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Teaching The Ring of the Dove in
“Masterpieces of Western Literature and Philosophy”
By Sahar Ishtiaque Ullah
Columbia University
As a specialist of Arabic-Islamic literature, my experience of teaching the survey
course “Masterpieces of Western Literature and Philosophy” for undergraduate students
was instructive in terms of developing critical pedagogy through syllabus design. The
course, more popularly referred to as Literature Humanities, is a required two-semester
survey course that is part of Columbia University’s Core Curriculum. Students typically
take the course as freshmen and are expected to engage in close reading and literary
analysis of each text.11 Professors are instructed to teach the course as a university
seminar and to guide students’ discussion rather than lecture. The courses are not team-
taught; rather, each professor has the opportunity to tailor the standard syllabus by adding
and/or removing a text for their individual class. Because the standard syllabus jumps one
millennium between Augustine’s Confessions and Dante’s Inferno, I include an eleventh
century Arabic-Islamic literary text from the Iberian Peninsula. By assigning Ṭawq al-
Ḥamāmah fī al-Ulfah wa al-Ullāf by Ibn Ḥazm (d. 456/1064)2 – more popularly referred
to as Ṭawq al-Ḥamāmah or The Ring of the Dove3 – I am able to productively address
and challenge students’ pre-conceived notions on multiple fronts. That is, through a
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literary engagement with Islam and Arabic in Europe, students raise questions
interrogating the construction of the western canon; the idea of the Dark Ages; the role of
Arabic in the medieval world and European literature; the absence of non-Christian
identities; and contemporary anti-Muslim arguments that invoke civilizational and
cultural borders.4
Addressing Multiple Levels of Prior Knowledge and Implicit Bias
Regardless of the enormous strides accomplished by medieval scholars, popular
assumptions about what characterizes the Middle Ages remain. Moreover, in the current
political context, scholars of Medieval Studies are increasingly wary of the connections
being made by white supremacists and medievalism.5 Many first-year students often
enter the classroom with prior knowledge6 that the term “medieval” expresses rigidity,
dogmatic religiosity, superstition, and the stagnation both of culture and of the pursuit of
knowledge. Such an inaccurate understanding of what characterizes the medieval period
is contrasted by a conception of a flourishing Greco-Roman civilization preceding it and
by an innovative European Renaissance following it. Giving the students the opportunity
to read at least one medieval text empowers them to reject such systemic stereotypes and
epistemologies.
Moreover, regardless of the important work scholars of Islamic Studies, Ethnic
and American Studies, as well as Critical Theory have produced, many undergraduate
students also continue to enter our classrooms with popularly circulated ideas about Islam
and Muslims that inform contemporary anti-Muslim racism and xenophobia.7 These
ideas include but are not limited to the idea of a Clash of Civilizations as proposed by
Samuel Huntington8 that views Muslims as monolithic outsiders in contradistinction to
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Western civilization’s white, European, and Judeo-Christian character.9 Although Post-
colonial Studies scholars have long deconstructed the kind of civilizational thinking
proposed by figures like Huntington, the latter’s ideas continue to be invoked.
Nevertheless, Post-colonial Studies has influenced the ways social and intellectual
historians, for example, have taken great interest in the intersections of pre-modern
people, texts, and cultures as evidence of cross-pollination that often challenge nationalist
histories.10
The identity of a white European Judeo-Christian civilization imagined as the
foundation of Modern Western Civilization is largely based on a narrative in which
important details within the same temporal and geographic parameters are elided. A
simple way to pedagogically mine the narrative of a survey course is to have students
identify the spatial and temporal gaps within the map of their standard syllabus. The
medieval period of Islamic history within Europe, in particular, and the prolific
production of Arabic literature and culture that circulated in the Mediterranean quickly
unsettle that narrative. By identifying the absence of at least one language (i.e., Arabic)
and discursive tradition (i.e., Islam) not typically considered western within one iteration
of a western canon, students are invited to consider its implications and ask more
questions.
Why The Ring of the Dove for the Missing Medieval Millennium
At the intersection of Post-Colonial and Medieval Studies, scholars have written
about the problematic ways in which the past is viewed as an exotic foreign country that
parallels ways in which the Global South is imagined as distant and exotic. Interrogating
the implications of how the term “medieval” is deployed to connote the barbaric and
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unenlightened, medievalist scholars have demonstrated how popular conceptions of the
European Dark Ages is misleading. Moreover, Post-Colonial scholars have demonstrated
how non-European archives have been used to inaccurately understand and analyze
developments outside of European Christendom. For example, nineteenth- and twentieth-
century modernists adapted the Enlightenment discourse regarding the medieval period
which they referred to as ʻAṣr al-Inḥiṭāṭ or the Age of Decline. Such periodization not
only continues to impact Arabic and Islamic Studies although scholars have extensively
and thoroughly debunked the notion,11 but it remains a part of modern discourse that will
characterize the disliked actions of certain contemporary groups as “medieval.”12
Although few medievalists now go along with these very outdated views of the Middle or
“Dark Ages,” the ideas continue to shape popular discourse about the past.
