The Poetic Theory As Expounded in Kitab Minhaj Al-Bulagha by Hazim
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The poetic theory as expounded in Kitab Minhaj Al-Bulagha by Hazim A1 Qartajanni. N.A. AL-EBRAHIM Thesis presented for the degree of Doctor of Philosophy in the University of London School of Oriental and African Studies ProQuest Number: 10673185 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10673185 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 To Hy Husband and Children Ill CONTENTS Abstract v Preface vii Transliteration xii Introduction 1 Notes 36 PART ONE : POETRY: ITS NATURE AND FUNCTION CHAPTER 1 : The Nature of Poetry 41 I The Definition of Poetry 46 II The Content of Poetry 60 III Poetic Faculties 74 IV Evaluation 88 Notes 115 CHAPTER 2 : The Function of Poetry 121 I Moral Value 128 II Psychological Value in Poetry 141 III Aesthetical Value in Poetry 154 IV Evaluation 165 Notes 180 To My Husband and Children iii CONTENTS Abstract v Preface vii Transliteration xii introduction 1 Notes 36 PART ONE : POETRY: ITS NATURE AND FUNCTION CHAPTER 1 : The Nature of Poetry 41 I The Definition of Poetry 46 II The Content of Poetry 60 III Poetic Faculties 74 IV Evaluation 88 . Notes 115 CHAPTER 2 : The Function of Poetry 121 I Moral Value 128 II Psychological Value inPoetry 141 III Aesthetical Value in Poetry 154 IV Evaluation 165 Notes 180 iv PART TWO : THE AESTHETICS OF A POETIC WORK CHAPTER 1 : Rhythmical Structure 185 I Metre is the Essence of Poetry 193 II Rhythm as a Basis for 207 Poetical Music III The Role of Rhyme in the 221 Music of the Qaslda IV Evaluation 230 Notes 240 CHAPTER 2 : Structure and Form 246 I The Role of the Word . 251 in the Qasida II The Poetic Phrase 260 III The Structure 273 IV Evaluation 287 A Final Word 299 Notes 200 Bibliography 304 Glossary 333 * * * * * V ABSTRACT The aim of this research is to analyse the philosophical and aesthetic principles of Hazim al-Qartajanni's poetic theory, as set down in his Minhaj al-Bulagha'* wa-Siraj al->Udaba> . It is our intent, in addition, to reveal the sources for his theory in Graeco-Arabic and Islamic-Arabic sources as well as his contributions to both. The preface defines the subject-matter and the methodology. This is followed by an Introduction which places Hazim in his cultural context by looking at his masters and his pupils, and examining not only his works on criticism, but also his influence on the establishment of a school of Arabic rhetoric in the western parts of the Arab world (Andalusia and North Africa) and on the development of Arabic criticism generally. The thesis is then divided into two parts, each of which has two chapters. Part one, on the nature of poetry in respect of both poet and recipient, deals with; 1) the notion of poetry as it is understood, firstly in the fundamental term of muhakat (imitation) and the complementary terms associated with the root khayal (imagination), and secondly in those issues of classical Arabic criticism which are of central importance to that notion such as the issue of natural vi aptitude tabc and skill sanca; 2) the question of value judgement in art generally and in poetry, where there are three aspects: the psychological, ethical, and aesthetic; and how these are treated in Classical Arabic critical terminology as well as in the work of Hazim, who is shown to dwell most upon the aesthetic value. Part two, on rhythmic and linguistic structures in the qas£daf deals with: 1) the nature of poetic measures, harmony, rhythm, and musicality, generally, as well as the part played by rhyme in creating poetic rhythm and the relation of measures and rhymes to the meaning of poetry; 2) the linguistic features of the qasida from individual components to the entire poetic expression of the whole structure of the qasida» Each chapter has four units, of which the first three discuss the main subject of the chapter in relation to Hazim's work and the Greek and Arab traditions of poetics; while the fourth evaluates Hazim's original contribution in the light of his most influential resources, both Arab and Greek. This thesis includes a glossary of some of Hazim's technical terms which have been employed in their original Arabic form as the equivalent English terms fail to illustrate their meaning accurately. Vll PREFACE Both Western Orientalists and Arab scholars used to be hindered in their study of the classical Arabic cultural tradition by basic difficulties and were unable to reach specific and verifiable scientific results. One of the most marked difficulties was that, while