Alexander the Sleepless XVIII

I will narrate another miracle, supernatural and superhuman, about a medicinal brew the foresightful blessed one prepared for some brothers who were sick. For this purpose, they took ramekins of clay and set them in the ground [near the hearth] to be heated there, and he tapped four brothers to oversee the preparation in day-long shifts. Then there came a day when it slipped their minds—or rather, the Lord allowed it to slip their minds, in order that His servant stand revealed to all. 

It was a day when no one paid attention. All they did with the ramekins that morning was to wash them, fill them with cold water and leave them sitting there. But when the hour drew nigh, and they were reminded of their duty, they were ashamed to look at any of their brothers, and did not dare to go to their abbot and let him know. Finally, one of them got up the courage, and went to him and said, "We had no wood, and heated no water." The blessed one, when he heard this, said, "And why were you not mindful of it this morning? Not that it matters: I know you're trying to test me. You can go back now, your water's hot." Doubtful as they were, they went back and found the ramekins bubbling, though it was obvious no fire had gone beneath them that whole day. And once again, the brothers marveled at the man's faith.

These few miracles have been chosen in order that we may believe in the many I could set forth, and that all things were possible for him through his perfect faith.

The Life of Alexander the Sleepless III.47

Alexander the Sleepless XVII

Certain faithless men took it in hand to test his grace. Day and night, they shadowed the brothers to find out where their food was coming from, for every day they saw it ready, and that after taking what sufficed them, these slaves of God took no thought for the morrow, but gave it in abundance to the poor. Through the Holy Spirit, the blessed one knew of their investigation, and at a time when none had knocked upon their door, said to one of his followers, "Go, and let in what the Lord has sent us." And before the brother got there, a man in white came knocking. The brother opened it to find a basket full of fresh-baked bread, still warm—but the angel of God who had knocked so urgently was nowhere to be seen, leaving a man standing there with the bread. "Who sent you?" the brother asked when he came in. The man responded, "I was taking my loaves out of the oven when a man of giant size appeared beside me, robed in white, and fiercely pressured me to 'Take all that bread to the slaves of the Most High!' He made me follow him to this place, knocked on the door, and then he vanished. I don't even know where I am."

Hearing all this, the brother reported it to his blessed abbot. The holy Alexander received the bread and served it warm to the brothers, who were already at their tables. With gratitude, they took their share and gave the rest to their brothers, the indigent poor. And [those formerly faithless men] marveled when they saw the unrestrained liberality of him who, in accordance with Scripture, gave no thought to the morrow.

The Life of Alexander the Sleepless III.45

What could this be?

The now-sainted Symeon was ailing at this time, and on the point of death. Gregory, when I made this known, sped to him, hoping to embrace him at the very end, but did not make it soon enough.

There were none to overshadow Symeon's greatness in his day. From the time he was a boy of tender nails, he pursued a life of hard extremity at the top of a pillar. His baby teeth had not yet fallen out when he took his stand there. The circumstances of his ascent to the pillar were these:

He was just a little kid, wandering boyishly in the foothills, when he came upon a wild leopard. Throwing his belt around its neck, he used the strap to lead around the beast, now forgetful of its wildness, and walked it back to his schoolhouse. Beholding this from the top of his own pillar, the schoolmaster asked: τί ἂν εἴη τοῦτο? "It's a cat," the boy said.

This proved the lad's future greatness, as far as the old man was concerned, and he conducted him up the pillar, where Symenon lived out sixty-eight years—first on that one, and then atop another in the highest fastness of the mountain. For expelling demons and healing every malady, every grace was due him, and for seeing into future things to come. To Gregory, he foretold that Gregory would not be present at his death. As to what might happen after that, he said, he had no knowledge.

From the Ecclesiastical History (VI.23) of Evagrius Scholasticus

Good neighbor

These verses were composed by al-‘Arji during his imprisonment
and made into a song (meter: wāfir):

      They have forsaken me. What a hero they forsake!
         One for days of battle and frontier outposts
      and fatal clashes, standing fast
         where heads of spears aim for my slaughter.
      Now daily I am hauled about in manacles,
         begging God's aid against wrongful restraint.
      As if respect and honor were not conferred through me,
         the scion of ‘Amr [who was a caliph's son]!

