S. Moreh: Modern Arabic poetry, 1800–1970; the development of its forms and themes under the influence of Western literature. (Studies in Arabic Literature: Supplements to the Journal of Arabic Literature, Vol. V.) xiv, 355 pp. Leiden: E. J. Brill, 1976. Guilders 36.

1978 ◽  
Vol 41 (3) ◽  
pp. 589-591
Author(s):  
R. C. Ostle
1968 ◽  
Vol 31 (1) ◽  
pp. 28-51
Author(s):  
S. Moreh

The beginning of the twentieth century marked a new and revolutionary stage in the history of Arabic poetry. Through the increasing influence of Western literature, some new genres which show only preliminary signs of emergence in the nineteenth century found official recognition, as in the case of the strophic verse, or experimenting with them was resumed, as in the case of the blank verse (shi'r mursal), which was first practisd by Rizq Allāh Ḥassūn in 1869 and which was revived in 1905, probably unconsciously, by Jamīl Ṣidqī al-Zahāwī (1863–1936), under the name of shi'r mursal.


1966 ◽  
Vol 29 (3) ◽  
pp. 483-505
Author(s):  
S. Moreh

The accepted definition of poetry among most of the classical Arab prosodists is al-kalām al-mawzūn al-muqaffā ‘speech in metre and rhyme’. Unrhymedverse was thus excluded. The simplest rhyme in Arabic verse is generally, a consonant (rawiyy)between two vowels. The only exception to this rule is the rhyme of al-qaṣīda al-maqṣūra, i.e. in a poem which rhymes with alif maqṣūra, where the consonantis not important. It is obvious from the different statements of some of the critics and philosopherswho were interested in the Greek sciences, that the Arabs were aware that the Greeks had blank verse. However, they were all firm in their conviction that rhyme in Arabic poetry is as essential as metre. Fārābī (873–950) in his Kitāb al-shi'r, observed that Homer used blank verse: wa-yabīn min fi'l Awmīrūsh shā'ir al-Yūnāniyyīn annahu lā yaḥlafiẓ bi-tasāvn al-nihāyāt, while the Arabs pay more attention to rhyme than do other nations: Inna li 'I-'Arabmin al-'ināya bi-nihāyāt al-abyāt allatī fi 'l-shi'r ahihar mimmā li-kathīr minal-umam allatī 'arafnā ash'ārahā.


2020 ◽  
Vol 2 (5) ◽  
pp. 130-143
Author(s):  
YAHYA SALEH HASAN DAHAMI

Arabic poetry is the heart of all types of literature in all Arabic realms. Consistent with this generalization, it can be right that the development of poetry in the modern age, among Arabs, is a positive measure. At that argument, the same would be focused on modern Saudi literature since it is typically considered a central, authoritative, and undivided part of Arabic poetry. In this paper, the researcher has attempted to illustrate some literary aspects of modern Arabic poetry in the Kingdom of Saudi Arabia as an instance of the greatness of Arabic poetry with a particular reference to a contemporary Saudi poet. The study starts with an introduction to the condition of poetry in Arabia. In the first section of the study, the researcher points up the importance of Arabic poetry as an Arabic literature genre. The second section deals with poetry and literary movement in Saudi Arabia as the central section of the investigation. After that, the task moves ahead to deal with a model of the modern Arabic poetry in the kingdom, Mohammad Hasan Awwad, a modernized rebellious poet with stark poetry, then the researcher, analytically and critically, sheds light on some selected verses of one of the poems of Awwad, Night and Me. The study finishes with a discussion and a brief conclusion. Keywords: Arabic literature, Arabic poetry, free verse, greatness, Kingdom of Saudi Arabia, modernism.


Author(s):  
Robin Ostle

This chapter describes Alexandria and Mustafa Badawi's early life in the city. Badawi was born in Alexandria in 1925 and spent most of the first half of his life there. He was one of the first cohort of students in the new University of Alexandria (then known as Faruq I University), which became an independent university in 1942. After providing a background on Alexandria, the chapter considers some of the authors who contributed to the rise of modern Arabic literature, including Adib Ishaq, Georges Zananiri, Michel de Zogheb, and Constantine Cavafy. It then turns to one of the most influential Alexandrian personalities on the young Badawi, Ahmad Zaki Abu Shadi, best known for his contribution to Arabic poetry in the Romantic period. It also looks at two Alexandrian painters, Mahmud Saʻid and Muhammad Nagi, whose works depict social life in the city between the two world wars.


