What makes language beautiful? Arabic Poetics offers an answer to what this pertinent question looked like at the height of the Islamic civilization. In this novel argument, Lara Harb suggests that literary quality depended on the ability of linguistic expression to produce an experience of discovery and wonder in the listener. Analyzing theories of how rhetorical figures, simile, metaphor, and sentence construction are able to achieve this effect of wonder, Harb shows how this aesthetic theory, first articulated at the turn of the eleventh century CE, represented a major paradigm shift from earlier Arabic criticism which based its judgement on criteria of truthfulness and naturalness. In doing so, this study poses a major challenge to the misconception in modern scholarship that Arabic criticism was 'traditionalist' or 'static', exposing an elegant widespread conceptual framework of literary beauty in the post-eleventh-century Islamicate world which is central to poetic criticism, the interpretation of Aristotle's Poetics in Arabic philosophy and the rationale underlying discussions about the inimitability of the Quran.

This book contains three important Arabic treatises from the fourth and fifth centuries of Islamic history, published here in English translation for the first time. They deal with the Islamic concept of i'jāz, that is, the inimitability of the Qur'ān because of its sublime style and divine content. While analyzing i'jāz, they also partake in the development of the science of rhetoric in Arabic and the evolution of Arabic literary criticism. The inimitability of the Qur'ān is considered a miracle authenticating the holy scripture of Islam and proving the veracity of Muḥammad's prophethood. Yet despite its importance in Islamic thought and Qur'ānic studies, few of the Arabic works on i'jāz have been translated into Western languages. The three Arabic treatises in this book are relatively short ones: they afford different points of view and offer a variety of literary and theological approaches that give the reader a virtually comprehensive understanding of i'jāz and the issues related to it, meanwhile contributing to the knowledge of Arabic rhetoric and literary criticism--back cover.

An illuminating story of a Sufi community that sought the revelation of God. In the Afghan highlands of the sixteenth century, the messianic community known as the Roshaniyya not only desired to find God’s word and to abide by it but also attempted to practice God’s word and to develop techniques of language intended to render their own tongues as the organs of continuous revelation. As their critics would contend, however, the Roshaniyya attempted to make language do something that language should not do—infuse the semiotic with the divine. Their story thus ends in a tower of skulls, the proliferation of heresiographies that detailed the sins of the Roshaniyya, and new formations of “Afghan” identity. In Singing with the Mountains, William E. B. Sherman finds something extraordinary about the Roshaniyya, not least because the first known literary use of vernacular Pashto occurs in an eclectic, Roshani imitation of the Qur’an. The story of the Roshaniyya exemplifies a religious culture of linguistic experimentation. In the example of the Roshaniyya, we discover a set of questions and anxieties about the capacities of language that pervaded Sufi orders, imperial courts, groups of wandering ascetics, and scholastic networks throughout Central and South Asia. In telling this tale, Sherman asks the following questions: How can we make language shimmer with divine truth? How can letters grant sovereign power and form new “ethnic” identities and ways of belonging? How can rhyme bend our conceptions of time so that the prophetic past comes to inhabit the now of our collective moment? By analyzing the ways in which the Roshaniyya answered these types of questions—and the ways in which their answers were eventually rejected as heresies—this book offers new insight into the imaginations of religious actors in the late medieval and early modern Persianate worlds.

When debating the need for prophets, Muslim theologians frequently cited an objection from a group called the Barāhima – either a prophet conveys what is in accordance with reason, so they would be superfluous, or a prophet conveys what is contrary to reason, so they would be rejected. The Barāhima did not recognise prophecy or revelation, because they claimed that reason alone could guide them on the right path. But who were these Barāhima exactly? Were they Brahmans, as their title would suggest? And how did they become associated with this highly incisive objection to prophecy? This book traces the genealogy of the Barāhima and explores their profound impact on the evolution of Islamic theology. It also charts the pivotal role that the Kitāb al-Zumurrud played in disseminating the Barāhima’s critiques and in facilitating an epistemological turn in the wider discourse on prophecy (nubuwwa). When faced with the Barāhima, theologians were not only pressed to explain why rational agents required the input of revelation, but to also identify an epistemic gap that only a prophet could fill. A debate about whether humans required prophets thus evolved into a debate about what humans could and could not know by their own means.

What makes language beautiful? Arabic Poetics offers an answer to what this pertinent question looked like at the height of the Islamic civilization. In this novel argument, Lara Harb suggests that literary quality depended on the ability of linguistic expression to produce an experience of discovery and wonder in the listener. Analysing theories of how rhetorical figures, simile, metaphor, and sentence construction are able to achieve this effect of wonder, Harb shows how this aesthetic theory, first articulated at the turn of the 11th century CE, represented a major paradigm shift from earlier Arabic criticism which based its judgement on criteria of truthfulness and naturalness. In doing so, this study poses a major challenge to the misconception in modern scholarship that Arabic criticism was "traditionalist" or "static," exposing an elegant widespread conceptual framework of literary beauty in the post-10th-century Islamicate world which is central to poetic criticism, the interpretation of Aristotle's Poetics in Arabic philosophy and the rationale underlying discussions about the inimitability of the Quran.

An enduring classic work on the etiquette that a Muslim must or should have with regard to handling and reciting the Quran (the Muslim scripture). The topics this volume raises include: ritual cleanliness, opportune times for recitation, the etiquette that students have with their teachers (and that teachers must have with their students), and variety of other issues that every Muslim should know and frequently ask about.

The author currently lives in Istanbul. He has received both a traditional and a modern education. He has written many books on different aspects of Islam as a religion and as a civilization. This book, written in a climate of love for the Prophet Muhammad (peace be upon him), reflects this mercy, while discussing the most distinguished characteristics of the Prophet's way of life and his morality.