The Hunt in Classical Arabic Poetry: From Mukhadram Qasidah To Umayyad Tardiyyah

1999 ◽  
Vol 30 (2) ◽  
pp. 107-127 ◽  
Author(s):  
Jaroslav Stetkevych
Keyword(s):  
Arabic Poetry ◽  
Classical Arabic

scholarly journals Phonological Substitution is Motivated by Adjacent Phonological Features: Evidence from Classical Arabic

2020 ◽  
Vol 9 (4) ◽  
pp. 23
Author(s):  
Zainab Sa’aida
Keyword(s):  
Literary Works ◽  
Arabic Poetry ◽  
Short Vowels ◽  
Substitution Process ◽  
Phonological Features ◽  
Classical Arabic

This article aims at investigating phonological substitution in classical Arabic. I hypothesise that consonantal and vocalic substitution is motivated by phonological features of adjacent consonantal or vocalic segments. Data of the study were collected from classical Arabic literary works in Aldiwan – encyclopaedia of Arabic poetry. Data were analysed in the framework of Chomsky and Halle’s SPE theory. Findings of the study have revealed that phonological features of consonantal or vocalic segments motivate other adjacent consonants to undergo a phonological substitution process in specific phonological contexts in classical Arabic. It has been revealed that the glide /w/ surfaces as /t/ when it is followed by /t/ or as /j/ when it occurs between two vowels, the first of which is high short /i/ and the second is low long /aː/, word-internally. The phoneme /t/ becomes /ṭ/ when it is preceded by /ṣ/, /ḍ/, /ṭ/ or /ð̣/ across a syllable, and it surfaces as /d/ when it is preceded by /d/, /z/ or /ð/ word-internally. It has been also found that the long vowels /aː, iː, uː/ replace glide phonemes in vocalic substitution processes when glides are adjacent to corresponding short vowels either word-internally or word-finally.

Sky-Birds & Dead Trees On Two Images in Edmond Jabès

2018 ◽  
Author(s):  
Yasser Elhariry
Keyword(s):  
French Language ◽  
Arabic Poetry ◽  
Literary Forms ◽  
Dead Trees ◽  
Translational Mode ◽  
History Of ◽  
Literary Archive ◽  
Edmond Jabes ◽  
Classical Arabic ◽  
Late Works

Chapter 2 concerns two recurrent images from Edmond Jabès’s late works, Un étranger avec, sous le bras, un livre de petit format (1989) and Le livre de l’hospitalité (1991). While Jabès is well known within French literary circles, analyses of his early Cairene work— and to an even lesser extent the formative roles of orality and aurality from his pre- Parisian period—are few and thin. I first contextualize the figure of the Egyptian poet in relation to the history of Jabès scholarship, and then build on Tengour’s translational poetics of the classical Arabic literary archive in order to unravel a different, sublimated translational mode that links many of Jabès’s later books. In his late and final works, which he composed while living in Paris, Jabès’s poetic imaginary reprises word for word the tropes of early Arabic verse. When read together and in relation to the same archival corpus, Tengour and Jabès represent contrasting translational and intertextual modes for comparative poetic and translingual compositions in French. Through his aphasic refuge in French monolingualism following his exile from Cairo, and his late re/discovery of classical Arabic poetry in Paris, Jabès’s sublimated recourse to early Arabic verse retraces and performs the history of the old literary forms beneath a French language surface.

A Disputed Sabaic ‘Relative’ Pronoun

1976 ◽  
Vol 39 (2) ◽  
pp. 421-422
Author(s):  
A. F. L. Beeston
Keyword(s):  
Relative Pronoun ◽  
Arabic Poetry ◽  
Verb Forms ◽  
Proper Name ◽  
Relative Interpretation ◽  
Classical Arabic

The following note, though drafted by A. F. L. Beeston, is essentially the result of co-operative discussion between him, A. K. Irvine, W. W. Müller, M. Rodinson, and J. Ryckmans; all of whom are now in agreement on the issue. The discussion originated from the question whether four words beginning with t- in CIH 540 (tbs2nf line 15, ts3n/ts1n lines 16 and 19, tbn line 18) are to be explained as containing a feminine relative pronoun t as a variant of the normal Sabaic form ḏt, as Praetorius suggested; or are t-prefix verb forms. In favour of the relative interpretation are the facts, firstly that in classical Arabic poetry we find a masculine ḏā contrasting with feminine tī, and the same type of alternation is widely attested in vernacular dialects, including Yemeni ones; secondly, that in all four cases there is a defined feminine antecedent (‘glmtn, k'btn, k'bt/ġyln, k'bt/mfllm—assuming, as is most probable, that the last word is a proper name). Against it was the fact that such a pronoun appeared to be attested nowhere in all Sabaic except in this text. G. M. Bauer (Yazyk yuzhnoarabiyskoy pis'mennosti, Moscow, 1966, 92) accepted the relatival interpretation, but describes it as a ‘late’ use; while M. Rodinson (‘Sur un pseudo-relatif sudarabique’, Actes du premier Congrès international de Linguistique Sémitique et Chamito-semitique, Paris, 1969, ed. by Caquot and Cohen, Paris, 1974, 290–1) and W. W. Müller (in an article for AION, 1975, sent to press before our discussions took place) were inclined to deny the existence of this relative and adopt the verbal interpretation.

