The Composition of Mutanabbi's Panegyrics to Sayf Al-Dawla (Studies in Arabic Literature, Vol 14) 9004093664, 9789004093669

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THE COMPOSITION OF MUTANABBI'S PANEGYRICS TO SAYF AL-DAWLA

STUDIES IN ARABIC LITERATURE SUPPLEMENTS TO THE JOURNAL OF ARABIC LITERATURE EDITED BY M.M. BADAWI, University of Oxford P. CACHIA, Columbia University, New York M.C. LYONS, University of Cambridge J.N. MATTOCK, University of Glasgow J.E. MONTGOMERY, University of Glasgow R.C. OSTLE, University of Oxford VOLUME XIV

THE COMPOSITION OF MUTANABBI'S PANEGYRICS TO SAYF AL-DAWLA BY

ANDRAS HAMORI

E.J.

BRILL

LEIDEN • NEW YORK • K0BENHAVN • KOLN 1992

The author is grateful to the Department of Near Eastern Studies at Princeton University for its generous subvention of this publication.

Library of Congress Cataloging-in-Publication Data Hamori, Andras, 1940The composition of Mutanabbi's panegyrics to Sayf al-Dawla / by Andras Hamori. p. cm.-(Studies in Arabic literature, ISSN 0169-9903; v. 14) Includes bibliographical references and index. ISBN 90-04-09366-4 (cloth) 1. Mutanabbi, Abu al-Tayyib AQ.mad ibn al-l;Iusayn, 915 or 16-965Criticism and interpretation. 2. Sayf al-Dawlah al-l;Iamdiini, CAli ibn cAbd Allah, 915 or 16-967, in fiction, drama, poetry, etc. 1. Title. II. Series. PJ7750.M8Z59 1991 892'.7134-dc20 90-25142 CIP

ISSN 0169-9903 ISBN 90 04 09366 4

© Copyright 1992 by E. J. Brill, Leiden, The Netherlands All rights reserved. No part of this book may be reproduced or translated in any form, by print, photoprint, microfilm, microfiche or atry other means without written permission from the publisher Authorization to photocopy items for internal or personal use is granted by E. J. Brill provided that the appropriate fees are paid directly to Copyright Clearance Center, 27 Congress Street, SALEM MA 01970, USA. Fees are subject to change. PRINTED IN THE NETHERLANDS

TABLE OF CONTENTS Introduction and Acknowledgements...................

Vll

Chapter One: Endings .............................. . A. Invocations, optatives, etc. B. Gnomic statements C. Conditionals D. An expanded sample Chapter Two: Getting to the chronicle . . . . . . . . . . . . . . . . A. Simple summaries B. Extended summaries C. Bridges to the theme D. Other cases

6

Chapter Three: Cadence............................. A. Cadence before the onset of the chronicle B. Cadence before "poet, prince and rivals" C. Cadence before hija' D. Cadence before less rigorously defined seams Excursus: The placement of isocola

19

Chapter Four: From chronicle to closure. . . . . . . . . . . . . . . A. Disengagement from the particular B. Crescendo motifs in the coda C. The particular against the expanded background

35

Chapter Five: Local structures in poems without events. . A. Text Four B. Text Three

51

Chapter Six:

A note on Text Eight. . . . . . .. .. . . . . . . . . . .

64

Chapter Seven: A glance at the earlier and later work. . . A. Before Aleppo B. After Aleppo

71

Chapter Eight:

A predecessor . . . . . . . . . . . . . . . . . . . . . . . . .

76

Appendix One:

Some diagrams . . . . . . . . . . . . . . . . . . . . . . .

82

VI

TABLE OF CONTENTS

Appendix Two: Cadential occurrences of conditional sentences beginning with in, idha, and law. . . . . . . . . . . . .

85

Appendix Three:

The texts . . . . . . . . . . . . . . . . . . . . . . . . . . .

86

Bibliography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

126

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

128

INTRODUCTION The purpose of this study is to identify and describe recurrent patterns of composition in the twenty two major panegyrics Mutanabbi wrote to Sayf al-Dawla during his stay at the I;Iamdanid court in Aleppo between 337/948 and 345/956. 1 Except for a brief discussion of Mutanabbi's earlier and later work and another, equally brief, of possible archaic precedents, no attempt is made to answer broader questions of historical poetics. Did other poets follow similar practices? Did the audience react knowingly to paradigm and deviation? I hope to have contributed to the digging and sorting that must precede the answers. Some of MutanabbI's techniques of organizing a text are mentioned by the medieval Arab rhetoricians, notably his use of gnomic statements "to complete segments" as I;Iazim al-Qartajanni puts it. 2 Many other techniques were not written about, perhaps because they were idiosyncratic, perhaps because they were not accessible to the rhetoricians' prescriptive approach. I used primarily the edition by Na~If and Ibrahim al-Yaziji (whose chief source, as Blachere points out,3 appears to have been mss. ofWal,1idI's commentary) and Dieterici's edition ofWal,1idi In the notes these are at times abbreviated as Y and W. The translations follow YazijI except where noted. The differences between these editions are, in the sayffyiit, almost exclusively lexical, and are mentioned only where they affect the argument. The pertinent sections of the poems in the sample (as well as a few other illustrations) are printed in Appendix Three. In the text I refer to the sayffyiit by number. (For the numbering see p. 86.) I am grateful to the National Endowment for the Humanities for their generous support in 1983-1984 when the groundwork for this book was laid. I thank Professor Sasson Somekh for the opportunity to present a version of Chapter VI as the Irene Halmos lecture in 1985, and Professors M. J. Kister and Sh. Shaked for their 1 By major I mean in length: over 25 verses. I excluded poems occasioned by various deaths, as well as the Citab beginning wa-4aTTa qalbahu ... saqamu. The poems written before 337 (dhikaru Niba . . . 4imami) and after 345 (ma lana . .. almatbiilu andfahimtu l-kitaba . . .al-Carab) are not part of the sample. 2 Minhaj al-bulaghii,o 300-301. I am grateful to Professor Wolfhart Heinrichs who, several years ago, first drew my attention to I:Iazim's discussion of the matter. The passage is discussed by van Gelder, Beyond the Line 178-83. 3 Un poete arabe 303.

Vlll

INTRODUCTION

invitation to the "From Jahiliyya to Islam" conference in 1987, for which I wrote the original version of Chapter VIII. My thanks go also to Professor David Armstrong for having drawn my attention to Elroy Bundy's Studia Pindarica, a heartening influence in the early stages of work. I gratefully acknowledge the help of Mr. Kenji Go whose careful reading enabled me to correct a number of my errors and obscurities, and of Ms. Nancy Luck whose cheerful willingness to type version after version enabled me to see what I was doing. In the course of writing, as I was attempting to put readerly intuitions, some sound, some illusory, to the proof of philological common sense, I at times felt that, whatever the degree of success, the undertaking had, for a literary study, a certain pleasing air of reality about it. The hope that this much, at any rate, was not illusory gives me now, after many years, the courage to offer the result as a token of gratitude and affection to my teacher, Thomas O. Lambdin.

CHAPTER ONE

ENDINGS I start with the clausula-the concluding verse or, in a few cases of syntactic dependency, verses-because it is most readily amenable to formal description, and because the types of utterance common in the clausula will also figure in demarcations of text attempted in subsequent chapters. There are medieval observations on the subject. Abii HiUil al-cAskar'i approves of ending a poem with a gnomic verse (mathal or 4ikma) or a "fine simile," tashb'th mal't4. 1 The invocation of divine blessings on the patron (duc(io) was a natural exclamation mark on which to end a panegyric; so natural that Ibn Rashlq considers it evidence of poverty of invention-except in the praise of kings.2 Such clausulas are well represented in our texts. 3

A. Invocations, optatives, etc. Three poems in the sample (nos. 3, 5, and 10) end with optatives (in l(i followed by a perfect verb). E.g., Text 3: May you never lead them in attack except to victory; may they never bring you to anything but your hopes! I would also include under this heading the evident transform "Why will the Merciful not preserve your double edge for ever? ... " (no. 16).

