Arabic Poetry and the Language of Speech

Notes

Introduction 1 . Quoted in Marilyn Booth, “Beneath Lies the Rock: Contemporary Egyptian Poetry and the Common Tongue,” World Literature Today 75:2 (Spring 2001): 260. 2 . For a discussion of al-ʿĀlim and Anīs’s monograph, Fī’l-thaqāfa al-mis.riyya, (On Egyptian Culture), see chapter 3. 3 . S a y y i d K h a m ī s , al-Shiʿr al-ʿāmmī fī Mis.r (Cairo: Rūz al-Yūsif, 1998), 7. 4 . R a g ā ʾ al-Naqqāsh, “ Hādhā al-dīwān ,” introduction to ʿAn al-qamar wa’l- t.īn , by S.alāh. Jāhīn (Cairo: Dār al-Maʿrifa, 1961), pp. 161–213. 5 . S a y y i d K h a m ī s , i n t r o d u c t i o n t o Al-Ard. wa’l-ʿiyāl, by ʿAbd al-Rah. mān al-Abnūdī (Cairo: Dār Ibn ʿArūs, 1964), pp. 115–63. 6 . K h a y r ī S h a l a b ī , “ Al-Misah. h. arātī yastanhid. al-umma ,” introduction to al-Misah . h. arātī by Fuʾād H. addād (Cairo: Dār Sīnā li-‘l-Nashr, 1989), pp. 7–35. 7 . I b n Q u t a y b a , ʿ Uyūn al-akhbār, (Cairo: Mat.baʿ at dār al-kutub al-misriyya, 1925), vol. II, 185.

1 Historically Speaking: Arabic Poetry and the Language of Speech

1 . Quoted in Ibn Rashīq al-Qayrawānī. al- ʿUmda fī mah. āsin al-shiʿr wa ādābihi wa naqdihi, (Beirut: Dār al-Jīl 1981), p. 123. 2 . I b n Q u t a y b a . ʿUyūn al-akhbār (Cairo: Matba ʿat dār al-kutub al-mis.riyya), 1925, vol. II, 185. For the quote see “Introduction.” 3 . I b n Q u t a y b a . al-Shi ʿr wa’l-shuʿarāʾ ed. Ah. mad Shākir, (Cairo: Dār ih. yāʾ al-kutub al-ʿarabiyya, 1945), p. 8. 4 . Ibn Rashīq al-Qayrawānī. al- ʿUmda fī mah. āsin al-shiʿr wa adābihi wa naqdihi, (Beirut: Dār al-Jīl, 1981), p. 30. 5 . a l - J ā h. iz.. al-Bayān wa’l-tabyīn ed. ʿAbd al-Salām Hārūn, (Cairo: Maktabat al-khānjī,1968), 3rd edition, part 1, p. 86. 6 . Charles Pellat, “Lah . n al-āmma. ” Encyclopedia of Islam. (Leiden: Brill, 2007). 214 ● Notes

7 . S .afī al-Dīn Al-H. illī, Kitāb al-ʿĀtil al-h. ālī wa’l-murakhkhas. al-ghālī, ed. H. usayn Nas.s.ār (Cairo: Al-Hayʾa al-Mis.riyya al-ʿĀmma li-‘l-Kitāb, 1981), p. 3. At later points in the book, al-H. illī specifies the seventh art as the mawwāl . 8 . a l - J ā h. iz., p. 162. 9 . a l - J ā h. iz., p. 71. 1 0 . a l - J ā h. iz., pp. 17–18. 1 1 . a l - J ā h. iz., pp. 18–19. 12 . For a long list of such treatises, only some of which are now extant, see the introduction to Muʿjam Fas.īh. al-ʿāmma by Ah. mad Abū Saʿd, (Beirut: Dār al-ʿilm l-il-malāyīn,1990), pp. 5–6. 1 3 . P e l l a t . Encyclopedia of Islam. 1 4 . a l - J ā h. iz., p. 73. 1 5 . a l - H. illī, p. 15. 1 6 . a l - J ā h. iz., p. 144. 1 7 . a l - J ā h. iz., p. 20. 1 8 . a l - H. illī, p. 63. 1 9 . a l - H. illī, pp. 64–65. 2 0 . a l - I s.fahānī, Kitāb al-Aghānī ed. Ībrāhīm al-ibyārī, (Cairo, Dār al-Shaʿb, 1968) vol. II, 760. 2 1 . a l - I s.fahānī, Kitāb al-Aghānī , pp. 764–65. 2 2 . a l - I s.fahānī, quoted in al-Quraishī, Rid. ā Muh. sin, p. 23. 2 3 . a l - I s.fahānī, vol. III, p. 1009. 2 4 . W . P . H e i n r i c h s , “ S.afī al- Dīn ʿAbd al-ʿAzīz b.Sarāyā al-H. illī al-T. āʾī al-Sinbisī.” Encyclopaedia of Islam, ed. P. Bearman, Th. Bianquis, C.E. Bosworth, E. van Donzel, and W.P. Heinrichs. (Leiden: Brill, 2006). Brill Online. 2 5 . I b i d . 2 6 . a l - H. illī, p. 134. 27 . Margaret Larkin, “Popular Poetry in the Post-Classical Period,” in Roger Allen, ed. Cambridge History of Arabic Literature, vol.6: Arabic Literature in the Post-Classical Period (Cambridge: Cambridge University Press, 2006), 195. 2 8. L a r k i n , p p . 1 9 4 – 9 5 . 2 9 . a l - H. illī, p. 63. 3 0 . a l - H. illī, p. 115. 3 1 . I n t h i s r e g a r d , al- ʿĀt.il al-h. ālī is at variance with the Alf layla wa-layla manuscript, which may be dated to the same or a slightly later period, where verses that are malh. ūna , but composed in the structure of the qas .īda are freely referred to as shiʿr. The manuscript as edited by Muhsin Mahdi con- tains over 290 examples of such verses. 3 2 . ʿUmar Ibn al-Fārid., Dīwān Ibn al-Fārid. (Cairo: ʿAyn li-l-Dirāsāt wa-l-Buh. ūth al-Insāniyya wa-‘l-Ijtimāʿiyya, 1995), p. 354. 3 3 . K ā m i l M u s.t.afā al-Shībī, Diwān al-dūbayt fī al-shiʿr al-ʿarabī. (Benghazi: Manshūrāt al-Jāmiʿa al-Lībbiyya, 1973), pp. 49–50. Al-Shībī supports his Notes ● 215

argument for the presence of dūbayt in noncanonical Arabic with more anonymous examples of dūbayt on pp. 600–2. 34 . Bayram al-Tūnisī (1893–1961) wrote some earlier quatrains, also in colloquial, but they were never designated as such for reasons that will be discussed below. 3 5 . a l - H. illī, p. 115. 3 6 . a l - H. illī, p. 122. For further examples of the form see pp. 117–25. 3 7 . K ā m i l M u s.t.afā al-Shībī, Dīwān al-kān wa kān fī al-shiʿr al-shaʿbī al-ʿarabī al-qadīm, (Baghdad: Dār al-Shuʾūn al-thaqāfiyya al-ʿāmma, 1987), p. 9. 3 8 . a l - H. illī, p. 128 3 9 . a l - H. illī, p. 132. 4 0 . a l - H. illī, p. 127. For further examples of the form see pp. 128–37. 4 1 . a l - H. illī mentions that it was invented in Baghdad under the ʿAbbāsids prior to the rulership of al-Nās.ir, ibid., p. 127. 4 2 . K ā m i l M u s.t.afā al-Shībī, Dīwān fann al-qūmā fi al-shiʿr al-shaʿbi al-ʿArabī al-qadīm , (Baghdad: Dār al-Shu ʿūn al-Thaqafiyah al-ʿĀmmah 2000), p. 16. 43 . For further description and examples of the form, see s.afī al-Dīn Al-H. illī, Kitāb al-ʿĀt.il al-h. ālī wa-l-murakhkhas. al-ghālī , ed. H. usayn Nas.s.ār (Cairo: Al-Hayʾa al-Mis.riyya al-ʿĀmma li-‘l-Kitāb, 1981), pp. 105–14. 4 4 . S e e P i e r r e C a c h i a , Popular Narrative Ballads of Modern Egypt (Oxford: Oxford University Press, 1989). For further discussion of the development of the form in Egypt see chapters 2 and 3 . 4 5 . S e e S a m u e l S t e r n , Hispano-Arabic Strophic Poetry (Oxford: Clarendon Press, 1974). 46 . For a translation of one of al-H. illī’s selections of Egyptian zajal, and a discussion of what al-H. illī may have seen as its distinctive Egyptian style, see Larkin, pp. 206–8. 47 . For a more detailed, albeit barely documented, account of Egyptian zajal in this period, including biographies of the poets and examples of the zajal , see Mus.t.afā Muh. ammad al-S. abbāh. ī and H. usayn Maz.lūm Riyād. , Tārīkh Adab Al-Shaʿb (Cairo: Mat.baʿat al-Saʿāda, 1936). 48 . Muhammad Mustafa Badawi, “The Background,” in ed. M. M. Badawi, et al., Cambridge History of Arabic Literature, (Cambridge: Cambridge University Press, 1992). 49 . Marilyn Booth, “Poetry in the Vernacular,” in ed. M. M. Badawi, et al., Modern Arabic Literature, Cambridge History of Arabic Literature, vol. 4. (Cambridge: Cambridge University Press, 1992), p. 469. 5 0 . M a h. mūd Bayram al-Tūnisī, “ʿal-qanāl ,” in Ash ʿār Bayram al-Tūnisī (Cairo: Maktabat Madbūlī, 1985), p. 32. See also Yusrī al-ʿAzab, Ajzāl Bayram al-Tūnisī: dirāsa fanniyya (Cairo: al-Hayʾa al-Mis.riyyah al-ʿĀmma l’il-Kitāb, 1981). in which he classifies the zajal of al-Tūnisī into poems that took the form of the qas .īda, which comprise 48 percent of his poems, poems that took the form of the mawwāl, which comprise 40 percent, 216 ● Notes

