104], when the
people are like moths blown about, and the mountains
like carded wool [101.4/3, 5/4], the similes sometimes
belong to the same traditional framework as the rest of
the material; but there is also much that is fresh and
original in the quran QurŸån by way of vivid and even
grimly humorous comparisons. Jews who have the Torah but
do not profit by it are compared to an ass loaded with
books [62.5]. Some who in the early days in Medina made
advances to muhammad Muøammad and then drew back are
likened to those who have lit a fire which has then gone
out and left them in the darkness more bewildered than
ever [2.17/16; cf. 19/18f.]. Polytheists who serve other
gods besides God are like the spider weaving its own
frail house [29.41/0]. The works of unbelievers, from
which they hope to benefit at the Judgement, are like
ashes blown away by the wind [14.18/21], or like a
mirage which appears to be water, but, when one comes to
it, turns out to be nothing [24.39]. People who pray to
gods other than God are like a man who stretches out his
hand to raise water to his mouth, but no water reaches
it [13.14/15]. The prayer of the unbelieving Quraysh of
Mecca at the kaba kaaba Kaÿba is only whistling and
clapping of hands [8.35]. Lukewarm supporters, asked for
their opinion and getting up to speak, no doubt
hesitatingly, are compared to logs of wood propped up
[63.4]. Other comparisons will be found in 2.171/66,
261/3, 264/6, 265/7; 3.117/3; 7.176/5; 10.24/5; 57.19;
74.50/1. Many of these reflect the Arab's experience of
life in the desert in a way reminiscent of pre-Islamic
poetry. Where a simile is expanded into an allegory or
parable, it tends to be further removed from actual
experience [as in 30.28/7 and 39.29/30].
(g)
Metaphors.
Metaphors
are even more frequent than similes. A modern Arab
scholar 7 has collected over four hundred metaphorical
uses of words. Many of these, however, were, no doubt,
already so common in ordinary speech as to be no longer
felt as metaphorical. It is not easy to say how far the
quran QurŸån added new metaphors to the language. The
number of commercial terms transferred to the religious
sphere is noteworthy and examples have been given above
(p. 4). From bedouin life come the designation of the
delights of Paradise as nuzul, 'reception-feast', and
the application of the verb dalla ðalla, 'to go astray',
to those who follow false gods. The use of metaphors
from bodily functions to describe spiritual matters is
almost unavoidable; thus unbelievers are deaf, unable to
hear, blind, unable to see; they cannot discern the
truth; they have veils over their hearts, heaviness in
their ears; they are in darkness. The revelation is
guidance and light, and the task of a messenger is to
lead people out of the darkness into the light. Doubtful
supporters among the people of Medina are said to have
disease in their hearts; after their conduct at uhud
Uøud they are dubbed munafiqin munåfiqæn, 'jinkers',
'those who dodge back into their holes like mice'. 8
quran
3. The
language of the QurŸån
The quran
QurŸån itself asserts that the revelation is in 'a clear
Arabic tongue' [16.103/5; 26.195], and from this
assertion later Muslim scholars developed the view that
the language of the quran QurŸån was the purest variety
of Arabic. Such a view, of course, is a theological
dogma rather than a linguistic theory; and modern
scholarship tends to leave it aside and to study at a
purely linguistic level the relation of the language of
the quran QurŸån to contemporary varieties of Arabic.
It is now
generally accepted even by critical scholars that at
least some of the so-called pre-Islamic poetry was
genuinely composed before the time of muhammad Muøammad;
and it is further agreed that the language of this
poetry is not the dialect of any tribe or tribes, but is
an artificial literary language, usually called 'the
poetical koine koin¯e', which was understood by all the
tribes. Traditional Muslim scholars, influenced by their
theological dogma, tended to assume that, since muhammad
Muøammad and his first followers belonged to the tribe
of Quraysh in Mecca, they must have recited the quran
QurŸån according to the dialect of Quraysh; and the
scholars further assumed that this was identical with
the language of the poetry. On the other hand, Muslim
scholars preserved a certain amount of information about
the dialects of the Arabian tribes in the time of
muhammad Muøammad, and this information tends to refute
the belief that the dialect of Quraysh was identical
with the language of poetry.
