The Leads of the Modernity in Modern Arabic Poetry

REVIEW OF INTERNATIONAL GEOGRAPHICAL EDUCATION

ISSN: 2146-0353 ● © RIGEO ● 11(4), WINTER, 2021 www.rigeo.org Research Article The Leads of The Modernity in Modern Arabic Poetry

Hamzah Obayes Janabi1 Kadhim Jasim Mansoor Al-Azzawi2 Al-Mustaqbal University College, Babil- Iraq College of Arts, Dept. of Arabic Language University of Babylon-Iraq [email protected]

1 Corresponding Author: Email: [email protected]

Abstract Modernity in our Arabic poetry witnessed an evident development, the emergence of the Muwashah (kind of poetry) among the Andalusians starting a renewal in the structure of Arabic poetry. Since the Abbasid period, a number of poets tried to undermine the old pattern represented by the column of poetry based on the two-part system, and rebelled against the structure of the ancient Arab poem, until the appearance of the Muwashah among the Andalusians as a renewal in the structure of Arabic poetry. The modern era witnessed poetic renewal movements, starts by the poets of the exile, led by Jubran Khalil Jubran, then the Diwan and the Apollo groups as renewal movements called for poetry to reach the highness of poetry, paved the way for free verse, then the prose, and the Wamdhah (a poetic text in different forms) and meditation poetry (haiku).

Keywords Modernity, Renewal, Leads, Poetry, Arabic, Meditation.

To cite this article: Janabi, M, O.; and Al-Azzawi, K, J, M. (2021) The Leads of The Modernity in Modern Arabic Poetry. Review of International Geographical Education (RIGEO), 11(4), 174-180. doi: 10.48047/rigeo.11.04.14 Submitted: 20-03-2021 ● Revised: 15-04-2021 ● Accepted: 25-05-2021 Janabi, M, O.; and Al-Azzawi, K, J, M. (2021) The Leads of The Modernity in Modern Arabic Poetry …

Introduction

Modernity is a contemporary feature; it is the destiny of any literature. It is a progressive intellectual awareness that calls for freedom of thought in the traditional sense. It means novelty, continuous experimentation, and conscious renewal. Also, the awareness of the need for change is important for the movement of life. As the literary forms are subject to the change of human and life. The experimenting of the new literary forms has been practiced in our old and modern Arab poetry. Recently, the connection of Arab writers with the West has prompted a search for new methods of poetic expression, which contributed to the creation of a literary renaissance that aims to transcend the dominant poetic achievement. God has endowed this nation with a group of writers who were in fact the pioneers of the modern renaissance and truly represented a movement that connected two generations between an ancient and a modern one, as the load of the renewal movement in Arabic poetry effect on them. This group found its poetry the best way to spread modern concepts and transition to a new life after centuries of stagnation. In this research, we discussed - with a theoretical section - the concept of modernity, then talking about the leads of the modernity in modern Arabic poetry, preceded by a reference to attempts at renewal in the Abbasid and Andalusian eras, in preparation for talking about the leads of modernity at the school of poets of the northern diaspora, the Diwan group and Apollo to free poetry and then a poem prose and the Wamdhah (a poetic text in different forms) and meditation poetry (haiku).

