Arab Poets Research Articles

بشر بن أبي خازم: حياته وشعره في ضوء التحقيقات العصرية

Bishr Ibn Abī Khāzim Al-Asadī is an Arab pre-Islamic poet who is considered one of the good and famous eloquent Arabic poets of the first pre-Islamic era. He is different from Bishr ibn Marwān Al-Umawī (also known as Bishr ibn Abī Khāzim, the Arab poet) and each has a distinctive poetic style characterized by exquisite and eloquence. Bishr ibn Abī Khāzim Al-Asadī was born in Yemen and is believed to have been from one of the great tribes who controlled some areas of Arabia at that time. He was a famous poet of his time, known for his poetry dealing with topics as diverse as love, beauty, nature, society, war, and heroism. One of the famous poems attributed to him is the poem "Namlah Ibn ʿAjlān", in which he describes the beauty and virtues of a woman named an ant. His poetry is characterized by a refined and humorous style that attracts and interests the reader. Bishr Ibn Abī Khāzim moved between cities and tribes, and he used to meet poets and compete with them in poetry and was distinguished by his ability to present the idea in a smooth and attractive style, and then his poems were considered one of the important Arab literary works in the pre-Islamic era. So, we will discuss in this study the life of Bishr Ibn Abi Khazim and his poetic eloquence. This study will illuminate the poetic status of Bishr to the readers.

Recalling Quranic Meanings and Textual Harmony in the Poem ``You taught me life'' and its Impact on Guiding the Behavior of Society

The research is concerned with the effect of Quranic meanings in directing society's behaviors through poetry, which in turn is an effective tool in purifying and refining the human soul. Whether in a direct way to adopt community issues or in a suggestive manner, and in an unconscious activity that attempts to mislead the reader about the direct intent of the poetic significance. Because of the value of poetry and its impact on man and his taste, ancient and modern, the Quranic meanings were embodied in the poem ``You taught me life'' by the poet ``Mohammed Mustafa Hamam Al-Masry.'' He is one of the first generations of poets in the modern era. The poem is well-known for its representation and recitation. However, this is due to the agility of its language and the follow-up of the Qur'anic meanings, which came spontaneously and smoothly, evoked by the ideas mixed with the sincerity of passion of the committed Arab poet. Moreover, this led to a phenomenon that contributed to the production of a coherent text, but we did not find any interest in analyzing this poem and identifying the secrets of creativity, and its deep values. Therefore, we will explore and analyze these aesthetic secrets and show how they were employed to build society because of the connotations they carried inspired by the Holy Qur'an, which is a method for building society. We will first clarify the terms used in the research, identify the writer of the poem and his literary product, and move on to the analytical techniques of recalling meanings. The Qur'anic implications, the aesthetics of quotation, and its value in achieving creativity and then revealing the empowerment of these meanings in the mind of the reader.
 Keywords: recall, Quranic meanings, harmony, taught me life

Mausīqā al-Syi‘ri fī Dīwān al-Rāfi‘ī li Muṣṭafā Ṣādiq al-Rāfi‘ī (Dirāsah Taḥlīliyyah ‘Arūḍiyyah wa Qāfawiyyah)

Poetry in pre-Islamic era is sonsidered the foundation of true Arabic poetry with a classical form that use the 16 baḥr. Entering the modern era, Arabic literature is faced with western literature which has new rules in compiling poetry and many Arab poets prefer that new rule. Muṣṭafā Ṣādiq al-Rāfi‘ī was born in modern era, but he still uses the rules of classical poetry in compiling the Dīwān al-Rāfi‘ī. This study aims to find out the baḥr used and the disgrace of the qāfiyah in the Dīwān al-Rāfi‘ī. The method used is descriptive analysis. The results of this study are that the bahr used in the Dīwān al-Rāfi‘ī is thirteen baḥr, namely al-Ṭawīl, al-Mutaqārib, al-Wāfir, al-Basīṭ, al-Rajz, al-Sarī‘, al-Kāmil, al-Madīd, al-Raml, al-Khafīf, al-Munsarih, al-Mujtaṣ, and al-Mutadārik. While the disgrace of qāfiyah are al-Īṭā' and Sinad al-Ridf

