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Nizar Tawfiq Qabbani (Arabic: نزار توفيق قباني‎ Nizār Tawfīq Qabbānī) (21 March 1923 – 30 April 1998) was a Syrian diplomat, poet and publisher. His poetic style combines simplicity and elegance in exploring themes of love, eroticism, feminism, religion, and Arab nationalism. Qabbani is one of the most revered contemporary poets in the Arab world,^[1][2] and is considered to be Syria's National Poet.

• 1Biography
• 3Personal life
• 5Bibliography

Biography[edit]

Early life[edit]

Nizar Qabbani was born in the Syrian capital of Damascus to a middle class merchant family of Turkish descent.^[3] His mother is Faiza Akbik is also of Turkish descent. Qabbani was raised in Mi'thnah Al-Shahm, one of the neighborhoods of Old Damascus. Qabbani studied at the national Scientific College School in Damascus between 1930 and 1941.^[4] The school was owned and run by his father's friend, Ahmad Munif al-Aidi. He later studied law at the Damascus University, which was called Syrian University until 1958. He graduated with a bachelor's degree in law in 1945.^[4]

While a student in college he wrote his first collection of poems entitled The Brunette Told Me. It was a collection of romantic verses that made several startling references to a woman's body, sending shock waves throughout the conservative society in Damascus.^[4] To make it more acceptable, Qabbani showed it to Munir al-Ajlani, the minister of education who was also a friend of his father and a leading nationalist leader in Syria. Ajlani liked the poems and endorsed them by writing the preface for Nizar's first book.

Diplomatic career[edit]

After graduating from law school, Qabbani worked for the Syrian Foreign Ministry, serving as Consul or cultural attaché in several capital cities, including Beirut, Cairo, Istanbul, Madrid, and London. In 1959, when the United Arab Republic was formed, Qabbani was appointed Vice-Secretary of the UAR for its embassies in China. He wrote extensively during these years and his poems from China were some of his finest. He continued to work in the diplomatic د until he tendered his resignation in 1966. By that time, he had established a publishing house in Beirut, which carried his name ().

Poetic influences[edit]

When Qabbani was 15, his sister, who was 25 at the time, committed suicide because she refused to marry a man she did not love.^[5] During her funeral he decided to fight the social conditions he saw as causing her death. When asked whether he was a revolutionary, the poet answered: “Love in the Arab world is like a prisoner, and I want to set (it) free. I want to free the Arab soul, sense and body with my poetry. The relationships between men and women in our society are not healthy.” He is known as one of the most feminist and progressive intellectuals of his time.^[5]

The city of Damascus remained a powerful muse in his poetry, most notably in the Jasmine Scent of Damascus.^[5] The 1967 Six-Day War also influenced his poetry and his lament for the Arab cause.^[5][6] The defeat marked a qualitative shift in Qabbani's work – from erotic love poems to poems with overt political themes of rejectionism and resistance.^[5] For instance, his poem Marginal Notes on the Book of Defeat Free gaming ladder script php upload. , a stinging self-criticism of Arab inferiority, drew anger from both the right and left sides of the Arab political dialogue.

Personal life[edit]

Family[edit]

Qabbani had two sisters, Wisal and Haifa; he also had three brothers: Mu'taz, Rashid, and Sabah. The latter, Sabah Qabbani, was the most famous after Nizar, becoming director of Syrian radio and TV in 1960 and Syria's ambassador to the United States in the 1980s.

Nizar Qabbani's father, Tawfiq Qabbani, was Syrian while his mother was of Turkish descent. His father had a chocolate factory; he also helped support fighters resisting the French Mandate for Syria and the Lebanon and was imprisoned many times for his views, greatly affecting the upbringing of Nizar into a revolutionary in his own right. Qabbani's great uncle, Abu Khalil Qabbani, was one of the leading innovators in Arab dramatic literature.

Arabian Love Poems Nizar Qabbani Pdf Printer

Qabbani family were of Turkish origin who originated from Konya.^[7] Qabbani is derived from Qabban (Arabic: قبان‎) which means Steelyard balance.^[8]

Marriages[edit]

Nizar Qabbani married twice in his life. His first wife was his cousin Zahra Aqbiq; together they had a daughter, Hadba, and a son, Tawfiq. Tawfiq died due to a heart attack when he was 22 years old when he was in London. Qabbani eulogized his son in the famous poem To the Legendary Damascene, Prince Tawfiq Qabbani. Zahra Aqbiq died in 2007. His daughter Hadba,^[9] born in 1947, was married twice, and lived in London until her death in April 2009.^[9]

His second marriage was to an Iraqi woman named Balqis al-Rawi, a schoolteacher he met at a poetry recital in Baghdad; she was killed in the 1981 Iraqi embassy bombing in Beirut during the Lebanese Civil War on 15 December 1981.^[4][5] Her death had a severe psychological effect on Qabbani; he expressed his grief in his famous poem Balqis, blaming the entire Arab world for her death. Together they had a son, Omar, and a daughter, Zainab. After the death of Balqis, Qabbani did not marry again.

