Poetry in the Early Islamic and Umayyad Period Flashcards
The study of the Qur’an led to the
creation and the development of various
Qur’anic disciplines such as ———–,
———, ——–, ——– and —.
lexicography biography theology philosophy law
Also the —– of the Qur’an,——– and —–
influenced the literature of this era.
tone
imagery
vocab
The emergence of ————- parties like
kharijite parties and Shiite.
politico-religious
It should be noticed that within a 100 years: • The Arabs had conquered the ---------- empire, -------- and ---------------. • Expelled the ---------- from -------
Sassanian North Africa Southern Spain Byzantines Syria
Poetic tradition suffered———– decline
temporary
Yet when leading Arab poets converted to ——–,
poetry regained its prestige.
Islam
Leading Arabian poets during the life of the prophet
include:
Hassan bin Thabit and Ka’b bin Zuhayr
The poets who lived in both pre-Islamic and Islamic
period are called ?
“mukhadramun”, singular:
“mukhadram”.
For example one of the famous qasidas
by Ka’ab bin Zuhayr: is asn example of ——– Arabic qasidah. It has
three themes: what are they?
classical
nasib, rihla and madih
During the reign of the Caliphs poetry continue to flourish and poets such as Hassan bin Thabit in addition to hundreds other poets wrote short and long qasidas in praise of the leaders and the ------- armies who contributed to the expansion of ------ and conquered new lands.
Muslim
Islam
Two genres of poetry prevailed during this time (Ummayad Period): what are they?
Ghazal
Naqa’id
“Ghazal”
- The —— school with main representative——– whose love poetry was daring, sensous and profane
- The —- school with main representative ————- whose poetry was chaste pure and sublime.
Hijazi
‘Umar bin Abi rabi’a
‘Udhri
Jamil Buthayna and Qais Layla
Naqa’id”, literary means “———–”, it is poetical
contests where, it is a form of poetry, —– or ——–
insults are exchanged.
contradictions
tribal
personal
These poems usually coming in ——,
employing the same meter and rhyme. It belongs to the genre of —-
pairs
hija
Yet we are told that “it was mainly
———– and ——– that
most eloquently expressed the spirit
of the age”
political poetry
love lyrics
Several poets advocated ———, Shi’ite, Zubayrite
and Kharijites parties. Yet the most prominent were AlAkhtal, Jarir and al-Farazdaq.
Umayyad
Shi’ite
Zubayrite
Kharjites
AlAkhtal
Jarir
Al Farazdaq
AlAkhtal, Jarir and al-Farazdaq’s naqa’id are
important to the study of ———– history of their
period.
political
Al-Akhtal the panegyric poet of Abdul Malik, Jarir of
al-Hajjaj and al-Farazdaq also of ——– dynasty.
Umayyad
Nevertheless, one of the best eulogies to ‘Ali bin alHusayn is attributed to ——–.
al-Farazdaq
At-Tirimmah and ‘Imran bin Hittan expressed ——-
revolutionary and egalitarian beliefs
Kharijite
Governed by ------ considerations, the poetic form was simplified. Poetry and music became inseparable as shown by hundreds of examples by the famous ---------by Abu ---------------.
musical
Kitab al-Aghani
al-Faraj al-Asfahani
The case of —————–, known as
majnun Laila (Laila’s Madman). For after Laila
was married off to a man from another tribe,
Qays spent the rest of his life roaming the
wilderness, mourning his love. This is a part of —— love poetry.
Qays ibn al-Mulawwah
Udhri‘
The story of ———– and Lubna. This is a part of —– love poetry.
Qays ibn Dharih
Udhri
Perhaps the best known among them is ———–, known as Jamil Buthayna, whose love for Buthaina lasted all his life, until his death in ——–.
jamil ibn Maʿmar
Egypt
In the cities of ——-, now flourishing with a
new wealth and great resurgence in the arts
of music and song, people knew well how to
enjoy life. Led by ʿ—————
Hijaz
Umar ibn Abi Rabiʿa.
---------------- “the lump of dough” , famous Arab satirist and panegyrist, died at -------. Born in -----------, this poet was descended from the tribe of ----------.
Tammām b. Ghalib (Abū Firās) al- Farazdaq
Basra
Yamāma
Tamīm
Endowed with a prodigious memory and
precocious talent, Al Farazdaq seems very soon to have made himself known in his tribe by laudatory
compositions in the ———- style.