Muhammad ibn Zakariyya the bookbinder said: It was reported to me by Qa‘nab ibn al-Muhriz
al-Bahili that al-Asma‘i said:

Abu Hanifa had a neighbor in Kufa who could sing. He used come home drunk and singing to his room on an upper floor, from which Abu Hanifa enjoyed hearing his voice. And very often what he sang was:

      They have forsaken me. What a hero they forsake!
          One for days of battle and frontier outposts...

One night, this man crossed paths with the vice patrol, who seized him and put him in prison. Abu Hanifa missed hearing his voice that night, and made inquiries the next morning. On hearing the news, he called for his black robe and high peaked cap and put them on, and rode to see [the governor of Kufa, who was] ‘Isa ibn Musa. He told him, "I have a neighbor who was seized and imprisoned by the vice patrol yesterday, and virtue is all I know of him."
     "Bring out everyone detained yesterday by vice patrol, and let them greet Abu Hanifa," said ‘Isa. When the man was brought forth, Abu Hanifa called out, "That's him!"
      In private he said to his neighbor, "Young man, aren't you in the habit of singing every night:

      'They have forsaken me. What a hero they forsake'?

"Now tell me: have I forsaken you?"
     "By God, your honor, no," the young man said. "You've been kind and noble. May God reward you handsomely!"
     "You can go back to your singing," said Abu Hanifa. "It was congenial to me, and I see no harm in it."
     "I will!" the young hero said.

From the Book of Songs

Calligrapher unknown

  

   "And He taught Adam all the names…" The Noble Qur’an (2:31)

"In reality, it is not images of objects but schemata that ground our pure sensible concepts. No image of a triangle would ever be adequate to the concept of it... The schema of the triangle can never exist anywhere except in thought, and signifies a rule of the synthesis of the imagination with regard to pure shapes in space…. The concept of a dog signifies a rule in accordance with which my imagination can specify the shape of a four-footed animal in general, without being restricted to any simple particular shape…" Kant, Critique of Pure Reason (A 141/B 180), tr. Guyer and Wood

    

Rear cover of al-Muṣṭalaḥ al-naqdī fī «Naqd al-shi‘r»
(Literary-critical Vocabulary in the Naqd al-shi‘r of
Qudama ibn Ja‘far) by Idris al-Naquri. Casablanca:
Dar al-Nashr al-Maghribiyya, 1982.

 HANDS AT WORK 

Chevrons   

 

Resist-dyed textile fragment; cotton (detail). Yemen, ca. 9th century CE.  
The Textile Museum, Washington, D.C.  

It's worth repeating that texts are similar to textiles in many ways, and that no explanation of their likeness is wrong, least of all for artists, who can say what they feel. This overdetermination imposes the contrary of license onto historians. For historians, the surplus of analogies to be drawn between fiber art and language art should enforce skepticism, and the suspension of any connection that can't be demonstrated in the linguistic, poetic and material evidence of a given time and place, lest bare intuition substitute for cultural data.

I will demonstrate this principle using the fabric called musahham, that is, "arrow-patterned." This was a style of weaving practiced in Yemen that I identify with a description by Ibn Abi al-Isbaʻ: "On a robe that is musahham, each arrow points to the next, its specific color determined by the aptness of its pairing with the color of the arrows before and after it." This well describes the textile fragment conserved at George Washington University's Textile Museum under accession number 73.466:

   

Dimensions: 34.92 x 37.46 cm (13¾" x 14¾")

It also describes the the pattern called chevroned in English, from the French chevron meaning "rafter." Where two rafters meet under the ridge of a peaked roof, the angle of a chevron is formed. Herring-bone names it too, and in the textile vocabulary of English both terms are found. But the herring is a northern fish, and in traditional Arab architecture roofs are flat. So it is no wonder that in the textile vocabulary of Arabic, the head of an arrow (sahm) was made to serve instead.

