Abstract

Al-Masāq. 1, 1988 Articles Peter D. Molan University of Maryland I. Introduction The old misconception that "the dramatic style ... has never been cultivated by the Semites" has now been largely laid to rest.' and it is realised that the Arabs had. as had the other peoples of the Mediterranean. 'a rich range of popular and folklorlc theatrics throuchout the Late Antique. Medieval, and Renaissance era«.3 It is now generally recognized that Muhammad Ibn Dänlyäl (d.710/1310), adtb at the Mamlük court in Cairo and author of the only surviving theatrical texts par «a in medieval Arabic, is deserving of serious study.5. A general line of approach to Ibn Dänlyäl•s texts has been suggested. Implicitly proposing comparative and formal methods.' and one of the characters of Ibn Dänlyäl's most fully formed play, that of Umm Rashïd in the play Tauf al-Khaväl, has been subjected to a comparative study making trans-Mediterranean links explicit." A critical edition of Ibn DanlySl'e three shadow play texts is forthcoming.* but a full assessment of any of the three plays has not, before now, been announced. This essay is one element of a full scale analysis of "Tayf al-Khayâl" and is intended as a prolegomenon to