A stylistic assessment of Abu Tammam's poetry (original) (raw)

Arabic Poetics, Introduction

Arabic Poetics: Aesthetic Experience in Classical Arabic Literature, 2020

The Introduction presents the argument that aesthetic judgment in classical Arabic literary theory came to depend on the ability of poetry or eloquent speech to produce an experience of wonder in the listener. This experience of wonder is not merely a reaction of amazement and bedazzlement, but it also entails a process of discovery. After presenting an account of the nature of classical Arabic literary theory, its various approaches to literary assessment, its topics and historical development, the Introduction highlights that the main aspects of literary expression Arabic criticism was concerned with lay in rhetorical figures (badīʿ), simile (tashbīh), figurative speech (majāz), metaphor (istiʿāra), metonymy (kināya), and sentence construction (naẓm). It is in these aspects of linguistic expression that an aesthetic theory of wonder can be uncovered in the classical Arabic critical tradition, including in discussions of poetry proper, engagements with Aristotelian Poetics, and works on eloquence and the miraculousness (iʿjāz) of the Quran, culminating by the thirteenth century in the formalized study of eloquence in ʿilm al-balāgha (the science of eloquence).

The Language of Poetry: Tool or Performance? A Stylistic Analysis of a Classical Arabic Line of Verse

Procedia - Social and Behavioral Sciences, 2014

Addressing the controversial question of the nature of poetic language, the paper seeks to prove, with the help of stylistics, that the language of poetry is not just a tool that can be discussed in isolation from the poetry which language is said to convey. It rather turns into the poem itself so that it becomes impossible to separate the poem from its language. The paper concludes that the poetic language used by the poet creates a linguistic reality that exists on its own in language just as the physical reality it describes exists on its own.

The Eminence of Poetic Arabic Language: Lamiyyat Al Arab of Ash-Shanfara Example (1)

International Journal of Applied Research in Social Sciences, 2020

The significance of the Arabic language holds back from its being one of the most explicit languages in its brilliance and its repeated ability to adapt to countless other sciences and knowledge. The Arabic language has reached creativity and originality in different fields of literature in which the greatest is poetry. The paper aims at scrutinizing the figurative, rhetorical and aesthetic images in Lamiyyat Al Arab by Ash-Shanfara in which it follows the deductive, inductive critical approach focusing analytically on the first ten verses of the poem. Applying the historical-analytical method, the study attempts to reveal in the in-depth analysis of the aesthetic qualities and poetic issues as well as the figurative images in the poem. It commences with an introduction on Arabia and Poetic Language then moves to shed light on the protagonist-poet Ash-Shanfara as a great Arabic poet to be concluded with analysis and comments on the poem Lamiyyat Al-Arab trying to find out the origin...

CLASSICAL ARABIC PROSE LITERATURE A RESEARCHERS' SKETCH MAP1

Classical Arabic prose, for the most part, does not merit literary study. At least this is the impression conveyed by two recent works of reference,2 in which the discussion of classical poetry reflects a level of sophistication and reflection which the survey of prose does not pretend to. Having worked on classical prose literature for some time, we feel that more can be said about it than the surveys referred to above suggest. We propose here to describe the characteristics and development of this branch of Arabic writing in the light of current research, to identify problems connected with the study of it and to indicate some paths which future investigations could take. If comprehensiveness were ever possible , it is obviously out of the question in an article of this kind; our aim is above all to stimulate reflection about a corpus of works signifrcant both in quantity and in quality. We have used the following definition of classical Arabic prose literature as a starting point: works principally in prose, in which there is a pervasive concern with artistic expression as well as the communication of information. The qualifrcation "principally in prose" refers to the fact thatjuxtaposing prose and poetry is one ofthe characteristic features of this literature; to consider only those works which are exclusively in prose would be entirely contrary to its spirit. We have confined ourselves to the cAbbasid period, and have concentrated on the 3rd/9th to 5th/11th centuries, the heyday, or "classical" ug., of pre-modern Arabic prose. It must be borne in mind, however, that many texts which appear in the works of this period took shape in the Bth century or, in individual cases, even earlier, and the literary sensibility of later writers, such as the authors of the works discussed here, was moulded by the exemplary character of texts handed down by tradition. But the emergence of major works and the elaboration of a highly sophisticated prose style, in which acoustic elements play an increasing part, justify this period being considered as a golden age of Arabic prose literature. Original works by authors make up only a small part of this literature. The major part of it consists of collections of speeches, letters and short

Marginal Discourses on Arabic Poetry: A Case Study of the Baku Manuscript of Tāj al-lughah wa-Ṣiḥāḥ al-ʿarabiyyah by Abū Naṣr Ismāʿīl ibn Ḥammād al-Fārābī al-Jawharī

Journal of Arabic Literature, 2014

Shortly after the revelation of the Qur'an, Arabic poetry acquired special importance as explanatory material for the gharīb (alien, unfamiliar) lexicon of Muslim exegetics; subsequently, not only Qur'an commentaries but also sīrah literature, grammar works, and lexicographic dictionaries abounded with poetic proofs (shawāhid) presented as authoritative sources. Such supporting poetic material comprises an important part of the famous dictionary Tāj al-lughah wa-ṣiḥāḥ al-ʿarabiyyah by Abū Naṣr Ismāʿīl ibn Ḥammād al-Fārābī al-Jawharī (d.400/1009). The present paper explores the scholarly value of marginal notes discussing Arabic poetry in an important Baku manuscript of al-Ṣiḥāḥ preserved in the Azerbaijani Institute of Manuscripts Library (call number M389). The manuscript, dated 510-511/1116, appears to have been copied from a manuscript written by Ismāʿīl al-Jawharī's student, Abū Sahl al-Harawī (d.433/1041), and preserves the original notes and addendums of al-Harawī's codex. The Baku manuscript of al-Ṣiḥāḥ seems to have been copied within the walls of the Niẓāmiyyah madrasah. This manuscript is therefore valuable not only for its antiquity but also for being connected to great scholars of the Medieval Islamic world, including al-Khaṭīb al-Tibrīzī (d.502/1109) and Mawhūb al-Jawālīqī (d.539/1145), whose discourses, commentaries, and critical remarks on the illustrative poetic examples can be found throughout multiple dictionaries and relevant literature.

The poetic theory as expounded in Kitab Minhaj al-Bulagha by Hazim al Qartajanni

1986

The aim of this research is to analyse the philosophical and aesthetic principles of Hazim al-Qartajanni's poetic theory, as set down in his Minhaj al-Bulagha' wa-Siraj al-Udaba. It is our intent, in addition, to reveal the sources for his theory in Graeco-Arabic and Islamic-Arabic sources as well as his contributions to both. The preface defines the subject-matter and the methodology. This is followed by an Introduction which places Hazim in his cultural context by looking at his masters and his pupils, and examining not only his works on criticism, but also his influence on the establishment of a school of Arabic rhetoric in the western parts of the Arab world (Andalusia and North Africa) and on the development of Arabic criticism generally. The thesis is then divided into two parts, each of which has two chapters. Part one, on the nature of poetry in respect of both poet and recipient, deals with; 1) the notion of poetry as it is understood, firstly in the fundamental ter...