European
scholars paid some attention to the language of the
quran QurŸån during the nineteenth century, but the most
vigorous discussions have followed on the publication of
a novel theory by Karl Vollers in 1906. 9 Vollers held
that the dialect of Mecca differed considerably both
from the 'eastern' dialects used in Nejd and elsewhere,
and from the poetical koine koin¯e; and he argued that
the present form of the quran QurŸån with its
peculiarities of orthography had come about through
scholars assimilating the Meccan dialect in which it was
originally recited to the poetical language. In this
process of assimilation many dialectical forms were
removed, though some are still recorded as variants in
the standard 'readings' or from uthmanic pre-ÿUthmånic
codices. Vollers' theory received some support at a
later date from Paul Kahle, 10 but on the whole was not
accepted by scholars. Nöldeke, 11 followed by Becker 12
and Schwally, 13 argued that the language of the quran
QurŸån could not be identified with any form of Arabic
that was ever actually spoken. For these scholars the
quran QurŸån was written essentially in the poetical
koine koin¯¯¯e. More recently the hypothesis of Vollers
has been criticized by Régis Blachère 14 and Chaim
Rabin. 15 The former holds that Vollers exaggerated the
differences between the 'eastern' and 'western'
dialects, and that the differences between quranic
QurŸånic forms and those of the poetry are not always
what Vollers' theory would lead one to expect. Among
other arguments Rabin urges that, if the quran QurŸån
had originally been revealed in the spoken Arabic of
Mecca, it is difficult to see how after a century or two
the bedouin poetic language could have become the
authoritative form of Arabic. He quotes with approval
the suggestion of Johann Fück 16 that in the quranic
QurŸånic phrase 'a clear Arabic tongue' the word
'Arabic' (arabi ÿarabæ) refers to the arabiyya ÿArabiyya
or literary language of the arab ÿarab or bedouin. The
final conclusion appears to be that the language of the
quran QurŸån falls somewhere between the poetical koine
and the Meccan dialect. The omission of the hamza or
glottal stop, which is mentioned as a peculiarity of
Meccan speech, has affected the orthography of the quran
QurŸån. Perhaps one might say that the quran QurŸån was
in a Meccan variant of the literary language.
The dogma
that the quran QurŸån was written in pure Arabic also
made Muslim scholars unwilling to admit that any of the
vocabulary of the quran QurŸån had been borrowed from
other languages. Reluctantly, however, in course of time
they recognized that a number of words in the quran
QurŸån were not derived from Arabic roots; but their
knowledge of other languages was slight and they often
failed to elucidate the origin of these words. The view
of later Muslim scholars is represented by suyuti as-Suyõþæ
(d. 1505) and abd ar rahman ÿAbd-ar-Raømån ath thaalibi
ath-Thaÿålibæ (d. 1468) 17 who very reasonably held that
as a result of the Arabs' foreign contacts various
non-Arabic words had been incorporated into Arabic, but
that, since these words had been arabicized, it was
still true that the quran QurŸån was in 'a clear Arabic
tongue'. Modern scholarship has devoted much attention
to the foreign words in quranic QurŸånic Arabic. The
wider knowledge now possessed of the languages and
dialects used in pre-Islamic times in the countries
surrounding Arabia has made it possible to trace the
provenance of most of these words with a degree of
accuracy.
The most
convenient and accessible treatment of the question for
English readers is Arthur Jeffery's work on The Foreign
Vocabulary of the quran QurŸån. 18 After an
'introduction' of some forty pages describing the
attempts of Muslim scholars to deal with the question,
he lists about 275 words, other than proper names, which
have been regarded as foreign, discusses the views of
modern scholars about their origin, and either sums up
the previous discussion or gives fresh suggestions of
his own. About three-quarters of the words in this list
can be shown to have been in use in Arabic before the
time of muhammad Muøammad, and many had become regular
Arabic words. To this extent the view of suyuti as-Suyõþæ
is confirmed. Of the remaining 70 or so, though there is
no written evidence of their earlier use, it may well be
true that they were already employed in speech; but no
record has come down to us prior to the quran QurŸån of
the form or special meaning. About half of the 70 come
from Christian languages, chiefly Syriac, but a few from
Ethiopic; some 25 come from Hebrew or Jewish Aramaic;
the remainder, mostly of slight religious importance,
come from Persian, Greek or unknown sources. While this
result is roughly correct, there may be variations in
detail, since, when there are similar forms in a number
of Semitic languages, it may be difficult to say which
is the source from which Arabic borrowed. |