Anda di halaman 1dari 42

In Pursuit of Shadows: al-HarIrIs Maqmt 171


In Pursuit of Shadows: al-HarIrIs Maqmt

During a short visit to the town of Rayy, in Iran, al-Harith place. Al-Harith, the narrator of the story, follows the
b. Hammam al-Basri encounters crowd upon crowd of preacher and show[s] him a sharp glance. When the
people spreading with the spread of locusts, and preacher notices al-Harith, he recites in verse:
running with the running of steeds, eagerly talking
among themselves about a preacher,1 who, they tell I am he whom thou knowest, Harith,
al-Harith, was even better than Ibn Samun.2 Even The talker with kings, the wit, the intimate.
though al-Harith realizes that he will face a noisy, I charm as charm not the triple-twisted strings,
bustling throng, he goes to the assembly place where At times a brother of earnest, at times a jester.
Events have not changed me since I met thee,
men of all ranks are gathered, ruler and ruled, eminent
Nor has vexing calamity peeled my branch;
and obscure, and finds an old man, bowed and with a Nor has any splitting edge cloven my tooth;
breast-hunch, wearing a turban in a conical form But my claw is fixed in every prey:
(qalansuwa) and a cloak (aylasn), both external signs On each herd that roams my wolf is ravaging;
of the mans position as a preacher (fig. 1).3 The man So that it is as though I were the heir of all mankind,
delivers a series of admonitions, exhorting the assembled Their Shem, their Ham, and their Japhet.5
company to abstain from greed and forbidden things,
mend their ways, and live out their lives according It is through this poetry and the earlier discourse, an
to religious precepts. This continues until sunset alternation between prose and poetry, that al-Harith
approaches, when a petitioner comes forward and recognizes the preachers true identityAbu Zayd al-
claims that he has been wronged by an official and that Sarujiand credits him with a genuine act of piety ex-
the governorwho is present at the assemblyhas ceeding that of Amr b. Ubayd.6 Abu Zayd then leaves,
refused to hear his complaint. At the wronged mans trailing his sleeves. The story ends when, to al-Hariths
urging, the preacher admonishes the governor and then regret, Abu Zayd disappears from Rayy.
launches into criticism of his behavior in a discourse This maqma (assembly, session, or sance), named
directed at the prince, who is also at the gathering. The for the town of Rayy, is the twenty-first of fifty.7 It high-
basic premise of the preachers speech is that the lights key features of the other forty-nine assemblies. As
happiest of rulers is he whose people are happy in him.4 in the majority of maqmas (forty-nine out of fifty), al-
The preacher publicly shames the governor and Harith is the narrator and serves as a witness to Abu
persuades him to repent and redress the wrongs inflicted Zayds profound linguistic eloquence, broad knowledge
on the petitioner. To make further amends, the governor of the history of literature and culture, and erudition in
not only thanks the preacher but also gives him presents all areas of human inquiry, as well as their highly spe-
and extends an invitation to his home. cialized vocabularies. Abu Zayd is the herothough
After the preacher finishes his discourse, he revels in one might also propose anti-hero, depending on the
his success among the company and then exits the readers moral makeup and personal proclivities. In

Fig. 1.Abu Zayd preaches in the mosque before a crowd, maqma 21, of Rayy. From a Maqmt of al-Hariri, copied and
illustrated by Yahya b. Mahmud b. Yahya b. Abi al-Hasan b. Kuwarriha al-Wasiti, dated 7 Ramadan 634 (May 4, 1237), Bagh-
dad (?), Iraq. Paris, Bibliothque nationale de France, Ms. Arabe 5847, fols. 58b59a. (Photo: Bibliothque nationale de

numerous maqmas, it is only Abu Zayds language doing what he does; that through language he ensnares
delivered mostly in oral discourse but sometimes also everyone he meets; he is unto a crowd of people what
in written formthat gives him away. Sometimes Abu a wolf is to a sheepfold; and to emphasize his wide-
Zayds identity is revealed to al-Harith in private, after reaching influence over humanity, Abu Zayd likens
al-Harith has pursued Abu Zayd; at other times it is dis- himself to Shem, Ham, and Japhet, the sons of Noah and
covered through a written note (ruqa) left by Abu Zayd heirs of mankind, all combined into one person.8
before his departure, and in still other maqmas it is Although Abu Zayd uses his linguistic brilliance and
told by al-Harith to the assembled crowd in Abu Zayds guile to dupe people, no one is ever really hurt as a result
presence. The general purpose of Abu Zayds use of lan- but is instead deprived of money, valuables, other per-
guage is alluded to in his final poem of maqma 21, of sonal possessions, or the kindness expected in light of
Rayy, where he mentions the various roles that he the hospitality they extended to a stranger. Those
assumes: Abu Zayd opines that whether in seriousness tricked by Abu Zayd survive with bruised egos, their
or in jest he is more beguiling than the triple-twisted human frailties exposed.9
strings, a reference to the treble-toned string of a lute; In maqma 25, of Karaj (between Isfahan and
that nothing and nobody have prevented him from Hamadan), al-Harith begins his narration by noting that
In Pursuit of Shadows: al-HarIrIs Maqmt 173

he had come to town to settle some business but that My yellow coins served my friends, my lances destroyed
the winter weather was so severe there that he stayed my foes.10
indoors as much as possible. Work required that he
leave his lodging one day and he came upon a crowd of But his fortunes changed and he lost his social status.
people who had gathered around an old man nearly The man ends his poem with the final lines, Who will
naked, save for a turban wrapped from a handkerchief cloak me either with embroidered garment or ragged
and breeched with a napkin (i.e., a loincloth). (Later coat/Seeking the face of God, and not my thanks? and
overpainting, perhaps a repair, has almost entirely con- reverts to a discourse composed of rhymed prose (saj).
cealed the naked man, who stands in the archway.) The It is here that the nearly naked man makes an allusion
inadequately dressed man addresses the crowd in verse to the winter with its kfs, and states that in prior
(fig. 2): years he had always been able to prepare for the cold
weather. Now, he remarks, my arm is my pillow, my
O people, nothing can announce to you my poverty skin is my garment, the hollow of my hand is my dish.
More truly than this, my nakedness in the season of cold. A person in the crowd challenges the mans pedigree,
So from my outward misery, judge ye
now that he has proved his eruditionevident from his
The inward of my condition, and what is hidden of my
state. speechto which the old man retorts, A curse on him
And beware a change in the truce of fortune: who boasts of mouldering bones! There is no glory but
For know that I was once illustrious in rank, in piety and choice scholarship, a sentiment amplified
I had command of plenty, and of a blade that severed; by a verse on the same theme.11 The man then sat down,

Fig. 2.Abu Zayd, nearly naked, stands in a doorway and recites poetry to a crowd, maqma 25, of Karaj. Paris, Bibliothque
nationale de France, Ms. Arabe 5847, fols. 74b75a. (Photo: Bibliothque nationale de France)

collapsing into a shivering mass. It is at this moment cloak that warms; so be content with what thou hast
that al-Harith, struck by literary elegances resembling learnt and depart.17 Al-Harith spends the winter miss-
those of al-Asmai, takes a very close look at the man ing his fur coat.
and recognizes him as Abu Zayd, who, he concludes, is In maqma 31, al-Harith travels from his home to the
using nakedness as a noose for the prey.12 Perceiving region of Syria (Sham) with the intention of trading. He
al-Hariths dawning recognition, Abu Zayd fears being pitches his tent at Ramla, where he encounters an
exposed. On the spot he recites: I swear by the shade encampment of pilgrims preparing to leave and con-
of night and the moon, by the stars and the new moon- tinue their pilgrimage to Mecca. Al-Harith is moved to
light, that none shall cloak me [laysa yasturun] save one change his plans and joins them. When the caravan
whose disposition is goodly, whose face is imbued with reaches Juhfathe Syrian pilgrims stationthe pil-
the dew of benevolence.13 Here, Abu Zayds choice of grims alight from their camels and start to unpack their
the word for cloak me (yasturun: from the verb satara) belongings; a partly clothed man emerges from the
was an intentional ambiguity. He knew al-Harith would mountains and starts to address the pilgrims in rhymed
understand the figurative meaningconceal meof prose and verse on the duties of religion (fig. 4 [a and
his imperative, while other members of the audience b]). According to him, the ajj did not consist simply of
would understand it simply in the literal sense of giving traveling to Mecca and enduring various physical (ema-
him clothes.14 This appeal played to al-Hariths vanity ciating of bodies) and emotional hardships (separa-
and he took pity on Abu Zayd, giving him his fur coat. tion from children) on the long road, but was also about
The other men at the gathering were similarly moved to abstaining from sin, maintaining purity of submissive-
feel sorry for the skimpily clad man and donated their ness, and the fervor of virtue. Thus, he urged the pil-
furs and colored coatsso many that the man could grims to comprehend the full significance of what they
hardly carry them away. were doing and continued to offer moral guidance
Al-Harith pursues Abu Zayd (fig. 3), who, in response through another extended oration. Once again al-Harith
to al-Hariths instructions not to go naked again, rebukes recognizes the mans true identityhe sniffed the
him for speaking about things of which he has no knowl- breeze of Abu Zaydand, happy to encounter him
edge. Wanting to leave, agitated and angry, Abu Zayd again, approached Abu Zayd, attaching himself like the
adds that al-Harith should know his nature (shinshinat) lm to the alif a metaphor of the written Arabic let-
too well by now to hope for reform. Trying to cajole Abu ters L and A spooning each other. But Abu Zayd
Zayd, al-Harith offers that he could have exposed him rejects al-Harith, announcing that he had vowed not to
to the crowd of onlookers but did not; if he had, Abu associate with anyone, neither ride together nor alter-
Zayd would not have received the donated clothing and nately with any one, neither make gain nor boast of ped-
come off more coated than an onion.15 And then igree, neither seek profit, nor companionship, nor else
comes the quid pro quo. When al-Harith asks Abu Zayd accommodate myself to him who dissembles.18 As Abu
what he meant in his speech by the phrase the kfs of Zayd was departing, he made one more speech to the
winter, Abu Zayd reminds him of a poem by Ibn pilgrims. In al-Hariths words, Abu Zayd then sheathed
Sukkara (d. 99596) in which seven thingsall begin- the blade of his tongue, and went on his way. As the
ning with the Arabic letter kf (k)are spoken of as caravan journeyed on to Mecca, al-Harith continued to
necessary to pass a winter in comfort: A home, a purse, look everywhere for Abu Zayd but could never find him.
a stove, a cup of wine after the roast meat, and a pleas- Maqma 31 is one of only a few of the fifty assemblies
ant wife, and clothing (kinn wa ks wa knn wa ks il in which Abu Zayd behaves honestlyusing eloquence
bad al-kabb wa kuss nim wa kis).16 Abu Zayd con- for good purposes without any trace of a swindle.
cludes: Surely an answer that heals is better than a
In Pursuit of Shadows: al-HarIrIs Maqmt 175

Fig. 3.Abu Zayd confronted by al-Harith, maqma 25, of Karaj. Paris, Bibliothque nationale de France, Ms. Arabe 5847,
fol. 76a. (Photo: Bibliothque nationale de France)

Fig. 4, a and b.Abu Zayd addresses a caravan of pilgrims, maqma 31, of Ramla. Paris, Bibliothque nationale de France,
Ms. Arabe 5847, fols. 94b95a. (Photo: Bibliothque nationale de France)
In Pursuit of Shadows: al-HarIrIs Maqmt 177