Late life and death[edit]

After the death of Balqis, Qabbani left Beirut. He was moving between Geneva and Paris, eventually settling in London, where he spent the last 15 years of his life.^[5] Qabbani continued to write poems and raise controversies and arguments. Notable controversial poems from this period in his life include When Will They Announce the Death of Arabs? and Runners.

In 1997, Nizar Qabbani suffered from poor health and briefly recovered from his sickness in late 1997.^[10] A few months later, at the age of 75, Nizar Qabbani died in London on 30 April 1998 of a heart attack.^[3][6] In his will, which he wrote in his hospital bed in London, Nizar Qabbani wrote that he wished to be buried in Damascus, which he described in his will as 'the womb that taught me poetry, taught me creativity and granted me the alphabet of Jasmine.'^[11] Nizar Qabbani was buried in Damascus four days later in Bab al-Saghir.^[11] Qabbani was mourned by Arabs all over the world, with news broadcasts highlighting his illustrious literary career.^[11]

Bibliography[edit]

Poetry[edit]

Qabbani began writing poetry when he was 16 years old; at his own expense, Qabbani published his first book of poems, entitled The Brunette Told Me(قالت لي السمراء), while he was a law student at the University of Damascus in 1944.

Over the course of a half-century, Qabbani wrote 34 other books of poetry, including:

• Childhood of a Breast (1948) طفولة نهد
• Samba (1949) سامبا
• You Are Mine (1950) أنت لي
• Poems (1956) قصائد
• My Beloved (1961) حبيبتي
• Drawing with Words (1966) الرسم بالكلمات
• Diary of an Indifferent Woman (1968) يوميات امرأة لا مبالية
• Savage Poems (1970) قصائد متوحشة
• Book of Love (1970) كتاب الحب
• 100 Love Letters (1970) مئة رسالة حب
• Poems Against The Law (1972) أشعار خارجة على القانون
• I Love You, and the Rest is to Come (1978) أحبك أحبك و البقية تأتي
• To Beirut the Feminine, With My Love (1978) إلى بيروت الأنثى مع حبي
• May You Be My Love For Another Year (1978) كل عام وأنت حبيبتي
• I Testify That There Is No Woman But you (1979) أشهد أن لا امرأة إلا أنت
• Secret Diaries of Baheyya the Egyptian (1979) اليوميات السرية لبهية المصرية
• I Write the History of Woman Like So (1981) هكذا أكتب تاريخ النساء
• The Lover's Dictionary (1981) قاموس العاشقين
• A Poem For Balqis (1982) قصيدة بلقيس
• Love Does Not Stop at Red Lights (1985) الحب لا يقف على الضوء الأحمر
• Insane Poems (1985)أشعار مجنونة
• Poems Inciting Anger (1986) قصائد مغضوب عليها
• Love Shall Remain My Lord (1987) سيبقى الحب سيدي
• The Trilogy of the Children of the Stones (1988) ثلاثية أطفال الحجارة
• Secret Papers of a Karmathian Lover (1988) الأوراق السرية لعاشق قرمطي
• Biography of an Arab Executioner (1988) السيرة الذاتية لسياف عربي
• I Married You, Liberty! (1988) تزوجتك أيتها الحرية
• A Match in My Hand , And Your Petty Paper Nations (1989) الكبريت في يدي ودويلاتكم من ورق
• No Victor Other Than Love (1989) لا غالب إلا الحب
• Do You Hear the Cry of My Sadness? (1991) هل تسمعين صهيل أحزاني ؟
• Marginal Notes on the Book of Defeat (1991) هوامش على الهوامش
• I'm One Man and You are a Tribe of Women (1992) أنا رجل واحد وأنت قبيلة من النساء
• Fifty Years of Praising Women (1994) خمسون عاما في مديح النساء
• Nizarian Variations of Arabic Maqam of Love (1995) تنويعات نزارية على مقام العشق
• Alphabet of Jasmine (1998) أبجدية الياسمين

Other works[edit]

He also composed many works of prose, such as My Story with Poetryقصتي مع الشعر, What Poetry Isما هو الشعر, and Words Know Angerالكلمات تعرف الغضب, On Poetry, Sex, and Revolutionعن الشعر والجنس والثورة, Poetry is a Green Lanternالشعر قنديل أخضر, Birds Don't Require a Visaالعصافير لا تطلب تأشيرة دخول, I Played Perfectly and Here are my Keysلعبت بإتقان وها هي مفاتيحي and The Woman in My Poetry and My Lifeالمرأة في شعري وفي حياتي, as well as one play named Republic of Madness Previously Lebanonجمهورية جنونستان لبنان سابقا and lyrics of many famous songs of celebrated Arab singers, including:

• Mohammed Abdel Wahab ( Ayazon : does he think? ) ^[12]
• Abdel Halim Hafez ( Qareat Alfinjan : The cup reader ) ^[12]
• Fairuz ( La Tasaalouny : Don't Ask Me ) ^[12]
• Kadhim Al-Sahir ( Madrasat Alhob : School of Love) ^[12]
• Umm Kulthum ( Alan Endi Bondoqyah : Now I Have Rifle ) ^[12]
• Latifa ( Talomony Aldunia : The universe blames me ) ^[12]
• Majida El Roumi (Beirut Sit Aldunia : Lady of universe Beirut ) ^[12]
• Asalah (Egdhab kama Tashaa : Get angry as you may ) ^[12]
• Najat Al Saghira^[13] ( Matha Aqool Laho? : What shall I say to him? ) ^[12]

And his verses would remain popular after his death, and put to song by Arab pop-music stars such as Kazem al-Saher and Latifa.^[11] However, such songs were introduced after filtering the original poems.

Other languages[edit]

Many of Qabbani's poems have also been translated into English and other languages, both individually and as collections of selected works.^[4] Some of these collections include:

English

• On Entering the Sea (1998)
• Arabian Love Poems (1998) translated by Bassam Frangieh and Clementina R. Brown
• Republic of Love (2002) translated by Nayef al-Kalali
• Journal of An Indifferent Woman (2015) translated by George Nicolas El-Hage, Ph.D

Italian

• Poesie, a cura di G. Canova, M.A. De Luca, P. Minganti, A. Pellitteri, Istituto per l’Oriente, Roma 1976.
• Il fiammifero è in mano mia e le vostre piccole nazioni sono di carta e altri versi, a cura di V. Colombo, San Marco dei Giustiniani, Genova 2001.
• Il libro dell’amore, traduzione di M. Avino, in Antologia della letteratura araba contemporanea. Dalla nahda a oggi, a cura di M. Avino, I. Camera d’Afflitto, Alma Salem, Carocci, Roma 2015, pp. 116–117.
• Le mie poesie più belle, traduzione dall’arabo a cura di N. Salameh e S. Moresi, postfazione di P. Caridi, Jouvence, Milano 2016.

Nepali

• Many of Qabbani's poems has been translated into Nepali by Suman Pokhrel, and are collected in an anthology tilled Manpareka Kehi Kavita.^[14][15][16]

Hindi

Many of Qabbani's poems are translated into Hindi by Siddheshwar Singh, Arpana Manoj, Manoj Patel, Rinu Talwar and other translators.^[17]

Russian

Evgeniy Dyakonov wrote his PhD thesis on the translation of Nizar Qabbani's poetry into Russian; Dyakonov's translations were published by Biblos Consulting, Moscow, in 2007.^[18]

References[edit]

1. ^Darwish, Adel (5 May 1998). 'Obituary: Nizar Qabbani'. The Independent.
2. ^“Nizar Qabbani: From Romance to Exile”, Muhamed Al Khalil, 2005, A dissertation submitted to the faculty of the Department of Near Eastern Studies in partial ulfilment of the requirements for the degree of Doctor of Philosophy in the Graduate College of the University of Arizona, USA.
3. ^ ^ab'Qabbani, Nizar'. Encyclopædia Britannica Online. Retrieved 23 June 2007.
4. ^ ^abcde'Biographical notes on Nizar Qabbani'. American University of Beirut. Retrieved 23 June 2007.
5. ^ ^abcdefg'Nizar Qabbani'. PoemHunter.com. Retrieved 23 June 2007.
6. ^ ^ab'Nizar Qabbani, Major Arab Literary Figure, Dies'. CNN.com. 30 April 1998. Archived from the original on 25 May 2005. Retrieved 23 June 2007.Cite uses deprecated parameter deadurl= (help)
7. ^Sadgrove, Philip (2010), 'Ahmad Abu Khalil al-Qabbani (1833–1902)', in Allen, Roger M. A.; Lowry, Joseph Edmund; Stewart, Devin J. (eds.), Essays in Arabic Literary Biography: 1850–1950, Otto Harrassowitz Verlag, p. 267, ISBN978-3447061414
8. ^تعريف و معنى قبان في معجم المعاني الجامع - معجم عربي عربي. almaany (in Arabic).
9. ^ ^ab'Archived copy'. Archived from the original on 30 May 2009. Retrieved 29 May 2009.Cite uses deprecated parameter deadurl= (help)CS1 maint: archived copy as title (link)
10. ^'Qabbani Recovered from Sickness, Gratitude Message to Syrians'. Arabic News. 15 December 1997. Archived from the original on 30 September 2007. Retrieved 23 June 2007.Cite uses deprecated parameter deadurl= (help)
11. ^ ^abcd'Nizar Qabbani: Pioneer of Modern Arab Poetry'. Arabic News. 4 May 1998. Archived from the original on 30 September 2007. Retrieved 23 June 2007.Cite uses deprecated parameter deadurl= (help)
12. ^ ^abcdefghi'قصائد نزار قباني المغنّاة.. من فيروز وأم كلثوم إلى كاظم الساهر وماجدة الرومي'. Laha Magazine. 11 August 2015. Retrieved 8 December 2018.
13. ^'Who is Najat Al Saghira?'. 19 June 2015. Retrieved 28 August 2015.
14. ^Akhmatova, Anna; Świrszczyńska, Anna; Ginsberg, Allen; Agustini, Delmira; Farrokhzad, Forough; Mistral, Gabriela; Jacques, Jacques; Mahmoud, Mahmoud; Al-Malaika, Nazik; Hikmet, Nazim; Qabbani, Nizar; Paz, Octavio; Neruda, Pablo; Plath, Sylvia; Amichai, Yehuda (2018). Manpareka Kehi Kavitaमनपरेका केही कविता [Some Poems of My Choice] (Print) format= requires url= (help) (in Nepali). Translated by Pokhrel, Suman (First ed.). Kathmandu: Shikha Books. p. 174. ISBN978-9937-9244-5-0.
15. ^Tripathi, Geeta (2018). 'अनुवादमा 'मनपरेका केही कविता'' [Manpareka Kehi Kavita in Translation]. Kalashree. pp. 358–359.
16. ^Prof. Abhi Subedi : Sahitya ra Aam Britta p 189, 2014, ISBN978 9937 852531
17. ^http://kavitakosh.org/kk/निज़ार_क़ब्बानी
18. ^http://www.arabbook.ru/?document=22&lng=ru

