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Mmubn000001 211246093.Pdf PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/146080 Please be advised that this information was generated on 2021-10-09 and may be subject to change. г/a/ The Andalusian Xarja-s: Poetry at the Crossroads of Two Systems? V tb*«*·•· * >' Otto Zwartjes The Andalusian Xarja-s: Poetry at the Crossroads of Two Systems? een wetenschappelijke proeve op het gebied van de Letteren PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Katholieke Universiteit Nijmegen volgens besluit van het College van Decanen in het openbaar te verdedigen op dinsdag 21 november 1995 des namiddags te 3.30 uur door Otto Jeroen Zwartjes geboren op 12 november 1958 te Amsterdam Nijmegen 1995 Promotores: Prof. Dr. C.H.M. Versteegh Prof. Dr. Maxim. P.A.M. Kerkhof Co-promotor: Dr. Α. Schippers (University of Amsterdam) Copyright: ©1995 O.J. Zwartjes ISBN: 90-802820-1-4 PARENTIBUS UXORI LIBERISQUE Contents Foreword. Acknowledgements 9 0 Introduction and presentation 11 1 Bilingualism in al-Andalus 15 2 The origins of the Hispano-Arabie muwassah and the zajal 29 2.1 Qasld 29 2.2 The musammat 30 2.2.1 The Arabic musammat 30 2.2.2 The Hebrew musammat 31 2.3 From musammat to the Andalusian tawslh poetry. 32 2.3.1 The Arabic muwassah 32 2.3.2 The Hebrew muwassah 35 2.3.3 The zajal 37 2.3.4 The muzannam 39 2.3.5 The muwassah-like zajal 40 2.3.6 The qaslda zajaliyya 42 3 Medieval Arabic theory 43 3.1 Medieval Arabic theory of tawslh poetry 43 3.1.1 Ibn Bassâm 43 3.1.2 Ibn Hijârï, Ibn Sacïd and Ibn Xaldün 46 3.1.3 Ibn Sana' al-Mulk 47 3.1.4 Safiyy al-Dîn al-Hillï 51 3.1.5 Al-Mawâ'inï 3.1.6 Ibn Quzmän 53 3.1.7 Ibn cArabï and al-Sustarï 54 3.2 Medieval Arabic theory of the xarja (markaz) 56 3.2.1 The description of the xarja by Ibn Bassâm 56 3.2.2 The description of the xarja by Ibn Sana' al-Mulk 57 3.3 Theory and practice 58 3.4 Hebrew sources 59 3.5 Conclusion 61 4 The poets, manuscripts and editions of tawslh poetry 63 4.1 The poets 63 4.1.1 Chronology 63 4.1.2 Geographic diffusion 64 4.1.3 Professions and social background 65 4.1.4 Language and religion 66 4.1.5 Poetesses 67 4.2 Arabic sources and editions of tawslh poetry 68 4.3 Hebrew sources and editions of tawslh poetry 74 5 The origins and development of Hispano-Arabie strophic poetry according to Arabic literary theory 77 5.1 Medieval Arabic theory concerning the origins of the muwassah 77 5.1.1 Ibn Bassäm, Hijäri, Ibn Sa'id and Ibn Xaldun 77 5.1.2 Ibn Sana' al-Mulk 78 5.2 Medieval Arabic theory concerning the origins of the zajal 78 5.2.1 Ibn Sacid 78 5.2.2 Ibn Quzmän 79 5.2.3 Safiyy al-Din al-Hilli 80 5.2.4 Tifasi 81 5.2.5 Modem theory on the origins. The Arabic thesis and the fas/nJf-debate 81 5.3 Conclusion 84 6 Early Romance analogous strophic poetry and its structure 85 6.1 Introduction 85 6.2 Analogous zajal-like strophic poems 85 6.2.1 Late-Latin 88 6.2.2 Provençal (Occitan) and Old-French 89 6.2.3 Galaico-portuguese cantigas 93 6.2.4 Italian and Sicilian 94 6.2.5 Catalan 96 6.2.6 Castilian 97 6.3 The structure of the Romance parallels and Hispano-Arabie strophic poetry 103 6.3.1 Analogies 103 6.3.2 Differences 105 6.3.3 Chronology 107 6.4 Conclusion 108 7 Prosody and rhyme 113 7.1 Introduction 113 7.2 Arabic prosody 114 7.2.1 The Arabic system of al-Xalil 114 7.2.2 Prosody in Hispano-Arabie Poetry 117 7.2.2.1 Medieval sources 117 7.2.2.2 Recent theories 120 7.2.3 Hebrew prosody 127 7.2.4 The prosody of the xarja-s 130 7.2.5 The musico-rhythmical thesis 134 7.2.6 Conclusion 137 7.3 Rhyme 139 7.3.1 Arabic rules. Rhyme in classical poetry 139 7.3.2 Rhyme in Hebrew m uwassahät 142 7.3.3 Romance rules 144 7.3.4 Rhyme in the xarja-s 147 7.3.4.1 Xarja-s from the Arabic series 147 7.3.4.2 Xarja-s from the Hebrew series 151 7.3.5 Conclusion 153 8 Thematic relationships 155 8.1 Thematic structure of the qasid 155 8.2 Themes in tawslh-poetry 158 8.3 The themes of the xarja-s 160 8.3.1 The themes of the Arabic xarja-s from Arabic muwassahät 160 8.3.1.1 Classical themes in Arabic xarja-s in Arabic muwassahät 160 8.3.1.2 The elements of colloquial Arabic xarja-s from the Arabic collection 162 8.3.2 The elements of the Arabic xarja-s from Hebrew muwaSsahät 186 8.3.3 The elements of