Upon the medieval artifact's identification with the medieval description (unmade by anyone before this blog post, although I hinted at it on February 28) a different kind of scholar would dash into print. Naturally, I want full credit for identifying TM 73.466 as musahham weave, but for the purposes of Hands at Work, which is about the genealogy of weaving as a metaphor for poetry in Arabic, it's a collateral insight. Tashīm is not a metaphor, or any kind of figure of speech, but rather a syntactical achievement, observable in prose, poetry, and the verbal makeup of the Qur’an. And it is named after musahham weave. In al-Hatimi's Ornament of the Learned Gathering there is an uncelebrated passage that purports to give the origin of the poetic term:

     I said to ‘Ali ibn Harun al-Munajjim (d. 352 A.H./963 CE), "I've never
     seen a poet with better tashim than yours." "That's an idiom I came
     up with myself," he said. "Tell me about it," I said. The answer he gave
     described it uniquely, in terms borrowed from no one else:

Let me stop it there. You can dive into Ahmad Matlub's Dictionary of Rhetorical Terms if you're curious about the mysteries of tashim before my book comes out. The point here is that the poetic term's derivation from Arabic textile vocabulary is traceable to the first half of the 4th/10th century.
     "And so," an essentializing critic might say, "yet again we see that Arabic poetry is a form of weaving." They wouldn't be wrong, as long as they don't retroject poetic tashim into the pre- and early Islamic periods, when musahham was a word for textiles only. The earliest mention known to me is by ‘Umar ibn Abi Rabi‘a (d. 93/712), where he describes "buxom lasses in sheer wrappers and musahham mantles of resist-dyed weave." And no amount of sophistry can construe this as a metapoetic image.
      In fact, for all this poet's well-known delight in luxury garments, I have never found him to coin textile metaphors for his own versecraft. This owes at least partly to genre: early ghazal poetry (‘Umar's forte) is low on metapoetic self-reference relative to panegyric and invective poetry. It might also have something to do with the unique (and uniquely troubling) report that ‘Umar ran a shop at Mecca where seventy enslaved weavers were put to work. Perhaps weaving was too practical and prosaic a craft for ‘Umar to enlist in description of his own poetic art. Whatever the case, I bring him up as a caution against facile claims that Arabic poetry is always and everywhere represented as a form of weaving.

 

While renouncing essentialism is "best practice," it also means missing out on worthwhile intellectual adventures. Carl Schuster has very interesting things to say about chevron pattern as a primordial genealogical symbol ("a sort of female Tree of Jesse," he calls it), and where I read about chains of arrows as a means of celestial ascent in Neolithic rock art, I'm like "beam me up." Far, far be it from me to foreclose on the mystical semiotics of chevron pattern.

Nor do I presume to "intervene on" Art History as a discipline. I have much more to learn in this area than to teach. Having said that, let me also say that if historians of Islamic art realized how much information about material culture there is to be gained from early Arabic poetry—and only from early Arabic poetry—then they would spend more time reading it. They're definitely going to have to read Hands at Work.

