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These qasîdahs were divided into three broad sections: the nasîb, the rahîl, and then whichever of the recognized poetic genres the poet intended.

It is the nasîb, that opened the qasîdah, which would later develop into the ghazal. 889) explains, rather nostalgically, the way in which the old odes were constructed: I have heard some literary personalities mention that the qasîdah would have to begin with mention of the homeland, one’s abode, and what has passed. Then he would bring this to the nasîb, where he would lament the severity of his passion, the pain of separation, his longing, and his ardent love for his beloved.

The qasîdah could be in any of the other recognized poetic genres, like boasting (fakhr) a lampoon (hijâ’) or a didactic composition (hikam).

Ibn Qutaybah is credited with being the first literary thinker to attempt to explain the purpose behind beginning the qasîdah with the nasîb.

She writes on the panegyric qasîdah:(W)e are dealing with a Bedouin variant of the Ancient Middle Eastern agrarian pattern in which the “harvest” is not the seasonally determined one of grain, but the metaphorical “harvest” of human lives on the battle “field.” In this, she follows the model presented by Theodor Gaster, who describes the structure of Ancient Near Eastern seasonal ritual as having been comprised of two rites of Emptying followed by two rites of Filling.

These four rites in order were: mortification – purgation – invigoration – and jubilation.

In pre-Islamic Arabia, the ghazal was not recognized as a major genre of poetry.

Love is a glimmer of light at times of despair, a wave of strength in times of weakness, and a trusty weapon against severity and hardship.

Why would the pre-Islamic poets not exploit this emotion as a foil against the harsh and austere realities of their way of life, where the threat of death was always present? Love culminating in union represented happiness and prosperity.

Jaroslav Stetkevych, by analysing the recurrent motifs in the nasîb, identifies its origin in Ancient Near Eastern ritual, myth, and poetry.

Suzanne Pinckney Stetkevych argues that the three parts of the classical Arabic qasîdah owe their origins to the poetics of ritual of the Ancient Near East, formulated on a seasonal pattern.

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