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A STUDY of CERTAIN LINGUISTIC, METRICAL, and LITERARY ASPECTS OP the OP IBN QUZMAN! (D

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A STUDY of CERTAIN LINGUISTIC, METRICAL, and LITERARY ASPECTS OP the OP IBN QUZMAN! (D A STUDY OF CERTAIN LINGUISTIC, METRICAL, AND LITERARY ASPECTS OP THE OP IBN QUZMAN! (d. 1160 A.D.) ■by Jareer Amin Abu-Haidan." Thesis presented for the degree off Doctor of Philosophy in the University of London School, of Oriental and African Studies October 1975 ProQuest Number: 10672927 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 10672927 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 ABSTRACT This thesis, primarily a study of the Dlwan of the Hispano—Arab poet. Ibn Quzman, attempts to show that the popular Arabic literary genre, the zajal, has often been studied from the point of view of literary history, or from a genetic: rather than from a generic point of view. It also attempts to show that medieval, theories about the zajal, namely that it was written in colloquial or vulgar Hispano^-Arabic:* have been accepted by scholars up to the present without adequate examination.. In this work the zajal is viewed as part of a literary tradition or literary genre, perhaps shortlived, but in any case neglected, called /al-hazl/. In essence this was a literary parody and an expression of literary revolt against: the strict demands and conventions of classical Arabic literature and writing. Its protagonists seem to have called it /bazl/ to distinguish its droll, approach from the sombre and ponderous traditional style of classical Arabic writing which they termed /mu'rab/. Accordingly an attempt is made here to show that just: as it was the declared intention of the /bazl/ writers to free their work from the demands of desinential inflection, /i'rab/, they also disregarded the demands of linguistic purity and pedantry. It is thus one of the themes of this thesis that while the language of the zajal. plays havoc with classical Arabic, and popular or colloquial, terms are rife in it, it is not, as has so far been:, maintained by practically every student of the zajal, a oolloquial genre. The metrical irregularity of the zajals of: Ibn Quzman is explained in the light of: the irregularitgy and nonconformity which characterize the /hazl/ genre, and an attempt is made at: the outset to.; demonstrate the Linde sir ability of postulating a syllabic theory for: his metrical, patterns.. One other conclusion of this work is that the /kharja/ of the classical}. muwashshah, the subject of sod much controversy, and in many ways a puzzle on account of. its Romance, popular, vulgar and sometimes even obscene elements, was an element of: /hazl/ appended to an otherwise strictly classical! or- /mu'nab/ muwashshah* Finally the thesis also examines some Spanish influences on Ibn Quzman*, CONTENDS Page ABSTRACT 2 PREPACE 11 CHAPTER I BY WAY OP INTRODUCTION THE STUDY OP THE 25 A JAB AND A PRIORI THEORIES 10 CHAPTER II THE METRE OP THE 2 A JAB: - CBASSICAB ARABIC OR SYLLABIC? 1. Metrical irregularity in medieval/- Snanish 3t£ yerse 2» Some pitfalls of a syllabic* theory fen- the 40 za.ial 3.- Ribera-, setis: a. precedent for Imitating the 52 zajala with equivalent rhythmiiQaiL pafeb!erns. in Spanish.-, 4«. Widely differing: Anabicq metres classified 583 together as.- oo.io syllabic 5* An, "octasyllabic11 AnabAco metres m The "isosyllahlc** nature of Qjolloquia-IL 688 Arahio. Only colloquial- Arabic oan he matched? with rhythmic;.; equivalents in Western languages 7?» Agreement concerning the "vernacular" 7/4 language of the za.ial -uncertain and incompHeti.e. 8i Ibn Quzman absolves himself of strict 86 observance of classical Arabic prosody 9, Word order- inx the za.ial attests t;o 103 quantitative scansion 10* Are there any sidelines, for Heading 13077 II, Imitation q£ muwaslishalis “by Ibn Quzman. IIL^ CHAPTER III THE LANGUAGE OP THE 2AJAL: CLASSICAL, OR VERNACULAR 1, Saf£ al-Din al-Hillll on the use of 129 desinential inflection and classical idiom IH the, za.ial, and His inconclusive findings; 2, Does, tihe za.ial use classical gnammatficalL L37 syntax? 3, Irregrul'ani tiy and, disregard. o.f r.ules in 159 tiHe zaial.- CHAPTER IV. TWO LITERARY GENRES: THE /MJ'RAB/ AND THE /HA2L/ 1.- Is irregularity a iund amenta!- feature. oft 17/44 the ga.tal? 2„ Does th.e za.ial Delong; to a literary genre: ISrEB as yetb unheeded?. 