text:
Who's Gonna Fill Their Shoes (song)
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"Who's Gonna Fill Their Shoes"
Single by George Jones
from the album Who's Gonna Fill Their Shoes
B-side
"A Whole Lot of Trouble for You"[1]
Released
1985
Format
7" single
Genre
Country
Length
3:16
Label
Epic 05439
Songwriter(s)
Max D. Barnes
Troy Seals
Producer(s)
Billy Sherrill
George Jones singles chronology
"Size Seven Round (Made of Gold)"
(1985) "Who's Gonna Fill Their Shoes"
(1985) "The One I Loved Back Then (The Corvette Song)"
(1986)
"Size Seven Round (Made of Gold)"
(1985) "Who's Gonna Fill Their Shoes"
(1985) "The One I Loved Back Then (The Corvette Song)"
(1986)
"Who's Gonna Fill Their Shoes" is a song written by Troy Seals and Max D. Barnes and recorded by American country music singer George Jones. It was recorded for his 1985 album Who's Gonna Fill Their Shoes, from which it was released in late 1985 as the first single. The song peaked at number three on the Hot Country Singles chart in mid-1985.
Contents
[hide]
1 Background
2 Reception
3 Chart performance
4 References
5 External links
Background[edit]
Jones sings of the irreplacibility of country music legends including Waylon Jennings, Willie Nelson, Johnny Cash, Merle Haggard, Conway Twitty, Roy Acuff, Elvis Presley, Jerry Lee Lewis, Carl Perkins, Charlie Rich, Hank Williams, Marty Robbins, and Lefty Frizzell. After remarking about these singers' impacts on country music, he wonders who will replace them when they're gone - hence, the title line - and thus become legends in their own right. In the 1994 video retrospective Golden Hits Jones recalled:
"Troy Seals wrote that...He saved the day for us...Songwriters were bringin' things in and we were listening to songs and tapes, and Troy came in and told Billy [Sherrill, Jones' producer] and me that he had this idea, and he sung a little bit of the chorus...He came back about ten o'clock or eleven the next morning before we went in to do our session at two o'clock, he had it all finished and it just knocked us out."
A promotional video for the song was aired on The Nashville Network (TNN), Country Music Television (CMT) and Great American Country (GAC). Directed by Marc Ball, it also features Billy Sherrill in a cameo as the bus driver and CBS executive Rick Blackburn driving the Cadillac at the end of the video. It takes place at a roadside gas station, where the owner shares with Jones his extensive collection of albums and memorabilia from classic country music artists. At the end of the video, as Jones' tour bus pulls away, a convertible pulls into the station; its passenger is a young man with a guitar, looking in awe at the large tour bus. The video - the singer's first - won Music Video of the Year at the 1986 CMA Awards, beating out videos by the Judds, Reba McEntire, and Dwight Yoakam. However, with a new crop of country stars emerging, the song had an unfortunate connotation, with Andrew Mueller noting in Jones' Uncut obituary, "As it turned out, the song wasn't brilliantly timed. A few of its protagonists still had decades left in them, as did Jones himself..."
Reception[edit]
Eugene Chadbourne of Allmusic describes the song as "the kind of mystical, self-serving necrophilia that country music is all about".[2] Jones biographer Bob Allen states, "It struck a strong enough chord of empathy with old-time country music lovers to end up number three in Billboard."[3]
Chart performance[edit]
Chart (1985)
Peak
position
U.S. Billboard Hot Country Singles 3
Canadian RPM Country Tracks 2
References[edit]
Jump up ^ Whitburn, Joel (2008). Hot Country Songs 1944 to 2008. Record Research, Inc. p. 214. ISBN 0-89820-177-2.
Jump up ^ Chadbourne, Eugene. "Who's Gonna Fill Their Shoes review". Allmusic. Retrieved 23 January 2011.
Jump up ^ Allen, Bob 1996, pp. 352-353.
External links[edit]
Lyrics of this song at MetroLyrics
[hide]
v
t
e
George Jones songs
Singles
"No Money in This Deal"
"Why Baby Why"
"Achin', Breakin' Heart"
"Seasons of My Heart"
"Too Much Water"
"Just One More"
"Don't Stop the Music"
"Color of the Blues"
"White Lightning"
"Window Up Above"
"Tender Years"
"She Thinks I Still Care"
"I'll Share My World with You
"The Race Is On"
"Love Bug"
"Walk Through This World with Me"
"If My Heart Had Windows"
"Good Year for the Roses"
"Loving You Could Never Be Better"
"A Picture of Me (Without You)"
"The Grand Tour"
"The Door"
"He Stopped Loving Her Today"
"I'm Not Ready Yet"
"If Drinkin' Don't Kill Me (Her Memory Will)"
"Still Doin' Time"
"Same Ole Me"
"Shine On (Shine All Your Sweet Love on Me)"
"I Always Get Lucky with You"
"Tennessee Whiskey"
"You've Still Got a Place in My Heart"
"She's My Rock"
"Hallelujah, I Love You So"
"Who's Gonna Fill Their Shoes"
"The One I Loved Back Then (The Corvette Song)"
"Somebody Wants Me Out of the Way"
"Wine Colored Roses"
"The Right Left Hand"
"I Turn to You"
"The Bird"
"I'm a One Woman Man"
"I Don't Need Your Rockin' Chair"
"Choices"
"Funny How Time Slips Away"
Collaborative singles
"We Must Have Been Out of Our Minds" (w/ Melba Montgomery)
"Let's Invite Them Over" (w/ Melba Montgomery)
"What's in Our Heart" (w/ Melba Montgomery)
"Blue Moon of Kentucky" (w/ Melba Montgomery)
"We're Gonna Hold On" (w/ Tammy Wynette)
"Golden Ring" (w/ Tammy Wynette)
"Near You" (w/ Tammy Wynette)
"Maybellene" (w/ Johnny Paycheck)
"Two Story House" (w/ Tammy Wynette)
"You Better Move On" (w/ Johnny Paycheck)
"Yesterday's Wine" (w/ Merle Haggard)
"C.C. Waterback" (w/ Merle Haggard)
Guest singles
"A Few Ole Country Boys" (w/ Randy Travis)
"You Don't Seem to Miss Me" (w/ Patty Loveless)
"A Country Boy Can Survive (Y2K version)" (w/ Chad Brock and Hank Williams, Jr.)
"Murder on Music Row" (w/ Dierks Bentley)
Related articles
Albums discography
Singles discography
Discography with Tammy Wynette
