É. Apor , I. Ormos (ed.): Goldziher Memorial Conference, June 21–22, 2000, Budapest.
HOPKINS, Simon: The Language Studies of Ignaz Goldziher
SIMON HOPKINS result of this visit was a study jointly written by Goldziher and Landberg entitled Die Legende vom Mönch Barsisä, published in one hundred copies at Kirchhain in 1896 = GS IV 1. Goldziher was not merely a consultant to Landberg in his linguistic investigations, but himself took an active part in the study of the Hadrami vernacular, plainly enjoying his Arabian fieldwork in Landberg's Bavarian chäteau. He speaks enthusiastically about the "unausgesetzte[n] tägliche[n] Umgang mit ihnen, das lebendige Eindringen in ihre Sprache, ihre Gesänge, ihre Ideenwelt 18 4 and the fascination aroused in him by their "Conversationsdialekt"; 18 7 these studies were undertaken solely for their intrinsic linguistic interest. 1 8'' From a letter to Nöldeke we learn that Landberg's Hadrami informants had dictated to Goldziher some poetical pieces, including some "hadramautische KasTden" composed in honour of two young ladies who had tickled their fancy; 1 8 it may very well be that these erotic odes were taken down in writing, but nothing of the kind seems to be extant in the Goldziher Nachlass in Budapest. Goldziher noted the highly significant fact that in the plain declamatory style of these Hadrami performers the Trab vowels ("Bindevocale") were generally absent and the metre imperceptible, whereas the same pieces when intoned to instrumental accompaniment were delivered with the i'räb vowels required by their conspicuously metrical form. 18 8 A piece of information provided by Landberg's two South Arabian bards on the supernatural source of poetical inspiration was added as an addendum to the Abhandlungen zur arabischen Philologie I (1896) 213. Goldziher also took a musical interest in the renderings of the men from Hadramawt. The 'Chansonette d'adieu Hadramite' which Landberg published some years later 1 8' 1 was often sung at the musical soirées held at Tutzing in the summer of 1895 and it was Goldziher who provided the notation of the melody.' 9 0 1 3 Le Comte de Landberg, Arabica III (Leyde 1895) i2ff., 20, with a portrait of Sa'id opposite p. 15. 18 4 Tagebuch 193. 18 5 Hanisch, Briefwechsel 36. I8 <' Hanisch, Briefwechsel 39: "... sehr nützliche Dialektstudien (nicht mit literarischer Nebenansicht)". 18 7 Simon, Letters 198. 18 8 Hanisch. Brieß\'echsel 45-46. 18 9 Etudes sur les dialectes de l'Arabie méridionale I, Hadramoüt , Leide 1901, 1-3. I suppose this item might be added to the Goldziher bibliography. 19, 1 Although Goldziher disclaimed any detailed knowledge of musical theory (Hanisch, Briefwechsel 43), he may well have had more than a passing interest in the subject. He enjoyed hearing, whistling and singing patriotic Hungarian melodies, e.g. the song version of M. Vörösmarty's Szózat (Oriental Diary 95, 103, 137; see Ormos's paper in the present volume), sang Arabic songs with a bedouin sheikh (Oriental Diary 136) and taught the tune of an Arabic hymn to a German missionary in Ramie (ibid. 131; Tagebuch 65, for which see Conrad, JRAS 1990, 119). From the fact that Goldziher was requested to sing in Arabic (Oriented Diary 139), one perhaps gathers that he may have been a reasonable 122
