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

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Alongside the sha'ir, and often as his poetic apprentice, was the rawi or reciter. [2] 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. Poetry as a part of contemporary literature retains a very important status in the Arab world. [73] Besides that, poets of " commitment" ( iltizam), among them Abd al-Wahhab Al-Bayati, Khalil Hawi, and Mahmoud Darwish, played an important role in politics of the Arabian people along with an establishment of national states, revolutions, and the 1967 Six-Day War. [74] [75] [76] [77] [45] Leonhardt, J., Phalloslied und Dithyrambos. Aristoteles über den Ursprung des griechischen Dramas. Heidelberg 1991 Minor, Vernon Hyde (2016). Baroque Visual Rhetoric. University of Toronto Press. p.13. ISBN 978-1-4426-4879-1.

Jubrān Khalīl Jubrān ( 1883–1931), the most prominent figure among the Mahjar poets, played an influential role as well. 10 Although as a poet in Arabic he did not occupy a very high rank, his contributions display important experimentations especially in breaking away from the monorhyme and meter of the poem and the introduction of philosophical meditations influenced by Nietzsche and William Blake. His simple language, in poetry and in prose, had the most resonant effect in the works of later writers and poets in Arabic. 11 Not all poets included under the banner of the Arabic prose poem are exclusively committed to it. Many alternate between prose ( nathr) and verse ( tafʿīlah) in their poetic oeuvres. Poetry at the intersection of the prose poem and verse poem invites examination of the meaning and poetic function of meter in this context and the consequences of deliberately abandoning or employing it.

Norman, Charles (1962). Poets on Poetry. New York: Collier Books. Original texts from 8 English poets before the 20th Century and from 8 20th Century Americans. The Apūllū group declared their belief in art for art’s sake; a very significant and ironically political stance in the turbulent historical moment of Egypt in the 1930s. Seen by their contemporaries as escapists, the Arab Romantics declared a return to the self, loyalty to one’s art, a refuge in nature, and a recoil from the world of men. 15 They found in the English Romantics, and especially in Percy Shelley’s multifaceted persona, justification for that position and thus fashioned or perhaps distorted Shelley and other foreign influences in a manner appropriate for their project. 16

Beginning in the 19th century, as part of what is now called "the Arab Renaissance" or "revival" ( al-Nahda), some primarily Egyptian, Lebanese and Syrian writers and poets Rifa'a at-Tahtawi, Ahmad Faris al-Shidyaq, Butrus al-Bustani, and Francis Marrash believed that writing must be renewed towards modern style and themes [24] [25] [26] The blind poet Francis Marrash wrote in poetic prose and prose poetry and can be considered the first modern Arabic writer. [27] [28] Within and after the Arabic Renaissance appeared several poetry movements and groups. Meisami, Julie Scott; Starkey, Paul, eds. (1998). Encyclopedia of Arabic Literature. Vol.2. London; New York: Routledge. ISBN 0-415-18572-6. Shukrī Fayṣal, ed., “Editor’s Introduction,” in Abū al-ʿAtāhiyah: akhbāruhu wa-shiʿruhu, ed. Shukrī Fayṣal (Damascus, Syria: Maṭbaʽat Jāmiʽat Dimashq, 1965), 34. in Greek], ed. (1937). Ἀριστοτέλους Περὶ ποιητικῆς. Ἑλληνική Βιβλιοθήκη (in Greek). Vol.2. Translated by Μενάρδου, Σιμος [in Greek]. Ἀθῆναι: Kollaros. Tragedy is a representation of a serious, complete action which has magnitude, in embellished speech, with each of its elements [used] separately in the [various] parts [of the play] and [represented] by people acting and not by narration, accomplishing by means of pity and terror the catharsis of such emotions.

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Refers to the visual apparatus of the play, including set, costumes, and props (anything you can see). Aristotle calls spectacle the "least artistic" element of tragedy, and the "least connected with the work of the poet (playwright). [ clarification needed] For example: if the play has "beautiful" costumes and "bad" acting and "bad" story, there is "something wrong" with it. Even though that "beauty" may save the play it is "not a nice thing". Quinn, Arthur (1993). Figures of Speech. Hillsdale: Lawrence Erlbaum Associates. ISBN 1-880393-02-6. Orfalea, Gregory; Elmusa, Sharif, eds. (1999). Grape Leaves: A Century of Arab-American Poetry. New York: Interlink. ISBN 1566563380.