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

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Fendt, Gene (2019). "Aristotle on Dramatic Musical Composition. By Gregory Scott (Review)". Ancient Philosophy. Philosophy Documentation Center. 39 (1): 248–252. doi: 10.5840/ancientphil201939117. ISSN 0740-2007. S2CID 171990673. Specimens of Arabian poetry, from the earliest time to the extinction of the Khaliphat, with some account of the authors (1796)

Aristotle (2018). Untying Aristotle's Poetics for Storytellers. Translated by Myrland, Rune. Storyknot. A large proportion of all Arabic poetry is written using the monorhyme, Qasidah. This is simply the same rhyme used on every line of a poem. While this may seem a poor rhyme scheme for people used to western literature it makes sense in a language like Arabic which has only three vowels which can be either long or short.Tragedy as artistically superior to epic poetry: Tragedy has everything that the epic has, even the epic meter being admissible. The reality of presentation is felt in the play as read, as well as in the play as acted. The tragic imitation requires less time for the attainment of its end. If it has more concentrated effect, it is more pleasurable than one with a large admixture of time to dilute it. There is less unity in the imitation of the epic poets (plurality of actions) and this is proved by the fact that an epic poem can supply enough material for several tragedies. Court poets were joined with court singers who simply performed works included Ibrahim al-Mawsili, his son Ishaq al-Mawsili and Ibrahim ibn al-Mahdi son of caliph al-Mahdi. Many stories about these early singers were retold in the Kitab al-Aghani or Book of Songs by Abu al-Faraj al-Isfahani. The Symbolist school of poetry, close to Romanticism, was represented in the Arab world by the Lebanese poets Adib Mashar (1889–1928), Yusuf Ghusub (b. 1900) and Said Akl, and also Bishr Faris in Egypt. [50] [45] Ghusub with Akl, both, preached the use of Latin script. [51] The mentioned above Romantic poet Salah Labaki was associated with them, aspecially in his critic works on the French literary theory. [45] Modernism and avant-garde [ edit ] Shukrī Fayṣal, ed., “Editor’s Introduction,” in Abū al-ʿAtāhiyah: akhbāruhu wa-shiʿruhu, ed. Shukrī Fayṣal (Damascus, Syria: Maṭbaʽat Jāmiʽat Dimashq, 1965), 34. Badr Shākir al-Sayyāb, Dīwān, 2 vols. (Beirut, Lebanon: Dār ʿAwdah, 1971), 1:101; and Nāzik al-Malāʾika, Al-ʿamal al-shiʿrīyah al-kāmilah, 2 vols. (Cairo, Egypt: Al-Majlis al-a ʿlā lil-thaqāfah, 2002), 1:498–500.

Al-Kʰalīl b. ˀAḫmad al-Farāhīdī (711 – 786 A. D.) was the first Arab scholar to subject the prosody of Arabic poetry to a detailed phonological study. He failed to produce a coherent, integrated theory which satisfies the requirements of generality, adequacy, and simplicity; instead, he merely listed and categorized the primary data, thus producing a meticulously detailed but incredibly complex formulation which very few indeed are able to master and utilize.

Leonhardt, J., Phalloslied und Dithyrambos. Aristoteles über den Ursprung des griechischen Dramas. Heidelberg 1991 Adūnīs, who is one of the pioneers of the free verse poem, is, at the same time, one of the founders and theorizers of the prose poem. He is also one of the first to criticize the prose poem in Arabic practice. 42 His prose poems are some of the most daring and experimental. His seminal contribution is Mufrad bi-s̩īghat al-jamʿ (Singular in Plural Form), a book-long poem that he continued to revise and edit until 1988. 43 Hardison, O. B. Jr. (1987). "Averroes". Medieval Literary Criticism: Translations and Interpretations. New York: Ungar. p.81. Allen, Roger (2005) [1998]. The Arabic Literary Heritage: The Development of its Genres and Criticism. New York: Cambridge University Press. ISBN 0-521-48525-8. The development of modernist poetry also influenced poetry in Arabic. After the World War II, there was a largely unsuccessful modernist movement [52] [53] by several poets to write poems in free verse ( shi'r hurr). [54] [55] [56] [45] [57] Thus, in 1947 the two Iraqi poets, Badr Shakir al-Sayyab and Nazik al-Malaika initiated a break the line form ( bayt) for the free verse. [58] [59] [60] [61] [45] The closer the Arab poets approached to Western poetry, the more anxious they became to look for new media, themes, techniques, metaphors and forms to liberate themselves from conventional poetry. [54]