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Reality and Reverie： Poetry of Abu Nuw 盃s and Al− Buhturi＊

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Reality and Reverie： Poetry of Abu Nuw 盃s and Al− Buhturi＊ Japan AssoolatlonAssociation for MlddleMiddle East StudlesStudies Reality and Reverie： cAbbasid − Wine and Ekphrasis in the Poetry ‘）f AbO Nuw 矗s and al Bullturi（元 好 ） Reality and Reverie： cAbbasid Wine and Ekphrasis in the Poetry ＊ of AbU Nuw 盃s and al − Buhturi ＊ ＊ Akiko MOTOYOSHI 要 旨 ー ー ・ ー − こ の 研究の 目的 は ア ッ バ ス 朝 時代 の 詩人 、ア ブ ヌ ワ ス （AD 762 815）とア ル ブ ー ー ー フ トリ （AD 821−897）の カ シ ダ の 中 に み られ る ワイ ン と絵 画 描 写 モ チ フ を比 較 分 ・ ー ・ ー の ワ ン ッ プ の 析す る こ と で あ る 。 ア ブ ヌ ワ ス は 狩猟 様子 が 描か れ た イ カ を詩 中 ー ー ー ・ ー っ い に 描写 し 、ア ル ブ フ ト リ は イ ワ ン キ ス ラ の 壁 画 の 描 写 をお こ な て る e は ー ー じ め に 、 ワ イ ン ・モ チ フ を 含 ん だ 絵 画 的 テ マ とワ ス フ （描写 ） ま た は エ ク フ ラ シ ス （絵 画 の 描写 、厳密 に は 非言 語記 号 シ ス テ ム に よ っ て 作成 され た テ ク ス トの 言 語 化 ） の 役 割を 「幻 想」 と 「現実 」 とい う概 念 に 照 ら し合わ せ て 、 心1理 的 、 理 論 的 に 考察 す る 。 ー ー ー マ ー さ らに 、 そ の ワ ス フ が カ シ ダ の 伝統 的二 部 構造 ： ナ シ プ 、 ラ ヒ ル 、 デ ィ フ の 枠組 み に お い て どの よ うな 作 用 を果 た して い る か を調 査 す る 。 ー 理 論 的方 法 論 と し て は 、 絵 画的 テ マ の 機能 を明 らか に す る た め に 、 Murray Krieger とAndrew Becker の エ ク フ ラ シ ス に つ い て の 研 究 を用 い る 。 さ ら に 全 体 構 造 を 分 析 す る た めに David Quintの 著 作E ρゴc and Empjre とGian Biagio Conte の The Rhetoric of lmitationを主 に 参考 に す る 。 ワ ス フ の 働 き は 中 世ア ラ ブ注 釈 者が い うよ うな 、 単な る詩 的 対 象 の 描 写 だ け で は な ー エ し て た よ に 、 的 で も い 。 また カ シ ダ は 、 占い オ リ ン タ リス トた ち が 主 唱 き う 断片 客 ー ・ 観的 で もな い 。 そ の 具体 的 、物 質 的描写 を用 い 、 カ シ ダ は 形 而上 的 抽 象 的 な も の を い し よ して い る 。 そ の 意 で 、 こ の 二 つ の 詩 は 大変比 的 で あ る と え る ． な も表 現 うと 味 喩 ー ぜ な ら、 二 詩 にみ られ る エ ク フ ラ シ ス （絵 画の 描写） は 実は マ デ ィ フ （称 賛 ） の 役 割 の エ フ シ ス ク ニ ッ ク を 比 喩 的 に 果 た して い る か らで あ る。 ま た 、二 人 詩人 は ク ラ 的 テ を い に 、 幻 の 世 を 行 き来 せ て い る 。 に 部 造 用 る こ とに よ り、 聴 く者 想 と現 実 界 挙 さら ミ 構 か らみ た際 の 現 実 と幻 想 の 概 念 の 問題 は 、詩 人達 の 政 治的 意 図 と も密接 な 関係 が あ る 。 ー 伝統 的 カ シ ダは 普通 、 詩人 の 実 際 の 政 治的 立 場 を そ の 構 造に お い て 反 映 させ る 。 両 詩 ー 人 とも実際 は ア ッ バ ス 朝 を称 賛 しな けれ ば な らない の に 、過去 の も う存在 しな い サ サ ー ン 朝 を称 賛 し て い る 。 こ の こ とは 遠 回 し に ア ッ バ ス 朝へ の 風 刺 を表 わ し て い る ともい え る。 ★ An earl 三er version of this paper was delivered al the 1996 Annual Meeting of the Middle East Studies − w 目 slater Association （⊃fNorth Amcrica inProvidence，Rhode Island，USA ，on N ovember 21 24，1996．It Ag．sociation for Middle East revised and prcscnted in ］apanese at the 1998 Annua1 Confe肥 nce of Japan on May 9−10 1998 ． StudiesinOsaka ，Iapan， ， For their valuable commcnts and assistance ．1 am grateful to Profcssor Jaroslav Stetkevych and Professor Suzanne Stetkevydh who has been my academic advisor ． I would also like to thank Professor Hideaki Sugita for his carefU1 reading ef the manuscript and helpful ．g uggeg ． tions． 脊★ Ph ．D ． Candidate， Near Eastern Languages and Cultures ， Indiana University， USA ． 85 一 NII-ElectronicN 工 工 Eleotronlo LibraryLlbrary Service Japan AssooiationAssociation for Middle East Studies AJAMES No ．14 1999 ー ー こ れ ら の 調 査 に よ り、 カ シ ダ の 構 造 お よび テ マ に お け る 伝統 的 慣 習 を 知 る こ とな ー し に は 、 カ シ ダ 正 し 理 る こ い い を く 解 す とは 大 変 難 し と う結 論が 導き 出 され た 。 ま ー ・ ー た 、 エ ク フ ラ シ ス の 西 洋理 論 とイ ン タ ア トの 理 論 を用 い た 分 析 は 、 二 詩 人 の 意 図 ー ー を 明 ら か に さ せ 、 カ シ ダ 詩 学 に 新 しい パ ス ペ ク テ ィ ブ を与 え て くれ た と い え る で あ ろ う。 1．Introduction −一” ”一一 Poetry licit magic as well as the visual arts and music all express artistic powers that make them incompatible with the Almightiness of God ． Only God is to all and might ． 