Controversy of the sandals

          "You have gone grey before your time," they said.
               I said, "What greys my head is fear of earthquakes!
           Scalps whiten at the wrong you do to Taybah,
               and Radwa shakes, and the peaky mountains tremble."
           They said, "Black sandals are for Christians."
              "Then they follow the example of our Prophet,"
           I replied. "But the lot of you are clad in error,
               shod in what protects old ladies' feet.
           Red sandals are for women of the Maghreb,
               and in the East, yellow ones go with a trailing hem."
          "Ahmad in black sandals?" they protested.
               "This contrarian is sore confused."
          "What are the sandals that I wear among you?"
               I said. "Now put aside this fruitless strife."
          "But Ali dressed in yellow," they said.
               I said, "That Companion has naught to do with this."
           They said, "Oral and written tradition are in agreement:
               The Messenger's sandals were not the black of kohl,"
          "Pray tell," I asked, "what color were they, then?"
               Their answer to my question was "I do not know."
          "Do intelligent people deny what's well established,"
               I asked, "trespassing into what they're ignorant of?
           I marvel at such claims. They're based entirely
               on ways and means of tradition that are depraved.
           So many askers have I told about his sandals:
               'As to their blackness, my tradition is the road of roads.'"
          "Might you enlighten us," they said, "to this tradition?"
               I said, "Might I enlighten someone who's not a fool?
           Black was the color of the Messenger's sandals." To which,
               like ignorami who think they know a thing or two,
           they objected, and spoke against the truth in sight of God,
               and every mortal being from high to low.
           They broke the staff of Islam, rejecting sunna,
               and shredded centuries' worth of scholarly consensus.
           So I fought them until, fearing for their buttress,
               they slunk in shame and repentance to their homes.
           Helpless before the rampant lion of knowledge,
               they wrung their hands after their overthrow at mine.
           For I schooled them in the truth until they learned it,
               while they slept on it like idiots who drool.
           I schooled them in the truth until they learned it,
               whose education was a kitchen mule's.
           I schooled them in the truth until they learned it,
               who were no better trained than hyena pups.
           I schooled them in the truth until they learned it,
               and voided the vain humbug of their views.
           I strung pearls of truth and knowledge for safekeeping,
               and hung it round their necks devoid of truth,
           and guided them like lambs without a shepherd
               out of straying, clear of error, to the truth.

Verses 22-46 of a 131-verse invective poem (meter: ṭawīl)
by Muhammad Mahmud al-Turkuzi al-Shinqiti,
dated 1307 A.H. (1889-90 CE)

With thanks to Zekeria Ahmed Salem

No two hearts

Mujahid said: "'God does not put two hearts in one man's bosom' was revealed concerning a man of Quraysh who claimed to have two hearts, as a boast of of his mental abilities. He used to say, 'In my bosom, there are two hearts, and each one of them has more intellectual capacity than Muhammad.' This man was from the Banu Fihr."

Al-Wahidi, al-Qushayri, and others say: "This was revealed concerning Jamil ibn Ma‘mar al-Fihri, a man of prodigious memory for everything he heard. 'Anyone who can remember so many things must have two hearts,' said the Quraysh. 'I have two hearts,' he used to say, 'both of which have more intellectual capacity than Muhammad.'
     "Jamil ibn Ma‘mar was with the idolaters at the battle of Badr when they were put to flight. Abu Sufyan saw him mounted on an ass, with one sandal fastened to his hand and the other to his foot. 'How's the battle going?' he asked him. 'Our people have been put to flight,' Jamil said. 'So why do you have one sandal on your hand and the other on your foot?' asked Abu Sufyan. 'I thought they were both on my feet,' said Jamil. And so his absent-mindedness was discovered, for all that he had two hearts."

Al-Suhayli said: "Jamil ibn Ma‘mar al-Jumahi was the son of Ma‘mar ibn Habib ibn Wahb ibn Hudhafa ibn Jumah—Jumah who was also called Taym. He claimed to have two hearts, and it was concerning him that the Qur’anic verse was revealed. He is also mentioned in this verse of poetry (meter: ṭawīl):

                How will I abide in Medina, after
                    Jamil ibn Ma‘mar seeks it no more?"

From al-Qurtubi's Comprehensive Judgments of the Quran

A short treatise on isolation

In the name of God, the Merciful, the Compassionate.

God's prayers be upon our master, His Prophet Muhammad, and upon his family and companions, and upon them be peace.

It is narrated from ‘Umar ibn Jabir al-Lakhmi that Abu Umayya said:
     I asked Abu Tha‘laba al-Khushani about the Qur’anic verse: "O you who believe! You are responsible for your own souls." He said, "You're asking someone well-informed in the matter, for I asked God's Prophet, God's blessings and peace be upon him, about this same verse. He said, 'Abu Tha‘laba, command each other to do what's right, and forbid each other from doing what's wrong. But if you see that this world below is being preferred [to the world to come], and that avarice has taken over, and that everyone glories in their own opinion, then you are responsible for your own soul.'"
     Shaykh Sidi al-Mukhtar al-Kunti said: "Rightly it is said that the commentary in this hadith has come to pass in the present time, and that we are in Doomsday's courtyard, and the very staging-ground of Resurrection.

