Arabic Poetics: Aesthetic Experience in Classical Arabic Literature (Cambridge Studies in Islamic Civilization)

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Minor, Vernon Hyde (2016). Baroque Visual Rhetoric. University of Toronto Press. p.13. ISBN 978-1-4426-4879-1. Aristotle (1980). La Poétique (in French). Translated by Dupont-Roe, Roselyne; Lallot, Jean. Éditions du Seuil.

There are several characteristics that distinguish pre-Islamic poetry from the poetry of later times. One of these characteristics is that in pre-Islamic poetry more attention was given to the eloquence and the wording of the verse than to the poem as whole. This resulted in poems characterized by strong vocabulary and short ideas but with loosely connected verses. A second characteristic is the romantic or nostalgic prelude with which pre-Islamic poems would often start. In these preludes, a thematic unit called " nasib," the poet would remember his beloved and her deserted home and its ruins. [4] This concept in Arabic poetry is referred to as " al-woqouf `ala al-atlal" (الوقوف على الأطلال / standing by the ruins) because the poet would often start his poem by saying that he stood at the ruins of his beloved; it is a kind of ubi sunt. Aristotle (2013). Poetics. Oxford World's Classics. Translated by Kenny, Anthony. Oxford University Press. ISBN 978-0-19-960836-2. a b Scott, Gregory L (10 October 2018). Aristotle on Dramatic Musical Composition. Existenceps Press. ISBN 978-0-9997049-3-6. Shukrī Fayṣal, ed., “Editor’s Introduction,” in Abū al-ʿAtāhiyah: akhbāruhu wa-shiʿruhu, ed. Shukrī Fayṣal (Damascus, Syria: Maṭbaʽat Jāmiʽat Dimashq, 1965), 34. The surviving book of Poetics is primarily concerned with drama; the analysis of tragedy constitutes the core of the discussion. [4] [5]The Arabic version of Aristotle's Poetics that influenced the Middle Ages was translated from a Greek manuscript dated to some time prior to the year 700. This manuscript, translated from Greek to Syriac, is independent of the currently-accepted 11th-century source designated Paris 1741. [c] The Syriac-language source used for the Arabic translations departed widely in vocabulary from the original Poetics and it initiated a misinterpretation of Aristotelian thought that continued through the Middle Ages. [19]

good—Aristotle explains that audiences do not like, for example, villains "making fortune from misery" in the end. It might happen though, and might make the play interesting. Nevertheless, the moral is at stake here and morals are important to make people happy (people can, for example, see tragedy because they want to release their anger).The "Neoclassical" movement (different from the western neoclassicism) advocated return to the purity of classical Arabic poetry and began in the turn of the 20th century to explore the possibility of developing the classical poetic forms. Some of these neoclassical poets were acquainted with western literature but mostly continued to write in classical forms. [29] [30] [31] [32] One of the first proponents of this was the Egyptian poet and stateman Mahmoud Sami el-Baroudi. Other notable figures include Ahmad Shawqi (the greatest of them) and Hafiz Ibrahim from Egypt, Jamil Sidqi al-Zahawi and Maruf al-Rusafi from Iraq, and the Palestinian Ibrahim Tuqan. [25] Carli, Silvia (December 2010). "Poetry is more philosophical than history: Aristotle on mimesis and form". The Review of Metaphysics. 64 (2): 303–336. JSTOR 29765376. Esp. pp.303–304, 312–313. The qaṣīdah is often described as a tripartite form consisting of an amatory or elegiac prelude ( nasīb), a desert journey ( raḥīl), and a purpose ( gharaḍ). This model originates from Ibn Qutaybah’s (d. 889) famous and often-quoted definition of the qaṣīdah. See ʿAbd Allāh ibn Muslim ibn Qutaybah, Al-shiʿr wa al-shuʿarā’, ed. Aḥmad Muḥammad Shākir (Cairo, Egypt: Dār al-Ma ʿārif, 1966), 20. Scholars have challenged this definition and have noted that it is better suited for the panegyric of the Umayyad age. Jacobi states that the tripartite form described in Ibn Qutaybah does not fit the pre-Islamic ode and “can only be applied to one of several types developed by Umayyad poets.” See Renate Jacobi, “The Camel Section of the Panegyrical Ode,” Journal of Arabic Literature 13, no. 1 (1982): 2. The dominant structure in the Abbasid age was bipartite consisting of nasīb and gharaḍ only. Stefan Sperl uses the terms “strophe” and “anti-strophe” to describe the bipartite Abbasid qaṣīdah. See Stefan Sperl, “Islamic Kingship and Arabic Panegyric Poetry in the Early Ninth Century,” Journal of Arabic Literature 8, no. 1 (1977): 31. Suzanne Stetkevych points to the specific uses of the journey section ( raḥīl) when introduced in the Abbasid qaṣīdah. See Suzanne Stetkevych, The Poetics of Islamic Legitimacy: Myth, Gender, and Ceremony in the Classical Arabic Ode (Bloomington: Indiana University Press, 2002), 25. Adūnīs, Al-Thābit wa-l-mutaḥawwil: baḥth fī-l-ittibāʿ wa-l-ibdāʿ ʿinda al-‛Arab, 4 vols. (Beirut, Lebanon: Dār al-ʿAwdah, 1974–1978), 4:188–191.

diction ( lexis)—Lexis is better translated, according to some, [ who?] as "speech" or "language." Otherwise, the relevant necessary condition stemming from logos in the definition (language) has no followup: mythos (plot) could be done by dancers or pantomime artists, given chapters 1, 2, and 4, if the actions are structured (on stage, as drama was usually done), just like plot for us can be given in film or in a story-ballet with no words. [ clarification needed] Benassi, A., “Lo scherzevole inganno. Figure ingegnose e argutezza nel Cannocchiale aristotelico di Emanuele Tesauro”, Studi secenteschi 47 (2006) 9–55. The lost second book of Aristotle's Poetics is a core plot element (and the " MacGuffin") in Umberto Eco's novel The Name of the Rose.

References

Halliwell, Stephen, The Aesthetics of Mimesis. Ancient Texts and Modern Problems, Princeton/Oxford 2002.