Encountering and Using the Written Word in Early Modern Cairo

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The opening page from a 17th century Ottoman copy of the medieval Qur’an commentary of al-Baghawī (d. c. 1117), with owner marks visible in the right margin (University of Michigan, Special Collections Library, Isl. Ms. 4)

We in the early twenty-first century (particularly, I imagine, anyone who happens to be reading this post) inhabit a world of pervasive textuality. From waking to bed we are deluged with words, on screens (mostly, probably), on paper pages of books, on forms, on signs, on packaging, in short- everywhere. If images, still and moving, are also pervasive and in some ways just as or even more dominant than text, still, printed text (even if mostly in digital form) is everywhere and unavoidable. As such we tend to not reflect very much on either the presence of so much text in our lives or on the modes of our engagement with it, texts are simply there. But of course our world of textuality is not simply a natural fact but is the result of cultural, social, and economic processes leading to certain technologies, skills, habits, and contexts. As such, thinking about the role of texts and their many contexts in past worlds, particularly those quite different (but not radically different) from our own is helpful for understanding both the past and our own present, and has occupied various thinkers for quite a long time now (going back really to Plato if not before). Towards that venerable goal of analysis today I’ve selected a particularly insightful little passage from the biography of an early modern North African scholar named Abū al-‘Abbās Aḥmad ibn Muḥammad al-Maqrī (d. 1041/1631) which charts, inadvertently of course, many of the possible contours of texts and their contexts in the early modern Ottoman world. Here is the passage, translated, followed by my commentary:

When he entered Cairo before becoming well-known, he was present one day in the book market (sūq al-kutub) and he found a curious (gharīb) Qur’an commentary (tafsīr) which he opened and landed in [the discussion of] Sūrah al-Nūr, in which the exegete discussed a question of fiqh which he proceeded to speak about at length, and the subject of this biographical entry memorized the entire passage—and in a marvelous congruity not long after that, the ‘ulama of the land came together for supplication (da’wah) and he was present with them. Once they were settled into their session (majlis) a petitioner came with a slip of paper (biṭāqah) in his hand asking about the very issue that the subject of this biographical entry had memorized from that Qur’an commentary. It was passed to the first person among the people of the session, but he looked at it as if he were unable to call upon anything in his mind regarding it, so he passed it on to the next person, and so it was passed on and on, until it reached the subject of this entry. When he looked at it he called for an inkwell and wrote the answer as he had memorized it—and all those presents looked at it with amazement. When they had finished perusing [his answer], they asked, ‘Who said this?’ He replied to them, ‘So-and-son in the exegesis on Sūrah al-Nūr,’ and when the Qur’an commentary was brought it was exactly as he had said.

This little story is a lovely snapshot of the many ways texts worked together in various media and matrices: Abū al-‘Abbās is seen browsing the book market, which suggests that then as now browsing books without necessarily looking to buy them was not uncommon; the book market here functions in a way akin to a library, since he spends at least some time actually reading the Qur’an commentary in question and using an unspecified amount of time to memorize particular contents he found striking. The primary point of the anecdote is Abū al-‘Abbās’ prodigious ability to memorize things, to be sure, but still we can imagine that some time is being expended (and the tone of the story does not convey that this feat is somehow miraculous or totally unheard of, simply a taking to an extreme a culturally valuable and cultivated skill).

There are several distinct movements and contexts related to the given text at work here: the production of the original Qur’an commentary, its being copied and turned into a commercial object, Abū ‘Abbās’ browsing and encountering the text, then his experience and conceptualization and reproduction of, not the entire text, but a discrete section, devoted to a particular question of fiqh, the details of which we are not told but which presumably was of ongoing contemporary interest (which would help to explain why Abū ‘Abbās memorized it as well as why a supplicant came with a question specific to that issue). So we have a movement from author to manuscript (via engagement with the written and memorized text of the Qur’an), to (probably) copy by a professional copyist, to book market, to selective reader, then to memory. In the scholars’ session—which if I am interpreting things correctly was meant for ‘regular’ people to bring questions of fiqh to a council of learned experts, a sort of early modern AMA forum—we see another form of textuality, the ‘slip’ of paper (biṭāqah), a word with a long bureaucratic pedigree, predating Islam in fact. The writer of the slip has inadvertently chanced upon the very topic of the first text, but then there is a problem: no one else in the session had encountered the clarifying text, or, if any of them had, they did not remember it. When it reaches Abū al-‘Abbās his reaction is striking: he calls for an inkwell and then writes out his memorized text, when we might expect simply an oral response. While it is not exactly specified the substrate for his writing must surely be that slip of paper, with the implication that the supplicant/questioner would take it back home for his personal archive or other uses (and since it is fiqh we can imagine a practical use here akin to a fatwa and not simply curious interest). So we have more textual movements: an unrelated (on the surface at least) impromptu text which is visually reviewed by the members of the assembly, which, once it is encountered by Abū al-‘Abbās, registers with the memorized commentary passage and precipitates now a written reproduction of the randomly encountered text. His oral explanation of the text, after it has been successively read (and we get a sense that the paper is passed around, not read out loud), leads to the physical manuscript of the commentary being produced and read publicly (or silently perused one by one? the text is unclear). Finally, this incident gives rise to a sort of ‘social text’ of Abū al-‘Abbās’ prestige in Cairo thanks to his memory and powers of recall and correlation. Continue reading “Encountering and Using the Written Word in Early Modern Cairo”

