Comparative Literature and Classical Persian Poetics applies comparative literary approaches to classical Persian traditions of composing and performing poetry and song. Olga M. Davidson focuses on epic, especially the classical epic Shahnama, composed in the early eleventh century ce by the poet Ferdowsi, and on the relationship of this epic to other genres that are found embedded in it. Included among these other genres are forms of verbal art that were originally composed without the aid of writing, such as women's laments. Davidson explores the many ways in which the epic Shahnama incorporates oral poetic traditions in general. Surveying the current state of the art in oral poetic studies, she concentrates on applications of these studies to classical Persian prose as well as poetry. Of special interest is her critical analysis of both modern and ancient claims about the turning of prose into poetry. This second edition of the book contains an added chapter about "live" performances of the epic Shahnama.

Poet and Hero in the Persian Book of Kings presents a far-reaching reassessment of the classical Persian epic known as the Shahnama or "Book of Kings," composed by the poet Ferdowsi in the early eleventh century ce. Combining comparative perspectives with a close reading of the internal evidence provided by the text of this epic, Olga M. Davidson argues that the poet of the Shahnama is actually a character in the epic, coexisting with ancient Iranian heroes and kings whose deeds are celebrated by the poetry. The poet can have the role of a character because his poetry comes to life in performance. Whenever the Shahnama was performed by the poet or by later practitioners of his poetry, the performer could interact with his grand characters by re-engaging with their stories, as if for the first time. After documenting the oral poetic performance traditions underlying the text of the Shahnama in all its variations, Davidson argues that the heroic tradition of this epic is deeply ancient, stemming from Indo-European poetic traditions. A primary example is the great warrior Rostam, who upholds Iranian kingship while at the same time posing a threat to kings who prove unworthy of the crown.

Ferdowsi's Shahnama: Millennial Perspectives celebrates the ongoing reception, over the last thousand years, of a masterpiece of classical Persian poetry. The epic of the Shahnama or Book of Kings glorifies the spectacular achievements of Iranian civilization from its mythologized beginnings all the way to the historical time of the Arab Conquest, when the notionally unbroken sequence of Iranian shahs came to an end. The poet Hakim Abu'l-Qasim, who composed this epic, was renamed Ferdowsi or "the man of Paradise" in recognition of his immortalizing artistic accomplishment. Even now, over a thousand years after his death in 1010 CE, the impact of Ferdowsi's epic poetry reverberates in the intellectual and artistic life of Persianate cultures all over the world. Ferdowsi's Shahnama: Millennial Perspectives undertakes a new look at the reception of Ferdowsi's poetry, especially in the twelfth, thirteenth, fourteenth, and fifteenth centuries CE. Such a reception, the contributors to this book argue, actively engages the visual as well as the verbal arts of Iranian civilization. The paintings and other art objects illustrating the Shahnama over the ages are as vitally relevant as the words of Ferdowsi's poetry.

Descriptions of dreams abound in the literatures of the Near East and North Africa. The Prophet Muhammad endowed them with a theological dimension, saying that after him "true dreams" would be the only channel for prophecy. Dreams were often used to support conflicting theological and political arguments, and the local chronicles contain many accounts of royal dreams justifying the advent of new dynasties.

This volume explores the context of these theological speculations and political aspirations through the medium of dreams to present fascinating insights into the social history of the pre-modern Islamic world in all its cultural diversity. Wider cultural exchanges are discussed through concrete examples such as the Arabic version of the Aristotelian treatise "De divinatione per somnum," Some of the current scholarly assumptions about dreams being merely stylized expressions of social conventions are challenged by personal reports that express individual personalities, self-awareness, and spiritual development.

This is the first volume of the Ilex Series on Themes and Traditions. The series explores cross-cultural constructs without losing sight of the rich texture of local variations of traditions or beliefs.

Many spectacular examples of Persianate art survive to the present day, safeguarded in Istanbul and beyond-celebrating the glory of the Persian Empire (and, later, the Ottoman Empire). These include illustrated books, featuring exquisitely painted miniatures artfully embedded in the texts of literary masterpieces, as well as tile decorations in medieval Anatolian architecture. Because of their beauty, many Persianate books were deliberately disassembled, their illustrations re-used in newer books or possessed as isolated art objects. As fragments found their way to collections around the world, the essential integration of text and image in the original books was lost. Six art historians and a literary historian-instrumental in reconstruction efforts-trace the long journey from the destructive dispersal of fragments to the joys of restoration.

The essays in "Ruse and Wit" examine in detail a wide range of texts (from nonsensical prose, to ribald poetry, titillating anecdotes, edifying plays, and journalistic satire) that span the best part of a millennium of humorous and satirical writing in the Islamic world, from classical Arabic to medieval and modern Persian, and Ottoman Turkish (and by extension Modern Greek). While acknowledging significant elements of continuity in the humorous across distinct languages, divergent time periods, and disparate geographical regions, the authors have not shied away from the particular and the specific. When viewed collectively, the findings presented in the essays collected here underscore the belief that humor as evidenced in Arabic, Persian, and Turkish narrative is a culturally modulated phenomenon, one that demands to be examined with reference to its historical framework and one that, in turn, communicates as much about those who produced humor as it does about those who enjoyed it.