By Andras Hamori
No airborne dirt and dust jacket. hide and backstrip a little bit scuffed.One web page in textual content wrinkled and ripped yet nonetheless readable.Hardback, ex-library, with traditional stamps and markings, in reasonable all around , appropriate as a studying reproduction.
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Additional resources for On the art of medieval Arabic literature
Excoriated me) because of my love for her. '' 121 am using the poems of Jamil and Abū Nuwās as examples of ghazal and \hamriya. The type of ghazal represented in the works o f ‘Umar ibn abī Rabi'a is very charming, despite its somewhat odd narcissism, but it is less important for the main line of the ghazal tradition than the ‘U dhrī type. 'Umar, although a city poet, seems in some ways more conservative than Jamil: he relies more on the ō//tf/-motif for a curtain raiser, and his gallantry has in it a lot of skirt-chasing in the Imra’alqays manner.
For muhājara with material rather rhan spiritual aims, com pare the line, referred to by Wellhausen (p. 25), from Abū Tammām’s Hamāsa, ed. G. G. Freytag (Bonn, 1828), 792, vs. 3: fa-mā jannata l-firdawsi hājarta tabtaghī wa lākin da‘āka 1-khubzu ahsabu wat-tamru You emigrated, not because you were seeding Paradise, but, as l reckon, because bread and dates were inviting to you. A father is reproaching a son who has forsaken him in his old age. 8 The poet is Tmrān ibn Hittān. Shi'r al-\haw ârij, ed.
46 Cf. Abū l-Hasan al-Jurjānī, al-Wasāta bayna IMutanabbi w a \lm fūm ih (Şaydā, 1912), 58, in a passage concerning Abū Nuwās. 47 Cf. al-Jâhiz, Kitāb al-hayawān, ed. ‘Abdassalām Muh. Hārūn (Cairo, 1966), i, 167-68. 52 TH E POET AS R ITU A L CLOW N shudder in Mr. McGregor’s garden, or something graver. “ I do not care when” is of course an intentional echo o£ the heroic devil-may-care,48 but it does not suffice to resolve the case. The invitation to rebel needs a closer look. There are many instances in the \hamnyat of a light hearted knocking at hell’s gate.
On the art of medieval Arabic literature by Andras Hamori