Awards
This 1985 country song-related article is a stub. You can help Wikipedia by expanding it.
v
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text:
Electro-pneumatic action
From Wikipedia, the free encyclopedia
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2009) (Learn how and when to remove this template message)
The electro-pneumatic action is a control system for pipe organs, whereby air pressure, controlled by an electric current and operated by the keys of an organ console, opens and closes valves within wind chests, allowing the pipes to speak. This system also allows the console to be physically detached from the organ itself. The only connection was via an electrical cable from the console to the relay, with some early organ consoles utilizing a separate wind supply to operate combination pistons.
Contents
[hide]
1 Invention
2 Operation
3 Advantages and disadvantages
4 Modern methods
5 References
6 Further reading
Invention[edit]
Although early experiments with Barker lever, tubular-pneumatic and electro-pneumatic actions date as far back as the 1850s, credit for a feasible design is generally given to the English organist and inventor, Robert Hope-Jones.[1] He overcame the difficulties inherent in earlier designs by including a rotating centrifugal air blower and replacing banks of batteries with a DC generator, which provided electrical power to the organ. This allowed the construction of new pipe organs without any physical linkages whatsoever. Previous organs used tracker action, which requires a mechanical linkage between the console and the organ windchests, or tubular-pneumatic action, which linked the console and windchests with a large bundle of lead tubing.[1]
Operation[edit]
When an organ key is depressed, an electric circuit is completed by means of a switch connected to that key. This causes a low-voltage current to flow through a cable to the windchest, upon which a rank, or multiple ranks of pipes are set. Within the chest, a small electro-magnet associated with the key that is pressed becomes energized. This causes a very small valve to open. This, in turn, allows wind pressure to activate a bellows or "pneumatic" which operates a larger valve. This valve causes a change of air pressure within a channel that leads to all pipes of that note. A separate "stop action" system is used to control the admittance of air or "wind" into the pipes of the rank or ranks selected by the organist's selection of stops, while other ranks are "stopped" from playing. The stop action can also be an electro-pneumatic action, or may be another type of action
This pneumatically assisted valve action is in contrast to a direct electric action in which each pipe's valve is opened directly by an electric solenoid which is attached to the valve.
Advantages and disadvantages[edit]
The console of an organ which uses either type of electric action is connected to the other mechanisms by an electrical cable. This makes it possible for the console to be placed in any desirable location. It also permits the console to be movable, or to be installed on a "lift", as was the practice with theater organs.
While many consider tracker action organs to be more sensitive to the player's control, others find some tracker organs heavy to play and tubular-pneumatic organs to be sluggish, and so prefer electro-pneumatic or direct electric actions.
An electro-pneumatic action requires less current to operate than a direct electric action. This causes less demand on switch contacts. An organ using electro-pneumatic action was more reliable in operation than early direct electric organs until improvements were made in direct electric components.[2]
A disadvantage of an electro-pneumatic organ is its use of large quantities of thin perishable leather, usually lambskin. This requires an extensive "re-leathering" of the windchests every twenty-five to forty years depending upon the quality of the material used, the atmospheric conditions and the use of the organ.[2]
Like tracker and tubular action, electro-pneumatic action—when employing the commonly used pitman-style windchests—is less flexible in operation than direct electric action[citation needed]. When electro-pneumatic action uses unit windchests (as does the electro-pneumatic action constructed by organ builder Schoenstein & Co.[3]), then it works similarly to direct electric action, in which each rank operates independently, allowing "unification", where each individual rank on a windchest can be played at various octave ranges.
A drawback to older electric action organs was the large amount of wiring required for operation. With each stop tab and key being wired, the transmission cable could easily contain several hundred wires. The great number of wires required between the keyboards, the banks of relays and the organ itself, with each solenoid requiring its own signal wire, made the situation worse, especially if a wire was broken (this was particularly true with consoles located on lifts and/or turntables), which made tracing the break very difficult.
These problems increased with the size of the instrument, and it would not be unusual for a particular organ to contain over a hundred miles of wiring. The largest pipe organ in the world, the Boardwalk Hall Auditorium Organ, is said to contain more than 137,500 miles (221,300 km) of wire.[4] Modern electronic switching has largely overcome these physical problems.
Modern methods[edit]
In the years after the advent of the transistor, and later, integrated circuits and microprocessors, miles of wiring and electro-pneumatic relays have given way to electronic and computerized control and relay systems, which have made the control of pipe organs much more efficient. But for its time, the electro-pneumatic action was considered a great success, and even today modernized versions of this action are used in many new pipe organs.