narrative poems, comprising 11 percent and poems with a refrain which comprise only 1 percent, p. 239. 5 1 . M a h. mūd Bayram al-Tūnisī, “ Bayna al-fus.h. ā wa-al-ʿāmmiyya: raʾy al-ustādh Mah. mūd Bayram al-Tūnisī ,” al-Imam 31:17 (Dec.10, 1933), 4. quoted in Marilyn Booth, Bayram al-Tūnisī’s Egypt: Social Criticism and Narrative Strategies (Exeter: Ithaca Press, 1990). For further quotes and commentary of this article, see pp. 104–6. 52 . See, for example, Yasir Suleiman, The Arabic Language and National Identity (Washington DC: Georgetown University Press, 2003) and Naffūsa Zakariyya Saʿid, Tārīkh al-daʿwa ʾilā al-ʿāmmiyya wa āthāruhā fī mis.r (Cairo: Dār al-Daʿwa al-Islāmiyya, 2006). 5 3 . S u l e i m a n , p . 9 8 . 5 4 . a l - H. us.rī, Sāt.iʿ, “ Qad. iyyat al-fus.h. ā wal-ʿāmmiyya,” in Fī al-Lugha wa’l-adab wa ʿilaqitihimā bil-qawmiyya, 2nd edition (Beirut: Dār al-t.alīʿa, 1966), pp. 41–42. The essay is dated Cairo, February 19, 1955. 5 5 . T. āha H. usayn, Mustaqbal al-thaqāfa fī Mis.r (Cairo: Dār al-Maʿārif, 1944), p. 236. 5 6 . D a v i d S e m a h , Four Egyptian Literary Critics (Leiden: Brill, 1974), p. 13. 5 7 . S u l e i m a n , p . 8 1 . 5 8 . A l b e r t H o u r a n i , A History of the Arab Peoples (New York: Warner Books, 1992) p. 393. Italics mine. 59 . James T. Monroe and Mark F. Pettigrew, “The Decline of Courtly Patronage and the Appearance of New Genres in Arabic Literature: The Case of the Zajal, the Maqāma and the Shadow Play,” Journal of Arabic Literature 34 (2003): 149. 6 0 . L a r k i n , p . 2 2 2 . 6 1 . B o o t h , Bayram al-Tunisi’s Egypt , p. 10.

2 Shiʿr al-ʿA¯ mmiyya and Modernism in Arabic Poetry 1 . T . S . E l i o t , The Music of Poetry (Glasgow: Glasgow University Publications, 1942), p. 13. 2 . This group of poets, who have come to be the most influential and highly acclaimed ʿāmmiyya poets, does not include Fūʾād H. addād only because he was in prison at the time (1959–1965). His colloquial poetry, of which Ah . rār warāʾ al-qudbān (1952) and H . anibnī al-sadd (1956) were already in print when the group was formed, proved to be among the core influ- ences on the development of the movement of ʿāmmiyya poetry as a whole. 3 . On this, see previous chapter 4 . ʿAbd al-Rah. mān al-Abnūdī, “ al-maʾzaq al-tārīkhī li-shiʿr al-ʿāmmiyya al- mis.riyya,” al-Thaqāfa al-Jadīda September 14, 1987. p. 39. 5 . Quoted in Ghālī Shukrī, Shiʿruna al-Hadīth . . . Ilā Ayna? (Cairo: Dār al-Maʿārif, 1968), p. 103. Notes ● 217

6 . R o l a n d B a r t h e s , Writing Degree Zero (London: Jonathan Cape, 1967), p. 63. Quoted in Richard Sheppard, “The Crisis of Language,” in ed. Malcolm Bradbury and James McFarlane, Modernism (London: Penguin Books, 1991), p. 328. 7 . For examples of such satirical poetry see Federico Corriente, Dīwān Ibn Quzmān al-Qurt.ubī (555/1160): Is.ābat al-aghrād. fī dhikr al-aʿrād. (Cairo: al-Majlis al-Aʿlā li-‘l-Thaqāfa, 1995), and Ibn Dāniyāl, Three Shadow Plays by Muh. ammad Ibn Dāniyāl, ed. Paul Kahle (Cambridge: E. J. Gibb Memorial, 1992). 8 . Examples of such poetry abound in the popular press published around the turn of the century. See also Bayram al-Tūnisī, Dīwān Bayram al-Tūnisī bi-ajzāʾih al-thalātha (Cairo: Maktabat Mis.r, 1973). 9 . S e e B a y r a m a l - T ū n i s ī , “Bayna al-fus.h. ā wa’l-ʿāmmiyya ,” Al-Imam , 31:17 (December 10, 1933): 4–5, excerpted in Marilyn Booth, Bayram al-Tuni- si’s Egypt: Social Criticism and Narrative Strategies (Exeter: Ithaca Press, 1990), pp. 103–6. 1 0 . S.alāh. Jāhīn, Dawāwīn S.alāh. Jāhīn (Cairo: al-hayʾa al-mis.riyya al-ʿāmma li-‘l-Kitāb, 1977), pp. 3–4. H. addād’s lines are from Ah . rār warāʾ al-qudbān (Cairo: Dār al-Fann al-H. adīth, 1952), p. 8. 1 1 . M a r i l y n B o o t h . Bayram al-Tunisi’s Egypt, 10. For quote, see previous chapter. 1 2 . S.alāh. Jāhīn, Dawāwīn, 6. 1 3 . M a r i l y n B o o t h , Bayram al-Tunisi’s Egypt , p. 411 (based on the author’s interview of Jāhīn). 1 4 . E l - S a i d B a d a w i a n d M a r t i n H i n d s , A Dictionary of Egyptian Arabic (Beirut: Librairie du Liban, 1986), pp. vii–xii. 1 5 . S.alāh. ʿAbd al-S.abūr, “ H. ayātī fī ‘l-shiʿr, ” in al-A ʿmāl al-kāmila (Cairo: Al-Hayʾa al-Mis.riyya al-ʿĀmma li-‘l-Kitāb, 1993), pp. 129–30. 1 6 . S.alāh Jāhīn, Kilmit salām wa-mawwāl ʿashān al-qanāl (Cairo: Mat.baʿat wa- Maktabat al-Dār al-Mis.riyya, 1967), pp. 24–29. 17 . Quoted in Malcolm Bradbury and James McFarlane eds., Modernism , p. 329. 1 8 . ʿAbd al-Rah. man Al-Abnūdī, Al-Ard. wa-‘l-ʿiyāl (Cairo: Dār Ibn ʿArūs, 1964), p. 23. 1 9 . S.alāh Jāhīn, Qas.āqīs. waraq (Cairo: Dār Ibn ʿArūs, 1966), pp. 25–27. For the complete text and translation, see chapter 4. 20 . For the entry tabāt the Dictionary of Egyptian Arabic only provides the formulaic phrase ʿ āshū fī tabāt wa-nabāt wa-khallifū .subyān wa-banāt, and its English equivalent “and they lived happily ever after” (393). For further discussion of this phrase and H. addād’s use of it, see chapter 3. 2 1 . F u ʾād H. addād, Al-Misah. h. arātī (Cairo: Dār Sīnā li-‘l-Nashr, 1989), p. 68. 2 2 . S.alāh. Jāhīn, Kilmit salām , pp. 40–41. 2 3 . P i e r r e C a c h i a , Popular Narrative Ballads of Modern Egypt (Oxford: Oxford University Press, 1989), pp. 33–34. 218 ● Notes

