pre-Islamic Poetry Research Articles

Tramp Poets and Issue of Fabrication and Plagiarism in the Pre-Islamic Poetry

In this article we have chosen the pre-Islamic poetry and the issue of the fabrication and plagiarism in it, and the tramps are among the pre-Islamic poets, so we study the pre-Islamic era in which the Arabs lived in general, and these tramp poets in particular. To know how was the life of the Arabs in the pre-Islamic era? What are the motives that prompted some of them to the life of the tramp? Who are the tramps? As for the first pre-Islamic era, it is “the period of time that goes far back in the past, and the second pre-Islamic era, which means the time period that preceded Islam by a century and a half or two centuries at most. The word “tramp” in Arabic is the poor who has no money and no dependence. As for the literary terminology, the word “tramp” is used in different concepts that we mention at the time. Then we stand on the artistic components of this sect of the poets. The second part of this article is the pre-Islamic poetry and the issue of its fabrication and plagiarism, so we mention those reasons that called for distortion of pre-Islamic poetry and plagiarism in it. This article aims to response to the views of orientalists who doubt the pre-Islamic poetry and reject the existence of all or most of it, using the descriptive-analytical approach that is always suitable in treating such literary topics.

Narration of Pre-Islamic Poetry and its Sources

There is no doubt that the Arabs were illiterate, and they did not depend on the writing, but rather on the oral narrations since the pre-Islamic era. Oral narration in the pre-Islamic era was a technical school in which the young or novice poets learn the principles of poetry, just as the artisans today learn the principles of the craft and the rules of the profession. The junior remains attached to his teacher, carrying out his directions and corrections, and sticking to him as a beneficiary to be able to say and stand out in it, and whoever wanted to learn poetry or be a poet had to commit one of the great poets who was known and recognized for his status, in order to memorize, narrate and excel so that he can get the benefit and proficiency both. The series of narration of pre-Islamic poetry was not interrupted until the era of codification. However, the Orientalist Lyle confirms that who refer to (Muʻallaqāt): Pendants, for example, find that each has its own distinct personality, which proves that it belongs to its owner. Aim of this article is to shed light on that the Pre-Islamic poetry has reached us through the oral narrations, and to respond to those orientalists who doubt the authenticity of those narrations and the narrators who transmitted them until they were codified in the era of codification. In this study, we used the descriptive and historical approach, which is always useful in studying such heretical texts.

Shanfara the Tramp Between the Truth and Myth

We chose this topic because the stories told about Shanfara do not always agree with his poems, but are closer to being a picture of the popular legends that abounded about the heroes of the pre-Islamic era than being some true news, but there are several narrations that shed light on this fact that Shanfara grew up outside his people, as he moved or was transferred as a young boy to the other people, namely Banu Shabana b. Fahm, then he moved or transferred from them to Banu Salāmān b. Mufarrij, who were from the tribe of ʼAzd, and that his life in this mobility was not the life of pride that was enjoyed by the sons of the tribe and clan, but rather the life of intruders on the people, so he declared his revolution against the tribe and left them to the other people who were more honorable than them, the people who were not human, but were the beasts that he found to them what he lacked among his people. Hence, he chose the direction to the tramp, and cutting off the road. The aim of this study is to defend the existence of pre-Islamic poetry and respond to those who doubt the validity of the ratio of pre-Islamic poetry before Islam. The method used in this study is the historical descriptive method, which depends on the narrations of the narrators and the interpretation of heretical literary texts, which is always being useful in studying such topics.

Pre-Islamic Arabian Hidjāʼ

Satire - hidjāʼ. The aim of this genre is to humiliate the rival or had a negative impact on hostile tribes. Such kind of poems served to concept the hope and raise spiritual awareness of their supporters. Satire reached its peak during the reign of Umayyad. During this period hidjāʼ became the means of raising the self-esteem of poets and as well as an important means of providing financial position. In addition, authorities and governors respected satirists along with poets who praised them. They realized that satirists could discredit them with their satiric poems. The problem was made worse due to the competition existing among court poets. Satirists often wrote satire about each other to compete with each other to be closer to a caliph. It is worthy to say that satire was not as important in Pre-Islamic poetry as it became after Islam was spread. Arabic satire was distinguished by harshness, offensive language, cursing words and slander. Poets did not have to follow the truth. It was more important for them to accuse, expose and defamation his opponents as hard as possible. It was not important whether the accusations were true or not. It was more important for a satirist to show his poetic talent, skills and emphasize his advantage over a competitor. It must be admitted that there could hardly be any poet fount who did not write satire.