There are numerous texts that could be included in the syllabus to represent, what
I call, the Missing Medieval Millennium. I decided the best strategy for an alternative
syllabus design would be to include a medieval Arabic-Islamic love treatise from the
Iberian Peninsula – or al-Andalus as it is called in Arabic – that is within the geographical
parameters already created by the syllabus. The presence of such a text would enable at
least eight pedagogically rich opportunities:
1. The text highlights other non-Christian voices from within the same historical and
geographical parameters of the syllabus post-Christianity.
2. The medieval Arabic republic of letters is one example of many that demonstrates
that the medieval world was anything but stagnant. The Persianate literary world,
to which Arabic literary texts refer and in which the famous late tenth-century
Shahnameh or The Book of Kings was composed, is another.
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3. At the same time in which European writers began to compose texts in vernacular
languages, new genres of medieval Arabic literary production emerged as well as
an increased interest in the compilation of lexicons and encyclopedic
compendia.13 By making students aware of the wealth of primary sources from
the medieval period, they confront the difficulty of theorizing a particular
experience in order to understand other geographic, cultural, and linguistic spaces.
4. It provides for an opportunity to introduce the centrality of Arabic in the medieval
world as a scholarly and literary language and to highlight pre-modern instances
of cultural and intellectual cross-pollination.
5. It provides the opportunity to inform students about the Greco-Arabic Translation
Movement in Baghdad (750–975) and its role in transmitting ancient Greek texts
in Europe. The translation movement challenges the narrative in which the
transmission of ancient Greco-Roman texts is solely dependent upon European
Christendom and Latin translations. Although Arabic contribution to the
translation of Greek texts, as well as the influence of Arabic literature, is
recognized by medievalist scholars, undergraduate students often express pleasant
surprise when they learn this history.
6. It provides students with more literary context for Dante, Boccaccio, and most
explicitly Cervantes’s incorporation of characters and references to Arabic-
Islamic historical figures, texts, and culture.
7. Late medieval and early modern texts included in the standard syllabus, such as
Dante’s Inferno or Miguel de Cervantes’s Don Quixote, refer to or engage in
critique of the courtly love tradition. In order to identify and appreciate the
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critique of that literary tradition, students would benefit from exposure to courtly
love poetry.
8. Finally, having a more global understanding better informs students’ questions
about religion, language, nationalism, colonization, class, gender, race, and
ethnicity that emerge in western literature.
From among a list of possible medieval texts, I ultimately selected Ibn Ḥazm’s
The Ring of the Dove because the text provides for the eight pedagogical opportunities
listed above.14 Written as a treatise on love, the work is stylistically and conceptually
distinct enough to offer something new for students to wrestle with in their analyses but
also accessible enough in its inclusion of familiar themes and literary conventions
discussed in texts they would have already read. Furthermore, I wanted to teach a text
that could give additional analytical language and context for the texts to come.
Uniquely among the texts in the syllabus, Ibn Ḥazm includes poetry as
commentary in order to illustrate, clarify, and explain a prose narrative about love rather
than the reverse.15 Connecting back to earlier texts in the syllabus, the work begins with
the definitions of love and its signs that prominently reflect and develop concepts
introduced in Plato’s Symposium – another text the students read earlier. Ibn Ḥazm also
contests the concept of the body and passion in Augustine’s Confessions which students
notice as they read. Regarding connecting with later texts in the syllabus, Ibn Ḥazm
touches upon verbal and non-verbal signs of love and incorporates prose narrative and
rhymed poetry. Students engage these themes, motifs, and writing styles as they emerge
later in the semester as prominent nodes of literary analysis in Austen’s Pride and
Prejudice and Morrison’s Song of Solomon.
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Finally, the work is not difficult to excerpt. I decided it is more important that
students engage deeply with an excerpt than skim over the entire work.16 Moreover, there
is an accessible translation by A.J. Arberry available online.
About Ibn Ḥazm and Ṭawq Al-Ḥamāmah
Abū Muḥammad ʿAlī ibn Aḥmad ibn Saʿīd ibn Ḥazm was born in al-Andalus in
the city of Córdoba around 384/994 and died at Manta Līsham (a town near Seville) in
456/1064. His father was a vizier of the Umayyad caliphate before it’s dissolution in
Córdoba in 1031 and the rise of the Tā’ifah States in the Iberian Peninsula, and Ibn Ḥazm
grew into adulthood during a period of immense political turmoil. Brought up among
court elites, Ibn Ḥazm was looked after by many women including relatives and servants.