B. Gnomic statements Gnomai properly speaking are judgments of universal application, independent of time and individuals. Such judgments conclude for example Text 11: Evident superiority of merit does not assure victory over the enemy unless it is the superiority of a man for whom a happy fortune and success have been decreed by God. K. al-$inaCatayn 464-65. cUmda I, 241. 3 For a discussion of examples in other texts, cf. Scheindlin, Form and Structure 110-32. 1

2

2

CHAPTER ONE

or Text 20: Everyone who goes forth to accomplish his ambition wishes he were a roaring lion. A metaphoric gnome and its explication occupy the last two verses of Text 2: For this world is falser than a whore, more treacherous than a hunter's snare: For love of it men destroy each other, and gain no profit. This gnomic couplet is preceded by an optative (fa-hanna'aka n-na~ra muC{zkahu . .. ); thus the last three lines may be regarded as a compound clausula. The gnomic conclusion also occupies a two-verse sentence in Text 12. Often, of course, properly gnomic form accommodates implied reference to the patron. In some cases where the logical structure of the statement is characteristic of gnomic utterances (with such expressions as "all," "not all," etc.) the implication may be that of a contrast between the patron and the generality of mankind. So in Text 7: All sorts of men carry weapons; but not all who have claws are lions. At times the gnomic form becomes little more than a rhetorical shell. Thus in Text I, the word sword is evidently a pun on the patron's name: Sayf al-Dawla, Sword of the Dynasty. The clausula still has a gnomic air (cf. ma kulla marrah taslamu l-jarrah, "Not every time does the jug come back in one piece") but the reference to an individual enters through the pun: Not every sword has both an edge for severing heads and noble virtues for hewing down the calamities of Time. Just as a statement of some particular may be followed by a gnomic generalization (e.g., 7:46-48), a poem may end with a gnome followed by its specific application (a pattern often seen at beginnings). So in Text 4: Time puts the bitter before the sweet; in crossing that stretch, the terrors of Time must be faced. Therefore has CAli crossed it alone and with his sword attained his hopes. All in all, gnomic statements or statements formally structured like gnomai conclude nine texts (1, 2, 4, 7, 8, II, 12, 19, 20).

ENDINGS

3

C. Conditionals Nine texts of the sample are as yet unaccounted for. Five of these form a distinct class in which the clausula is based on the conditional sentence. 4 (It is not always in logic a conditional sentence, just as in the previous category gnomic form did not always retain gnomic content.) This is a type of clausula not, to my knowledge, mentioned in the rhetoric books. 5 Gnomai are of course often cast in conditional sentences (e.g., the first example under B. above, rna yan~uru ... idhii lam yakun ... ). In this section I shall deal only with conditional sentences that make explicit reference to specific persons and thus cannot be considered gnomic. The relationship between gnomic and conditional sentences is evident, however: an if/then sentence may have an open endedness that will approximate it to universal judgment. E.g., Text 13: If a man asks his days for wealth, and you are far from him, they point to where you are and thus make him a promise.

The clausula of Text 21 consists of two conditional sentences: Whenever I see you my eye is thrown into confusion; so, whenever I praise you, is my tongue.

The basic structure of the conditional-"it is not the case that (p obtains and q does not) "-lends itself to a variety of syntactic expressions. In Text 6, hyperbole deforms a statement towards logically simple form, with rna/illa: There is no death but men fear its coming on your spearpoints: no sustenance but your right hand allots it.

"Whoever does A, does (should do, suffers) B"-an obvious subtype-concludes Text 14: Whoever fails to learn humility towards you of his own accord learns it from the sword.

I t seems reasonable to class under this heading the conclusion of All types: if, whoever, unless, etc. Scheindlin has found that syntactically bipartite verses (and chiefly those in which the syntactic break coincides with the hemistich break) predominate as closing verses in MuCtamid ibn cAbbad's poetry (Form and Structure 112 and 141). He argues convincingly that the sense of an internal resolution recommends such verses in closure. Conditional sentences have this quality, and it no doubt plays a role in their use as clausulas or, as we shall see, breathing places within the poem. 4

5

4

CHAPTER ONE

Text 9, which is not logically a conditional, but follows conditional syntax by a peculiarity of Arabic idiom. Literally: Whoever [else] rules so as to please baseness and unbelief-this is the man who pleases virtue and the Lord. Two poems (15 and 22) end with commands, a category noted, and subjoined to optatives by Scheindlin. 6 Of these, 15 has a conditional sentence in the first hemistich: Whoever would pursue his enemies, let him bear himself thus, and let the pursuit be like your march through the night! Perhaps it is significant that the conclusion of 22, not formally a conditional sentence, is in sense equivalent to one. In "Do not search [further] after you have seen him," there is no assumption of fact; it is an if/then case. Conditional sentences also enter into compound clausulas. Text 5, for example, ends with a conditional sentence followed by an optative (Iii + perfect); in Text 11 conditionals form the last two verses. Two poems of the sample (17 and 18) have clausulas that do not fall under any of the headings already discussed. The hyperboles that end these poems are cast in the form of narrative statements, but they are (as all but the dullest hyperbole must be) metaphorical. Whether they are striking metaphors (and may perhaps be associated with Abu Hiliil's tashbth mafi~ clausula) is a question for a different kind of study. D. An expanded sample The dominance in the clausula of gnomic and conditional sentences remains, but the proportions shift, if we add to the sample the two poems written to Sayf al-Dawla after the Aleppo period, and the poems written in praise ofKiifiir. None of these poems have gnomic endings. Conditionals appear in the last verse (or hemistich) in six texts. Two more end with sentences in which wa-in, "even if," exhibits a syntactic-although not logical-kinship with the conditional sentence. Further study may strengthen the suggestion that the high incidence in the clausula of sentences with the logical structure of conditionals pushes for the admissibility there of conjunctions parading as conditionals, such as these "even ifs", or the idiomatic "whoever" in Text 9 discussed above. Of the remain-

6

Form and Structure 113.

ENDINGS

5

ing texts, one ends with a comparison, one with a metaphoragain, perhaps these fall into Abii Hiliil's tashb'th mali4 category. One text does not conform to any of our types. In Aleppo, Mutanabbi admired his patron. In Egypt he praised a man he despised. Whether the abandonment of gnomic endings had anything to do with this is an interesting question.

CHAPTER TWO

GETTING TO THE CHRONICLE In this section I shall deal with those poems in the sample that contain narratives of particular military campaigns. In some of these poems the narrative consists of wholly conventional set-pieces, with place names furnishing the only determination: a mighty army sets out; horsemen clash, wrapped in the dust of battle; the dead lie in their blood on the field. Other poems have a degree of vivid historical or topographic detail. The essential common denominator is that a part of the poem is cast in chronicle form, purporting to describe particular events in chronological order. This chronological order is clear even when various excursuses interrupt the chronicle, as in Text 2, where march, battle, and the hero's appearance on the field are first followed by a passage of satire aimed at the enemy, then by two lines about the relations between the prince and the Caliph, and only then by the conclusion of the campaign: "you left their skulls ... " and "you returned to Aleppo." In Text 2, the first sayflya with a narrative, the poet moves from naszb to chronicle in the following lines: 9 10 II 12 13 14 15

And if I were a captive of something other than love, I would offer surety as Abu Wiioil did. He pledged a ransom of pure gold but gave the points of pliant lances; He made them hope for horses led alongside, but the horses came bearing nothing but warlike men. The freeing of Abu Wiioil is like the return of the moon after it has been hidden. He called and you heard-and how many there are, silenced by distance, who are as good as heard when they call to youAnd you answered his call in person, with an army that was his pledge and surety. They set forth in a cloud of dust ...

The takhallu~ does not lead from the naszb directly to the chronicle, but rather to a kind of summary of the crucial event. The summary relies in part on statements (in vss. 10-11) of the form at first PI but then q (TJ/T2 for short), which lends itself to the purpose. When we

7

GETTING TO THE CHRONICLE

have been told how the matter turned out in the end, the speaker moves back in time and with "He called" begins the narrative in chronological order. The message-and-response theme is not used elsewhere in our sample,l but the use of a summary is very frequent. So is the use of Tl/T2 statements in the summary, along with the characteristic backtracking in time from the disclosed outcome to the beginning of the story. Very frequently a verb (mostly a verb of motion) in the perfect tense, starting a new syntactic unit, stands at the head of the first line of the chronicle. (In Text 2, kharajna, after the message-and-response verses, is reminiscent of this). In some cases a brief allusion to a master-theme of the chronicle suffices in place of summary. The following morphological scheme-with boxes occasionally skipped-could generate the structure of most of our sub-sample:

I--r=-----,

summary '-------'

verb at head of line

--l

chronicle

I

Of course, a linear flow-chart of these features is at times inapplicable. In particular, general praise (i.e. praise without reference to the event at hand) is often interfused with other features. I have no comments to make on the opening naslb or gnomic passage or on the general praise that normally follows it, and will therefore turn now to the summary. A. Simple summaries Text 13 opens with a gnomic statement and its application to the patron, and continues with general praise. Vs. 10 concludes this part. Vs. 11 is a one-line summary, with the first reference to the specific event and its outcome for the participants. Vs. 12, with a verb of motion in the past tense at its head, backs up in time and launches the chronicle. 10

... One who reaches with his cavalry places difficult of access; who, if the sun's rays were water, would lead his horse to drink from them.

