{[Islamic Art –] The Word (2) [continued (3)]}[14th April 1991]

[Redbook9:103][19910414:1104l]{[Islamic Art –] The Word (2) [continued (3)]}[14th April 1991]

19910414:1104

[continued]

‘The versatility and erudition of the classical maqāmah authors is dazzling, but the fables and parables that, during the first centuries if Islam, *|had been told in a comparatively easy flowing style, later became subject to a growing trend towards artificiality, as did almost every other literary genre, including expository prose. Persian historiographers and Turkish biographers, Indo-Muslim writers on mysticism and even on science all indulged in a style in which rhyme and rhetoric often completely obscured the meaning.|* It is only since the late 19^th century** that a matter-of-fact style has slowly become acceptable in literary circles; the influence of translations from European languages, the role of journalism, and the growing pride in a pure language freed from the cobwebs of the past worked together to make Islamic languages more pliable and less artificial.’

***

*||* {NB.

Cf the growth of absolutist centralism (ref [[Redbook9:93-94][19910413:1056m]{Late Absolutism in Islam}[13th April 1991],] 93), & the idea that Islam’s foundation in [2048ce]M~U~ had characterised its entire chronological quality – even its ‘decline’ in G~, as well as its [2048ce]G~ expressions}

**2048R~1792[ce]|R~C1920[ce]

Islamic 2048 year cycle J~1792[ce]|J~G~1920[ce]

***– ibid [Encyclopaedia Britannica) 22:48]

(& see ibid [Encyclopaedia Britannica) 22:] 49 for details and examples (eg [see next ts journal entry])

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