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Qasida
The qaṣīda (also spelled qaṣīdah; plural qaṣā’id) is an ancient Arabic word and form of poetry, often translated as ode. The qasida originated in pre-Islamic Arabic poetry and passed into non-Arabic cultures after the Arab Muslim expansion.
The word qasida is originally an Arabic word (قصيدة, plural qaṣā’id, قصائد), and is still used throughout the Arabic-speaking world; it was borrowed into some other languages such as Persian: قصیده (alongside چكامه, chakameh), and Turkish: kaside.
The classic form of qasida maintains both monometer, a single elaborate meter throughout the poem, and monorhyme, where every line rhymes on the same sound It typically runs from fifteen to eighty lines, and sometimes more than a hundred.
Well-known examples of this genre include the poems of the Mu'allaqat (a collection of pre-Islamic poems, the most being the one of Imru' al-Qays), the Qasida Burda (Poem of the Mantle) by Imam al-Busiri, and Ibn Arabi's classic collection Tarjumān al-Ashwāq (The Interpreter of Desires).
The most common form of the qasida is tripartite (or is constituted by three parts). The typical three-part structure runs as follows:
The tripartite qasida originated among Najdis (then a region extending east of the Hejazi mountains all the way up to modern-day Iraq) in the early sixth century. After repression of the development of kingships in the Arabian Peninsula on the part of the Byzantine and Sassanian empires, individuals in the peninsula began to invoke earlier notions of Arabian kingship in their poetry. The qasida may have emerged in this context, in the process of their negotiations of status with Arabophone kings that were invoking earlier notions of Arabian kingship. Supporting this is the fact that a number of the earliest reported qasidas were directed to the Ghassanids and Lakhmids. In particular, Miller places the origins of the tripartite qasida in the Lakhmid court of the city of al-Hira, the capital of the Lakhmids that is now located in the south-central of modern-day Iraq. The qasida would spread into the Levant in the late sixth century, finding its way to Syria, and from Syria, would be imported into the Hejaz in the time of Muhammad.
According to an apocryphal story, a poetry contest resulted in the victory of seven or ten qasidas winning, which were all taken together and hung up (or suspended) in the Kaaba. Hence, they came to be known as the "Suspended Odes" (Mu'allaqat). Though the story is late and uncorroborated, it has shaped the understanding of pre-Islamic Arabic poetry later in the Islamic era. Instead, however, pre-Islamic Arabic poetry was short, self-contained, with an extemporized quality. The Hejaz itself attests to no tripartite qasidas.
Qasidas were introduced to Dhaka, and later the rest of Bengal, during the Mughal era by Persians. Subahdar of Bengal, Islam Khan Chisti's naval fleet is said to have sung them after arriving in Jessore in 1604. In 1949, Hakim Habibur Rahman spoke of the recent revival of qasidas since that period in his book, Dhaka Panchas Baras Pahle (Dhaka, fifty years ago). The qasidas were promoted by nawabs and sardars across the region, and especially popular during the Islamic month of Ramadan. An old tradition of Old Dhaka is during the time of sehri, groups of people would sing qasidas to wake up the Muslims in the neighbourhood.
Qasida
The qaṣīda (also spelled qaṣīdah; plural qaṣā’id) is an ancient Arabic word and form of poetry, often translated as ode. The qasida originated in pre-Islamic Arabic poetry and passed into non-Arabic cultures after the Arab Muslim expansion.
The word qasida is originally an Arabic word (قصيدة, plural qaṣā’id, قصائد), and is still used throughout the Arabic-speaking world; it was borrowed into some other languages such as Persian: قصیده (alongside چكامه, chakameh), and Turkish: kaside.
The classic form of qasida maintains both monometer, a single elaborate meter throughout the poem, and monorhyme, where every line rhymes on the same sound It typically runs from fifteen to eighty lines, and sometimes more than a hundred.
Well-known examples of this genre include the poems of the Mu'allaqat (a collection of pre-Islamic poems, the most being the one of Imru' al-Qays), the Qasida Burda (Poem of the Mantle) by Imam al-Busiri, and Ibn Arabi's classic collection Tarjumān al-Ashwāq (The Interpreter of Desires).
The most common form of the qasida is tripartite (or is constituted by three parts). The typical three-part structure runs as follows:
The tripartite qasida originated among Najdis (then a region extending east of the Hejazi mountains all the way up to modern-day Iraq) in the early sixth century. After repression of the development of kingships in the Arabian Peninsula on the part of the Byzantine and Sassanian empires, individuals in the peninsula began to invoke earlier notions of Arabian kingship in their poetry. The qasida may have emerged in this context, in the process of their negotiations of status with Arabophone kings that were invoking earlier notions of Arabian kingship. Supporting this is the fact that a number of the earliest reported qasidas were directed to the Ghassanids and Lakhmids. In particular, Miller places the origins of the tripartite qasida in the Lakhmid court of the city of al-Hira, the capital of the Lakhmids that is now located in the south-central of modern-day Iraq. The qasida would spread into the Levant in the late sixth century, finding its way to Syria, and from Syria, would be imported into the Hejaz in the time of Muhammad.
According to an apocryphal story, a poetry contest resulted in the victory of seven or ten qasidas winning, which were all taken together and hung up (or suspended) in the Kaaba. Hence, they came to be known as the "Suspended Odes" (Mu'allaqat). Though the story is late and uncorroborated, it has shaped the understanding of pre-Islamic Arabic poetry later in the Islamic era. Instead, however, pre-Islamic Arabic poetry was short, self-contained, with an extemporized quality. The Hejaz itself attests to no tripartite qasidas.
Qasidas were introduced to Dhaka, and later the rest of Bengal, during the Mughal era by Persians. Subahdar of Bengal, Islam Khan Chisti's naval fleet is said to have sung them after arriving in Jessore in 1604. In 1949, Hakim Habibur Rahman spoke of the recent revival of qasidas since that period in his book, Dhaka Panchas Baras Pahle (Dhaka, fifty years ago). The qasidas were promoted by nawabs and sardars across the region, and especially popular during the Islamic month of Ramadan. An old tradition of Old Dhaka is during the time of sehri, groups of people would sing qasidas to wake up the Muslims in the neighbourhood.