Academic literature on the topic 'Abu-Nuwas'

Khamr has been the goal of shi'ir since Jahiliyah era. In Abbasid Period, the majority of the people came from ethical people, lived in luxury and extravagance. So, at this time there were many witty poets, sprees, and drinking khamr hobby. One of the poets who is famous for his Syi'ir Khumriyat is Abu Nuwas. Therefore, the author is interested in examining the beauty of the uslub language style on Syi'ir Khumriyat. The formulation of the problem is studying the themes of Abu Nuwas’s syi'ir stanza and how is Abu Nuwas describes the beauty of khamr in his syi'ir in terms of Bayan, and why is Syi'ir Khumriyat’s Abu Nuwas looks beautiful. In this study, it can be concluded that the themes of Syi'ir Khumriyat’s Abu Nuwas stanzas are numerous. However, the author only quotes part of it. The Uslub used is Uslub Adaby containing Bayan elements which include Tasybih, Majaz Lughawi bil Isti'arah makniyah wa tashrihiyah wa tamtsiliyah, Majaz Mursal, Majaz 'Aqli, and Kinayah. Likewise, the depiction of Syi'ir Khumriyat Abu Nuwas has a strong imagination, amazing parables, and has figurative language in the texts, so it looks beautiful.

Abstract: The science of ‘Arûdl is one of sciences needs to be studied to understand metrums and right or wrong changes in a poetry. The purpose of this research is to describe the kinds of metrum and change found in the poetries of al-‘Itâb in the diwan of Abu Nuwas because many learners of Arabic poetry find difficulties in knowing the metrum used in poetry when there are changes in it. The method used is qualitative descriptive. The data are poetry texts of al-‘Itâb consisting of 29 titles with 132 verses from the e-book Diwan Abu Nuwas written by Al-Ghazali. In this research, the researcher is a research instrument (human instrument) as well as a data collector. Data were collected using document study techniques. There are 5 stages of data analysis: (1) reading the poetries, (2) doing taqthi’ on every verse of the poem, (3) classifying data in a table, (4) determining the metrum and the change, and (5) concluding. The research results show that there are 8 types of metrum and 13 types of change consisting of 6 Zihâf and 7 ‘Illat. Metrum with the biggest number is metrum Thawîl, and the changes are Zihâf Qabdl and ‘Illat Hadzf. Keywords: poetry, science of ‘Arûdl, diwan of Abu Nuwas, al-‘Itâb Abstrak: Ilmu ‘Arûdl adalah salah satu ilmu yang perlu dipelajari untuk memahami Bahr dan perubahan-perubahan yang benar atau salah dalam sebuah syi’ir. Tujuan penelitian ini adalah untuk mendeskripsikan macam-macam Bahr dan perubahan yang terdapat pada syi’ir al-‘Itâb dalam diwan Abu Nuwas. Hal ini karena tidak sedikit pelajar kesulitan menentukan Bahr dalam sebuah syi’ir jika terdapat perubahan di dalamnya. Metode yang digunakan dalam penelitian ini adalah metode deskriptif kualitatif. Data dalam penelitian ini berupa teks syi’ir al-‘Itâb yang seluruhnya berjumlah 29 judul syi’ir dengan 132 bait yang bersumber dari e-kitab Diwan Abu Nuwas yang ditulis oleh Al-Ghazali. Dalam penelitian ini peneliti merupakan instrumen penelitian (human instrument) sekaligus sebagai pengumpul data. Data dikumpulkan menggunakan teknik studi dokumen. Adapun tahap analisis data dilakukan dalam 5 tahap, yaitu: (1) membaca syi’ir, (2) melakukan taqhti’ pada setiap bait syi’ir, (3) mengklasifikasi data dalam sebuah tabel, (4) menentukan Bahr serta perubahannya, dan (5) menarik kesimpulan. Hasil penelitian menunjukkan bahwa terdapat 8 jenis Bahr dan 13 bentuk perubahan yang terdiri atas 6 Zihâf dan 7 ‘Illat. Bahr paling banyak ditemukan adalah Bahr Thawîl, perubahannya berupa Zihâf Qabdl dan ‘Illat Hadzf. Kata kunci: syi’ir, ilmu ‘Arûdl, diwan Abu Nuwas, al-‘Itâb