Razmatranja o statusu ljudskih prava u razdobljima stare i klasične arapske poezije

Inquiry on the status of human rights in two foundational periods of Arabic poetry and literature, that of old and classical imply the undertaking of research in terms of all possible potential primordial contents Arabic poetry by which the formation of human rights may be insinuated, or perhaps their initial phase. In accordance with the period of old arabic literature it is possible to observe a whole general and known content of Arabic poetry, and thereby create an image of primordial development of directedness towards the realization of human rights among the Arabians of the mentioned eras. However, in order to forebode the human rights in their universal sense at the horizons of literary gnosis and expression, as well as social order, the following phase of Arabic poetry and poetics was necessary, that being the classical period embroidered with the upgrade of literary Arabic poetics. In that evolution and development of the conception of human rights from their primordial and natural origin among pre-islamic poets, the Arabian golden ode (al-muʿallaqāt) literature stems out. Thereafter, in terms of refinement and medieval ascension of man to the status of a necessarily social and civil being, the poets of asceticism and court poetry, Imam Al-Shāfiʿī, ʿAbd al-Raḥīm al-Barʿī and Ibn al-Rūmī stand out. Conclusively to the examination of the usage of the concept of human rights in old and classical Arabic literature, it is possible to get an impression that human rights were one of the implied topics in the development of the Arabic poetic tradition. Key words: human rights in poetry, Arabic poetry, al-muʿallaqāt, zuhd and human rights, Arabic court poetry, Ibn al-Rūmī, ʿAbd al-Raḥīm al-Barʿī.

Ferezdak’ın Şairliği ve Arap Edebiyatındaki Yeri

Ferezdak lakabıyla tanınan Hemmâm b. Gâlib, Emevî Döneminin en meşhur Arap şairleri arasında yer almakta ve Arap edebiyatında bilhassa nazmettiği hicviye ve methiye şiirleriyle tanınmaktadır. Bu çalışmada Ferezdak’ın şairliğinin ve edebî şahsiyetinin bilimsel bir metotla tetkik edilmesi hedeflenmektedir. Dolayısıyla araştırmanın temel kaynağı, şairin bizzat kendi divanıdır. Makale kapsamında öncelikle Ferezdak’ın edebî şahsiyeti ve şairliği hakkında bazı biyografik, edebî ve tarihî bilgi verilmiştir. Bunun ardından çalışmadaki hipotezlerin desteklenmesi adına, Ferezdak’ın divanından seçilen bazı mühim kasideler Türkçeye tercüme edilerek incelenmiştir. Şairin Zeynelâbidîn’i methettiği bir kasidesi, onun methiye şiirlerinin mütalaası hususunda örnek olarak seçilmiş ve bu şiir Türkçeye tam haliyle çevrilerek analiz edilmiştir. Onun hiciv şairliği hususunda ise, Emevî Halifesi Muâviye’yi hedef aldığı meşhur bir kasidesi tetkik edilmiştir. Bu kasidesinde Ferezdak’ın hiciv sanatındaki yeteneğini kanıtlamış olduğunu söylemek mümkündür. Mezkûr kaside ayrıca onun fahr türündeki eğilimlerini de yansıtabilecek niteliktedir. Son olarak Ferezdak’ın mersiye türündeki şiirlerinin mütalaası hususunda, onun kısa bir manzûmesi örnek olarak seçilmiştir.