2 4 . F u ʾād Qāʿūd, “al-Qarīn ,” in Al-Mawāwīl (Cairo: Dār al-Fikr al-Muʿās.ir, 1978), p. 30. 2 5 . A m a l D u n q u l , Al-A ʿmāl al-kāmila (Cairo: Maktabat Madbūlī, 1983), pp. 73–78. 2 6 . ʿAbd al-Rah. mān Al-Abnūdī, al-Zah. ma (Cairo: Al-Hayʾa al-Mis.riyya al-ʿĀmma li-‘l-Kitāb, 1976), 32–45. 2 7 . S.alāh. Jāhīn, Qas .āqīs. waraq, 190–3. 2 8. S.alāh. ʿAbd al-S.abūr, Dīwān S.alāh. ʿAbd al-S.abūr (Beirut: Dār al-ʿAwda, 1972), 228–30, 231–32. 2 9 . S.alāh. Jāhīn, Qas .āqīs. waraq, 137–41. 3 0 . S.alāh. Jāhīn, Anghām Sibtimbiriyya (Cairo: Maktabat Madbūlī, 1981), 86–88. 3 1 . S.alāh. ʿAbd al-S.abūr, Dīwān S.alāh. ʿAbd al-S.abūr, 231. 3 2 . S.alāh. Jāhīn, Anghām Sibtimbiriyya, 86–87. 3 3 . G a m ā l B i k h ī t , Shibbāk al-nabī ʿalā bāb Allah (Cairo: Maktabat Madbūlī, 1993), back cover. 3 4 . A h. mad ʿAbd al-Muʿt.ī H. ijāzī, Dīwān Ah. mad ʿAbd al-Muʿt.ī H. ijāzī (Beirut: Dār al-ʿAwda, 1973), pp. 397–428. 3 5 . F u ʾād H. addād,“Gamīla,” Biquwwit al-fallāh. īn wa-biquwwit al-ʿummāl (Cairo: Dār al-Kātib al-ʿArabī, 1967), pp. 35–38. Ah. mad ʿAbd al-Muʿt.ī H. ijāzī, “al-Qiddīsa, ” Dīwān Ah. mad ʿAbd al-Muʿt.ī H. ijāzī , pp. 216–20. S.alāh. Jāhīn, “ Īllī garā ligamīla,” Ash ʿār al-ʿammiyya al-mas.riyya (Cairo: Markaz al-Ahrām li-‘l-Tarjama wa-‘l-Nashr, 1987), pp. 37–43. 3 6 . S.alāh. Jāhīn, Kilmit salām, pp. 20–23. 3 7 . S.alāh. ʿAbd al-S.abūr, Dīwān S.alāh. ʿAbd al-S.abūr , p. 187. 3 8 . S.alāh. Jāhīn, ʿAn al-qamar wa-‘l-t.īn (Cairo: Dār al-Maʿrifa, 1961), pp. 5–7. For the complete text, translation, and further analysis of the poem, please see chapter 3 of this book. 3 9 . ʿAbd al-Rah. mān al-Abnūdī, al-Zah. ma (Cairo: Al-Hayʾa al-Mis.riyya al-ʿĀmma li-‘l-Kitāb, 1976), p. 8. 4 0 . S.alāh. ʿAbd al-S.abūr, Dīwān S.alāh. ʿAbd al-S.abūr , p. 193. 4 1 . A h. mad ʿAbd al-Muʿt.ī H. ijāzī, Kān lī qalb (Cairo: Rūz al-Yūsif, 1972), p. 29. 4 2 . T . ūba and Bāba are, respectively, the fifth and second months of the Coptic calendar. 4 3. ʿAbd al-Rah. man al-Abnūdī, “ al-Kitāba, ” in Al-Ah . zān al-ʿādiyya (Cairo: Dār Qibāʾ, 1999), p. 58. 4 4 . S.alāh. Jāhīn, Kilmit salām, p. 10. 45 . Stephen Spender, “Moderns & Contemporaries,” in ed. Irving Howe, The Idea of the Modern , (New York: Horizon Press, 1967), pp. 43–44. 4 6 . A h. mad Shawqī, Al-Shawqiyyāt , ed. Muh. ammad H. usayn Haykal, vol. 1 (Beirut: Dār al-Kitāb al-ʿArabī, 1980), p. 264. 4 7 . B a y r a m A l - T ū n i s ī , Ash ʿār Bayram al-Tūnisī (Cairo: Maktabat Madbūlī, 1985), back cover. 4 8. M a h. mūd Sāmī Al-Bārūdī, Dīwān al-Bārūdī, vol. 1 (Cairo: Dār al-Maʿārif, 1971), p. 257. Notes ● 219

4 9 . S.alāh. ʿAbd al-S.abūr, Dīwān S.alāh. ʿAbd al-S.abūr , p. 229. 5 0 . I b i d . 5 1 . ʿAbd al-Rah. mān al-Abnūdī, “ al-Rabāba al-H. azīna ,” in al-Mukhtārāt (Cairo: At.las li-‘l-Nashr, 2001), p. 291. 5 2 . ʿAbd al-Rah. man al-Abnūdī, “Kubbāyyit shāy,” in al-Zah. ma (Cairo: Al-Hayʾa al-Mis.riyya al-ʿĀmma li-‘l-Kitāb, 1976), pp. 5–6. 5 3 . A h. mad ʿAbd al-Muʿt.ī H. ijāzī, ”ʿAbd al-Nās.ir,” Dīwān Ah. mad ʿAbd al-Muʿt.ī H. ijāzī, pp. 177–79. 5 4 . S.alāh. Jāhīn, ʿ An al-qamar wa-‘l-t.īn , p. 64. 5 5 . S a l m a K h a d r a J a y y u s i , Trends and Movements in Modern Arabic Poetry (Leiden: Brill, 1977), p. 641.

ʾ 3 Fu a¯d H. adda¯d: A Modernist in Traditional Garb 1 . ʿAbd al-Rah. man al-Abnūdī, “ al-Imām ,” Al-Ah . zān al-ʿādiyya (Cairo: Dār Qibāʾ, 1999), p. 70. 2 . F u ʾād H. addād, “ Sharʿ al-tasālī,” Ash ʿār Fuʾād H. addād (Cairo: Dār al- mustaqbal al-ʿarabī, 1985), p. 113. 3 . S e e , f o r e x a m p l e , ʿAbd al-Rah. mān al-Abnūdī, “ al-Imām,” pp. 70–82, and Rajāʾ al-Naqqāsh , “ Wālid al-shuʿarāʾ Fuʾād H. addād,” in Thalāthūn ʿāman maʿ al-shiʿr wa-‘l-shuʿarāʾ (Kuwait: Dār Suʿād al-S.abbāh. , 1992), pp. 285–96. 4 . S.alāh. Jāhīn, Dawāwīn S.alāh. Jāhīn, 4–5. For the earlier part of Jāhīn’s statement, see Chapter two. 5 . Ī am not using the term as it was used by Jean Paul Sartre as well as many Arab poets and intellectuals to mean commitment to a political ide- ology or cause, but as it was used by Muh. sin Jassim al-Musawi in his article “Engaging Tradition in Modern Arabic Poetics,” Journal of Arabic Literature 33 (2002): 173–210. Al-Musawi defines the term as “textual appropriation and referentiality.” 6 . For the complete text of the poem, see Fuʾād H. addād, Ah. rār waraʾ al-qud.bān (Cairo: Dar al-Fann al-H. adīth, 1952), pp. 7–11. 7 . For the complete text of the poem, see Fuʾād H. addād, Ah. rār waraʾ al-qud.bān , pp. 19–22. 8 . M a h. mūd Amīn al-ʿĀlim, “ al-shiʿr al-mis.rī al-h. adīth ” Fī’l-thaqāfa al-mis.riyya, (Cairo: Dār al-Fikr al-Jadīd, 1955), pp. 79–102. 9 . See chapter 4, n. 21 of this book for Pierre Cachia’s findings on the absence of nationalist discourse in the Egyptian mawwāl . 1 0 . S e e K h a y r ī S h a l a b ī , “Muqaddima li-dirāsat fann al-mawwāl ʿind Fuʾād H. addād ” in Fu ʾād H. addād fī dhikrāh (Cairo: Rūz al-Yūsif, 1987), pp. 16–27. 11 . Al-Musawi, “Engaging Tradition in Modern Arabic Poetics:” Journal of Arabic Literature 33 (2002): 173–210. 12 . Th i s s t a t e m e n t i s b a s e d u p o n m y c o n v e r s a t i o n w i t h F u ʾād H. addād’s son Amīn during the summer of 2003. 220 ● Notes

1 3 . F u ʾād H. addād, “ Raqs. wa-maghnā,” in Ash ʿār Fuʾād H. addād (Cairo: Dār al-Mustaqbal al-ʿArabī, 1985). 1 4 . F u ʾād H. addād, Dīwān al-arāgūz (Cairo: Dār Sīnā li’l-nashr, 1987). 1 5 . F u ʾād H. addād, “ Mawwāl al-shaykh Saʿīd, ” in “Dīwān al-tasālī,” Ashʿār Fuʾād H. addād (Cairo: Dār al-Mustaqbal al-ʿArabī, 1985), p. 118. 16 . For the complete text, see “al-Namla” in “Raqs. wa Maghna” Ashʿār Fuʾād H. addād (Cairo: Dār al-Mustaqbal al-ʿArabī, 1985), p. 34. 17 . For the complete text of the poem, see “ al-Shaʿra al-Hilāliyya,” Dīwān al-arāgūz, p. 9. 1 8 . F o r a d i s c u s s i o n o f qūmā , its origin, form and recorded examples, see chapter 1 . 1 9 . F u ʾād H. addād,“bi ʿilw h. issī” p. 41. 2 0 . “S .āh. ib nidā, ” p. 156. 2 1 . “quwwit al-shuada, ” p. 279. 2 2 . P e r s o n a l C o m m u n i c a t i o n w i t h R ā w i y a ʿAt.t.iya, owner and manager of Dār Sīnā li-‘l-nashr, summer 2003. 2 3 . F u ʾād H. addād, Al-Misah. h. arātī (Cairo: Dār Sīnā li-‘l-Nashr, 1989), pp. 298–300. 2 4 . H. addād,“ alif bāʾ”, Al-Misah . h. arātī , p. 54. 2 5 . H. addād, “ kutub wa nās”, Al-Misah . h. arātī , p. 206. 2 6 . H. addād, “h. izma wa h. izām” Al-Misah. h. arātī , p. 184. 2 7 . A b ū a l - T. ayyib al-Mutanabbī , Dīwān Abī al-T. ayyib al-Mutanabbī, ed. ʿAbd al-Wahhāb ʿAzzām (Sousse, Tunisia: Dār al-Maʿārif, 1994), p. 361. 2 8. A l - M u t a n a b b ī , p . 3 7 9 . 2 9 . H. addād, “ mughāmarāt al-t.abla” Al-Misah . h. arātī , p. 405. 3 0 . M u h. ammad Baghdādī, “ S.arh. al-insāniyya wa-tawās.ul al-muh. ibbīn fī shiʿr Fuʾād H. addād,” Al-Shiʿr (Winter 1990): 79. 31 . Afaf Lutfi Al-Sayyid Marsot, A Short History of Modern Egypt (Cambridge: Cambridge University Press, 1985), p. 133. 3 2 . H. addād“ sāh. ib nidā” Al-Misah. h. arātī, p. 154. 3 3 . H. addād, “ al-tabāt wa’l-nabāt ,”Al-Misah . h. arātī , p. 66. For the literal meaning and the formulaic use of the phrase “ al-tabāt wa-‘l-nabāt, ” and how it is used in H. addād’s poetry see below. Also see chapter 2 . 34 . While in Haddād’s poem the words “first, second and third” imply a chronological order, in folkloric compositions this is not the case. 3 5 . T h e A r a b i c e n d i n g i s wa- ʿāshū fī tabāt wa-nabāt wa-khallifū S.ubyān wa-banāt.(And they lived happily ever after and bore sons and daughters). 36 . Al-Musawi, “Engaging Tradition in Modern Arabic Poetics:” p. 173. 3 7 . F u ʾād H. addād, “Furigat wa-tufrag ,” Al-Misah . h. arātī, p. 103. The Quranic references are to the sūras “ Al-Sharh. ” (94:5) and “ Al-fajr” (89:4). 3 8 . Min nūr al-khayāl wa s.unʿ al-agyāl fī tarīkh al-Qāhira (Cairo: Rūz al-Yūsuf, 1982). 3 9 . F u ʾād H. addād, Introduction to Min nūr al-khayāl wa s.unʿ al-agyāl fī tarīkh al-Qāhira (Cairo: Rūz al-Yūsuf, 1982), p. 9. Notes ● 221