Author(s):  
Muhammad Musa Al-Balulah Azzain

ملخص البحث:  تهدف الدراسة إلى إبراز هذا الجانب الإنساني، والتأسيس له ليصبح معنىً شعرياً يُـضَاف إلى أبواب الشعر ومعانيه، فضلاً عن إعادة الرؤية إلى معاني الشعر من منظور معاصر لا ينفصل عن سياقه التقليدي. أما خطة هذه الدراسة فجاءت في مقدمة وثلاثة مباحث وخاتمة، اتَّبعنا فيها المنهج الوصفي التحليلي، ولما كان الموضوع أكثر ارتباطاً بالجانب الذاتي، استخدمنا التحليل النفسي بالقدر الذي يتحمله النص؛ حتى لا تخرج الدراسة عن إطارها الأدبي. وفي الخاتمة تناولنا خطة البحث تناولاً مبسطاً، وذكرنا أبرز النتائج التي توصل إليها وهي: إن مشهد الوداع قد تطور وفقاً للتطورات التي عاشها الإنسان العربي في كل عصر، وإن لمشهد الوداع في الشعر العربي صورة نفسية شديدة الأثر وعميقة الإحساس، يسودها الحزن والقلق والخوف والارتباك والتشاؤم، وإن مشهد وداع الشاعر لموطنه وأهله ومَن يحب، يؤكد قوة ارتباطه الوجداني بالمكان الذي نشأ فيه والمجتمع الذي عاش وترعرع فيه وسط أهله وأقرانه وأصحابه، وإن مشهد الوداع في العصور الأولى يأتي في أغلب القصائد الشعرية عرضاً ومندساً في أغراض الشعر المتعارف عليها وفي أبيات قليلة، ونادراً ما يأتي قصيدة كاملة، يحمل عنوانها اسم الوداع أو معناه، وفي العصر الحديث تكثر قصائد مشهد الكلمات المفتاحية: مشهد-الوداع-الشعر-الحديث-الأصالة-التجديد.   Abstract The study aims to point out this human side and establish its poetic meaning that would be added to the topics of the Arabic poetry and its meanings. This is in addition to reviewing the meanings of the Arabic poetry from a modern perspective that is within its traditional context. The study consists of an introduction, three chapters, and a conclusion. The researcher uses a descriptive analytical approach. Whereas the subject of the study is more closely related to the personal side, the researcher uses the psychoanalysis method in as much as it is compatible with the text so that it does not go beyond the intended literary framework. In the conclusion, the researcher dealt with the research plan in a simple way, and he highlighted the findings as follows: The farewell scene has evolved according to the developments experienced by the Arab in every epoch; the farewell scene has a psychological image that has a severe impression on both parties found in sadness, anxiety, fear, confusion, and pessimism at the moment of the farewell; the poet's home, town or village farewell statement confirms the strong sentimental attachment and nostalgia to the place where he grew up among his peers, relatives and friends. It has a spiritual bond and precious memory that will inflict suffering when parting with them; despite the inevitability and necessity of separation in the same time but with supplication and hopefulness, there was hope to return and pledge to keep cordiality, brings about the love of life and longing for it’s reasons in both parties; the farewell scene in ancient times comes inessential and hidden in the well-known poetry purposes and in few verses, but in the sequential states' epoch (an era of degradation), and the Renaissance comes independent as a complete poem entitled (the farewell); the farewell poetry in all epochs has formed a phenomenon that aroused attention. This needs a critical vision that can set up for this human purpose and adds a new meaning to this already established genre in the Arabic literature. Keywords: Scenery – Farewell – Poetry – Modernity – Originality – Renewal   Abstrak Kajian ini adalah bertujuan untuk menyerlahkan aspek kemanusiaan ini dan merumuskan maksud puisi yang dapat ditambahkan lagi kepada maksud puisi Arab. Ini disamping melihat kembali maksud puisi Arab itu sendiri daripada perspektif moden namun dalam rangka tradisionalnya. Kajian ini mengandungi pendahuluan, tiga bahagian dan satu kesimpulan. Pengkaji menggunakan pendekatan deskriptif dan analitik. Memandangkan topik kajian adalah lebih dekat kepada aspek peribadi, pengkaji menggunakan metod psikoanalisis selagi mana ia sesuai dengan teks untuk ia tidak menjangkau kerangka kesusasteraannya. Kesimpulan kajian adalah seperti berikut: babak mengucap selamat tinggal telah berubah mengikut perkembangan yagn dialami oleh bangsa Arab pada setiap era; babak ini mempunyai gambaran psikologi yang mempunyai kesan mendalam kepada kedua-dua pihak yang mencetuskan kesedihan, kebimbangan, ketakutan, kekeliruan dan buruk sangka pada waktu perpisahan itu berlaku. Tempat asal penyair, pekan atau kempungnya yang termaktud dalam pernyataan perpisahan itu mengesahkan lagi kuatnya pautan sentimental serta nostalgia kepada tempat beliau membesar bersama sanak saudara dan rakan-rakannya. Ia mempunyai hubungan rohani dan memori yang berharga yang akan mencetuskan penderitaan apabila berpisah dengannya; walaupun kepastian dan keperluan perpisahan itu namun dengan harapan serta doa, masih ada lagi sekelumit harapan untuk kembali dan janji untuk memelihara hubungan karib, ini membawa kepada lahirnya cinta dan harapan untuk meneruskan kehidupan oleh kedua-dua pihak; babak selamat tinggal pada waktu silam tersirat dalam tema puisi yang mempunyai tujuan lain yagn pelbagai namun sewaktu era kejatuhan dan kebangkitan tema ini menjadi tersendiri dan membentuk tajuknya yang tersendiri. Puisi selamat tinggal dalam semua era telah mencetuskan fenomena yang menarik perhatian. Ini memerlukan satu kupasan yang kritikal yang dapat memudahkan aspek kemanusiaan ini dan menambah satu maksud baharu dalam kesusasteraan Arab. Kata kunci: Babak – Selamat tinggal – Puisi – Kemodenan – Keaslian – Pembaharuan.


