By M. M. Badawi
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 half the 19th century to the current day. It levels over the whole Arabic-speaking international and incorporates a dialogue of the paintings of poets who emigrated to the us and Latin the USA. 4 major phases are tested within the improvement of a in particular sleek Arabic poetry: the ‘neoclassical’, during which poets became to their literary historical past for his or her beliefs and concept; the pre-romantic’, which used to be marked via a rigidity among a transformed classical sort and new romantic sentiments, itself the mirrored image of a much broader cultural flow in the direction of swap 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 is typified by way of a response opposed to romanticism, and ruled by way of both devoted social realism or symbolism and surrealism. within the absence of any comparable released paintings in a eu language, the ebook, in addition to being designed for college kids of Arabic literature and of comparative literature, can also be of curiosity to the overall reader. No wisdom of Arabic is presupposed: the entire verse (newly translated via the writer) is given in English translation, and technical terminology has been decreased to a minimal.
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Additional resources for A Critical Introduction to Modern Arabic Poetry
On the moral effect of poetry he writes: God has ordained that truth and wisdom should Coil around the sceptre of Poesy. No nation has been roused to what is right Except when guided by Poesy. No brass band can so affect the hearts Of the brave and the cowardly alike. (n,241) At other times he feels that the moral effect of poetry and of art in general is less crude, and in a poem written on the occasion of the opening of an Oriental Music Club (iv,50) he clearly conceives of art as a source of consolation for the soul.
Shauqi, however, was too weak a man to resist the temptation of worldly glory. Because he had an eye on his social prospects and advancement he was obliged to compromise his principles about which his feelings could not have run very deep. By virtue of his office at court he was expected to turn out panegyric poems whenever the occasion demanded them. It was a great pity, since so much of his time and effort were relatively wasted on what in some cases amounted to mere exercises in which he borrowed extensively and indulged in hyperbole, exaggerating the merits of the subject of his praise, sometimes to the degree of absurdity, although he often covered up the lack of originality in his ideas by the musical powers of his verse and his easy-flowing rhythms, which seem never to have forsaken him at any period of his poetic career.
When the First World War broke out Shauqi's patron, Khedive Abbas, who happened to be abroad, was prevented by the British authorities from entering the country because of his sympathy for the Ottoman government and was deposed in his absence. In his place was appointed Sultan Husain Kamil, and Egypt was declared a British Protectorate. Shauqi, who was known for his attachment to Abbas and his loyalty to the Ottomans as well as for his virulent attacks on the British, was exiled to Spain in 1915, where he spent all the war years.
A Critical Introduction to Modern Arabic Poetry by M. M. Badawi