By Julie Meisami
This can be the 1st entire and comparative examine of compositional and stylistic thoughts in medieval Arabic and Persian lyric poetry. Ranging over a few seven nations, it bargains with works through over thirty poets within the Islamic global from Spain to present-day Afghanistan, and examines how this wealthy poetic traditions shows either continuity and improvement within the use of a wide selection of compositional innovations. Discussing such themes as ideas of structural supplier, using rhetorical figures, metaphor and pictures, and delivering precise analyses of a giant variety of poetic texts, it exhibits how structural and semantic beneficial properties interacted to carry coherence and aspiring to the person poem. It additionally examines works by way of the indigenous critics of poetry in either Arabic and Persian, and demonstrates the critics' knowledge of, and curiosity in, the options which poets hired to build poems which have been either eloquent and significant. Comparisons also are made with classical and medieval poetics within the west. The ebook could be of curiosity now not in basic terms to experts within the proper fields, but in addition to all these attracted to pre-modern poetry and poetics.
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Extra resources for Structure and Meaning in Medieval Arabic and Persian Poetry: Orient Pearl (Culture and Civilization in the Middle East)
Ibn al-Mu tazz observed, “As for ˙ the comparison of wine to the brightness of day, we see that the topics presented in this connection are transferred [muhawwala] from the poetry of the Arabs and ˙ the descriptions of beautiful faces, from which the muwalladu¯n have produced various attributes for wine” (1925: 37, and see 37–40). , placing the wine, like the name of the mamdu¯h, at ˙ the center of the poem; see further Chapter 6) to establish wine as the ultimate object of desire and praise. To each poet, then, his own beloved; and to each his own persona.
But even the Romantic poets worked hard to develop their skills and so did the ancient Arabic poets. . The analysis of these poets’ techniques can only contribute to their being more highly esteemed. (1974b: 529–30) We will, in fact, see many whole poems in the course of this study, as well as bits and pieces of many others, in our effort to discover just what it is that makes Arabic and Persian poems whole. 22 2 INVENTION Arms and violent wars, with meter suited to matter, Arms and violent wars, all in hexameters, I was preparing to sound, when I heard a snicker from Cupid; What had the rascal done, but taken one foot away?
41 But Ibn Taba¯taba¯, for example, ˙ ˙ describes the “tools” of poetry thus: the poet must know, first, the sciences of language and “the transmission of the various types of culture” (al-riwa¯ya li-funu¯n al-adab), history, genealogy, the “methods of the Arabs in the foundation of poetry and deployment of its topics” and those which relate to “descriptions, addresses, accounts and proverbs,” and direct and indirect expression (these pertain to invention); amplification, abbreviation, elegant beginnings and endings, and full expression of the topics (disposition); and, finally, “clothing (the poem) in appropriate words, so that it appears in the best style and most brilliant form” (ornament) (1956: 4; compare Shams-i Qays 1909: 416–18).