AL-HARIRIS MAQMT: APPROACHES TO ITS al-Hariris lifetwenty commentaries were made, the
STUDY and THE WORD-IMAGE DEBATE best known by al-Sharishi (d. 1222), and an impressive
number of illustrated copies, eleven in all, are extant
As these introductory selections suggest, there is much from the period between the early thirteenth and four-
humor in Abu Muhammad al-Qasim b. Ali b. Muham- teenth centuries.21 Of these examples, this essay is con-
mad b. Uthman al-Hariri al-Basris Maqmt (Assem- cerned with one: the manuscript copied and illustrated
blies),19 a tour-de-force of medieval Arabic literature, by Yahya b. Mahmud b. Yahya b. Abi al-Hasan b.
and chief among its works of belles-lettres. Although Kuwarriha al-Wasiti, dated May 4, 1237.22 Notwithstand
it is a text about the power of language to persuade, ing its fame through frequent reproduction, this manu
mostly discourse delivered by Abu Zayd viva voce, it script has been selected for three main reasons, each
was also transmitted in written forms, and al-Hariris one related to its special status: the first is that al-Was-
brilliance as an author could only be completely ap- iti copied the text and painted the narrative images,
preciated by actually seeing his text written in a manu- strong evidence of his agency in conceptualizing an
script. For its complete meaning and registers of literary interpretation of al-Hariris text; the second concerns
operation to be properly understood, this was a text al-Wasitis capacity to innovate while at the same time
that required access to the physical bookseeing the working within the bounds of established practices of
writing and not merely hearing it recited. This aspect the art of the book and painting; the thirdand per-
of the Maqmt is exemplified by such elements as pal- haps most importanthas to do with the incomplete,
indromic sentences and poems or other texts written often misleading, presentation of the 1237 Maqmt
entirely with, or without, diacritical marks, such as in manuscript through scholarly publications.
maqma 26, the spotted, where alternate lines in one Although al-Hariri (d. 1122), poet and philologist,
discourse are composed of dotted or undotted letters. became synonymous with the genre, he notes in the
Arabic is a fully phonetic language, with each one of preface to his Maqmt that it had been devised by
its letters corresponding to a unique sound (the use of Badi al-Zaman al-Hamadhani (d. 1008).23 Al-Hariri
homonyms, a set of repeated shapes to build the written probably composed his Maqmt between 1101 and 1108.
alphabet, was remedied by a system of dots of various In the field of literary studies, much of the scholarship
numbers and configurations to designate individual about the Maqmt has focused on the relationship
phonemes). While the audition of a correct recitation of between the texts composed by al-Hamadhani and al-
the Maqmt would reveal differences between dotted Hariri, in addition to the origins and features of the
and undotted letters, it was only through seeing the genre. The concept of a gathering of anecdotes is
written text that the ingenuity and play of al-Hariris believed to stem from such models as Abu Uthman
constructions could be completely appreciated. Amr b. Bahr b. Mahbub al-Jahizs Kitb al-Bukhal
Apart from these ingenious devicesand al-Hariris (Book of Misers; before 869), a penetrating, humorous,
Maqmt is replete with themthe special difficulty and satirical work on the avarice of non-Arabs, with a
and lexical gamesmanship of the author dictated that whole chapter devoted to vagabonds; Abu Hanifa
manuscript copies were fully vowelized and letter Ahmad b. Dawud al-Dinawaris Al-Akhbr al-iwl
pointed, carrying the whole panoply of conventional (Tales of Long-Lived Men; before 903), an entertaining
orthographic signs (such as intensifications [doublings history written from an Iranian perspective; and Abu
of consonants] and markers for indefinite nouns). In Ali al-Muhassin al-Tanukhis Nishwr al-muara
this respect, it approaches manuscript copies of the (Desultory Conversations; before 994), a massive record
Koran and makes it unlike the vast majority of medieval of events, anecdotes, and actions that the author
Arabic texts.20 Despite the many difficulties of its arcane deemed important enough to commit to writing.24
and archaizing language (a lexicon of outmoded and Al-Husri (d. 1022), a scholar living in North Africa,
learned meanings), countless copies of the Maqmt asserted that al-Hamadhanis Maqmt imitated a col-
were producedsome 700 were authorized during lection of forty tales composed by Ibn Durayd (d. 934),
In Pursuit of Shadows: al-HarIrIs Maqmt 179

another Arab poet and philologist born in Basra.25 A. F. interspersed with poetry. He also demonstrates a capac-
L. Beeston observes the staggering range of variables in ity for poetic composition and invention that outstrips
the anecdote: it may be very short or long, and in con- al-Hamadhani: of all the poems appearing in his
tent it may deal with a humorous or pithy saying, a Maqmt, al-Hariri borrows only a handful from other
remarkable event, a piece of literary criticism, a riddle, authors.33
or even (in the Arabic ambience) a grammatical obser- While historians of Arabic literature and language
vation or a well-expressed piece of religious homily.26 have studied al-Hariris Maqmt in a relatively contin-
But he identifies three traits common to all: the anec- uous chain of scholarship and publication going back
dote is introduced against a background of contingent to the 1800swith recent research on the text as a lit-
detail, which enlivens it; the author presents the anec- erary work to be discussed laterthe same cannot be
dote as true or truthfully narrated; and each anecdote said for art historians. Illustrated copies of the Maqmt
stands alone as an autonomous, independent compo- of al-Hariri were only occasionally exhibited and pub-
nent.27 lished over the course of the early 1900s, and enjoyed
In the 800s, developments in Arabic literature took their greatest public exposure in 1962 in Richard
place of importance to the later Maqmt, especially al- Ettinghausens book titled Arab Painting,34 which
Hariris work. These changes involved the combination focused on two illustrated manuscripts, the 1237
of the oratorical style of the Friday sermon (khuba), Maqmt made by al-Wasiti and the undated copy in
marked by strong parallelism and balance but devoid St. Petersburg (Institute of Oriental Manuscripts, S23),
of rhyme, which were married to ornamental features datable to circa 122535. Ettinghausen styled both as
derived from verse, namely rhyming and tropes (the lat- embodiments of the apogee of painting in Arabic
ter collectively referred to as bad), producing a new manuscripts, made at a watershed, on the eve of the
kind of saj, which rapidly achieved a tremendous long decline that he traces from the second half of his
dominance over prose writing.28 By the mid-900s, the book until the eighteenth century (the two Maqmt
use of saj became commonplace in religious sermons appear precisely in the middle of Arab Painting, a true
and in secular epistles (risla).29 Saj has been described fulcrum!). The most comprehensive effort to analyze
as a rhythmical prose that uses rhythmic units which the illustrated Maqmts as a group was offered by Oleg
are generally quite short, terminated by a clausula, Grabar in 1984.35 Grabar focused on thirteen illustrated
with the units grouped sequentially on a common copies of al-Hariris Maqmt, eleven of them made in
rhyme.30 Al-Hamadhanis contribution was to apply the 1200s through 1300s, to prepare the groundwork for
saj to a compilation of anecdotes of the sort made by an examination of how the Arabic text was visualized
al-Tanukhi, whose dominant theme was, in Beestons and integrated with its images, adopting an approach
words, the tatterdemalion who is nevertheless a mi forged through the study of manuscripts from Byzantium
racle of cleverness and eloquence, and the final anag- and medieval Europe.36
norisis in which he proves to be something other than But ultimately Grabars interest migrated to other
he appears.31 Unlike al-Tanukhi, al-Hamadhani pres- questions he had considered in earlier studies: how the
ents the majority of his anecdotes on the authority of illustrated Maqmt participated in a widespread con-
one man.32 Building on al-Hamadhanis model, al-Hariri temporary production of objects bearing figural imag-
consistently introduces each anecdote on the authority erydescribed by Ettinghausen as an efflorescence
of the narrator, al-Harith b. Hammam al-Basri, always or flowering of the artsand how such objects, par-
paired with the same hero, Abu Zayd al-Saruji. This ticularly ceramics, metalwork, and books, reflected the
establishes a consistent structure of narrative presen- interests and impulses of a broad medieval clientele,
tation throughout al-Hariris Maqmt. Another devel- the mercantile, artisanal and scholarly bourgeoisie of
opment from al-Hamadhanis model is al-Hariris the larger Arabic-speaking cities.37 For Grabar, the
systematic application of saj to his Maqmt, fashion- Maqmt both reflected and embodied the personal
ing a text dominated by rhymed and rhythmic prose and collective priorities of a literate, Arabic-speaking,

urban social formation that became active as patrons very own grandson in 1162.44 In 1962, Ettinghausen
and consumers.38 In a subsequent monograph, Shirley opined that the artists of the Maqmt were oblivious
Guthrie developed Grabars line of thought, seeing in to the philological pyrotechnics of the Maqmt;45 in
the illustrations to al-Hariris Maqmtespecially the 1974, James observed that [t]he illustrative potential of
1237 copy fashioned by al-Wasitia visual evidence the 50 tales is meagre;46 and in 1974, and again in 1984,
amplifying and complementing literary and historical Grabar framed a series of provocative questions about
accounts of the medieval Near East, hence approach- the role of images in manuscripts of al-Hariris Maqmt
ing the paintings as a form of medieval social report- based on the same set of assumptions: And what do
age.39 Guthrie was also responding to Ettinghausens these images do to a text which was only valued for its
notion of a realism in subject matter and pictorial style verbal acrobatics?... Are these images commentaries to
that originated in the art of the Fatimid dynasty of North be seen and appreciated with the text or pictures which
Africa and Egypt between the late 900s and 1179 and were perhaps inspired by the text but which are meant
which continued under the Seljuq and Ayyubid dynas- to be enjoyed separately as visual experiences?47 and
ties of Greater Iran, Syria, and Egypt up through the Why was this particular text illustrated? And how were
1250s, when the Mongol conquests brought about a subjects found to illustrate a text that a priori did not
large-scale aesthetic and artistic realignment across lend itself to visual expression? All the while Grabar
these lands.40 When Grabar had the opportunity to maintained that the purpose and success of the story
revisit the 1237 Maqmt through the publication of a lie exclusively in its language, not in its narrative.48
facsimile edition in 2003, he did not develop new posi- These observations only yield a conundrum for art
tions on the manuscript but reiterated his main formu- history: if the primary function and interest of al-Hariris
lations of 1984.41 In his 2013 book about the same Maqmt do not lie in the frame stories, narrative
Maqmt manuscript, David James hews close to emplotments presented through fifty discrete compo-
approaches to the study of the Maqmt that he devel- nents, but rather concern feats of language that could
oped beginning in the mid-1960s and published in an not be visualized in forms commensurate to the com-
article in 1974.42 plex registers of the text, why were so many of the
Despite frequent acknowledgements of the extraor- extant Maqmt from the 1200s illustrated? Indeed, why
dinary artistic accomplishments evident in the 1237 is the Maqmt among the most heavily illustrated
Maqmt, as well as in related manuscripts, and of the Arabic texts of the early 1200s? In response to these
complex and ambitious pictorial cycles created to questions, Grabar and other scholars offered answers
accompany al-Hariris text, art historians have not extrinsic to the text, conceiving of the extensively pic-
attended to the full range of ways in which the text torialized Maqmt as indices of real life, reflective of
along with the manuscript as a complete objectis the tastes, proclivities, and concerns of an urban and
affected by narrative paintings.43 The absence is easy to literate bourgeoisie, even though it was not possible
explain because general assessments of al-Hariris to link any manuscript to a specific patron.49 It was this
textadopted by art historians from the field of liter- presumed audience, catered to by artists, that found in
ary studycurtailed the variety of possible approaches al-Hariris textspecifically through its narrative com-
to interrelations between word and image. Already in ponents, its entertaining and satirical storiesan
1959 David Storm Rice remarked that the text requires opportunity to express cultural and social symmetries
no illustration and that the stories were a mere pre- between their time and that of al-Hariris text. But it
text for the masterly display of lexicographical knowl- bears emphasis that this approach to the textwhich
edge, suggesting that the illustrations were so many prioritizes al-Hariris narrativeswas simply a supple-
distractions to the reader. After all, Rice argues, there ment to another audience, the learned commentators
is no evidence of illustrated copies from al-Hariris life- on the Maqmt, who in their long history of critical
time, or in the immediate generations that followed, reception had focused on linguistics and lexicography,
including an extant manuscript copied by the authors as well as on al-Hariris command of Arabic language
In Pursuit of Shadows: al-HarIrIs Maqmt 181

and literature, rather than on his gifted storytelling. By (fig. 5). On a sensorial register, these effects can be more
privileging what medieval commentators valued most readily seen than heard. When he copied al-Hariris text,
about al-Hariris Maqmt, modern literary historians moreover, al-Wasiti structured it to render monologue
prompted art historians to move away from the text and distinct from dialogue, to separate out poetry from
explain the preponderance of paintings through other prose, and to emphasize for his reader/viewer, among
causes. many other literary phenomena, a sequence of riddles
At one level, the conundrum is easily dismissed, or (fig. 6). Here the assembled company are presented with
abated, if one restores the visual properties of the writ- ten versified riddleseach one introduced by the prose
ten text. Al-Hariris Maqmt is certainly a mode of ver- line then. he said/saying/recited (thamma qla/
bal play, a form of game, which Abd al-Fattah Kilito has insh yaqlu/anshada). The riddles themselves consist
described as a poetic calligraphy and an expression of two couplets each, but use different meters.51
of the desire to explore the possibilities of language, to Throughout the manuscript, prose text is written across
tantalize experience through the resources of an alpha- the full width of the pagethe ligatures connecting let-
bet.50 As noted above, al-Hariri deploys, among other ters subtly stretched or contracted to make the words
feats of mastery, palindromic prose sentences and in a line comfortably fit the assigned width without
verses, and sentences written entirely with, or without, bunching or over extensionto produce the im-
diacritical marks, both pointed and unpointed letters pression of blocks of text contained within an invisible