It is the year 1349 after the Prophet's Emigration, prayers and peace be upon him, (=1930 or 1931 CE) and O brother! Take care not to despise those who isolate from people in these times, for it is now necessary. Even in early times, there were people who isolated themselves in dread of wicked new practices that became prevalent in their day.
     In his book Jurisprudence of Essential Entities according to the True Meanings of the Qur’an, Shaykh Sidi al-Mukhtar al-Kunti, may God have mercy on him, says [quoting al-Ghazali's The Way for Worshipers to Make it into the Garden of the Lord of the Two Worlds]: "When one has ascertained that the harm that comes from socializing with people as religious duty stipulates is greater than the harm of abandoning that duty, then in that case one is excused from it. I saw in Mecca, may God protect it"—this is in one of al-Suyuti's books, may God have mercy on him—"I saw in Mecca, may God protect it, one of the senior religious scholars who practiced seclusion. He did not attend congregational prayers at the Holy Mosque, even though it was right nearby, and there was nothing wrong with his health. One day, I asked him about the infrequency of his attendance, and he gave the same excuse that I have indicated here, which is that being in the presence of the Curtain [covering the Ka‘aba] was not worth all the vices he had to come into contact with, and the negative consequences arising from going to the mosque and meeting people.
    "In summary, for one thus excused, there is no reproach. And excuses are up to God, be He Exalted, for he knows what is contained in every breast."

I say: Take care, O brother, not to despise those who take their faith and flee, and pray in seclusion in their homes, leaving the mass of humanity behind, since this is necessary practice of the end times. Prayer in isolation is now made licit, given the deficiency of prayer-leaders in our time, and this is according to requisites laid down by scholars.
     In the commentary by Muhammad Mayyara on The Helpful Guide of Ibn ‘Ashir, which is entitled The Pearl of Great Price, he says regarding the necessary education of the prayer-leader: "Fourthly, he must know the fundamentals of prayer, which are the necessary recitations and other regulations whose inobservance makes prayer go wrong. On the subject of recitation, Ibn al-Qasim says in the Compilation of Imam Malik: 'If one with correct knowledge of the Qur’an is led in prayer by one without correct knowledge, they must never allow it to happen again.'" The end.

Ahmed Baba Institute (Timbuktu) MS 17632 (fol. 1r, 1v-2r, 2v).
Author unknown.

Enslaved men and blacksmiths in the poems of Jarīr

         al-Bayzār "Plowman" : The name of a slave
         Baghthar "Not Too Bright" : The name of a slave
         Thu‘āla "The Fox" : A slave of Mujāshi‘
         al-Jaythalūṭ [Unspecific term of abuse] : A slave
         Dāsim "Mindful Worker" : The name of a blacksmith
         Za‘‘āb "Bearer of Heavy Loads" : A blacksmith belonging to Ṣa‘ṣa‘a
         al-Zubbayyān (sic) [al-Waqbān?] :
               A slave belonging to [Ṣa‘ṣa‘a's mother] Qufayra
         Shuqār "Red" : The name of a slave
         Ibn Ṣam‘ā’ "Son of the Woman with Dainty Ears" : A freedman
         Ḍāṭir "Big Guy" : A slave
         Qunābir (sic) : A slave
         Masrūḥ "Easy-going" : A blacksmith belonging to
               Ṣa‘ṣa‘a and Qufayra
         Makḥūl "Sooty" : A slave belonging to Taym
         Hurmuz [A royal name of Persia deriving from Ahura Mazda]:
               A slave belonging to Qufayra

A prosopography by Dr. Nu‘mān Muḥammad Amīn Ṭāhā, editor of
Muḥammad ibn Ḥabīb's Commentary on the Collected Poems of Jarīr

 HANDS AT WORK 

The Poison Shirt 

 

