Qasida

The qaṣīda (also spelled "qaṣīdah"; is originally an Arabic word , plural "qaṣā'id", ; that was passed to some other languages such as , "chakameh", and ) is an ancient Arabic word and form of writing poetry, often translated as ode, passed to other cultures after the Arab Muslim expansion. The word "qasidah" is still used in its original birthplace, Arabia, and in all Arab countries.
Well known "qasā'id" include the Seven Mu'allaqat and Qasida Burda ("Poem of the Mantle") by Imam al-Busiri and Ibn Arabi's classic collection "The Interpreter of Desires".
The classic form of qasida maintains a single elaborate metre throughout the poem, and every line rhymes on the same sound. It typically runs from fifteen to eighty lines, and sometimes more than a hundred. The genre originates in Arabic poetry and was adopted by Persian poets, where it developed to be sometimes longer than a hundred lines.
Form.
Arabic "qaṣīda" means "intention" and the genre found use as a petition to a patron. A "qaṣīda" has a single presiding subject, logically developed and concluded. Often it is a panegyric, written in praise of a king or a nobleman, a genre known as "madīḥ", meaning "praise".
In his ninth-century "Book of Poetry and Poets" ("Kitab al-shi'r wa-al-shu'ara") the Arabian writer Ibn Qutaybah describes the (Arabic) "qasida" as being constituted of three parts:
While many poets have intentionally or unintentionally deviated from this plan it is recognisable in many. From the Abbasid period onwards, two-part "qaṣīda" forms containing just a "nasīb" and "madīḥ" have been dominant.
Bengali.
Qasidas were introduced to Dhaka, and later the rest of Bengal, during the Mughal era by Persians. Subahdar of Bengal, Islam Khan Chisti's naval fleet is said to have sung them after arriving in Jessore in 1604. In 1949, Hakim Habibur Rahman spoke of the recent revival of qasidas since that period in his book, "Dhaka Panchas Baras Pahle" (Dhaka, fifty years ago). The qasidas were promoted by nawabs and sardars across the region, and especially popular during the Islamic month of Ramadan. An old tradition of Old Dhaka is during the time of sehri, groups of people would sing qasidas to wake up the Muslims in the neighbourhood.
Indonesian.
In Indonesia, "qasidah" (Indonesian spelling: "kasidah") refers broadly to Islamic music in general, rather than a specific style or poetry. Traditional qasidah was historically limited to Arab immigrant and pious Muslim neighbourhoods. Modern qasidah has broadened to include influence from Western and local Indonesian music.
Persian.
After the 10th century Iranians developed the qasida immensely and used it for other purposes. For example, Nasir Khusraw used it extensively for philosophical, theological, and ethical purposes, while Avicenna also used it to express philosophical ideas. It may be a spring poem (Persian بهاریه, "bahâriye") or autumn poem (Persian خزانیه, "xazâniye"). The opening is usually description of a natural event: the seasons, a natural landscape or an imaginary sweetheart. In the "takhallos" poets usually address themselves by their pen-name. Then the last section is the main purpose of the poet in writing the poem.
Persian exponents include:
From the 14th century CE Persian poets became more interested in "ghazal" and the "qasida" declined. The "ghazal" developed from the first part of "qasida" in which poets praised their sweethearts. Mystical poets and Sufis used the ghazal for mystical purposes.
Urdu.
Qasida in Urdu poetry is often panegyric, sometimes a satire, sometimes dealing with an important event. As a rule it is longer than the "ghazal" but follows the same system of rhyme.
West African.
A large number of religious "qasā'id" have been written in Arabic by the Sufi [[Sheikh (Sufism)|Shaykh]] [[Amadou Bamba]] Mbacke (1855–1927) from [[Senegal]], [[West Africa]]. His "qasā'id" poetically explore the [[Qur'an]] and other learned texts, praising Allah and the prophet, and are considered — both in Senegal as well as in [[Morocco]] and other West African countries — as advanced and beautiful poetry. The "qasā'id" of the Shaykh are today still sung and recited actively by both [[Mouride]]s belonging to the Sufi [[Tariqa]] Mouridiyya, as well as by members of other Sufi Tariqas in Senegal and throughout West Africa, especially the [[Tijaniyya]]. The original poetry works of Shaykh Amadou Bamba Mbacke are preserved in a large library in the holy city [[Touba, Senegal]], which was founded by the Shaykh, built by his talibés (students) and considered to be the Capital of Mourides.
Somali.
Somali Sufi Sheikhs such as [[Uways Al-Barawi]], [[Shaykh Sufi]], and [[Shaykh Abd Al-Rahman bin Ahmad al-Zayla'i|Al-Zayla'i]] would often compose Qasida's on religious matters. A well known collection of Somali Qasida's is entitled "Majumuʿa Qasaʿid fi Madh Sayyid Al-Anbiya" (A Collection of [[Qasida]]s in praise of the [[Muhammad|Master of Prophets]]).
"Hadiyat al-ʿAnam ila Qabr al-Nabi" (Guidance of Humanity to the tomb of the Prophet) extols the Prophet Muhammad 
External links.
[[Category:Arabic literature| ]]
[[Category:Arabic and Central Asian poetics]]
[[Category:Urdu-language poetry]]
[[Category:Arabic poetry forms]]
[[Category:Arab culture]]
[[Category:Literary genres]]
[[Category:Arabic poetry]]
[[Category:Poetic form]]