Poetry in Praise of Prophetic Perfection: A Study of West African Arabic Mad?? Poetry and its Precedents (By Oludamini Ogunnaike)

Abstract

Reviewed by: Poetry in Praise of Prophetic Perfection: A Study of West African Arabic Madīḥ Poetry and its Precedents by Oludamini Ogunnaike Nicholas Boylston (bio) Poetry book Praise of Prophetic Perfection: A Study of West African Arabic Madīḥ Poetry and its Precedents Oludamini Ogunnaike Cambridge: Islamic Texts Society, 2020. 166 Pages. In Poetry in Praise of Prophetic Perfection, Ogunnaike notes that West African poets embarking on praising the Prophet Muhammad saw themselves facing an impossible task: how could they encompass his limitless and ineffable perfections [End Page 84] within the limitations of language? Perhaps in parallel fashion, Ogunnaike sets himself a daunting task in this book- to introduce a literary tradition that has no comparable modern popular genre, that is rooted in an aesthetics that seems remote from tastes prevalent in contemporary Europe and America, that is as much oral as it is written, and that is claimed by its own authors to be fully appreciated only by practitioners of Sufism (p. 13). Yet just as the poets of prophetic praise were spurred on by the immensity of their task to create remarkable works of great literary beauty and spiritual power, Ogunnaike also takes up the challenge he faces with both the ingenuity of an expert pedagogue and the precision of an accomplished scholar in the field, and I think he has achieved something remarkable in the process. The book is divided into two parts, in addition to an appendix that presents translations of eight complete poems by eminent representatives of the tradition. The first part deals with "The Form and Function of West African Sufi Madīḥ," and it is here that Ogunnaike lays the groundwork for understanding this genre. As he explains, to understand this poetry it is not sufficient to evaluate it using standards of more familiar genres, even from the Arabic literary tradition. We need to understand what the poems are supposed to do, the literary and spiritual functions that they perform. Ogunnaike thus clarifies that in addition to its literary and aesthetic qualities, West African Sufi madīḥ serves as du'ā (personal supplication), ḥilya (iconic representation of the Prophet) and dhikr/ṣalawāt (remembrance/invocation of blessings upon the Prophet, and thus as a ritual act of focusing one's attention on the sacred). Although these categories overlap, Ogunnaike skillfully draws out their nuances, providing examples throughout that demonstrate how this poetry is used to express the deepest yearnings of the poet, bestow blessing through its recitation and physical presence, and act as a support for contemplation. As he explains each of these functions, Ogunnaike presents numerous excerpts from the poems themselves, including both the Arabic originals and elegant translations. These selections build on each other in fascinating ways. Thus an example of praise poetry as du'ā might also include a prayer for assisting in the impossible task of praising the Prophet, or a ṣalawāt poem might act simultaneously as du'ā and ḥilya. Having explained these functions, Ogunnaike then turns to the ontological foundations that underlie the tradition he is expositing, which is rooted in Sufi metaphysics and particularly the thought of Ibn 'Arabī and his interpreters. Though he is now explaining subtle metaphysical points that rank among the most challenging issues in Islamic intellectual history, the presentation here is lucid and compelling. Thus, we read that praise of God is ultimately identical with the very existence of each thing, for as the Qur'anic metaphor has it, all that exists is "God's speech, manifesting and describing Himself" (p. 52). The Prophet Muhammad, viewed as the Muhammadan Light, the first thing created [End Page 85] by God, is thus the greatest praise of God (as well as being praiser and praised), through whom God praises Himself in the most complete manner. By praising the Prophet, the West African madīḥ poets enter into and participate in this reciprocal relationship of praise between lover and beloved, at first imitating God in praising the Prophet, and ultimately becoming annihilated in the Prophet and praising God. Ogunnaike's exposition here is nuanced and lucid, and these discussions bring to our attention a completely new dimension of the poetry he describes which would be extremely difficult to access without the...