I For precedents, cf. the poems by Nabigha Dhubyani discussed on pp. 77-78 below. For "he called ... and you answered" cf. also WKAS under labba.

8

CHAPTER TWO

11

Therefore, the son of the Domesticus called his day of battle death, while the Domesticus [who escaped, abandoning his son] called it birth. 12 You marched (sarayta) in three nights from Amid to the Jayl).iin ... A convenient "therefore" simply attaches the summary-line to the end of the general praise. (The cadential aspect of vs. 10 will be discussed below.) In Text 15, summary, backtracking in time, and the verbal onset of the chronicle are all present, but the chronicle is reached much sooner. The opening verse of the poem is general praise, but already the second verse names the antagonists and reports their defeat. In the third verse we hear, in a nutshell, of the salient event: the flight of Kiliib, as the prince pursued them to their desert camp. The fourth line, beginning with talabtahumii ("you pursued them," a verb of motion in this sense) moves back in time and starts the chronicle. 2 The onset of the chronicle is thus clearly bounded. Rather as in the previous example, the summarizing statements are given an air of logically flowing from the general praise. It is clear that we move from a small region of general praise through a small region of summary to the chronicle; we do not have to aim at utterly unambiguous segmentation and decide whether the summary begins at the head or the middle of vs. 2: With other shepherds, not you, have the wolves trifled; other blades, not you, have the blows blunted. 2 You hold in your possession the souls of men and jinn. How would Kiliib hold on to theirs? 3 They did not flee from you [lit., forsake you] out of rebellion, but one shrinks from going to water when death is the drink. 4 You pursued them all the way to their watering places (calii l-amwiihi) ...

It is worth noting that the poet both parts and connects summary and chronicle. The gnomic ending of vs. 3 is cadential (we have seen that already I:Iiizim al-Qartiijannl notes that Mutanabbi likes to end his Ju.)'iil with ~ikam, and see also Chapter III); therefore it stresses the separation. But wird, shariib, and amwiih work for the contrary effect, tying the gnome in 3b to the opening of the chronological narrative. Text 7 deals with a defeat suffered by Sayf al-Dawla. The poet's strategy for approaching this ticklish subject is to chronicle first that

2

For the temporal order,

cf.

Wal}.idi, harabii lammii {alabahum (to vs. 3).

GETTING TO THE CHRONICLE

9

part of the campaign that went well, and to treat the rest, in the form of hijao, as a test that separated the true metal from the base, insuring that in the future no inferior fighters will endanger the prince's cause. The text opens with a gnomic meditation on pretended and true valor, the theme that frames the poem. It runs through vs. 6 and leads without a breathing space into the summary: 5

Shall I cast glory off my shoulder while seeking it? Shall I leave the rain of plenty in my scabbard, while seeking the land where it falls, 6 Seeing that the Mashrafi sword-may it ever be honored-is the remedy for every noble man or else his bane 7 And the knight of the cavalry is he who steadies it when it grows unsteady in the narrow defile (darb) as blood spurts at the flanks (fl aC{afiha, with Wiil;1idl), 8 He who, when abandoned, had no fear in his heart, who, when they vexed him, was without a base word. 9 All lords protect themselves with their armies; the army protects itself with the son of Abu I-Hayjii o• 10 He led the squadrons ...

The salient detail of the story-Sayf's stand when others fledis summarized in vss. 7-8, with the semi-gnomic vs. 9 (the hero contrasted with the norm) as cadence. Note that while the takhallu.f here concludes the summary, elsewhere it may introduce it. In vss. 6 and 7, the analogous structure of the successive nominal sentences ("the Mashrafi sword is the remedy ... ," "the knight of the cavalry is he who ... ") for a moment delays recognition of the move from gnomic meditation to summary. Often in takhallu.f (cf. Text 2, vs. 9) but just as often elsewhere, such delayed recognition is a prized effect. By contrast, the chronicle has a distinct, strong onset after the cadential vs. 9, with qada, the familiar verb of motion in the perfect tense at the head of the line. Text 18 is again the story of a campaign against rebellious tribes. There is a curious sort of naszb that leads into a short gnomic meditation. The summary is launched quite abruptly in vs. 13, without anything like the quasi-logical or formal welding we have seen: Whose counsel led CUqayl to ruin? ...

Unlike most other texts, this poem does not have a passage of general praise before the summary. Probably as a result, the principal themes of general praise-valor (or might) and

lO

CHAPTER TWO

generosity-are brought (several times in TJ/T2 statements) into the summary. E.g.: 14 18 19

They meant to do to CAll what mankind cannot do ... When he had poured out the copious rain that they were ungrateful for, he poured out a different one, borne in clouds with lightning of a different sort. Deprivation at the hands of one who has always sent you away empty-handed does not hurt as much as at the hands of your sustainer.

This gnomic capping of the summary is followed by the verb of motion: "he led his cavalry against them," atiihum hiM. B. Extended summaries Text 16 starts with gnomically introduced general praise. Vss. 7-15 bring an extended summary with gradual introduction (but in no chronological order) of the particulars: al-I:fadath where the battle took place, its past vicissitudes, and the Rum and Rus who came to destroy it and failed. T J IT 2 statements form lines 8, lO, 11, and IS. With atawka, "they came against you ... ," vs. 16 starts with the characteristic initial verb of motion in the perfect, and launches the passage governed by chronological order. I quote from the end of the introductory general praise to the onset of the chronicle: 5 6 7 8 9

The longest lived birds offer themselves as ransom for his weapons, the desert vultures, the fledglings and the very old among them. Having been created without claws does not harm them, his swords and their hilts having been created. 3 Does al-J:Iadath the red know its color? Does it know which of the two rains was shed by the clouds? The white clouds rained upon it before he had come, and when he had drawn near it, it was watered by skulls. He built it, and raised it high 4 as spear was striking on spear, as the waves of death were clashing about it.

3 Here Wai;Iidl's first interpretation seems correct. He allows a second, which is followed by YaziJl: "Had they been created ... it would not harm them ... " But vultures, unlike eagles, have no powerful talons at any age as is soundly noted by Jawharl (cf. Tiij al-cArus, under nasr). The matter is discussed in D. Latham, "Towards a better understanding of al-Mutanabbl's poem on the battle of al-f.ladath," JAL X (1979) 11-12. I am grateful to Dr. Hannah Suthers for an orni thological consultation. 4 AI-f.ladath had been taken and burned by the Byzantines six years earlier. Sayf al-Dawla began repairs shortly before this battle, and completed them soon after it. For the details, see Blachere, Un poete arabe 176.

GETTING TO THE CHRONICLE

11

10

There had been a kind of demonic possession in it, and it came to be strung with amulets made of the bodies of the slain. 11 Mutability (dahr) had driven it off as its plunder, and you with your lance brought it back to the Faith, in spite of dahr. 12 You compel the passing nights to relinquish what you seize; they, if they seize something from you, must repay it. 13 If what you intend is a verb in the imperfect, it becomes past before an "if" or a "don't" or a "did not" could affect it. 14 How can the Rum and the Rus ever hope to destroy it, seeing that these thrusts of the spear serve as its foundation and pillars, 15 Seeing that they had called it to judgement, with the maniiyii for judges, and the wronged one did not die, but those who had done wrong did not live? 16 They came against you ...