The life and times of Nizar Qabbani, The Nation, Faizan Ali Warraich, 10-October-2018, https://nation.com.pk/11-Oct-2018/the-life-and-times-of-nizar-qabbani

External links[edit]

• Nizar Qabbani's books(in Arabic)
• Qabbani in English at Poems Found in Translation
• Thoughts Inspired by PBS’s Two-Sentence Report on The Death of Syrian Poet Nizar Qabbani By Salman M. Hilmy, Washington Report on Middle East Affairs, October/November 1998, pages 74–76
• English translations of Qabbani's poems I Decided, At Zero and I wrote on the wind.
• NYT article about Dec 1981 bomb attack on Iraqi Embassy in Beirut: https://www.nytimes.com/1981/12/16/world/bomb-wrecks-iraqi-embassy-in-beirut.html

Arabic poetry (Arabic: الشعر العربي‎ ash-shi‘ru al-‘Arabīyyu) is the earliest form of Arabic literature. Present knowledge of poetry in Arabic dates from the 6th century, but oral poetry is believed to predate that.

Arabic poetry is categorized into two main types, rhymed or measured, and prose, with the former greatly preceding the latter. The rhymed poetry falls within fifteen different meters collected and explained by al-Farahidi in The Science of ‘Arud. Al-Akhfash, a student of al-Farahidi, later added one more meter to make them sixteen. The meters of the rhythmical poetry are known in Arabic as 'seas' (buḥūr). The measuring unit of seas is known as 'taf‘īlah', and every sea contains a certain number of taf'ilas which the poet has to observe in every verse (bayt) of the poem. The measuring procedure of a poem is very rigorous. Sometimes adding or removing a consonant or a vowel can shift the bayt from one meter to another. Also, in rhymed poetry, every bayt has to end with the same rhyme (qāfiyah) throughout the poem.

Al-Kʰalīl b. ˀAḫmad al-Farāhīdī (711 – 786 A. D.) was the first Arab scholar to subject the prosody of Arabic poetry to a detailed phonological study. He failed to produce a coherent, integrated theory which satisfies the requirements of generality, adequacy, and simplicity; instead, he merely listed and categorized the primary data, thus producing a meticulously detailed but incredibly complex formulation which very few indeed are able to master and utilize.

Researchers and critics of Arabic poetry usually classify it in two categories: classical and modern poetry. Classical poetry was written before the Arabic renaissance (al-Nahḍah). Thus, all poetry that was written in the classical style is called 'classical' or 'traditional poetry' since it follows the traditional style and structure. It is also known as 'vertical poetry' in reference to its vertical parallel structure of its two parts. Modern poetry, on the other hand, deviated from classical poetry in its content, style, structure, rhyme and topics.

• 2Poetry under Islam
• 3Poetic genres
  • 3.4Poetic forms

Pre-Islamic poetry[edit]

The first major poet in the pre-Islamic era is Imru' al-Qais, the last king of the kingdom of Kindah. Although most of the poetry of that era was not preserved, what remains is well regarded as the finest of Arabic poetry to date. In addition to the eloquence and artistic value, pre-Islamic poetry constitutes a major source for classical Arabic language both in grammar and vocabulary, and as a reliable historical record of the political and cultural life of the time.

