163:(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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276:('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
53:: 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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367:, 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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76:. 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.)
245:), enabling sophisticated artistic collaborations across a series of poems. Thus a long exchange of
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106:('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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210:('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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256:(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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380:, Islamkundliche Untersuchungen, 85 (Berlin: Klaus-Schwarz-Verlag, 1984),
346:, Brill Studies in Middle Eastern Literatures, 40 (Leiden: Brill, 2018);
249:-poems between al-Ṣafadī and Ibn Nubāta explores metaphors using doves.
161:ʿAlī ibn Muḥammad ibn al-Riḍā ibn Muḥammad al-Ḥusaynī al-Musāwī al-Ṭūsī
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159:(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
116:إِنْ قُلْتُ قَدُّكِ غُصْنٌ * قالَتْ لِيَ ٱلغُصْنُ ساجِدْ
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Dīwān al-Mathālith wa-l-mathānī fī l-maʿālī wa-l-maʿānī
119:أّوْ قُلْتُ ريقُكِ ثَلْجٌ * قالت تَشَبُّهُ بارِدْ
218:('Fragrance Wafting in the Smiling Garden') and
157:ʿAbū Ṭālib ʿAbd al-Salām ibn al-Ḥasan al-Maʾmūnī
262:Silk ad-durar fī aʿyān al-qarn ath-thānī ʿashar
222:('Pure Beauty: On One Hundred Handsome Lads').
186:-collection emerged in the fourteenth century:
182:Key exponents of the form of the solo-authored
260:(d. 1142/1730) in his biographical dictionary
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130:She’d say, ‘The bough prostrates in prayer.’
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143:Development of genre and terminology
286:Shihāb ad-Dīn al-Ḥijāzī al-Khazrajī
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216:ar-Rawḍ al-bāsim wa-l-ʿarf an-nāsim
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288:(d. 875/1471) 'treats many common
104:Khizānat al-adab wa-ghāyat al-arab
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268:), almost all ending in the line
220:al-Ḥusn aṣ-ṣarīḥ fī miʾat malīḥ
196:Badr ad-Dīn Ibn Ḥabīb al-Ḥalabī
194:('Ibn Nubātah's Sweet Drops');
80:(making such poems part of the
258:Ibrāhīm ibn Muḥammad al-Murādī
1:
274:هو أحلى مِنْ ماعِ حَبِّ آﻻَسِ
190:(d. 768 AH/1366 CE) and his
237:) or as invective (such as
202:('The Particles of Gold');
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297:(in male-male anal sex)'.
363:Johann Christoph Bürgel,
254:Muḥammad Khalīl al-Murādī
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188:Jamāl al-Dīn Ibn Nubāta
212:Ṣalāḥ ad-Dīn al-Ṣafadī
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225:Poets also exchanged
235:Taqī ad-Dīn al-Badrī
204:Ṣafī ad-Dīn al-Ḥillī
405:Arabic poetry forms
231:al-Shihāb al-Ḥijāzī
206:(d. c. 750/1350),
352:978-90-04-34996-4
192:al-Qaṭr an-Nubātī
167:The emergence of
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90:and chronograms.
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171:anthologies
386:392296835X
301:References
243:Ibn Ḥijjah
200:al-Shudhūr
295:bottoming
239:al-Nawājī
100:mujtathth
78:ekphrasis
399:Category
86:genre),
35:(plural
32:maqṭūʿah
278:maqāṭīʿ
247:maqāṭīʿ
227:maqāṭīʿ
177:maqāṭīʿ
149:maqāṭīʿ
94:Example
88:riddles
47:Maqāṭīʿ
38:maqāṭīʿ
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270:Arabic
184:maqṭūʿ
169:maqṭūʿ
153:maqṭūʿ
62:Maqṭūʿ
23:Arabic
18:Maqṭūʿ
290:mujūn
29:) or
27:مقطوع
382:ISBN
348:ISBN
241:and
233:and
83:waṣf
72:and
57:Form
49:are
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