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By M. M. Badawi

This ebook is the 1st severe survey of the advance and achievements of ‘modern’ Arabic poetry, right here signifying the interval from the latter half the 19th century to the current day. It levels over the complete Arabic-speaking global and incorporates a dialogue of the paintings of poets who emigrated to the USA and Latin the United States. 4 major levels are tested within the improvement of a in particular sleek Arabic poetry: the ‘neoclassical’, within which poets became to their literary background for his or her beliefs and idea; the pre-romantic’, which was once marked via a pressure among a changed classical variety and new romantic sentiments, itself the mirrored image of a much broader cultural flow in the direction of switch and modernization; the ‘romantic’, during which the tensions among shape and content material have been resolved, and a lyricism and ease of language develop into the norm; and the ‘modern’ or ‘contemporary’ that's typified by way of a response opposed to romanticism, and ruled via both devoted social realism or symbolism and surrealism. within the absence of any comparable released paintings in a eu language, the e-book, in addition to being designed for college students of Arabic literature and of comparative literature, can be of curiosity to the overall reader. No wisdom of Arabic is presupposed: the entire verse (newly translated by means of the writer) is given in English translation, and technical terminology has been lowered to a minimal.

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A Critical Introduction to Modern Arabic Poetry

This e-book is the 1st serious survey of the improvement and achievements of ‘modern’ Arabic poetry, the following signifying the interval from the latter 1/2 the 19th century to the current day. It levels over the complete Arabic-speaking global and contains a dialogue of the paintings of poets who emigrated to the USA and Latin the USA.

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All this is conveyed through a series of impressive images and ideas: such as the image of sand stretching before the Sphinx and on both sides like 'the sins of men'(i, 162), or men wondering at the strange form of the Sphinx as half man, half beast, while if their own outward form were to be a faithful expression of their true nature they should all have the shapes of beasts of prey (160), or the image of the Sphinx 'mounting the sand' and journeying endlessly through days and nights (158), or crouching there from time immemorial and witnessing the birth and death of one world after another and the endless procession of empires.

And man is a prisoner of Fate, wherever he may be BARUDI 25 arise naturally and organically from the individual experience itself. Breaths are related to the poet's breath, already mentioned in the poem, and the idea that man is a prisoner of Fate is suggested by the poet being actually a prisoner himself at the time. By generalizing his own personal situation, by making his own individual fate the fate of all mankind, the poet is in fact fortifying himself to face his situation, thus becoming better able to be patient and endure his predicament.

The most important of these are perhaps the Egyptians Shauqi and Hafiz Ibrahim, and the Iraqis al-Zahawi, al-Rusafi and al-Jawahiri. As these poets are described here as neoclassical it might be useful at this stage to pause briefly and try to explain in some detail what we mean by this term. Before we proceed any further, however, a word of warning is necessary. In our attempt to describe the development of modem Arabic poetry, particularly in its earliest phases, we have to be very much on our guard when using European critical terminology.

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