He records that women taught him reading, writing, and memorization of the Qur'an.17
Ibn Ḥazm travelled widely as is reflected in his work, and he lived in a number of
different cities including Majorca, Valencia, and Seville. After he was imprisoned, he
devoted most of his energy to scholarship. Records show that he composed over 400
works, but less than 40 have survived. In addition to being a poet, a historian, a linguist,
and a theologian, Ibn Ḥazm is more famously known as a jurist of the Ẓāhirī legal
school.18 One area in which Ibn Ḥazm differed with a majority of medieval Islamic
theologians is that he believed in the existence of women prophets, naming Mary the
mother of Jesus, Sarah the wife of Abraham, and Āsiya the wife of Pharoah and step-
mother of Moses among them.
The Ring of the Dove, according to Ibn Ḥazm, is “jest in the beginning, and the
most serious of matters at its conclusion.”19 He begins with definitions of love,
differences of opinion regarding the definition, and different types of love. He
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meticulously identifies each chapter by various topics related to love beginning with the
different ways in which people may fall in love such as falling in love by words and
through long association; followed by characters and issues related to love such as the
spy and the reproacher and the stages of love including union and separation; and
concluding with the pitfalls and virtues of love. Some scholars believe the text can be
read as an autobiography of the author’s own romantic episodes.
The form and style of the work demonstrates Ibn Ḥazm’s reputation as a well-
known jurist. Like a jurist, the writer does not present any argument without evidence and
commentary. His evidence, instead of being culled from sacred and legal texts, however,
includes detailed narratives and anecdotes regarding various known and anonymous
individuals and their trials and successes in love. Men and women play the role of lover
and beloved interchangeably, and they include characters from various socio-economic
backgrounds and different cities within al-Andalus. As for his commentary, Ibn Ḥazm
moves from prose narrative to rhymed poetry. His inclusion of poetry further illustrates
or emphasizes a point – and demonstrates his own poetic skills. For example, on the
topic of eyesight and insight, physical and inner beauty, and its role in the process of
falling in love, Ibn Ḥazm writes,
The vision of my outward eye
A human shape descries in thee;
When inward reason I apply,
I know thy form is heavenly.20
Because I only have one class session for discussing the text, I do not assign the
entire work. Instead, I select the following excerpts:
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1. Preliminary Excursus
2. The Signs of Love
3. On Falling in Love at First Sight
4. On Falling in Love Through a Description
5. Allusion by Words
6. Concealing the Secret
7. Divulging the Secret
8. On Union
By assigning the students excerpts, they get exposure to a different text from another
literary tradition and an opportunity to read short complete sections closely rather than
skim.
Disrupting the Syllabus Narrative Through Mapping and Syllabus Design
Figure 1 Twelfth century world map by Arab geographer Muhammad Al-Idrisi
commissioned by the Norman King Roger II of Sicily.21
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The syllabus can provide opportunities for instructive and productive
interrogation. As a teaching document, the syllabus introduces and highlights key
concepts for students. On the first day of class, I inform my students that we will be part
of the larger community of “Masterpieces of Western Literature” students. I remind them
that as we build our own intellectual community through collectively reading and
discussing the assigned texts, we will have our own unique local differences as all
communities. I mention that I require my students to read excerpts from a medieval
Arabic text that other professors do not teach nor require for the same course. Another
difference, I explicitly note, is that they will consistently be asked to locate on the map
where we are geographically when we first encounter authors and their works.
By doing so, students identify on the first day that our western literature syllabus
begins in a place that would be located in modern day Turkey rather than Greece.
Immediately, many students note the decentering of Western Europe by locating the
Trojan War in a place that theoretically is much closer to Syria than to Paris or London.22
Even without knowing specific details of city locations as they read through the classics,
some students find that mapping the texts in which wars and refugees are central to the
narratives like the Iliad and Odyssey intellectually engaging particularly when their peers
realize that the flow of refugees in the text often paralleled the flow of Syrian refugees
they often read and hear about in xenophobic media content outside the classroom. By
repetitively drawing their attention to an important detail of geography before continuing
with our discussion of the texts in the first semester of western masterpieces, students
develop a practice of thinking about the geographical and temporal trajectory of the
syllabus while also noticing the selective progression of texts.
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I also inform the students while reviewing the syllabus in class that I will pause
from our regular seminar-style practice when we complete Augustine’s Confessions to
discuss the standard syllabus design itself. Every year, students express a desire for
having a conversation about the Core Curriculum. This is one way to address that
concern. When the students arrive at Augustine’s Confessions, I again draw their
attention to the map in which they identify the geographical proximity of Carthage and
North Africa to Italy. When we complete our discussion on Confessions, I ask the
students to consider the time passed between Augustine (d. 398) and Dante (d. 1317) who
is assigned on the standard syllabus directly after Augustine. Students are then prompted
to identify and discuss major historical developments that may have taken place between
Anatolia and the Iberian Peninsula and throughout the Mediterranean. This discussion
prepares them for the introduction to The Ring of the Dove.
