Authorship and Unity of the Classical Arabic Poem through the Lens of Collaborative Composition
When a classical Arabic poem lacked a noticeable degree of thematic coherence and formal structure, it was at risk of foreign intervention aiming to improve it. Who was recognized in such a case as the author of the poem and on which grounds? This article looks at the interrelated questions of the p...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Brill
[2020]
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| In: |
Arabica
Year: 2020, Volume: 67, Issue: 1, Pages: 1-59 |
| Further subjects: | B
composition collaborative
B iǧāza B transmission of ancient poetry B Authorship B Badāʾiʿ al-badāʾih B transmission de la poésie ancienne B forgerie B Šaddād b. ʿUqba B poetic improvisation B improvisation poétique B influence poétique B Plagiarism B poetic influence B Isḥāq al-Mawṣilī B unity of the poem B collaborative composition B Forgery B unité du poème B Paternité B ʿAlī b. Ẓāfir al-Azdī B Ǧamīl Buṯayna |
| Online Access: |
Volltext (Verlag) Volltext (doi) |
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| 520 | |a When a classical Arabic poem lacked a noticeable degree of thematic coherence and formal structure, it was at risk of foreign intervention aiming to improve it. Who was recognized in such a case as the author of the poem and on which grounds? This article looks at the interrelated questions of the poem’s unity and its authorship through the lens of collaborative poetry that was practiced by completing verse composed in the past. It presents an analysis of poetic collaboration cases from the second/eighth century to the Ayyubid era, and discusses different practical approaches of poets to authorship questions related to the earlier source poem and their own later completion. In the third/ninth century, as an expansive reservoir of ancient and modern poems became increasingly available, we occasionally notice the marks of plagiary, rather than forgery, on collaborative poems of this type. At the same time, and based on this very expansion, kinds of legitimate poetic influence can be detected in the completions of the later poets. Remarkably, poetic intervention did not cease and the poem conceptually did not achieve an inviolable status, when the scholars replaced the transmitters as the authorities on poetry around the third/ninth century and throughout the period under study. Nevertheless, the cultural domain for reshaping earlier verse changed, and the repertoire of poetry considered as “fair game” for this practice was narrowed down based on quality considerations. | ||
| 650 | 4 | |a Authorship | |
| 650 | 4 | |a Badāʾiʿ al-badāʾih | |
| 650 | 4 | |a Isḥāq al-Mawṣilī | |
| 650 | 4 | |a Šaddād b. ʿUqba | |
| 650 | 4 | |a Ǧamīl Buṯayna | |
| 650 | 4 | |a ʿAlī b. Ẓāfir al-Azdī | |
| 650 | 4 | |a collaborative composition | |
| 650 | 4 | |a composition collaborative | |
| 650 | 4 | |a forgerie | |
| 650 | 4 | |a Forgery | |
| 650 | 4 | |a iǧāza | |
| 650 | 4 | |a improvisation poétique | |
| 650 | 4 | |a influence poétique | |
| 650 | 4 | |a Paternité | |
| 650 | 4 | |a Plagiarism | |
| 650 | 4 | |a Plagiat | |
| 650 | 4 | |a poetic improvisation | |
| 650 | 4 | |a poetic influence | |
| 650 | 4 | |a transmission de la poésie ancienne | |
| 650 | 4 | |a transmission of ancient poetry | |
| 650 | 4 | |a unité du poème | |
| 650 | 4 | |a unity of the poem | |
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