40 . It is a common Arab practice to say “Allah” as an expression of admiration. 4 1 . Min nūr al-khayāl wa s.unʿ al-agyāl fī tarīkh al-Qāhira (Cairo: Rūz al-Yūsuf, 1982).

4 S.alaˉh. Jaˉhı¯n: A Sage in Fool’s Clothing 1 . S.alā h. Jāhīn, Rubā ʿiyyāt (Cairo: Dār al-Maʿrifa, 1962), p. 26. 2 . For a more detailed discussion of the historical background to the ques- tion of form in Arabic poetry, see chapter 1. For a discussion of the main features of free verse poetry in Arabic, see chapter 2. 3 . M u h. ammad al-Nūwayhī, Qad. iyyat al-shiʿr al-jadīd, 264. The poem, “ Qas.āqīs. waraq ” was later published in a collection carrying the same title (Cairo: Dār Ībn ʿArūs, 1966). The complete poem is quoted, translated, and discussed later in this chapter. 4 . A l - N ū w a y h ī , p . 2 6 6 . 5 . A h. mad Yūsuf Ah. mad, Fannān al-shaʿb: Mah. mūd Bayram al-Tūnīsī (Cairo, 1962), quoted in Marilyn Booth, Bayram al-Tunisi’s Egypt: Social Criticism and Narrative Strategies (Exeter: Ithaca Press, 1990), p. 5. 6 . J ā h ī n , Qas .aqīs waraq, (Cairo: Dār Ībn ʿArūs, 1966), p. 7. 7 . J ā h ī n , Kilmit salām wa-mawwāl ʿashān al-qanāl (Cairo: Mat.baʿat wa- Maktabat al-Dār al-Mis.riyya, 1967), pp. 30–31. 8 . T h e s e p o e m s a r e “Dumū ʿ warā-‘l-burquʿ, ” “ al-Qamh. ,” and “Zayy-‘l-fallāh . īn ,” The last one is quoted in its entirety with translation and commentary in the second chapter of this book. One poem in that collection, “ al-Zabāyin,” is not dated. 9 . M a h. mūd Amīn Al-ʿĀlim, “S.alāh. Jāhīn : Ughniyya ishtirākiyya ,” Al- Mus.awwar 3211 (25 April 1966): 42. 10 . Islamic law mandates the ritual washing of the dead prior to burial. 11 . For the complete text of the poem, see Kilmit salām , pp. 24–29. 12 . An estimated 600,000 to 700,000 Palestinians fled or were forced to evacuate their homeland in the wake of the 1948 war. For a good read- ing into the beginning of the problem of the Palestinian refugees, see Benny Morris “Revisiting the Palestinian Exodus of 1948,” in ed. Eugene L. Rogan and Avi Shalaim The War for Palestine, (Cambridge: Cambridge University Press, 2001), pp. 37–59. Morris puts the number of refugees at 700,000. 13 . See, for example, E. Valentine Daniel and John Knudsen eds., Mistrusting Refugees, (Berkeley: University of California Press, 1995). 14 . For the complete poem, see Kilmit salām , pp. 14–19. 15 . For the complete poem, see see Kilmit salām , pp. 42–45. 16 . For the complete poem, see Kilmit salām , pp. 52–57. 17 . For the text, translation and commentary on the structure of the poem, “The Wheat,” see chapter 2 . 222 ● Notes

1 8 . A f a f L u t f i a l - S a y e d M a r s o t . A Short History of Modern Egypt (Cambridge: Cambridge University Press, 1985), p. 112. 1 9 . A l l f o u r p o e m s w e r e p u b l i s h e d i n ʿAn al-qamar wa-‘l-t.īn (Cairo: Dār al-Maʿrifa, 1961). 2 0 . Q u o t e d f r o m H a z a r d A d a m s , Critical Theory Since Plato (New York: Harcout Brace Jovanovich, 1992), p. 69. 2 1 . M a h. mūd Amīn Al-ʿĀlim, “S.alāh. Jāhīn : Ughniyya ishtirākiyya ,” Al- Mus.awwar , 3211, April 25, 1986, 42. 2 2 . A m ī n a S.alāh. Jāhīn, poet’s daughter, personal interview (Cairo, summer 2003). 23 . For the complete text, see ʿ An al-qamar wa-l-t.īn , pp. 59–60. 24 . Sir Anthony Eden (1895–1977), who succeeded Churchill as British prime minister in 1955. 25 . Pierre Cachia, “Social Values Reflected in Egyptian Popular Ballads,” in Studies in Modern Arabic Literature , ed. R. C. Ostle (Warminster, England: Aris & Philips Ltd, 1975), p. 96. 26 . For the complete mawwāl , see Kilmit salām , pp. 72–99. 2 7 . A b r o o m s t i c k . 28 . In 1906, a group of British officers were shooting pigeons in Dinshwāi, a small village in the Delta. The villagers objected and chased away the officers. One officer died of a heatstroke on his run back to the camp. Subsequently, the villagers were arrested and tried on charges of violence against the officers. A special court martial was set up, which tried the fifty-two accused in thirty minutes. Four men were sentenced to being hanged, two were sentenced to penal servitude for life, six were sentenced to seven years in prison and many were sentenced to flogging. The villagers were forced to watch as the executions and floggings were publicly carried out in the village. 29 . Pierre Cachia, “Social Values Reflected in Egyptian Popular Ballads,” 96. 3 0 . J ā h ī n , “ a l - A r d. ,“ in An al-qamar wa-‘l-t.īn, pp. 102–3. 3 1 . J ā h ī n , “ ʿUyūn al-h. iliwa ,” ʿAn al-qamar wa-‘l-t.īn, pp. 38–39. 3 2 . J ā h ī n , “ ʿAs.fūra,” ʿ An al-qamar wa-‘l-t.īn, pp. 42–43. 3 3 . J ā h ī n , “ ʿUghniyya min al-shibbāk,” ʿ An al-qamar wa-‘l-t.īn. 3 4 . J ā h ī n , ʿAn al-qamar wa-‘l-t.īn, pp. 5–7. The last stanza is a reference to the story associated with the Quranic sūra s 73, “Al-Muzzammil ,” and 74, “ Al-Muddaththir .” The story relates that the prophet, upon his encounter of the Angel Gabriel, came shivering to his wife, Khadīja, and asked to be wrapped in covers. 3 5 . Q u o t e d i n M u h. ammad Baghdādī, “s .arh. al-insāniyya wa-tawās.ul al-muh . ibbīn fī ashʿār Fuʾād H. addād,” Al-Shiʿr (Winter 1990): pp. 70–71. 36 . For a discussion of the form and its attested examples in classical Arabic poetry, see chapter 1 . 3 7 . The Ruba’yat of Omar Khayyam , trans. Peter Avery and John Heath-Stubbs (London: Penguin Books, 1979), p. 13. Notes ● 223

38 . A derogatory colloquial expression which could afford a wide range of meaning from “F-ck you” to milder retorts to someone’s exhibition of conceit. 3 9 . Y a h. ya H. aqqī, ʿit.r al-ah. bāb, (Cairo: Al-Hayʾa al-Mis.riyya al-ʿĀmma li-‘l- Kitāb, 1986). 40 . This is taking off from a children’s ditty that they sing when it rains. The ditty says, “Rain, fall, fall, upon the bald head of my niece.” 4 1 . J ā h ī n , Qas .āqīs. waraq , pp. 25–27. 4 2 . I b i d . p p . 2 2 0 – 2 1 . 43 . There are several tales of horsemen escaping their death by jumping out of a castle’s window onto a fence below. The most widely circulated involves an Egyptiam Mamlūk who escaped from the banquet set up by Muh. ammad ʿAlī to exterminate the Mamlūks in Egypt. 4 4 . J ā h ī n , Dawāwīn , introduction. 45 . In my interview with the poet’s sister she told me that President Sadat once asked Jāhīn why he had not written poems about his achievements, and that Jāhīn’s answer was “because I am not a tailor.” Although I have not been able to verify this anecdote, I still find it significant. Jāhīn’s complete identification with Nās.ir was never interpreted as a self-serving identification with a patron, because of his equally complete and adamant refusal to celebrate Nās.ir’s successors. 4 6 . “ ʿAlā ism mas.r,” Anghām Sibtimbiriyya, (Cairo: Maktabat Madbūlī, 1981), pp. 48–78. 4 7 . T . S . E l i o t , The Music of Poetry (Glasgow: Glasgow University Publications, 1942), p. 16.