Poetry held an important position in pre-Islamic society with the poet or sha'ir filling the role of historian, soothsayer and propagandist. Words in praise of the tribe (qit'ah) and lampoons denigrating other tribes (hija') seem to have been some of the most popular forms of early poetry. The sha'ir represented an individual tribe's prestige and importance in the Arabian peninsula, and mock battles in poetry or zajal would stand in lieu of real wars. 'Ukaz, a market town not far from Mecca, would play host to a regular poetry festival where the craft of the sha'irs would be exhibited.

Alongside the sha'ir, and often as his poetic apprentice, was the rawi or reciter.^[1] The job of the rawi was to learn the poems by heart and to recite them with explanations and probably often with embellishments. This tradition allowed the transmission of these poetic works and the practice was later adopted by the huffaz for their memorisation of the Qur'an. At some periods there have been unbroken chains of illustrious poets, each one training a rawi as a bard to promote his verse, and then to take over from them and continue the poetic tradition. For example, Tufayl trained 'Awas ibn Hajar, 'Awas trained Zuhayr, Zuhayr trained his son Ka`b, Ka`b trained al-Hutay'ah, al-Hutay'ah trained Jamil Buthaynah and Jamil trained Kuthayyir `Azza.

Among the most famous poets of the pre-Islamic era are Imru' al-Qais, Samaw'al ibn 'Adiya, al-Nabigha, Tarafa, Zuhayr bin Abi Sulma, and Antarah ibn Shaddad. Other poets, such as Ta'abbata Sharran, al-Shanfara, 'Urwah ibn al-Ward, were known as su'luk or vagabond poets, much of whose works consisted of attacks on the rigidity of tribal life and praise of solitude.^[2] Some of these attacks on the values of the clan and of the tribe were meant to be ironic, teasing the listeners only in order finally to endorse all that the members of the audience held most dear about their communal values and way of life. While such poets were identified closely with their own tribes, others, such as al-A'sha, were known for their wanderings in search of work from whoever needed poetry.

The very best of these early poems were collected in the 8th century as the Mu'allaqat meaning 'the hung poems' (traditionally thought because they were hung on or in the Kaaba) and the Mufaddaliyat meaning al-Mufaddal's examination or anthology. The Mu'allaqat also aimed to be the definitive source of the era's output with only a single example of the work of each of the so-called 'seven renowned ones', although different versions differ in which 'renowned ones' they chose. The Mufaddaliyat on the other hand contains rather a random collection.

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.^[3] This concept in Arabic poetry is referred to as 'al-waqfa `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.

ٍSome famous Jahili poets:

Poetry under Islam[edit]

These early poems were to some extent considered a threat to the newly emerging faith of Islam and if not actually suppressed, fell into disuse for some years^{[citation needed]}. The sha'ir and their pronouncements were too closely associated with the religion practiced before Islam, and the role of the poet was singled out for criticism in the Qur'an^{[citation needed]}. They also praised things that are unlawful under Islam such as wine, which clashed with the new ideology. Satirical poems attacking an idea or leader were less censured. While some poets were early converts, poetry about or in praise of Islam took some time to develop.

It was the early poems' importance to Islamic scholarship, though, which would lead to their preservation. Not only did the poems illuminate life in the early years of Islam and its antecedents but they would also prove the basis for the study of linguistics of which the Qur'an was regarded as the pinnacle.

Many of the pre-Islamic forms of verse were retained and improved upon. Naqa'id or flytings, where two poets exchange creative insults, were popular with al-Farazdaq and Jarir swapping a great deal of invective. The tradition continued in a slightly modified form as zajal, in which two groups 'joust' in verse, and remains a common style in Lebanon.

Court poets[edit]

Ghaylan ibn 'Uqbah (c. 696 – c. 735), nicknamed Dhu al-Rummah, is usually regarded as the last of the Bedouin poets. His works had continued the themes and style of the pre-Islamic poets particularly eulogising the harsh but simple desert life, traditionally recited round a campfire. Although such themes continued and were returned to by many modern, urban poets, this poetic life was giving way to court poets. The more settled, comfortable and luxurious life in Umayyad courts led to a greater emphasis on the ghazal or love poem. Chief amongst this new breed of poet was Abu Nuwas. Not only did Abu Nuwas spoof the traditional poetic form of the qasida and write many poems in praise of wine, his main occupation was the writing of ever more ribald ghazal many of them openly homosexual.^{[citation needed]}

While Nuwas produced risqué but beautiful poems, many of which pushed to the limit what was acceptable under Islam, others produced more religiously themed poetry. It is said that Nuwas struck a bargain with his contemporary Abu al-Alahijah: Abu Nuwas would concentrate on wine and love poems whilst al-Alahijah would write homilies. These homilies expressed views on religion, sin and the afterlife, but occasionally strayed into unorthodox territory. While the work of al-Alahijah was acceptable, others such as the poet Salih ibn 'Abd al-Quddus were executed for heresy. Waddah al-Yaman, now the national poet of Yemen, was also executed for his verse, but this was probably due to his over-familiarity with the wife of the caliph Al-Walid I.