that tradition comprises basic reflections on the philosophy of the art of poetry, those reflections are rarely grouped together in a single work of criticism with a clearly outlined and integrated theoretical structure for poetry. Another such difficulty was that, while the Greek influence on literary theory among the Arabs is perfectly evident in rhetorical, critical and linguistic works, the impact of Greek philosophy and criticism on Arabic poetry and poetics seemed very underdeveloped. These two major difficulties continued to stand in the way of historians of classical Arabic criticism until almost forty years ago when they stumbled on a manuscript copy of the work entitled ftinhaj al-Bulagha* wa Sirij al-^daba* (The way of the eloquent and lamp of the literati) by Hazim al-Qartajanni (608/1211 - 684/1285). The discovery helped greatly to eliminate the difficulties mentioned above and indeed this book became the focus of profound interest. Not only did it contain the final stage of development in literary thought among the Arabs of the Middle Ages but it also represented the most mature form of receptivity to classical Greek thought in the establishment of a theoretical and aesthetic philosophy for Arabic poetry. The many studies we will mention in the Introduction approach this book from different angles, covering the rhetorical and critical values and standards it contains in general; the influence of Greek philosophy and criticism on those values and standards; and the theoretical development in the issues of classical Arabic criticism, Hazim's additions to that tradition, and the standing of his book among Arabic works on criticism as well as its part in the history of Arabic criticism generally. Our research is concerned with a study of the philosophical and aesthetic elements in Arabic poetics as represented in Hazim al-Qartajanni's book. In doing this we have had to develop suitable methodological tools. In fact we have used a comparative historical method which traces fundamental aspects of the work to their origins in previous ages, analyses the elements of renewal, development, and maturation, and compares individual ideas between cultures according to the laws of influence and receptivity employed particularly in comparative literary studies and in comparative studies generally. Apart from determining the limits of the sources available to this Medieval theorist, we will analyse his own innovations. Following this methodological basis, we have gathered the various elements of poetic theory to be found in Hazim's book according to the guidelines approved by scholars in their study of poetic theory, i.e. making a start with the philosophical aspect to the analysis of poetry, its special characteristics, and its significance in relation to the creator and recipient. Then the study of the practical aspects of poetry - its linguistic and rhythmic qualities - is based upon the analysis of those characteristics. For this reason I have divided this research into two parts. The first part deals with the nature of poetry and the theoretical notions relating to its analysis and the determining of its psychological, ethical, and aesthetic importance. The second part deals particularly with the element of rhythm, as well as poetic musicality in general, and the role of the poetic word and expression in forming the total structure of the qasida. In both parts, we have compared the contents of Hazim1 s book with the indigenous Arab and adopted Greek traditions in order to determine the sources he drew upon and developed. We also analyse the philosophical and aesthetic advances he made on those traditions, especially those elements of the Arab tradition relating to the art of Arabic poetry. Among the many difficulties we have encountered in collecting, arranging, and analysing this material, perhaps the most striking is the fact that, in order to preserve the spirit of the original text X and to facilitate the reader's understanding, we have been forced to adopt a very literal style of translation for the critical text used in this thesis. In spite of this, we hope we have been able to present a study of the poetic theory as set down by Hazim al-Qarta janni in his Minhaj, to analyse its sources in the Arab and Greek traditions, and to establish the philosophical and aesthetic additions made by Hazim to those sources. I hope that the following acknowledgements will in no way appear a mere convention or disguise the sincerity of my feelings toward all those who helped in this thesis. Firstly, to Professor T.