الأسلوب في ديوان "ثمرات الحب في مدح نجل القطب" لبشير بِيْرَيْ: دراسة تحليلية

Eulogy is one of the most important poetic purposes dealt with by Arab poets in their poems, because it is concerned with explaining the moral and ethical aspects of the addressee, as Eulogy inspires in people the spirit of love tolerance and humility among themselves, and these attributes called the attention of the Sheikhs of the Sufi orders, as they showed the morals of the Prophet Muhammad (may Allah bless him and grand him peace) they also showed the compliance of his Companions and the entire Muslim Ummah to it. That is why Nigerian poets have a great role in emulating this art in their poems, they also have a role in the Eulogy of their Sheikhs in the Sufi orders, which includes the collection of "ThamaratulHubbi fi Madh NajlilQutb" by Bashir Birai, in which the articled aims to analyze the characteristics of the vocabulary and structures used in it.

Systemic Verbal Appending for Lamiat of Ibn Al-Arandas Al-Hilli Syntactic-Semantic Study

This research aims to clarify the meaning of verbal appending, which indicates the advent of a verb after a verb, according to one of the articulate Arab poets Ibn Al-Arandas Al-Hilli, as well as the effect of other clues such as context, adverb clues, denominator, and others in meaning and the semantics of appending (tandem, rectify, synonym, and sequence), and that the grammarians used it in the sense of subsequent subordination in their writings.The verbal appending came in Lamiat poem; to accomplish verbs with coordinated and interrelated semantic assumptions that indicate questioning, appeal, praise, affirmation and exaggeration, as well as connotations of renewal and occurrence. And that the shift in the actual forms led to the phenomenon of permutation of speech and the multiplicity of semantic aspects, and the poet used some appending verbs based on the passive, which is one of the important methods that Arabian was inclined to without the imbalance in meaning, and the appending in interrelated verbs is a type of propriety necessitated that and only those who He has the experience and knowledge of rhetoric and eloquence methods. There is no doubt that Ibn Al-Arandas Al-Hilli was the one who was well-versed in the language, grammar and rhetoric, so his Lamiat poem was full of all kinds of grammatical methods and rhetorical arts that had an impact on the immortality of this poem.

Argumentation in the Poetry of Adonis

In our research (study), we discussed of pilgrims and their significance (role) in gathering readers, conveying the message, and the variety of purpose and production, as well as their role in educating the reader. Despite the variety of meanings that indicated the nature of pilgrims, we have demonstrated in general that it has an influential and persuasive purpose that aims to persuade the reader mentality, psychologically, and preferred ways to convey its essence in addition to providing the recipient new knowledge or different convictions from his prior convictions. We have applied all of this to the samples of poetry by the Syrian Arab poet Ali Ahmed Saeed Esbir, also known as Adonis.

Arabic and English War Poetry: A Comparative Study of Wilfred Owen and Abdul Razzaq Abdul Wahid's Selected War Poems

Over the ages, and in all nations, war has been a significant topic of analysis. The successive outbreak of wars throughout history make the subject of war part of human life. There is no good war, as well as there is no winner; every side at war has something to lose, and this is a universal truth everywhere. War is war; it is the same ugly war everywhere and every time. However, what makes war different is the pen of the writers and the language that is used to describe this serious subject. Each writer or poet presents war differently according to his or her views, attitudes, or experiences. This study aims to make a comparison between two poets who wrote about war. The Arab poet Abdul Razzaq Abdul Wahid (1930-2015) and the English poet Wilfred Owen (1893-1918). This comparative study explores the similarities and differences between these two poets and their ways of dealing with the subject of war. The study will discuss two poems; "Dulce et Decorum Est" from Owen and "You Terrified the Death" ((روعتم الموت by Abdul Wahid. The paper focuses on using language for both poets and with reference to some theories about structure, content, form, and technique of literary language and poetics.

