By M. M. Badawi
This publication is the 1st severe survey of the improvement and achievements of ‘modern’ Arabic poetry, the following signifying the interval from the latter 1/2 the 19th century to the current day. It levels over the full Arabic-speaking global and contains a dialogue of the paintings of poets who emigrated to the U.S. and Latin the USA. 4 major phases are tested within the improvement of a in particular smooth Arabic poetry: the ‘neoclassical’, during which poets grew to become to their literary history for his or her beliefs and proposal; the pre-romantic’, which was once marked by means of a stress among a converted classical type and new romantic sentiments, itself the mirrored image of a much broader cultural move in the direction of switch and modernization; the ‘romantic’, within which the tensions among shape and content material have been resolved, and a lyricism and straightforwardness of language turn into the norm; and the ‘modern’ or ‘contemporary’ that is typified via a response opposed to romanticism, and ruled by way of both dedicated social realism or symbolism and surrealism. within the absence of any comparable released paintings in a eu language, the booklet, in addition to being designed for college kids of Arabic literature and of comparative literature, can be of curiosity to the overall reader. No wisdom of Arabic is presupposed: the entire verse (newly translated through the writer) is given in English translation, and technical terminology has been lowered to a minimal.
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Extra resources for A Critical Introduction to Modern Arabic Poetry
Strutting in a brilliantly decorated gown, ample at the waist and with pendulous sleeves, Looking disdainfully with a proud air about him, like a crowned monarch. (i,124) Even his gnomic and moralistic verse is not entirely devoid of this feature. In a poem, the main theme of which is the mysterious wisdom of the Creator (n,6—64), there is a description of a hawk, a lion and an adder rendered in vivid detail. The account of the hawk swooping over its prey, in particular, is rendered with much feeling and pity for the hapless victim.
Searching, they found a bird perched on a bough, furtively looking around and cautiously listening, Ready to take wing above the bush,flutteringlike a heart on remembering a dear one who has been absent so long. Ever restless on its legs, no sooner did it settle than it would turn away again, Now and then the branch swaying with it, throwing it up in the air, like a stick hitting a ball on the field, What ails it that, safe and sound as it is, it should always be looking with caution and fear?
In the introduction to the first edition of his Shauqiyyat (1898) he wrote that 'poetry is too noble to be brought down to the level of a profession that relies upon panegyric and nothing else'. Shauqi, however, was too weak a man to resist the temptation of worldly glory. Because he had an eye on his social prospects and advancement he was obliged to compromise his principles about which his feelings could not have run very deep. By virtue of his office at court he was expected to turn out panegyric poems whenever the occasion demanded them.