Resist-dyed textile fragment; cotton (detail).
Yemen, 10th century CE. Metropolitan Museum of Art

Anyone who reads Women's Work: The First 20,000 Years by Elizabeth Wayland Barber will be struck by chapter 10's surmise that the deadly poison robes of Greek mythology had a basis in chemical fact. Tetraarsenic tetrasulfide is a soft red mineral called realgar (> Arabic rahj al-ghār "powder of the mine," being the sandarakē of the ancient Greeks), which like other compounds of arsenic would be excellent dyestuff if it weren't lethal to the touch. Not right away (as in the story of Medea's rampage at Corinth), but over time: Barber estimates it would take a month of wearing realgar next to the skin to kill a person, and this might be reflected in the protracted throes of Heracles, which went on long enough for him to avenge himself while still alive.

Francisco de Zurbarán, The Death of Hercules (1634)
Oil on canvas, 136 x 167cm (53½" x 65¾"), Museo del Prado

A recent article by Teddy Fassberg on the "The Greek Death of Imru’ al-Qays" confirms that the poet's legendary assassination by poison robe (al-Jahiz calls it a shirt) derives from the death of Heracles. But other iterations of the motif in Arabic are independent of this tradition, e.g., the punitive "robes of fire" tailored in the Islamic afterlife for unbelievers to wear. Here I would like to share an original, unconventional example of poisoned cloth in Arabic poetry—the poetry of Jarir (d. ca. 110 A.H./728 CE), which is basically a 40-year torrent of invective against his contemporary poets. And invective is the main type of poetry that textile metaphor was used to describe.

Metaphors of weaponry would seem more appropriate to the purpose, and sure enough, spearheads, arrows, and flung stones—missiles that inflict damage from a distance—are common figures for the social injuries that abusive verse can do. For Jarir, these were either too tame or old hat; in any case, his metaphors draw on more intimate forms of harm, two in particular. One is poison, and the other is amputation of the nose (jad‘), brought together in these verses (meter: kāmil):

      I prepared for the poets a fatal poison,
         serving the last of them with the first draught,
      laying my branding-iron on al-Farazdaq,
         and docking al-Akhtal's nose while al-Ba‘ith yelps out loud. 

On the subject of facial mutilation, Hands at Work has a lot to say. It was characteristically an enslaved person's ordeal, and a slave's marking in the ancient Near East, including Greece which is how we got the word stigma. But poison is what's at issue here. Again and again, Jarir brags of forcing his rivals to drain cups of it. Exactly what kind of poison, I wish I knew, though it has little bearing on the metaphor. Poison is Jarir's figure for the efficacy of his poetry, i.e., its power to diminish the social capital of his rivals through abuse and taunting, and this metaphor is easy to understand. That weaving should be a figure for the same thing, indeed a traditional, conventional figure, is relatively counter-intuitive, and that is why Hands at Work had to be written.

The poison cloth of Jarir is woven from these two metaphors. Small wonder that it comes with facial mutilation bundled in, along with casual prejudice against metalworkers (so typical of nomadic societies of the Near East), making these verses a "quadfecta" of Arabic invective poetry (meter: kāmil):

      O son of blacksmiths, long have you tested me,
         and long have I pulled free where thongs are tied.
      What comes of my eternal return to al-Farazdaq? Be it known
         that what Mujashi‘ gets is nothing to celebrate.
      Mujashi‘'s nose has been docked by poems
         of poison whose weft was woven on the beam of a loom.

Does Jarir's toxic weave allude to the death of Imru’ al-Qays? If so, he doesn't make it obvious. It seems to result inadvertently from the cramming of three metapoetic images into a single line. But I'm not one to insist. The important thing here is that textile craft is very far from signifying pro-social artistry or aesthetic beauty. For Jarir, it is an instrument of deadly abuse, more like Clytemnestra's "net of Hades" than the fancy carpet Agamemnon walks in on. What makes a net admirable is its efficacy, and this is what Jarir boasts of in his poetry: its power to incapacitate the foe, leaving them unable to answer (meter: basīṭ):

      I repaired to the grave heaped over Marran
         when a delusional poet confronted me in anger.
      His hauteur had gone unchallenged, and amid his sons
         who were likewise haughty, he embroiled us in unrest.
      By us was the oppressor beat back and refuted, and led away
         in cuffs of leather that were stoutly plaited.