Figure 2: Map based on my syllabus23
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Framing of the Text within the Syllabus
This is where I pause to discuss the standard syllabus itself as I promised the
students on the first day of class. I prefer that the students experience parts of the syllabus
and develop their own questions about it before I offer them my own. I preface the in-
class discussion on The Ring of the Dove with a brief comment about the history of the
course. I affirm for the students that in addition to developing better questions for close
reading and written analysis in the course, they should continue to ask the following
questions, which they have been encouraged to ask since the first day of class:
1. What does it mean for a text to belong to a Western Canon?
2. How does a curated canon shape our views of what it means to be “Western”
and what it means to be outside of that category?
3. What values does the inclusion of a text and our experience of it convey for a
liberal arts education? 2
Then I move on to give the students an opportunity to develop context. After
posing the question, “What major civilizational developments happen over the
millennium after we leave Augustine who returns to Africa and before we return to Italy
with Dante?” the students identify a number of historic events. My strategy is to direct
students to move from the general and global into the increasingly particular and local,
adding important details unaccounted for in the original syllabus along the way. After
having an opportunity to brainstorm, I have them return to the online maps of the Greco-
Roman world of Virgil and Ovid; maps of the spread of Christianity in the Mediterranean
world of Augustine, the Byzantine Empire, and the Holy Roman Empire; and a map of
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the Mediterranean world after the advent and spread of Islam and Arabic as the lingua
franca of early Muslim empires. The presence of Islam and Muslims in the same
geographical region the students have been looking at since the fall semester does not
require much commentary from me as their instructor. The students develop their own
questions about what that could mean in terms of historical, intellectual, and literary
influence on the region from which the literature they read emerge.
When students ask about the possible impact of Arabic on the texts we have read
and will read, I briefly inform the class of the role of the Arabic translation movement of
Ancient Greek texts in Baghdad. From the second/eighth century to until the fourth/tenth
century, a large segment of Abbasid elites and scholars supported the movement
including caliphs, civil servants, merchants, and scientists supported the movement, and
scholars debated and defined the ethics and methodology of translation. Many ancient
Greek and Roman writings that reached Europe were translated, and scholars argue that
the study of post-classical Greek secular writings can hardly proceed without the
evidence in Arabic, which becomes the second classical language before Latin.24
I draw the students’ attention back to the map in order to identify Ibn Ḥazm’s
location in the medieval Iberian Peninsula. By doing so, students visually encounter the
location of the Arabic-Islamic text and its author within the European continent with the
syllabus still facing westward. Before we enter the text, I remind the students that an
English translator mediates the Arabic text like all the other English translations we read
in the class, and there are many ways in which translators betray their biases. Although I
do not require students to read A.J. Arberry’s preface, it provides instructors and students
opportunities for reflecting on and discussing translator bias and translation as mediation,
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particularly when Arberry articulates that Arabs as a race do not generally exhibit literary
genius.
Using Established Teaching and Reading Practices
Course design is the first point of engagement with a student. The standard
syllabus of “Masterpieces of Western Literature and Philosophy” immediately tells a
grand narrative of western literary heritage over the course of the semester. Based on
their instructor’s guidance as well as their own interpretive development, students
become either increasingly skeptical or convinced that the texts are a comprehensive
reflection of the development of western culture. It is important to establish regular
practices of close reading in order to model different forms of analyses and inquiry
desirable in the classroom.25
Before teaching “Masterpieces of Western Literature,” I assisted teaching a two-
semester series entitled “Islamic Civilization.” Many of the students who take the course
have already taken “Masterpieces of Western Literature and Philosophy.” By comparing
my teaching experiences between the two courses, there is a noticeable difference in the
way students read texts.26 Students did not readily transfer their skills of close reading
and literary analysis that they would have developed in “Masterpieces of Western
Literature” in “Islamic Civilization.” Some students revert to invoking conflated
identities as well as imprecise use of terms and categories of difference. Others’ questions
and comments in “Islamic Civilization” reflected the larger problem of ethnocentric bias
even in reading practices and reception of the texts. When students focused on larger
concepts of culture and historical context, they often did not closely engage with the
language and style of the texts. Although students develop a larger appreciation of
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history, it became difficult to establish a practice of literary analysis from the beginning
once they encountered literary texts in the course.
Many students demonstrate a similar approach to the first texts they read in
“Masterpieces of Western Literature and Philosophy.” Thus, when they write about
Homer’s Iliad statements such as the following: “In ancient civilizations, literature is
heavily influenced by religion,” I write as a comment, “Avoid generalizing statements.
