Władca idealny według „Księgi o władzy”, pierwszej części Kitāb al-ciqd al-farīd Ibn cAbd Rabbiha

Celem niniejszego artykułu jest rzucenie nowego światła na rolę postaci męskich w średniowiecznej literaturze arabskiej. Koncentruje się on na przedstawieniu modelu władcy, który pojawia się w andaluzyjskiej literaturze adabowej – w Al-cIqd al-farīd, dziele Ibn cAbd Rabbiha. . Opis uprawnień, przywilejów, zadań i obowiązków władcy znajduje się w pierwszym rozdziale pracy, która jest typowym przykładem literatury parenetycznej i w której zarysowano specyficzne wzorce zachowań związane z zajmowanym stanowiskiem. Przedstawiając wzorowego władcę, Ibn c Abd Rabbih skorzystał z tych samych źródeł, które były znane na Wschodzie, i wybrał te, które jego zdaniem składały się na wizerunek doskonałego władcy. Opisane w jego dziele fundamentalne cechy władcy wskazują na to, że w średniowieczu istniały pewne uniwersalne atrybuty dynasty. The Perfect Ruler According to the „Book of the Sovereign Power”, Chapter One of the Kitāb al-cIqd al-Farīd by Ibn cAbd Rabbih The purpose of this paper is to shed some new light on the role of the male character in medieval Arabic literature. It focuses on the model of the ruler which features in Andalusian adab literature in Al-cIqd al-Farīd, a work of Ibn cAbd Rabbih. The description of the ruler’s powers, privileges, tasks, and duties are included in the first chapter of the work, which is a typical example of paraenetic literature outlining specific patterns of conduct related to one’s position. Presenting the model ruler, Ibn c Abd Rabbih used the same sources that were known in the East and selected those that, in his opinion, made up the image of a perfect ruler. The fundamental features of the ruler described in his work indicate that there were some universal attributes of the dynast in the Middle Ages.

ИСТОРИЯ О КАЙСЕ И ЛЮБНЕ В СРЕДНЕВЕКОВОМ АРАБСКОМ ФОЛЬКЛОРЕ

Medieval Arabic literature is rich in love stories about Bedouin poets who lived in pre-Islamic and Islamic times. By the end of the 9 century AD, these tales have formed an independent genre that followed certain aesthetic principles and norms. One of these stories — the romance of Qays ibn Ḏarīḥ and his beloved Lubnā — is unique, for it has a number of unusual features, including two versions of an ending — tragic and happy. This article attempts to trace the process of the story formation to clarify the reason for the existence of two ending versions and discuss its other peculiarities. The study has revealed that the romance of Qays and Lubnā has a pre-Islamic prototype — the tale of ‘Abdallāh Ibn al-‘Ağlān and Hind. Traces of this version survived in the romance of Qays and Lubnā, which is rooted in the oral tradition: it combines the elements of the old primitive unhappy lovers canon (a marriage, then a divorce under family pressure, separation, suffering and death) and the new model — the ‘Udrī love story that appeared after the rise of Islam as a reaction to new aesthetic values that cultivated chaste love. As the political disagreements emerged in Islam and the role of Šī‘a Islam increased, a number of new details and a happy end were added to the story (very likely in 8 century AD), reflecting the philosophical contradictions between Sunnī and Šī‘a Islam. These points have determined the uniqueness of the story about Qays ibn Ḏarīḥ and Lubnā among other ‘Udrī love stories.

A Note on ‘Arabic’

This short article proposes an explanation of the opaque term (variant ), which is recorded three times in medieval Arabic literature but not yet identified.

HUMOR DAN KOMEDI DALAM SEBUAH KILAS BALIK SEJARAH

This paper describes the brief history of Humour in Arabs from (1) the earlier preIslamic period, (2) the Islamic period, (3) the medieval Arabic Literature (Abbasid), and (4) Mamaluke, Fatimid, Ayyubid, and Ottoman periods. This paper will try to show that<br />Arabic literature is rife with the unique taste of Arabs in humour and comedy. Finally, the result of data analysis shows that humour in the earlier pre-Islamic period and the Islamic period is used dominantly at satirical poem which is called hija‟. But in the medieval period until Ottoman period, Arabic humour and comedy has been spreading to the modern prose, shuch as romantic novel, elegant style of fable, public theater – shadow play and some of elegiac short stories.