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Abbas B. Ali B. Abu Taleb: Difference between revisions
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The early evolution of his saga is difficult to trace, although his surname [[Saqqa]] (“Water Carrier”) appears in ancient sources.<ref>Mufid, al-Ekhtesas, Tehran, 1379/1959-60, p. 82.</ref> The traditions later followed regarding the circumstances of his [[martyrdom]] seem to go back to a nucleus of narratives popular in circles practicing fotovvat (a kind of chivalry) in the late [[ʿAbbasid|Abbasid]] period; these spread to Turco-Persian areas among various socioreligious groups (akhi, fetyan, etc.) and ultimately among Sufi orders. Most of these narratives are known by their titles, but an idea of their contents may be gathered from the Arabic historical romance of Ibn Taʾus al-Taʾusi.<ref>tr. F. Wüstenfeld, Der Tod des Husein ben ʿAli und die Rache, Göttingen, 1883.<br /></ref> Its author claims to transmit traditions from [[Abu Mekhnaf]], the main authority for most historical writings on the period. According to this account—which may reflect some historical truth—’Abbas was killed on the eve of ‘Ashura in a desperate attempt to provide water for the besieged. Fighting alone against numerous foes, he had his right hand severed by a sword cut, then the left; seizing his sword in his mouth, he went on fighting until he was killed. In the [[Rawzat al-Shuhada]]<ref>q.v.; completed in 908/1502-03.</ref>, the major source for the recitation of the passions of the martyrs of Karbala during the mourning months ([[rawza]]-khani), Hussain Vaʾez Kashefi seems to follow the “historical” tradition more strictly than other writers by mentioning ‘Abbas’s death on 10 [[Muharram]] and by shuffling the chronology only slightly, making ‘Abbas the sixty-eighth martyr (before [[Muhammad b. ʿAli|Muhammad b. Ali]], [[‘Ali-Akbar]] and [[ʿAli-Asqar|Ali-Asqar]]). Nevertheless, Kashefi mentions ‘Abbas’s heroic sally on 9 Muharram and follows essentially the “Mesopotamian” tradition regarding the water motif.<ref>ed. Ramazani, Tehran, 1341 Sh./1962.</ref> | The early evolution of his saga is difficult to trace, although his surname [[Saqqa]] (“Water Carrier”) appears in ancient sources.<ref>Mufid, al-Ekhtesas, Tehran, 1379/1959-60, p. 82.</ref> The traditions later followed regarding the circumstances of his [[martyrdom]] seem to go back to a nucleus of narratives popular in circles practicing fotovvat (a kind of chivalry) in the late [[ʿAbbasid|Abbasid]] period; these spread to Turco-Persian areas among various socioreligious groups (akhi, fetyan, etc.) and ultimately among Sufi orders. Most of these narratives are known by their titles, but an idea of their contents may be gathered from the Arabic historical romance of Ibn Taʾus al-Taʾusi.<ref>tr. F. Wüstenfeld, Der Tod des Husein ben ʿAli und die Rache, Göttingen, 1883.<br /></ref> Its author claims to transmit traditions from [[Abu Mekhnaf]], the main authority for most historical writings on the period. According to this account—which may reflect some historical truth—’Abbas was killed on the eve of ‘Ashura in a desperate attempt to provide water for the besieged. Fighting alone against numerous foes, he had his right hand severed by a sword cut, then the left; seizing his sword in his mouth, he went on fighting until he was killed. In the [[Rawzat al-Shuhada]]<ref>q.v.; completed in 908/1502-03.</ref>, the major source for the recitation of the passions of the martyrs of Karbala during the mourning months ([[rawza]]-khani), Hussain Vaʾez Kashefi seems to follow the “historical” tradition more strictly than other writers by mentioning ‘Abbas’s death on 10 [[Muharram]] and by shuffling the chronology only slightly, making ‘Abbas the sixty-eighth martyr (before [[Muhammad b. ʿAli|Muhammad b. Ali]], [[‘Ali-Akbar]] and [[ʿAli-Asqar|Ali-Asqar]]). Nevertheless, Kashefi mentions ‘Abbas’s heroic sally on 9 Muharram and follows essentially the “Mesopotamian” tradition regarding the water motif.<ref>ed. Ramazani, Tehran, 1341 Sh./1962.</ref> | ||
