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this research discusses parallelism in Marthiyatul Ghubar (Arabic for Mourning of Dust) a poem by the Lebanese poet Shawqi Bazie. It also links between the structure and the repetition contained therein, as well as the intended rhetorical relationship resulting from that parallel, i.e. an attempt to link poetic formation with poetic vision. The research highlights that the Mourning of Dust contains many forms of parallelism that are not just a filler to complete the speech, but rather serve the poet's vision, ideas, and beliefs. The research also concludes that the phonetic and syntactic parallels are the most present in the poem. The poet focuses on parallelism, in particular, to say what he wants leaving the areas of interpretation open to the reader, and he thus wants a critical thinking reader, not a neutral one who does not dig into the text or interact with it. The poet wants his idea to last and for other people to believe in it.

The formation of a new literary movement—as a result of the collapse of the Ottoman Empire and the nationalist movement that dominated the world—gave rise to many new tendencies and schools of thought. Poetry, the most important tool influencing the Arab masses appeared as nationalist and political poetry,as a reflection of modern society, and as anti-colonial poetry born of the French and British occupations. Especially after the 19th century, the literati and intellectuals in Egypt and Syria carefully followed the pioneered literary, political, and ideological movements. For example, there was the Neoclassical School formed by Baroudi (1839–1904), Ahmed Shawqy (1868–1932), and Hafez Ibrahim (1871–1932). It focused on the revival of Arabic poetry and considered ancient poetry as an inspiration for its structure and subjects. Subsequently, the poets of the Diwan School, consisting of Abbas al-Akkad (1889–1964), Ibrahim Abdel Rahman Shokry (1886–1958), and Abdal-Qadir al-Mazny (1890–1949), performed a series of innovations in Arabic poetry and literary criticism, and led the modern literary movements that followed, such as Mahjar and Apollo. This movement, which focuses on modern poetry in Arabic literature, includes a completely different perspective from ancient poetry. Specifically, the value of poetry is in the sincerity of the poet’s feelings (sidku’ş-şi’r). The theme of “hopelessness,” which came to the forefront because of the social and political dilemmas and uncertainties that dominated the period and the influence of Western Romantic poets, is clearly seen in their poems. Thus, we examine this particular theme by using the example of Abbas al-Akkad, the strongest representative of this school.

This article examines nationalism in Arabic poetry of three Yoruba writers, namely Isa Abu-Bakre, Abdul-Wahid Ariyibī, and Abdul-Rahman Az-Zakawī. It interrogates their nationalistic poems in order to show how the Yorubas have addressed the struggle for nationalism within and outside Yoruba land. It rereads the poems to deconstruct their essence and implications for the political landscape of Nigeria. Drawing its discussion from the works of Abū-Qāsim Shābī, Frantz Fanon, Fadwa Tūqān, Milton Easman, and Anthony Smith, among others, it argues that Yoruba poets not only patronize the theme of ethnic nationalism but often engage with Pan-Africanism and Arab nationalism. The article concludes that nationalism as approached by the triad is sufficiently potent to serve as an essential ingredient to reinforce unity and peace in Nigeria, in line with Abu-Bakre and Ariyibī, or as a catalyst for the factionalization and polarization of the nation, in line with Azakawī’s poetics. In both cases, however, the role of the female gender as an active partner in the nationalist enterprise has been, quite curiously, downplayed, thus putting her persona in obscurity and, in this regard, betraying her involvement.

Öz: Abdulvahhâb el-Beyyâtî Çağdaş Arap şiirinin ve modernizm hareketinin önde gelen isimlerden biridir. Şiirlerinde adalet, eşitlik, özgürlük, başkaldırı gibi kavramları öne çıkarmıştır. Arap dünyasında vefat edene kadar Marksist ideolojiyi savunanlardan biri olmuştur. Onun halkçılık yanı söylemleri nedeniyle Arap dünyasında şiirleri büyük bir ilgi görmüştür. Bu çalışmada şairin hayatı, edebi kişiliği, eserlerinin yanı sıra Nazım Hikmetle ile ilgili söylemiş olduğu şiirler ele alınarak Türkçeye aktarılmıştır.Anahtar Kelimeler: Abdulvahhâb el-Beyyâtî, Nazım Hikmet, Arap Edebiyatı, Çağdaş Arap Şiiri.Abstract: Abdul Wahhâb al-Bayyâtî, was among the leading poets of modern Arabic poetry and the modernism movement. His poems were distinctive of concepts such as equity, justice, freedom and revolt. He was supporting the Marxism until his death. His poems created interest in the Arab world because of his speeches about supporting the populism.  This paper focuses on his life, literal personality and works, also his poems about Nazım Hikmet and translations of these poems into Turkish.Keywords: Abdul Wahhâb al-Bayyâtî, Nazım Hikmet, Arabic Litarature Modern Arabic Poetry. Abdulvahhâb al-Bayyâtî, was among the leading poets of modern Arabic poetry and the modernism movement. His poems were distinctive of concepts such as equity, justice, freedom and revolt. He was supporting the Marxism until his death. His poems created interest in the Arab world because of his speeches about supporting the populism. This paper focuses on his life, literal personality and works, also his poems about Nazım Hikmet and translations of these poems into Turkish.