Dinasti Abbasiyah mengalami perkembangan yang pesat dalam beberapa bidang, salah satunya adalah bidang kesusastraan. Kesusastraan islam menjadi lebih gemilang di era Abbasiyah, karena pemerintah dan seluruh lapisan masyarakatnya memberikan apresiasi yang besar terhadap karya-karya kesusastraan Abbasiyah. Sastra Abbasiyah mengalami pembaruan genre, genre yang dihasilkan menjadi lebih variatif. Dalam karya prosa dan syi’ir, terjadi perluasan makna serta tema dalam karya-karya tulisnya. Tokoh sastra yang cukup populer dalam genre syi’ir dan prosa adalah Ibn Al-Muqaffa dan Abu Nuwas. Adapun pembahasan dalam tulisan ini yakni penggunaan gaya bahasa dalam karya sastra Abbasiyah, khususnya karya syi’ir Abu Nawas berjudul “al-I’tiraf” dan prosa Ibn Al-Muqaffa berjudul “Kalilah Wa Dimnah”. Metode pendekatan pada analisis ini yakni dengan menggunakan pendekatan teori stilistika, stilistika merupakan metode untuk menganalisis penggunaan gaya bahasa atau majas terhadap suatu karya. Mayoritas gaya bahasa yang digunakan oleh Abu Nuwas dan Ibn Al-Muqaffa berupa majas perumpamaan dan majas pertentangan. Ciri khas karya sastra Abbasiyah dapat terlihat secara eksplisit dalam makna yang dibawakan oleh setiap karya-karyanya, makna ini nantinya menjadi cikal bakal munculnya beberapa genre baru dalam kesusastraan Abbasiyah, yakni novel, hikayat dan riwayat.
 Kata kunci: Abbasiyah; Abu Nawas; Gaya bahasa; Ibn Al-Muqaffa; Prosa; Stilistika, Syi’ir

The riverbank is an effective component of the city-river interconnection, and any damage that occurs to it affects its natural structure and particularly its ecological values. Most of these problems are diagnosable and observable in the riverside space, and many studies have focused on them. The emergence of these problems may appear in varying proportions in the riverbank environment depending on the type of human intervention, both in urban and non-urban spaces, which may have a negative impact on the riverbank space. In light of this, studies have been directed towards exploring different ecological strategies that should be applied on the urban riverbank space, which work in an integrated manner with many other values to restore the natural characteristics of landscape and riverbank space and reduce the impact of negative human intervention in them. The main research problem is defined in the loss of the ecological value of riverbanks in cities in general and Baghdad city in particular, and the lack of knowledge concerning the ecological strategies in riverbanks on the planning and design levels. The main objective of the research was thus to draw the theoretical framework that extracts the strategies and indicators of the landscape ecology.The theoretical framework was then applied to the edge of the Tigris River in Baghdad (as a case study), that resembles the area and park of Abu Nuwas region in Baghdad, with the aim of further diagnosing the reality of the riverbank and the extent to which ecological strategies can be applied.The results of the research in both its theoretical and practical aspects have revealed a clear approach to ecological strategies that achieve riverbank ecology and the development of specific mechanisms to provide a safe and effective river environment that accommodates various events and uses in the river bank, and enhances public awareness of its importance

In his book, The Hunt in Arabic Poetry: from Heroic to Lyric to Metapoet- ic, Jaroslav Stetkevych traces the evolution of Arabic hunt poetry from its origins as an integral part of the heroic ode (qaṣῑda) to becoming a genre by itself (ṭardiyya) during the Islamic era, and then evolving into a meta- poetic self-conscious expression of poets in our modern time. The book is a collection of a revised book chapter and a number of revised articles that Stetkevych published between 1996 and 2013 discussing Arabic hunt poet- ry at different periods spanning from the pre-Islamic age, known in Arabic as “al-‘Aṣr al-jāhiliyya” (Age of Ignorance), to the contemporary era. This does not diminish the coherence of the book nor detract from Stetkevych’s welcomed thematic approach and his contribution to literary criticism on Arabic poetry and the socio-political and linguistic factors that influenced its development and evolution. Stetkevych divides his 256-page book into three parts. The first part, entitled “The Heroic and the Anti-Heroic in the Early Arabic Ode: The Qaṣῑdah,” consists of three chapters and discusses the evolution of the qa- ṣῑda (ode) during the Age of Ignorance. Stetkevych dissects the structure of the ode and shows how hunt poetry was an integral part of it (not an independent genre). In doing so, Stetkevych draws a vivid picture of the life and geosocial terrain of the period spanning