References[edit]
^ Jump up to: a b George Laing Miller (1909). The Recent Revolution in Organ Building. (also at Gutenberg.org)
^ Jump up to: a b William H. Barnes (1959). The Contemporary American Organ.
Jump up ^ http://www.schoenstein.com/expansion-cell.html
Jump up ^ Foort, Reginald (1970). The Cinema Organ, pp 74–78. Second Edition, New York: The Vestral Press.
Further reading[edit]
George Ashdown Audsley. The Art of Organ Building.[full citation needed]
[hide]
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Pipe organs (list)
Construction
Builders
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text:
Believe It or Not (song)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Believe It or Not"
Single by Joey Scarbury
from the album America's Greatest Hero
B-side
"Little Bit of Us"
Released
May 1981
Format
7"
Length
3:11
Label
Elektra
Songwriter(s)
Mike Post, Stephen Geyer
Producer(s)
Mike Post
Joey Scarbury singles chronology
"Believe It or Not"
(1981) "When She Dances"
(1981)
"Believe It or Not"
(1981) "When She Dances"
(1981)
"Believe It or Not" is a song composed by Mike Post (music) and Stephen Geyer (lyrics) and sung by American singer Joey Scarbury. It serves as the theme song for the television series The Greatest American Hero. The track was later included on Scarbury's 1981 debut album America's Greatest Hero.
The theme song became a popular hit during the run of The Greatest American Hero. "Believe It or Not" debuted in the Top 40 of the Billboard Hot 100 on June 13, 1981, eventually peaking at number 2 during the weeks ending August 15–22, 1981, kept off the top spot by "Endless Love" by Diana Ross and Lionel Richie, and spending a total of 18 weeks in the Top 40. On the Adult Contemporary Chart, "Believe It or Not" went to number 3.[1] It also peaked at the number 1 position on the Record World chart.[2] It was also used in the 2009 movie Super Capers.
Contents
[hide]
1 Chart history
1.1 Weekly charts
1.2 Year-end charts
2 In popular culture
3 References
Chart history[edit]
Weekly charts[edit]
Chart (1981)
Peak
position
Australia KMR[3] 2
Canada RPM Top Singles[4] 5
Ireland (IRMA)[5] 19
New Zealand[6] 1
U.S. Billboard Hot 100[7] 2
U.S. Billboard Adult Contemporary[8] 3
U.S. Cash Box Top 100[9] 1
Chart (1982)
Peak
position
Ireland (IRMA)[5] 28
Year-end charts[edit]
Chart (1981)
Rank
Australia [3][not in citation given] 9
Canada [10] 47
New Zealand [11] 21
U.S. Billboard Hot 100[12] 11
U.S. Cash Box [13] 8
In popular culture[edit]
George uses a modified version of this song for his answering machine greeting in the Seinfeld episode The Susie. The following is sung by George to the tune of the refrain: "Believe it or not, George isn't at home, please leave a message at the beep. I must be out, or I'd pick up the phone, where could I be? Believe it or not, I'm not home."
In 1982 Glen Campbell covered the song.
The song is featured in the 2005 film The 40-Year-Old Virgin.
A parody of the song was used on an E3 commercial on G4TV in 2005.
The Family Guy episode "Believe It or Not, Joe's Walking on Air" is a play on the song's name. It is also sung by Peter in "The Man with Two Brians."
The episode of The Goldbergs "Snow Day" features the song.
A part of the song is sung by the Dog of Wisdom at the end of the short animated film of the same name.
The song was used as the theme song to The Cinema Snob from 2008–2013.
The song appears in a 2017 TV commercial for State Farm, starring Aaron Rodgers and Clay Matthews.[14]
The song was covered twice on Homestar Runner in 2001 and 2017.
References[edit]
Jump up ^ Whitburn, Joel (2002). Top Adult Contemporary: 1961-2001. Record Research. p. 216.
Jump up ^ IMDB Trivia for The Greatest American Hero
^ Jump up to: a b Kent, David (1993). Australian Chart Book 1970–1992 (doc)|format= requires |url= (help). Australian Chart Book, St Ives, N.S.W. ISBN 0-646-11917-6.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. 1981-09-26. Retrieved 2017-12-01.
^ Jump up to: a b "The Irish Charts – Search Results – Believe It or Not (Theme from "The Greatest American Hero"". Irish Singles Chart. Retrieved December 1, 2017.
Jump up ^ "NZ Top 40 Singles Chart | The Official New Zealand Music Chart". Nztop40.co.nz. 1981-10-25. Retrieved 2017-12-01.
Jump up ^ Joel Whitburn's Top Pop Singles 1955-1990 - ISBN 0-89820-089-X
Jump up ^ Whitburn, Joel (1993). Top Adult Contemporary: 1961–1993. Record Research. p. 213.
Jump up ^ Cash Box Top 100 Singles, August 8, 1981
Jump up ^ The 1981 Top 100 Singles chart is identified by the RPM Year-End article "Top 100 Singles (1981)". RPM. Retrieved 2016-04-12.
Jump up ^ "End of Year Charts 1981". Recorded Music NZ. Retrieved May 1, 2017.
Jump up ^ Musicoutfitters.com
Jump up ^ Cash Box Year-End Charts: Top 100 Pop Singles, December 26, 1981
Jump up ^ "State Farm TV Commercial, 'Together' Featuring Aaron Rodgers, Clay Matthews". Retrieved September 11, 2017.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Believe_It_or_Not_(song)&oldid=818938280"
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Surah
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Al-Fatiha, first Surah of the Quran to be revealed in its entirety.