The i/u rhyme in pre-Islamic poetry and the Qurʾān studied from a phonetic and phonologic perspective

It is a well-known fact that in the oldest Arabic poetry, i and u occasionally rhyme with each other. The phenomenon, which is called ʾiqwāʾ in Arabic, was considered as a fault, and later generations of poets would tend to avoid it. The Qurʾān, more or less contemporary of the archaic poetry, should also be mentioned in this context. The wording of the suras, which was eventually fixed, abounds with i/u rhymes and assonances. The word ʾiqwāʾ is the maṣdar of ʾaqwā (IV), “arm sein,” according to H. Wehr’s Arabic dictionary, art. qawiya, or “to be poor.” However, as will be seen, all scholars and lexicographers do not agree with Wehr about the meaning of the verb ʾaqwā. In any case, it ought to be possible to analyse this kind of rhyme and assonance in an objective manner. In the present essay, I propose an approach based on phonetic and phonological analysis in order to try to determine why i and u are able to rhyme with one another in pre-Islamic poetry and to be intertwined with each other in Quranic rhymes and assonances, whereas the vowel a is restricted to rhymes and assonances mainly involving itself.

Louis Cheikho and the Christianization of Pre-Islamic and Early Islamic Ascetic Poetry

Abstract Using the Jesuit scholar Louis Cheikho’s (1859–1927) work on pre-Islamic and early Islamic ascetic poetry as a focal point, this article examines two strategies which contemporary and later scholars accused Cheikho of using to falsify the Arabic literary heritage. Cheikho de-Islamized Arabic language texts through editorial interventions, as evinced by his edition of the Dīwān of the Abbasid ascetic poet Abū al-ʿAtāhiya. Furthermore, he overtly laid claim to the past by Christianizing pre-Islamic poetry. In his work al-Naṣrāniyya wa-ādābuhā bayna ʿarab al-jāhiliyya, Cheikho tried to establish the “origins” of Arabic cultural and literary production in Christianity. He did so in response to Arab and European intellectuals who challenged the Christian contribution to Arabic. Above all, he rejected racist ideas embedded in nineteenth-century European philology, notably the denigration of Semitic languages and their speakers based on the “Aryan”/“Semite” binary in Ernest Renan’s (1823–1892) work.

Narration of Pre-Islamic Literature in Al-Kamil Al-Mubarrad’s Book

prepare a complete book; From the treasures of the Arabic library, and its valuables, and it is with its collection and narration of language, syntax, literature, eloquence, and criticism, it is necessary to stand with him for a long time, and the book has been printed many times and dear investigations have been achieved, the time of which is the investigation of Dr.: Mahmoud Ahmed Al-Dali, and the book has been studied. There are multiple researches in it, and everyone draws from this specific point and aims for it, and the goal of this paper is not the book of al-Kamel in its entirety, but rather the literary narration of the pre-Islamic era in it. In the context of talking about the narrator, I went through its various stages, eras, and transformations, until it appeared in Al-Kamil’s book; With a chain of narrators sometimes, and without it at other times, and I came across the causes of these phenomena and conditions in the narration, and the most important reference in this issue: the book (The Sources of Pre-Islamic Poetry and its Historical Value) by Dr. Nasir al-Din Asad, with its definition of the narrator, and the problems it answered.