2017 ◽  
Vol 2 (3) ◽  
pp. 297-319
Author(s):  
Sinan Antoon

Sargon Boulus (1944–2007) is widely acclaimed as one of the pioneers of modern Arabic poetry. The trajectories of his life and work make him an appealing subject through which one may explore the dialogues his work initiated, and the horizons that it opened, between Arabic literature and world poetry. His work and the way it has been largely ignored or (mis)read can even highlight some of the problematics and limitations of the category of “world” literature and its institutional networks and asymmetries. The recent publication of his anthology of selected translations from world literature and collected interviews is an opportunity to study his work as a translator more seriously. This essay takes stock of his contributions and traces his curious affinity with the Chinese poet Tu Fu (712–770). It concludes by reading two of his late poems and links them to his own ethics and politics of translation and writing.


2011 ◽  
Vol 10 (2) ◽  
pp. 2834
Author(s):  
Taufiq A. Dardiri

This article aims to study the development of Arabic poetry from its early phase to its modern one. Having used a historical-diachronic study of form and content of Arabic poetry, this article concludes that Arabic poetry, as the oldest genre in the Arabic literary tradition, has hardly developed. Not until  the 20th century, more commonly known in the history of Arabic literature as As}r al-Nahd}ah, that the awareness of the absence of creativity in Arabic poetry and external factors due to the interaction of Arab with the West have given birth the seeds of modern Arabic poetry. At least, there are five schools of modern Arabic poetry, namely: Neo Classical (al-Muhāfizun) with such its central figures as Mahmud Sami and Ahmad al-Barudi Syauqy; Western Romanticism, which was pioneered by Khalil Mutran; Madrasah Dīwān, which was propagandized by Abd al-Rahman Shukri, Abbas Mahmud al-'Aqad, and Ibrahim Abd al-Qadir al-Mazini; Madrasah Apollo, which was carried by Ahmad Zaki Abu Syadi; and Madrasah al-Muhajir, which is pioneered by Jibran Khalil Jibran. Each has contributed their part in Arabic poetry formally as well as contentially. Those schools have became a tradition of modern Arabic poetry. The emergence of modern Arabic poetic tradition has been accompanied by three general pattern-  the influence of literary patterns of the more advanced cultures, the escapism, and the search for identity.


2011 ◽  
Vol 10 (1) ◽  
pp. 184
Author(s):  
Moh. Wakhid Hidayat

Novel (riwayah) is categorized as a genre of modern Arabic literature. The birth of this genre has something to do with the revival period of Arabic in general. Yet the pre-natal of this new genre in Arab world is left undiscussed. This research aims at disclosing the birth of Arabic novel. It is found that Egypt has been the center of the labor of this genre. Its pre-natal period is marked by the translation of the Western literature and the resurrection of the genre of maqamah. There are some arguments on the situation and condition of the pre-natal of the Arabic novel. First, it was imported from the west. The second argument is that novel is indigenous genre, and the third is that novel is rooted from both classical Arabic and modern Western world.


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