from pre-Islamic to the mid-Umayyad eras. In the first chapter, “The Hunt in the Pre-Islamic Ode”, Stetkevych uses examples mainly from the Mu‘allaqāt of Rabī‘ah ibn Maqrum, Labād Ibn Rabī‘ah, and the famous Imru’ al-Qays to illustrate the different roles hunt poetry played based on where it fell in the structure of the ode. He further establishes that the hunt section of the ode served as the origin for what later became a genre in its own right, known as ṭardiyya. In the second and third chapters, “The Hunt in the Ode at the Close of the Archaic Peri- od” and “Sacrifice and Redemption: The Transformation of Archaic Theme in al-Ḥuṭay’ah”, Stetkevych distinguishes between the different terms for “hunt” and the ṭard that would be the “chivalrous hunt” that takes place from the back of a horse. Parsing these distinctions with poems from ‘Ab- dah Ibn al-Ṭabῑb, al-Shamardal, and ‘Amr Ibn Qamῑ’ah, among others, the author sketches how hunt poetry began taking its own shape as a freestand- ing genre during the Umayyad period: when hunt poetry “is no longer ex- plicitly ‘chivalrous’… we are now in the realm of falconry” (55). The second part of the book, “The Hunt Poem as Lyric Genre in Classi- cal Arabic Poetry: The Ṭardiyyah”, is made up of four chapters that discuss the maturation of the hunt poem under ‘Abbasid rule. During that period, the cultural, economic, scientific, and social renaissance left its impact on poets and poetry. Hunt poetry became a genre of its own, taking an inde- pendent form made of hunt-specialized shorter lyrics. Stetkevych begins this section in chapter 4, “The Discreet Pleasures of the Courtly Hunt: Abū Nuwās and the ‘Abbasid Ṭardiyyah”. He shows how the move of hunt po- etry from subjective to objective description was utterly distinctive under “Abu Nuwas, the master of archaic formulas, who is capable of employing those formulas in conceits that are no longer archaic” (102). Chapter 5, “From Description to Imagism: ‘Alῑ Ibn al-Jahm’s ‘We Walked over Saffron Meadows’,” shows how Ibn al-Jahm and other Abbasid poets such as Ibn al-Mu‘tazz and Abū Firās al-Ḥamdānī “exercise considerable stylistic freedom in developing their own markedly varied but distinctive ṭardiyyah-po- ems from the broadly imagist to the highly lyrical to the fully narrative” (131). Stetkevych shows how the rhythm of hunt poetry was liberated as the Abbasid poets moved from the rajaz meter used in pre-Islamic hunt poetry to modifying and modulating “the ṭawῑl meter to create the unique rhythmic qualities” (131). In chapter 6, “Breakthrough into Lyricism: The Ṭardiyyahs of Ibn al-Mu‘tazz,” the author uses multiple examples to show how “the ṭardiyyah not only found that new lyrical voice but also allowed it … to become a closely integrated and even more broadly formative part of that poet’s multi-genre ‘project’ of a ‘new lyricism’ of Arabic poetry” (183). Chapter 7, “From Lyric to Narrative: The Ṭardiyyah of Abu Firas al-Ḥam- danῑ,” demonstrates how the prince poet “abandons the short lyric mono- rhyme for the sprawling narrative rhymed couplets (urjuzah muzdawijah)” (9). Stetkevych notes that although this “shift did not result (yet) in the achievement of a separate narrative genre, it can …be rightfully viewed as a step in the exploration of the possibility of a large narrative form” (187). The third and final section, “Modernism and Metapoesis: the Pursuit of the Poem,” discusses the revival of hunt poetry by modernist poets after being neglected for centuries. Chapter 8, “The Modernist Hunt Poem in ‘Abd al-Wahhab al Bayatῑ and Aḥmad ‘Abd al Mu‘ṭῑ Ḥijazῑ,” examines two poems of the two poets, both entitled Ṭardiyyah. Stetkevych argues that the Iraqi free-verse poet, al-Bayatῑ, transformed the “genre-and form-bound, rhymed and metered lyric… into a formally free exploration of the dra- matic and tragic image of the hunted hare as a metaphor for the political and cultural predicament of modern man” (9). Meanwhile, Hijazi’s Ṭardi- yyah transforms “the poignant lyricism of the traditional hunt poem into an expression of the poet’s personal experience of political exile and poetic restlessness and frustration” (10). The author concludes that the two poets’ explorations into ṭardiyyah “helped not only to preserve