In modern Arabic scholarship, it would be difficult to find a hypothesis more implausible than that advanced by Tāhā Husayn in his fī‘l-’adab al-jāhilī. Yet it may be wondered whether any other book, written by a contemporary Arab, has had a comparable influence in changing the fundamental attitude of the Arab intelligentsia towards their classical literature and history. The unsoundness of the book's central assertion—that the bulk of pre-Islamic poetry was fabricated by Muslims, and portrays Islamic, rather than pre-Islamic, conditions and conceits—has been exposed by several critics, both native, in varying degrees of wrathful condemnation, and orientalist, with different approaches to conclusiveness. Of the latter, one at least, the late A. J. Arberry, had some pretty strong words to say, not of the Arab propagator of the fallacy, but of D. S. Margoliouth, who, in the same year 1926, had, as it happened, published identical views, supported by largely similar arguments. Said Arberry, introducing his stern refutation, “The sophistry — I hesitate to say dishonesty — of Professor Margoliouth's arguments is only too apparent, quite unworthy of a man who was undoubtedly one of the greatest erudites of his generation.” He went on to castigate Margoliouth's disregard of certain Qur'anic meanings and intentions of which “he must have been very well aware,” his “shocking misapplication of scholarship,” his “immodesty”, and the rest. Quite restrained criticism when compared to the diatribe which the Arab debaters poured on the heads of their fellow citizen and his presumed infidel mentor, but rather unusual in the serene Arcady of orientalism.
The Persian Translation of Arabic Aesthetics: Rādūyānī's Rhetorical Renaissance