A Surah (/ˈsʊərə/;[1] also spelled Sura; Arabic: سورة sūrah, plural سور suwar) is the term for a chapter of the Quran. There are 114 Surahs in the Quran, each divided into verses.[2] The chapters or suras are of unequal length; the shortest chapter (Al-Kawthar) has only three ayat (verses) while the longest (Al-Baqara) contains 286 verses.[3] Of the 114 chapters in the Quran, 87 are classified as Meccan, while 27 are Medinan [2]. This classification is only approximate in regard to location of revelation; any chapter revealed after migration of Muhammad to Medina (Hijrah) is termed Medinan and any revealed before that event is termed Meccan. The Meccan chapters generally deal with faith and scenes of the Hereafter while the Medinan chapters are more concerned with organizing the social life of the nascent Muslim community and leading Muslims to the goal of Dar al-Islam by showing strength. Except for sura At-Tawba, all chapters or suras commence with 'In the Name of God, the Merciful, the Compassionate'. This formula is known as the Bismillah and denotes the boundaries between chapters. The chapters are arranged roughly in order of descending size; therefore the arrangement of the Quran is neither chronological nor thematic. Suras (chapters) are recited during the standing portions (Qiyam) of Muslim prayers. Sura Al-Fatiha, the first chapter of the Quran, is recited in every unit of prayer and some units of prayer also involve recitation of all or part of any other sura.
Contents
[hide]
1 Etymology
2 Chronological vs traditional order
2.1 Early attempts
2.2 Modern work
3 Names of chapters in the Quran
4 Coherence in the Quran
5 See also
6 References
7 External links
Etymology[edit]
The word sura was used at the time of Muhammad as a term with the meaning of a chapter or a portion of the Quran. This is evidenced by the appearance of the word sura in multiple locations in the Quran such as verse 24:1: "A sura that We have sent down and appointed, and We have sent down in it signs, clear signs, that haply you will remember."[4] Its plural form suwar is also mentioned in the Quran: "Or do they say, He invented it? Say, "Then bring ten suwar like it and call upon whomever you can besides God, if you are truthful."[5] Nöldeke following Buxtorf suggested that the word sura has similar root with the Hebrew word 'שורה' meaning a 'row'. Some took it as connected with the Arabic word 'Sur' meaning a 'wall'. Jeffery believes that it has a common origin with a Syrian word that means 'writing'.[6]
Chronological vs traditional order[edit]
Further information: History of the Quran
Chapters in the Quran are not arranged in the chronological order of revelation, and the precise order has eluded scholars. According to tradition, Muhammad told his companions the traditional placement of every Wahy as he revealed it,[7] and Wm Theodore de Bary, an East Asian studies expert, describes that "The final process of collection and codification of the Quran text was guided by one over-arching principle: God's words must not in any way be distorted or sullied by human intervention. For this reason, no attempt was made to edit the numerous revelations, organize them into thematic units, or present them in chronological order...".[8]
Early attempts[edit]
A number of medieval Islamic writers attempted to compile a chronologically ordered list of the chapters, with differing results. As no transmitted reports dating back to the time of Muhammad or his companions exists, their works necessarily represent the opinions of scholars, and none originates before the first quarter of the 8th century. One version is given in a 15th-century work by Abd al-Kafi, and is included in the chronological order given by the standard Egyptian edition of the Quran (1924).[9] Another list is mentioned by Abu Salih, while a significantly different version of Abu Salih's is preserved in the book 'Kitab Mabani'. Yet another, from the 10th century, is given by Ibn Nadim.[9]
A number of verses are associated with particular events which helps date them. Muhammad's first revelation was chapter 96 (year 609). Verses 16:41 and 47:13 refer to migration of Muslims which took place in the year 622. Verses 8:1–7 and 3:120–175 refer to battles of Badr (624) and Uhud (625) respectively. Muhammad's last pilgrimage is mentioned in 5:3 which occurred in 632, a few months before he died. This method is of limited usefulness because the Quran narrates the life of Muhammad or the early history of the Muslim community only incidentally and not in detail. In fact, very few chapters contain clear references to events which took place in Muhammad's life.[9]
Modern work[edit]
Theodor Nöldeke's chronology is based on the assumption that the style of the Quran changes in one direction without reversals.[10] Nöldeke studied the style and content of the chapters and assumed that (1) later (Madinan) chapters and verses and are generally shorter than earlier (Meccan) ones (2) Earlier Meccan verses have a distinct rhyming style while later verses are more prosaic (prose-like). According to Nöldeke, earlier chapters have common features: many of them open with oaths in which God swears by cosmic phenomena, they have common themes (including eschatology, creation, piety, authentication of Muhammad's mission and refutation of the charges against Muhammad), and some Meccan chapters have a clear 'tripartite' structure (for example chapters 45, 37, 26, 15, 21). Tripartite chapters open with a short warning, followed by one or more narratives about unbelievers, and finally address contemporaries of Muhammad and invite them to Islam. On the other hand, Madinan verses are longer and have a distinct style of rhyming and concern to provide legislation and guidance for the Muslim community.[9]
Richard Bell took Nöldeke's chronology as starting point for his research, however, Bell did not believe that Nöldeke's criteria of style was important. He saw a progressive change in Muhammad's mission from a man who preached monotheism into an independent leader of a paramount religion. For Bell this transformation in Muhammad's mission was more decisive compared with Nöldeke's criteria of style. Bell argued that passages which mentioned Islam and Muslim or implied that Muhammad's followers were a distinct community were revealed later. He classified the Quran into three main periods: the early period, the Quranic period, and the book period.[9] Richard bell worked on the chronology of verses instead of chapters. Underlying Bell's method for dating revelations is the assumption that the normal unit of revelation is the short passage and the passages have been extensively edited and rearranged.[11]
