Qasīda

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The Qasida ( Arabic قصيدة, DMG qaṣīda ; (Plural: Qaṣāʾid, poem ), Germanized Ghasīde or Kasside , is a poem form from pre-Islamic times ( Jāhilīya ) containing numerous stanzas. The term is derived from the Arabic verb qaṣada (قصد) from what can be translated as "intending something, pursuing a goal". This shows the former purpose of al-Qasida: the poet strengthens his tribal community through glorifications or reviles their enemies and, last but not least, he praises himself and his art. Due to the only fragmentary sources from pre-Islamic times, there is further discussion about the extent to which one can speak of an original form of Qasida ( Bedouin Qasida) and what its formal criteria were. With the expansion of the Arab-Islamic culture, al-Qasida also spread far beyond the Arabian Peninsula .

history

As a result of the Islamic expansion , between the 10th and 12th centuries, for example, through its connection with elements of Persian poetry, Qasida became one of the four great literary genres of Persian poetry . In the former area of ​​origin of Qasida - in Arabia - the form was mainly used in religious contexts with the emergence of Islam . In the 20th century it was secularized again in Egypt , among other places, and achieved immense popularity in sung form (e.g. in the Umm Kulthum's repertoire ).

Qasida influenced the poetry and poetry of the peoples of Central Asia and India , the Swahili culture and the peoples of North and West Africa and appeared as the “Hebrew Qaside” in Muslim Spain.

The so-called “Umayyad Qasida” came to Spain. In contrast to the tribal qasida, it is a court qasida, a song of praise for the ruler or a blacksmith of his enemies. In the love theme, al-Qasida became the so-called Gazal , which can contain up to 70 verses. Forms of al-Andalus are panegyric al- Qasida, mourning songs, gazal, wine and hunting songs. In Ghazna (today's Afghanistan) a number of poets worked at the court of the Sultan Mahmud of Ghazni , so that the Qasida also experienced a heyday here under the Ghaznavids . Farruchi , Unsuri and Manutschihri wrote e.g. B. numerous Qasids, but Anwari († 1187) is a model in the genus; the eminent Persian poet and follower of Avicenna lived in the middle of the 12th century. Qasida also took on biographical features in the course of time, but the poets even added philosophically instructive content to the court's awards.

Amir Chosrau Dehlawi (1253–1325, Dehlawi = from Delhi ) is known for the praise poems of Persian poetry with Indian rhymes . Persian poetry with Indian meter reached its climax in the works of the Delhi-born poet Ustad Hassan Dehlawi (1274–1337), Hakim Abdul Qader e Bedil Dehlawi (1720). The medieval Spanish-Jewish poet Yehuda ha-Levi also wrote his songs of praise and lamentation, around 180 of which have survived, in the form of Qasida.

features

The formal criteria that have developed over time include adherence to a certain meter , the occurrence of the same rhyming syllable at the end of every second half-verse , and the polythematic design. The ancient Arabic poetry already experimented with a variety of metric subdivisions, resulting in a gun trained on Versfüßen, some of which preferred to draw up a Qasida were used. Formally, the form of the poem is reminiscent of the Ghazel , but only comprises 7 to 18 verses.

In terms of content, the old Arabic Qasida can be divided into three parts: an introductory part (nasīb) , which addresses an irretrievable past and through the motifs of the abandoned camp (al-ʾaṭlāl) , the memory of the beloved, the pain of separation, the aging lover or the dream-like appearance of the beloved is represented. In a second part ( raḥīl ) there is usually a detailed description of a camel or horse ride, with which the processing of grief and the focus on active life is shown. In a third part there is finally the self-praise of the poet, praise to the tribe ( fachr ), a ruler or patron ( madīḥ ), the abuse of an opponent ( hijah ) or a moral motto ( hikam ).

"The Qasid poetry with its theme from Bedouin life has remained vital even after Islamization, until it solidified into an archaic form in the 8th century due to increasing urbanization and a dwindling reference to the former tribal habits."