ʿ ʿ 5 Abd al-Rah.ma¯n al-Abnu¯dı¯: A S.a ¯dıı ¯ among Cairenes

1 . ʿAbd al-Rah. mān al-Abn‹udī, Ayyāmī al-h. ilwa, vol. 3 (Cairo: At.las li-‘l- Nashr, 2002), p. 137. 2 . ibid., p. 140. 3 . “Ummī Qandīla wa jaddatī, sitt Abūhā humā muʿallimī al-awwal ,” S .abāh. al-Khayr 1580, April 17: (1986), 16. 4 . Bridget Connelly, Arab Folk Epic and Identity . (Berkeley: University of California Press, 1986), p. 49. 5 . I b i d . 6 . Most recently, he began a project to oversee a television recording of the epic sung by Sayyid al-D. aw, one of the last remaining traditional performers. 7 . Personal interview with the poet, July 2009. 8 . S e e“Kubbāyyit shāy,” in al-Zah. ma (Cairo: Al-Hayʾa al-Mis.riyya al-ʿĀmma li-‘l-Kitāb, 1976), 5–6. An excerpt of the poem is quoted and translated in chapter 2 . 9 . For the complete poem see al-Zah . ma (Cairo: Al-Hayʾa al-Mis.riyya al-ʿĀmma li-‘l-Kitāb, 1976), pp. 109–14. 224 ● Notes

1 0 . ʿUmmāliyyāt, (Cairo: publisher unknown, 1968), p. 3. In my interview with the poet, he expressed his view of this collection as “not real poetry,” but a versified political message. 1 1 . “sīb makānak,” ʿUmmāliyyāt 60. A mas .t.aba is a stone bench frequently built into the side of peasant homes next to the entrance. 1 2 . Gawābāt H. arāgī al-gut.t. (letter 5: from H. arāgī to Fat.na), p. 23. 1 3 . ( l e t t e r 8 : f r o m F ā t.nah to H. arāgī), p. 34. 14 . (letter 24: from H. arāgī to Fāt.nah), p. 147. 15 . (letter 11: from H. arāgī to Fāt.nah), p. 49. 16 . (letter 23: from Fāt.nah to H. arāgī), pp. 137–38. 17 . On the epic narrative of Banū Hilāl, see Bridget Connelly, Arab Folk Epic and Identity , (Berkeley: University of California Press, 1986) and Dwight Reynolds, Heroic Poets, Poetic Heroes: The Ethnography of Performance in an Arabic Oral Epic Tradition (Cornell: Cornell University Press,1995) 1 8 . “Ah . mad Smāʿīn: sīrat Insān, ” (Cairo: Maktabat Madbūlī, 1972). 19 . For the full text of the poem, see S .amt al-garas , (Cairo: Al-Hayʾa al-Mis. riyya al-ʿĀmma li-‘l-Kitāb), 1975. 2 0 . “Sūq al-ʿas.r.” For the complete text of the poem see Al-Mashrū ʿ wa’l-mamnūʿ , 2nd edition, (Cairo: Maktabat Madbūlī, 1985), pp. 8–22. 21 . For the complete text of the poem, see “ al-Mashrūʿ wa-l-mamnūʿ”, Al-Mashrū ʾ wa-l-mamnūʾ. 2 2 . “al-Madd wa’l -jazr.” For the complete text of the poem, see Al-Mashrū ʿ wa’l -mamnuʿ , 2nd edition, (Cairo: Maktabat Madbūlī, 1985), pp. 102–23. 23 . Personal interview with the poet, July 2009. 2 4 . “Al-Mawt ʿalā al-asfalt” For the complete text of the poem see Al-Mawt ʿalā al-asfalt (Cairo: al-markaz al-mis.rī al-ʿarabī, 1988). 25 . Personal interview with Bakhīt, June 2010. 26 . For the complete text see “Yāmna,” al-Mukhtārāt 2001.

Conclusion 1 . T . S . E l i o t , The Music of Poetry (Glasgow: Glasgow University Publications, 1942), p. 17 (italics mine). 2 . Q u o t e d i n M u h. ammad Baghdādī, “ S.arh. al-insāniyya wa tawās.ul al-muh. ibbīn fī ashʿār Fuʾād H. addād ,” al-Shi ʿr (Winter 1990): 71. 3 . For the complete text and translation of both poems see chapter 4. 4 . Ghālī Shukrī, “al- ʿĀmmiyya fi’l-shiʿr al-mis.rī al-hadīth,” al-Shi ʿr (Winter 1990), 42. 5 . T. āha H. usayn, Mustaqbal al-thaqāfa fī Mis.r (Cairo: Dār al-Maʿārif, 1944), p. 236. 6 . S e e “ P a l e s t i n e i n E g y p t i a n C o l l o q u i a l P o e t r y , ” Journal of Palestine Studies, vol. IX, no.1, summer 2011, 61–77. See also “The Land Speaks Arabic: Shiʿr al-ʿAmmiyya and Arab Nationalism” in eds., Ramzi Baalbaki, Saleh Notes ● 225

Said Agha and Tarif Khalidi, Poetry and History (Beirut: AUB Press), 2011. 7 . For these poems see chapters 3 and 5 respectively.

Postscript: Egyptian Colloquial Poetry Blooms in the Arab Spring 1 . Elliott Colla, “The Poetry of Revolt,” Jadaliyya, January 31, 2011. 2 . Translated by Elliott Colla. 3 . F o r m o r e o n ʿIs.ām, see Ted Swedenburg, “Troubadors of Revolt” MERIP, 258. 4 . The poem was written before President Mubarak stepped down on February 11.

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Index

ʿAbd al-Lat.īf, Mitwallī, 85 imagery of, 166–169 ʿAbd al-Nās.i r , J a m ā l , 2 3 , 5 5 imprisonment of, 168 a l - A b n ū d ī a n d , 1 7 0 influence of, 197 ʿāmmiyya a n d , 3 2 l a n g u a g e o f , 4 6 , 6 6 – 6 7 , 1 6 7 c o l l o q u i a l p o e t s a n d , 6 8 – 6 9 “al-Layl wal-mingal wal-mih. rāth” death of, 153 , 177 (The Night, the Scythe and the H. addād’s elegy for, 90 Plough) of, 163–169 H . anibnī al-sadd a n d , 8 1 al-Madd wa’l-jazr (High Tide and H. ijāzī and, 67–68 Low Tide) of, 187–190 J ā h ī n a n d , 6 8 – 6 9 , 1 2 8 , 1 2 9 , al-Mashrū ʾ wa’l-mamnūʾ (The 153 , 156 Permitted and the Prohibited) of, a l - T ū n i s ī a n d , 2 8 179–186 ʿ ʿAbd al-S.abūr, S.alāh. , 3 9 , 1 6 8 al-Mawt alā al-asphalt (Death on the a l - A b n ū d ī a n d , 1 5 9 Asphalt) of, 191–193 Eliot’s poetry and, 43–44 modernist movement and, 160 establishment reaction to, 202 M u b a r a k a n d , 1 9 3 – 1 9 4 subjects/themes of, 54–55 , 57–59 nationalism of, 169–170 tone and perspective of, 63–65 nationalist songs of, 170 , 208 a l - A b n ū d ī , ʿAbd al-Rah. mān, xi, 2 , 7 , poems of 1970s of, 177–190 3 7 , 3 9 , 1 5 9 – 1 9 7 poems of 1990s and beyond of, Ah . mad Smāʿīn: sīrat Insān 191–197 al-A . h. zān al-ʿadiyya (Quotidian Woes) poetic form of, 51 of, 194 S a d a t a n d , 1 7 9 – 1 8 4 , 1 8 8 – 1 9 0 Anā wa’l-nās (The People and I) of, 175 S .aʿīdī oral verse traditions and, A r a b S p r i n g a n d , 2 0 8 – 2 1 0 160–167 Al-ard . wa’l-ʿiyāl (The Land and the S .amt. al-garas (Silence of the Bell) of, Children) of, 46 , 161–167 177–179 Ayyāmī al-H. ilwa (My Sweet Days) of, s u b j e c t s / t h e m e s o f , 5 4 , 5 8 159–160 tone and perspective of, 65–67 debut of, 161–170 ʿUmmāliyyāt (About Workers) of, Gawābāt H. arāgī al-gut..t (The Letters 169–170 of H. arāgī al-gut..t) of, 170–177 , Yāmna of, 194–197 173–175 al-Zah . ma (Crowds) o f , 5 8 n 3 9 , 6 4 , Hilāliyya a n d , 1 6 0 – 1 6 1 167–169 234 ● Index