The Prophet’s Visions in Sūrat al-Najm


 
 
 The opening verse of Q al-Najm 53, an oath by “the star” (najm) and its movement in the night sky, is followed by a relatively lengthy description of two vision experiences of the Prophet. This study aims to better understand the opening oath in the sūrah and its relationship to the subsequent visions. I will argue on the basis of evidence from Safaitic inscriptions, the anwāʾ works, and pre-Islamic poetry that the oath by the star refers to the rising and setting of the Pleiades in the night sky, and that these allusions would have been readily understood by the Qurʾān’s audience. The appearance and motion of the Pleiades serve to provide a visual analogy to the supernatural visions of the Prophet. Appreciating the relationship between the oath and the subsequent visions then allows us to better understand the visions themselves, and address questions such as whether the object of the vision was God or an angel.
 
 

Goethe and Pre-Islamic Poetry

The hypothesis of this research is that the impact of Pre-Islamic poetry appeared early in the features of the German poet, Goethe, in contrast with the critics who studied this connection. This impact appears in his novel The Sorrows of Young Wrether, which is one of his early works (1774). The researcher thinks that Goethe was unintentionally influenced by Pre-Islamic poetry in general and by Tarafah Ibn Alabd (his life and his outstanding Mu'ullaqa, the Lameyah) in particular. The research tries to clarify similarities and convergences between the two poets along with the two texts (the novel and Mu'ullaqa).

The plastic structure in the lyrical introduction to pre-Islamic poetry " The hanging Tarfa bin Al-Abd as a model"

يتناول البحث المقدمة الغزلية في معلقة طرفة بن العبد بوصفها نسقا تشكيليا يتسم بالمرونة وثراء المخيلة التي حققت معالجة تشكيلية وبناء فريدا داخل أنساق اللغة التركيبية والدلالية. وقد تناولت الابيات الشعرية المتمثلة بالمقدمة الغزلية بوصفها فرضية تشكيلية، مستندة في هدفها على إطار منهجي توزع على المشكلة التي تلخصت بالسؤال الاتي: هل بالإمكان النظر الى النسق الشعري داخل القصيدة الجاهلية /معلقة طرفة أنموذجاً، في ابعاده التشكيلية والتعرف على المعالجة الأسلوبية التي تحقق فضاء التشكيل داخل النص الشعري. وقد توزع البحث على تمهيد ومبحثين. أولهما تناول البنية التشكيلية وعناصرها الفنية، وثانيهما تناول حياة الشاعر وفنه الأدبي الإبداعي. كما تناول تحليل النص الشعري واكتشاف المعالجة التشكيلية فيه. وانتهت الإجراءات بأبرز النتائج ومنها: امتازت القصيدة بالثراء البصري الذي يتيحه تنوع الألفاظ وحمولتها الحسية التي تسمح لمخيلة القارئ مشاهدة الحدث وكأنه يحدث للتو. اظهر النص الشعري لغة مرنة وغزيرة التنوع على مستويي، الالفاظ والمعاني فضلا عن النسق التشكيلي المتطور في جسد النص الشعري. بعدها رصد البحث الاستنتاجات العامة التي توصلت لها رحلة البحث العلمية، ولينتهي بفهرس المصادر وملخص البحث باللغة الانكليزية

Narcissistic Pride in Pre-Islamic Poetry (Critical Usul/Method Study)