Fig. 5.Text page with palindromic sentences and verses, Fig. 6.Text page with versified riddles, from maqma 36, of
from maqma 16. Paris, Bibliothque nationale de France, Maltiyya. Paris, Bibliothque nationale de France, Ms. Arabe
Ms. Arabe 5847, fol. 43a. (Photo: Bibliothque nationale 5847, fol. 111a. (Photo: Bibliothque nationale de France)
de France)

rectangular border (the effect is comparable to a justi- his arm, and the woman delivers them to the laps of
fied text), framed by a margin on four sides. Poetry is members of the congregation who appear to be chari-
arranged in one, two, three, or four columns, centered table.55 One falls into al-Hariths hands, and when he
on the page when single and double, extending to the reads it he discovers alliterative and punning verses.
full width of the prose text when tripled or quadrupled. Al-Harith immediately suspects that the blind man
On the page, the voice of each speakeral-Harith and might be Abu Zayd. Now the woman works her way
Abu Zaydis emphasized amid continuous text by the through the assembly to collect the papers and dona-
expansion of the letter lm making up the verb qla (he tions and then leaves. When she is united with Abu
said), for example. The formal patterning of text Zayd, she discovers that one scrap of paper is still miss-
emphasizes and renders legible the various structures ing. As the woman returns to the mosque to retrieve it,
and modes of discourse. And on a larger level, each of she meets al-Harith, who says that he will pay her one
the fifty maqmas is introduced by a separate title in dirham if she reveals its authors identity. She tells him
thuluth script, executed either in gold outlined in black only that the man is from Saruj and grabs the coin.
ink or in red pigment, that follow a consistent pattern Al-Harith, fearful that it is Abu Zayd and that he has
of naming the maqmas by their number (150).52 actually gone blind, eventually meets up with the trick-
In doing all of these things, al-Wasiti was simply fol- ster. When al-Harith is alone with Abu Zayd, the hero
lowing a set of scribal practices developed long before opens his eyes to reveal perfect eyesight. In its use of
in the culture of the Arabic book and used throughout the written text as a means of exchange, this maqma
earlier dated copies of al-Hariris Maqmt, whether further thematizes the written form of language and
illustrated or not.53 In light of all of these features, it is hence discourse as a visual medium.
clear that the written Arabic text was a sufficiently ade- A second dimension to the word-image conun-
quate visual manifestation to obviate pictorial attempts drumwhich has persisted as a red herringrelates
at its translation, whether abstract or figural. One might to the modern critical reception of al-Hariris Maqmt.
imagine the improbable representation of the list com- Though early literary historians, the learned people who
prising the seven kfs of winter from maqma 25, of wrote commentaries on the text, clearly favored its ver-
Karajhome, purse, stove, cup of wine, roast meat, bal acrobatics and scholarly languagereally an anach-
wife, clothingand not the figural depiction of Abu ronism in its own timerecent approaches to the fifty
Zayd carrying a bag of looted furs and robes confronted maqmas have restored the importance of narrative
by al-Harith (fig. 3). But such a conceptual form of visual and also suggested a thematic coherence across the fifty
rendering was not developed anywhere among the assemblies.56 But of course this new appreciation of the
broad range of genres of Arabic literature that were text is one already suggested by those several medieval
joined by painted or drawn images. A vast number of manuscripts that contain developed programs of paint-
images in different kinds of Arabic texts from the medi- ings: the point to be emphasized here is that the
eval period favor the mimetic representation of people Maqmt was illustrated not only because the stories
or things and depictions of narrative, even when the lat- were appealing and entertaining but because the sto-
ter are not called for by the text.54 ries also played an integral role in the larger themes of
There is one maqma, among others, in which the al-Hariris text, one of which is the play between truth
written text plays a prominent role. In maqma 7, of and falsehood, between semblance and dissemblance.57
Barqaid, a town near Mosul, a blind man appears in a These problems between word and image can also
mosque with an old woman to guide him (fig. 7). As the be addressed by a shift in emphasis. What happens if
preacher delivers his sermon from the pulpit, al-Harith we view the Maqmt text as staging a particular form
watches the manwho has his eyes closedand of collaboration with images, a potential to be realized
woman move through the mosque. The man takes in some illustrated versions of it? Instead of emphasiz-
scraps of paper that had been written on with colours ing what is perceived as an irreconcilable difference
of dyes in the season of leisure from a bag slung over between the capacities of word and imageand
In Pursuit of Shadows: al-HarIrIs Maqmt 183

Fig. 7. Abu Zayd in a mosque pretending to be blind and led by a woman through the congregation of worshippers, maqma
7, of Barqaid. Paris, Bibliothque nationale de France, Ms. Arabe 5847, fol. 18b. (Photo: Bibliothque nationale de France)

lamenting the absence of unlikely visual manifestations Maqmt, I examine the frame story and visualizations
of the textcan we think of proper content not only as of discourse; the structure of the maqma and the
information but also as theme? If we approach the text Maqmt; Confession, maqma 50, of Basra; and, in
of al-Hariris Maqmt as thematizing discourse, the the conclusion, the pursuit of shadows.
pragmatics of communication between people, then the
narrative components would be a highly appropriate
choice for the illustrations precisely because of their dis- THE 1237 MAQMT COPIED AND ILLUSTRATED
cursive potential. If this is accepted, it is hardly surpris- BY AL-WASITI
ing that the frame stories should have been al-Wasitis
primary choice. The 1237 Maqmt opens with an illuminated title
The next four sections of this study expand upon this a broad rectangle flanked by two discsexecuted
hypothesis about illustrated copies of al-Hariris in gold, black ink, white, and blue opaque pigments.
Maqmt to explore some of the implications of the par- The simple title, al-maqmt al-arrya, is rendered
allel life of word and image, in addition to gauging their in a white thuluth script set over an animated leafy
cumulative effect in relation to each other (intertwined scroll (fig. 8). It is followed by a double-page painting
as they are on the page). Through analysis of the 1237 (fols. 1b2a) of an audience divided over the two pages,

parting knowledge to students.60 These kinds of images

establish through representation the basis of the au-
thority of the text as a form of visual license, but also
underscore a cultural concern with the transmission
of knowledge and the biographical foundation of each
discipline.61 Al-Hariris preface begins immediately on
the next page, introduced by a caption in thuluth script,
painted in gold and outlined in black, and each indi-
vidual maqma, also separately captioned, follows in
sequence number one through fifty, the ninety-nine
paintings interspersed among the remaining folios (see
table 1).62
The 1237 Maqmt is one of only a very few medieval
illustrated Arabic manuscripts that gives the name of
the illustrator, in this case the same person who copied
the text. While the colophon provides these details,
al-Wasitis extended name tracing four generations, and
a detailed timing of the manuscripts completion
at the conclusion of the day, Saturday 7 Ramadan,
[in] the year 634 [May 4, 1237] (khir nahr yawm al-
sabt sdis shahr Raman sanati arbaa wa thalthn
wa sittamia)there is no mention of a place or patron
(fig. 9). The location of production of the 1237 Maqmt
is generally believed to have been Baghdad, a hypothe-
sis based on stylistic comparisons to other dated and
Fig. 8.Illuminated title page. Paris, Bibliothque nationale located manuscripts, as well as sheer probability.63
de France, Ms. Arabe 5847, fol. 1a. (Photo: Bibliothque
These brief details provide some sense of the scope of
nationale de France)
the workthe general sequence and internal organiza-
tion of the manuscriptand underscore a key point,
one noted by several scholars: because al-Wasiti was
each scene framed inside borders filled with vegetal
both scribe and illustrator, when he wrote out al-Hariris
forms, the innermost one also inhabited by animals.
text he decided where to leave gaps for illustrations,
In each of the framed images a crowd gathers below a
how they would be sequenced, and how to position the
secular ruler and a scholar, who are elevated above the
illustrations on each page.64 The paintings are often
fray on fancy seats. The gesture of the seated scholar
closely keyed to specific lines of the text. As a totality,
figureposed sideways, the secular ruler frontal
the paintings must be thought of as completely inte-
indicates that the discourse is underway.58 The page
grated with the written text.
probably depicts the action of dedication, the formal
recitation of a work by its author to its intended dedi-
The frame story and visualizations of discourse
catee, in this instance a member of the Turkic or Kurd-
ish military elite (shown by the fur hat bearing a metal Kilito reduced each of the fifty maqmas to a scheme:
plaque).59 While the addition of a figural frontispiece the arrival of the narrator (rw) in a town; the encoun-
is a common practice in Arabic books, it can also be ter with the hero (balgh), who is disguised; the dis-
connected to the author-portrait tradition developed course; reward; recognition; reproach; justification; and
in manuscripts like the De Materia Medica, Dioscorides parting.65 This scheme is applicable to almost every
herbal, which opened with a portrait of the author im- maqmawith some permutations/reversals in se-
In Pursuit of Shadows: al-HarIrIs Maqmt 185

Table 1.The 1237 Maqmt of al-Hariri (Paris, Bibliothque nationale de France, Ms. Arabe 5847).

Maqma number and name Folios with paintings # of images Double-page

Prefatory materials
Illuminated title 1a
Enthronement and audience 1b 2a 2 1
1. of Sana 3b 1
2. of Hulwan 4b 5b 6b 3
3. of the coin (of Qayla) 7a 8b 2
4. of Damietta 9b 10a 11b 3 1
5. of Kufa 12b 13b 14b 3
6. of Maragha 16a 1
7. of Barqaid 18b 19a 2 1
8. of Maarra 21a 22a 2
9. of Alexandria 25a 1
10. of Rahba 26a 27a 2
11. of Sava 29b 1
12. of Damascus 30b 31a 33a 3 1
13. of Baghdad 35a 1
14. of Mecca 37b 38a 2 1
15. the legal 40a 41a 2
16. of the Maghrib 42a 43b 44a 3
17. the reversed 46b 1
18. of Sinjar 47b 48a 50b 51a 4 2
19. of Nasibin 52b 53a 2 1
20. of Mayyafariqin 55b 56a 57a 3 1
21. of Rayy 58b 59a 2 1
22. of the Euphrates 61a 1
23. the poetic 63b 64a 67b 3 1
24. of Qatiat al-Rabi 69b 1
25. of Karaj 74b 75a 76a 3 1
26. the spotted 77a 79a 2
27. the Bedouin 0
28. of Samarqand 84b 86a 2
29. of Wasit 89a 90a 2
30. of Tyre 91b 92a 2 1
31. of Ramla 94b 95a 2 1
32. of Tayba 100b 101a 2 1
33. of Tiflis 103a 1
34. of Zabid 105a 107a 2
35. of Shiraz 0
36. of Maltiyya 110a 1
37. of Sada 114b 117b 2
38. of Merv 117b 1
39. of Oman 118a 119b 120b 121a 122b 5 1
40. of Tabriz 125a 126a 2
41. of Tinnis 130a 130b 2
42. of Najran 131b 133b 2
43. the virginal 134a 138a 2
44. the wintry 139b 140a 143a 3 1
45. of Ramla 146a 1
46. of Aleppo 148b 152a 2
47. of Hajr 154b 155b 156a 3
48. of Haram 158b 1
49. of Sasan 160b 162b 2
50. of Basra 164b 166a 2

Many of the individual paintings in the 1237 Maqmt

depict discrete moments in time, developed from often
extremely short descriptions in the text, while some
double-page paintingsappearing on facing pages of
a manuscript opening (b folio to a folio)represent
a single moment divided between two images, which
are meant to be read as a continuous temporality (figs.
1, 2, and 4). On rare occasions, paintings appearing on
either side of an opening are to be understood as dis-
crete moments in time happening in different locations
(fig. 22).67 The ninety-nine paintings in the 1237 Maq
mt are evenly distributed across the fifty maqmas,
which can be broken down thusly: two have no paint-
ings; fourteen have one painting; twenty-three have two
paintings; ten have three paintings; one has four paint-
ings; and one has five paintings (table 1).68 Art histori-
ans have explained the distribution through the
inherent narrative potential of each maqmafor
example, maqma 39, of Oman, richly illustrated by five
paintingsby the additional artistic impulse to envi-
sion and depict scenes scarcely mentioned in, or even
required by, the text.
Maqma 2, of Hulwan, is illustrated with three
sequential images over six pages (or three folios). In the
Fig. 9.Colophon. Paris, Bibliothque nationale de France, first, al-Harith meets Abu Zayd at Hulwan and they
Ms. Arabe 5847, fol. 167b. (Photo: Bibliothque nationale leave each others company, although moving in a direc-
de France)
tion opposite to the text (fig. 10). Al-Harith next travels
quenceand serves as a useful diagram for the literary to Basra, where a man with a thick beard and a squalid
structure of the frame story in each one. James divided aspect (Abu Zayd) enters the town library (a meeting
the fifty maqmas into three kinds, which he names place of residents and strangers), sits in the back row,
standard plot, continuous dialogue, and compound and proceeds to join the assembly in a learned discus-
or extended plot. In the standard plot there is one sion of poetry, demonstrating his excellent knowledge
major and minor part, and a change of scene and char- of poetry, its interpretation, and criticism (fig. 11).69 In
acter (maqmas 1, 2, 3, 6, 7, 1114, 17, 20, 21, 25, 28, 32, the third painting, Abu Zayd is portrayed standing up
33, 35, 37, 38, 40, 41, and 48); the continuous dialogue and leaving a group of seated men at the end of the
is marked by a constancy of characters, and perma- maqma, after al-Harith has recognized him (fig. 12).
nence of location (maqmas 24, 36, 42, 46, and 49); Before Abu Zayd does this, al-Harith asks what has
and in the compound, or extended plot, the maqma caused his beard to go gray and make him unrecogniz-
is not easily divided into two or three areas of dialogue able. Abu Zayd responds with another verse in which
because frequent changes of scene and character occur he cautions al-Harith that no man can escape the dele-
(James further subdivides this category into three sec- terious effects of time and fortune: though life may go
tions: A) maqmas 5, 15, 16, 18, 26, and 43; B) maqmas well one day, it is but a deceitful impression for it will
29, 34, 39, 47, and 50; and C) maqmas 4, 810, 19, 22, 23, turn bad the next.
30, 31, 44, and 45).66 Maqma 10, named after Rahba, is illustrated with
two paintings: a disagreement between an old man and
In Pursuit of Shadows: al-HarIrIs Maqmt 187

