The Hunt in Classical Arabic Poetry: From Mukhadram Qasidah To Umayyad Tardiyyah

The Hunt in Classical Arabic Poetry: From Mukhadram Qasidah To Umayyad Tardiyyah THE HUNT IN CLASSICAL ARABIC POETRY: FROM MUKHADRAM QASIDAH TO UMAYYAD TARDIYYAH This study proposes to trace a particular process in the literary-historical development of the hunting topos in the classical Arabic poetic corpus, that is, the transition from the hunting topos as a formal and structural compo- nent in the larger poetic genre of the pre-Islamic and Mukhadram qasidah to the emergence of the shorter and above all free-standing hunt poem, the tar-diyyah, in the Umayyad period. As I demonstrated in an earlier study,' in the structurally fully articulated classical Arabic qagidah the subject of the hunt is divided with the utmost formal rigor between two of its three paradigmatic sections (that are also the qasadah's thematic and modal units). These are, first, the poet's liminal "desert journey" (rahil) section and, second, the celebratory or self-celebra- tory section of the poet's reentry into, or return to, his reconstituted sense of self and community ( fakhr, both individual and tribal; and/or madh). This structural differentiation has its drastic thematic consequences, inas- much as in the properly classical qasidah one must indeed speak of two different hunts: the hunt of the animal panels in the rahil section, which may http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Arabic Literature Brill

The Hunt in Classical Arabic Poetry: From Mukhadram Qasidah To Umayyad Tardiyyah

Journal of Arabic Literature, Volume 30 (2): 107 – Jan 1, 1999

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Publisher
Brill
Copyright
© 1999 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0085-2376
eISSN
1570-064X
D.O.I.
10.1163/157006499X00108
Publisher site
See Article on Publisher Site

Abstract

THE HUNT IN CLASSICAL ARABIC POETRY: FROM MUKHADRAM QASIDAH TO UMAYYAD TARDIYYAH This study proposes to trace a particular process in the literary-historical development of the hunting topos in the classical Arabic poetic corpus, that is, the transition from the hunting topos as a formal and structural compo- nent in the larger poetic genre of the pre-Islamic and Mukhadram qasidah to the emergence of the shorter and above all free-standing hunt poem, the tar-diyyah, in the Umayyad period. As I demonstrated in an earlier study,' in the structurally fully articulated classical Arabic qagidah the subject of the hunt is divided with the utmost formal rigor between two of its three paradigmatic sections (that are also the qasadah's thematic and modal units). These are, first, the poet's liminal "desert journey" (rahil) section and, second, the celebratory or self-celebra- tory section of the poet's reentry into, or return to, his reconstituted sense of self and community ( fakhr, both individual and tribal; and/or madh). This structural differentiation has its drastic thematic consequences, inas- much as in the properly classical qasidah one must indeed speak of two different hunts: the hunt of the animal panels in the rahil section, which may

Journal

Journal of Arabic LiteratureBrill

Published: Jan 1, 1999

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