Court poets were joined with court singers who simply performed works included Ibrahim al-Mawsili, his son Ishaq al-Mawsili and Ibrahim ibn al-Mahdi son of caliph al-Mahdi. Many stories about these early singers were retold in the Kitab al-Aghani or Book of Songs by Abu al-Faraj al-Isfahani.

The Sufi tradition also produced poetry closely linked to religion. Sufism is a mystical interpretation of Islam and it emphasised the allegorical nature of language and writing. Many of the works of Sufi poets appear to be simple ghazal or khamriyyah. Under the guise of the love or wine poem they would contemplate the mortal flesh and attempt to achieve transcendence. Rabia al-Adawiyya, Abd Yazid al-Bistami and Mansur al-Hallaj are some of the most significant Sufi poets, but the poetry and doctrine of al-Hallaj was eventually considered heretic for saying 'I am the Truth', which came to be compared as literal incarnation. Al Hallaj was crucified and later became known as a Martyr.

The caliph himself could take on the role of court poet with al-Walid II a notable example, but he was widely disliked for his immorality and was deposed after only a year.

Nizar Qabbani Quotes In Arabic

An important doctrine of Arabic poetry from the start was its complexity, but during the period of court poetry this became an art form in itself known as badi`. There were features such as metaphor, pun, juxtaposing opposites and tricky theological allusions. Bashar ibn Burd was instrumental in developing these complexities which later poets felt they had to surpass. Although not all writers enjoyed the baroque style, with argumentative letters on the matter being sent by Ibn Burd and Ibn Miskawayh, the poetic brinkmanship of badi led to a certain formality in poetic art, with only the greatest poets' words shining through the complex structures and wordplay. This can make Arabic poetry even more difficult to translate than poetry from other languages, with much of a poet's skill often lost in translation.

Arabic poetry declined after the 13th century along with much of the literature due to the rise of Persian and Turkish literature. It flowered for a little longer in al-Andalus (Islamic Spain) but ended with the expulsion of the Arabs in 1492. The corpus suffered large-scale destruction by fire in 1499 when Cardinal Jimenez de Cisneros made a public auto-da-fé in Granada, burning 1,025,000 Arabic volumes.^[4]

Poetic genres[edit]

Romantic poetry[edit]

Another medieval Arabic love story was Hadith Bayad wa Riyad (The Story of Bayad and Riyad), a 13th-century Arabic love story written in al-Andalus. The main characters of the tale are Bayad, a merchant's son and a foreigner from Damascus, and Riyad, a well-educated girl in the court of an unnamed Hajib of al-Andalus (vizier or minister), whose equally unnamed daughter, whose retinue includes Riyad, is referred to as the Lady. The Hadith Bayad wa Riyad manuscript is believed to be the only illustrated manuscript known to have survived from more than eight centuries of Muslim and Arab presence in Spain.

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There were several elements of courtly love which were developed in Arabic poetry, namely the notions of 'love for love's sake' and 'exaltation of the beloved lady' which have been traced back to Arabic literature of the 9th and 10th centuries. The notion of the 'ennobling power' of love was developed in the early 11th century by the Persian psychologist and philosopher, Ibn Sina (known as 'Avicenna' in English), in his Arabic treatise Risala fi'l-Ishq (Treatise on Love). The final element of courtly love, the concept of 'love as desire never to be fulfilled', was also at times implicit in Arabic poetry.^[5]

The 10th century Encyclopedia of the Brethren of Purity features a fictional anecdote of a 'prince who strays from his palace during his wedding feast and, drunk, spends the night in a cemetery, confusing a corpse with his bride. The story is used as a gnostic parable of the soul's pre-existence and return from its terrestrial sojourn'.^[6]

Many of the tales in the One Thousand and One Nights are also love stories or involve romantic love as a central theme, including the frame story of Scheherazade, and many of the stories she narrates, such as 'Aladdin', 'Ali Baba', 'The Ebony Horse' and 'The Three Apples'.

Satirical poetry[edit]

The genre of Arabic satirical poetry was known as hija. While dealing with serious topics in what are now known as anthropology, sociology and psychology, Al-Jahiz introduced a satirical approach, 'based on the premise that, however serious the subject under review, it could be made more interesting and thus achieve greater effect, if only one leavened the lump of solemnity by the insertion of a few amusing anecdotes or by the throwing out of some witty or paradoxical observations. He was well aware that, in treating of new themes in his prose works, he would have to employ a vocabulary of a nature more familiar in hija, satirical poetry.'^[7] For example, in one of his zoological works, he satirized the preference for longer human penis size, writing: 'If the length of the penis were a sign of honor, then the mule would belong to the (honorable tribe of) Quraysh'. Another satirical story based on this preference was an Arabian Nights tale called 'Ali with the Large Member'.^[8]

