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Arabic nouns can be declined in the singular, dual, or plural forms. Shāʿir, shāʿirayn, shuʿarāʾ—poet, two poets, poets. So, too, may the history of Arabic lyric be conceived in singular, dual, and plural modes. Arabic lyric’s development, beginning with the singular foundation of the qaṣīda form, mirrored the Islamic turn of Arabia and of Arabic, as would Franco-Arabic lyric in the late twentieth and early twenty-first centuries: some Franco-Arab poets worked exclusively with the qaṣīda, others with a Sufi lyric unfettered by monotheistic sanctity and blended over a pagan scope of reference. After Islam, the bifid tongue of Arabic poetry subsumed the monoform: from monolingual uniformity to a dual diglossic register. The Islamic dimension of Arabic lyric layered itself against the antecedent jāhilī idiom, but Arabic lyric’s duality would go on to flourish in multiplicity over the course of subsequent centuries. Eastern Arabic lyric lands upon European shores.
Paradise lost
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