Fig. 10.Al-Harith meets Abu Zayd, maqma 2, of Hulwan. Paris, Bibliothque nationale de France, Ms. Arabe 5847, fol. 4b.
(Photo: Bibliothque nationale de France)

a handsome slave boy (ghulm)the old man had meanwhile, grabs the arm of the beautiful slave, dressed
accused the slave of killing his sonresults in their in enviable finery. Desiring to save the slave from the
appearance before the governor (wl) (fig. 13). During old mans clutches, the governor promises to pay a sum
their meeting with the governor, who is portrayed hold- of one hundred dnrs, except the purse cannot be
ing a lance and seated on an elevated throne attended raised immediately. Later it transpires that the slave is
by a boy who hides behind him, the old man attests, in none other than Abu Zayds son and his accomplice.
a number of verses, to the accused slaves beauty. This Abu Zayd promises to wait with him in the courtyard
rusethe old man is of course Abu Zaydwas pursued until the sum can be raised and is joined by al-Harith,
with the intention of moving the governor to buy the the meeting depicted in the second of the two paintings
slave and take him into his household. Abu Zayd, illustrating maqma 10 (fig. 14). Like the other paintings

Fig. 11.Abu Zayd and al-Harith meet in a library at Basra, maqma 2, of Hulwan. Paris, Bibliothque nationale de France,
Ms. Arabe 5847, fol. 5b. (Photo: Bibliothque nationale de France)

discussed so far, a single narrative moment is repre- incorporated into developed architectural spaces defin-
sented and the principal visual elements pick up on cur- ing specific building typesmosques (fig. 7), libraries
sory textual cues. Various props are used to identify the (fig. 11), and domestic spaces, among others.
locationa strip of brick for the courtyard and a large Similar visual devices are used to portray outdoor
cushion. Across the sequence of paintings in the 1237 activities. For example, the seafaring scene from
Maqmt, these locators include a range of furnish- maqma 39 (fol. 119b), named after Oman, shows a boat
ings (pillows, curtains, thrones, stools, and lamps), floating on rippled water. Gardens or other outdoor ven-
portable objects of different types and use (glass, ues can be shown by the economy of a single tree or a
ceramic, and metalwork), minbars (fig. 1), mihrabs flowering, verdant ground line (maqma 32, of Tayba,
(fig. 7), and tents. In some paintings, these elements are fol. 100b). In paintings of buildings, the environments
In Pursuit of Shadows: al-HarIrIs Maqmt 189

Fig. 12.Al-Harith and a crowd of people say goodbye to Abu Zayd, maqma 2, of Hulwan. Paris, Bibliothque nationale de
France, Ms. Arabe 5847, fol. 6b. (Photo: Bibliothque nationale de France)

of discourse are staged as cutaways composed of single 86a, 100b, 117b, 130a, 130b, 134a, 160b, 162b, and 166a),
or multi-storied spaces, as in the tavern of maqma 12, three people (fols. 3b, 10a, 11b, 13b, 27a, 67b, and 90a), or,
of Damascus (the taverns were located in the town of with still greater frequency, groups, even throngs, of
Ana, fol. 33a). people assembled in different venues (fols. 5b, 6b, 7a,
Throughout these discrete temporalitiesdepicted 9b, 12b, 16a, 18b, 19a, 21a, 22a, 25a, 26a, 29b, 30b, 31a, 33a,
as single paintings or as pairs of paintings appearing on 35a, 38a, 42a, 43b, 46b, 47b, 48a, 50b, 52b, 53a, 55b, 56a,
facing pages of the open manuscripta shorthand of 58b, 59a, 61a, 63b, 64a, 69b, 74b, 75a, 77a, 84b, 89a, 91b,
repetitive visual forms is applied that together make up 92a, 94b, 95a, 103a, 105a, 107a, 110a, 114b, 118a, 119b, 120b,
the morphology of al-Wasitis pictorial means. In each 122b, 125a, 126a, 131b, 133b, 138a, 139b, 140a, 146a, 148b,
painting, a distinct emphasis is given to representing 152a, 154b, 155b, 156a, 158b, and 164b). These scenes uni-
acts of communication. Scenes are very rarely populated versally emphasize verbal communication, but the most
by a single figure (fols. 51a, 101a, 121a, and 143a); more fre- emphatic and dramatic exchanges are projected by
quently they comprise two people, Abu Zayd and al- those paintings composed of fewer figures. Though
Harith (fols. 4b, 8b, 14b, 37b, 40a, 41a, 44a, 57a, 76a, 79a, mute, the paintings conjure discourse of various

Fig. 13.Abu Zayd and the youth before the governor, Fig. 14.Al-Harith with Abu Zayd and the youth, maqma 10,
maqma 10, of Rahba. Paris, Bibliothque nationale de of Rahba. Paris, Bibliothque nationale de France, Ms. Arabe
France, Ms. Arabe 5847, fol. 26a. (Photo: Bibliothque 5847, fol. 27a. (Photo: Bibliothque nationale de France)
nationale de France)

formsmonologue, dialogue, and communication to the viewer. The visual code of discourse is made espe-
among groups of peopleand bustle with the activities cially dramatic by al-Wasitis richly polychromed com-
of human exchange: the primary mode of sociability, positions, which form sharp contours and stark contrasts
human interaction, occurs in al-Hariris Maqmt against the unpainted paper grounds that enclose them.
through speech. In pictorial terms, discourse is con- The general absence of framingexcept in those exam-
veyed through the pose of the figure, whether sitting or ples where architecture becomes a de facto frame inhab-
standing, the tilt of the head, and variations in a vocab- ited by people and their actionslends the paintings a
ulary of hand and arm gestures, including the out- still more immediate relationship to the text and the
stretched open hand or hands, a raised and extended paper folios that they occupy.
arm, a pointed finger. A finger held to the lips signals
astonishment or cogitation. In nearly every painting, The structure of the Maqma and the Maqmt
regardless of the number of figures involved, al-Wasiti
portrays a speaker and his audience. The viewers appre- Al-Hariris Maqmt begins with a preface and ends
hension of communication in process is further with a confessionwhich finds a contrite Abu Zayd in
enhanced by the constant animation of bodies that al-Hariris hometown of Basrabut nothing requires
adopt different positions in relation to each other and that the intervening forty-nine maqmas be read in nu-
In Pursuit of Shadows: al-HarIrIs Maqmt 191

merical order: there is no chronological implication the anecdotes autonomy, and each maqma is picto
in the sequence.70 D. S. Richards analysis of manu- rialized through images that show a chain of causes and
scripts of al-Hamadhanis Maqmt indicates that the their effectswith paratactical gaps left between the
order of the maqmas differs in the earliest manu- series of images making up each maqma and between
scripts of the text, a fact that causes him to question each successive maqmathe cumulative effect of the
J. N. Mattocks supposition that al-Hamadhani intended illustrations has a different result. Just consider the rate
his Maqmt to be read in order, operating cumula- of illustration. In the year of its production, the 1237
tively as a running gag, a joke that provokesan in- Maqmt had the highest rate of illustration, with
creasingly exasperated, but at the same time amused, ninety-nine paintings spread across 168 folios. A paint-
reaction from the audience.71 As Mattock proposed, ing appears every 3.4 pages. The Maqmt dated 1256
if the text were to have the effect of a running gag, it (London, British Library, Or. 1200) is the next closest,
would require a linear reading to produce a sustained with eighty-seven paintings appearing across 155 folios;
and cumulative effect.72 Evidence suggests that the hence a painting occurs every 3.5 pages on average.75
same concern does not apply to the manuscript corpus The highest rate of illustration would have been
of al-Hariris Maqmt, however: throughout the cen- achieved if the 1323 Maqmt (London, British Library,
tury leading up to its illustration in the early 1200s, a Or. Add. 7293) had been completed, but the ambition
fixed sequence of the fifty maqmas was maintained of its plannermore than three hundred spaces are left
assiduously in manuscript copies. Despite this evidence, for paintings, a fraction of them completedpresum-
of course, there is no guarantee or requirement that ably outstripped the capacities, or patience, of those
a reader would go through the assemblies in numeri- persons making it. The main point of these basic statis-
cal sequence, and one might add that the autonomous tics is to demonstrate the high rate of illustration in the
maqmas were sufficiently brief to be read singly. 1237 Maqmt. This feature allowed for several images
The narrative breakdown between successive, indi- to appear in an individual maqma, and dispersed
vidual maqmas of al-Hariris Maqmta feature that across the whole book they created a sense of coher-
seems to reinscribe the independence of each maqma ence and cyclicality.
as a unithas also been a topic of discussion in the field Some additional examples from maqma 3, of the
of Arabic literary history. As Jareer Abu-Haidar observes, coin, and maqma 16, of the Maghrib, underscore these
we never see Ab Zayd on his travels. He seems to observations. In the frame story of maqma 3, an old
move from one city of the Islamic world to another in man comes before an assembly and, feigning lameness,
the interval or intermission, so to speak, between two describes his former wealth and current poverty in
Maqmas, and the setting of the Maqma is unimport- eloquent prose (fig. 15). The first of two paintings in
ant if one does not say altogether trivial.73 Elsewhere, maqma 3 depicts the seated assembly, animated by
Abu-Haidar concludes that the Maqmt as a genre did bodily posture and gesture, and a standing lame man
not present a framework story with which the separate who slightly lifts his left footin an act of recitation sig-
tales could be more closely integrated to form a novel.74 nified by an open left hand. Al-Harith pities the old man
In other words, the Maqmt was an aggregate of parts but would also like to hear what he can do with poetry.
whose coherence, if any, lay not in sequence but in So he offers the old man a gold coin (dnr), asking him
theme: the individual maqmas were interrelated more to praise it in verse: this he does on the spot, borrow-
paradigmatically than syntagmatically. ing nothing from other poets. Al-Harith and the com-
These assessments of al-Hariris Maqmtif one pany are deeply impressed and so another coin is
does not accept Kilitos and Zakharias arguments in offered, with the request this time to deprecate it in
favor of the sequential implications of the total text verse. This is easily accomplished. The old man puts the
come across as balanced and accurate, but it must be two coins in his mouth and walks away. The poems of
said that the illustrations function in another way. praise and dispraise are arranged to mirror each other
While the illustration of an individual maqma obeys across the two pages of text (fols. 7b-8a) intersected

Fig. 15.Al-Harith and an assembly of men listening to Abu Zayd who pretends to be lame, maqma 3, of the coin
(al-dnarya). Paris, Bibliothque nationale de France, Ms. Arabe 5847, fol. 7a. (Photo: Bibliothque nationale de France)

between the pages bearing paintings (fols. 7a and present condition and reprimands him for playing the
8b). fool and simulating disability. But Abu Zayd prevails
Again al-Harith realizes that the old man was Abu when he recites another verse before parting:
Zayd and that his going lame was for a trick. He goes
I have feigned to be lame, not from love of lameness, but
after him, calling out: Thou art recognized by thy elo-
that I may knock at the gate of relief.
quence, so straighten thy walk. The second painting For my cord is thrown on my neck, and I go as one who
shows the closing sequence of the maqma, where the ranges freely.
narrator and hero meet (fig. 16). Abu Zayd initially does Now if men blame me I say, Excuse me: sure there is no
not recognize al-Harith, who again asks him about his guilt on the lame.76
In Pursuit of Shadows: al-HarIrIs Maqmt 193

Fig. 16.Abu Zayd and al-Harith, who asks why Abu Zayd is lame, maqma 3, of the coin (al-dnarya). Paris, Bibliothque
nationale de France, Ms. Arabe 5847, fol. 8b. (Photo: Bibliothque nationale de France)

Maqma 16 contains three paintings. The frame story the company. The group of men invite Abu Zayd to stay
begins in one of the mosques of the West, where al- with them in conversation that night, on the condition
Harith joins four scholars (fig. 17). Their conversation that they should mend his poverty, but he claims that
turns to sentences that maintain their sense when his children are hungry and that he must go home and
they are reversed, and the men decide to test their feed them. Stipulating that he return after his children
ability in constructing them. Each man takes his turn, have been fed, the men release Abu Zayd, joined by a
advancing from palindromic sentences composed of servant who holds the wallet of money. In the second
three words to ones of four, five, and then six. Just as painting, organized as a double-page, Abu Zayd pulls on
al-Harith fails to construct one of seven words, an old the wallet (the collateral), snatching it away from the
man enters and immediately pronounces just such a servant, and counsels and chastises the latter in verse
sentence. He then dazzles the group of men by saying (fig. 18): Abu Zayd had led the servant down long and
that he can also offer verse palindromes. This he does branching paths until they reached a ruined hut that
in short order, reciting two poems each one composed he claimed as the nest of my chicks.77 The scene on the
of five lines (five distichs, ten hemistichs). After this, facing page depicts a group of seated men. The solitary
al-Harith recognizes Abu Zayd and introduces him to servant returns to al-Harith and company, instructed

Fig. 17.Disguised as a beggar, Abu Zayd joins al-Harith and his companions in a mosque, maqma 16, of the Maghrib. Paris,
Bibliothque nationale de France, Ms. Arabe 5847, fol. 42a. (Photo: Bibliothque nationale de France)

by Abu Zayd to repeat the cautionary poem to them. equally commonplace groups of figures ranging from
The basic message is to take what is available, cut ones three to four or five in number, or another set of still
losses, and not hold out in expectation of more in the more populated and developed settings (the cemetery
future. The discovery of Abu Zayds deceit causes al- in maqma 24, fol. 29b; the waterwheel in maqma 11,
Harith and the scholars to fight among themselves for fol. 69b; the pilgrim caravan in maqma 31, fol. 94b)
letting him go and also being fooled by him. also created a visual continuity across the manuscript
Visualizing multiple moments from the frame story by repetitive paradigms. The images might be seen as
of each maqma established coherence across the sequentially parallel to the text but they can also be
manuscript as a whole, an impression amplified by a experienced independently of it. And although the story
high rate of illustration. Recurring typologies of episodes do not add up to an overarching, coordinated
image-conceptualizationfrom frequent pairs of ges- narrative totality, their frequent incidence and visual
ticulating figures standing on a simple ground line, form give the impression through sheer accumulation
In Pursuit of Shadows: al-HarIrIs Maqmt 195