  

Now for three notes to the above. (1) I have a new book of poems out, and on pages 12-13 there is one called "The Poison Shirt" whose inspiration by Jarir is unmistakable.

  

(2) As someone who always credits my secondary sources, I am pleased to acknowledge a valuable article by Abdulkarim Yakoub and Samar Eskander, "al-Ṣinā‘a al-shi‘riyya fī mafhūm al-shu‘arā’ al-Umawiyyīn" (Poetic Craft as Understood by Poets of the Umayyad Era), appearing in Majallat Dirāsāt al-Lugha wa-Ādābihā (Syria) 12 (2014), 139-62, where the first two passages from Jarir are cited. The third is in Ibn Qutayba's Big Book of [Verses with Obscure] Meanings, where last installment's verse by Aws ibn Hajar also appears.

   

(3) Previewing unpublished research like this is not without risk. An unethical competitor might follow the leads I have indicated, and steal into print with them before I'm through. But anyone tempted to make uncredited use of the material in these date-stamped blog posts may be assured that, like a second Jarir, I will dump poison all over you, and your career will be finished, and that will be that ©

Alexander the Sleepless XVI

The blessed one reflected on the zeal and faith he observed in the brothers and the magnitude of their devotion. What could this mean? Through the Holy Spirit, it dawned on him that even in these quarters he was being called to wage the struggle. Energized by this conclusion, he made himself ready, and prayed for Christ's will to be done swiftly. And God, Who loves humanity, was swift to answer his prayer. 

Alexander took up residence near the shrine of the sainted martyr Menas, and within a few days there flocked to him noble athletes of Christ out of every monastery in the area—three hundred of them, all sound of mind, belonging to three races: Romans, Greeks, and Syrians. To fulfill his mission of hymn-singing without pause, Alexander separated them into six groups, and schooled them in monastic poverty, molding everything after the pattern of his old rule. Within a matter of days, the hierarchy he laid out was ordered as to every virtue, and the basis for their struggle was made plain to all. For he grouped them in tens and fifties, ordaining decarchs and penetecontarchs to lead them, and hourly they poured their strength into singing the praises of God.

On beholding their systemized struggle, their ceaseless hymn-singing, their immaculate poverty, and the incredible mysteries made no less wondrous by the evident truth of their accomplishment, the commonfolk of the city came devoutly to Alexander as a benefactor and teacher, and inhaled his teachings about hope and the life to come. Before long, he had become the harbor of salvation and educator of justice for all. When he was silent, his life gave continual voice, crying its admonishments aloud against the adulterators of God's commandments, while his free and unrestrained speech excoriated the unrepentant. Above all, though, it was seeing the extremities of poverty the brothers took on, and the severity of their discipline, and the fact that their possessions were limited to parchments containing the holy scriptures, and their capacity for singing hymns without pause, and the bodiless way they inhabited their bodies—it was seeing all these things that roused the people's astonishment and praise of God, Who had revealed His incredible mysteries even in those quarters.

The Life of Alexander the Sleepless III.43-4

 HANDS AT WORK 

A Poem Is a Mantle  
of Resist-Dyed Weave  

Resist-dyed textile fragment; cotton; with pseudo-Kufic script in gold leaf (detail).
Yemen, 9th-10th centuries CE. Cooper Hewitt Museum

In how many ways is a poem like a robe? Don't make me count them. Whatever answer works for you intuitively is probably fine. For instance, texts and woven things are alike the products of cumulative effort—a likeness with no basis in etymology, history of technology, or any domain but practical experience to prove that it is so. You could call it a truism, or an apothegm, or (why not) a universal truth.