The Kinship and The Political Background of Shakespeare's tragedies: Hamlet and Macbeth

There are so many studies have been written about Shakespeare's plays and life such as Shakespeare's History Plays (1944) by E.M.W. Tillyard, Elizabethan Psychology and Shakespeare (1972) by Ruth L. Anderson, Shakespeare's Philosophical Patterns (1973) by W.C. Curry, (Lal. 1985. P26) and others, but few have been written in the political side of the tragedies, and particularly about the relationship between kingdom and power. This paper is an attempt to cover this area.In Shakespeare's tragedies: Hamlet and Macbeth one notices that the main element of the collapse of the kingdom was the king's kinship but not the king. The political struggle to seize power mainly stands on the military powers, This paper tries to find out the main political, social, and religious factors that lead to political conflict in the kingdoms in Hamlet and Macbeth, the elements of similarity and dissimilarity of the political fight to seize the power of kingship in the two plays and whether this way of political conflict to seize power a universal fact that stick to the nature of kingship and its continuity. The Lahjian Arab poet was right when he advised his Sultan of Lahij saying:“It's said: Do not fear the King but be afraid of his relatives and servants.”

THE POSITION OF MODERN ARABIC POETRY FROM THE OTTOMAN EMPIRE BETWEEN 1875-1925

The last years of the Ottoman Empire were filled with turmoil, disagreements, and conflicts, and many internal and external endeavors. To exhaust it, and eliminate it, especially in the era of Sultan Abdul Hamid, who differed opinions about his policy of ruling. Some of them see in him the tyrannical sultan, the oppressor who sought to silence and stifle freedoms, and some of them see him as an example of the righteous ruler who sought reform and preserving the unity of the Islamic nation, but the plots were very big, and therefore he was unable to prevent him from doing that. His ruling was to isolate him and install someone else, for he is the Sultan who did not sell Palestine to the Jews, and did not order the army to clash with the forces that marched from Silanik to isolate him, so he kept the blood of Muslims from being looted and prevented fighting between brothers. Modern Arab poetry was neither oblivious nor far from these events, most of which were mirrored by many poets in their poetry, such as the poet Ahmad Shawqi, Hafiz Ibrahim, Muhammad Abdul Muttalib, Elijah Abi Madi, Muhammad al-Eid Al-Khalifa, and none of them were among them. The literature of the diaspora has had a share in depicting the events of this period with the variation in opinions and positions, especially that the winds of nationalism began to blow forcefully over the region through external movement, and it was more than an Arab region (state) such as Algeria, Tunisia, Morocco, and Egypt emerged from the Ottoman rule and became the Ottoman Empire. western. Thus, Arabic poetry was a mirror that lived through reality, and reflected it. And these poems, especially those with a negative direction, had a great role in deepening the gap between the Turks and Arabs after the First World War until now. This study aims to clarify the position of modern Arabic poetry on the Ottoman state, whether negative or positive, based on the opinion of more than one Arab poet, a solution, a prominent figure who lived in that period and lived closely with it. The importance of the research is evident in its topic and its goal, especially in this difficult period in which the cunning work to drive the wedges of division between Arabs and Turks, as they did in the late Ottoman era. The study relies on methods of description and analysis, using history if needed, especially the notes of Sultan Abdul Hamid that he wrote with his own hand.

Grammatical equivalence in the Arabic poets of the Daulah Umawiyyah period

This study will examine the translation products of Arabic literary works that existed in the period of the Umawiyyah. This research generally uses two approaches, namely the literature approach and the translation science approach. Based on the translation approach, this study will measure the grammatical equivalence between Arabic and Bahasa Indonesia in the literary works of Arab poets during the Daulah Umawiyyah period. Then, this study will examine the application of translation techniques and methods in the literary works of the Arab poets of the Umawiyyah period. As for the approach to Literature, this research will investigate the product of the translation of literary works of Arab poets in the period of the Daulah Umawiyyah structurally. The diversity in Arabic Indonesian translation can be found in some aspects such as: (1) number, (2) gender, (3) person, (4) tense and aspect, and (5) voice. In addition, the application of translation techniques has a significant impact on the quality of Arabic poetry translation.

