One of the significant phenomena in modern Arabic literature since the 1960s has been the use of mystical concepts, figures and motifs for the expression of contemporary experiences, philosophies and ideologies. The book investigates this phenomenon mainly with regard to the creative poetic process and the use of literary masks. It also deals with the complicated relationship between Arabic literature and Islam as well as with the literary activities by religious traditional circles. In a welter of publications committed Muslim authors try to prove that there is no inherent contradiction between art and Islam, and at the same time to lay the theoretical foundations for an "Islamist" poetics encompassing the various branches of literary production. Within the secular canonical circles, however, these activities and texts are considered extremely marginal and none of the authors concerned has gained any canonical status. The growing number of cases, in which attempts at censorship on religious and moral grounds have been challenged, prove also that Arabic literature has become more and more secular.

Muhyī l-Dīn Ibn `Arabī (1165-1240) was a hugely influential figure in the development of Sufism, yet although interest in his work continues to grow, his poetry has received very little attention. This book is the first full-length monograph devoted to his Dīwān (collected poems). It begins by attempting to define Ibn `Arabī's poetic style and his understanding of poetics, which is closely intertwined with his metaphysics: the rhythms of poetry echo those of creation, and meaning combines with form just as the spirit descends on matter. Drawing on a pre-Islamic theme, he insists that his poetry was revealed to him word for word by a spirit. At the same time, however, his attitude to the function of poetry and its relation to scripture is closer to mainstream medieval Islamic, Jewish and Christian theology than has usually been thought. Denis E. McAuley focuses on close readings of books in unusual verse forms, including poetic responses to chapters of the Qur'an; imitations of earlier poets; poems that use only one rhyme word; and a cycle of poems modelled on the letters of the alphabet. In so doing, he makes frequent comparisons with other Islamic and European poets from the sixth century to the dawn of the twentieth, many of them virtually unstudied. Ibn `Arabī emerges as a highly original poet whose work casts a fresh light on the period and on classical Arabic literature as a whole.

In Islam the fascination for “the word” is as vigorous as in Judaism and in Christianity, but an extra dimension is, that the revealed text, the Koran, is considered to be verbatim the word of the Almighty Himself, thereby providing the Arabic language with just an extra quality. No wonder that throughout Islamic history the study of the word, the Koran, the prophet’s utterances and the interpretation of both, has become the main axis of knowledge and education. As a consequence the intellectuals – and also the poets in Islamic culture - were thoroughly familiar with religious terms and the phraseology of a language which was highly estimated because of the divine origin with which it was associated. No wonder therefore, that allusions to religious texts can be found throughout Arabic literature, both classical and modern. The subject of this volume is the representation of the divine in Arabic poetry, be it the experience of the divine as expressed by poets or the use of imagery coined by religion.

The first full-length monograph devoted to the Dīwān (collected poems) of Muhyī I-Dīn Ibn `Arabī (1165-1240), a hugely influential figure in the development of Sufism.

Written from the ninth to the twentieth century, these poems represent the peak of Islamic Mystical writing, from Rabia Basri to Mian Mohammad Baksh. Reflecting both private devotional love and the attempt to attain union with God and become absorbed into the Divine, many poems in this edition are imbued with the symbols and metaphors that develop many of the central ideas of Sufism: the Lover, the Beloved, the Wine, and the Tavern; while others are more personal and echo the poet's battle to leave earthly love behind. These translations capture the passion of the original poetry and are accompanied by an introduction on Sufism and the common themes apparent in the works. This edition also includes suggested further reading.

Umar Ibn al-Fāriḍ (1181–1235), author of two classic works, the Wine Ode and the Poem of the Sufi Way, is considered the greatest Sufi poet to write in Arabic. In this study, these and other poems by Ibn al-Fāriḍ are considered within the context of Islamic mysticism, Arabic literature, and Sufi poetry. Th. Emil Homerin uncovers the literary and religious intent of these poems and their aesthetic and mystical content, showing them to be a type of meditative poetry. Indeed, Ibn al-Fāriḍ often alludes to the Sufi practice of "recollection," or meditation on God, to evoke a view of existence in which the seeker may be transformed by an epiphany of love revealing an intimate relationship to the divine beloved. Homerin provides elegant translations and close readings of Ibn al-Fāriḍ's poetry, highlighting the beauty of his verse, its moods, meanings, and significance within Islamic mysticism and Arabic poetry, where Ibn al-Fāriḍ is still known as the "Sultan of the Lovers."

This volume presents in translation and transcription the oral text of narratives about and poems by Slēwīḥ, one of Arabia's most famous nineteenth-century robber barons, recorded by Xālid, a sheikh of the 'Utaybah tribe of Saudi Arabia and the great-grandson of Slēwīḥ.

This volume is a fascinating, interpretative study of the life of the Prophet Muḥammad as depicted in the repertoire of fifty-one contemporary Egyptian singers. The repertoire is extremely diverse and ranges from narrative ballads, classical odes, and Qur'ānic chantings, to melodies of the secular songs of well-known Egyptian singers. The 'people's' Muḥammad appears as both a commanding figure, empowered by the supernatural, and a touchingly vulnerable human being, and provides this study with excellent material for its discussion of a subject that has not received much serious scholarly attention to date.

Abundance from the Desert provides a comprehensive introduction to classical Arabic poetry, one of the richest of poetic traditions. Covering the period roughly of 500-1250 c.e., it features original translations and illuminating discussions of a number of major classical Arabic poems from a variety of genres. The poems are presented chronologically, each situated within a specific historical and literary context. Together, the selected poems suggest the range and depth of classical Arabic poetic expression; read in sequence, they suggest the gradual evolution of a tradition. Moving beyond a mere chronicle, Farrin outlines a new approach to appreciating classical Arabic poetry based on an awareness of concentric symmetry, in which the poem’s unity is viewed not as a linear progression but as an elaborate symmetrical plot. In doing so, the author presents these works in a broader, comparative light, revealing connections with other literatures. The reader is invited to examine these classical Arabic works not as isolated phenomena—notwithstanding their uniqueness and their association with a discrete tradition—but rather as part of a great multicultural heritage. This pioneering book marks an important step forward in the study of Arabic poetry. At the same time, it opens the door to this rich tradition for the general reader.