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Abstract

This article examines the narrative art of Abū ‘l-Faraj al-Iṣbahānī’s Kitāb al-Aghānī through a close reading of the chapter on the poet Kuthayyir ibn ʿAbd al-Raḥmān (d. 723). Though Kuthayyir is mocked throughout for his short stature, unorthodox beliefs, and supposed insincerity, the chapter ends with a surprising scene: his death is mourned by the people of Medina in a large public funeral, suggesting a reevaluation of his character. I argue that this tonal shift is not incidental but the result of Iṣbahānī’s deliberate narrative arrangement. By analyzing the structure of the chapter—including the juxtaposition of genealogical accounts, the gradual reframing of critical reports, and the placement of poetic excerpts—I show how Iṣbahānī invites his audience to question received judgments and consider Kuthayyir’s legacy anew. Building on the work of scholars like Bilal Orfali and Julia Bray, this article contends that the Aghānī exemplifies the literary sophistication of pre-modern Arabic anthologies. Iṣbahānī’s art lies not in direct narration but in his strategic compilation of voices, which transforms Kuthayyir from a comic foil into a figure of pathos and esteem. In doing so, the Aghānī demonstrates how compilation can serve as a powerful vehicle for narrative artistry.

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