Mehdi Bazargan divided the Quran into 194 independent passages preserving some chapters intact as single blocks while dividing others into two or more blocks. He then rearranged these blocks approximately in order of increasing average verse length. This order he proposes is the chronological order. Bazargan assumed that verse length tended to increase over time and he used this assumption to rearrange the passages.[10]
Neal Robinson, a scholar of Islamic studies, is of the opinion that there is no evidence that the style of Quran has changed in a consistent way and therefore style may not always be a reliable indicator of when and where a chapter was revealed. According to Robinson, the problem of the chronology of authorship is still far from solved.[9]
Names of chapters in the Quran[edit]
The verses and chapters when revealed to Muhammad in the Quran did not come with a title attached to them. Muhammad, as we find in some reports in hadith, used to refer to shorter chapters not by name, rather by their first verse. For example: Abu Hurairah quoted Muhammad as saying, "Al-Hamdu Lillahi Rabb il-`Aalameen" is the Mother of the Quran, the Mother of the Book, and the seven oft-repeated verses of the Glorious Quran.".[12] We also find reports in which Muhammad used to refer to them by their name. For example, Abdullah bin Buraydah narrated from his father, "I was sitting with the Prophet and I heard him say, 'Learn Surat ul-Baqarah, because in learning it there is blessing, in ignoring it there is sorrow, and the sorceresses cannot memorize it."'[13]
Arab tradition, similar to other tribal cultures of that time, was to name things according to their unique characteristics. They used this same method to name Quranic chapters. Most chapter names are found in hadith. Some were named according to their central theme, such as Al-Fatiha (The Opening) and Yusuf (Joseph), and some were named for the first word at the beginning of the chapter, such as Qaf, Ya-Sin, and ar-Rahman. Some suras were also named according to a unique word that occurs in the chapter, such as al-Baqara (The Cow), An-Nur (The Light), al-Nahl (The Bee), Az-Zukhruf (The Ornaments of Gold), Al-Hadid (The Iron), and Al-Ma'un (The Small Kindness).
Most chapter names are still used to this day. Several are known by multiple names: chapter Al-Masadd (The Palm Fibre) is also known as al-Lahab (The Flame). Sura Fussilat (Explained in Detail) is also known as Ha-Meem Sajda ("...it is a chapter that begins with Ha Mim and in which a verse requiring the performance of prostration has occurred.")[14]
Further information: List of surahs in the Quran
Coherence in the Quran[edit]
The idea of textual relation between the verses of a chapter has been discussed under various titles such as "nazm" and "munasabah" in literature of the Islamic sphere and 'Coherence', 'text relations', 'intertextuality', and 'unity' in English literature. There are two points of view regarding coherence of the verses of the Quran. In the first viewpoint each chapter of the Quran has a central theme and its verses are related. The second viewpoint considers some chapters of the Quran as collections of passages which are not thematically related. Chapters deal with various subjects, for instance chapter 99, which comprises only eight verses, is devoted exclusively to eschatology and chapter 12 narrates a story, while other chapters, in the same breath, speak of theological, historical, and ethico-legal matters. Chapters are known to consist of passages, not only verses. The borders between passages are arbitrary but are possible to determine. For example, chapter 54[15] may be divided into six passages:[16]
The Hour has approached…..(1-8)
Before them, people of Noah rejected...(9-17)
'Ad' rejected (their Messenger). Then how (strict) has been our recompense and warnings... (18-22)
'Thamud' rejected the warnings... (23-32)
People of 'Lot' rejected the warnings... (33-40)
And warnings did come to the People of the Pharaoh... (41-55)
The study of text relations in the Quran dates back to a relatively early stage in the history of Quranic studies. The earliest Quranic interpreter known to have paid attention to this aspect of the Quran is Fakhruddin al-Razi (d.1209 ). Fakhr Razi believed that text relation is a meaning that links verses together or mentally associates them like cause-effect or reason-consequence. He linked verse 1 of a chapter to verse 2, verse 2 to verse 3 and so on, and rejected traditionist interpretations if they contradicted interrelations between verses. Zarkashi (d.1392), another medieval Quranic exegete, admitted that relationships of some verses to other verses in a chapter is sometimes hard to explain, in those cases he assigned stylistic and rhetorical functions to them such as parenthesis, parable, or intentional subject shift. Zarkashi aimed at showing how important understanding the inter-verse relations is to understanding the Quran, however, he did not attempt to deal with one complete chapter to show its relations.[17][18]
Contemporary scholars have studied the idea of coherence in the Quran more vigorously and are of widely divergent opinions. For example, Hamid Farrahi (d. 1930) and Richard Bell (d. 1952) have different opinions regarding coherence within chapters. Farrahi believed that the whole structure of the Quran is thematically coherent, which is to say, all verses of a chapter of the Quran are integrally related to each other to give rise to the major theme of the chapter and again all of the chapters are interconnected with each other to constitute the major theme of the Quran. According to Farrahi, each chapter has a central theme (umud or pillar) around which the verses revolve:
"Each chapter of the Qur'an is a well structured unit. It is only lack of consideration and analysis on our part that they seem disjointed and incoherent... Each chapter imparts a specific message as its central theme. The completion of this theme marks the end of the chapter. If there were no such specific conclusion intended to be dealt with in each chapter there would be no need to divide the Qur'an in chapters. Rather the whole Qur'an would be a single chapter... We see that a set of verses has been placed together and named 'sura' the way a city is built with a wall erected round it. A single wall must contain a single city in it. What is the use of a wall encompassing different cities?...".[16]
In contrast, Richard Bell describes the Quranic style as disjointed:
"Only seldom do we find in it evidence of sustained unified composition at any great length...some of the narratives especially accounts of Moses and of Abraham run to considerable length, but they tend to fall into separate incidents instead of being recounted straightforwardly...the distinctness of the separate pieces however is more obvious than their unity."
Arthur J. Arberry states that the chapters in many instances, as Muslims have been recognized from the earliest times, are of a 'composite' character, holding embedded in them fragments received by Muhammad at widely differing dates. However he disregards this 'fact' and views each chapter as an artistic whole. He believed that a repertory of familiar themes runs through the whole Quran and each chapter elaborates one of more, often many of, them.[19]
Angelika Neuwirth is of the idea that verses in their chronological order are interrelated in a way that later verses explain earlier ones. She believes that Meccan chapters are coherent units.[20]
Salwa El-Awa aims in her work to discuss the problem of textual relations in the Quran from a linguistic point of view and the way in which the verses of one chapter relate to each other and to the wider context of the total message of the Quran. El-Awa provides a detailed analysis in terms of coherence theory on chapters 33 and 75 and shows that these two chapters cohere and have a main contextual relationship.[21]
Gheitury and Golfam believe that the permanent change of subject within a passage in the Quran, or what they call non-linearity, is a major linguistic feature of the Quran, a feature that puts the Quran beyond any specific 'context' and 'temporality'. According to Gheitury and Golfam for the Quran there is no preface, no introduction, no beginning, no end, a reader can start reading from anywhere in the text.[22]
See also[edit]
Quran
Ayah
List of suras in the Quran
References[edit]
Jump up ^ "Sura". Random House Webster's Unabridged Dictionary.
^ Jump up to: a b "Information about Holy Quran". www.quickjobs.pk.
Jump up ^ Muhammad Mustafa Al-A'zami (2003), The History of The Qur'anic Text: From Revelation to Compilation: A Comparative Study with the Old and New Testaments, p.70. UK Islamic Academy. ISBN 978-1872531656.
Jump up ^ Quran verse:24:1, see also verses 2:23, 9:64, 86, 124, 127, 10:38, and 47:20
Jump up ^ Quran verse 11:13
Jump up ^ Jeffery, Arthur (2007). The foreign vocabulary of the Qur'ān. LaVergne, Tenn.: Woods Press. p. 181. ISBN 1406706183.
Jump up ^ Israr Ahmed – Bayan-ul-Qur'an – Introduction
Jump up ^ de Bary, William Theodore; Bloom, Irene, eds. (1990). Eastern Canons: Approaches to the Asian Classics. Columbia University Press. ISBN 978-0-231-07005-8.
^ Jump up to: a b c d e f Robinson, Neal (2003). Discovering the Qurʼan : a contemporary approach to a veiled text (2. ed.). Georgetown Univ. Press. pp. 25–97. ISBN 1589010248.
^ Jump up to: a b Sadeghi, Behnam (2011). "The Chronology of the Qurʾān: A Stylometric Research Program". Arabica. 58: 210–299. doi:10.2307/41330770.
Jump up ^ Montgomery Watt, William (1957). "The Dating of the Qur'ān: A Review of Richard Bell's Theories". The Journal of the Royal Asiatic Society of Great Britain and Ireland. 1–2: 46–56.
Jump up ^ Tirmidhi
Jump up ^ Ahmad ibn Hanbal
Jump up ^ "Sura Ha-Meem Sajdah English".
Jump up ^ "Tanzil - Quran Navigator - القرآن الكريم". tanzil.net.
^ Jump up to: a b Hamid al-Din Farahi, translated by Tariq Mahmood Hashmi (2008). Exordium to coherence in the Qur'an : an English translation of Fātiḥah Niẓām al-Qurʼān (1st ed.). Lahore: al-Mawrid. ISBN 9698799575.
Jump up ^ El-Awa, Salwa (2005). Textual Relations in Qur'an: Relevance, Coherence and Structure. Routledge. ISBN 1134227477.
Jump up ^ Mir, Mustansir (1986). Coherence in the Qur'an : a study of Islahi's concept of nazm in Tadabbur-i Qur'an. American Trust Publications. ISBN 0892590653.
Jump up ^ Arberry, Arthur J. (1996). The Koran interpreted : a translation (1st Touchstone ed.). New York: Simon & Schuster. ISBN 0684825074.
Jump up ^ McAuliffe, Jane Dammen (2008). The Cambridge companion to the Qur'ān (Reprinted with corrections. ed.). Cambridge Univ. Press. pp. 97–115 (by Angelika Neuwirth). ISBN 978-0-521-53934-0.
Jump up ^ Saleh, Wahid (2007). "Review: Textual Relations in the Qur'an: Relevance, Coherence and Structure. Routledge Studies in the Qur'an by Salwa M. S. El-Awa". Islamic Studies. 46 (2): 285–87.
Jump up ^ Amer Gheitury, Arsalan Golfam (2008). "The Qur'an as a non-linear text:rethinking coherence". International Journal of Humanities. 15 (1): 119–133.
External links[edit]
Media related to Surahs at Wikimedia Commons
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values: Сура (Къуръан) – Avaric