Bedouin
Under ———–, al-Farazdaq became the official poet
of the caliph, as witness numerous panegyrics
dedicated to him and to his two sons. Under
———- he enjoyed the same favor. It was otherwise
on the accession of ——— (‘Umar Ibn ‘Abd al-
’Aziz), when al-Farazdaq was rather in the shade.
Walīd I
Sulaymān
‘Umar II
Jarīr b. ‘Atiyya b. al-Khatafa b. Badr was
among the most important ——– -writers of
the Umayyad period and may be considered
one of the greatest Islamic-Arabic poets of
all time.
hijā’
Jarir belonged to the ——- tribe. He began
his famous –long dispute with ———-, over the ————–
Tamīm
40
alFarazdaq
theft of a camel.
After they had abused each other from a
distance for some time, Jarīr went to ‘—– and
met al-Farazdaq for the first time in ——–.
There were such scenes that the authorities
had to put a stop to the meetings—although
without any lasting success.
iraq
basra
Jarīr began his public career by writing poems
in praise of an official of the governor of
—–, al-Hajjaj and wrote a series of qasīdas to
praise him.
iraq
Afterwards, Jarīr was sent to ‘Abd al-Malik’s
court in ———. He was first rejected,
then graciously received by ‘Abd al-Malik.
But in the long run their relationship was
not particularly good, for the caliph
favoured the Taghlibī Christian ——–
(“al-Akhtal is the poet of the Umayyads!”)
who took al-Farazdaq’s part against Jarīr and
Jarīr’s relations with ‘Abd al-Malik’s
successor al-Walīd were even worse.
Damascus
al-Akhtal
However he was on a rather better footing with
———- who, as a pious man, took no very passionate
interest in either eulogies or satires, and remained
courteously neutral. Nevertheless he does seem to
have preferred ——- to his rivals.
‘Umar II
Jarīr
Finally, in old age Jarir retired to the ——– and he
died there when over eighty or a little later, shortly
after the death of his opponent al-Farazdaq.
Yamāma
———- “the talkative”
, was the nickname of the
Arab poet Ghiyāth b. Ghawth b. al-Salt. He belonged
to the great tribe of the ——- of northern Syria,
which remained entirely ———
al- Akhtal
Tag̲h̲lib
Christian
He remained a ———- all his life, and was unmoved
by the efforts of prominent members of the Umayyad
dynasty to convert him to Islam.
Christian
All his life al-Akhtal followed the fortunes of the
reigning dynasty. During the reign of Mu‘āwiya, he
became embroiled in ——— affairs. He was the
close companion of ———-, whom he praised in
his panegyrics, and of other men of rank such as ——–. Under ‘Abd al-Malik, he actually became
official poet to the Caliph and he remained in the
service of the successors of ‘Abd al-Malik,
attacking all opponents of the dynasty in his poetry.
political
Yazīd I
alHajjaj
The poet’s whole career was dominated by ——–
warfare with his contemporary, the poet Jarīr. In his
diatribes he was supported by the poet ———-
who, although a fellow Tamīmi like Jarīr, was in
antagonism with his fellow-tribesman. It is almost
impossible to dissociate here the accounts of these
three men. It is clear that in this sphere al-Akhtal
and Jarīr perpetuated the pre-Islamic tradition and
simply expressed the sentiments of their particular
group.
verbal
al-Farazdaq
———, meaning “contradicting poems,
flytings”, pl. of naqida (from the verb naqada
“to destroy, undo, rebut, oppose”)
Naqā’id
The genre reached its peak in the Umayyad period
with the naqā’id of ——–,——- and————,
which were popular with rulers and common
people, and remained so because of their highly
entertaining content and their ——– and ———-
skill.
al-Akhta Jarir Al- Farazdaw poetic linguistic
Sometimes the poems are short but very
often they are long poems in qasīda form, with a
peculiar positioning of different themes: ———–,
———and ——- verse. They are rich in historical,
political and social allusions, but on the whole their
political significance is———- to their role as
entertainment.
amatory
praise
critical
second
This they provide by means of funny
descriptions, powerful imagery, grotesque
exaggerations and gross obscenities; expressed in
a variety of styles of language ranging from the
——— to the ————. The
“rebutting” implied by the term naqīda does not
consist in a point-by-point refutation of the
opponent’s poem. Rather than defending himself
against slander and abuse, the replying poet
attacks in his turn.
elevated
simple near-colloquial