Fig. 18.Watched by a group of seated men, Abu Zayd sends away the servant who accompanied him home, maqma 16,
of the Maghrib. Paris, Bibliothque nationale de France, Ms. Arabe 5847, fols. 43b44a. (Photo: Bibliothque nationale
de France)

of a persistent and consistent theme. In that respect Confession: Maqma 50, of Basra
they are also paradigmatic and not syntagmatic, but the
capacity of the paintings to constitute immediately leg- After forty-nine assemblies showing verbal trickery in
ible abstractions of the text made structure perceptible various guises, the final one, maqma 50, transports the
in a manner that the text could not. This experience of reader to Basra. Al-Harith resolves to go to the Friday
al-Wasitis Maqmt can only be obtained by direct mosque, where he sees a man dressed in rags sitting
access to the manuscript, or through its facsimile. on a stone and encircled by a large crowd of people
Though Grabars 1984 book included a microfiche of all (fig. 19). After he had drawn near, al-Harith immediately
the paintings and other authors, like James, described recognized Abu Zayd because he wore no disguise to
the image typologies in some detail, publications of the conceal him. Abu Zayd recites an extraordinary praise
1237 Maqmt always favored reproduction of the same of the city of Basra and its inhabitants. He continues by
highly developed compositionslike those of the cem- saying that he will now disclose truly my character
etery, waterwheel, village, and scenes of childbirth (fasa-duquhu ifat). Abu Zayd speaks of his many
and not the highly repetitive scenes of Abu Zayd travels and adventures, his capacities to remove ob-
meeting al-Harith. stacles, change peoples moods and attitudes, and

Fig. 19.Sitting on a rock, Abu Zayd addresses a crowd gathered in a mosque, maqma 50, of Basra. Paris, Bibliothque
nationale de France, Ms. Arabe 5847, fol. 164b. (Photo: Bibliothque nationale de France)

how often I have beguiled the minds of men, and devised The assembled crowd begins to pray for Abu Zayd, an-
novelties and snatched opportunities, and made lions my swering his request. As Abu Zayd leaves, heading toward
prey, how many a high-flown I have left prone, how many the riverbank, he is pursued by al-Harith, who questions
a hidden one I have brought out by my spells, and made
spring its sweet water by my wiles. But there has passed him there on the nature of his repentance, still doubting
what has passed, while the bough was fresh and the temple Abu Zayds sincerity. Abu Zayd then leaves.
raven-haired, and the raiment of youth yet new; whereas Al-Harith continues in his quest to find Abu Zayd, yet
now the skin has withered, the straight grown crooked, again, and hears news from a group of travelers that they
the dark night waxed light, and naught remains but had seen Abu Zayd in Saruj, the town of the scoundrels
repentance, if it avail, and to patch up the rent that has birth, where he had donned the wool cloth, and was
leading the rows of the praying and had become a
Abu Zayd then asks the audience to pray to God for famous devotee. Al-Harith asks them if they speak of
himwithout expecting financial rewardand recites the man of the Assemblies, in reference to the
a poem on his sins, errors, arrogance, greed, and deceit. Maqmt itself. He journeys on to Saruj, where he sees
In Pursuit of Shadows: al-HarIrIs Maqmt 197

Fig. 20.Al-Harith and Abu Zayd eat together in their final meeting, maqma 50, of Basra. Paris, Bibliothque nationale de
France, Ms. Arabe 5847, fol. 166a. (Photo: Bibliothque nationale de France)

Abu Zayd in the mosque standing in his prayer-niche, prompting al-Harith to do the same. Narrator and hero
wearing a cloak stitched together with a tooth-pick, and then take leave of each other for what will be the last
a patched wrapper.79 Abu Zayd, who had become a time.
mendicant, continues with his readings from the Koran
and performs his five prayers until the next day arrives.
Al-Harith then joins Abu Zayd in his home (bayt), where CONCLUSION: IN PURSUIT OF SHADOWS
they dine on bread and olive oil (fig. 20). Abu Zayd
withdraws to his oratory (mualla) and continues his Perhaps more than any other, maqma 18, named after
dialogue with God (munj) until the next morning, Sinjar,encapsulates in its imagery the central theme
when he rises and makes another speech in praise of of the fifty assemblies. In the 1237 Maqmt made by
God (tasb) that brings al-Harith to tears. They then al-Wasiti, this particular maqma is illustrated with
hurry to the mosque again to pray with the congrega- four paintings arranged in two double-page openings
tion. Abu Zayds devotions cause him to wail and weep, (figs. 21 and 22). Traveling from Damascus to Baghdad

Fig. 21, a and b.Abu Zayd at the wedding banquet, fleeing the scene as the glass bowl of sweetmeats is presented, maqma
18, of Sinjar. Paris, Bibliothque nationale de France, Ms. Arabe 5847, fols. 47b48a. (Photo: Bibliothque nationale de
In Pursuit of Shadows: al-HarIrIs Maqmt 199


Fig. 22, a and b.Abu Zayd leaves the banquet joined by a servant who carries dishes of food; Abu Zayd departs on his
camel, maqma 18, of Sinjar. Paris, Bibliothque nationale de France, Ms. Arabe 5847, fols. 50b51a. (Photo: Bibliothque
nationale de France)
In Pursuit of Shadows: al-HarIrIs Maqmt 201


with a caravan, al-Harith and Abu Zayd stop at Sinjar, position. He was then presented with ten silver trays
where a merchant is hosting a wedding feast. Following (which as objects made from opaque matter could keep
custom, everyone is invited. Toward the end of the meal, secrets) laden with sweets and honey as a gift. A servant
sweetmeats are presented to the guests in a glass bowl boy carried them to Abu Zayds tent, where Abu Zayd
(jm). Al-Harith relates that the bowl was as though it distributed the sweets among the men. After declaring
had been congealed of air, or condensed of sunbeam that he must leave and attend to his children, he mounts
motes, or molded of the light of the open plain, or peeled his camel and departs (fig. 22). And when his strong
from the white pearl: And it had been furnished with camel coursed along and his sociableness quitted us, he
assortments of comfits, and affused with a pervading left us as an assembly whose president is gone, or a night
perfume, and there had been poured into it a draught whose moon has set.85 Abu Zayds ruse was brilliant:
from Tasnim [a fountain in paradise], and it disclosed he had exchanged a possible present, glass, for one more
a fair aspect, and the fragrance of a gentle breeze.80 valuable, a set of silver trays, which to their further
He continues: Now when our appetites were kindled advantage could be liquidated.
at its presence, and our palates were eager for the trial Despite the fact that Abu Zayd uses the occasion of
of it; and it was imminent that the squadrons should the wedding feast to speak of a treacherous friend who
be sent forth against its trainAbu Zayd sprang up like vowed not to rend veils of confidence and revealed all
a madman, and sundered from it as far as the lizard secrets to sight, we are more than well aware of the sym-
is sundered from the fish.81 The last line refers to an metry between Abu Zayd and his contra-ideal presented
Arabic proverb about the opposing climates of lizards through the figure of the glass bowl. Whether animate
and fish, and the belief that the lizard only inhabits or inanimate, the physical properties of a person or an
arid climates.82 Abu Zayd fled the circle of guests object should be such that a secret, or a true nature, is
al-Wasiti depicts him running for the door, casting a not disclosed. Opacity is favored over transparency. And
glance back at the green-colored bowland said that of course, throughout the maqmas, Abu Zayd enacts
he would only return on condition that the glass be re- his ideal by appearing in various guises that make him
moved. The glass bowl is sent away, to the dismay of the unrecognizable, even to al-Harith, who has met him on
guests. innumerable occasions. Abu Zayd assumes various
When he is asked to explain his actions, Abu Zayd identities through a transformation of clothing (once in
answers that glass is a betrayer (inn al-zujj nammm) the guise of his wife [fig. 23]), or even its near total
and that he had sworn an oath not to stay near anything absence, or by simulating bodily impairments such as
that is transparent (fig. 22). He continues to tell a story blindness and lameness, or assuming other character-
that he had befriended a neighbor whose tongue istics associated with advancing agesuch as graying
cajoled while his heart was a scorpion, and that he once hair and beard. In one of the most humorous maqmas,
owned a slave girl (jrya) possessing many virtues, but no. 21, of Mayyafariqin, Abu Zayd claims to have lost his
kept her hidden from sight.83 After drinking too much sexual virility in old age. Al-Harith and his company of
wine one time, Abu Zayd told the treacherous neighbor friends do not know what to do, whether to refuse the
about her and his trust was betrayed. The neighbor mans request for money or ask him to prove his impo-
informed the governor about her and the governor, in tence. The prose is filled with extraordinary figurative
turn, wanted to present the slave girl as a gift to the imagery: e.g., Fie on him whose rock is not moist, whose
prince. Abu Zayd was forced to barter the black of his gravel oozes not!86 The maqma ends dramatically
eye for the yellow of coin. Then and there he made a when al-Harith asks Abu Zayd to show him his shrouded
vow not to be in the presence of a betrayer, and corpse and Abu Zayd obliges (fig. 24). In conclusion,
because glass has this quality, his oath applied to it.84 although we are cognizant of Abu Zayds oceanic eru-
Speaking for the group, al-Harith states that they dition and eloquence, we get no sense from his body or
accepted Abu Zayds stance and the host of the wedding his speech of the inner Abu Zayd. Notwithstanding Abu
invited him to return and take up the most honored Zayds many physical disguises as related by al-Hariri,
In Pursuit of Shadows: al-HarIrIs Maqmt 203

Fig. 23.Al-Harith and a group of men in discourse are approached by an old woman and children, maqma 13, of Baghdad.
Paris, Bibliothque nationale de France, Ms. Arabe 5847, fol. 35a. (Photo: Bibliothque nationale de France)

the artist al-Wasiti shows him as an identifiable person the person.88 In Abu Zayd we confront a figure of pro-
among the crowd. In a large number of paintings he can tean identities whose only consistent traits are elo-
be pinpointed through his white beard, for example.87 quence and learningand yet, even this firmer ground
It is impossible to establish any kind of biographical is shaken because his speech is used to trick and manip-
coherence for Abu Zayd across the fifty maqmas. In ulate people into certain beliefs and actions. Despite his
some of them he claims to be married, in others he is a frequent admonitions and pious counsel, Abu Zayds
bachelor; in still others he professes to have a son, or behavior contradicts his advice, especially in his vari-
children; in others he denies progeny. The effect of these ous forms of personal indulgence.89 Spoken and writ-
constant switches is to destabilize the link between ten language can be meaningful, but can also be used
what a person says and how they appear and behave, to duplicitously.
shake the cultural understanding that an individuals And what of al-Harith b. Hammam? He is the most
appearance, actions, and speech can be equated with generic of narrators, a non-identity signaled by a name

Fig. 24.Abu Zayd exposes his penis to al-Harith, maqma 20, of Mayyafariqin. Paris, Bibliothque nationale de France, Ms.
Arabe 5847, fol. 57a. (Photo: Bibliothque nationale de France)

that commentators compared to a tradition of the someone like everyone.90 Al-Hariri chose these most
Prophet Muhammad: every one of you is a Harith, and generic of Arabic namesal-Harith b. Hammam and
everyone of you is a Hammam. In the proverb, Harith Abu Zaydin response to his model Badi al-Zaman al-
denotes the person who earns a living from trade, and Hamadhani, about whose chief protagonistsAbu al-
Hammam the person who has anxieties and worries. Fath al-Iskandari and Isa b. Hishamhe notes in the
Al-Harith is everyman and nobody at the same time. In preface to his own Maqmt each is an unknown about
this respect, Abu Zayd is his double. As Kilito observes, whom one knows nothing, an undefined person whom
Zayd is, with Amr, the name privileged in examples of one cannot identify.91 Kilito has also discussed the scar-
Arab grammarians: it is therefore a synonym of city of proper names in al-Hariris work, and that when
In Pursuit of Shadows: al-HarIrIs Maqmt 205