Be specific. Which text(s) are you referring to and from which period and region? Refer
to a passage and offer a close reading analysis.” By being thorough and explicit about
ways in which language betrays our biases from the beginning of fall semester, students
demonstrate a steady decrease in writing generalizing statements.
Thus, one of the learning objectives I set out to achieve was for students to
understand that the medieval Arabic text still requires that they use similar categories of
analysis as the other assigned literary texts in the class in order to construct an argument.
They should think about metaphorical language and symbolism, structure and form,
imagery, and so on in order to make a literary argument. For that reason, in addition to
calling attention to the map, I establish two other classroom practices. The first is to
briefly introduce a work’s context. The second is to ask a thematic, formal, or structural
question and then have students read a passage out loud together at the beginning of each
class that we then discuss together. I do this in order to focus the class discussion on
selected passages, images, and language. After creating an established practice, students
develop reliable expectations and become more comfortable in participating within the
classroom.
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The reliability of a structure and certain initial questions empower students to
build upon and innovate more complex levels of inquiry. This is demonstrated when their
questions increasingly reflect close engagement and critical reception of the text. If
students demonstrate they have not read the text and/or make generalized statements
about the culture from which the work is produced, I offer guiding questions to refocus
the direction of their interrogation. For example, if a student offers his or her classmates
a reading of a text as indicative of “the oppressive nature of Arab society towards
women,” I reflect the problem of generalization back in the form of a close reading
question for the student’s classmates to challenge and discuss. For example, I could
respond, “The terms nature, Arab society, and women are large categories. Let’s return to
a specific passage. Are there specific examples of female characters speaking? Where
and in what context? What do we know about them, and how would you characterize the
conventions of their speech within the text?” I do this for all other class texts as well.
When students arrive at the medieval period and encounter an Iberian Arabic-
Islamic text in the middle of the academic year, they do not discard the practices of
reading they develop as a community; rather they continue to ask similar questions of the
text. At the same time, the students are capable of identifying the work’s distinguishing
features and offer insightful analysis. Regardless of the period or language of the text, I
ask a familiar question on the general features of the work, such as its genre, purpose, and
structure before moving into the specifics. One such question I ask is “What might the
title tell us? How is it significant?” Without knowing Arabic, that question alone leads
students to discuss symbolic power and the legibility or illegibility of symbols and the
importance of literary conventions and traditions that make such symbols understood.
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The students immediately notice the unique structure and form of the text in
which the author weaves in poetry as commentary on his prose rather than the other way
around. Having encountered Augustine’s enarratio (citation of biblical verses in service
of commentary on his autobiographical narrative), some students want to compare and
contrast Augustine’s style with the poetic commentary of Ibn Ḥazm’s prose narrative. By
doing so, they demonstrate their development of comparative literary analysis which can
lead to rich discussions about modes of commentary, biblical authority, poetic legitimacy,
and literal and figurative methods of clarification.
Moreover, the established teaching practice prevents students from overly
fetishizing the idea of cultural difference without diminishing the students’ enjoyment
and engagement with the particular uniqueness of the text. For example, in the chapter
on “Divulging the Secret,” students read,
How many a person of the severest respectability, veiled as it were and
shrouded in the most impenetrable curtains, has seen his robe of modesty
ripped off by love, his heart's shrine violated, his holy of holies desecrated,
so that his respectability has been turned into notoriety, his quiet
retirement changed so that he is a public laughing-stock! To be a scandal
is then his fondest ambition; he will commit actions which, if they had
been so much as pictured to him hitherto, he would have shivered all over
at their very mention, and prayed long and earnestly to be delivered from
them.
When students encounter the image of the veil, it’s important they demonstrate they are
more than capable of locating the meanings of the image within the world of the text as
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well as consider the image among other symbolic usages. When they do, the students do
not invoke generalized assumptions of the cultural values associated with the Islamic or
Arabic identity of the text. Instead, because they read Ibn Ḥazm’s statement that
“disclosure is sometimes due to love’s overpowering mastery; publicity prevails over
modesty” along with his chapter “On Concealing the Secret,” students focus their
discussion on notions of the public and private and associate it with previous analyses on
the outer and inner eye. The discourse on the role of the secret is also enormously helpful
and productive for future discussions and remains a point of interest throughout the
semester.