إنَّ علاقة الشعر بالنفس الإنسانية علاقة وطيدة، فالشعر وسيلة للتعبير عمّا يجيش في النفس الإنسانية من انفعالات وأحاسيس وعواطف وسلوكيات، والكلمات فيه مفاتيح أساسية لفهم شخصية قائلها، فالشخصية الحزينة تنشئ ألفاظًا وتعابير حزينة، والشخصية السعيدة تولِّد ألفاظًا وتعابير سعيدة، فالشخصية هي المحرّك الأساسي للكلمات، وهي الينبوع الوافر للأحاسيس والعواطف، والشعراء أبناء بيئاتهم، فكلّما كانت البيئة راقية حَضرية أَخرجَ الشاعرُ كلامًا راقيًّا مُفعمًا بالمشاعر النبيلة المتزنة، وكلّما كانت البيئة مُتدنيّة بدوية أَخرجَ الشاعرُ كلامًا مُتدنيًّا ينمُّ عن مشاعر قبيحةٍ مضطربةٍ، وقد لعبت البيئة الجاهلية -بما تحتويه من مفارقات طبقية- دورًا كبيرًا في بروز النرجسية في أشعار بعض الشعراء، نرجسية يسودها التفاخر بتعاظم (الأنا) وحب الذات وإلغاء دور الآخر في ساحات الصراع الميداني أو الكلامي، مُتجلّية في الإحساس بدنو مرتبة الشرف و النسب أو بروز النشوة بارتفاع الذات الماجنة العاشقة لجسد المرأة ومفاتنها، أو الإحساس بتعالي الذات المغرورة الطامحة إلى التسلّط والطموح. جاء البحث ليعبّر عن الفخر في الشعر الجاهلي ولكن ليس الفخر الذي عرفتْهُ كُتب الأدب و دواوين الشعر، إنّما هو فخر من نوع خاصٍّ امتزج مع الحال النَّفسية للشاعر ليخرجَ لنا فخرًا نرجسيًا يتماشى وذاته الشاعر المتعالية على غيرها بإحساس العظمة والرفعة.

From Ethico-Religious Exhortation to Legal Paraenesis: Functions of Qur’anic Waʿẓ

Abstract This essay examines qur’anic “exhortation” and “legal paraenesis” in light of pre-Islamic Arabic poetry and late antique biblical traditions. It analyzes the verb waʿaẓa and related forms in narrative and legal/legislative sections of suras that can be assigned to different chronological stages of the Qur’an’s textual genesis. Qur’anic exhortations initially occur in narratives about messengers sent to unbelieving peoples. The word mawʿiẓa then becomes part of the self-referential vocabulary of the Qur’an and is used to characterize the contents of Moses’ Tablets. This linguistic development anticipates a process of legal and regulatory actualization, specification, and exposition: in the Medinan period, legal discourse is framed with the verb waʿaẓa. The emerging Medinan legal paraenesis puts emphasis on social applicability, but it is neither parochial nor does it break with Meccan ethics. Instead, it connects the communication and implementation of laws, rulings, and commands to human volition in a specific social context.

The Phenomenon of Arabic Poetry Embellishments among Poets & Narrators up to the 4th Century AH

Many single narrations of one and the same line of old Arabic poetry, especially the Pre-Islamic, are not different because of lapses of memory as commonly thought. In fact, they are often due to intentional attempts on part of the narrators in question to introduce some improvements, starting from Pre-Islamic poetry up to the age of documentation of such earlier poems. Based on recurrent news of such attempts or even, sometimes, documented confessions of these attempts, the present research adopts a comparative analytical approach, along with the citation of other new examples of the abovementioned attempts. Indeed, these improvements or embellishments stem from linguistic, musical, semantic and aesthetic considerations. Yet, the researcher firmly deems that academic considerations, on top of which comes authenticity, the original poems or poems should be maintained with no changes or modifications. Keywords: Pre-Islamic poetry, Narration, Rationale of Poetic Improvements, Rationale of Poetry Embellishments.

The medical knowledge of pre-Islamic Arabs as Manifested in Poetry: الثقافة الطبية عند عرب الجاهلية كما تبدت في أشعارهم

The study aims to uncover the components of the medical knowledge of pre-Islamic Arabs as Manifested in Poetry, and the effect of this knowledge in the formation of poetic image, the study adopted the descriptive analytical method, which is concerned with extrapolating the poetic phenomenon and analyzing its dimensions. : The study presented a group of diseases that were illustrated in the pre-Islamic poetry, and talked about the ways adopted by the Arabs in the treatment, and has referred to the most important medical instruments and machines that were used. The treatments took different methods, such as: drugs and combination medicines, herbs and medicinal plants therapy, phylactery therapies, as well as they activate for surgery, cosmetic operations, obstetrics and circumcision surgery. Then the study dealt with the medical knowledge in the formation of poetic image. The study concluded by mentioning the results, including the medical scientific knowledge of the Arabs in the pre-Islamic era was convenient to their level of civilization, guided them through their personal experiences and expertise inherited, or swaging contact civilized their neighboring Nations, as well as their dependence on the magic in the treatment of many diseases. . This medical knowledge has formed a cultural patrimony through poetry. They mentioned a lot of diseases, medicines and medical instruments, and employed it in lots of their poetic images. The researcher recommends submitting poetry to other heritage and historical sources when studying the medical knowledge of pre-Islamic Arabs as, because poetry is the Diwan of the Arab and it is the bowl of their culture. Also, the researcher suggest to Conduct poetry studies dealing with other cultural aspects that aim to provide various aspects of civilization among the pre-Islamic Arabs.