values:
interlanguage-link interwiki-av
display: none;

values:
https://az.wikipedia.org/wiki/Sur%C9%99
Surə – Azerbaijani
az
az
interlanguage-link-target

values:
interlanguage-link interwiki-az
display: none;

values:
interlanguage-link interwiki-azb
display: none;

values:
interlanguage-link interwiki-bn
display: none;

values:
interlanguage-link interwiki-ba
display: none;

values:
interlanguage-link interwiki-be
display: none;

values: Сура (Каран) – Belarusian (Taraškievica orthography)

values:
interlanguage-link interwiki-be-x-old
display: none;

values:
interlanguage-link interwiki-bg
display: none;

values:
https://bs.wikipedia.org/wiki/Sura
Sura – Bosnian
bs
bs
interlanguage-link-target

values:
interlanguage-link interwiki-bs
display: none;

values:
interlanguage-link interwiki-ca
display: none;

values:
https://cs.wikipedia.org/wiki/S%C3%BAra
Súra – Czech
cs
cs
interlanguage-link-target

values:
interlanguage-link interwiki-cs
display: none;

values:
https://cy.wikipedia.org/wiki/S%C5%B5ra
Sŵra – Welsh
cy
cy
interlanguage-link-target

values:
interlanguage-link interwiki-cy
display: none;

values:
https://da.wikipedia.org/wiki/Sura
Sura – Danish
da
da
interlanguage-link-target

values:
interlanguage-link interwiki-da
display: none;

values:
https://de.wikipedia.org/wiki/Sure
Sure – German
de
de
interlanguage-link-target

values:
interlanguage-link interwiki-de
display: none;

values:
https://et.wikipedia.org/wiki/Suura
Suura – Estonian
et
et
interlanguage-link-target

values:
interlanguage-link interwiki-et
display: none;

values:
https://es.wikipedia.org/wiki/Sura
Sura – Spanish
es
es
interlanguage-link-target

values:
https://eo.wikipedia.org/wiki/Surao
Surao – Esperanto
eo
eo
interlanguage-link-target

values:
interlanguage-link interwiki-eo
display: none;

values:
https://eu.wikipedia.org/wiki/Surah
Surah – Basque
eu
eu
interlanguage-link-target

values:
interlanguage-link interwiki-eu
display: none;

values:
interlanguage-link interwiki-fa
display: none;

values:
https://fr.wikipedia.org/wiki/Sourate
Sourate – French
fr
fr
interlanguage-link-target

values:
interlanguage-link interwiki-fr
display: none;

values:
interlanguage-link interwiki-ko
display: none;

values: सूरा – Hindi

values:
https://hr.wikipedia.org/wiki/Sura
Sura – Croatian
hr
hr
interlanguage-link-target

values:
interlanguage-link interwiki-hr
display: none;

values:
https://id.wikipedia.org/wiki/Surah
Surah – Indonesian
id
id
interlanguage-link-target

values:
https://is.wikipedia.org/wiki/S%C3%BAra
Súra – Icelandic
is
is
interlanguage-link-target

values:
interlanguage-link interwiki-is
display: none;

values:
https://it.wikipedia.org/wiki/S%C5%ABra
Sūra – Italian
it
it
interlanguage-link-target

values:
interlanguage-link interwiki-it
display: none;

values:
interlanguage-link interwiki-he
display: none;