亡ry ． possess power Nevertheless， poe ，particularly the qaSidatal madh − ’ （ ode ， was allowed to flourish in tradition t panegyric ） the Arabo lslamic ， because i and exalted the mamdnhs − glorified （patronrulers ）who were legitimized by God 冫 whereas music and considered unlawful ， painting （ in Islam）were actively 1 di・ c ・ u ・ag ・ ・ ・ve all ・ ・ ・ ・ ・ ・ un1 d Ab 、 th idea th t p i ti g i ・wf ・ lin l・1・m i・ wid ・ ly 2 accepted ． The attempt by some Arab poe［s to describe visual art in their poems is ” equivalent to one of the modern interpretations of ekphrasis ： the verbalizah6n of ” 31t Ieal or fictitious texts composed in a non −verbal sign system ． is not a coincidence that in Arabic ekphrastic are with matters ． 、 poems linked foreign Some of the who employed ekphrastic were of such gaSidahpoets techniques Persian descent， as 亘 盃s and some Ab Nuw ， ekphrastic objects were related to S盃s巨nian history as shown ， ’ − in the qaSidahsof AbU Nuwas and al Buhturi． This employment of Persian elements as poetic objects is also to be associated with the ShucUbiyyah movement of 亡he eighth and ninth centuries AD when a of authors and ， gloup scholals claimed the equality for non −Arabs with Arabs in Islam and even suggested the superiority of 86 一 NII-ElectronicN 工 工 Eleotronio Library Service JapanJapanAssociation Association forforMiddle Middle East Studies Reality and Reverie: CAbbasid Wine and Ekphrasis in the Poetry of Aba Nuwas and al-Bubturl (J"tiSEI:) Persian to ATab culture, ln fact. most of the ShuCabis were Persians who developed the movement based on pro-Persian and anti-Arab ideas.4 Due to the factthat both the qaeidah and the visual portrait serve to legitimize ' a ruler5 while preserving the social and cultural values of monarchy, the easidah in the Arabo-Islamic tradition played a role that corresponds to the function of visual in Western court culture.6 This function of the was crucial in the portraiture ' qasidah Arabo-Islamic tradition for the ruler to maintain the support of his subjects and to uphold the dignity of legitimate Islamic sovereignty. In a word, the qasidah in Arabo-Islamic culture played a role in rnany ways comparable to visual portraiture in other cultures. Additionally, it can be assumed that the aversien to painting in Islam helped the qasidah tradition to develop and prosper, because the Arabo- Islamic political institution required some means other than visual portraiture to maintain the perfect image of the rulership, by which its greatness and authenticity could spread throughout the realm, This means was the qasidat al-madk. My concern in this study is the role of ekphrasis in association with the notion of reality, reverie, and wine, In other words, I will show that the poets' psychological states shi,ft between reality and reverie as they move into and out of the spheres of pictorial objects and of intoxication, I will analyze the easidah7 of Abti "Atlal Nuwas (AD 762-815), Hanah" (The Ruins of a Tavern), and the easidah of al- "rwan Buhturi (AD 821-897), Kisra." I have selected these two qa$idahs because of their common aspects: the employment of ekphrastic and wine motifs, and of the motif of the Sasanians. I will investigate the functions of paintings and waEf8 (description) in association with the structural analysis. focusing on the tripartite 87 NII-Electronic Library Service JapanJapanAssociation Association for Middle East Studies AJAMES No.14 1999 organization of qasidat al-madh: nasib (consisting of the motifs of the abandoned encampment and the poet's beloved), rakil (journey), and madik (praise), or of the bipartite nasibLmadih.9 The minute depiction of visual objects in the two qasidahs would have been termed waof (description) by the classical Arabic commentators.
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