The Ring of the Dove also offers opportunities to discuss non-verbal modes of
communication including a consideration of the role of the eyes as a literal and figurative
conduit of meaning.27 Students interrogate the invocation of consciousness and the role
of imagination in the text in the section “On Falling in Love While Asleep.” Some
students referred to the section on falling in love through words, in particular, during the
Inferno episode with Francesca and Paolo falling in love by reading.28 Similarly in the
section on the nature of love, students identify references to Plato noting the similarities
and differences in Ibn Ḥazm’s conception of love that not only affirm the influence of
Ancient Greek philosophy in Arabic texts but the transactional characteristics of
influence, transmission, and translation of classics. When reading about the concept of
the scattered parts of souls, students discuss the role of the physical body and beauty in
love and the different kinds of love Ibn Ḥazm refers to in addition to passionate love.
Because they enter into the text having read both the Symposium and Confessions,
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students are able to discuss further the problem of the body and materiality that they find
more easily resolved in the world of The Ring of the Dove.
In anticipation of later texts, I also direct the students’ attention to the poetics of
the lover and the beloved, especially inquiring whether the roles are gendered, racialized,
and/or classed. Having already discussed the homosocial world of the Symposium, where
male-male love is constructed as the highest form of love, the students are prepared for
thinking further about constructions of love, power, and social hierarchy in relationships.
Their discussion of the interchangeability of gender in the binary roles of lover and
beloved in The Ring of the Dove also remain with them when reading later texts. For
example, the theme of gendered expressions of desire re-emerge in the Decameron when
the women of the brigatta are clearly entrenched in gender norms that conflict with their
desires.
In general, students express surprise in encountering the candid tone in the
treatment of love and desire in The Ring of the Dove. Some of the students express their
surprise because of their assumptions regarding the medieval period; other students
indicate that they would not expect medieval Muslims to write about such subjects. One
student remarked how surprised she was to read such an accessible and relatable work
from the medieval period that she described as a gossip column. Another student noted
with playful exasperation that every love story has already been written. In many ways,
within the context of a literature class that is expressly a “Masterpieces of Western
Literature and Philosophy” course, the students demonstrated a higher level of literary
engagement with a medieval text than I experienced in the “Islamic Civilizations” course.
Conclusion
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One of the clearest signs of success in incorporating this particular medieval
Arabic text within the syllabus of “Masterpieces of Western Literature and Philosophy” is
students’ reference to, recollection of, and reliance on the text in order to construct and
build analysis and meaning throughout the semester. The practice of imagining a
medieval Arabic text in their analysis of other medieval and early modern Spanish,
French, Italian, and English texts in addition to ancient Greek, Latin, and Hebrew texts
reflects more accurately the Mediterranean world the students are asked to consider as the
source of “Masterpieces of Western Literature and Philosophy.” That is, Arabic was not
only the lingua franca of many major cities of the Mediterranean, North Africa, the
Levant, and West Asia but it is also a medieval European language by way of the Iberian
Peninsula. The fiction of the medieval period as the Dark Ages collapses in the encounter
with the medieval Arabic-Islamic republic of letters in which literary networks within the
Iberian Peninsula were crucial interlocutors.29
Furthermore, imagining a vibrant, candid, and creative medieval Arabic-Islamic
literary which contributed to western knowledge production and culture achieves a
number of learning objectives particularly urgent in our contemporary political context.
One of those learning objectives is being able to imagine a diverse and multi-faceted
medieval world. The fiction of an essentially white, European, Judeo-Christian west
holds as long as only parts of the west speak and other parts are silenced. The inclusion of
a medieval Arabic text among other works considered western masterpieces is also one
way to make more clearly visible the globally transformative events of 1492 including
the expulsion of Muslims and Jews from the Iberian Peninsula, the banning of Arabic,
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and the development of a racial and blood purity discourse which students eventually
encounter in Don Quixote among other texts.
By providing students with the opportunity to engage with the absent voices of a
western literary canon, it may pique their curiosity after they leave the class. It may
inspire them to ask questions of other absent voices in western canons of which there are
many – including the indigenous voices of the Americas and the trans-Atlantic slave
narratives. It may cultivate the desire for learning, inspire better scholarship, and
communicate knowledge that leads to a better understanding of others – and achieve the
ultimate goal of strong scholarship-based teaching.
1 Throughout this article, I will mostly refer to the course as “Masterpieces of Western
Literature and Philosophy” instead of Literature Humanities to highlight the focus of the
course in the Core Curriculum. The Core Curriculum also includes a Global Core
requirement that covers what are considered non-western canons. African Civilization,
Asian Humanities, and Islamic Civilization are among the courses from which students
may choose to fulfill that requirement.
2 In Arabic and Islamic Studies, the general convention is to include two calendar dates.
The first year refers to the Hijrī or Islamic lunar calendar. The second year refers to the
Gregorian calendar.
