At the core of the Islamic faith is their most renowned holy text, the Qur’an, which all Muslims believe to be the revelation from God. Divided into 114 chapters, or suras, which are each made up of several verses, or ayahs, the Qur’an has significant literary power. The structure of the text, including the interplay of diction, phonology, syntax, rhythm, rhetoric, composition, imagery, symbolism, and point of view, contributes a great deal to the attitudes of Muslims towards their Scripture.
Issa J. Boullata, a Palestinian writer, scholar, and Arabic translator had much to say on this subject in his book, “Literary Structures of Religious Meaning in the Qur’an” (link). Citing the opinion of literary history Taha Husayn, Boullata highlighted the point that the style of the Qur’an is neither prose nor verse, but some sort of hybrid that does not exist in any other piece of Arabic writing. Husayn calls the “bonds” with which the Qur’an binds itself to be two-fold: “rhyming and assonant ends of its verses, and the peculiar musical sound of its wording”. This is important to not because it perfectly in line with how the Qur’an is intended to be understood-- through recitation. Reading the suras out loud, often over a city-wide speaker system, as if performing a long, sacred song is a vital part of the daily lives of Muslims. This practice not only brings Muslims together, but also helps each one of them memorize lines and doctrines more easily, which is also highly emphasized in the religion. This literary structure of the Qu’ran contrasts starkly with that of the Bible, which reads in a much more paragraph-bound narrative style, for the most part.
In addition, one of the most important literary design aspects of the Qur’an is that it is always in Arabic. This has many implications. Not only does this foster a deep sense of community between Muslims in several different countries who are thus able to speak a common language, but also preserves much of the original meanings of the Qu’ran, and preserving the legitimacy of the claim that it is the “pure” word of God. The potential for important religious doctrines to be “lost in translation” is averted (though, admittedly, the potential for doctrines to be lost in context is just as high as with any other religious scripture written centuries ago).
The language, word choice and rhyming structure of the Qu’ran are just a few of the literary devices the holy scripture has been designed with, but they are some of the most influential ones. In order to fully understand any religion, especially one the prizes their text as highly as Islam does with the Qu’ran, it is important to deconstruct and analyze that very text and how it maintains its immense power.
Interesting post. From the experience I have traveling through some of the Middle East, I was always struck by readings of the Qu'ran: be them over loudspeaker, as you mentioned, or face to face, as an Imam might during a prayer. Boullata's way of describing it is perfect; there is a beautiful, musical way of reciting the words, that would undoubtedly lose its coherence were it to be translated. The cultural connection to the book is profound. It has always astonished me that most religious students have memorized the Qu'ran by the time they are young adults. For many young people, memorization is a central part of their growing up and of their education, and their personal recitation becomes a integral part of their religious practice.
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