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An Arabic Harga in an Anonymous Hebrew Muw Aššaha

An Arabic Harga in an Anonymous Hebrew Muw Aššaha AN ARABIC HARGA IN AN ANONYMOUS HEBREW MUW AŠŠAHA Y. Schirmann's collection of anonymous Hebrew muwaššabät 1 is extremely important for the study of the entire field of strophic poetry in Al-Andalus, and particularly for the understanding of the development of the harga-element, i.e. the final verse-lines of the 17Juwaššaba with common rhymes.2 We know from Arabic sources 3 that the harga is considered a significant part of the muwaš šaba, inasmuch as it constitutes the "essence", literally and metrically, being, in Ibn Sana' al-Mulk's words, the seal, and at the same time the beginning, of the muwaššaba.4 4 There is reason to believe that these anonymous Hebrew muwaššabät 5 represent a link between the oral, unwritten stage of the strophic forms, which according to Ibn Bassam,6 were "invented" in Cabra in Al-Andalus, and the literary stage, which culminated in the llth and 12th centuries. In his various studies of Mozarabic lyrics, S. M. Stern has shown the close relationship between the Arabic and the Hebrew nzu2wallabdt through the art of "imitation", widely practised by the Jews, as well as by the Arabs themselves, during the period when strophic poetry had acquired literary status.7 Less, however, is known http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Arabic Literature Brill

An Arabic Harga in an Anonymous Hebrew Muw Aššaha

Haxen, Ulf
Journal of Arabic Literature , Volume 7 (1): 24 – Jan 1, 1976
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Publisher
Brill
Copyright
© 1976 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0085-2376
eISSN
1570-064X
DOI
10.1163/157006476X00031
Publisher site
See Article on Publisher Site

Abstract

AN ARABIC HARGA IN AN ANONYMOUS HEBREW MUW AŠŠAHA Y. Schirmann's collection of anonymous Hebrew muwaššabät 1 is extremely important for the study of the entire field of strophic poetry in Al-Andalus, and particularly for the understanding of the development of the harga-element, i.e. the final verse-lines of the 17Juwaššaba with common rhymes.2 We know from Arabic sources 3 that the harga is considered a significant part of the muwaš šaba, inasmuch as it constitutes the "essence", literally and metrically, being, in Ibn Sana' al-Mulk's words, the seal, and at the same time the beginning, of the muwaššaba.4 4 There is reason to believe that these anonymous Hebrew muwaššabät 5 represent a link between the oral, unwritten stage of the strophic forms, which according to Ibn Bassam,6 were "invented" in Cabra in Al-Andalus, and the literary stage, which culminated in the llth and 12th centuries. In his various studies of Mozarabic lyrics, S. M. Stern has shown the close relationship between the Arabic and the Hebrew nzu2wallabdt through the art of "imitation", widely practised by the Jews, as well as by the Arabs themselves, during the period when strophic poetry had acquired literary status.7 Less, however, is known

Journal

Journal of Arabic Literature – Brill

Published: Jan 1, 1976

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