The Concept of Modernity

The concept of modernity is determined by language in their saying: A thing happened that creates an event and a modernity, and the most recent of it is an innovation and a Hadith, as well as he created it, for the Hadith is the creation of something that did not exist, and the Hadith is the new of things, and I created a report i.e. I found a new story, and the new Hadith is from things, and it is said that the matter is taken. With his newness: his beginning and his beginning, for modernity means novelty and the beginning of the matter and its beginning (Al-Farahidi, 1414 AH). We conclude from this that modernity means (the innovator), which is the antithesis of the old. As for philosophical dictionaries, they grade the term to what corresponds to the spirit of the age in the methods of its new opinions, even if the specifications are outdated (Al-Musawi, 2006). Strength, innovation, and for the owners of the old to abandon everything that does not correspond to the spirit of the age, from outdated traditions and rigid methods” (Voltaire, 2004). In the literary sense, Youssef Al-Khal defines literary modernity as “a movement of creativity that goes along with life in its permanent change and is not based on a time without another. Wherever there is a change in the life we live, our view of things changes [...] Contents and forms go hand in hand, not only in poetry, but in various fields of human activity” (Paz, 1989). Youssef Al- Khal links modernity with creativity, as breaking away from the bonds of tradition, and it is not linked to a specific time. It is an expression of the spirit of the age, a civilized expression, which reflects the poet's penetration in his time, and his fundamental connection to the life around him (Shalabi, 1985). Adonis sees that modernity is “a new vision, which is essentially a vision of questioning and protest: a question about the possible and a protest against the prevailing. The moment of modernity is the moment of tension, that is, the contradiction and clash between the prevailing structures in society and the structures that its profound change requires of the structures that respond to it and adapt to it”(Adonis, 1980). Modernity according to Adonis is a creative vision that destroys old values and transcends them towards the future. It is a method that seeks to change life and "is conscious renewal, which means that modernity is awareness in history, and in fact, and the foundational understanding in it is as radical as the condition of awareness of the role and stage" (Al-Ghadami 2008). Since modernity is a renewal based on prior awareness and will while rejecting imitation, Abu Tammam’s innovations will be equated with al-Sayyab’s, because they both act with prior awareness and the project of each of them is a renewal project (Al-Ghadami 2008). Modernity represents “the focus of human creativity in all of history. Its matter is transmitted as single fragments or a soul, even in the most precious times in antiquity. Indeed, there is no modernity without this continuous discovery of the past, where the present gives its meaning to the creativity of the past, changing it and discovering what is alive and continuing in it” (Al-Azzawi

175 © RIGEO ● Review of International Geographical Education 11(4), WINTER, 2021 2003). In the sense that we change what is in the past to benefit us in our lives to reveal the meaning of life that interests us in a stable way (Shughaidel 2013). Modernity does not have a golden age, or an ideal model, it seeks the new and a strong attraction to the unknown future (Sabila 2004). It is work and anchor, industry and transformation, effort and diligence, continuous construction and installation of the self and continuous civilized movement (Harb, 2005). In our Arab culture, modernity witnessed a clear development in the literary arts, and in all areas of life, whether political, industrial, economic, or cultural. Modernity arose in our Arab society to meet the Arab society's need for renewal and development. It emerged from within the Arab poetic experience, and was not separate from the Arab and human poetic heritage, but rather represented an advanced extension of it, and did not arise in isolation from the trends of renew al and modernity in international poetry (Thamer, 1987). It is the result of awareness of the necessity of change, catching up with civilization and breaking out of stereotypes (Al-Musawi, 2006). The artistic manifestations of Arab modernity were represented in the interpretive dimension and in the attempt to change the prevailing regimes. The Arab man has sought to introduce the various elements of renewal and modernization whose features became clear in the West after the First World War. Arab societies witnessed during that period the reconfiguration of their structures at the level of society, culture and economy (Al-Musawi, 2006).

Leads Of the Modernity in Modern Arabic Poetry:

The leads of modernity were not heresy in modern Arab poetry. The Leads of modernity in Arab poetry may extend to the Abbasid era, when the Arabs witnessed a great civilized development in all areas of life (Al-Wasiti, 1986). This change and development led to the rebellion of some poets of this era as they went out on the poetry column, and searched for a change in the literary artistic production in form and content. Bashar bin Burd was “one of the most eminent scholars of hadith” (Alhaiadreh, 2020). Abu Nawas was the first to come out on the Talli introduction and break the meaning (Hamid, 1972). Poetry according to Abu Nawas and Abu Tammam is no longer an imitation of an old heritage model, and no longer an imitation of reality, but rather a creation and creativity, in which the poet creates a distance between him and the heritage and between him and reality (Adonis, 1978). Sufism poetry began to grow rapidly and is independent of asceticism, so some poets began talking about divine love and composing poetry in it, and striving themselves in asceticism, and devotion to divine love, and found educational poetry and excelled in it Aban bin Abdul Hamid (Deif, 1986). The first Andalusian migration created the Muwashah , as Andalusian poets embraced this funny poetry, narrating it, singing it, and bringing it out with melodies and melodies” (Abboud, 2013). The Muwashah is considered a development of the poetry of the Mashariqa (Al-Awsi, 1987). The Muwashah was named after the scarf that women wear to adorn themselves. It is for its beauty, decoration and creativity (Al-Quraishi, 1981). As soon as we reach the modern era, we see the innovative movements that appeared in modern Arabic poetry, which hold the leads of poetic modernity, namely the movement of diaspora poetry or the school of poets of the diaspora, specifically the northern diaspora, which includes: Jubran Khalil Jubran, Michael Naimah, Elia Abu Madi and others from the sons of Arab countries, especially Lebanon and Syria, Settled in Canada and the United States. This school possessed the elements of poetry, and carried the banner of renewal in Arabic literature in the diaspora (Khafaji, 1991). Jubran Khalil Jubran is considered the leader of the literature of the northern diaspora. He rebelled against the old pattern and wrote poetic prose. Maroun Abboud described him as “a poet in his prose, not in his system” (Abboud, 2013) because his poetry was inferior to his poetic prose. Khalil Hawi believes that Jubran was able to develop his poetic prose, bring it close to perfection, and turn it into real poetry. He says: "The changes he made clearly indicate his intention to exclude what remained in the story from the shadows of prose, and to raise the style to a level of exaggerated poetic, and this is what entailed In what seems to be dropping the non- poetic elements from the personal experience he was portraying, which is his first love, and adding several situations that are excessively poetic” (Hawi, 1982). We understand from the previous text that Khalil Hawi prepares Jubran’s prose texts as prose poems, as Jubran was able to develop his poetic prose and elevate it to perfection, turning it into prose poems. Thus, Jubran wanted poetry to be free from the shackles of the past, open to beautiful pronunciation and gentle style, away from tradition (Abboud, 2013). This is due to his influence on William Blake, what was written about him, and what was said about him, “Blake is a rebel and a rebel, he admires a rebel like Jubran ” (Jamil, 1989). Jubran’s rebellion against society, the clergy, the outdated traditions, and the evils