On taḍmīn (enjambment) and structural coherence in classical Arabic poetry

1989 ◽  
Vol 52 (3) ◽  
pp. 463-466 ◽  
Author(s):  
Amidu Sanni
Keyword(s):  
Aesthetic Experience ◽  
Arabic Poetry ◽  
Literary Thought ◽  
Arab Students ◽  
Structural Coherence ◽  
Classical Arabic

The importance of poetry as the chief aesthetic experience of the Arabs as well as the principal repository of materials on their life and thought had long been recognized by the Arab and, following them, non-Arab students of Arabic culture. The fact that all the technical terminologies of Arabic verse which were formalized in ‘ilm al- ‘aruḍ (Prosody) are derived from the components of the bedouin tent—a highly prized possession—indicates the significance of the art to the Arab mind. The pride of place enjoyed by poetry in Arabic literary thought derives primarily from the hieratic idiom associated with it, as well as from its structural coherence, which relies on the harmony of prosodic factors (al-‘awāmilal-‘arūūiyya) associated with poetic praxis.

The Oral Tradition of Classical Arabic Poetry

1979 ◽  
Vol 53 (3) ◽  
pp. 551
Author(s):  
Walter G. Andrews ◽  
Michael Zwettler
Keyword(s):  
Oral Tradition ◽  
Arabic Poetry ◽  
Classical Arabic

Collaborative Composition of Classical Arabic Poetry

Arabica ◽  
2018 ◽  
Vol 65 (1-2) ◽  
pp. 163-206
Author(s):  
Erez Naaman
Keyword(s):  
Literary Criticism ◽  
Thirteenth Century ◽  
Critical Assessment ◽  
Arabic Literature ◽  
Poetic Form ◽  
Arabic Poetry ◽  
History Of ◽  
Composition Process ◽  
Classical Arabic

Abstract Evidence of collaborative composition of poetry goes back to the earliest documented phases in the history of Arabic literature. Already during pre-Islamic times, poets like Imruʾ al-Qays used to challenge others to complete their impromptu verse and create poetry collaboratively with them. This practice—commonly called iǧāza or tamlīṭ and essentially different from the better known poetic dueling of the naqāʾiḍ (flytings)—has shown remarkable stability and adherence to its form and dynamics in the pre-modern Arabophone world. In this article, I will discuss evidence of collaborative poetry from pre-Islamic times to the early seventh/thirteenth century, in order to present a picture of the typical situations in which it was practiced, its functions, its composition process, and formal aspects. Although usually not producing poetic masterpieces, this practice has the merit of revealing much about the processes of composing classical Arabic poetry in general. In this respect, its study and critical assessment are highly important, given the fact that medieval Arabic literary criticism does not always reflect praxis or focus on the actual practicalities of composing poetry. This practice and the contextualized way in which it was preserved allow us to see vividly the inextricable link between poetic form and the conditions in which poetry was created. It likewise sheds light on the intricate ways in which poets resisted, influenced, and manipulated others by poetic means. Based on the obvious fact that collaborative composition is imbued with the spirit of play, I offer at the end of the article criticism of Johan Huizinga’s famous play concept and his (much less famous) views of early Arabic culture and poetry in light of the evidence I studied.

scholarly journals MUA'LLAGAT ZOHAYR IBN ABI SOLMA: ELEGANT PIECE OF ARABIC POETRY (1)

2021 ◽  
Vol 3 (1) ◽  
pp. 1-11
Author(s):  
Yahya Saleh Hasan Dahami ◽  
Abdullah Al Ghamdi
Keyword(s):  
Main Part ◽  
Arabic Language ◽  
Courtly Love ◽  
Arabic Literature ◽  
Love Poetry ◽  
Arabic Poetry ◽  
The Third ◽  
Critical Methodology ◽  
Classical Poetry ◽  
Classical Arabic

Zohayr ibn Abi Solma is identified as an eminent poet who produced poetry distinguished with preeminence in courtly and virtuous love. The study employs an analytical and critical methodology, attempting to elucidate the influence of virtuous love narrated by the poet in the first verse lines of his great Mua'llagah. It commences with a terse introductory synopsis shedding light on the importance of classical Arabic and its involvement with poetry. The paper attempts to prove, via the poetry of Zohayr ibn Abi Solma, the greatness of the Arabic classical poetry and demonstrate the aptitudes of the poet through his Mua'llagah. It is divided into four main parts. The first part deals with the greatness of the Arabic language then it moves to the second section that focuses on Arabic Poetry: Treasure of Wisdom. The third one sheds light on the poet's 'The Man and the Poet', and the last main part goes with an analytical and critical endeavor of the first ten verse lines of Al-Mua'llagah of Zohayr. It comes to an end with a conclusion. Keywords: Arabic Literature, Arabic Poetry, Courtly Love Poetry, Courteous Arabic Poetry, Umm Awfa, Virtuous Poetry.

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