The organization of this extended summary deserves attention. The sequence of T1/T z statements is not dictated by chronology: they repeat much the same message while giving us the essential particulars (the place, the nature of the war, the enemy). Nevertheless there is design. Firstly, after each of the two interrogative particles and the accompanying proper names (vss. 7 and 14) a kind of crescendo effect orders the statements. The verses following hali 1-4adathu move from human conflict through the warding off of demonic possession to the prince's victorious struggle against the cosmic arch-enemy, Dahr, on behalf of Dzn. (Vss. 12-13 are an amplification, a kind of rider to the theme of this struggle against Time and Mutability.) The verses following wa-kayfa turajji r-rumu move from human conflict to the image of personified death, the maniiyii as judges. Secondly, in several poems (as in this one) the chronicle of victory is followed by a passage of hijii J • The two sections of the summary (hal . .. and wa-kayfa . .. ) seem to compose a miniature version of such a sequence. At first the paean rises to tarzdatu dahrin, etc. Then (with a very different kind of inflection): "How could the Byzantines ever hope to ... " Thus in this summary the varied reiteration of the Tl/T2 statements typical of summaries is counterpointed by the directionality of the crescendos and of the miniature mad4/hijii J sequence. Text 20 too deals with al-I:Iadath. In the year after the Muslim victory celebrated in calii qadri ahli l-cazmi, a Byzantine contingent attempted to lay siege to the fort.5 Sayf al-Dawla set forth from Aleppo the day after he got word of this, and spent the night at Racban, at some three quarters of the distance to al-I:Iadath.

5

For a precis of these events, see M. Canard, Say] al Daula 112-14.

12

CHAPTER TWO

Here no further news could be had, for the Byzantines had blockaded the roads. Without hesitation, Sayf al-Dawla rode out at dawn towards al-l;Iadath, and in its vicinity scouts reported that on his approach the Byzantines had fled. The following is roughly the first half of the poem Mutanabbi wrote in honor of this event:

2 3 4 5 6 7 8 g 10 II 12 13 14

These are the deeds of glory-let those who would aim high ascend to glory thus, or not at all! Honor whose horns (rawq) thrust at the stars, majesty to make the mountains quiver! Our enemies are mighty; Sayf al-Dawla the son of swords is mightier yet. Whenever they try to outstrip his spies, his horses outstriR them 6 And come upon them traversing the land, carrying nothing but steel and champions, Their colors hidden because their dust has woven veils and horse cloths for them. The chests of horses and the tall spears have pledged him allegiance; they vowed to plunge into the horrors of war, shielding him, And to go where spear cannot be poised and horse cannot run. I do not blame Ibn Liiwun/ the king of the Rum, even though he wished for the impossible. He was troubled by a building right between his ears-and by a builder who aimed at the heavens and reached them. Whenever he wants to take it off the building grows larger, and covers his forehead and the back of his head. He gathers Byzantines, Slavs and Bulgars against it-and you gather [ their] fated deaths, And bring those fates to them upon the tawny spears, as thirsty men go to a tract watered by rain. 8 They meant to raze its walls and caused them to be built up; they came to curtail it and it grew lofty.

6 Yazij'! II, 243: "Whenever they try to mount a surprise attack on al-l;Iadath and want to reach it before the spy reaches Sayf al-Dawla, he marches against them and is the first to arrive there." The interpretation is pre-modern, cf. cUkbari III, 135. Ibn Jinn! understood the verse differently: "Whenever their spy is on his way back to them, they run away before he arrives; then Sayf al-Dawla's horses catch up with them, outstripping them, as they had outstripped their own spy." As Ibn Fiirraja's objection (Ioc. cit., also Wal;1id! 583) shows, this interpretation is not grammatically easy either, and Yazij'i's fits the circumstances better. However, if Ibn Jinn! was right, my belief that vs. 4 anticipates vs. 18 is mistaken. 7 The Emperor Constantine Porphyrogenitus, son of Leo VI. Canard, Sayf al

Daula 113. 8

The tertium comparationis according to Yaziji is speed.

GETTING TO THE CHRONICLE

13

15

They brought siege engines9 and ended by leaving them there to be used to their own grief. 16 Many a time has it happened to you that you could praise the deed though not the doer. 17 Many is the bow from which you have been shot at and whose shafts returned from you into the shooters' hearts. 18 They seized the roads to cut off the messengers, but their being cut off proved a sending forth. 19 They were like a surging sea, but before your sea it turned into a mirage. 20 They did not go away without having fought you: it was fight [= previous fights] that spared you a fight, 21 And your two-handed blows that had severed necks now cut off [their] hopes, 22 And the firm stand which they had made before this taught those who would stand firm to turn and run. 23 They came to killing fields they were familiar with ... Since there was no engagement, Mutanabbi's plan is to present the Byzantine decision not to join battle as the result of lessons well learned. Their defeats are habitual: kullama in vss. 4 and II, and rubba in vss. 16-17 highlight this. After vs. 20, the poem turns, as a substitute for a battle scene, to the Byzantines' panic-stricken recognition of the field and their nightmare visions of battle with the Muslims. Between these two large regions of the text runs, from vs. 18 roughly to vs. 20, the only part of the poem in which particular events are dealt with in chronological order. The Byzantines seized the roads; the lack of news caused Sayf al-Dawla to hasten to all;Iadath, and the Byzantine troops withdrew. Marching on all;Iadath because of the lack of reports is the dramatic episode in the story. These lines based on that episode form something like a core chronicle that supports the phantasmagorical quasi-chronicle into which it dissolves. Before and after, the particular is interspersed with the past habitual or with matters of the less immediate past. Vss. 1-17 are a bold adaptation of the extended summary. Vs. 4 is an anticipation of the dramatic focus in vs. 18, and in vs. 18 the repetition of the idea hints that a section of the poem has been completed. IO The other habituals (vss. II, 16-17) are of the Tl/T2 9 Makayid al-4arb. Cf. Canard, Sayf al Daula 114, and also makayid al-4u.riin in the commentary cited by him, p. 112. 10 Cf. the discussion of a repeated line in T. Seidensticker, "Die Lamrya des cUbaid ibn Aiyub," ZDMG 138 (1988) 124. For another example, cf. the discussion of the elegy by Abu Mul,lammad al-Qasim b. Yusuf, in my "Reading al-Mutanabbj's ode on the siege of al-l:Iadath," Studia Arabica et Islamica: Festschrift for 14san cAbbas 201-03.

14

CHAPTER TWO

type, dominant in summaries, and so are the statements in vss. 14---15. (We should note that while the sentences in vss. 18-19 are still of the first PI but then q form, q in them refers in each case to the next event, while in "they meant to raze its walls and they built it up" and the like, q refers, summary-style, to the outcome of the story.) The passage has strong internal articulation, being laid out in alternations of particulars and habituals. The opening praise ("these are the deeds of glory") leads to the naming of the protagonist. Then the first whenever (vs. 4) brings the salient detail of the event, but translated into habitual form. It introduces the set piece of the army on the march, which in a text with a real narrative would most likely be placed at the beginning of the chronicle, with a sprinkling of placenames. The particular returns in vss. 9-10, (with the naming of the antagonist), to be capped with a second set of habituals in the next three lines (whenever, and imperfect verbs). Blachere notes that the theme of vss. 9-11 "est repris dans les vers 14 a 19 sous une forme plus martelee et plus sentencieuse." II The formal principle, I think, is that the habitual and, for that matter, metaphorical statement in vs. II is translated into the particular, and concrete, in vss. 14---15. Here, and not before, the TI/T2 statements become joined to this event. Here too we come closest to the usual summary. Then for the third and last time before the "core chronicle", there is a return to the habitual mode, with "Many a time ... " and "Many is the bow." Thus in the extended summary (from vs. 4 through 17) we have an intimation of gradual focussing, but also a sense of neatly reiterated alternations. As in Text 16, the multi-move summary creates a formal tension by running its principles of design-in this case the linear and the repetitive--against one another. After the extended summary, at the beginning of the "core chronicle," akhadhu (-(urqa, "they seized the roads," brings the verb in the perfect tense that commonly stands at the head of the chronicle, and it is not perhaps absurd to suggest that while there is no verb of motion here, it is not merely a matter of history that the phrase chosen to stand at the head of the line has to do with roads and, so to speak, the interdiction of movement. Text 22 shows a related method for the expansion of the summary. The essential idea, the macna maqIud, is clearly there in the introductory gnome: "Sorrow is the end of swearing in war a

II

Un porte 179.