176 Janabi, M, O.; and Al-Azzawi, K, J, M. (2021) The Leads of The Modernity in Modern Arabic Poetry …

inherited by the nation had affected the mind of the generation that was growing in the thirties and its way of thinking. The Arab nation from the inside, that is idleness, complacency, burdensome traditions, ignorance, and stagnation” (Ma'ali, 2021). Jubran announced his separation from the language of the ancients, so he chose the language that corresponds to him with his article (You have your language and I have my language) in which he said: “You have from the Arabic language whatever you want, and I have from it what corresponds to my thoughts and emotions, you have from it the words and their arrangement, and I have from it what the words refer to and do not touch it [. You have from it what Sibawayh, Abu Al-Aswad, Ibn Aqil and those who came before them and after them of the bored and boring ones, and what the mother says to her child [...] and the one who worships for the serenity of the night. The savage utters it, all of it is eloquent, and what the afflicted chokes with, all of it is eloquent, and what is choked with which is taken, all of it is eloquent and eloquent” (Jubran 2005). It seems to us that Jubran was fed up with the old language, so he moved away from the old words that were worn out by the tongues and lost their luster, and he moved away from the strange words whose meaning is not understood except by referring to the language dictionaries and dictionaries, so Jubran tends to solve the daily language circulated among people, as it is the closest to the understanding of the language. The lexical, he is inclined to the familiar, familiar, easy language in his poetry, which takes place on the tongues of people in their daily lives. It seems that Jubran was influenced by Word Zworth, who used simple language in poetry, for (Ward Zworth) believes that culture is important in creating a good poet, and that people’s language, if we strip it of local words, does not differ from pure literary language (Al–Rubaie, 2018). The novelty of the subject in Jubran’s view is reflected in his universal, universal human themes. For Jubran , the subject has become based on dual and opposite artistic structures, as he presents love, presents hate alongside it, presents death and life together, and presents the ultimate as it presents the infinite, sterility, fertility, and truth And falsehood, countryside and city, purity and corruption, justice and injustice, freedom and slavery, soul and body and so on (Ibrahim, 2012). Jubran collected more than one sea in one poem, wrote the poem according to the line system, not the verses, and changed the rhymes and wrote poetic prose, as if he wanted to undermine the old, ossified form that the Arab poet clinging to ancient poetry does not deviate from, to pave the way for free poetry in Arabic literature. Jubran’s true poetic modernity begins in our Arabic literature. His writings are a revolution against the prevailing and familiar form. They enriched Arab culture with an inexhaustible source. Literature has an asset, and culture has increased. Therefore, we can say: Jubran is the pioneer and creator of modernity in the second decade of the twentieth century. That is why Salah Abdel-Sabour says: “We all came out of the cloak of Jubran and Al- Manfaluti” (Al-Hallaq 2012), where Jubran represented an intellectual state and this intellectual state affected the creativity of his contemporaries and influenced subsequent generations, including Salah Abdel-Sabour. Khalil Mutran is considered one of the pioneers of renewal in Arabic poetry. He paved the way with his poetry and ideas for modern Arabic poetry, so he turned to poetic stories and what they require of distinction in form and content, and what appears in some of his poetry from the unity of the poem, and the departure from the unity of the house, and its modernity while adapting to the requirements of the story, and adhered to The short seas or fragments and the cut-off system (Al-Hyary et al., 1989). This renewal is considered in the time of Khalil Mutran a departure from the traditional pattern that prevailed in Arabic poetry committed to meter and rhyme from the beginning of the poem to its end. One of the innovative movements that appeared in our modern Arabic poetry, which carried the leads of modernity, is the Al-Diwan group. It appeared in the first quarter of the twentieth century and included Ibrahim Al-Mazini, Abbas Mahmoud Al-Akkad, and Abdel-Rahman Shukri. This group began its call for emotional or lyrical poetry, and emphasized unity. The membership of the poem, the poem should be based on one subject in a sequential unity, and logically interconnected in contrast to the ancient poetry, and the most important reasons for poetry organized by this group are to highlight thoughts, reflections, honesty and passion, love, beauty of nature, and self- esteem. These three began feeding their poetry with Western images, meanings, and images, fighting imitation, imitators' poetry, and poetry of occasions (Khafaji, 1991) and they organized their poems with various rhymes, in the manner of sent poetry that does not adhere to a specific system in arranging rhymes, and they called for changing old images and methods and staying away from fantasy And they renewed in the weights, and arranged the double poetry (Al- Hamdani, 1989). This group played a major role in spreading the renewal movement in Arab poetry, so they announced the revolution against the old form and changed the course of 177 © RIGEO ● Review of International Geographical Education 11(4), WINTER, 2021