and activate the classical metaphor of hunt/ṭardiyyah into modernity, but in equal measure to validate and enrich the achievements of modern Arabic poetry” (242). In the last chapter, “The Metapoetic Hunt of Muḥammad ‘Afῑfῑ Maṭar,” Stetkevych—through interpretation, comparison, and criticism—shows how Maṭar’s modern poetry while “hermeneutically connected to the old genre… [is] very personal mythopoesis” (10). Stetkevych’s book does not discuss Andalusian hunt poetry, such as that of ‘Abbās Ibn Firnās, Ibn Hadhyal and Ibn al-Khaṭīb, nor the Ṭardiyyah of the contemporary Egyptian poet ‘Abdulraḥman Youssef, published in 2011 after the revolution in Tunisia and two days before the Egyptian revolution started. While including such examples would have further bol- stered this already strong and convincing argument and further illustrated the evolution of hunt poetry from the pre-Islamic era into modern times, their absence does not take away from the book writ large. Stetkevych’s excellent English translations of the poetry cited make his examples more accessible to readers who do not know Arabic. Overall, the book is a very valuable addition to literary criticism of Arabic poetry written in English and will surely be a great asset for scholars, students, and others interested in Arabic poetry as a reflection of a cultural and humanistic experience.
 Gaby SemaanAssistant Professor of ArabicUniversity of Toledo

In his book, The Hunt in Arabic Poetry: from Heroic to Lyric to Metapoet- ic, Jaroslav Stetkevych traces the evolution of Arabic hunt poetry from its origins as an integral part of the heroic ode (qaṣῑda) to becoming a genre by itself (ṭardiyya) during the Islamic era, and then evolving into a meta- poetic self-conscious expression of poets in our modern time. The book is a collection of a revised book chapter and a number of revised articles that Stetkevych published between 1996 and 2013 discussing Arabic hunt poet- ry at different periods spanning from the pre-Islamic age, known in Arabic as “al-‘Aṣr al-jāhiliyya” (Age of Ignorance), to the contemporary era. This does not diminish the coherence of the book nor detract from Stetkevych’s welcomed thematic approach and his contribution to literary criticism on Arabic poetry and the socio-political and linguistic factors that influenced its development and evolution. Stetkevych divides his 256-page book into three parts. The first part, entitled “The Heroic and the Anti-Heroic in the Early Arabic Ode: The Qaṣῑdah,” consists of three chapters and discusses the evolution of the qa- ṣῑda (ode) during the Age of Ignorance. Stetkevych dissects the structure of the ode and shows how hunt poetry was an integral part of it (not an independent genre). In doing so, Stetkevych draws a vivid picture of the life and geosocial terrain of the period spanning from pre-Islamic to the mid-Umayyad eras. In the first chapter, “The Hunt in the Pre-Islamic Ode”, Stetkevych uses examples mainly from the Mu‘allaqāt of Rabī‘ah ibn Maqrum, Labād Ibn Rabī‘ah, and the famous Imru’ al-Qays to illustrate the different roles hunt poetry played based on where it fell in the structure of the ode. He further establishes that the hunt section of the ode served as the origin for what later became a genre in its own right, known as ṭardiyya. In the second and third chapters, “The Hunt in the Ode at the Close of the Archaic Peri- od” and “Sacrifice and Redemption: The Transformation of Archaic Theme in al-Ḥuṭay’ah”, Stetkevych distinguishes between the different terms for “hunt” and the ṭard that would be the “chivalrous hunt” that takes place from the back of a horse. Parsing these distinctions with poems from ‘Ab- dah Ibn al-Ṭabῑb, al-Shamardal, and ‘Amr Ibn Qamῑ’ah, among others, the author sketches how hunt poetry began taking its own shape as a freestand- ing genre during the Umayyad period: when hunt poetry “is no longer ex- plicitly ‘chivalrous’… we are now in the realm of falconry” (55). The second part of the book, “The Hunt Poem as Lyric Genre in Classi- cal Arabic Poetry: The Ṭardiyyah”, is made up of four chapters that discuss the maturation of the hunt poem under ‘Abbasid rule. During that period, the cultural, economic, scientific, and social renaissance left its impact