The rhetoric of emulation in the analysis of the poetic text of Sheikh Muhammad Abu Musa 'Its concept and levels'

The style used in the methods of the early poets and in the construction of their methods, and it was not disclosed as a rhetorical art that influenced the improvement of speech and the display of its aesthetic advantages, despite its mention in the books of rhetoric and critics. He did not take a specific stylistic description that earned him the characteristic of the current scientific term, and he went through different stages, shifts and changes in concepts, so he went in two different directions: one intended to emulate the poet with another poet’s poetry in stylistic formulation or in building the meaning, or both. The second: means the indication of the movement of the pre-narrated letter. On these two directions, the example remained for a time until we saw it clearly appear in the readings of Dr. Muhammad Abu Musa for pre-Islamic poetry and its evocation of the advantage of this concept in the rhetorical lesson, so it began to form and highlight its stylistic features with a broader horizon extending in the atmosphere of poetry, and more focused on its aesthetic feature and its effect in improving speech. This appearance predicts a rhetorical value that took a specific stylistic character in the structures and praising it without defining it idiomatic, which has its stylistic components and stylistic elements. This study aims to track its origins and development, starting from its origins in rhetorical and critical heritage until it settled in Sheikh Muhammad Abu Musa and took a specific scientific idiomatic characteristic, and then explaining his models, levels, and aesthetic effect on the style of speech, and its rumor in the rhetorical lesson.

A-10 Tribal Conflict in the Poetry of Early Islam

Tribal conflicts, vengeance and raids were the basic qualities of Arab in pre- Islamic period. These themes are well depicted in pre-Islamic Arabic poetry. The paper aims to highlight the motives of Bedouins, conflicts illustrated in their verbal poetry. The purpose of this paper is to analyze and examine the element of war and peace in the pre-Islamic poetry, mainly in the Muallaqat. In order to understand the theme of conflict, one must be knowledgeable about the structure of the Bedouin Arab society in the Arabian peninsula during early Islam. Unlike modern societies , the whole existence of the Bedouin was bound to his tribe and there was no central government at all. The method used in this research is descriptive, analytical and qualitative. At the end of the study, the researchers have drawn various conclusions

DILEMA PENGGUNAAN SYI'IR JAHILIYYAH DALAM TAFSIR "Kajian Atas Pemikiran Thaha Husein"

This article exposes on Thaha Husain’s thoughts on the authenticity of the pre-Islamic poetry descriptively by investigating his arguments in his famous book Fi al-Syi’ri al-Jahili (On Pre-Islamic Poetry) which was then changed into Fi al-Adab al-Jahili (On Pre-Islamic Literature) with some revisions. This study mainly discusses the authenticity of the pre-Islamic poetry, its urgency in interpreting the Qur’an, and how the Qur’an views pre-Islam Arab society. It is revealed in the article that a lot of pre-Islamic poetry was not composed in the era of ignorance (Jahiliyah) by pre-Islamic Arab poet but by plagiarists in the era of Abbasiyah Empire for some purposes: political, religion, Qishshah and Hadith narrators. According to Thaha Husain, that a lot of the pre-Islamic poetry neither fit in with pre-Islam Arab nor describe objectively pre-Islam Arab society. It is sufficient to refer to the Qur’an, which certainly valid, to obtain objective descriptions of the pre-Islamic Arab society.