contemporary Arab poetry towards modernity. The Apollo Group represents a movement of renewal in modern Arabic poetry represented by Ahmed Zaki Abu Shadi and Ibrahim Naji, and it includes a group of poets from different Arab countries such as: Ali Mahmoud Taha, Hassan Al-Serafy, Mahmoud Hassan Ismail, Abu Al-Qasim Al-Shabi, and others. The goals of this group are to promote Arabic poetry, support artistic renaissance in the world of poetry, and raise the level of poets. This group called on the poet to be creative and innovative and to stay away from old models. They diversified the seas of their poems and their rhymes, and they called for organic unity and artistic fluency, and their leader Abu Shadi had paved the way for free poetry before it became a prominent phenomenon among Badr Shakir al-Sayyab and Nazik al-Malaika. The emotional trend, the contemplative trend, and the descriptive trend (Al-Hamdani, 1989), as well as they adhered to the sent poetry, and were freed from the unified rhyme, and mixed different seas in one poem, and they did not find better than nature, so they resorted to it to relieve the burdens of their society, so they found comfort and tenderness in its shadows, it is good A means of expressing what stirs their souls and their thoughts (Al-Hamdani, 1989). Free poetry (Al-Tafila) represented another stage of renewal in modern Arabic poetry that appeared in 1947, when Badr Shakir al-Sayyab published his first poem (Was it love) and Nazik al- Malaika published her poem (Cholera) in the same year, those two poems that represented poetry Al-Hurr in the strict sense. Al-Sayyab and Nazik were considered the pioneers of free poetry (Al-Sayegh, 1978). Many poets from Iraq and the Arab world followed suit, and this poetry penetrated the classical fixed system of the poetic form represented by the column of poetry, so the poem became written in the system of lines, not verses, and with different rhymes and activations (Al-Sayegh, 1978). The researchers have unanimously agreed that the poems of Al- Sayyab and Nazik reached creativity, which consolidated the position of free poetry, which was the fruit of long attempts that could be the diaspora at the forefront, in addition to the poetry of scattered and sent poetry (Al-Taher, 1997). Thus, free poetry constituted a turning point and a historical turning point in the march of Arab poetry. Its poets chose the language and used it in their personal, social and political subjects. They were also good at employing myths and folk tales, so the familiar purposes such as praise, satire, and pride disappeared in it. Its new contents express the tragedies of the Arab man and respond to the challenges of the times. The prose poem came as one of the renewal movements waged by Arab poetic modernity, and Arab poets knew it as a result of their influence on European literature, and it is a new vision of life, and a position on it and the world, and as it is, it breaks the rules of language, destroys its trade relations and known laws to establish a language instead A new one characterized by displacement, change and dissonance between the signifier and the signified (Guessoum & Zantout, 2001). It differs from poetic prose in that it is a scattered, unbalanced, non-progressive poem that is distinguished by its music. It is short and focused. It takes prose as the starting point and elevates it to the status of poetry. Among the attempts to renew in Arabic poetry, in the mid-sixties the poetry of the flash or meditation or the so-called (haiku) appeared as a fruit of the Arab-Japanese cultural communication that began at the beginning of the last century through travels, translations, research and studies dealing with the relationship between Arabs and Japan (Arami, 2019). The first attempts of the Arab haiku were with the signatures of the Palestinian poet Izz al-Din al- Manasrah, the telegrams of the Arab poet Nizar Qabbani, and the reflections of the Moroccan poet Abdel Kabir al-Khatibi. The Arabic haiku is not a substitute for any other poetic genre as much as it is a qualitative addition to Arabic poetry. The haiku poet can, through simple words, express strong feelings and deep feelings (Arami, 2019). What distinguishes the haiku poem is that it has an intense energy capable of releasing several connotations, which is allowed by the plurality of readings and their variance. It has, and its ability to broadcast semantic when the mark is formed (Khatab, 2006).

Results

1- The leads of modernity are struck in the foot. Since the Abbasid era, poets have tried to renew the structure of the Arabic poem that is committed to the pillar of poetry, so they diversified in rhymes, and rebelled against the Talian introduction. The appearance of the Muwashah in Andalusian poetry represented an attempt at renewal in Arabic poetry and a breach of the poetry column. 3- In the modern era, the Northern Hungarian poetry movement appeared, carrying the leads of

178 Janabi, M, O.; and Al-Azzawi, K, J, M. (2021) The Leads of The Modernity in Modern Arabic Poetry …

poetic modernity. The poets of this movement, led by Jubran Khalil Jubran, rebelled against the ancient poetic system and revealed its flaws, so they invented poetic prose or scattered poetry, and organized syllabic poetry. 4- One of the renewal movements that appeared in our Arab world is the Diwan group, so they called for emotional poetry, emphasized the organic unity of the poem, imbued their poetry with fantasies, meanings and images, and fought against tradition and poetry of occasions. 5- The Apollo Group represents a renewal movement in Arabic poetry, so they called for the elevation of Arabic poetry and the advancement of the level of poets, so they diversified their poems and their seas, called for organic unity and paved the way for free poetry. 6- Free poetry (Active poetry) represents another stage of modernity in Arabic poetry, as this poetry has penetrated the old format in poetic form. The poem is written in the system of lines, not verses, with different rhymes and activations and in an easy language, and it expresses the tragedies and problems of the Arab person. 7- The prose came as a renewal movement waged by Arab poetic modernity. It is a scattered, unbalanced, non-progressive poem, short and focused. It takes prose as a starting point and sublimates it to the status of poetry. 8- The flash poem (haiku) is an innovative poetic genre that belongs to free verse, but differs from it by the number of poetic lines, simple language, and breaking the horizon of expectation.

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