In early Arabic poetry, the analogy is not so multivalent. It is under specific circumstances that Arab poets of the 6th-8th centuries CE compare their work to textile craft, and to a specific textile form. Let me tell you about it, after answering one "so what" question that makes this more than a matter of antiquarian curiosity.

Since the 9th century, Arabic prose writers have been eloquent about the ways in which poetry is a craft like weaving (nasj) or the ordering of pearls on a string (naẓm), to the point that nasj and naẓm became synonymous with poetry itself (shi‘r). I don't like to say this is "well known," but it is comparatively well studied since Abdelfattah Kilito's 1979 article. Meanwhile, what the poets actually said about their poetry, in their poetry—the boasts they made of it and the similes they coined for it—is mostly ignored, and a lot of important social information along with it. What effects did the
poets think they were accomplishing through their work? That information is available, if you read what they say about their poetry, and what they compare their poetry to.

Take fabrics. Early Arab poets mention different types of cloth imported from different places (Egypt, Syria, Persia), and very rarely Arabian homespun. But when they say their poem is like a robe, it is a specific type of weaving that they reference: a striped cotton mantle made in Yemen of resist-dyed weave (a forerunner of Indonesian ikat). In collections in the US and Canada there are examples dating to the 9th and 10th centuries, many with bands of pseudo-Kufic writing in gold leaf (as pictured here).

This style of weaving is mentioned in an enigmatic verse by Aws ibn Ḥajar, a poet of the sixth and early seventh century (meter: ṭawīl):

               When people rush at me in angry temper
                   I deck them out, marking them with fine, striped raiment
                       (kasawtuhumu min ḥabri bazzin mutaḥḥami).

I say the verse is "enigmatic" because it appeared in an anthology of enigmatic verses by Ibn Qutayba, who glossed it like this:
    "Mutaḥḥam (striped) is an epithet of the garment he makes out to be al-atḥamī, which is a variety of Yemeni mantle. 'I deck them out in the very best of that type of garment,' he says. But this is a similitude, meaning 'I besmirch them in verse, and [the effect] is as evident as if they went dressed in these garments.'"
      In other words, Aws is not talking about donations of fine clothes (as Geyer thought). He is saying that the object of his invective versecraft is marked out and made conspicuous, as if by an attention-getting robe. The atḥamī robe is defined by al-Aṣma‘ī as "a resist-dyed mantle of Yemen without embroidery," looking maybe like the ikat fragment pictured here.

The true keyword of Aws's verse is ḥabr. Dedicated readers of early Arabic poetry are well acquainted with cognates of this word, which name the genre of Yemeni mantle that atḥamī weave belongs to. Historians of Islamic art know the stuff too (see Vera-Simone Schulz, "Crossroads of Cloth," for references), but between resist-dye weave as material artifact and poetic signifier the correlation has been made by exactly no one until this blog post. When it is laid out in Hands at Work, the reader will gain access to something rare, and that is the chance to envision early Arabic poetry as it was conceived and represented by the poets themselves.

Fabrics

If a robe is woven on a loom of two heddle rods, it is called munayyar. If it has little quadrangular shapes on it resembling a wild ass's eyes, it is called mu‘ayyan. If it has stripes, it is called mu‘aḍḍad and mushaṭṭab. If it has long trailing forms on it, then it is musayyar. If it has white stripes, or other designs in white, it is mufawwaf. If it has a chevroned pattern it is called musahham. If it has columnar forms, it is called mu‘ammad. If it has a zigzag pattern, it is called mu‘arraj. If it has crescent-shaped figures, it is called muhallal. If it is embroidered with cubical forms, it is called muka‘‘ab. According to Abu ‘Amr, if it flashes [with metal coins?] it is called mufallas, if it has birdlike forms, it is called muṭayyar, and if it has horse designs it is called mukhayyal.
     Abu 'l-Ḥasan al-Salami gave an excellent description of a battlefield (meter: kāmil):

      The sky was a patterned robe, muṭayyar with its vultures.
          The earth was a patterned bed spread, mukhayyal with fine horses.

From The Statutes of Lexicography by Abu Mansur al-Tha‘alibi