Analysis of the poems under the iconic mirror of Suzanne Stetkevych depicts an elucidation of an attack on the transformation of the Islamic culture. In this breath, the “Mute Immortals Speak” creates an insight into the pre-Islamic culture and the aftermath of the transitions therein. This literary work shows the essence of the Qasidah that works towards framing the Arab culture in linearity with the civilization therein. This implies that “the mute immortals speak” does not only give the mythical interpretation of the Quran as a source of the Arabic culture but also gives the complexity of the etymologies and images within the jurisdiction of the Arab culture. Furthermore, the chapters bring out a definition of the paradox of the pre-Islamic culture. Moreover, the poetic genre is an elucidation of the diversity in working along with the constraints of the culture and the consequences of contravention to such stances of diversity (Stetkevych 12). A critical analysis of this literary work forms the essence of the paper.
Mute Immortals Speak
The context within the chapters of this literary source depicts a platform for an attack on the consequences of contravention with the Islamic culture, in which there is proof of the validity of living within the jurisdictions of the teachings of the Holy Quran. The mural-qays is a notion of the pre-Islamic culture, which provides a platform for the definition of the origin of the Islamic culture and the transitions therein. This is from the fact that the source starts with chapters that ritualize both the form and functions of the Qasidah poetry. There exists a clear interpretation of the rights of passage, while the rituals shaping the rights of passage and sacrifices form the constant factor for the depiction of the themes and images for reference. For instance, the tripartite Qasidah is an illumination of the movements of Labid’s famous “Mu’allaqa.” This is a right of passage that is fundamentally a memoir to the beloved. It is clearly stated as the nasib that defines the ceremony attributed to the lost beloved (Stetkevych 23).
The tripartite Qasidah is the first movement for the rights of passage. On the other hand, the quest and boast form the second and third movements consecutively. This forms a paradigm of unwinding experiences defined by both the “rahil” and the “fakhr”. The experience with these movements shapes up the structures of succession based upon the alienation from the community as evident in the life of a wanderer. Additionally, the movements give the wanderer a path of succession and a pattern to wander about as one tries to contravene the natural customs of the community. This is embodied in the definition of a luminal state, which corresponds to the swaying from one place to another as a form of elucidation of a journey. This implies that the journey has confines that restrict the movements of the “passenger” to whom the contraventions and constraints of the societal norms lie (Stetkevych 41).
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Consequently, the journey of the passenger is likened to the struggle of keeping in touch with the societal norms, in which the famous “camel slaughter” and forms an ending to the woes of suicidal folly in Labid’s poem. This implies that the feast could implicate a form of memoir to the passenger, while the slaughtering of a camel gives an insight into the reaggregation as part of a homecoming ritual that seals the rights of passage for the contender. In this respect, the contender is one in contravention with the pre-Islamic culture, while reaggregation bears the definition of realignment with the teachings of the Holy Quran (Stetkevych 24).
The preceding chapters within the reading give an approach that culminates in the revelation of the paradigms of alimentation and revitalization. This is the view of the transition, which comes about as a result of the initial rights of passage. This is in reference to the ritual purity defined by dualism as an elucidation of the anthropological paradigm. For instance, the “blood-vengeance” gives the complexity of the Arabic synonyms that not only validate the traditions as being symbolic mirror images of the consenting themes but are also in agreement with the dualism of formal procedures and the underlying sanity (Stetkevych 43).
The overall approach of Stetkevych provides an argumentative insight into the theoretical claims that are evidently an etymology of the Arabic vulgar with a poetic consent. This implies that the reader does not only veer through the materialistic details of rights of passage but also gets a glimpse of the poetic journey. For instance, the insight into the “menstruation of the hyena”, which is also translated as a form of grinning, closely merges up with the mythic patterns of the Near Eastern. This also gives a plot for the critical emergence of topics for criticism as the mythical patterns are revitalization (Stetkevych 65).
In my own opinion, “Mute Immortals speak” is a literary work that defines the essence of the voice of the everlasting rituals. This implies that as much as rituals cannot speak for themselves, those in contention with such rituals veer into them with a different vision that gives a platform for discussion. Nonetheless, Suzanne is the voice of the rituals since it is evident that without articulating a written script, such rituals and rights of passage would remain synonymous despite the importance therein. Consequently, Suzanne shows that the rights of passage and rituals are in a permanent form of existence bearing in mind that such rituals cannot die. What is interesting is that if the rituals and rights of passage exist, then they can neither speak for themselves nor transit to other generations unless with a form of aid. Suzanne sheds light on this with the literary work as she acts as the voice.
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The intriguing analysis for the literary work of Stetkevych gives interconnectedness between the brigand on one hand and the “Ta’abatan sharran with the ghul.” This implies that the latter is the inverse of the former, while the ceremony for the rights of passage forms the constant for the inverse proportionality in the life of Shanfara. Essentially, the life of a person lies within the mandate of the teachings from the holy Quran, while the contravention bears emergent consequences. The major ideology that forms the life of a journey seeker is the rights of passage, which is a form of elucidation of the mirror image in the life of a true follower of the pre-Islamic culture. This gives the reading a natural outlook since the ideologies are consistent with the real-life situations of the “Mediterranean mythic patterns” (Stetkevych 40).
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