they are given, most frequently to historical persons, the asserting that his Maqmt should be understood in
authors objective was for names of specific people to the same class of text as the Kalla wa Dimna, hence
signal abstract qualities, attributes associated with bolstering the instructional value of his work, stressing
those individuals (examples mentioned previously the message and meaning of the maqmas over the act
include Ibn Samun and al-Asmai).92 of storytelling. This is a good example of having ones
In composing the preface for the Maqmt, al-Hariri cake and eating it too.
anticipated criticism for his work and attempted to In essence, al-Hariris Maqmt is a pursuit of shad-
excuse it by making a comparison to the Kalla wa ows: whatever Abu Zayd might cast, it is impossible to
Dimna (Kalila and Dimna) of Ibn al-Muqaffa (the discern its purpose; is it semblance or dissemblance? At
fables that relate to brutes and lifeless objects): the very end, in maqma 50, al-Harith expresses his
I can hardly escape from the simpleton who is ignorant, doubt about Abu Zayds intention in the midst of their
or the spiteful man who feigns ignorance; who will detract several meetings. Up until then, al-Harith, who has an
from me on account of this composition, and will give out affection and admiration for Abu Zayd (although he
that it is among the things forbidden of the law. But yet, views his behavior disapprovingly on most occasions),
whoever scans matters with the eye of intelligence, and spends much of his time lamenting the absence of Abu
makes good his insight into principles, will rank these Zayd and searching for him in vain, only to fail to com-
Assemblies in the order of useful writings, and class them
prehend the rascals identity in his presence, until the
with the fables that relate to the brutes and lifeless objects.
Now none was ever heard of whose hearing shrank from weight of the discourse makes Abu Zayds identity dawn
such tales, or who held as sinful those who related them at on al-Harith. Audition is followed by suspicion and only
ordinary times. Moreover, since deeds depend on inten- in the very end verified by vision: al-Hariri employs a
tions, and in these lies the effectiveness of religious obliga- number of subtle metaphors to convey the sensory
tions, what fault is there in one who composes stories for apprehension of Abu Zayd, mostly by vision but some-
instruction not for display, and whose purpose in them is times by smell. Like other characters in the Maqmt,
the education and not the fablings?93
al-Harith is tricked by Abu Zayd, but most often he does
Al-Hariri was correct to expect criticism. Because he not seem to care. Running parallel to this linguistic
did not identify his chief characters as based on histori- framework of successive, autonomous assemblies is a
cal persons, Ibn al-Khashshab al-Nahwi (d. 1172) pro- cycle of paintings that depict elements from the narra-
claimed al-Hariris Maqmt a lie, dressed with the tive, showing a series of causes by their effects. The
traits of the real, something which resembles the truth paintings concretize the fact of human discourse by
while at the same time denying it.94 He stated that repeatedly emphasizing it, and depend on visual narra-
al-Hariris work ran against fundamental principles of tive to translate the complex registers of the text.
religious law. Al-Hariris supportersIbn al-Barri (d. When studied in comparative terms, the illustration
1187), who composed a refutation of Ibn al-Khashshab, of the 1237 Maqmtor, for that matter, the entire cor-
and the later biographers Yaqut (d. 1229) and Ibn Khal- pus of illustrated Maqmts made in the years before
likan (d. 1288)were quick to resist these claims and to or just afterproduced no particularly unique visual
do so explained that maqma 48 (named al-Haramiyya) traits or practices of picture-making: their conventions
was founded in historical fact: they identified Abu Zayd are found across a number of contemporary illustrated
with the person whom al-Hariri mentions meeting in Arabic texts, from works of science to belles-lettres. As
the mosque of the Banu Haram in Basra. As Zakharia noted above, al-Wasitis chief innovations within the
notes in her brilliant study of this reception history, al- production of the images themselves include the exten-
Harith b. Hammam is not mentioned but the conflation sive use of the double-page composition and an
between him and al-Hariri is obvious enough.95 These expanded number of details and characters in his most
historical and autobiographical functions gave license developed paintings. Many years ago, Ettinghausen
to al-Hariris fictions. His preface addresses the perpet- compared what he held to be a realist visual idiom cur-
ual anxiety over fiction in Islamic literature and letters, rent in portable objects and illustrated manuscripts to

the realist subjects of the contemporary shadow play semblance and ultimate reality.99 Moreover, given that
(khayl al-ill, lit. shadow fantasy).96 Without a com- a theory of images as we know it for the time had still
plete formal analysis from Ettinghausen, we can only not defined the ontology of paintinga distinction
surmise the visual affinities between the Maqmt illus- between what it is and what it representsthe paint-
trations and the shadow puppets that he had in mind. ings arguably held a position similar to al-Hariris text,
One could mention the preponderance of profiles; the flickering between transparency and opacity, between
dramatic outlines of gesturing and animated figures; the the basic polar opposites of history and fiction, which
stark contrast between figure and ground; the empha- were consciously muddled by al-Hariri. (This generic
sis on crafting compositions into bold, contoured shapes uncertainty, and the ultimate purpose of al-Hariris
set against the stark paper sheet, inner details painted work, was a prime factor in the critical reception of the
amid the overall shadow. The flatness of form and Maqmt: how should it be placed, was it useful, and,
position of figures on a single and shallow spatial plane if so, how?).
are other conventions that might be linked to the Recent renewed contextual approaches to the study
shadow play. Many visual aspects of the Maqmt illus- of the Maqmt, such as those by James and George, are
trations embody the theatricality of discourse. But of comparable in effect to earlier art historical approaches
course the finished paintings do not resemble shadows. that quickly moved away from the text and considered
They are not the shadows, but the things themselves factors extrinsic to it to offer an account. And all this
fully colored and brightly lit, unless one is to take the before we developed an understanding of al-Wasitis
entire formal language of Arabic manuscript painting version of al-Hariris Maqmt. By holding our focus on
from the late 1100s through the 1200s as a complex com- the manuscript, let us first consider how it works as an
mentary on the nature of representation itself. object, what effects its paintings had on their reader/
The shadow play, other forms of popular entertain- viewer, how the book as a whole object structures an
ment, and their reception by contemporaries such as experience for its user. Then, one of the most pressing
Ibn al-Haytham (d. 1040), Ibn Shuyad (d. 1035), and Ibn questions in this inquiry concerns the presumed bal-
Hazm (d. 1064), as well as the evident connections ance between modes of reading and seeing, and a ten-
between literary, structural, and thematic aspects of the dency to always privilege audition and oral recitation
plays and the Maqmt, have been explored in literary over silent reading; somehow the role of seeing is mar-
scholarship. The best-known examples of the shadow ginalized by each model.100 The role performed by the
play are those composed by Muhammad b. Daniyal (d. illustrated book in these experiences is obviously dif-
1311).97 The reception of the shadow play manifests its ferent, not least of them the contrast between collec-
metaphorical function commenting on the illusory and tive and solitary experience, but there can be no doubt
transitory nature of earthly existence, where each that al-Wasiti devoted an abundance of skill, labor, and
shadow pointed to a truth (but was not the truth). thought to the way his pictures functioned throughout
Several medieval authors give voice to this concept in al-Hariris text.
their writing, including some of the better-known writ- Al-Wasitis images emphasized discourse as a para-
ers, such as Umar b. al-Farid (d. 1235) and Umar digmatic theme of al-Hariris Maqmt, concretizing
Khayyam (d. 1123).98 the reality of the assemblies by insistently showing their
The several connections between the shadow play events and characters, but at the same time denying its
and the maqmt, and their plausible shared visual viewers firm knowledge of anything. His realism,
effects may have prompted associations between the advanced through several paintingsthose paintings
two media for contemporary readers/viewers of al- most frequently praised and published by art histori-
Hariris Maqmt and extended the notion of deceptive ansexceeded any previous or subsequent models that
speech to painted images. In other words, any affinities might have been available to him, but had the effect of
between play and painting might have caused the trans- laying a trap in a manner comparable to those set by al-
position of cultural values and concepts about earthly Hariri. An abundance of depicted thingsof things
In Pursuit of Shadows: al-HarIrIs Maqmt 207

rendered visibleamounted to nothing, just as Abu 5. Ibid., 1:228.

Zayds linguistic eloquence finally amounted to noth- 6. Amr b. Ubayd (d. ca. 761) was renowned in his life as an
ascetic (zhid) who spoke out to the Abbasid caliph al-
ing. Elsewhere, in al-Wasitis most common paintings Mansur on questions of religion and morality, and con-
those depicting smaller-scaled, more intimate acts of stantly rejected remuneration or reward. See al-arr,
discoursea formal generic was a suitable analogue to Assemblies, trans. Chenery, 1:46769, and W. Montgomery
the verbal play of al-Hariris text, to its endless, even if Watt, Encyclopaedia of Islam, New Edition (henceforth EI2),
s. v. Amr b. Ubayd.
educational, deceptive fictions. 7. There has been some disagreement about how to translate
the term, which is commonly translated as assembly or
Department of History of Art and Architecture, sessions in English and sance in French. The Arabic
Harvard University, Cambridge, Mass. triliteral root q-w-m has the sense of standing forth or
rising up. In assessing the origins of the genre, chiefly in
the Maqmt of Badi al-Zaman al-Hamadhani (d. 1008)
whom al-Hariri credits as his inspirationA. F. L. Beeston
notes offers a reason for al-Hamadhanis choice of the term to
title his work: Anecdotes were customarily exchanged at
Authors note: I have held onto this essay for longer than I had sessions, majlis. By eschewing this term in favour of
intended. It seemed an especially suitable contribution to the maqmt, B. [Badi al-Zaman al-Hamadhani] may have
thirtieth volume of Muqarnas, which is in part an appraisal of intended to emphasize that his anecdotes, drafted in saj,
the history of the field of Islamic art and architecture as reflected were using the linguistic medium of the orator, khib,
through the journal, whose founding editor, Oleg Grabar, wrote whose traditional posture was standing: A. F. L. Beeston,
so extensively about al-Hariris Maqmt. Since 2002, I have been The Genesis of the Maqmt Genre, Journal of Arabic
fortunate to present my thoughts on the Maqmt at different Literature 2 (1971): 112, at 89.
institutions. I thank Marcus Milwright, Sheikha Hussah Sabah 8. In a commentary on this poem, Theodore Preston suggests
Salem al-Sabah, Kishwar Rizvi, the graduate students of the Insti- that by mentioning Noahs sons Abu Zayd means that he
tute of Fine Arts, and Heather Ecker, for their invitations to lec- had succeeded in enriching himself from all mankind, so
ture and the responses of audience members at the University of that he had become as it were like those patriarchs the heir
Victoria, Victoria, British Columbia; Dar al-Athar al-Islamiyya, of all the world. Preston, following medieval commenta-
Kuwait; the Medieval Renaissance Forum, Yale University, New tors on al-Hariris Maqmt, follows their interpretation of
Haven; the Institute of Fine Arts, New York University; and the muthllath as a reference to the treble-toned string of a
Society of Fellows in the Humanities, Columbia University, New lute. Al-arr, Makamat or Rhetorical Anecdotes of al
York. I am also deeply grateful to Annie Vernay-Nouri and Marie- Hariri of Basra, trans. and annot. Theodore Preston (Lon-
Genevive Guesdon of the Bibliothque nationale de France for don: James Madden, 1850), 3067.
giving me generous access to Ms. Arabe 5847, and many other 9. Perhaps the boldest move made by Abu Zayd against his
sources, in December 2009. This essay is dedicated to my mother, audience is in maqma 29, named after Wasit, where the
who let me leave her and family in Kelso for work in Paris in dif- hero proposes to engineer a marriage between al-Harith,
ficult times. who is presently destitute, and one of the female occupants
1. In preparing this essay I have used the excellent transla- at the inn (khn). Abu Zayd promises to deliver an oration
tions and commentaries of al-Hariris Maqmt published such as has never been heard before and in preparation for
by Thomas Chenery and F. Steingass. Though it had been the wedding he makes sweetmeats. Al-Harith is more eager
Chenerys intention to undertake a complete study of the to hear the speech than to move ahead with the rite, and
fifty maqmas making up al-Hariris opus, he only managed so Abu Zayd delivers his address and asks al-Harith to dis-
the first twenty-six. Steingass published the remaining tribute the delicacies among the guests. No sooner had they
twenty-four maqmas some years later. Ab Muammad been consumed than the people lost consciousness and fell
al-Qsim b. Al b. Muammad b. Uthmn al-arr al-Bar, to the ground. Abu Zayd had drugged the sweetmeats; he
The Assemblies of al-arri, trans. with notes by Thomas was then free to roam through the rooms of the inn and
Chenery, 2 vols. (London: Williams and Norgate, 1967), cherrypick the most valuable possessions.
1:224. 10. Al-arr, Assemblies, trans. Chenery, 1:254.
2. Abu al-Husayn b. Samun (d. 997), trained as a Hanbali but 11. Ibid., 1:255.
also sympathetic to Sufism, lived in Baghdad, where he was 12. Abu Said Abd al-Malik b. Qurayb al-Asmai (d. ca. 828) was
widely celebrated for his preaching and eloquent discourse. a famous Arabic philologist active in Basra and Baghdad.
Extensive biographical commentary is provided in He is known, among many other things, to have collected
al-arr, Assemblies, trans. Chenery, 1:45658. poetry from the Bedouins. See al-arr, Assemblies, trans.
3. Ibid., 1:224. Chenery, 1:52021; and B. Lewin, EI2, s. v. Al-Ama.
4. Ibid., 1:227. 13. Al-arr, Assemblies, trans. Chenery, 1:256.