Abū Munabbih, 17–18 European colonialism and, 28–29 A b ū N u w ā s , 1 8 J ā h ī n a n d , 1 3 3 Abū Shādī, Ah. mad Zakī, 78 l i n g u i s t i c d e b a t e a n d , 3 0 , 3 2 Abū Tammām, 192–193 modernist Arabic poetry al-A . h. zān al-ʿādiyya (Quotidian a n d , 5 5 – 5 6 Woes), 1 9 4 Arab Spring, 205–211 Ah . rār warāʾ al-qud. bān (Free Behind a l - A b n ū d ī a n d , 2 0 8 – 2 1 0 Bars) (H. addād), 71–81 music and songs of, 208–209 and innovations in ʿ āmmiyya pan-Arabism in, 205–207 p o e t r y , 8 1 state security apparatus and, 206 modernist features of, 79–80 and versified “statement of p e r s o n a i n , 7 4 purpose,” 205–206 structure and metrical and rhyme A r a b u n i t y , 1 1 0 , 1 1 2 , 2 0 3 – 2 0 4 p a t t e r n s o f , 7 3 – 7 4 , 7 7 Arabic language subjects and themes of, 74–77 A r a b i d e n t i t y , 2 9 t o n e o f , 7 6 Q u r a n a n d , 3 , 9 – 1 1 ʿAlā ism mas.r ( J ā h ī n ) , 1 5 5 – 1 5 6 s t a n d a r d versus regional, Algerian war of independence, 56 4–5 , 29–30 ʿAlī, Muh. a m m a d , 2 5 Arabic poetry a l - ʿA. lī, Nājī, 191–192 , 203 diction in, 40–48 a l - ʿA. lim, Mah. mūd Amīn, 1–2 , 78–79 form of, 48–53 al-A ʿmāl al-K. āmila (The Complete historical perspective on, 3–5 Works) (H. addād), 106 l a n g u a g e o f s p e e c h a n d , 9 – 3 5 ; ʿ ʿāmmiyya; see also malh . ūn; shiʿr see also S .a īdī colloquial language; al-ʿāmmiyya shiʿr al-ʿāmmiyya medieval references to, 15–16 in modern period, 25–28 N ā s.ir’s use of, 32 p r e - I s l a m i c , 9 – 1 0 perceived limitations of, 31 Q u r a n a n d , 1 0 – 1 1 ʿAn al-qamar wa’l-t.īn (About the Moon and revivalist/neoclassical and the Dirt) ( J ā h ī n ) , 2 , 1 3 1 – 1 3 8 movement, 26 Ana wa’l-nās (The People and I) Arāgūz , 85–88 ( a l - A b n ū d ī ) , 1 7 5 – 1 7 7 al-Ard wa’l-ʿyiāl (The Land and the Anghām Sebtambiriyya (September Children) ( a l - A b n ū d ī ) , Tunes) ( J ā h ī n ) , 1 5 2 , 161–162 A n i d j a r , G i l , x i A s h r a f S h a ʿb ā n , 3 3 ʿ A n ī s , ʿAbd al-ʿAz.I m , 2 , 7 8 a l - A. skarī, Abū H. i l ā l , 4 0 A p o l l o p o e t s , 7 8 al- ʿAt.il al-h. ālī, 1 9 , 2 1 , 2 1 5 n 3 5 , n 3 6 , a l - ʿAqqād, ʿAbbās Mah. m ū d , 3 0 – 3 1 , n 3 8 , n 3 9 , n 4 3 1 0 9 , 2 0 2 Ayyāmī al-H. ilwa (My Sweet Days) Arab culture, poetry in, 3 , 9–10 (al-Abnūdī), 1 5 9 – 1 6 0 A r a b i d e n t i t y , A r a b i c l a n g u a g e a n d , 2 9 A r a b n a t i o n a l i s m , 4 B a k h ī t , G a m ā l , 5 6 , 1 9 4 a l - A b n ū d ī a n d , 1 9 3 a l - B ā r ū d ī , M a h. mūd Sāmī, 26 , 62–63 c o l l o q u i a l p o e t r y a n d , 5 , 1 0 5 – 1 0 6 , al-Bayān wa’l-tabyīn, 1 2 – 1 6 203–204 Book of Songs (al-Is.f a h ā n ī ) , 1 7 Index ● 235

B o o t h , M a r i l y n , 2 1 3 n 1 , 2 1 5 n 4 9 , modern notion of, 31–32 2 1 6 n 6 1 , 2 1 7 n 1 1 , 2 1 7 n 1 3 origin and purpose of, 4–5 B r e c h t , B e r t o l t , 1 7 4 perceived threats to, 110–111 B r i t i s h o c c u p a t i o n , 4 , 2 5 , 2 6 , 7 3 al-Gakh, Hishām, 210–211 C a m p D a v i d a g r e e m e n t , 1 0 6 , 1 8 4 Gawābāt H. arāgī al-gut..t (The Letters canonical Arabic poetry of H. arāgī al-gut..t) (al-Abnūdī), ʿāmmiyya poets and, 107 170–177 diction in, 40–48 S .aʿīdī colloquial language in, 173 metrical and rhyme patterns of, 38 social justice issues and, 173–175 C h a p l i n , C h a r l i e , 1 2 3 – 1 2 5 a l - G h u b ā r ī , 2 5 , 3 3 classical Arabic, elite nature of, 41 C o l l a , E l l i o t t , 2 0 7 H. a d d ā d , A m ī n , x i i , 8 9 c o l o n i a l i s m ; see British occupation H. addād, Fuʾā d , 2 , 7 , 3 9 , 5 6 , 7 1 – 1 0 7 , 2 0 3 D a b a s h i , H a m i d , x i Ahrār warāʾ al-qud. bān (Free Behind Darwish, Sayyid, 104 Bars) of, 73–88 diction, in canonical versus background of, 72–73 noncanonical poetry, 40–48 classical sources and, 103–104 Dīwān al-H. amī al-Filast.īnī (Dīwān Dīwān al-H. amī al-Filast.īnī of the Palestinian Gestation) (Dīwān of the Palestinian (H. addād), 106 Gestation), 1 0 6 Dīwān p o e t r y , 7 8 establishment reactions to, 2 dūbayt f o r m , 1 2 , 1 9 , 2 1 – 2 2 , 1 3 9 , 2 1 5 n 3 3 f o l k l o r i c t r a d i t i o n a n d , 7 2 , 8 0 – 8 1 , Dulles, John Foster, 126 102–103 , 107 D u n q u l , A m a l , 3 9 , 5 4 , 1 5 9 H . anibnī al-sadd (We Will Build the Dam) of, 81–88 E l i o t , T . S . , 4 3 – 4 4 , 1 0 2 , i m p r i s o n m e n t o f , 8 1 , 8 5 156 , 199 , 213n1 Min-nūr al-khayāl (In the Light of English translations, 6 Imagination) of, 104–105 al-Misah . h. arātī o f , 2 , 8 8 – 9 1 , 2 0 3 F a r ī d , M u h. a m m a d , 1 5 5 m o d e r n i s t m o v e m e n t a n d , 7 2 folkloric tradition; see also mawwāl N ā s.ir and, 68–69 a l - A b n ū d ī a n d , 1 7 5 poetic form used by, 51 H a d d a d ’ s u s e o f , 7 2 , 8 0 – 8 3 , 8 5 , 8 8 , qūmā f o r m a n d , 2 3 9 8 – 1 0 3 , 1 0 7 songs from poetry of, structures of, 51–52 8 8 – 8 9 , 1 0 4 , 1 0 5 free verse, 48; see also shiʿr Hurr (free subjects and themes of, 105–106 ʿ verse); taf īla poetry “S .uh. bit amthāl” (A Bouquet of structure of, 48–49 Proverbs) of, 91–104 ʾ ʿ F u ād, Zayn al-Abidin, 208 H. āfiz., ʿAbd al-H. a l ī m , 1 2 8 , 1 5 3 , 1 7 0 , fus .h. ā 1 7 7 , 1 7 9 – 1 8 0 , 2 0 8 classical/medieval perspective on, H. aidar, Jamīla Bū, 56 11–17 H . akāwātī, 1 0 4 a l - H. us.r ī a n d , 3 0 a l - H. akīm, TawfIq, 95 236 ● Index