Nazik Malika is an Arabic poet, whose poems are full of pain and sorrow for herself and her nation.

(نازك الملائكة) من أبرز شعراء الشعر الحر في العراق والوطن العربي، وقصائدها مليئة بالجماليات الفنية والأدبية، على الرغم من ذلك فإنّ طابع الحزن والتشاؤم أخذت صورة مكثفة في قصائدها في كثير من الاحيان، مع السرديات المتنوعة، وبحثنا هذا المعنون (العلاقات السردية في شعر نازك الملائكة – العلاقة التواصل إنموذجاً -)، محاولة لإظهار قدرة (نازك) الشعرية في جانب يتعلق بالعلاقات السردية، لذا سيدرس البحث قسما من تلك العلاقات السردية ولاسيما : علاقة التواصل/ وهي تختص بــــ :- المرسِل والرسالة والمرسَل إليه، بوصفها الأنوذج الذي استخدمه (ياكبسون) لتحليل العلاقات التواصلية معتمدا على المرجع وهي الرسالة، والقصد من هذا النوع التواصلي هو تكوين الميزة الفارقة بين الوظيفة التواصلية للنص والوظيفية الدلالية

The Divan of Andalusian Poet Ibn al-Haddad: İntroduction and Analysis

Henüz hicri ilk yüzyılda Kuzey Afrika’nın tamamını fetheden Müslüman Araplar, Afrika ile yetinmemiş oradan İber Yarımadasına geçerek bugünkü İspanya topraklarının tamamına İslam’ı taşımışlardır. Yaklaşık sekiz asırlık Endülüs medeniyeti içerisinde pek çok alanda olduğu gibi edebiyat sahasında da Müslümanlar başarı göstermişler ve büyük şairler çıkarmışlardır. Bunlardan önemli bir isim olan İbnü'l-Haddâd (öl. 480/1087), edebi sanatları kullanmaya önem vermesi, Hristiyan bir rahibeye aşkını gazelleriyle dile getirmesi, Endülüslü olmasına rağmen Doğu Arap şairlerin yöntemini devam ettirmesi gibi pek çok açıdan dikkate değer bir şairdir. Bu çalışmada şairin divanı söz sanatları ve içerik bakımından incelenmiştir. Makalede daha ziyade kendisini mümtaz kılan yönleri ön plana çıkarılmış ve dikkat çeken yönleri incelenmiştir. Hristiyan bir rahibeye âşık olan fakat onunla evlenme imkânı bulamayan bir Müslüman şairin aşkını nasıl dile getirdiği özellikle irdelenmiştir. Söz sanatlarını kullanırken ne kadar tekellüften uzak olduğu üzerinde durulmuştur. Nesîbden methiyeye geçerken tehallus sanatında estetik kaygıları ne denli gözettiğine dair örnekler daha fazla ele alınmıştır.

Addressing Imam Mahdi in the Poetry of Sayyid Haider al-Hilly (Depending on the issue of waiting and mobilization)

In contemporary Arabic literature, especially in the field of poetry, a modern type of Mahdist literature has been opened, in which writers and poets have introduced the promised Mahdi (PBUH) and explained all his related issues mentioned in the hadiths and Sunnah. Among the contemporary Arab poets who followed this approach is Sayyid Haider al-Hilly, the contemporary Iraqi poet who is best known as the “Na'i al-Taf”. His poems concentrated on addressing Imam Mahdi like waiting for the Imam Mahdi's reappearance, mobilization, and complaining for him (PBUH) about the problems of the Muslims and especially the Shia. His poems were characterized by describing the Imam and mentioning his special virtues. This research aims at studying the issue of waiting and mobilization for Imam Mahdi and the complaint of the poet and objection to the delay of the Imam's reappearance in the poems of Sayyid Haider al-Hilly in the framework of the analytical-descriptive approach.