GETTING TO THE CHRONICLE

15

[victorious] end." With the application of the gnome to a particular comes a more specific summation: 3

4 5 6 7

8 9 10

11

Ibn Shumushqlq12 swore an oath, but he was made to break it by a man in whose presence blows cause words to be forgotten Who does what he wishes, and whose nobility of character and immediacy of action make it needless for him to swear oaths in promise of his deeds. Every sword, except Sayf al-Dawla, wearies after long striking blow after blow. Were his horses to tire until they could bear him no more, his warlike spirit (himam) would carry him to his enemies. Where are the Patricians and the oaths they have sworn upon the head of the king; where are their asseverations? He charged his swords with belying their words ... and the swords are tongues with the enemy's heads for mouths. They [ the swords] speak, in their skulls they make report about him, telling of what they had not known and of what they had. [He is the one who] brings back his cavalry, the horses with travel-worn shoes led by the riders, back from towns just like [the ruined] Wabar, their inhabitants [destroyed like] Iram, Such as Tell Bitr1q ...

We do not find here the common chronicle onset with a perfect verb of motion at the head of the line, but it is clear as we read further that chronological narrative starts with the withdrawal of troops from Tell Bitr1q. As in Text 20 kullama a)'alii n-nadhzra (vs. 4) presented a specific event under the guise of the habitual, here "he brought back the cavalry" is presented under the guise of "he who brings back ... ," ar-rajieu. It is the next line that securely arrives, with ka-talli bi{rzqin, at the specific occurrence, and its narration. The summary repeats its motifs. The pre-eminent doubling is the one dealing with the oaths: Ibn Shumushqlq broke his vow (vs. 4); the patricians broke their vows (vs. 7). There are also subsidiary, supporting, doublings. Sayfis an indefatigable sword; he has swords to command. If his horse were to tire he would do thus and so; he brings back his cavalry from distant places. (Recall that it is only in the next line, with ka-talli bi{rzqin, that the audience adjusts its sense of orientation and realizes that ar-rajieu has reference to the chronicle proper, and is, in its participial disguise, the verb of motion at its onset.) 12 John Tzimisces.

16

CHAPTER TWO

The summary falls neatly into two parts, the second (beginning with vs. 7) containing the repetitions. The syntax offers a breathing place between vss. 6 and 7, before the Patricians' oaths. Conditional sentences, common as we have seen in closure, are also common as cadences within poems (see Chapter III) and the interrogative is often used at the onset of a fresh theme. (E.g., conditional sentence followed by interrogative in Text 16 vss. 32-3; as also at the subdivision of the bipartite summary in the same text, vss. 13-4.) The repetition of motifs in this double summary is rhetorically justified by a sense of pluralization. Ibn Shumushqlq is replaced by the Patricians. The sword that is like no other-Sayf-is replaced by "He charged his swords ... " The horse or horses too weary to carry the prince are replaced by the cavalry he brings back-from Tell Bitriq. I am not talking about pure grammatical pluralization; suyiif occurs in line 5 and khayl in 6, in the first subdivision of the summary passage. It is a matter of what is foregrounded: the chief enemy, the unique sword Sayf, the horses that carry him, as against the Patricians, the swords the prince can command, the cavalry he leads. C. Bridges to the theme In two texts we find no real summary of the narrated event, but there are instead brief bridge-passages that focus the reader's attention on the theme before the chronologically ordered chronicle begins with a verb of motion. One of them is Text 9. This poem starts with naszb, and continues with general praise. A strong boundary is drawn between vss. 21 and 22: a cadential duCa J (ja-biirikta ... , vss. 20-21) ends the general praise and an exclamation (without connective: hanzJan . .. , vs. 22) begins the bridge passage that introduces the subject matter: warfare in the marches. (The English translation obscures the difference between the optative and the exclamation. For hanzJan as the onset of a new theme see also 13:21 where it introduces good wishes for the czd, and is preceded by the end of a chronicle. For another exclamation of this grammatical type at the head of a new theme, cf. 4alalan in 6: 19. The structure of these passages is further discussed on pp. 26, 39 and 33.) The chronicle begins in vs. 26: 20 21

May you be blessed, 0 raincloud ... You who give abundantly, who urge on [your cavalry] with your rallying cry, who rend mailcoats and scatter entrails.

GETTING TO THE CHRONICLE

17

22

May the men of the borders long enjoy your regard for them, and that you, the partisan of God, have become their partisan, 23 And that you have struck fear into Time and its vicissitudesand if it has any doubt, let it try some calamity there24 For one day you drive the Byzantines from them with your cavalry; another day you drive away poverty and want with your generosity. 25 Your squadrons follow one upon the other, with the Domesticus in flight, his companions killed, and his wealth captured. 26 He came to Marcash ... Text 8 has a one-line bridge between general praise capped with a timeless statement (vs. 18) and the chronicle onset (vs. 20). (This is a quasi-chronicle, see Chapter VI.) It is worth noting that as in Text 7 (p. 9 above), syntactic assonance (the superlatives a~aqquhumii and wa-ashqO, heading vss. 18-19) is designed to delay for a moment recognition of the thematic shift: 18 19 20

The most worthy among them [mankind] of the sword is he who strikes men's necks; and of security, he who takes hardships lightly And the most wretched among God's lands is therefore the one inhabited by the Rum, with no one in it to deny your glory. You have poured out your raids upon it ...

The plan of Text 21 is intriguing but, to me, obscure. Gnomic statements in the introduction stress that without the use of reason bravery is insufficient. Perhaps they signal the theme at once, referring to some circumstance known to the audience. There is also a structural oddity (relative to the rest of the sayffyiit with chronicles). At the head of vs. 7, khiirja l-~imo'ma leads to four verses of general praise. 13 Only then, at the head of vs. II, does a second verb of motion-qo'da-launch the chronicle with the syntactically cohesive army-on-the-march motif, soon to be determined with place-names. It is conceivable that this "false onset" was meant and perceived as a teasing of expectations, an interesting deviation from the norm.

D. Other cases In two texts there is neither summary nor bridge. In 12, after naszb and takhallu~ there follow two lines of general praise and then the perfect-tense verb at once introduces the chronicle: ramo' d-darba ... 13

Cf. Yaziji's para phrase of 21 : 9.

18

CHAPTER TWO

Text 19 is the one poem with a chronicle for which the flow-chart on page 7 does not work at all. The chronicle does not have an obvious onset; through various gradually focussing intimations of the macna maqIud (forgiving the sinner, firm control of the beduins, etc.) the opening praise immediately moves towards the story. It is an intriguing question whether Mutanabbl adopted this structure, unusual in his Aleppo period, because this was his second poem on the subject, Sayf al-Dawla having found the first (Text 18) insufficiently precise. 14

14

Cf. Blachere, Un potte 178.

CHAPTER THREE

CADENCE Inflections of voice no doubt suggested in performance the thematic shaping of a poem. Often the voice did not have to do the job by itself. We have seen that certain types of phrase predominate in closure, that verbs of motion beginning new sentences tend to mark the onset of the chronicle. There are also types of utterance frequently used for stops along the way: to mark the end of a theme, to provide a threshold before the next. These partial conclusions I will call cadence. l In order to establish that certain types of phrase are indeed of privileged occurrence at the seam before the onset of a new segment, we must have criteria for defining the onset of a segment. While at times thematic regions of a text shade off into one another, at other times a new theme will make its appearance with a syntactic attacca: an imperative, an interrogative particle, a vocative, etc. 2 Unfortunately these grammatical processes are not sufficient for the formal definition of a group of beginnings of segments. Although they frequently introduce a new theme, they may also occur within the development of a theme. The shift from 3rd to 2nd person address (of the patron), frequent after shifts of theme, may also be found within the development of a theme. Formal criteria must then be combined with thematic ones. Such combination is available for three types of onset which, along with the lines preceding them, I will examine: A. chronicles beginning with a perfect verb as studied in the last Chapter; B. passages in which the poet, introducing the first person singular, speaks of himself and his relations with his patron or his rivals; 1 On l:Iazim al-Qartajanni's discussion of the ends of fu~iil, see note 2 in the introduction. He also has interesting (although here not directly relevant) things to say about the poets' attention to the openings offu~iil (295-300, with examples from Mutanabbi). Cf. van Gelder, Beyond the Line 179-83. 2 Cf. I:Iazim al-Qartajanni, Minhiij 289-91. This aspect of a poem by al-Rundi is analyzed, in the light of I:Iazim's criteria, in M. Miftal)., Fl slmryii ai-shier al-qadlm (AI-Dar al-baYQa o 1989) 25.