on poets and poetry. Hunt poetry became a genre of its own, taking an inde- pendent form made of hunt-specialized shorter lyrics. Stetkevych begins this section in chapter 4, “The Discreet Pleasures of the Courtly Hunt: Abū Nuwās and the ‘Abbasid Ṭardiyyah”. He shows how the move of hunt po- etry from subjective to objective description was utterly distinctive under “Abu Nuwas, the master of archaic formulas, who is capable of employing those formulas in conceits that are no longer archaic” (102). Chapter 5, “From Description to Imagism: ‘Alῑ Ibn al-Jahm’s ‘We Walked over Saffron Meadows’,” shows how Ibn al-Jahm and other Abbasid poets such as Ibn al-Mu‘tazz and Abū Firās al-Ḥamdānī “exercise considerable stylistic freedom in developing their own markedly varied but distinctive ṭardiyyah-po- ems from the broadly imagist to the highly lyrical to the fully narrative” (131). Stetkevych shows how the rhythm of hunt poetry was liberated as the Abbasid poets moved from the rajaz meter used in pre-Islamic hunt poetry to modifying and modulating “the ṭawῑl meter to create the unique rhythmic qualities” (131). In chapter 6, “Breakthrough into Lyricism: The Ṭardiyyahs of Ibn al-Mu‘tazz,” the author uses multiple examples to show how “the ṭardiyyah not only found that new lyrical voice but also allowed it … to become a closely integrated and even more broadly formative part of that poet’s multi-genre ‘project’ of a ‘new lyricism’ of Arabic poetry” (183). Chapter 7, “From Lyric to Narrative: The Ṭardiyyah of Abu Firas al-Ḥam- danῑ,” demonstrates how the prince poet “abandons the short lyric mono- rhyme for the sprawling narrative rhymed couplets (urjuzah muzdawijah)” (9). Stetkevych notes that although this “shift did not result (yet) in the achievement of a separate narrative genre, it can …be rightfully viewed as a step in the exploration of the possibility of a large narrative form” (187). The third and final section, “Modernism and Metapoesis: the Pursuit of the Poem,” discusses the revival of hunt poetry by modernist poets after being neglected for centuries. Chapter 8, “The Modernist Hunt Poem in ‘Abd al-Wahhab al Bayatῑ and Aḥmad ‘Abd al Mu‘ṭῑ Ḥijazῑ,” examines two poems of the two poets, both entitled Ṭardiyyah. Stetkevych argues that the Iraqi free-verse poet, al-Bayatῑ, transformed the “genre-and form-bound, rhymed and metered lyric… into a formally free exploration of the dra- matic and tragic image of the hunted hare as a metaphor for the political and cultural predicament of modern man” (9). Meanwhile, Hijazi’s Ṭardi- yyah transforms “the poignant lyricism of the traditional hunt poem into an expression of the poet’s personal experience of political exile and poetic restlessness and frustration” (10). The author concludes that the two poets’ explorations into ṭardiyyah “helped not only to preserve and activate the classical metaphor of hunt/ṭardiyyah into modernity, but in equal measure to validate and enrich the achievements of modern Arabic poetry” (242). In the last chapter, “The Metapoetic Hunt of Muḥammad ‘Afῑfῑ Maṭar,” Stetkevych—through interpretation, comparison, and criticism—shows how Maṭar’s modern poetry while “hermeneutically connected to the old genre… [is] very personal mythopoesis” (10). Stetkevych’s book does not discuss Andalusian hunt poetry, such as that of ‘Abbās Ibn Firnās, Ibn Hadhyal and Ibn al-Khaṭīb, nor the Ṭardiyyah of the contemporary Egyptian poet ‘Abdulraḥman Youssef, published in 2011 after the revolution in Tunisia and two days before the Egyptian revolution started. While including such examples would have further bol- stered this already strong and convincing argument and further illustrated the evolution of hunt poetry from the pre-Islamic era into modern times, their absence does not take away from the book writ large. Stetkevych’s excellent English translations of the poetry cited make his examples more accessible to readers who do not know Arabic. Overall, the book is a very valuable addition to literary criticism of Arabic poetry written in English and will surely be a great asset for scholars, students, and others interested in Arabic poetry as a reflection of a cultural and humanistic experience.
 Gaby SemaanAssistant Professor of ArabicUniversity of Toledo