جدلية العلاقة بين الشعر والفلسفة عند الفلاسفة الغربيين والشعراء العرب "دراسة إبستمولوجية"

جدليَّةُ العلاقةِ بين الشعر والفلسفة هي إشكاليَّةٌ حديثةٌ قديمةٌ، فهي ترتبط في الأصل بالخلاف حول نوعيِّة المعرفة التي يحتاجها الإنسان، هل هي المعرفة بالقضايا الفيزيقيَّة، أو بقضايا الوجود الظاهريَّة الحسِّيَّة؟ كما ترتبط بتحديد مصدر المعرفة لدى الإنسان. فهل هو العقل المحض أو الحواسُّ؟ وهل ننقاد خلف المنطق والحساب أم خلف الخيال والوجدان؟ وقد مثَّلت هذه التساؤلاتُ مُنطَلَقَ الخِلافِ بين الفلاسفة والشعراء حول طبيعة العلاقة بين الشعر والفلسفة، وقد بدأت هذه الجدليَّةُ مع طرد أفلاطون للشعراء من جمهوريِّته، حيث رأى أنَّ الشعراء مقلِّدون، وأنَّ الشعر فنٌّ ضارٌّ، يجب أن تتخلَّص منه الدول الصالحة، كما أكَّد أفلاطون قِدَمَ هذا الصراعِ عليه، ونقل لنا أشكالا منه. تتناول هذه الدراسةُ موقفَ الفلسفة اليونانيَّة القديمة (أفلاطون وأرسطو) والفلسفة الغربيَّة الحديثة (فرديريش نيتشه ومارتن هيدجر) من الشعر، كما تعرض لموقف الشعراء العرب من جدليَّة العلاقة بين الشعر والفلسفة، وتأثير ذلك على الشعر، وقد جاءت الدراسة في مقدمةٍ ومبحثين، وهما: الأول: موقف الفلسفة من الشعر، ويشمل مطلبين، هما: موقف الفلسفة اليونانيَّة القديمة من الشعر، وموقف الفلسفة الغربية الحديثة من الشعر. والثاني: موقف الشعر العربيِّ من العلاقة بين الشعر والفلسفة، ويشمل مطلبين، هما، الشعراء الرافضون لوجود علاقة بين الشعر والفلسفة، والشعراء المؤيدون لوجود علاقة بين الشعر والفلسفة.

HOME IN THE POETRY OF SAUDI ARABIA POETS: ABDUS-SALAM HAFETH AN EXAMPLE OF A DISTINGUISHED ARAB (1)

Classical Arabic poetry is the core of all categories of literature in all Arabic lands, territories, and realms since the age of pre-Islam. This study is an attempt to shed light on some literary facets of modern Saudi Arabic poetry focusing on the concept of homeland as an illustration of the standing of modern Saudi Arabic poetry with a particular indication to a contemporary Saudi poet, Abdus-Salam Hashem Hafeth. It can be right that the progress of Arabic poetry in the present age, among Arab poets, writers, and critics has a positive measure. It is true to generalize that the same would be identical to current innovative Saudi poetry given that it is naturally considered a principal, commanding, and uninterrupted measure of Arabic poetry. The researcher endeavors to illustrate the poet's intellectuality in depicting his glorious city as a representative of his adoration for the big home - the Kingdom of Saudi Arabia. The study commences with a concise introduction. Then, it analytically moves ahead to inspect the noteworthy Saudi poet – Abdus-Salam Hashem Hafeth. After that, the study portrays a critical-analytical attitude to the first four-verse lines of the poem of Hafeth, ‘Nostalgia, Oh my Home’, focusing on the concept of home as its principal theme. In conclusion, the study ends with a concise assumption and recommendations. Keywords: Abdus-Salam Hashem Hafeth, Al Madinah Al Monawarah, Arabic Literature, Arabic Poetry, Home in Poetry, Kingdom of Saudi Arabia, Saudi poetry.

