174:(d. 655 AH/1257 CE) was a prolific composer of epigrams on slaves and slave-girls. In the thirteenth century CE, the term began to be used systematically to denote the epigrammatic form to which it continues to refer. The fourteenth century saw it being used as a genre term, and this usage has become firmly established by the fifteenth.
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287:('sweeter even than the juice of myrtle berries') The collection orders poems creatively to explore how poets respond to one another, and to reveal continuities and contrasts of style and metaphor. Meanwhile, a micro-collection of 42
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subjects including humiliation at the hands of a jester, pesky bugs, stubborn animals, and above all sexual matters that were considered shameful at the time: impotence, infidelity and cuckoldry, and what we now call
64:: brief and generally witty. In the view of Adam Talib, the genre has been underrated by Western scholars, partly because of the low regard for extremely short verse forms in Western traditions.
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was crucial to the emergence of the form as a distinct genre, since resonances between the poems within a collection worked to make the whole anthology greater than the sum of its parts.
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378:, Nachrichten der Akademie der Wissenschaften in Göttingen, Philologisch-Historische Klasse, 1965/14 (Göttingen: Vandenhoeck & Ruprecht, 1965).
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poems are mostly of two lines, but occasionally as short as one or as many as ten; they are composed in the classical metres of
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Arabic literature has a rich tradition of pithy two-line poems; these were composed for centuries without being thought of as
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seems, prior to becoming the name of a poetic form, to have meant 'metrical feet in a line of poetry'. Thus, for example,
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Die ekphrastischen
Epigramme des Abū Ṭālib al-Maʾmūnī: Literaturkundliche Studie über einen arabischen Conceptisten
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87:. Popular subject matter in the genre includes people (with the final hemistich mentioning their name),
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Mädchennamen — verrätselt. Hundert Rätsel-epigramme aus dem adab-Werk Alf ǧāriya wa-ǧāria (7./13.Jh.)
256:), enabling sophisticated artistic collaborations across a series of poems. Thus a long exchange of
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117:('The Storehouse of Literature and the Utmost in Erudition'), and translated by Adam Talib:
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Later anthologists presented as important case studies of the genre by Adam Talib include
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and are characterised by a premise-exposition-resolution structure, frequently including
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221:('The Collection of Two-liners and Three-liners on Virtues and Literary Motifs');
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Adam Talib has argued that the anthologisation of poems that came to be known as
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How Do You Say “Epigram” in Arabic? Literary
History at the Limits of Comparison
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267:(d. 1206/1791), who took a detour from the biography of his paternal uncle
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If I were to say, ‘The taste of your mouth (lit. your saliva) is like ice’;
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391:, Islamkundliche Untersuchungen, 85 (Berlin: Klaus-Schwarz-Verlag, 1984),
357:, Brill Studies in Middle Eastern Literatures, 40 (Leiden: Brill, 2018);
260:-poems between al-Ṣafadī and Ibn Nubāta explores metaphors using doves.
172:ʿAlī ibn Muḥammad ibn al-Riḍā ibn Muḥammad al-Ḥusaynī al-Musāwī al-Ṭūsī
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170:(d. 993 CE) produced many ekphrastic, epigrammatic poems, and
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Zayn ad-Dīn Ibn al-Wardī composed the following maqṭūʿ in the
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If I were to say, ‘Your body is like the bough of a tree’;
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metre, cited by Ibn Ḥijjah al-Ḥamawī (d. 837/1434) in his
127:إِنْ قُلْتُ قَدُّكِ غُصْنٌ * قالَتْ لِيَ ٱلغُصْنُ ساجِدْ
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Dīwān al-Mathālith wa-l-mathānī fī l-maʿālī wa-l-maʿānī
130:أّوْ قُلْتُ ريقُكِ ثَلْجٌ * قالت تَشَبُّهُ بارِدْ
229:('Fragrance Wafting in the Smiling Garden') and
168:ʿAbū Ṭālib ʿAbd al-Salām ibn al-Ḥasan al-Maʾmūnī
273:Silk ad-durar fī aʿyān al-qarn ath-thānī ʿashar
233:('Pure Beauty: On One Hundred Handsome Lads').
197:-collection emerged in the fourteenth century:
193:Key exponents of the form of the solo-authored
271:(d. 1142/1730) in his biographical dictionary
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141:She’d say, ‘The bough prostrates in prayer.’
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154:Development of genre and terminology
297:Shihāb ad-Dīn al-Ḥijāzī al-Khazrajī
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227:ar-Rawḍ al-bāsim wa-l-ʿarf an-nāsim
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299:(d. 875/1471) 'treats many common
115:Khizānat al-adab wa-ghāyat al-arab
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279:), almost all ending in the line
231:al-Ḥusn aṣ-ṣarīḥ fī miʾat malīḥ
207:Badr ad-Dīn Ibn Ḥabīb al-Ḥalabī
205:('Ibn Nubātah's Sweet Drops');
91:(making such poems part of the
269:Ibrāhīm ibn Muḥammad al-Murādī
1:
285:هو أحلى مِنْ ماعِ حَبِّ آﻻَسِ
201:(d. 768 AH/1366 CE) and his
248:) or as invective (such as
213:('The Particles of Gold');
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308:(in male-male anal sex)'.
374:Johann Christoph Bürgel,
265:Muḥammad Khalīl al-Murādī
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199:Jamāl al-Dīn Ibn Nubāta
223:Ṣalāḥ ad-Dīn al-Ṣafadī
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236:Poets also exchanged
246:Taqī ad-Dīn al-Badrī
215:Ṣafī ad-Dīn al-Ḥillī
416:Arabic poetry forms
242:al-Shihāb al-Ḥijāzī
217:(d. c. 750/1350),
363:978-90-04-34996-4
203:al-Qaṭr an-Nubātī
178:The emergence of
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182:anthologies
397:392296835X
312:References
254:Ibn Ḥijjah
211:al-Shudhūr
306:bottoming
250:al-Nawājī
111:mujtathth
89:ekphrasis
410:Category
97:genre),
46:(plural
43:maqṭūʿah
289:maqāṭīʿ
258:maqāṭīʿ
238:maqāṭīʿ
188:maqāṭīʿ
160:maqāṭīʿ
105:Example
99:riddles
58:Maqāṭīʿ
49:maqāṭīʿ
18:Maqāṭīʿ
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281:Arabic
195:maqṭūʿ
180:maqṭūʿ
164:maqṭūʿ
73:Maqṭūʿ
34:Arabic
29:Maqṭūʿ
301:mujūn
40:) or
38:مقطوع
393:ISBN
359:ISBN
252:and
244:and
94:waṣf
83:and
68:Form
60:are
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