values:
https://jv.wikipedia.org/wiki/Surat
Surat – Javanese
jv
jv
interlanguage-link-target

values:
interlanguage-link interwiki-jv
display: none;

values:
interlanguage-link interwiki-kk
display: none;

values:
https://ku.wikipedia.org/wiki/S%C3%BBre
Sûre – Kurdish
ku
ku
interlanguage-link-target

values:
interlanguage-link interwiki-ku
display: none;

values:
interlanguage-link interwiki-ky
display: none;

values:
interlanguage-link interwiki-la
display: none;

values:
https://lv.wikipedia.org/wiki/S%C5%ABra
Sūra – Latvian
lv
lv
interlanguage-link-target

values:
interlanguage-link interwiki-lv
display: none;

values:
https://lt.wikipedia.org/wiki/Sura
Sura – Lithuanian
lt
lt
interlanguage-link-target

values:
interlanguage-link interwiki-lt
display: none;

values:
interlanguage-link interwiki-hu
display: none;

values:
interlanguage-link interwiki-mk
display: none;

values:
interlanguage-link interwiki-mr
display: none;

values:
interlanguage-link interwiki-mzn
display: none;

values:
https://min.wikipedia.org/wiki/Surah
Surah – Minangkabau
min
min
interlanguage-link-target

values:
interlanguage-link interwiki-min
display: none;

values:
https://nl.wikipedia.org/wiki/Soera
Soera – Dutch
nl
nl
interlanguage-link-target

values:
interlanguage-link interwiki-nl
display: none;

values:
interlanguage-link interwiki-ja
display: none;

values: Сурат (Къуръан) – Chechen

values:
interlanguage-link interwiki-ce
display: none;

values:
https://no.wikipedia.org/wiki/Sura
Sura – Norwegian
no
no
interlanguage-link-target

values:
interlanguage-link interwiki-no
display: none;

values:
https://nn.wikipedia.org/wiki/Sura
Sura – Norwegian Nynorsk
nn
nn
interlanguage-link-target

values:
interlanguage-link interwiki-nn
display: none;

values:
https://uz.wikipedia.org/wiki/Sura
Sura – Uzbek
uz
uz
interlanguage-link-target

values:
interlanguage-link interwiki-uz
display: none;

values:
interlanguage-link interwiki-ps
display: none;

values:
interlanguage-link interwiki-pl
display: none;

values:
https://pt.wikipedia.org/wiki/Sura
Sura – Portuguese
pt
pt
interlanguage-link-target

values:
https://crh.wikipedia.org/wiki/Sure
Sure – Crimean Tatar
crh
crh
interlanguage-link-target

values:
interlanguage-link interwiki-crh
display: none;

values:
https://ro.wikipedia.org/wiki/Sura
Sura – Romanian
ro
ro
interlanguage-link-target

values:
interlanguage-link interwiki-ro
display: none;

values: Сура Корана – Russian

values:
https://sco.wikipedia.org/wiki/Surah
Surah – Scots
sco
sco
interlanguage-link-target

values:
interlanguage-link interwiki-sco
display: none;

values:
https://sq.wikipedia.org/wiki/Surja
Surja – Albanian
sq
sq
interlanguage-link-target

values:
interlanguage-link interwiki-sq
display: none;

values:
https://simple.wikipedia.org/wiki/Sura
Sura – Simple English
simple
simple
interlanguage-link-target

values:
interlanguage-link interwiki-simple
display: none;

values:
https://sk.wikipedia.org/wiki/S%C3%BAra
Súra – Slovak
sk
sk
interlanguage-link-target

values:
interlanguage-link interwiki-sk
display: none;

values:
https://sl.wikipedia.org/wiki/Sura
Sura – Slovenian
sl
sl
interlanguage-link-target

values:
interlanguage-link interwiki-sl
display: none;

values:
https://so.wikipedia.org/wiki/Suurad
Suurad – Somali
so
so
interlanguage-link-target

values:
interlanguage-link interwiki-so
display: none;

values:
interlanguage-link interwiki-ckb
display: none;

values:
interlanguage-link interwiki-sr
display: none;

values:
https://sh.wikipedia.org/wiki/Sura
Sura – Serbo-Croatian
sh
sh
interlanguage-link-target

values:
interlanguage-link interwiki-sh
display: none;

values:
https://fi.wikipedia.org/wiki/Suura
Suura – Finnish
fi
fi
interlanguage-link-target

values:
interlanguage-link interwiki-fi
display: none;

values:
interlanguage-link interwiki-sv
display: none;

values: Сүрә – Tatar

values:
interlanguage-link interwiki-tt
display: none;

values:
interlanguage-link interwiki-te
display: none;

values:
https://tr.wikipedia.org/wiki/Sure
Sure – Turkish
tr
tr
interlanguage-link-target

values:
interlanguage-link interwiki-tr
display: none;

values:
interlanguage-link interwiki-uk
display: none;

values:
interlanguage-link interwiki-ug
display: none;

values:
https://diq.wikipedia.org/wiki/Sura
Sura – Zazaki
diq
diq
interlanguage-link-target

values:
interlanguage-link interwiki-diq
display: none;

values: All languages (initial selection from common choices by you and others)

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Surah rootpage-Surah skin-vector action-view