In the 10th century, the writer Tha'alibi recorded satirical poetry written by the poets as-Salami and Abu Dulaf, with as-Salami praising Abu Dulaf's wide breadth of knowledge and then mocking his ability in all these subjects, and with Abu Dulaf responding back and satirizing as-Salami in return.^[9] An example of Arabic political satire included another 10th-century poet Jarir satirizing Farazdaq as 'a transgressor of the Sharia' and later Arabic poets in turn using the term 'Farazdaq-like' as a form of political satire.^[10]

Poetic themes[edit]

• Madih, a eulogy or panegyric
• Hija, a lampoon or insult poem
• Rithā', an elegy
• Wasf, a descriptive poem
• Ghazal, a love poem, sometimes expressing love of men
• Khamriyyah, wine poetry
• Tardiyyah, hunt poetry
• Khawal, homiletic poetry
• Fakhr, boasting
• Hamasah, war poetry

Nizar Qabbani Poem Hunter

Poetic forms[edit]

Poetry in Arabic is traditionally grouped in a diwan or collection of poems. These can be arranged by poet, tribe, topic or the name of the compiler such as the Asma'iyyat of al-Asma'i. Most poems did not have titles and they were usually named from their first lines. Sometimes they were arranged alphabetically by their rhymes. The role of the poet in Arabic developed in a similar way to poets elsewhere. The safe and easy patronage in royal courts was no longer available^[when?] but a successful poet such as Nizar Qabbani was able to set up his own publishing house.

A large proportion of all Arabic poetry is written using the monorhyme, Qasidah. This is simply the same rhyme used on every line of a poem. While this may seem a poor rhyme scheme for people used to western literature it makes sense in a language like Arabic which has only three vowels which can be either long or short.

Mu'rabbah, literary Arabic[edit]

• Qarid
  • Qit'ah, an elegy or short poem about an event
  • Qasidah, an ode, designed to convey a message. A longer version of qit'ah
• Muwashshah, meaning 'girdled', courtly love poetry
• Ruba'i or dubayt, a quatrain
• Rajaz, a discourse in rhyme, used to push the limits of lexicography

Malhunah, vernacular poetry[edit]

• Kan ya ma kan, meaning 'once upon a time'
• Quma
• Zajal, meaning 'shout'
• Mawwal or Mawaliya, folk poetry in four rhyming lines
• Nabati, the vernacular poetry of the tribes of the Arabian Peninsula and the Syrian Desert.
• Humayni, the vernacular poetry of Yemen.

Literary theory and criticism[edit]

Literary criticism in Arabic literature often focused on religious texts, and the several long religious traditions of hermeneutics and textual exegesis have had a profound influence on the study of secular texts. This was particularly the case for the literary traditions of Islamic literature.

Literary criticism was also employed in other forms of medieval Arabic literature and poetry from the 9th century, notably by al-Jahiz in his al-Bayan wa-'l-tabyin and al-Hayawan, and by Abdullah ibn al-Mu'tazz in his Kitab al-Badi.^[11]

Modern poetry[edit]

—Excerpt from Francis Marrash's Mashhad al-ahwal (1870), translated by Shmuel Moreh.^[12]

Beginning in the 19th and early 20th centuries, as part of what is now called 'the Arabic renaissance' or 'al-Nahda', poets like Francis Marrash, Ahmad Shawqi and Hafiz Ibrahim began to explore the possibility of developing the classical poetic forms.^[13][14] Some of these neoclassical poets were acquainted with Western literature but mostly continued to write in classical forms, while others, denouncing blind imitation of classical poetry and its recurring themes,^[12] sought inspiration from French or English romanticism.

A common theme in much of the new poetry was the use of the ghazal or love poem in praise of the poet's homeland. This was manifested either as a nationalism for the newly emerging nation states of the region or in a wider sense as an Arab nationalism emphasising the unity of all Arab people. The poems of praise (madih), and the lampoon (hija) also returned. Shawqi produced several works praising the reforming Turkish leader Kemal Atatürk, but when Atatürk abolished the caliphate, Shawqi was not slow in attacking him in verse. Political views in poetry were often more unwelcome in the 20th century than they had been in the 7th, and several poets faced censorship or, in the case of Abd al-Wahhab al-Bayyati, exile.

After World War II, there was a largely unsuccessful movement by several poets to write poems in free verse (shi'r hurr).^[15] Most of these experiments were abandoned in favour of prose poetry, of which the first examples in modern Arabic literature are to be found in the writings of Francis Marrash,^[16] and of which one of two of the most influential proponents were Nazik al-Malaika and Iman Mersal. The development of modernist poetry also influenced poetry in Arabic. The closer the Arab poets approached to European poetry, the more anxious they became to look for new media, themes, techniques, metaphors and forms to liberate themselves from conventional poetry.^[17]Iraqi poet Badr Shakir al-Sayyab is considered to be the originator of free verse in Arabic poetry. More recently, poets such as Adunis have pushed the boundaries of stylistic experimentation even further.