شعر الحرب فی المعلقات السبع: دراسة نحویة دلالیة

شعر الحرب فی المعلقات السبع: دراسة نحویة دلالیة

دَالِیَّةُ الأَسْوَدِ بْنِ یَعْفُرَ دِرَاسَةٌ دِلَالِیَّةٌ وَفْقَ نَظَرِیَّةِ الحُقُولِ الدِّلَالِیَّةِ بدور عبد المقصود أبو جنینة

تعد نظرية الحقول الدلالية من أنفع النظريات في فهم دلالة الألفاظ ، ومعرفة الفروق الدقيقة بينها؛ لاهتمامها بدراسة المستوى الدلالي للغة، وقد جاء البحث لتوظيف هذه النظرية الدلالية الحديثة في قصيدة جاهلية، وإعادة قراءتها في ضوء الدراسات اللغوية المعاصرة، ومعرفة أهم الحقول الدلالية التي تشتمل عليها، والوقوف على دلالة کثير من مفرداتها وتحليلها، ورصد أهم العلاقات الدلالية التي تربط بين الکلمات داخل کل حقل من حقولها . وقد تبين من خلال هذا البحث أن الشعر الجاهلي يمکن دراسته من منظور لغوي حديث؛ حيث أمکن تحليل نص الدالية من خلال نظرية الحقول الدلالية، وفق منهج علماء اللغة المحدثين ، وأن الدالية احتوت تسعة حقول دلالية متنوعة، وکان أکثرها حضورا هو حقل الألفاظ الدالة على الحزن، کما تنوعت العلاقات الدلالية بين مفرداتها؛ إذ اشتملت على أبرز العلاقات التي نص عليها علماء اللغة المحدثون من: ( ترادف، واشتمال، وتضاد، وعلاقة الجزء بالکل، وتنافر، ومشترک لفظي). الکلمات المفتاحية: حقول - علاقات - الأسود بن يعفر - الدالية . Al-Aswad Ben Yaafur's D-rhymed Poem (Daleyyat) A Semantic Study in According to the Semantic Fields Theory Bedour Abdul-Maksoud Abu Geneina Senior Lecturer of Linguistics Arabic Department- Faculty of Arts Damanhour University- Egypt. Email: bodor.abogenainah@art.dmu.edu.eg The semantic fields theory is considered one of the most beneficial theories that help us to understand the meanings of words and recognize the microscopic differences among them as it focuses on studying the semantic level of the language. This research applies this late theory of semantic fields on a pre-islamic poem(Daleyyat); the research rereads the poem from the views of the late linguistic studies, extracts the semantic fields it includes, analyses the semantic of many of its words, and identifies the most important semantic relations that link the words in every field. The research has concluded that the pre-islamic poetry can be studied from a modern linguistic prospective; the text of (Daleyyat) has been analysed according to the semantic fields theory and the method followed by the late linguists. It has also concluded that the (Daleyyat) includes nine different semantic fields, the most present of these is the field of the words of sorrow; the semantic relations among the poem's words are many and various as it contains the most prominent relations mentioned by the late linguists: synonymy, hyponymy, antonymy, part – whole relation, Incompatibility, and Homonymy. Keywords: Fields- relations- Al-Aswad Ben Yaafur- D-rhymed Poem (Daleyyat)

Poetry in Translation: Traveling Pleonasm and Beyond

Style is the kernel of literariness. This study examines the translatability of pleonasm, a form of redundancy considered a standard rhetorical device in Arabic but usually avoided in Western languages. The study evaluates and compares English and French translations of a pleonastic Arabic verse line. An acceptable translation of this verse should provide an affective-stylistic equivalent that will capture and convey the same appeal as the source text with a similar degree of literariness, not just a direct linguistic equivalent. This research asserts that a translator usually works within their own translation aesthetics, developed within their cultural and disciplinary traditions of literary and translational aesthetics and their idiosyncratic ideas about or interpretation of the source text. Keywords: literary translation; redundancy; translating style; pre-Islamic poetry; translation quality assessment