Review of W. Richard Oakes Jr., The Cross of Christ

Review of W. Richard Oakes Jr., The Cross of Christ

In the middle of his translation of several traditions from al-Ṭabarī’s (d. 310/923) interpretation of Q al-Nisāʾ 4:157, Richard Oakes presents a story that would likely intrigue many readers well familiar with the Gospel passion accounts but with only the most general Islamic explanation of how Jesus did not die on the cross (190–191). As recorded by Oakes in his recently published The Cross of Christ: Islamic Perspectives, al-Ṭabarī’s story[1] begins with Allāh telling ʿĪsā that he will leave this world. ʿĪsā becomes “anxious about death” and calls his disciples together.[2] ʿĪsā prepares food for the disciples and tells them, “Come to me tonight, for I have need of you.” ʿĪsā gives them dinner and gets up to serve them. After the meal, ʿĪsā begins washing their hands with his own and then wipes their hands with his garment. In response to the protestations of the disciples ʿĪsā explains that he is leaving them an example: “Sacrifice yourselves for others as I have sacrificed myself for you.” Among other details included in al-Ṭabarī’s story, the disciples are not able to stay awake that night when ʿĪsā asks them to pray; ʿĪsā says that one of his disciples will deny him three times before the rooster crows next morning, and Peter then denies ʿĪsā in two encounters; and another disciple approaches “the Jews” and works out a price of thirty dirhams to point them to ʿĪsā. So, reports al-Ṭabarī, “They seized him and bound him tightly.” They bind him with rope and lead him away, saying, “You revived the dead and scolded Satan and freed the demon-possessed—and you cannot rescue yourself from this rope?” They spit on him and lay thorns on him and bring him to the piece of wood upon which they wanted to crucify him.

Review of Sarah R. Bin Tyeer, The Qur’an and the Aesthetics of Premodern Arabic Prose

I have attended several presentations by Islamic art historians in which they purported to present an Islamic theory of aesthetics that drew on the Qurʾān. These talks were characterized by sweeping generalizations about the qurʾānic text, an appalling absence of concrete examples, and great leaps from the text to rather vague aesthetic principles.