20

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C. passages of hija" introduced by grammatical features implying a syntactic break (imperatives in Texts 2 and 7, interrogative in 16, and vocative in 12). After these distinct seams I will look at some less rigorously defined ones under D.

A. Cadence before the onset of the chronicle In 11 texts there is a chronicle beginning with a perfect verb at the head of a line. In 8 of these the chronicle is preceded by types of utterance which may be regarded as cadential because they resemble utterances common in the clausula, or because of other internal evidence.

1. Gnomic In four of the eleven texts, the chronicle is preceded by a gnomic statement presented as a universal truth, or by a statement of the form "if n did not exist, S would be a universal truth." This is not surprising: as closure and cadence are related in function, so are in form, to a large degree, the types of statement most characteristic of them. Text 7: "All lords protect themselves with their armies; the army protects itself with the son of Abu I-Hayja"./He led ... " (I.e., ifit were not for the hero, "all ... " would obtain.) Text 15: "They did not flee from you out of rebellion, but one shrinks from going to water when death is the drink./ You pursued them ... " Text 18: "Deprivation at the hands of one who has always sent you away empty-handed does not hurt as much as at the hands of your sustainer./ He led his cavalry against them ... (atahum biha),'. Text 21: "They mistook play for war; but a spear-thrust in battle is not a spear-thrust in the arena (maydan)./ He led ... "

2. "Tashbzh malW' Abu Hilal tells us that tashbzh malz4, no less than 4ikma or mathaI, works well in closure. But simile (and metaphor) are so thick on the ground that caution is called for when we examine whether they can be meaningfully said to have a cadential function. In Text 2, for example, most readers may intuitively agree that in vs. 12 the full-line simile has a cadential effect: 10

He pledged a ransom of pure gold but gave the points of pliant lances;

CADENCE

II 12 13

21

He made them hope for horses led alongside, but the horses came bearing nothing but warlike men. The freeing of Abu Wii'il is like the return of the moon after it has been hidden. He called and you heard-and how many there are, silenced by distance, who are as good as heard when they call to you ...

But this effect is there not only because vs. 12 is a big simile, but also because it is a syntactic winding down, the long nominal sentence capping the four rapid verbal sentences arranged in isocola in the two verses before it. 3 Following Scheindlin's observation about the syntactically bipartite verse in closure (cf. page 3, note 5), I tried to gain information from the placing of those verses beginning with ka'anna or mithl in which the hemistich break coincides with the caesura between subject phrase and predication. There are only four instances in the sample, and the results are suggestive but insufficient. A cadential function may be assigned to 2:12 Uust quoted), 2:46 (see translation and discussion on p. 36), and 4:25 (see p. 51 for the block of verses ending with this line, and p. 53 for the next.) No such function can be assigned to 21: 16.

3. Taqszm We get no medieval help, but interesting internal evidence when we examine Text 9: 25 26

Your squadrons follow one upon the other, with the Domesticus put to flight, his companions killed and his wealth captured. He came to Marcash ...

This kind of tripartite report, versions of which (usually with human beings in the category of the captured) form some of the rhetoricians' favorite illustrations of the figure taqszm\ is used before a distinct boundary in two other narrative texts. (In both of them it appears as a final casting of accounts at the end of the chronicle, followed directly by hija'. These examples are cited below, under C.

4. Cadences before one-line summaries As we saw in the previous Chapter, one text (no. 13) has a single-line summary, and one (no. 8), a single-line reference to the 3

Cf. the thoughtful discussion of "slowing patterns" in Scheindlin, Form and

4

E.g., Ibn Rashiq, cUmda II 21 top.

Structure 125-32.

22

CHAPTER THREE

theme before the onset of the chronicle. It is remarkable that each of these lines is in some way tied to the line that precedes it, and that the preceding line is cadential. Text 8: 18

19 20

The most worthy among them [mankind] of the sword is he who strikes men's necks, and, of security, he who takes hardships lightly, And the most wretched among God's lands is therefore the one inhabited by the Rum, with no one in it to deny your glory. You have poured out ...

The syntactic assonance and the adverb "therefore" tie the condition of the Rum to the timeless 4ikma in vs. 18. In Text 13, the one-line summary (vs. 11) is tied by li-dhalika to a hyperbole in the previous line, cast in the form of a conditional sentence: 10 II

12

One who reaches with his cavalry places difficult of access; who, if the sun's rays were water, would lead his horse to drink from them. Therefore the son of the Domesticus called his day of battle death, and the Domesticus called it birth. You marched ...

Hyperbole in conditional form is, we have seen, frequent in closure. As for the "therefore," found in both examples, compare Text 4, in which closure consists of a gnome followed by its corollary: 40 41

Time puts the bitter before the sweet; in crossing that stretch, the terrors of Time must be faced. Therefore (fa-li-dhaka) has CAli crossed it alone and with his sword attained his hopes.

It seems justified to see 8:18-19 and 13:10-11 as akin to the compound clausula and producing a cadential effect before the onset-verb of the chronicle. 5

5. Unmarked In Text 12 the line before the onset of the chronicle does not exhibit any of these features. Text 16: " ... and the wronged one did not die, but those who had done wrong did not live. I They came against you ... " needs more study. Perhaps similarly to the tripartite taqslm, expressions of totality cast in this bipartite form (where 5 Of course the single-line summary or bridge is a special case. A longer summary may be preceded or concluded by a cadence. For example, gnomic lines (vss. 10-12 and 19) both precede and conclude the summary in Text

18.

CADENCE

23

two members account for the entire set) could be shown to be favored breathing spaces. Text 20 also suggests further questions. Does the alternation of groups of particular and habitual statements (see p. 14) inspire a sufficient sense of complete form so that there is no need for further devices of winding down? B. Cadence before "Poet, prince, and rivals" I examined such passages of five or more lines, leaving out of consideration transitions from the naszb. Two of the sections studied below require preliminary comment. I include Text 5 (which in any event has no cadence) because, although the reference is made in the first person plural, it seems to be made to the poet and his patron. In Text 13 I take it that the passage about the poet and his rivals begins with ra)aytuka in vs. 26. More often than not such a ra)aytu occurs in pure praise of the patron. However, in this case the lines that follow have nothing to do with the previous theme (the prince and the Caliph) while they make good sense as the· beginning of the argument against the poet's unworthy and envious competitors ("Who will help you find a man of noble spirit who guards the memory of a benefit received?"). Of the seven texts with such "ego-passages" six begin after lines that would be apposite, in Mutanabbi's practice, in closure. Four of these are conditional sentences (one of the four metaphorical and one-Text l3--clearly gnomic). In a fifth a conditional sentence is capped by a brief mathal. In the sixth example (Text 11), of lesser probative force, the line in question is a metaphor. As before, frequency of incidence renders the mere presence of metaphor an insufficient criterion for cadence. Text 1:31-32:

12:53-55

13 :26-27

14:22-24

... A cloud of eagles beneath which moves a cloud whose swords pour for them if they ask to drink. I have passed through the vicissitudes of Time ... May kings who are not called swords be your ransom! You are sharp of edge, and polished. If one man among the rest is the Sword of the Dynasty, other men are its trumpets and drums. I am the one who comes first ... If someone uses a lion as his hunting-falcon, the lion will make him its prey among the rest. I have seen that you are ... If rain falls from your clouds and the clouds of other kings, their showers are mere dew, your dew is a shower.

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10:33-35

11:34-35

You are generous: if ever you are asked for the animal you ride, while war is raging, [lit. has conceived] you alight. o generous one, give people what you possess, but do not give away to others [other patrons] the verse I recite ... Whenever one oj their [the Byzantines'] virgins dreams, she dreams of captivi ty and of camels [carrying her]. If you accept their payment of tribute they spend whatever satisfies you. Better to squint than be half blind! I have proclaimed your glory ... They have gone down, like so many qata birds, to drink from the swords' blades, and passed along them in row after row. I have reached ...