“A Whiff Like the Effect of Butterflies at the End of the Earth”1 : Esthetics of Linguistic Discourse in the Poems of Arab Poetesses as Mirrors of Liberation and Influence

Many female Arab writers have chosen poetry as the most efficient and esthetically most gratifying medium for expressing the discourse of liberation and influence that they are leading. The present paper discusses the new poetic devices adopted by various women poets, from the use of shocking titles to the creation of unusual devices for communication between reader and poem. In this study, we focus on three poems by three women poets and compare the role that verbal esthetics play in promoting the concept of liberation and influence in them. The first poem is ‘Taḥaddin’ (Challenge) by the Algerian poet Aḥlām Mustaghāminī (b. 1942). In it, language appears as an instrument for a discourse of liberation in face of great challenges: politics, society, the writer herself. The poet uses such traditional devices as harmonizing intertexuality and functional rhyme to construct her vision. The Iraqi poet Wafā Abd al-Razzāq (b. 1952) in her ‘Waqfāt’ (Pauses) takes symbols out of their usual context and deprives them of their evocative power in the reader’s mind, enabling her to use them to create images of her own vision of women composers of poetry. Maysūn Ṣaqr (b. 1958) of the United Arab Emirates expresses redemption through the act of writing by using meta-linguistic esthetic constructions such as écart, contrasting intertextuality and enjambement that shatter the meaning. All three poems use devices that are similar to those used by male Arab poets in modern times, the poetesses have succeeded in giving these devices a feminine coat unique to them. The difference lies in the mode of their use: 1) clearly hearing the feminine first person, 2) allusions to children’s voices, masks and stories, and 3) biographical tales whose protagonists are women, all of which are rarely to be found in the writings of male poets.

Romanceisms in the structure of Muwashshah and Zajal

Muwashshah and Zajal are important sources on the Mozarabic historical dialect. These poetic forms, unknown to classical Arabic versification, were created in Muslim Spain (al-Andalus). They often contain Romance words written in Arabic script (in Alhamiado). Many muwashshahs end with harjs (couples) in the Romance language. In zajals, there are also not only individual Roman words, but also entire lines in Roman. The most famous writer of zajals is the Arab poet from Cordoba origin Ibn Kuzman (c. 1080–1160). In muwashshahs, words in Romance are found in the last couplet, called kharja, and perform a structure-forming function. In zajals (developed from muwashshah), romanticisms are found throughout the text and perform a stylistic function.

Cultivation of Didacticism in the Arabic Literary Tradition of Nigerian Provenance

The Arabic literati of Nigerian provenance have made significant contributions to literary activities in the country. Thematically, the Arabic verses of the literati are compossed for divergent purposes. A perusal of the genres of these verses shows didacticism as the most cultivated theme. The paper examined the literary compositions amongst the Arabic literati with attention paid to their didactic writings, using one of them, Sheikh Mustafa Jumuʻah Adewale as a model. The paper revealed the propensity of the Nigerian Arabic poets for the cultivation of didacticism with their works on religious teachings, historical exposition, and morality and language studies. Their didactic contributions are predominantly in verses. The study employed both historical and contextual methods, in assessing the intellectual background of the composer and the social and cultural contexts that spurred the development of the cultivation of this genre by the Arabic poets in Nigeria. Purposive sampling technique was employed in selecting ’Al-Hiwār, as specimen of their didactic verses. Content analysis method was employyed in examining the theme of the poem, with attention paid to the significance of the educational issues it captured. To achieve this, the original text of the Qasīdah was translated to English with concise thematic analysis. Apart from being a compass to researchers in Nigerian literary scholarship, the study provides information about the creativity of Nigerian Arabic literati, especially the verse-makers. Information obtained from the work could be a veritable tool in the efforts to unravel the significance of the literary contributions of the Arabic scholars to literary development in Nigeria.