By Dalya Cohen-Mor
Dalya Cohen-Mor examines the evolution of the concept that of destiny within the Arab global via readings of non secular texts, poetry, fiction, and folklore. She contends that trust in destiny has retained its power and keeps to play a pivotal function within the Arabs' outlook on existence and their social psychology. Interwoven with the chapters are sixteen glossy brief tales that additional light up this attention-grabbing subject.
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Additional resources for A Matter of Fate: The Concept of Fate in the Arab World As Reflected in Modern Arabic Literature
As he states, the Jabrites denied free agency in human beings and attributed their actions entirely to God. They took their name from jabr, which means necessity or compulsion, as they were convinced that human beings are inevitably compelled to act as they do, by force of God’s eternal and immutable decree. The direct opponents of the Jabrites were the Qadarites, who asserted human power to act freely and independently, without necessity but with choice (ikhtiya¯r). Curiously, they were given the name Qadarites despite (or perhaps because of) the fact that they denied God’s absolute qadar, that is, predetermination of events.
1912). His analysis yields mixed results. In some cases, there is a clear rejection of the notion of fate, as, for example, in the poem “The People of My Country” (“Al-Na¯s fı¯ bila¯dı¯”) by Sﬁ ala¯hﬁ Abd al-Sﬁ abu¯r. ”83 Despite the plausibility of his conclusion, Badawi’s discussion does not consider the fact that literary works can also God’s Will 21 serve as a vehicle for the writer’s didactic intentions and wishful thoughts. Such works reﬂect not the way things are but the way things ought to be.
In this parable, the ﬁrst ﬁgure to appear represents Adam, and the screen is the veil that hides the foreordained future or the divine secret. The master of the show conveys his message through the visual images to the spectators, who are under the illusion that what they see and hear is performed by the ﬁgures. 39 The major Egyptian Sﬁ u¯fı¯ poet Umar Ibn al-Fa¯ridﬁ (1182–1235), in his long poem “The Greater Ode” (“Al-Ta¯ iyya al-kubra¯”), makes a similar reference to the shadow play. He describes how the showman, positioned behind the screen, displays his ﬁgures in various actions and leads the audience to believe that they act on their own.