In Texts 10 and 14, there are accumulations of conditional sentences before the poet turns to himself. Three conditional sentences precede the optative in 12:53. Text 5, as mentioned above, has no cadence before the ego-passage. The theme also appears in a few shorter passages. With 16:4143 there is no preceding cadence, but the rhetorical situation is complicated by the fact that these verses are embedded in an evident coda with crescendo motifs (see p. 44). In Text 7 vss. 41-43, which do not employ the first person singular, treat the theme of patronage and unworthy rivals: this passage begins with an exclamation (layta) and is preceded by a conditional sentence. 8:41-43, also in a coda and also without preceding cadence, seems to me not to belong to the broad theme of benefactions to the poet, the poet's merits and his rivals. The two lines in Text 3 that do treat that theme (18-19) do not stand after a cadence of the type discussed in this section, but the line preceding them closes a frame around vss. 8-17 (see p. 59) and thus offers a sense of winding down. The use of the verb raJa in statements of praise ("I have seen that you ... ," etc., especially frequent as a closural device, as in 14:42, 18:46, and perhaps the clausula 21 :49) bears no relation to the passages we have been considering. C. Cadence before hijao Of our four examples of hijao beginning with syntactically distinct onset, two are preceded by conditional sentences: 2:30-31

If he

seeks vengeance, he does not let it slip, though the debtor would put off the payment. Take what he has brought you! ...

CADENCE

16:32-33

25

If they [the horses] slip, you make them walk on their

bellies, as black and white snakes crawl on the face of the earth. Will this Domesticus advance ... ?

In each of the other two cases the chronicle before the hija o ends with an elaboration (over more than one line) of the killed/captured/routed taqszm. In Text 12 the application of the pattern to the case at hand is simple and immediately clear: 43 44 45

He said farewell to their slain, and saw off those who fled with blows that flattened the peaked helmets. Admiration of him fell upon the heart of Constantine although his shackles were on his legs. Perhaps, 0 Domesticus, you will be back someday ...

In Text 7 the matter is more intricate. There is a clear taqs"im in vs. 23. Then follows a five-line passage in which the same rhetorical figure is elaborated into an extended, and quite particular, variation on the tripartite report. When after an initial success disaster threatened, Sayf al-Dawla ordered his prisoners killed-a tactic employed by both sides, though not perhaps a theme for self congratulation. 6 These prisoners occupy the category of "the slain" in this variation on the convention: conceivably a rhetorical nihil obstat extended to an awkward event. 23 24 25

26 27 28

29

Men of greater glory than the son of [Bard as] Phocas, who fled, have their hands tied behind their backs; men of yet greater worth in battle (amr/ii) lie dead upon the ground. Not one man who fled escaped the blades of the white swords-he [may have] escaped, but with dread of them in his heart. Ever after he clings to safety, but with his mind gone; yearlong he drinks wine but remains a sickly yellow. Many were the last breaths of Patricians that a faithless depositary [i.e. chains] kept for the sharp swords, Fighting their steps when they would step, driving sleep from them when they would lie down. The manaya stand aside till he says to them "Come back!" -and then they pounce. Tell the Domesticus: "Those who surrendered ... "

Note a further technical touch. The poet will have to allow the Patricians to play the roles at first of "the captured" and then of "the slain." He prepares this doubling, naturalizes it, as it were, by

6

For an account of the campaign, see Blachere, Un poete 156-58.

26

CHAPTER THREE

a free (i.e. not rhetorically required) analogy in vss. 24-5, where those who physically escaped are mentally imprisoned. D. Cadences before less rigorously defined seams Our sample shows that certain types of line are indeed common before certain types of morpho thematically definable onset. It should not, of course, be inferred that conditional sentences or gnomic statements are always cadentially used. 7 But it does not seem reckless to let the cadential possibilities of such types of utterance influence our reading when we come to less generally definable seams in the texts. A few examples follow.

1. Some cadences bifore summaries In Text 9 the following verses lead to the beginning of the bridge passage (not a summary, but a focussing on the topic, cf. pp. 16-17) between general praise and chronicle: 19 20 21 22

[He is] one who knows the secrets of faiths and tongues; whose thoughts put to shame men and books. May you be blessed, rain cloud that makes our skins put forth brocade, embroidered cloth, and rich cloaks, You who give abundantly, who urge on [your cavalry] with your rallying cry, who rend mailcoats and scatter entrails. May the men of the borders long enjoy your regard ...

Vss. 22-5 (the bridge passage) speak of the ahl al-thaghr, the Byzantines, and the Domesticus; in 26 with ata Marcashan the chronicle begins. The long duca,' in vss. 20-21 (which are syntactically inseparable) is perceived, I think, as cadence to the general praise that precedes it. (For duca' as a device for closure, cf. p. 1.) The onset of the new thought in vs. 22 is marked syntactically by the exclamatory hanz'an at the head of that verse and by the introduction of the "topic"-the ahl althaghr. It is the neighborhood of the sentence type that may

7 I did a survey of verses (not in MSlb) beginning with idha, in or law. This is a sub-group, since in many conditional sentences the particle is not at the head. Out of some 75 such sentences, about 25 occurred in, or directly before, the clausula, or before a thematically definable boundary, either directly or within a sequence of cadential verses. A detailed table is attached in Appendix Two. A non-cadential implied taqslm occurs in the sample in 21:40 (placed where it would naturally fall in the narrative, but not followed by a distinct formal or thematic boundary). There is also a non-cadential taqslm in 7:13 in Watlldl's recension, a line not retained by yaziji.

CADENCE

27

be cadential with the sentence type that may mark distinct onset that activates the potential functions and creates a distinct boundary. We have seen (pp. 21-2) that the single lines serving as summary and bridge in Texts 13 and 8 follow cadential verses. But we cannot generalize. No criterion or set of criteria that I can see will give a useful generally applicable definition of the beginning of the summary. Neat segmentation is not always called for. In Text 20, for example, where the gnomic statement in the first two lines is applied to the unhappy Ibn Shumushqlq in the third, it would seem facetious to argue that the second of those gnomic lines is cadential and that the new sentence in line three, beginning with the verb and followed by the proper name, is the onset of the summary. It is not in fact inconceivable that a performer would pause for effect before introducing the particular here. Nonetheless, the thematic development-vs. 3 is after all an instantiation of the rule stated before it-and the proportion involved make it better not to fuss over likely cadences and onsets. Text 2 is problematic in a different way: 8 It is as if the eyelids on my eye were the rent clothes of a bereft mother 9 And if I were a captive of something other than love, I would offer surety as Abu Wii. oil did. 10 He pledged a ransom of pure gold ... Here the topic is introduced, through the proper name, in vs. 9, but the situation is quite different from Text 16. Because of the takhallu~, the text does not let itself be neatly segmented. There is a naslb region and there is a summary region-and by the time we have heard vss. 8 and 9, the long simile and the conditional sentence, we have moved from one to the other. It is hard not to think that the conditional sentence in vs. 9 is the cadence to the naslb although there is no distinct seam.

2. Other examples The last two quotes dictate caution, but it is not difficult to find passages where common sense will agree that the presence of gnomic lines or conditionals is motivated by cadence. In each of the two texts with two-part summaries (nos. 16 and 22) the second part begins with an interrogative and the designation of certain dramatis personae, and is preceded by a conditional

28

CHAPTER THREE

sentence. (For 16:13-14, see the translation on p. 11, for 22:6-7 see p. 15.) At times the first reference to the protagonist or antagonist is preceded by a cadentialline. So for example in Text 1 a conditional sentence is set before the verse in which the description of the embroidered tent reaches the image of Sayf al-Dawla: 22 23

If the wind strikes it the cloth waves and it seems the horses gallop and the lions stalk their prey. In the figure of the Byzantine who wears a crown there is humility towards the man of bright countenance, who wears a turban for a crown ...

A similar case occurs in Text 7. The beginning of the chronicle describes the devastation achieved by the patron's cavalry: 10

He led his squadrons ...