H . anibnī al-sadd (We Will Build the i ʿrāb Dam) (H. addād), 81–88 d e f i n e d , 4 H ā r ū n a l - R a s h i d , 1 8 fus .h. ā a n d , 3 0 , 3 1 – 3 2 H a y e s , J o h n , x i lah . n versus, 1 2 H. i g ā b , S a y y i d , 3 7 , 3 9 , 5 1 I r a q H i g h D a m , 8 1 , 1 2 6 , 1 3 3 , 1 7 0 – 1 7 4 dūbayt form and, 21–22 H. ijāzī, Ahmad ʿAbd al-Muʿt ī , 3 9 , 5 6 , free verse movement in, 48 1 5 9 , 1 6 8 Kuwait invasion by, 193 , 206 political events and, 67–68 mawāliya f o r m a n d , 2 3 s u b j e c t s / t h e m e s o f , 5 9 , 6 1 m o d e r n i s t m o v e m e n t a n d , 3 9 , 1 9 9 Hilāliyya, al-Abnūdī and, 160–161 taf ʿīla poetry and, 109 a l - H. illī, S.afī al-Dīn, 4 , 12 ʿIs.ām, Rāmī, 209 o n dūbayt, 21 a l - I s.f a h ā n ī , 1 7 E g y p t i a n zajal a n d , 2 5 I s r a e l o n kān wa-kān , 2 2 a l - A b n ū d ī ’ s p o e t r y a n d , 1 8 1 , o n l e x i c a l c h o i c e s , 1 6 183–184 o n mawāliyya, 2 4 A r a b S p r i n g p r o t e s t s a n d , 2 0 6 o n n o n c a n o n i c a l v e r s e , 3 3 o n qūmā , 22–23 Jāhīn, Amina, xii volume on malh . ūn poetic Jāhīn, Bahaa, xii f o r m s , 1 9 – 2 0 J ā h ī n , S.alāh. , 7 , 3 7 , 3 9 , 1 0 9 – 1 5 7 , 2 0 1 a l - H. īrī, H. u n a y n , 1 7 – 1 8 ʿAn al-qamar wa’l-t.īn (About the Moon H. usayn, T. ā h ā , 3 0 , 9 5 , 1 0 9 , 2 0 3 and the Dirt) of , 2 , 1 3 1 – 1 3 8 a l - H. us.rī, Sāt.iʿ, 2 9 , 3 0 Anghām Sebtambiriyya (September Tunes) of, 153–156 I b n ʿA b b ā s , 1 0 – 1 1 cartoons and screenplays of, 153 I b n ʿAbd al-Malik, Hishām, 17 debut of, 113–115 I b n A h. m a d , a l - K h a l ī l , 2 1 , 3 8 establishment reactions to, 2 I b n ʿArūs, Jamāʿi t , 3 7 , 3 8 , 1 6 1 – 2 Haddad’s influence on, 71 i b n ʿAtā,ʾ Wās.i l , 1 3 o n H a d d a d ’ s p o e t r y , 4 1 – 4 2 Ibn Burd, Bashār, 18 influence of, 107 , 112–113 , 197 I b n a l - F ā r i d. , ʿU m a r , 2 1 Kilmit salām (The Word Peace) of, I b n a l - H. a j j ā j , 1 8 3 7 , 1 1 5 – 1 2 6 , 2 1 7 n 1 6 , 2 1 7 n 2 2 Ibn al-Khat.t.āb, ʿUmar, 104 , 105 l a n g u a g e o f , 4 5 , 4 7 , 7 2 Ibn al-Muʿtazz, 9 literary significance of, 156–157 I b n ʿA r ū s , 2 5 , 3 7 , 1 6 1 – 1 6 2 multiple roles of, 112 I b n D a n y ā l , 3 3 N ā s.i r a n d , 6 8 – 6 9 , 1 2 8 , I b n M ā ʾ al-Samā,ʿU b ā d a , 2 4 129, 153 , 156 I b n N u q t.a , 2 3 as poet of 1952 Revolution, 126–129 I b n Q u t a y b a , 3 , 7 , 1 0 – 1 1 poetic forms of, 49–51 I b n Q u z m ā n , 1 6 , 2 0 , 2 4 , 3 3 post-1967 works of, 152–157 ʾ I b n S a n ā a l - M u l k , 2 4 Qas .āqīs. waraq (Paper Confetti) of, I b r ā h i m , H. āfiz., 2 6 111–112 I m ā m ʿI s a , 2 0 8 al-Rubā ʿiyyāt of, 139–152 I m r u ʾ a l - Q a y s , 1 8 S a d a t a n d , 1 5 4 , 1 7 9 , 2 2 3 n 4 5 Index ● 237

“Shūfī qadd ayh ” (See How Much) a l - H i l l ī a n d , 1 9 – 2 0 of, 136–138 premodern forms of, 20–25 s u b j e c t s / t h e m e s o f , 5 4 , 5 7 – 5 8 , 6 0 – 6 1 al-Manfalūtī, Mus.t.afā Lut.fī, 105 a l - J ā h. iz., 11–17 a l - M a ʿrrī, Abul ʿAlāʾ 9 5 al-Jayyusi, Salma Khadra, 68 M a r x i s m , 7 8 , 1 7 5 j o u r n a l i s m , i m p a c t s o f , 2 5 , 2 6 , 2 8 al-Mashrū ʾ wa’l-mamnuʾ (The Permitted and the Prohibited), 1 7 9 – 1 8 6 kān wa-kān, 1 2 mass media a l - H. illī and, 19–20 c o l l o q u i a l l a n g u a g e a n d , 4 1 origin, content, and structure of, 22 and dissemination of shi ʿr Khamīs, Sayyid, 2 al-ʿāmmiyya, 2 0 4 Kilmit salām (The Word Peace) ( J ā h ī n ) , i m p a c t s o f , 4 , 3 4 3 7 , 1 1 5 – 1 2 6 , 2 1 7 n 1 6 , 2 1 7 n 2 2 and proliferation of ʿ āmmiyya, 3 1 , 1 9 4 influence of, 126 Massad, Joseph, xi political themes in, 117–121 mawāliya form, origin and structure of, 123 , 125 language of, 23–24 as voice for social change, 121–125 al-Mawāwīl (The Mawwāls) (Qāʿūd), a l - K i s ā ʾī , 1 2 , 1 3 , 1 5 52–53 Kitāb al-Sināʿtayn, 4 0 al-Mawt ʿalā al-asfalt (Death on the K u w a i t , 9 3 , 2 0 6 Asphalt), 1 9 1 – 1 9 3 mawwāl, 1 6 0 lah . n, 1 5 – 1 6 correct/incorrect i ʿrāb in, 23–24 e x c l u s i o n o f , 1 7 , 1 9 Egyptian examples of, 24–25 versus iʿrāb, 1 2 form of, 51–52 usages of, 11–23 H. addād’s use of, 72 , 99–100 Larkin, Margaret, xi, 19 a l - H i l l ī a n d , 1 9 – 2 0 “al-Layl wal-mingal wal-mih. rāth” (The Q ā ʿūd’s use of, 52–53 Night, the Scythe and the Plough) s t y l i s t i c f e a t u r e s o f , 8 4 ( a l - A b n ū d ī ) , 1 6 3 – 1 6 9 Mawwāl ʿashān al-qanāl (Mawwāl for literary establishment, noncanonical the Canal) ( J ā h ī n ) , 3 7 , 5 2 v e r s e a n d , 3 3 M e h r e z , S a m i a , x i l i t e r a t u r e m e t r i c a l p a t t e r n s , 2 1 c o l o n i a l i s m a n d , 2 5 – 2 6 o f c a n o n i c a l A r a b i c p o e t r y , 3 8 r o l e i n s o c i e t y , 3 1 i n H. addād’s poetry, 73–74 , 101–102 l i t e r a t u r e o f r e s c u e , 3 4 in Jāhīn’s poetry, 49–51 lukna, 1 3 in modernist Arabic poetry, luthgha, 1 3 2 1 , 6 9 , 7 9 M i k k ā w ī , S a y y i d , 8 8 – 8 9 , 1 0 4 , 1 0 5 al-Madd wa’l-jazr (High Tide and Low Min-nūr al-khayāl (In the Light of Tide) ( a l - A b n ū d ī ) , 1 8 7 – 1 9 0 Imagination) (H. addād), 104–105 madīh . , parody of, 33 al-Misah . h. arātī (H. addād), al-Malāʾi k a , N ā z i k , 4 8 , 1 0 9 2 , 8 8 – 9 1 , 2 0 3 malh . ūn verse; see also ʿāmmiyya; metrical and rhyme patterns of, noncanonical poetry 101–102 exclusion of, 17–18 pangyric features of, 97–98 238 ● Index al-Misah . h. arātī (H. addād),—Continued National Committee for Students and qūmā form and, 88–89 W o r k e r s , 7 8 structure of, 90–91 n a t i o n a l i s m ; see also Arab nationalism ; subject and themes of, 94–98 p a n - A r a b i s m modernist Arabic poetry; see also shi ʿr B r i t i s h o c c u p a t i o n a n d , 2 6 al-ʿāmmiyya n e o c l a s s i c a l m o v e m e n t , 2 6 affinities among forms of, n e o c l a s s i c i s t p o e t r y , 7 8 3 6 , 6 9 , 2 0 0 N i g m , A h. mad Fuʾād, 208 c o n t e x t s o f o r i g i n s , 2 1 9 6 7 w a r , 9 3 , 9 7 , 9 8 , d i c t i o n o f , 4 3 – 4 4 , 6 9 104 , 169 , 177 experimentation in, 53–54 1 9 7 3 w a r , 9 7 , 1 5 4 , 1 8 1 f o r m s o f , 7 9 n o n c a n o n i c a l A r a b i c p o e t r y , 3 – 4 ; i m a g e r y o f , 7 9 see also malhūn innovations of, 45–46 diction in, 40–48 insider perspective in, 66–69 golden period of, 4 l a n g u a g e o f , 6 9 l i t e r a r y e s t a b l i s h m e n t a n d , 3 3 metrical and rhyme patterns in, p o p u l a r c u l t u r e a n d , 3 3 6 9 , 7 9 scholarly attitudes toward, 6 versus neoclassicist and romantic al-Nūwayhī, Muh. a m m a d , 1 0 9 – 1 1 1 p o e t r y , 7 8 p e r s o n a i n , 6 9 , 7 9 Oweis, Fayeq, xii resistance to, 202 shi ʿr al-ʿāmmiyya a n d , 1 , 3 8 P a l e s t i n e , 5 5 – 5 6 shi ʿr al-ʿāmmiyya and fus .h. ā i n a l - A b n ū d ī ’ s p o e t r y , 1 9 2 – 1 9 3 , coexistence in, 69 206–207 sociopolitical context of, a f t e r 1 9 4 8 w a r , 2 2 1 n 1 2 79–80 i n H. a d d ā d ’ s p o e t r y , 4 5 , 1 0 5 – 1 0 6 subjects and themes of, i n J ā h ī n ’ s p o e t r y , 5 3 – 6 1, 6 9 116–117 , 121 , 156 tone and perspective in, 61–69 modernist Arabic poetry and, 55–56 modernist poet, versus Voltairean poet, p a n - A r a b s o l i d a r i t y a n d , 5 6 1 , 6 3 , 6 5 , 6 7 pan-Arabism Monroe, James, xi, 33 c o l l o q u i a l p o e t s a n d , 4 M u b a r a k r e g i m e versus Egyptian nationalism, 5 a l - A b n ū d ī a n d , 1 9 3 – 1 9 4 , 2 0 9 – 2 1 0 s t a n d a r d A r a b i c a n d , 3 0 , 2 0 3 terrorism and treachery of, 206 P e t t i g r e w , M a r k , x i M u k h t ā r , M a h. m ū d , 1 0 4 popular culture, shiʿr al-ʿāmmiyya mu ʿrab f o r m , 1 9 – 2 0 , 3 3 and, 3 2 – 3 5 a l - M u t a n a b b ī , 9 6 , 1 0 3 p r i n t i n g p r e s s , i m p a c t s o f , 4 , 2 5 , 2 8 muwashshah . , 1 2 , 2 4 – 2 5 Qas .āqīs. waraq (Paper Confetti) a l - N a d ī m , ʿA. b d a l l a h , 2 6 , 9 5 ( J ā h ī n ) , 1 1 1 – 1 1 2 , 2 0 1 N ā j ī , I b r ā h ī m , 7 8 qas .īda f o r m , 2 1 , 1 9 9 al-Naqqāsh, Ragā, 2 Jāhīn’s use of, 110 , 151–152 N ā s.īr; see Abd al-Nas.īr, Jamāl m e t r i c p a t t e r n s o f , 2 4 Index ● 239