Derived forms

In the East African Swahili society , especially on the island of Zanzibar , Qasida is a religious style of singing that is cultivated at family celebrations such as weddings and especially on the Islamic holiday of Maulid an-Nabī ("Prophet's Birthday"). The songs are sung unaccompanied, accompanied only by frame drums ( madufu ) and occasionally the longitudinal flute nai or, in the modern form, by synthesizers and other western instruments. Swahili verses are always intended for the sung performance. Increasing influences of Islamic culture from the countries on the Persian Gulf have ensured that Qasida songs have spread more widely since the mid-1990s.

In Malaysia and Indonesia , qasidah (or kasida ) and gambus (named after the plucked gambus from Yemen ) are the best-known Arabic-Islamic song genres. Traditionally, Qasidah verses are only accompanied by the frame drum rebana . In the modern versions of both styles, which hardly differ musically, instruments from western pop music are used. The best-known, modern Indonesian Qasidah group is the Qasidah Modern Nasida Ria - as is usually the case - consisting of women only .

See also

Individual evidence

  1. ↑ Nasser Kanani: Traditional Persian Art Music. History, musical instruments, structure, execution, characteristics. 2nd, revised and expanded edition. Gardoon Verlag, Berlin 2012, ISBN 978-3-86433-029-2 , p. 234 f.
  2. ↑ Renate Jacobi: Origins Of The Qasida Form. In: Stefan Sperl, Christopher Shackle (eds.): Qasida Poetry in Islamic Asia and Africa. Volume 1: Classical Traditions and Modern Meanings (= Studies in Arabic Literature. 20, 1). Brill, Leiden et al. 1996, ISBN 90-04-10295-7 , pp. 21-31.
  3. ↑ Stefan Sperl, Christopher Shackle (ed.): Qasida Poetry in Islamic Asia and Africa. Volume 1: Classical Traditions and Modern Meanings (= Studies in Arabic Literature. 20, 1). Brill, Leiden et al. 1996, ISBN 90-04-10295-7 .
  4. ↑ Gabriele Braune: The Qaṣīda in the song of Umm Kulṯūm. Arabic poetry in the repertoire of the greatest Egyptian singer of our time (= contributions to ethnomusicology. 16). Volume 1. Wagner, Hamburg 1987, ISBN 3-88979-033-X .
  5. ↑ Stefan Sperl, Christopher Shackle (ed.): Qasida Poetry in Islamic Asia and Africa. Volume 1: Classical Traditions and Modern Meanings (= Studies in Arabic Literature. 20, 1). Brill, Leiden et al. 1996, ISBN 90-04-10295-7 .
  6. ↑ Karl Lokotsch : Etymological dictionary of the European (Germanic, Romanic and Slavic) words of oriental origin (= Indo-European library. Department 1: Collection of Indo-European text and handbooks. Series 2: Dictionaries. Vol. 3, ZDB -ID 843768-3 ). Winter, Heidelberg 1927, p. 55.
  7. ↑ Renate Jacobi: Studies on the Poetics of the Old Arabic Qaṣide (= Academy of Sciences and Literature. Publications of the Oriental Commission. 24, ISSN  0568-4447 ). Steiner, Wiesbaden 1971, p. 10 ff.
  8. ↑ a b c Gabriele Braune: The Qaṣīda in the song of Umm Kulṯūm. Arabic poetry in the repertoire of the greatest Egyptian singer of our time (= contributions to ethnomusicology. 16). Volume 1. Wagner, Hamburg 1987, ISBN 3-88979-033-X , p. 11 f.
  9. ↑ Aïsha Schmitt: Nyoyo zimefurahika: Urban Qasida in Zanzibar. (PhD thesis) SOAS University of London, 2012, pp. 16, 34, 118
  10. ^ Charles Capwell: Contemporary Manifestations of Yemeni-Derived Song and Dance in Indonesia. In: Yearbook for Traditional Music, Vol. 27, 1995, pp. 76-89, here p. 86
  11. ^ Ning-Hui Hung: Kasidah (Indonesian Islamic Music), Innovation and Social Development: A Study of Qasidah Modern Nasida Ria in Semarang Indonesia. In: Proceeding The 2nd International Conference on Performing Arts, Faculty of Performing Arts, Institut Seni Indonesia Yogyakarta, 9. – 10. December 2014, pp. 74–99