Against a background discussion on mainstream poetry, this study offers insights on the venture of the Palestinian poet Mahmud Darwish (1941-2008) into the realm of Middle Eastern mysticism, handed down to us as \"Sufism.\" Darwish sets aside discourse concerning religion, although he leans on the scripture of more than one system of belief. In his poem Abī (My Father), the poet tells us of Shi'a observance as he experienced it; and, in his poem Abad al-S?£abbār (The Eternity of Cactus), the poet compares the Palestinian 1948 Nakba (Tragedy) to the massacre at Karbala in early Islamic times. Poems such as al-Hudhud (The Hoopoe) and the collection Ward Aqall (Fewer Roses) fall into place. These poems, which mark the onset of Darwish's mature period, are not understood as well as his earlier output. In some measure, this could be because translators to English have ignored the poet's clearly stated requirements for translating his poems. Therefore, I have included some lengthy excerpts from my own translations, which were done in conjunction with Reuven Snir's Hebrew translations, in the hope that the reader will enjoy some original creative writing that parallels the Arabic.

The Rain Song\" is considered one of the most notable poems of modern Arabic poetry in general and of B. S. Al Sayyab in particular. It is a landmark in the history of modern Arabic poetry. The present paper aims at unearthing the seeds of T. S. Eliot in Al Sayyab's poem ''The Rain Song''. Eliot is a literary figure who reshaped the literary scene not only in England, but also in the world. Accordingly, the present paper has ploughed the soil of the poem ''The Rain Song'' to discover some scattered Eliotic seeds. Modernism affected Arabic poetry early in the first half of the twentieth century. As a translator and a poet, Al Sayyab is able to delve into English poetry which becomes a catalyst that has infused him to modernize the Arabic poem. Unmistakably, Al Sayyab does not copy the Eliotic techniques of modernism. He has blended them to create something new and creative based upon the Arabic heritage. This study concludes that the free verse, mythical, imagist, symbolic, and allusive methods are the Eliotic seeds implanted in ''The Rain Song''. Such new techniques were not used in the classical Arabic poetry. Some examples of these seeds and fingerprints, in ''The Rain Song'', are presented in this study.

One of the Arab world's greatest poets uses the 1982 Israeli invasion of Lebanon and the shelling of Beirut as the setting for this sequence of prose poems. Mahmoud Darwish vividly recreates the sights and sounds of a city under terrible siege. As fighter jets scream overhead, he explores the war-ravaged streets of Beirut on August 6th (Hiroshima Day). Memory for Forgetfulness is an extended reflection on the invasion and its political and historical dimensions. It is also a journey into personal and collective memory. What is the meaning of exile? What is the role of the writer in time of war? What is the relationship of writing (memory) to history (forgetfulness)? In raising these questions, Darwish implicitly connects writing, homeland, meaning, and resistance in an ironic, condensed work that combines wit with rage. Ibrahim Muhawi's translation beautifully renders Darwish's testament to the heroism of a people under siege, and to Palestinian creativity and continuity. Sinan Antoon’s foreword, written expressly for this edition, sets Darwish’s work in the context of changes in the Middle East in the past thirty years.

Representing the most sustained investigation of the aesthetics of Anti-Colonialism in modern Arabic poetry, this book chronicles the evolution of a distinct poetics that sought to maintain the integrity of the qaṣīdah without circumventing its historical moment. It painstakingly analyses a selection of odes by four leading twentieth-century poets, Aḥmad Shawqī, Maʿrūf al-Ruṣāfī, Badr Shākir al-Sayyāb and ʿAbd al-Wahhāb al-Bayātī. It will be of particular interest to scholars and students of Arabic literature, Islamic and Middle Eastern studies, Postcolonial studies, Comparative literature, and Cultural studies.

This study consists of an interpretation and full translation of a single poem by the contemporary Arab Egyptian poet Muhammad 'Afīfī Matar (1935-2010). The poet titles it Ṭardiyyah (Hunt Poem). With this title, the poem admits its link to the Umayyad-born and 'Abbāsid-matured genre of the \"poem of the courtly hunt,\" ṭardiyyah. 'Afīfī Matar's understanding of his no longer courtly, modernist poem is therefore hermeneutically connected to his understanding of the old genre, informing his modern mythopoetic employ of the archaic motif of \"the morning of the hunter.\" This essay also discusses: 'Afīfī Maṭar's place among the European and American poets of radical Modernism, especially, regarding the mythopoetic stance of Wallace Stevens; the problem of the notorious difficulty and obscurity (su'ūbah and ghumūd) of 'Afīfī Maṭar's poetic language; and the general search of modern Arab poets, among them Adūnīs, for a new poetic language. Finally, the essay singles out 'Afīfī Maṭar's Ṭardiyyah and his very personal mythopoesis as a total achievement in the presentation of a Modernist Arabic poem—an achievement analogous to Wallace Stevens' \"central poem,\" that is, A Primitive like an Orb.

Abstract This study consists of an interpretation and full translation of a single poem by the contemporary Arab Egyptian poet Muḥammad ʿAfīfī Maṭar (1935-2010). The poet titles it Ṭardiyyah (Hunt Poem). With this title, the poem admits its link to the Umayyad-born and ʿAbbāsid-matured genre of the \"poem of the courtly hunt,\" ṭardiyyah. ʿAfīfī Maṭar's understanding of his no longer courtly, modernist poem is therefore hermeneutically connected to his understanding of the old genre, informing his modern mythopoetic employ of the archaic motif of \"the morning of the hunter.\" This essay also discusses: ʿAfīfī Maṭar's place among the European and American poets of radical Modernism, especially, regarding the mythopoetic stance of Wallace Stevens; the problem of the notorious difficulty and obscurity ( ṣuʿūbah and ghumūḍ ) of ʿAfīfī Maṭar's poetic language; and the general search of modern Arab poets, among them Adūnīs, for a new poetic language. Finally, the essay singles out ʿAfīfī Maṭar's Ṭardiyyah and his very personal mythopoesis as a total achievement in the presentation of a Modernist Arabic poem-an achievement analogous to Wallace Stevens' \"central poem,\" that is, A Primitive like an Orb.