3» Is. the Ahar.ia/ an element of AiazlZ 200 introduced into the hi^Hly elaborate, (Ami'rati/) muwashshah? CHAPTER V ■ ■ • ■ ■ SPANISH INFLUENCES ON IBN QUZMSN, 1., Spanish features in the za.ials of the poets 211. Page 2. The Romano e element in the z a rials 222 of. Ibn Quzman 3» The diminutives in the za.jafs of 232 Ibn:' Quzman APPENDIX I 259 APPENDIX II 292 BIBLIOGRAPHY 2944 - 7 - PREPACE Although in this study of. Tbn Quzman frequent1: references are made to zajals of the poet culled from* various so^•lrees oxitside his Diwan - Is ah at al.-Aghrad fi Dhikr al^-A^rad - attention is primarily given to: the 149 zajals in the Diwan, and it is on these, that: the main discussion of language, metre, syntax, etc., is centred. Dlwan has already heen published twice In Latin characters, first in 1933 by A.R. Nykl.., with a- partial. translation' into. Spanish, and again in 197/2 with a complete translation by Emilio Gamaa Gomez. In 1941 seven zajals of the poet were studied and translated by the Pinnish scholar 0.1V, Tuulio. Since a period of forty years separates the first complete edition by Nykl from the second by Garaia Gomez, it is natural that the more recent edition of Garcia Gomez, Todo Ben Quzman, comes in for closer scrutiny and receives more attention in some of the chapters of this work. The edition by-Garcia Gomez, besides, offers among other studies a: comprehensive syllabic metrical- theory of the zajals of the poet, and is, as its title signifies, a more ambitious work than anything on lidn Quzman which has preceded it.. Por the purpose of this work, and due to the fact that the study of the zajals and muwashshahs is rousing increasing interest, it has been considered necessary to adopt some of the terms already standardized for parts of the zajal and muwashshah and to take as standard: a number of' additional terms needed for detailed reference or nomenclature.. - 8 - The /matla'/? which carries the sanction of the classical /qasida/, is already standardized as the term' for the first opening lines of common rhyme in the muwashshah and sajalu. Without it. both would be described as /aqra'/ 'baH%, ' baldheaded All subsequent verses of common rhyme will- be referred to as /qufl/, although on comparative grounds a case could be made for /qafl/ or /qafla/ to: correspond to the Spanish vuelta. The separate parts of the /qufl/, if it is constituted of more than one hemistich, will-be referred to as /simt/. This term seems both naturalL and plausible since the /simt/, semantically, is the string or thread on which one strings together the pearls or beads of a necklace, and the parts of common rhyme which run through the zaqalL or muwashshah are comparable to such a string or /simt/. The parts of varying rhymes in the: different strophes are already referred to as /ghusn/ (pi. /aghsan/). If a /ghusn/ is a composite one, then each part of it will!, be referred to as /duz'/. finally the term strophe is used instead of. /bayt/ to refer to any separate group - of /aghsan/ and their accompanying /qufl/. One added remark seems necessary, if not imperative. Although this, thesis has five separate chapters concerned with the metre., the language-and various other aspects of the zajal, these chapters are more or less interdependent; to; a degree which makes it necessary that they be read as a single unit, for this reason an element of overlapping in the five chapters has been unavoidable.- The metre (chap. II), and especially a quantitative metre, oannot be discussed in isolation from questions of language and: syntax (chap:* III). The element of irregularity and, burlesque discussed in chapter IV. likewise affects both - 9 - the metre and the language and syntax of the sa^al, and it is indeed discussed in this work as being the essence of the genre. Accordingly this chapter, which seems to constitute a conclusion to the main arguments of this work, could j'ust as. well have been its introduction. xxxxxxxxx I give, my warmest thanks, to Professor T.M-. Johnstone for reading this work and for the many discerning suggestions he has made, to Dr. Roger Walker of Birkbeck College for help;' so freely given, and to my wife, Barida, for the time and patience expended in preparing the typescript#. - 1.0 - C H A P T. E R I BY WAY OE INTRQPU CTIQK THE STUDY OF THE ZAJAL AWE A PRIORI THEORIES Nowhere more than in the study of the za:jal and 1 muwashshahs, where source material is scanty — / and most references are vague, has the printed word., always an object of reverence, been more persistently stretched: in implication and interpretaion in order to shed light on what seemed and still seems mysterious and difficult' to explain.
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