Butrus al-Sadamanti al-Armani (Peter of Sadamant ‘the Armenian’)

2017 ◽  
Author(s):  
Fr. Awad Wadi
Keyword(s):  
Thirteenth Century ◽  
Arabic Literature ◽  
Passion Of Christ

This chapter focuses on Butrus al-Sadamanti al-Armani, who enriched the Christian Arabic literature of Egypt later in the thirteenth century with many important works. More works are attributed to Butrus than those he actually wrote, and some works are recorded under more than one title. His works can be divided into five categories: biblical, theological, moral or ethical, spiritual works, and edifying stories. His masterpiece is a commentary on the Passion of Christ preceded by an introduction on biblical hermeneutic, al-Tashih fi alam al-Sayyid al-Masih (The Correction [or Rectification] in the Sufferings of the Lord Christ), or Tafsir alam al-Sayyid al-Masih (Interpretation of the Sufferings of the Lord Christ).

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.

From Asia to Africa: the Tuḥfat al-Albāb by Abū Ḥāmid al-Gharnāṭī (473/1080–565/1169) as a source for the chronology and content of the Sīrat ՙAntar b. Shaddād

1994 ◽  
Vol 57 (1) ◽  
pp. 174-183
Author(s):  
H. T. Norris
Keyword(s):  
Thirteenth Century ◽  
Twelfth Century ◽  
Arab World ◽  
Proper Names ◽  
Source Material ◽  
Arabic Literature ◽  
Classical Arabic

The Sīrat YAntar conceals within its narrative identifiable literary sources.This is especially so in those sections which describe the adventures of the ՙAbsī hero in Byzantium, Italy, al-Andalus, ՙUmān, Egypt and Ethiopia. Its I use of such sources is without parallel in the sister siyar. Though the fact was not ignored by Bernhard Heller or by Rudi Paret, it is insufficiently appreciated elsewhere, especially in the Arab world itself. So pervasive is the literary treatment as it draws upon Arabic geographical works, and the exploring of ‘wonder books’ (kutub al-ՙajā՚ib) for source material so apparent, that it is doubtful, nay unacceptable, that this particular Sīra (others may bide our question) can be accurately described as Arabic oral and formulaic ‘coffeehouse entertainment’, or as being outside the corpus of classical Arabic literature. That part of the giant work, categorized by Maḥmūd Dhihnī as al-Marḥala al-malḥamiyya, which describes these adventures, is unquestionably post-twelfth century in date, marked as it is by Crusading proper names and by those of Mamlūk offices. That the text is not earlier than the late thirteenth century will here be shown.

scholarly journals Arabic Literature Singe the Beginning of the Nineteenth Century

1922 ◽  
Vol 2 (2) ◽  
pp. 249-265
Author(s):  
Shaykh M. H. ʻAbd al-Raziq
Keyword(s):  
Nineteenth Century ◽  
Thirteenth Century ◽  
Muslim World ◽  
Arabic Literature ◽  
The West ◽  
New Era ◽  
History Of ◽  
Arabic Speaking

The dawn of the nineteenth century marks a new era in the history of Arabic literature. After five centuries of mental lethargy, beginning with the irruption of the Mongols into the Muslim world in the thirteenth century, a renewed zeal for learning has dispelled the gloom which so long overshadowed the Arabic-speaking countries. Many factors were at work to bring about a beneficial change. The West began to take varied interest in the dormant East by collecting and studying its long-forgotten literatures.

scholarly journals ARABIC: الإسهامات العلمية للقاضي ظفر الدين لاهوري: دراسة خاصة لعلق نفيس شرح المعلقات السبع

rahatulquloob ◽  
2021 ◽  
pp. 58-65
Author(s):  
Dr. Muhammad Tariq Mahmood ◽  
Yasir Farooq
Keyword(s):  
Life History ◽  
Thirteenth Century ◽  
Literary Work ◽  
Arabic Literature ◽  
Special Study ◽  
History Of ◽  
Academic Services

This study is about the academic services of Qāzī Zafar Uddin. He was a well-known scholar and teacher of thirteenth century. He taught Arabic literature in oriental college Lahore. He was a good poet, famous writer and eminent journalist. He serviced as editor of a famous magazine Naseem e Sabah. He contributed in Islamic and Arabic literature through his writings. This study is divided into two parts; first is related to life history of Qāzī Zafar Uddin, and second is related to his literary work and special study of ‘Ilq e Nafees, his literary work which is the translation and explanation of seven odes (سبعه معلقات). This study critically and technically analyzed the explanation and translation of seven odes write by Qāzī Zafar Uddin Lahorī.

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