p a r o d i e s o f , 3 3 shi ʿr; see also canonical Arabic poetry; al-Tūnisī’s use of, 27–28 noncanonical poetry; shi ʿr zajal a n d , 2 4 al-ʿāmmiyya; specific poetic forms Q ā ʿūd, Fuʾā d , 3 7 , 3 9 meaning of, 200 al-Mawāwīl (The Mawwāls), 5 2 – 5 3 m e d i e v a l c o n c e p t o f , 3 7 al-Qayrawānī, Ibn Rashīq, 10 shi ʿr al-ʿāmmiyya qūmā f o r m , 1 2 , 2 0 accessibility of, 34 , 201–202 H. addād’s use of, 88–89 affiliation with al-shi ʿr al-h. adīth, 3 9 origins of, 23 , 203 Arabic registers used in, 201 structural variations of, 22–23 attitudes toward, 2 , 40–41 Quran and cause of Arab unity, 203 A r a b i c l a n g u a g e a n d , 3 , 9 , 1 6 , 2 9 and defamiliarization of everyday Arabic poetry and, 10–11 language, 47–48 H. addād’s poetry and, 103–104 development and contexts of, 6–7 diction of, 40–48 r e v o l u t i o n ; see also Arab Spring earlier traditions and, 19–20 o f 1 9 5 2 , 3 2 , 8 9 – 9 0 form of, 49–51 r h y m e p a t t e r n , 2 1 impact of, 199 i n c a n o n i c a l A r a b i c p o e t r y , 3 8 and larger modernist i n H. addād’s poetry, 73–74 , 101 movement, 29 in Jāhīn’s poetry, 50–51 metrical and rhyme patterns of, 21 in premodern noncanonical Arabic multiplicity of registers in, 42–43 , p o e t r y , 2 2 – 2 4 , 5 1 1 0 2 , 1 0 3 , 1 4 4 , 2 0 2 i n shi ʿr al-ʿāmmiyya, 2 1 m u s i c a l r e n d i t i o n s o f , 3 4 , 8 8 , 1 0 4 , al-Rubā ʿiyyāt ( J ā h ī n ) , 2 , 1 3 9 – 1 5 2 1 2 8 , 1 7 0 , 2 0 8 nonvernacular aspect of, 42–43 Sadat regime, 106 o r i g i n o f , 2 5 , 3 7 , 3 9 , 1 9 9 a l - A b n ū d ī a n d , 1 7 7 , 1 7 9 – 1 8 4 , popular culture and, 32–35 188–190 r e a c t i o n s t o , 2 , 3 0 – 3 1 , 3 9 , 1 1 0 – 1 1 1 , J ā h ī n a n d , 1 5 4 , 1 7 9 , 2 2 3 n 4 5 202–204 S .aʿīdī c o l l o q u i a l l a n g u a g e , 5 1 , 1 7 3 , relationship to classical Arabic 1 9 3 , 1 9 5 p o e t r y , 4 0 – 4 1 Sa ʿīdī oral verse traditions, 160–167 and revolution of 1952, 32 , 126– S.alāh al-DIn al-Ayyūbī, 104 , 105 130 , 170 , 173 S .amt. al-garas (The Silence of the Bell) social and political uses of, 34 ( a l - A b n ū d ī ) , 1 7 7 – 1 7 9 subjects and themes of, 53–61 S.annū, Yaʿq ū b , 2 6 t o n e o f , 6 6 , 2 0 0 satire, colloquial language and, Western scholarship and, 5–6 1 0 , 2 6 , 4 1 , 1 0 7 versus zajal, 3 4 , 4 1 – 4 2 , 2 0 0 a l - S a y y ā b , B a d r S h ā k i r , 4 8 , 1 0 9 , 2 1 1 al-shi ʿr al-h. adīth, 3 8 , 3 9 , 1 9 9 ; al-Shābī, Abu al-Qāsīm, 207–208 see also modernist Arabic poetry S h ā h ī n , Y ū s u f , 1 5 3 shi ʿr Hurr (free verse); see also tafʿīla Shalabī, Khayrī, 2 poetry S h a w q ī , A h. m a d , 2 6 , 6 1 – 6 2 , 1 1 1 i n t r o d u c t i o n o f , 3 8 Shaykh Imām, 208 al-Shi ʿr wa’l-shuʿarā, 1 0 240 ● Index

“Shūfī qadd ayh ” (See How Much) ʿUmmāliyyāt (About Workers) ( J ā h ī n ) , 1 3 6 – 1 3 8 ( a l - A b n ū d ī ) , 1 6 9 – 1 7 0 Shull, Brigitte, xii ʿUrābī, Ah. m a d , 8 4 , 8 9 , 1 5 5 S i n a i , 1 5 4 , 1 7 7 , 1 8 4 ʿUyūn al-akhbār, 3 , 1 0 social justice/political issues, 6–7 a l - A b n ū d ī a n d , versification, arts of, 12 , 19–20 177–179 , 181–182 V o l t a i r e a n p o e t , 6 1 , 6 3 , 6 5 , 6 7 i n m o d e r n i s t p o e t r y , 7 9 – 8 0 s o c i a l i s m , 5 6 w a r s H. addād’s poetry and, 89–90 1 9 6 7 , 9 3 , 9 7 , 9 8 , 1 0 4 , 1 6 9 , 1 7 7 S u e z C a n a l , n a t i o n a l i z a t i o n o f , 6 7 , 8 1 1 9 7 3 , 9 7 , 1 5 4 , 1 8 1 Sūfīs, dūbayt f o r m a n d , 2 1 o f A t t r i t i o n , 1 5 3 – 1 5 4 , 1 7 5 “S .uh. bit amthāl” (A Bouquet of Proverbs) (H. a d d ā d ) , 9 1 – 1 0 4 Yāmna ( A l - A b n ū d ī ) , 1 9 4 – 1 9 7 S u l ī m ā n , ʿUmar, 206–207 a l - Y ā z i j ī , I b r ā h ī m , 2 9 Supreme Council for Arts and Literature, 28 , 202 Z a h. glūl, Saʿd , 6 1 al-Zah . ma (Crowds) ( a l - A b n ū d ī ) , 6 4 , taf ʿīla p o e t r y , 3 8 , 1 0 9 , 1 2 5 , 1 6 2 , 1 9 9 1 6 7 – 1 6 9 , 2 1 8 n 3 9 T. aha, ʿAlī Mah. m ū d , 7 8 zajal form, 12 T a h. rIr Square protests; see Arab Spring i n E g y p t , 2 5 a l - T ū n i s ī , B a y r a m , 7 1 , 9 5 , 1 0 5 , 1 1 1 golden age of, 26 e u l o g y t o , 1 3 4 , 1 3 5 a l - H i l l ī a n d , 1 9 – 2 0 influence of, 27–28 p a r o d i e s i n , 3 3 and literature of rescue, 34 political uses of, 26–27 nationalist and reformist writing versus shiʿr al-ʿāmmiyya, o f , 2 7 3 4 , 4 1 – 4 2 , 2 0 0 poetic tone and perspective of, 62 s t r o p h i c p o e m s a n d , 5 1 s o c i o p o l i t i c a l e m p h a s i s o f , 4 2 structure, rhyme, and metric patterns of, 24–25 a l - ʿUmda (Pillar on the Virtues of Poetry, al-Tūnisī’s use of, 28 its Proprieties, and Criticism), 1 0 a l - Z a y t ū n ī , a l - B a d r , 2 4 U m m K u l t h ū m , 3 2 , 1 2 8 , 2 0 4 a l - Z u b a y d ī , 1 2 , 1 3 , 1 5