3 Ibn Ḥazm, `Alī ibn Aḥmad. Ṭawq Al-Ḥamāmah Fī al-Ulfah wa al-Ullāf Li-Ibn Ḥazm
Al-Andalusī: Taḥlīl Wa Muqāranah. Ed. Ṭāhir Aḥmad Makkī. Al-Qāhirah: Dār al-Hilāl,
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1994; The Ring of the Dove: A Treatise on the Art and Practice of Arab Love. Trans. A J.
Arberry. London: Luzac, 1953.
4 Sierra Lomuto writes about the role of medievalists in challenging the manipulation of
history in service of racist ideology. She states,
I regularly read adjectives like “uncultured” and “barbaric” to describe Mongols
in books published within the last decade. I still see "Oriental" used uncritically to
refer to Asian peoples…We can build a racial consciousness and stop using words
like "Oriental" and "uncultured" to refer to non-white peoples in the Middle Ages.
We can stop saying "race" doesn't apply to the Middle Ages when what we mean
is that later forms of racial codification don't apply; we can start asking, what
forms of race do we see operating in the primary sources we study and teach?
See Lomuto, Sierra. "White Nationalism and the Ethics of Medieval Studies." In the
Middle, 14 Jan. 2017, www.inthemedievalmiddle.com/2016/12/white-nationalism-and-
ethics-of.html.
5 See Symes, Carol. “Medievalism, White Supremacy, and the Historian’s Craft.”
American Historical Association Today, 2 Nov. 2017,
blog.historians.org/2017/11/medievalism-white-supremacy-historians-craft/.
6 For a discussion on the effects of prior knowledge in the context of pedagogy, see
DiPietro, Michele, et al. How Learning Works: Seven Research-Based Principles for
Smart Teaching. San Francisco: Jossey-Bass, 2013, 34-38.
7 See Ullah, Sahar. “Teaching Notes III: Islamic Studies and Deprogramming.” Baraza,
14 Sept. 2017, baraza.cdrs.columbia.edu/teaching-notes-iii/.
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8 See Dabashi, Hamid. "For the Last Time: Civilizations." International Sociology. Vol.
16, no. 3, 2016, pp. 361-368; and Tharoor, Ihsaan. "Donald Trump’s Real Foreign Policy:
A Clash of Civilizations." The Washington Post, 14 Jan. 2017,
www.washingtonpost.com/news/worldviews/wp/2016/04/28/donald-trumps-real-foreign-
policy-a-clash-of-civilizations/?utm_term=.3a3db027bd2b.
9 Regarding Islamophobia and anti-Muslim sentiment, see Sayyid, S. “A Measure of
Islamophobia,” Islamophobia Studies Journal, vol. 2, no. 1, 2014, 10–25; Jones, Rachel
Bailey. “Intolerable Intolerance: Toxic Xenophobia and Pedagogy of Resistance.” The
High School Journal, vol. 95, no. 1, 2011, 34–45. Also see S.N. "Medieval Memes: The
Far Right's New Fascination with the Middle Ages." The Economist, 2 Jan. 2017,
www.economist.com/blogs/democracyinamerica/2017/01/medieval-memes. The article
notes, “The more popular medieval history becomes, the more it may come to be seen not
as an endorsement of homogeneity but a refutation, a world in which non-conformity was
not debilitating deviance but a desire to strive for something better.”
10 See Cohen, Jeffrey. The Postcolonial Middle Ages. New York: Palgrave, 2001; Gaunt,
Simon. “Can the Middle Ages be Postcolonial?” Comparative Literature, vol. 61, no. 2,
2009, 160-176; Altschul, Nadia R. "Postcolonialism and the Study of the Middle Ages."
History Compass, vol. 6, no. 2, 2008, 588-606.
11 See al-Musawi, Muhsin. The Medieval Islamic Republic of Letters: Arabic Knowledge
Construction. Notre Dame, IN: University of Notre Dame Press, 2015.
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12 See Holsinger, Bruce. “Carly Fiorina Goes Medieval.” New York Times, 8 Oct. 2015,
www.nytimes.com/2015/10/08/opinion/carly-fiorina-goes-medieval.html?ref=opinion;
and Perry, David M. “This is not the Crusades: There's nothing medieval about ISIS.”
CNN. 16 Oct. 2016. www.cnn.com/2016/10/16/opinions/nothing-medieval-about-isis-
perry/index.html
13 For an example, see Elias Muhanna’s translation of Nuwayrī, Aḥmad. The Ultimate
Ambition in the Arts of Erudition: A Compendium of Knowledge from the Classical
Islamic World. New York: Penguin Books, 2017.
14 From medieval Arabic literature, I also considered incorporating one of the Maqāmāt
or works of devotional and mystical poetry. Regarding the latter, the Sufi lexicon and
symbolism of Ibn al-`Arabī's Interpreter of Desires (12th century) or the narrative
universe embedded in Al-Būṣīrī’s The Mantle Ode (13th century) would require far more
resources, teaching, reading, and class time during the semester.