14. As Chenery notes in his commentary on al-arrs 23. I follow D. S. Richards, The Maqmt of Al-Hamadhn:
Maqmt. See ibid., 1:521. General Remarks and a Consideration of the Manuscripts,
15. Ibid., 1:257; also see Chenerys gloss of the phrase, ibid., Journal of Arabic Literature 22, 2 (1991): 8999, who has
1:52223. questioned the meaning of the verb ibtadaa in the preface
16. Ibid., 1:25758. Ibn Sukkara (al-Hashimi) was a prolific and of al-Hariris Maqmt. Beeston suggests that al-Hamad-
humorous poet, son of the caliph al-Mahdi, and descendant hanis originality lay in the systematic use of saj and the
of Ali. See ibid., 1:523. explicit fictionality of the characters that appear in his
17. Al-arr, Assemblies, trans. Chenery, 1:258. anecdotes, which no author had done before; al-Hariris
18. Al-arr, The Assemblies of al-Hariri, trans. with notes by reference to the invention of al-Hamadhani was thus
F. Steingass, vol. 2 (London: Royal Asiatic Society, 1898), 35. probably understood as the unmasking of the author. See
19. For a detailed biography of al-Hariri, see D. S. Margoliouth Beeston, Genesis of the Maqmt, 89. J. N. Mattock ques-
and Ch. Pellat EI2, s. v. Al-arr. tioned Beestons hypothesis about saj, pointing to evi-
20. Formal aspects of the written text of al-Hariris Maqmt dence of the extensive use of saj before the emergence of
are also described by Alain George, Orality, Writing and the maqmt: J. N. Mattock, The Early History of the
the Image in the Maqamat: Arabic Illustrated Books in Con- Maqma, Journal of Arabic Literature 15 (1984): 118, at 2.
text, Art History 35, 1 (2012): 1037, at 1821. But these 24. See A. F. L. Beeston, Al-Hamadhn, al-arr and the
observations are directed toward a larger argument that Maqmt Genre, in Abbasid Belles-Lettres, ed. Julia
proposes the use of illustrated Maqmt by storytellers Ashtiany et al. (Cambridge: Cambridge University Press,
before audiences where the aural aspect is complemented 1990), 12535, at 12526.
by a visual one. 25. Richards, Maqmt of Al-Hamadhn, 90.
21. The illustrated manuscripts of the Maqmt were studied 26. Beeston, Al-Hamadhn, al-arr and the Maqmt
by Oleg Grabar, The Illustrations of the Maqamat (Chicago: Genre, 125.
University of Chicago Press, 1984). Dated manuscripts span 27. Ibid.
the years 1222 and 1337, with others dated through the com- 28. Ibid., 126.
parative stylistic analysis of their paintings. The earliest 29. Ibid. A more complex definition and analysis of saj is
known copy of al-Hariris text (Ms. Cairo Adab 105), dated offered by Tamas Ivanyi, On Rhyming Endings and Sym-
504 (111011), contains a large number of marginal annota- metric Phrases in al-Hamadhanis Maqmt, in Tradition
tions recording its use over time for readings that produced and Modernity in Arabic Language and Literature, ed. J. R.
licensed copies of the text. Early in this history of use, the Smart (Richmond, Surrey: Curzon, 1996), 21028. Ivanyi
manuscript was described as an archetype (al). For an actually recommends avoiding its usage, preferring instead
analysis of the notations, the manuscript, and licensed pro- rhyming ending and symmetric phrases (p. 210).
cesses of dissemination, see Pierre A. MacKay, Certificates 30. Afif Ben Abdesselem, EI2, s.v. Sadj.
of Transmission on a Manuscript of the Maqmt of arr 31. Beeston, Genesis of the Maqmt Genre, 7.
(MS. Cairo, Adab 105), Transactions of the American Philo 32. In al-Hamadhanis Maqmt, the authority is a fictional
sophical Society, n. s., 61, 4 (1971): 181. Some scholars have character named Isa b. Hisham and the hero is Abu al-Fath
argued that the difficulty of the Maqmts of al-Hamad- al-Iskandari, though there are frequent exceptions to this
hani and al-Hariri made them especially useful as tools for pattern. See Beeston, Al-Hamadhn, al-arr and the
teaching grammar and to preserve vocabulary and expres- Maqmt Genre, 127.
sion in their full richness. For example, see H. Nemah, 33. For the poetry of al-Hariri, see Beeston, Al-Hamadhn,
Andalusian Maqmt, Journal of Arabic Literature 5 al-arr and the Maqmt Genre, 133; Jaakko Hmeen-
(1974): 8392, at 88. A Hebrew translation of al-Hariris Anttila, Maqama: A History of a Genre (Wiesbaden: Harras-
Maqmt was made by Yehuda al-Harizi between 1205 and sowitz, 2002), esp. 151; and Katia Zakharia, Les rfrences
1216 in Spain. Based on the poor command of Hebrew dem- coraniques dans les Maqmt dal-arr: lments dune
onstrated by Jews living in the East, which he experienced lecture smiologique, Arabica 34, 3 (1987): 27586, at 277.
on a visit there, al-Harizi was moved to write his own Hmeen-Antilla counts two borrowed verses, Zakharia
Maqmt titled Sefer tahkemoni: he believed that its engag- four.
ing stories would encourage readers to learn Hebrew and 34. Richard Ettinghausen, Arab Painting (Geneva: Skira, 1962).
develop a strong knowledge of its grammar and expres- 35. Grabar, Illustrations of the Maqamat. His study includes a
sions. See Rina Drory, Al-Harizis Maqmt: A Tricultural complete and subtle review of scholarship through the
Literary Product? in The Medieval Translator 4, ed. Roger early 1980s (esp. chaps. 1 and 2).
Ellis and Ruth Evans (Binghamton, N.Y.: Medieval and 36. The approach and method were shaped by the notion of a
Renaissance Texts and Studies, 1994), 6685, esp. 6874. program of illustration, the idea that for each text there
22. Paris, Bibliothque nationale de France, Ms. Arabe 5847: existed a set of conventional practices of illustration and
168 fols., 37 x 28 cm, 101 illustrations, with approximately 15 that each new copy is always an imitation or mediation of
lines of text, copied in a fine naskh script, on pages without earlier tradition. Grabars chief model was Kurt Weitzmann,
illustrations. Illustrations in Roll and Codex: A Study of the Origin and
In Pursuit of Shadows: al-HarIrIs Maqmt 209

Method of Text Illustration (Princeton, N. J.: Princeton Uni- of the Baghdd Maqmt Illustrators, 122558, Bulletin of
versity Press, 1947). In the end, however, it became clear to the School of Oriental and African Studies 37, 2 (1974): 305
Grabar that this model of analysis was untenable. 20.
37. These ideas were developed in several articles by Oleg Gra- 43. As is often the case in scholarship, materials that have gone
bar, including The Illustrated Maqamat of the Thirteenth without much attention suddenly return to full visibility.
Century: The Bourgeoisie and the Arts, in The Islamic City, Apart from James 2013 monograph, three essays on the
ed. A. H. Hourani and S. M. Stern (Oxford: Cassirer, 1970), Maqmt have appeared recently: Bernard OKane, Text
191222, at 210; Pictures or Commentaries: The Illustra- and Paintings in the al-Wit Maqmt, Ars Orientalis 42
tions of the Maqmt of al-arr, in Studies in Art and (2012): 4155; Alain F. George, The Illustrations of the
Literature of the Near East in Honor of Richard Ettinghausen, Maqmt and the Shadow Play, Muqarnas 28 (2011): 142;
ed. Peter J. Chelkowski (Salt Lake City: Middle East Center, and George, Orality, Writing and the Image.
University of Utah, 1974), 85104; and Les arts mineurs de 44. D. S. Rice, The Oldest Illustrated Arabic Manuscript, Bul
lorient musulman partir du milieu du XIIe sicle, Cahiers letin of the School of Oriental and African Studies 22, 13
de Civilisation Mdivale 11 (1968): 18190. The notion of a (1959): 20720, at 214.
bourgeoisie was first developed as a concept in the arts of 45. Ettinghausen, Arab Painting, 104.
the Islamic lands by Richard Ettinghausen, The Bobrinski 46. James, Space-Forms, 306. These opinions are voiced again
Kettle, Patron and Style of an Islamic Bronze, Gazette des in Masterpiece of Arab Painting, 3537.
Beaux-Arts 24 (1943): 193208. Ettinghausens later studies 47. Grabar, Pictures or Commentaries, 90.
on the diffusion of figural themes across a variety of objects 48. Grabar, Illustrations of the Maqamat, 34.
in different mediums include The Flowering of Seljuq Art, 49. The 1237 Maqmt contains no documentation linking it
Metropolitan Museum of Art Journal 3 (1970): 11331. to a patron and the history of its ownershipits subse-
38. Though some criticisms have been made questioning the quent readers and ownersis unknown. The illuminated
suitability of the term bourgeoisie to describe the medi- heading on fol. 1a bears two partly erased and cropped
eval Islamic setting, many of the hypotheses about objects, notes in Arabic and the seal of Charles Schefer (the Biblio-
patronage classes, and the flow of themes and subject mat- thque nationale acquired the manuscript from him in the
ters between societal elites and common folk have been late 1800s). The textblock is also remarkably clean, with
adopted and developed by Boaz Shoshan, High Culture scarcely any additions or emendations (the predominantly
and Popular Culture in Medieval Islam, Studia Islamica 73 red zigzagging marginalia are glosses contemporary to al-
(1991): 67107. Wasitis production). James, Masterpiece of Arab Painting,
39. Shirley Guthrie, Arab Social Life in the Middle Ages: An Illus 1315, provides a comprehensive biography for Schefer. The
trated Study (London: Saqi Books, 1995), 13. near total absence of notes of ownership and catalogue
40. The earlier study by Ettinghausen was Early Realism in recordscommon in other Arabic manuscripts of the
Islamic Art, in Studi orientalistici in onore di Giorgio Levi period, mostly unillustrated booksfrom the 1237
Della Vida, 2 vols. (Rome: Istituto per lOriente, 1956), 1:250 Maqmt is a feature shared by other copies of the same
73. Within a few years he described the paintings of the text. It is not possible to rule out their existence, however,
Maqmt as a mirror of medieval Arab civilization and given the loss of the original endpapers/flyleaves.
opined that the realism of these paintings reveals many 50. The point was made by Abd al-Fattah Kilito, Contribution
features of medieval life otherwise unknown: Ettinghau- ltude de lcriture littraire classique: Lexemple de
sen, Arab Painting, 104. arr, Arabica 25, 1 (1978): 1847, at 38.
41. Maqamat al-Hariri Illustrated by Y. al-Wasiti, introduction 51. Questioning the idea that visual patterning of the text had
by Oleg Grabar (n. p.: Touch@rt, 2003). been paramount to al-Wasiti, OKane points out that some
42. David James, A Masterpiece of Arab Painting: The Schefer of the palindromes in maqma 16 are not separated out
Maqmt Manuscript in Context (London: East and West from the text but continuous with it (OKane, Text and
Publishing, 2013). The book appeared after this essay was Paintings, 5152, and fig. 13) and produces a highlighted
already drafted and it has not been possible to offer a com- text to show this. But the palindromes embedded in con-
plete and detailed assessment of it here. The questions tinuous text are examples exchanged among al-Harith and
examined in James book, however, directly stem from the his company. These are the prose sentences composed of
body of scholarship undertaken through the late 1980s, three, four, five, and then six words. When al-Harith fails to
with important refinements made to them, particularly to produce a sentence of seven words, Abu Zayd jumps in and
our understanding of the interrelationship among the cor- meets the challenge. Abu Zayd then composes two poems
pus of Baghdad manuscripts. The bibliography of the consisting of palindromic verses (the first in rajaz, the sec-
bookbased on research James completed for a masters ond in kmil meter). These are arranged as single columns
degree at the University of Durham in 1965shows an of text on fols. 43a43b in the 1237 Maqmt. Each poem is
uneven awareness of scholarship in the fields of Islamic art composed of five lines (ten bayts in each), though al-Wasiti
and literature since the 1990s and art history in general. For has skipped over the fourth line in the first poem. See the
the 1974 essay, see David James, Space-Forms in the Work detailed commentary in F. Steingass, The Assemblies of

