Abstract
This article examines what reading two related Romance kharajāt in the context of their muwashshaḥāt entails. The kharajāt appear in muwashshaḥāt by Ibn Baqī and Yehudah Halevi, with Halevi's muwashshaḥ being a mu‘āraḍa or imitation of Ibn Baqī's poem. By context, I refer only to “poetic context,” namely, reading the kharajāt in their respective muwashshaḥāt, with focus on two issues, one paleographic and editorial, and the other concerning the meaning of the kharajāt. The first issue is not unique to these kharajāt, but has important consequences in the present case: problematic sections of Ibn Baqī's kharja are typically completed with readings from Halevi's kharja, a separate poetic context. The second issue, about which it is impossible to arrive at a definitive conclusion, is whether the Romance word pashkah connotes the same festivity in both muwashshaḥāt or whether the distinct poetic settings imbue the word with a different meaning.
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