15 This style of using poetry as commentary and evidence is not unique to Ibn Ḥazm’s
style within the Arabic literary corpus.
16 Ibn Ḥazm. The Ring of the Dove: A Treatise on the Art and Practice of Arab Love.
Trans. A J. Arberry. London: Luzac, 1953; Ṭawq Al-Ḥamāmah Fī al-Ulfah wa al-Ullāf:
Risālah Fi Awsāf al-Hubb wa Ma`ānih wa Asbābih wa a`rādih. Bayrūt: al-Maktabah al-
ʻAṣrīyah, 2004.
17 For more details about his life and work, see Abu-Laylah, Muhammad. In Pursuit of
Virtue: The Moral Theology and Psychology of Ibn Ḥazm al-Andalusi (384 - 456 AH/994
- 1064 AD. London: TaHa Publishers, 1998; Adang, Camilla, Maribel Isabel Fierro, and
Sabine Schmidtke. Ibn Ḥazm of Cordoba: The Life and Works of a Controversial
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Thinker. Lieden: Brill, 2013; and Arnaldez, R. “Ibn Ḥazm.” Encyclopaedia of Islam
Second Edition. Ed. P. Bearman, Th. Bianquis, C.E. Bosworth, E. van Donzel, W.P.
Heinrichs, 2012.
18 For more details about his life and work, see Abu-Laylah, Muhammad. In Pursuit of
Virtue: The Moral Theology and Psychology of Ibn Ḥazm al-Andalusi (384 - 456 AH/994
- 1064 AD. London: TaHa Publishers, 1998; Adang, Camilla, Maribel Isabel Fierro, and
Sabine Schmidtke. Ibn Ḥazm of Cordoba: The Life and Works of a Controversial
Thinker. Lieden: Brill, 2013; and Arnaldez, R. “Ibn Ḥazm.” Encyclopaedia of Islam
Second Edition. Ed. P. Bearman, Th. Bianquis, C.E. Bosworth, E. van Donzel, W.P.
Heinrichs, 2012.
19 For the Arabic, see Ibn Ḥazm, 92. The translation is mine.
20 Ibid., 98. Translation by A J. Arberry.
21 See “Idrisi's ‘Tabula Rogeriana’ World Map (1154).” The BIG Map Blog, 2 June 2012.
www.bigmapblog.com/2011/idrisis-tabula-rogeriana-world-map-reproduction/.
22 See Ullah, Sahar. “‘Bored’ with the Theater of War?” Baraza, Center for Digital
Research and Scholarship, 10 November 2014. baraza.cdrs.columbia.edu/bored-with-the-
theater-of-war/
23 Franziska Landes and Liz Bailey, Lead Teaching Fellows at the Center for Teaching
and Learning at Columbia University, assisted in designing this map using Google Earth.
24 Gutas writes,
In terms of the extent of the translated material, the enormity of the undertaking
can best be grasped if one were to just consider that the Berlin Academy edition
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of the Greek commentaries on Aristotle—works that form only a small fraction of
the books translated— comprise seventy-four large volumes.
See Gutas, Dimitri. Greek Thought, Arabic Culture: The Graeco-Arabic Translation
Movement in Baghdad and Early ʻAbbāsid Society (2nd-4th/8th-10th Centuries). London:
Routledge, 1998, 1-2.
25 For another example of an assignment I designed for non-English literature classes
based on my experience teaching “Masterpieces of Western Literature and Philosophy,”
see Sahar Ishtiaque Ullah, "Spotifying Arabic Literature: Creating a Soundtrack to Your
Intro to Arabic Literature Syllabus," Arabic Literature (in English), 7 July 2016.
arablit.org/2016/07/07/spotifying-arabic-literature-creating-a-soundtrack-to-your-intro-
to-arabic-literature-syllabus/
26 Designed as a lecture-style course led by a professor, students who attend the lectures
are also required to meet once a week with a graduate instructor in smaller groups of
twenty to discuss assigned texts. The course fulfills a global core requirement, but it is
not a universally required course.
27 In a course that would allow for more medieval texts, introducing the troubadours and
some of Chretien's romances would allow for interesting comparative analysis.
28 Alighieri, Dante. Inferno: A Verse Translation. Trans. Allen Mandelbaum and Barry
Moser. New York: Bantam, 1982, 44-46.
29 The fiction of the Dark Ages collapses on many fronts when students are well taught
with medieval materials, including, but not exclusively, medieval Arabic literature.
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The Once and Future Classroom Vol. XIV, Issue 1 (Fall 2017) https://once-and-future-classroom.org/teaching-the-ring-of-the-dove-in-masterpieces-of-western-literature-and-philosophy/ © 2017 TEAMS: Teaching Association for Medieval Studies
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