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New Images in Old Frames: Ibn Harma (d. ca. 176/792) between Classical Poetry and Abbasid Modernity
in Journal of Abbasid StudiesSearch for other papers by Zahia Smail Salhi in
Current site
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Search for other papers by Hussain Mohammed Alqarni in
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Classical Arabic sources generally refer to Ibrahim b. Harma (d. ca. 176/792) as one of the “last poets” whose poetry is quoted as lexical and linguistic evidence of sound and “unaffected” language, in other words “pure” Arabic. However, while we argue that the poet’s “pure” Arabic is the main reason for his place of excellence in classical Arabic poetry, we suggest that the poet was well aware of the power of poetic imagery imposed by the new modernity experienced in the Abbasid era. Ibn Harma skillfully developed the new tool as a means of self-expression in a conscious search for poetic immortality. In this article, we aim to explore the poetic imagery of Ibn Harma through textual analysis of a selection of his poetry.
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Abū Ṣāliḥ Shādin ʿAbd al-Quddūs Ibrāhīm b. Harma: Ḥayātuh wa-shiʿruh 1989 MA thesis, al-Dammam Girls’ College, Saudi Arabia
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Annas Pamela A Poetry of Survival: Unnaming and Renaming in the Poetry of Audre Lorde, Pat Parker, Sylvia Plath, and Adrienne Rich Colby Library Quarterly 1982 18 1 9 15
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Jacobi Renate The “Khayāl” Motif in Early Arabic Poetry Oriens 1990 32 50 64
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Al-Muʿaybid Muḥammad Jabbār Diwān Ibrāhīm b. Harma 1969 al-Najaf Maṭbaʿat al-Ādāb
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3
Cf., for instance, Jabal, Iḥtijāj bi-l-shiʿr, 80–1.
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6
Suyūṭī, Sharḥ shawāhid, 826; cf. Muʿaybid, Diwān, 48; Naffāʿ and ʿAṭwān, Shiʿr, 55.
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13
Muʿaybid, Diwān, 140; in the Naffāʿ and ʿAṭwān edition (Shiʿr, 140-1), the third verse is omitted and a new verse is added after line 4 (wa-aṣrifu . . .) ; this is contrary to the source from which the verses are quoted (cf. Buḥturī, Ḥamāsa, 260-1). Moreover, this reattachment is wrong leaving the poet committing a basic error in prosody, that is, it makes him repeat the word al-maṭāmiʿ within three lines, whereas the canon of prosody prescribes to use the same word as the word of rhyme (qāfiya) only after a minimum of seven verses with different rhyming words have been written.
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14
Muʿaybid, Diwān, 97; Naffāʿ and ʿAṭwān, Shiʿr, 113-114.
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15
Ibid., 58-59; ibid., 68-69.
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18
Muʿaybid, Diwān, 66; Naffāʿ and ʿAṭwān, Shiʿr, 72-73.
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24
Muʿaybid, Diwān, 166-169; Naffāʿ and ʿAṭwān, Shiʿr, 166-170. See the original Arabic text in Appendix 1. Fragments of poems exceeding seven verses are quoted in full in the Appendixes; smaller fragments are cited in the main body of the text.
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28
Muʿaybid, Diwān, 55. For a discussion of camels in the nasīb, see Jacobi, The Camel-Section; and ibid., Time and Reality.
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32
Muʿaybid, Diwān, 208. The fragment consists of four lines in the Muʿaybid-edition; the Naffāʿ and ʿAṭwān-edition has eight lines because extra lines were taken from other sources.
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33
Ibid., 61.
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35
Muʿaybid, Diwān, 76-77; Naffāʿ and ʿAṭwān, Shiʿr, 80-81.
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37
Muʿaybid, Diwān, 114. An interesting discussion about these stars can be found in Marzūqī, Azmina, 436-437.
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39
Muʿaybid, Diwān, 214-215. See the Arabic original poem in Appendix 2. The eight lines of the Muʿaybid-edition appear as lines 10–17 of 18 lines in total sharing the same meter and rhyme in the Naffāʿ and ʿAtwān- edition (207-11, 272). The Qurʾānic image is from Q 49:12 warning believers not to spy or gossip: “Do not back-bite one another. Would one of you love to eat the flesh of his dead brother” (transl. Pickthall).
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46
Ibid., 73.
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47
Ibid., 102.
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48
Ibid., 108.
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49
Ibid., 107.
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50
Muʿaybid, Diwān, 89-90; Jāḥiẓ, Ḥayawān, vi, 126-127. See the original Arabic text in Appendix 3.
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52
Muʿaybid, Diwān, 84-87. See the original Arabic text in Appendix 4.
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54
Muʿaybid, Diwān, 184-185. See the original Arabic text in Appendix 5.
| Insgesamt | Letzte 365 Tage | In den letzten 30 Tagen | |
|---|---|---|---|
| Aufrufe von Kurzbeschreibungen | 361 | 45 | 6 |
| Gesamttextansichten | 103 | 0 | 0 |
| PDF-Downloads | 46 | 3 | 0 |
New Images in Old Frames: Ibn Harma (d. ca. 176/792) between Classical Poetry and Abbasid Modernity
in Journal of Abbasid StudiesSearch for other papers by Zahia Smail Salhi in
Current site
Google Scholar
PubMed
Search for other papers by Hussain Mohammed Alqarni in
Current site
Google Scholar
PubMed
Classical Arabic sources generally refer to Ibrahim b. Harma (d. ca. 176/792) as one of the “last poets” whose poetry is quoted as lexical and linguistic evidence of sound and “unaffected” language, in other words “pure” Arabic. However, while we argue that the poet’s “pure” Arabic is the main reason for his place of excellence in classical Arabic poetry, we suggest that the poet was well aware of the power of poetic imagery imposed by the new modernity experienced in the Abbasid era. Ibn Harma skillfully developed the new tool as a means of self-expression in a conscious search for poetic immortality. In this article, we aim to explore the poetic imagery of Ibn Harma through textual analysis of a selection of his poetry.
| Insgesamt | Letzte 365 Tage | In den letzten 30 Tagen | |
|---|---|---|---|
| Aufrufe von Kurzbeschreibungen | 361 | 45 | 6 |
| Gesamttextansichten | 103 | 0 | 0 |
| PDF-Downloads | 46 | 3 | 0 |