the Romance xarja-s 198 8.4 Romance and Arabic parallels 206 8.5 Conclusion 212 9 Stylistic features 215 9.1 Popular and courtly literature 215 9.2 cIlm al-badf and the Andalusian xarja-s 219 9.3 Conclusion 234 9.4 Code-switching in the Andalusian xarja-s as a rhetorical device 235 9.4.1 Description of code-switching in the xarja-s 237 9.4.1.1 Inter-sentential code-switching 237 9.4.1.2 Intra-sentential code-switching 238 9.4.1.3 Extra-sentential code-switching (tag switches) 241 9.4.2 Stylistic effects of code-switching 241 9.4.2.1 The comic effect of code-switching 241 9.4.2.2 Reiteration in another language for emphasis 242 9.4.2.3 Opposition 243 9.4.2.4 Emphasizing the unexpected 243 9.4.2.5 Parenthesis 243 9.4.2.6 Quotations 243 9.5 Conclusion 244 10 Conclusion 245 Арреш dix I Bilingualism in medieval poetry 249 Арреш dix II Old Andalusian texts in the North African musical tradition. 259 Арреш dix III Chronology 273 Index nominum 275 Index rerum 281 Bibliography 288 Samens/attin í r 318 Curriculum vitae 320 Foreword. Acknowledgements This study is a direct continuation of my MA thesis, Las jarchas mozárabes, directed by J.M. Garcia de la Torre and Jan Bakker (University of Amster­ dam). After having finished the study of Spanish Language and Literature, the Ministry of Foreign Affairs of Spain (Dirección de Intercambios) enabled me to amplify this initial work during the academic year 1987- 1988. I wish to thank Federico Corriente, Francisco López Estrada, Fer­ nando Díaz Esteban and Alvaro Galmés de Fuentes of the Universidad Complutense of Madrid for their kind support, stimulating privatissima and courses. I also wish to thank the employees of the Institutes Consejo Superior de Investigaciones Científicas and the Instituto Hispanoárabe de Cultura, Instituto de Cooperación con el Mundo Árabe, for their kind assistance. This study was supported by the Foundation for Literary Studies, Musicology and Drama Research which is subsidized by the Netherlands Organisation for Scientific Research (NWO). The same or­ ganisation also enabled me to do the necessary research in Spain and in Morocco (Tetuán) in December 1992 and January 1993. The Catholic University of Nijmegen and NWO also made possible my participation at international congresses in St. Petersburg, Tetuán and Alcalá de Henares. In particular I wish to thank Federico Corriente (Universidad de Za­ ragoza) for his kind cooperation in this project and I really appreciate his suggestions and corrections which considerably improved this final ver­ sion. This study has benefited from the consultation of some of Corriente 's forthcoming publications, especially the new interpretations of the xarja-s published by himself and in cooperation with Ángel Sáenz-Badillos. I also wish to thank Pieter Muysken (University of Amsterdam) for his specialist advice concerning the chapter about code-switching, Malik Bennouna (Tetuán) for sharing his vast knowledge of Andalusian strophic poetry from the North-African musical tradition, Ángel Sáenz-Badillos (Universidad Complutense of Madrid) and Wim Delsman (University of Nijmegen) for their advice and corrections of the Hebrew texts. Finally I wish to mention Richard Hitchcock (University of Exeter), Ulf Haxen (Royal Library, Copenhagen) and Oele Verhoeven who all contributed to the gestation of this thesis and encouraged me during the project. Contacts with staff members and colleagues of the Spanish Department and the Department of Languages and Cultures of the Middle East (TCMO) were very fruitful. For the correction of the English text, I would like to acknowledge Peter Bremner and I also wish to express my gratitude to Pierre Winkler, who made the original manuscript camera-ready. Special mention deserves the moral support I received from my dear wife Anne, who accepted to live together with a rather unsocial member of the family. 9 Transcription of Arabic and Hebrew I used the following transcription-systems: Arabic Consonants: b, t, t, j, h, x, d, d, r, z, s, s, s, d, t, z, c, g, f, q, k, 1, m, n, h, w, y. Initial hamza is omitted. Article: al- (even before solar consonantes) Long vowels: ä, i, ü (Capitals: A, I, U) Diphtongs: ay, aw.
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