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The maqāma genre has had a place in Arabic literature for nearly a thousand years. With the maqāmāt of Badī' al-Zamān al-Hamadhānī (357–98/969–1007), it appears as a fully developed, independent literary form, although precursors of it have been traced back beyond al-Hamadhānī to the argot and cant of thieves and beggars as displayed, for instance, in the Kitāb al-bukhalā’ of al-Jāḥiẓ and the qaṣīda al-sāsāniyya of Abū Dulaf Mis'ar b. Muhalhil, and possibly back to the model of a lost Kitdb al-arba'īn of the philologist and lexicographer Ibn Duraid. The history of the maqāma in its classical form closes only with the productions in the last century of such writers as the Baghdādī scholar Shihāb al-Dīn Maḥmūd al-Alūsī (1217–70/1802–54) and the Lebanese Christian Nāṣīf al-Yāzijī (1800–71). It is true that in the early decades of our own century, such Egyptian writers as Muḥammad Ibrāhīm al-Muwailḥī and the poet Muḥammad Ḥāfiẓ Ibrāhīm used a very free adaptation of the maqāma form for the entirely novel purpose of social criticism; but with the disappearance to-day of the florid and artificial style of Arabic writing, it is unlikely that anyone will ever resuscitate the classical maqāma and we may safely conclude that it has died out.
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