arr: Students Edition of the Arabic Text (London: Kegan the fact that the order of reading of the intervening forth-
Paul, Trench, Trubner and Co., Ltd., 1897), 12122. eight maqmas is unimportant, he argues for coherence
52. The red titles could be later additions, replacing damaged among the whole based on thematic echoes. See Kilito,
ones or filling in blanks that were left after the first phase Contribution ltude de lcriture littraire classique,
of manuscript production under al-Wasiti. Examples occur 2123.
on fols. 27b, 38a, and 57a. Other portions of the text, includ- 57. In response to these new text-image approachesand to
ing the commentary (tafsr) titles, are written in red. Occa- a much curtailed published version of a lecture in which I
sionally the phrase his speech (qawluhu) is written in a introduce some of these points (David J. Roxburgh, Books
thicker line of black ink or in red, to enhance its visibility of Stars, Mechanical Devices, Maqamat, and Animal Fables:
on the page. Image and Genre in Medieval Arabic Manuscripts,
53. The same features appear in an unillustrated Maqmt Hadeeth ad-Dar 30 [2009]: 27), OKane writes that we
dated October 1162 (middle ten days of Dhul-Qada 557) in really dont need the musings of literary theorists to tell us
London, British Library, Or. 2790. Copied in naskh script, why this text or any other was illustrated so often. OKane
the text is fully vowelized and letter pointed, larger sizes of believes instead that painters selected manuscripts for
script are used for titles, the text is arranged as a rectangle their narrative potential because these were the kinds of
on each page, and poetry is configured in different colum- books most likely to sell. He also mentions al-Hariris pref-
nar arrangements. Titles for individial maqmas are given ace, where the author reveals that changes in location will
as numbers but also by name, and the fifty maqmas are engage the reader and encourage more people to read his
divided into two parts (juz), the first running from 1 to 28, work: OKane, Text and Paintings, 51. Al-Hariris preface
the second 29 to 50. Other dated Maqmts, copied is discussed at the end of this essay, though for entirely
between the 1100s through the 1237 Maqmt, from the different reasons than those framed by OKane. James also
western and eastern Islamic lands, share the same features commented on the role of the paintings in the illustrated
(though few are divided into two juz). Sometimes the indi- Maqmts, concluding that the text was amusing, divert-
vidual maqmas are introduced only by number and not ing, even astounding and thigh-slapping enough, without
also by name, and different kinds of ink might have been pictures. Paintings simply added a little something extra
for those readers who liked the idea of an illustrated ver-
used for the titles (black, red, gold outlined in black), while
sion: James, Masterpiece of Arab Painting, 11.
in other manuscripts transitional phrases that structure
58. The most recent analysis of the double-page frontispiece
discourse (allhumma, wa bad, ashada, shir) are high-
presents an exhaustive treatment of its iconography and
lighted with a different color of ink than that used in the
carefully considers it relation to other frontispieces. Earlier
main text (e.g., Oxford, Bodleian Library, Pococke 172, scholarship is also discussed. See Robert Hillenbrand, The
dated Muharram 632 [Sept.Oct. 1234]). Schefer arr: A Study in Islamic Frontispiece Design, in
54. The most sophisticated discussion of this feature of Arabic Arab Painting: Text and Image in Illustrated Arabic Manu
illustrated manuscripts was offered by Oya Pancarolu, scripts, ed. Anna Contadini (Leiden: Brill, 2007), 11734.
Socializing Medicine: Illustrations of the Kitb al-Diryq, 59. Grabar, Maqamat al-Hariri Illustrated by Y. al-Wasiti, 8.
Muqarnas 18 (2001): 15572. 60. See Eva R. Hoffman, The Author Portrait in Thirteenth-
55. Al-arr, Assemblies, trans. Chenery, 1:142. Century Arabic Manuscripts: A New Islamic Context for a
56. Responding to the common notions that al-Hariri is a Late-Antique Tradition, Muqarnas 10 (1993): 620; and
writer devoured by virtuosity and an embalmer of a dead Pancarolu, Socializing Medicine.
language, Zakharia has written about the author as a mas- 61. Despite intensive analysis of the 1237 Maqmt frontis-
ter also of narrative structure. See Katia Zakharia, Norme piece, there are still some problems of interpretation, espe-
et fiction dans la gense des Maqmt dal-arr, Bulletin cially if we are to believe that it relates somehow to the
dtudes Orientales 46 (1994): 21731, at 226. In the same original patron/recipient of the manuscript, for which
essay she also argues that although the chronology of the there is no direct internal evidence. See OKane, Text and
production of maqmas 150 is uncertainand they were Paintings, 42.
probably written out of sequencethe organization of the 62. Several changes have been made to the manuscript since
whole leads up from maqma 1where Abu Zayd and al- its production, and some folios and illustrations are miss-
Harith meet for the first time and where the word ftia is ing. For a description of these, see Grabar, Maqamat al-
used uniquelyto maqma 48, generally held to be the Hariri Illustrated by Y. al-Wasiti, 78; OKane, Text and
first one al-Hariri actually composed and based on an auto- Paintings, 43; and James, Masterpiece of Arab Painting, 18.
biographical experience: ibid., 22627. Kilito has also 63. Questions of patronage and location of production are not
argued for a sense of structure conveyed by the ordering of of great importance to this essay. For the most recent dis-
the first and fiftieth maqmas: the first is named after Sana, cussions of these problems, see James, Masterpiece of Arab
because this was the first town built after the flood, the Painting, esp. 134; OKane, Text and Paintings, 42; and
fiftieth after Basra and Saruj, because these are the towns Grabar, Maqamat al-Hariri Illustrated by Y. al-Wasiti, 7.
of al-Harith and Abu Zayd, a fitting twinning of sites given 64. The innovations of al-Wasiti in conceptualizing the
that this is the narrator-hero duos last encounter. Despite sequencethe nearly sixteen double-page paintings
In Pursuit of Shadows: al-HarIrIs Maqmt 211

(there could have been more based on OKanes proposed 75. A statistical listing of the corpus of thirteen illustrated
identification of missing folios), one full-page painting Maqmts may be found in Grabar, Illustrations of the
without text, and two paintings arranged in a manuscript Maqamat, 817, with separate charts (appendices 1 and 2)
opening with no textare discussed at length by OKane, recording the distribution of illustrations in each manu-
Text and Paintings, passim. script. The manuscript of the group with the lowest rate of
Only one other manuscript copied by al-Wasiti is pres- illustration, 39 paintings to 187 fols., is dated 1222: Paris,
ently known. I was able to study it in Paris in December Bibliothque nationale de France, Ms. Arabe 6094.
2009. It is a copy of Abu al-Qasim Mahmud b. Umar al- 76. Al-arr, Assemblies, trans. Chenery, 1:12021.
Zamakhsharis Rab al-abrr wa fu al-akhbr f 77. Ibid., 1:19899.
al-muart, a collection of anecdotes and maxims on 78. Al-arr, Assemblies, trans. Steingass, 2:17879.
various subjects: Paris, Bibliothque nationale de France, 79. Ibid., 2:182.
Ms. Arabe 6742. It consists of 230 fols., 25.1 x 17 cm, and is 80. Al-arr, Assemblies, trans. Chenery, 1:2078.
copied in naskh with seventeen lines to the page. The two 81. Ibid., 1:208.
colophons appear on fols. 120b and 230b. The colophon on 82. For further analysis of this image, and others in the poem,
fol. 120b, marking the completion of the first juz, is dated see al-arr, Assemblies, trans. Chenery, 1:43031; and
at the end of [the month of] Safar the blessed in the year al-arr, Makamat or Rhetorical Anecdotes, trans. Preston,
649, and the scribe writes his name as Yahya b. Mahmud 13132.
b. Kuwwariha. The colophon on fol. 230b, marking the 83. Al-arr, Assemblies, trans. Chenery, 1:2089.
completion of the last book, is dated at the end of the day 84. Ibid., 1:211.
of parting (yawm al-ril) in the middle ten days of Rabi I 85. Ibid., 1:214.
in the year 649 (June 1251), and the scribe writes his name 86. Ibid., 1:22223.
as Yahya b. Mahmud b. Yahya b. Kuwwariha al-Wasiti. 87. Concerning this point, Grabar states that al-Wasiti never
65. Abd el-Fattah Kilito, Le genre Sance: Une introduction, realized a consistent iconographic type for Abu Zayd and
Studia Islamica 43 (1976): 2551, at 48. For another break- concludes: It is as though al-Wasiti kept hesitating
down, see James, Masterpiece of Arab Painting, 36. between creating an image and interpreting a text: Grabar,
66. James, Masterpiece of Arab Painting, 3741. This offers an Maqamat al-Hariri Illustrated by Y. al-Wasiti, 14. Though
expansion and refinement of the structure he described in there are some paintings in which Abu Zayd is less easily
his 1974 essay, Space-Forms, 3068. The listing here is identifiable, what came across to Grabar as ultimate failure
from the 1974 essay (and missing only maqma 27); there could also be understood as intended pictorial equivoca-
are lacunae in James 2013 book, and one instance of a tion (and comparable to Abu Zayd as trickster).
maqma (no. 19) classed in two types. 88. In this respect, al-Harith is his perfect opposite. Kilito notes
67. James describes this phenomenon in al-Wasitis 1237 that while [a]l-Harith b. Hammam is as mobile as Abu
Maqmt as lateral expansion and provides detailed Zayd....sometimes young, sometimes old, sometimes rich
explanations of how it worked: Space-Forms, 308. OKane or poorhis action reflects his beingand obeys strictly, in
provides further commentary on the double-page paintings every circumstance, the code of the man of culture [adb]:
(Text and Paintings, esp. 4449), suggesting that though Kilito, Contribution ltude de lcriture littraire clas-
they are not without precedent, al-Wasitis invention was sique, 3435.
to employ it systematically in a totally unprecedented 89. On Abu Zayds various forms of intemperance, especially
manner, in at least sixteen instances (Text and Paintings, his love of alcohol, see Katia Zakharia, Intemprance,
50). transgression et relation la langue dans les Maqmt dal-
68. No paintings: 27 and 35; one painting: 1, 6, 9, 11, 13, 17, 22, 24, arr, Arabica 41, 2 (1994): 198213.
33, 3638, 45, and 48; two paintings: 3, 7, 8, 10, 14, 15, 19, 21, 90. Kilito, Contribution ltude de lcriture littraire clas-
26, 2834, 4043, 46, 49, and 50; three paintings: 2, 4, 5, 12, sique, 26.
16, 20, 23, 25, 44, and 47; four paintings: 18; five paintings: 91. From the French translation in Zakharia, Norme et fic-
39. tion, 218. Chenerys translation is: And both these persons
69. Al-arr, Assemblies, trans. Chenery, 1:114. are obscure, not known; vague, not to be recognized:
70. Philip E. Kennedy, The Maqmt as a Nexus of Interests: al-arr, Assemblies, trans. Chenery, 1:105.
Reflections on Abdelfattah Kilitos Les Sances, in Writing 92. Kilito, Contribution ltude de lcriture littraire clas-
and Representation in Medieval Islam: Muslim Horizons, ed. sique, 27. Kilito provides several additional examples.
Julia Bray (London: Routledge, 2006), 153214, at 154. 93. Al-arr, Assemblies, trans. Chenery, 1:107.
71. Richards, Maqmt of al-Hamadhn, 99. 94. Zakharia, Norme et fiction, 218. For Ibn al-Khashshabs
72. Mattock, Early History of the Maqma, 16. biography and his other writings, see H. Fleisch, EI2, s.v.
73. Jareer Abu-Haidar, Maqmt Literature and the Pica- Ibn al-Khashshb.
resque Novel, Journal of Arabic Literature 5 (1974): 110, at 95. Ibid., 21822. For her subsequent development of the recep-
34. tion history of al-Hariris Maqmt, among several other
74. Ibid., 8. themes related to the work, see Katia Zakharia, Ab Zayd

al-Sar, imposteur et mystique: Relire les Maqmt dal- of this era, including other illustrated versions of Diosco
arr (Damascus: Institut franais dtudes arabes de rides, the imprint of the shadow play is also perceptible,
Damas, 2000). though it is rarely as pronounced as in this copy of the work
96. Richard Ettinghausen, Early Shadow Figures, Bulletin of and in the Maqmt. The earliest dated Arabic manuscript
the American Institute for Persian Art and Archaeology 6 to show the imprint of the new idiom is a Kitb al-Diryq
(1934): 1015. The insights of Ettinghausen and other schol- completed in 1199: George, Illustrations of the Maqmt
ars were recently developed and fleshed out in an article and the Shadow Play, 13 and 27.
by George, Illustrations of the Maqmt and the Shadow 100. One of the main purposes of illustrated Maqmts, as pro-
Play, which contains many references to pertinent studies posed by George (Orality, Writing and the Images, esp.
since the 1980s. 2122), was their use as adjuncts to oral recitation. To
97. See M. M. Badawi, Medieval Arabic Drama: Ibn Dniyl, develop this point, he highlights the large size of some
Journal of Arabic Literature 13 (1982): 83107. Not least Maqmts, which would facilitate group activity (an
among the overt similarities is the fact that the introducer enhanced visibility for painting and text), but then has to
of Ibn Daniyals third play, al-Mutayyam, likens himself to posit a more private form of reading for manuscripts of
al-Harith b. Hammam and that the second playal-Ajb smaller stature; he does not then account for the many
wa al-gharb (which pairs a preacher and a stranger) variables that could engender such a difference between
presents a series of characters who are different kinds of illustrated books. Moreover, the strongest evidence for the
tricksters. For the shadow play, also see Paul Kahle, Isla- use of the Maqmt in contexts of oral recitation is associ-
mische Schattenspielfiguren aus gypten, Der Islam 1 ated with its copying (i.e., dissemination), the making of
(1910): 26499; vol. 2 (1911): 14395; and Paul Kahle, The licensed transmissions of the text (we know that physical
Arabic Shadow Play in Egypt, Journal of the Royal Asiatic copies were used, such as in the al studied by MacKay,
Society of Great Britain and Ireland 1 (1940): 2134. Certificates of Transmission). Notwithstanding an asym-
98. These passages were quoted and discussed in Ettinghausen, metry of evidence, a verified context (the creation of books)
Early Shadow Figures, 11, and Badawi, Medieval Arabic versus a conjectured one (the activation of books by recita-
Drama, 85, and repeated in George, Illustrations of the tion), in the actual use of Maqmt manuscriptsGeorges
Maqmt and the Shadow Play, 3 and 18, though he uses essay is replete with many useful historical references to
different translated sources and makes his own adaptations practices of storytelling and develops some of the same
to them. points made in his earlier Illustrations of the Maqmt
99. I would not go so far as George as to suggest that the prac- and the Shadow Play. Even if we accept Georges point
tice of painting in illustrated Maqmtsand the wider that the illustrated Maqmts were, in sum, probably
range of contemporary illustrated Arabic manuscripts meant to be used and appreciated in a convivial setting
had a causal relation to the shadow play. He believes that centred on the oral delivery of the text (ibid., 22)its
the illustrations of the Maqmt reflect a figural style and effect is, again, to take us out of the book prematurely, let-
a mode of scene visualization rooted in the shadow theater ting us imagine how audiences projected their own values
and largely shaped by its requirements of performative onto them.
expressivity and clarity, and continues [i]n other books