scholarly journals New Images in Old Frames: Ibn Harma (d. ca. 176/792) between Classical Poetry and Abbasid Modernity

2016 ◽  
Vol 3 (1) ◽  
pp. 56-89 ◽  
Author(s):  
Zahia Smail Salhi ◽  
Hussain Mohammed Alqarni
Keyword(s):  
Textual Analysis ◽  
Arabic Poetry ◽  
Linguistic Evidence ◽  
Classical Poetry ◽  
Poetic Imagery ◽  
Classical Arabic ◽  
Selection Of

Classical Arabic sources generally refer to Ibrahim b. Harma (d. ca. 176/792) as one of the “last poets” whose poetry is quoted as lexical and linguistic evidence of sound and “unaffected” language, in other words “pure” Arabic. However, while we argue that the poet’s “pure” Arabic is the main reason for his place of excellence in classical Arabic poetry, we suggest that the poet was well aware of the power of poetic imagery imposed by the new modernity experienced in the Abbasid era. Ibn Harma skillfully developed the new tool as a means of self-expression in a conscious search for poetic immortality. In this article, we aim to explore the poetic imagery of Ibn Harma through textual analysis of a selection of his poetry.

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.

Abdel Sabour, Salah (1931–1981)

2018 ◽  
Author(s):  
Sally Hammouda
Keyword(s):  
Regular Education ◽  
Arabic Language ◽  
Common Language ◽  
English Poetry ◽  
Free Verse ◽  
Arabic Poetry ◽  
Rigid Structure ◽  
Classical Poetry ◽  
Modern Arabic ◽  
Classical Arabic

Salah Abdel Sabour (also Abd-al Sabur) is an Egyptian writer, poet, and playwright. He is considered a pioneer of modern Arabic poetry and a prominent figure in Arabic modernism and the Arabic free verse movement. Born in a small town in the Eastern Delta of Egypt in 1931, Abdel Sabour showed an interest in literature at a young age. He began writing verse at the tender age of thirteen. His talent reached full maturity by the 1950’s. Though his regular education enabled him to develop an appreciation for the long tradition of classical Arabic poetry, his modern sensibility was sharpened through readings in European poetry, especially that of symbolists Rilke and Baudelaire, and the English poetry of Donne, Yeats, Keats and T.S. Eliot. He was also influenced by prominent Arab Sufis such as Al-Mutanabbi, and Persian mystic poet and Sufi writer Mansur Al-Hallaj. He graduated from the Department of Arabic Language, at the Faculty of Arts, Cairo University, in 1951. In 1957 his first collection of poetry Al-Nass Fi Biladi [People of my Country] using free verse was published, catapulting the poet into fame. It caught both readers’ and critics’ attention alike for its use of unique imagery and everyday common language. It broke away from the constricting rigid structure of Arabic classical poetry.

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
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