As they appear in later narratives, ‘Abbas’s semi-legendary figure and character result from a mingling of the aforesaid heterogeneous elements with frequent extrapolations. He is often called by his konya, Abu Fadl, or by his surname, Qamar Bani Hashem (“Moon of the Hashemites”). He is described, according to fotovvat ideals, as a very handsome man, brave, strong, and tall, his legs reaching the ground when he rode his white stallion (a tradition believed in Azerbaijan and India). ‘Abbas is said to have inherited Ali’s boldness, to have always carried the victorious standard on the battlefield (thence his surname [[Alam|Alam]]-dar, “Standard-Bearer”), and to have killed many enemies (eighty, according to the Rawzat al-shuhada) before being martyred. Traditions say that when Hussain heard him cry at the last gasp he uttered the words: “My backbone is broken.” The names of his murderers, Zayd b. Varqaʾ Hanafi and Hakim b. al-Tofayl Sanani<ref>al-Ershad.</ref>, are sometimes erroneously transmitted by popular narratives. | As they appear in later narratives, ‘Abbas’s semi-legendary figure and character result from a mingling of the aforesaid heterogeneous elements with frequent extrapolations. He is often called by his konya, Abu Fadl, or by his surname, Qamar Bani Hashem (“Moon of the Hashemites”). He is described, according to fotovvat ideals, as a very handsome man, brave, strong, and tall, his legs reaching the ground when he rode his white stallion (a tradition believed in Azerbaijan and India). ‘Abbas is said to have inherited Ali’s boldness, to have always carried the victorious standard on the battlefield (thence his surname [[Alam|Alam]]-dar, “Standard-Bearer”), and to have killed many enemies (eighty, according to the Rawzat al-shuhada) before being martyred. Traditions say that when Hussain heard him cry at the last gasp he uttered the words: “My backbone is broken.” The names of his murderers, Zayd b. Varqaʾ Hanafi and [[Hakim b. al-Tufayl al-Ta'i|Hakim b. al-Tofayl Sanani]]<ref>al-Ershad.</ref>, are sometimes erroneously transmitted by popular narratives. | ||
==Abbas in Mourning Rituals== | ==Abbas in Mourning Rituals== | ||
As one of the central participants in the drama of [[Karbala]], ‘Abbas is celebrated both in [[Ta'ziya|taʿziya]] and related Muharram mourning rituals as the [[water]] carrier of the Ahl-e Bayt and the [[standard-bearer]] of Hussain. A certain parallel has been noticed between Muhammad b. al-Hanafiya—standard-bearer and champion of Ali in his own saga—and ‘Abbas fulfilling the same warrior functions near Hsayn, who is seen as essentially involved in a spiritual combat.<ref>bibliog.: Calmard, p. 368, n. 813.</ref> Taʿziya scripts dedicate a complete cycle to ‘Abbas’s deeds from birth to martyrdom.<ref>bibliog.: Rossi and Bombaci, Elenco.</ref> From the blessing (baraka) attached to his person derive some “miracle” themes celebrated in taʿziya. The representation of his martyrdom, generally performed on the eve of [[Ashura|‘Ashura]] (i.e., the evening of the ninth day, [[Tasu’a|Tasuʿa]]), features the most dramatic scenes found in taʿziya acting, particularly the scene picturing the veiled ‘Abbas testing [[ʿAli-Akbar|Ali-Akbar]]’s valor. There is even a kind of theater in the theater in the story of a purported Hindu actor playing the role of ‘Abbas.<ref>ʿAbbas-e Hendi, Elenco, no. 3.</ref> | As one of the central participants in the drama of [[Karbala]], ‘Abbas is celebrated both in [[Ta'ziya|taʿziya]] and related Muharram mourning rituals as the [[water]] carrier of the Ahl-e Bayt and the [[standard-bearer]] of Hussain. A certain parallel has been noticed between Muhammad b. al-Hanafiya—standard-bearer and champion of Ali in his own saga—and ‘Abbas fulfilling the same warrior functions near Hsayn, who is seen as essentially involved in a spiritual combat.<ref>bibliog.: Calmard, p. 368, n. 813.</ref> Taʿziya scripts dedicate a complete cycle to ‘Abbas’s deeds from birth to martyrdom.<ref>bibliog.: Rossi and Bombaci, Elenco.</ref> From the blessing (baraka) attached to his person derive some “miracle” themes celebrated in taʿziya. The representation of his martyrdom, generally performed on the eve of [[Ashura|‘Ashura]] (i.e., the evening of the ninth day, [[Tasu’a|Tasuʿa]]), features the most dramatic scenes found in taʿziya acting, particularly the scene picturing the veiled ‘Abbas testing [[ʿAli-Akbar|Ali-Akbar]]’s valor. There is even a kind of theater in the theater in the story of a purported Hindu actor playing the role of ‘Abbas.<ref>ʿAbbas-e Hendi, Elenco, no. 3.</ref> | ||