Poetry retains a very important status in the Arab world.Well-known Iraqi poets include al-Mutanabbi, Abdul Razzak Abdul Wahid, Lamia Abbas Amara, Nazik Al-Malaika, Muhammad Mahdi al-Jawahiri, Badr Shaker al-Sayyab, Ahmed Matar, Abd al-Wahhab Al-Bayati, Wahid Khayoun, Mustafa Jamal al-Din and Muzaffar Al-Nawab.Mahmoud Darwish was regarded as the Palestinian national poet, and his funeral was attended by thousands of mourners. Syrian poet Nizar Qabbani addressed less political themes, but was regarded as a cultural icon, and his poems provide the lyrics for many popular songs. Other well-known Syrian poets include Badawi al-Jabal and Adunis.

Arabian Love Poems Nizar Qabbani

Reality television poetry competitions like Prince of Poets and Million's Poet exist to promote classical Arabic poetry and Nabati poetry respectively. Notable contestants in these competitions include Tamim al-Barghouti, Hissa Hilal, and Hisham al Gakh.

See also[edit]

References[edit]

1. ^Allen, p. 114.
2. ^Allen, p. 109.
3. ^Allen, p. 126.
4. ^Monroe, p. 381.
5. ^Von Grunebaum, pp. 233–234.
6. ^Hamori, p. 18.
7. ^Bosworth, p. 32.
8. ^Marzolph, van Leeuwen & Wassouf, pp. 97–98.
9. ^Bosworth, pp. 77–78.
10. ^Bosworth, p. 70.
11. ^Van Gelder, pp. 1–2.
12. ^ ^abMoreh (1988), p. 34.
13. ^Moreh (1976), p. 44.
14. ^Somekh, pp. 36–82.
15. ^'Free verse, Arabic'. doi:10.1163/1573-3912_ei3_com_27182.Cite journal requires journal= (help)
16. ^Jayyusi, p. 23.
17. ^Moreh, S. (1968). 'Free Verse '(Al-shi'r al-hurr)' in Modern Arabic Literature: Abū Shādī and His School, 1926-46'. Bulletin of the School of Oriental and African Studies, University of London. 31 (1): 28–51. doi:10.1017/S0041977X00112777. ISSN0041-977X. JSTOR612002.

Sources[edit]

• Allen, Roger (2005). The Arabic Literary Heritage: The Development of its Genres and Criticism. Cambridge University Press. ISBN0-521-48525-8.
• Bosworth, Clifford Edmund (1976). The Mediaeval Islamic Underworld: the Banu Sasan in Arabic Society and Literature. Brill. ISBN90-04-04392-6.
• Hamori, Andras (1971). 'An Allegory from the Arabian Nights: the City of Brass', Bulletin of the School of Oriental and African Studies. Cambridge University Press.
• Jayyusi, Salma Khadra (1977). Trends and Movements in Modern Arabic Poetry. Volume I. Brill. ISBN978-9004049208.
• Marzolph, Ulrich; van Leeuwen, Richard; Wassouf, Hassan (2004). The Arabian Nights Encyclopedia. ABC-CLIO. ISBN1-57607-204-5.
• Monroe, James T. (2004). Hispano-Arabic Poetry: a Student Anthology. Gorgias Press. ISBN1-59333-115-0.
• Moreh, Shmuel (1976). Modern Arabic Poetry 1800–1970: the Development of its Forms and Themes under the Influence of Western Literature. Brill. ISBN978-9004047952.
• Moreh, Shmuel (1988). Studies in Modern Arabic Prose and Poetry. Brill. ISBN978-9004083592.
• Somekh (1992), 'The Neo-Classical Poets', in M. M. Badawi (ed.), Modern Arabic Literature. Cambridge University Press. ISBN978-0521331975.
• Wagner, Ewald (1987), Grundzüge der klassischen arabischen Dichtung. Darmstadt: Wissenschaftliche Buchgesellschaft.
• Von Grunebaum, G. E. (1952). 'Avicenna's Risâla fî 'l-'išq and Courtly Love', Journal of Near Eastern Studies.

Further reading[edit]

• El-Rouayheb, Khaled (2005). 'The Love of Boys in Arabic Poetry of the Early Ottoman Period, 1500–1800', Middle Eastern Literatures. Volume VIII.
• Kennedy, Philip F. (1997). The Wine Song in Classical Arabic Poetry: Abu Nuwas and the Literary Tradition. Clarendon Press. ISBN978-0198263920.
• Stetkevych, Suzanne Pinckney (1993). The Mute Immortals Speak: Pre-Islamic Poetry and the Poetics of Ritual. Cornell University Press. ISBN978-0801480461.
• Athamneh, Waed (2017). Modern Arabic Poetry: Revolution and Conflict. University of Notre Dame Press.
• Abdel-Malek, Zaki N. Towards A New Theory of Arabic Prosody: A Textbook For Students and Instructors.

Nizar Qabbani Choose

External links[edit]

Zainab Qabbani