Pious Graffiti at the Church of the Holy Sepulchre: Pilgrims’ Prayers and Traces of the Self

A Visual Essay

The Church of the Holy Sepulchre in Jerusalem, as any pilgrim or tourist visiting it quickly discovers, is a massive, maze-like structure, or, really, assemblage of structures, including the Tomb of Christ and of Golgotha but also numerous other chapels, rooms, and other elements. Somewhat closer investigation starts to reveal the multiple layers of construction and use, going all the way back the first century AD (and probably further, since the Tomb was located in the side of an already old quarry outside of the Herodian walls of the city). While the names of prominent men and women are often attached to these various architectural layers, beginning with Constantine and his mother Helena, the traces of far humbler pilgrims to the great church are also visible, if one knows where to look. Yet, as I observed on my visits to the church earlier this year, the steady streams of pilgrims and tourists, clergy and tour guides, pass right by these fascinating reminders of the centuries of pious visitors who have traveled- often over great distances and in difficult circumstances- to venerate the empty Tomb of Christ.

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The largely Crusader-era main entrance to the church, with entrance and front facade giving little indication of the size of the church’s sprawling interior. The pious graffiti is most abundant around the doors near the center of the picture.

Covering the columned framing of the great doors to the main entrance to the church are perhaps hundreds of instances of ‘pious graffiti’- prayers, names, dates, and short texts carved into the stone by pilgrims. Deeper inside the church, in a stairwell leading down to the Chapel of St. Helena, sunk within the living rock, are hundreds of neatly carved crosses left by Crusaders, also as pious graffiti marking and memorializing their pilgrimage. While in the modern world such defacement is looked down on and even seen as criminal, Continue reading “Pious Graffiti at the Church of the Holy Sepulchre: Pilgrims’ Prayers and Traces of the Self”

For the Good Turf. Digging.

Between my finger and my thumb
The squat pen rests; snug as a gun.

Under my window, a clean rasping sound
When the spade sinks into gravelly ground:
My father, digging. I look down

Till his straining rump among the flowerbeds
Bends low, comes up twenty years away
Stooping in rhythm through potato drills
Where he was digging.

The coarse boot nestled on the lug, the shaft
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked
Loving their cool hardness in our hands.

By God, the old man could handle a spade.
Just like his old man.

My grandfather cut more turf in a day
Than any other man on Toner’s bog.
Once I carried him milk in a bottle
Corked sloppily with paper. He straightened up
To drink it, then fell to right away

Nicking and slicing neatly, heaving sods
Over his shoulder, going down and down
For the good turf. Digging.

The cold smell of potato mould, the squelch and slap
Of soggy peat, the curt cuts of an edge
Through living roots awaken in my head.
But I’ve no spade to follow men like them.

Between my finger and my thumb
The squat pen rests.
I’ll dig with it.

Seamus Heaney, ‘Digging’

Why Does It Exist, This Need For Sharing?

11 October

I wrote to you impelled by the need to share the emotion aroused in me by your talent, which affected me like the sound of sad, sublime music. Why does it exist, this need for sharing? I have no idea and neither have you, yet we both know perfectly well that in some way it is burned into the human heart, that there’s no life without it and that it contains a great mystery. After all, when you write your books you too are merely responding to this need, and what’s more- you abandon your whole self to it completely.

I’ve always read a great deal- and kept many diaries, in common with all those whose lives are unfulfilled- and I still read widely, I’ve read your work before, but not very often, I mostly knew you by reputation. And now this latest book of yours… How strange! Somewhere, somehow, a hand puts pen to paper, a soul reveals a tiny particle of its secret existence by the tiniest possible hint- for what can words express, even words such as yours!- and suddenly there’s no space, no time, no differences of fate or circumstance, and all your thoughts and feelings are mine, are both of ours. Truly, there is but one universal soul on earth. And doesn’t that make my impulse to write to you understandable- to communicate my feelings and share something and complain a little? Aren’t the works you create and the letters I write to you one and the same? For you too are trying to reach someone, to express some kind of feeling, when you send your lines through space towards some invisible person. You know, you too are complaining- more often than not, only complaining!- for our complaints are synonyous with that cry for understanding which is so fundamental to every human being: how often it occurs in songs and prayers, in poetry and outpourings of love!

Perhaps you’ll answer me, if only briefly? Please answer.

Ivan Bunin, “An Unknown Friend,” 1923, translated by Sophie Lund