12

Until he stood at the outskirts of Kharshana, to the grief of the Byzantines, the crosses and the churches, 13 With a desolate Marj to receive him; with pulpits set up for his sake and Friday services attended in ~arikha. 14 The birds have been feeding on their bodies so long that they almost pounce on the living among them 15 And if their apostles could only see him, they would build their shar!" a on love of him. 16 The Domesticus reproved his eyes ... V s. 15 seems at first glance adventitious. It is a topos (c( 8:33 "Because of the nobility of your valor they love you although you kill them ... ") adapted somewhat oddly to the motif of churches and pulpits. But its placing becomes comprehensible when we note that it is a conditional sentence serving as cadence after a very long syntactic unit (for after "he led" the next four lines are cast in the form of various circumstantial clauses and one 4atta-clause) and that it precedes the verse that starts with the next narrative perfect-tense verb, and first names the antagonist, the Domesticus. The introduction of a new theme is frequently preceded by a cadential line. In Text 9, by vss. 30-31 the Domesticus is in full flight. Verbs of disengagement common towards the ends of chronicles make their appearance (walla, khalla). But this is not the end of the poet's treatment of the particular. He first winds down the chronicle of the campaign with a three-line gnomic meditation, and then proceeds to give us a picture of the fortress of Marcash, standing lofty after its peril. Text 17, about a Byzantine embassy, may also be profitably studied. The first gnome is placed in vs. 8; in vs. 9 the phrase ila

CADENCE

29

kam taruddu r-rusla (the interrogative, as often, a convenient syntactic demarcation) introduces a passage of argument in favor of a truce (presumably one that the prince had already decided to accept). This argument ends in a gnomic passage (vss. 14-16) before a fresh group of actors make their appearance: the fursan althughiir who acted as mediators and who are now described. In Text 5 there is a brief journey scene ending in two lines beginning with wa-law (in the conditional, not the concessive sense). After them the poet turns to one of the distinct themes of the early Aleppo poems: the relations between the prince and the Caliph. EXCURSUS:

The placement of isocola In a number of instances several words or grammatical functions (e.g., noun in a certain case, verb in a certain tense, prepositional phrase, etc.) in a verse recur in corresponding position in the following verse or verses. When, after disregarding the rhyme-word (but after discounting the displacement at times caused by an introductory pronoun or particle in the first line, as in Text 19, see p. 31) we find some such repetition in both hemistichs, with two or more contiguous items repeated in at least one set of vertically corresponding hemistichs, I shall call the resulting two- or threeline figure an isocolon. 8 Isocola occur almost exclusively towards the ends of distinct segments of text, followed, either directly or after one line of a different form, by closure or cadence. (In one case the isocolon ends with the clausula.) It should be noted that in the line following an isocolon, we frequently find grammatical parallelism between the half-lines. (Such parallelism is of course common within isocola, so that the resulting pattern might be a:a II a:a II b: b.) With four of the ten non-final isocola in the 8 This is a rough and ready use of the word, which in classical rhetoric refers to clauses equal in length. But since such clauses tend also to be grammatical twins (cf. the quote from Cicero in Quintilian IX. iii. 80: Si, quantum in agro locisque desertis audacia potest, tantum in foro atque iudiciis impudentia valeret ... ") the appropriation of the term did not seem arbitrary (even though in some of our cases the correspondence is only partial). As to the figure studied in this excursus, I will not attempt a closer definition. Fortunately, in the sayffylit the norm is (if we disregard the rhyme word and anaphoras as in 10:45-6) that successive lines do not exhibit vertical correspondence of word or grammatical function, but when they do the corespondences tend to be elaborate and obvious. In Mutanabbi's earlier and later work, isocola are less frequent, and less comprehensive correspondences are more common.

30

CHAPTER THREE

sample, there is complete grammatical parallelism in the next line. In two other cases (in 1:31, where each half-line begins with the noun sa4iibun, and in 9: 19 where the six nouns are in corresponding places) there is a lesser degree oflexical or grammatical parallelism. In three other cases the line in question is a conditional sentence. In Text 9 the verse following the isocolon (vs. 38) shows none of these features. A. Isocola followed directly by cadence or clausula In Text 18, the summary before the chronicle ends with an isocolon of two verses before gnomic cadence (in a:a form). Then follows the perfect verb of motion introducing the chronicle (Arabic text on p. 112): 17 18 19 20

When he had clothed Ka cb in garments [of favor] that they abused, he flung at every garment a spearhead to pierce it. When he had poured out the copious rain that they were ungrateful for, he poured out a different one, borne in clouds with lightning of a different sort. Deprivation at the hands of one who has always sent you away empty-handed does not hurt as much as at the hands of your sustainer. He led his cavalry against them, wrapped in dust and spears ...

A similar structure is found in Text 2:28-31. The isocolon is followed by a cadential line in the form of a conditional sentence before the imperative marking the onset of the hijii (Arabic text on p.88): J

28 29 30 31

He does not call for the aid of a helper and does not humbly yield because of a deserting ally. He does not keep his horse from pressing forward, and does not turn his glance from any frightful thing. If he seeks vengeance, he does not let it slip, though the debtor would put off the payment. Take what he has brought you! ...

Similarly in Text 11 :40-43, an isocolon and a conditional sentence precede the gnomic clausula (Arabic text on p. 10 1): 40

0 you who are pursued, seek his proximity, and you shall be secure. 0 you who are deprived, go to him and you will be provided for.

CADENCE

41 42

43

31

0 most cowardly of knights, join him and you will grow bold. 0 bravest of the brave, part from him and you will know fear. If enemies labor to plot evil against his glory, his good fortune labors, as one in fury, to plot evil against them. Evident superiority of merit does not assure victory over the enemy unless it is the superiority of a man for whom a happy fortune and success have been decreed by God.

A bare-minimum isocolon (one superlative in construct with man in each half-line) precedes the gnomic clausula in a:a form in Text 19 (Arabic text on p. 116): 64

65 66

You are the most beneficent among those who, if faced with undutiful behaviour, could destroy; and the most forgiving among those whose punishment may bring ruin; Mightiest of those whom [love of] victory rouses; and most forbearing among those to whom their might teaches forbearance. There is no blemish in the fierce onslaught of masters, and no disgrace in the humility of slaves.

In Text 1:29-32, the morpho-thematically distinct passage in which the poet speaks about himself in the first person begins after an isocolon followed by a conditional sentence in 31 b (Arabic text on p.87): 29

30

31 32

The light of morning has grown weary from your raiding it [= from your many dawn raids, cf. WaJ:tidi] and the black of night has grown weary from your rivalry with it [= because you reach wherever it reaches]. The spears have grown weary from your breaking their shafts and the Indian steel has grown weary from your striking at it. There is a cloud of eagles beneath which moves a cloud whose swords pour for them if they ask to drink. I have passed through the vicissitudes of Time ...

If the full-line simile may be regarded as cadential, 2: 10--12 perhaps belongs here. (It is not a strong isocolon in any case: the lines are linked primarly by the chiastic arrangement of the prepositional phrases.) Arabic text on p. 88: 10

He pledged a ransom of pure gold but gave the points of pliant lances;

32

CHAPTER THREE

11 12 13

He made them hope for horses led alongside, but the horses came bearing nothing but warlike men. The freeing of Abu Wi oil is like the return of the moon after it has been hidden. He called and you heard ...

After the simile in vs. 12, the daca fa-samiCta topos introduces direct address of the patron, and the chronicle of the celebrated event. 9 The second of two isocola in Text 6 (vss. 13-14) is followed first by a conditional sentence, and then by three more lines before the particular matter of the poem (Sayf al-Dawla's journey to Mayyafariqin, in bad weather) begins with an exclamation in vs. 19 (Arabic text on p. 93): 13 14 15 16 17 18 19

On land they run with the wolves; in the water they swim with the whales; In the valley they reach the deepest hollows with the gazelles; the mountain peak they circle with the eagles. Whenever men procure spears, they are broken by them [= their riders] or between their collar-bones. By his countenance he is known for what he is in war, in peace, in wisdom, in munificence, in praiseworthiness and glory (majd). Those who have no love for him acknowledge his superior virtue; those who are not versed in astrology admit the happiness of his fortunes (sa cd) . He has given protection against the Days (ayyam), so much so that I thought [the long-lost people of) CAd and Jurhum must be entreating him to bring them back. May this wind stray in error! What is it trying to do?

I will argue below (p. 40) that certain "crescendo motifs" commonly occur as a poem moves towards closure, or in the neighborhood of distinct junctures. MaJd and al-ayyam are such crescendo motifs; sacd is used in the coda in two of the kaforfyat and compare also the clausula to Text ll.1O I suggest that 6:16-18 should be understood as a "cod etta" capping the introductory general praise, before the specific matter. A passage from a kaforfya with a strikingly analogous structure is discussed on p. 75. We may roughly compare also a passage in one of the poems to cA

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