The Sum of All Heresies : The Image of Islam in Western Thought

Current global tensions and the spread of terrorism have resurrected in the West a largely negative perception of Islamic society, an ill will fueled by centuries of conflict and prejudice. Shedding light on the history behind these hostile feelings, Frederick Quinn's timely volume traces the Western image of Islam from its earliest days to recent times. Quinn establishes four basic themes around which the image of Islam gravitates throughout history: the Prophet as Antichrist, heretic, and Satan; the Prophet as Fallen Christian, corrupted monk, or Arab Lucifer; the prophet as sexual deviant, polygamist, and charlatan, and the Prophet as Wise Easterner, Holy Person, and dispenser of wisdom. A feature of the book is a strong portrayal of Islam in literature, art, music, and popular culture, drawing on such sources as Cervantes's Don Quixote ; the Orientalism of numerous visual artists; the classical music of Monteverdi and Mozart; and more recent cultural manifestations, such as music hall artists like Peter Dawson and Edith Piaf; and stage or silver screen representations like The Garden of Allah, The Sheik, Aladdin , and The Battle of Algiers . Quinn argues that an outpouring of positive information on basically every aspect of Islamic life has yet to vanquish the hostile and malformed ideas from the past. Conflict, mistrust, and misunderstanding characterize the Muslim-Christian encounter, and growing examples of cooperation are often overshadowed by anger and suspicion. In this important book, Quinn highlights long-standing historical prejudices but also introduces the reader to some of the landmark voices in history that have worked toward a greater understanding of Islam. ## Abstract Current global tensions and the spread of terrorism have resurrected a largely negative perception of Islamic society in the West, an ill will fueled by centuries of conflict and prejudice. Shedding light on the history behind these hostile feelings, this book traces the Western image of Islam from its earliest days to recent times. The book establishes four basic themes around which the image of Islam gravitates throughout history: the Prophet as Antichrist, heretic, and Satan; the Prophet as Fallen Christian, corrupted monk, or Arab Lucifer; the prophet as sexual deviant, polygamist, and charlatan; and the Prophet as Wise Easterner, Holy Person, and dispenser of wisdom. A feature of the book is a strong portrayal of Islam in literature, art, music, and popular culture, drawing on such sources as Cervantes's Don Quixote; the Orientalism of numerous visual artists; the classical music of Monteverdi and Mozart; and more recent cultural manifestations, such as music hall artists like Peter Dawson, Charles Trenet, and Edith Piaf; and stage or silver screen representations like The Garden of Allah, The Sheik, Aladdin, and The Battle of Algiers. The book argues that an outpouring of positive information on basically every aspect of Islamic life has yet to vanquish the hostile and malformed ideas from the past. Conflict, mistrust, and misunderstanding characterize the Muslim-Christian encounter, and growing examples of cooperation are often overshadowed by anger and suspicion. "Current global tensions and the spread of terrorism have resurrected in the West a largely negative perception of Islamic society and an ill will toward Islam fueled by centuries of conflict and prejudice. Shedding light on the history behind these hostile feelings, Frederick Quinn's timely volume traces the Western image of Islam from its earliest days to recent times." "Quinn establishes four basic themes around which the image of Islam gravitates throughout history: the Prophet as Antichrist, heretic, and Satan; the Prophet as Fallen Christian, corrupted monk, or Arab Lucifer; the Prophet as sexual deviant, polygamist, and charlatan; and the Prophet as Wise Easterner, Holy Person, and dispenser of wisdom. A feature of the book is a strong portrayal of Islam in literature, art, music, and popular culture." "In this book, Quinn highlights longstanding historical prejudices and also introduces readers to some of the landmark voices in history who have worked toward a greater understanding of Islam."--Jacket Cover 1 Title Page 4 Copyright 5 Acknowledgments 8 Contents 10 Introduction 14 1. The Prophet as Antichrist and Arab Lucifer (Early Times to 1600) 28 2. ‘‘The Time of Araby Has Come at Last’’ (1600–1800) 66 3. The Prophet as Hero and Wise Easterner (1800–1900) 102 4. ‘‘Nous Revenons, Saladin!’’ (We Return, Saladin!) (1900–2000) 136 5. The Summing Up 170 Appendix: ‘‘Am I Not Your Lord?’’ Kenneth Cragg on Muslim–Christian Dialogue 184 Notes 192 Selected Bibliography 212 Index 226 REVELATION The prophet as antichrist and Arab Lucifer (early times to 1600) The time of Araby has come at last (Voltaire) (1600-1800) The prophet as hero and wise easterner (1800-1900) Nous revenons Saladin! (we return, Saladin!) (1900-2000) Modern times : violence and reciprocity Am I not your Lord? / Kenneth Cragg on Muslim : Christian dialogue. Quinn traces the Western image of Islam from its earliest days to recent times. It establishes four basic themes around which the image of Islam gravitates throughout history in this portrayal of Islam in literature, art, music, and popular culture