NOTESQuoted in John Mikhail Asfour, When the Words Burn: An Anthology of Modern
Arabic Poetry: 1945–87(Dunvegan, ON: Cormorant, 1988), p. 27. Although
not entirely divorced from rhyme, the modern poem has its inner rhymes and
rhythmical structures based on flexibility and cadence, rather than an imposed
form. Badawi, A Short History, pp. 25–29.
36 Ibid.
37 See Jamal Eddine Bencheikh, Poétique arabe: Précédée de Essai sur un discours
critique, trans., Mubarak >annn et al. from Al-shi‘riyyah al-‘Arabiyyah
(Casablanca: Dmr Tnbqml, 1996), p. 69.
38 For applications to modernity and the transfer from the commercial to the
commodity age, see Jameson, Marxism and Form, p. 96.
39 Ibid. For a survey of these notions, pp. 126–29.
40 See Jameson’s summary of the principle, Marxism and Form, p. xvi.
41 See the present writer’s survey, “Arabic Rhetoric,” in Oxford Encyclopedia of
Rhetoric, ed. Thomas O. Sloane (Oxford: Oxford University Press, 2001), p. 31.
42 Frederic Jameson, Marxism and Form, p. 81.
43 See, for instance, Salma K. Jayyusi’s discussion of “modernist prerequisites” as
seen in terms of “language, tone, and rhythm to have the poem free of the loud
rhetoric, firm assertions and pronounced rhythmic exuberance of traditional
poetry.” In “Tradition and Modernity in Modern poetry,” in Tradition and
Modernity in Arabic Language and Literature, ed. J. R. Smart (Surrey: Curzon
Press, 1996), pp. 27–48, at p. 39.
44 See JabrmI. Jabrm, cited in Qa,mymal-shi‘r al-mu‘mxir, by Nmzik al-Malm’ikah
(Beirut: Dmr al-‘Iim lil-Malmyln, 1962: rpt, 1989), p. 217.
45 ‘Allal-Wardl, Usynrat al-Adab al-Rafl‘ (1956, reprint; London: Kufan, 1994), p. 7.
46 See Adnnls (cAli A.mad Sacid), al-Thmbit wa- al-muta.awwil(The Immutable
and the Mutable: A study of Conformity and Originality in Arabic culture), 3
vols. (Beirut: Dmr al-cAwdah, 1974–1978), p. 35.
47 Anthony Giddens, The Consequences of Modernity, p. 50.
48 Al-Jayyusi traces change in sensibility among the early romantics, like Khalll
Muyrmn (1870–1949) and the Dlwmn group of the early 1920s in Egypt, and
among such Iraqi, Syrian, Lebanese, and Mahjar poets as A.mad al-Xafl
al-Najafl(1897–1977), Ma‘rnf al-Ruxmfl(1875–1945), Jamll Xidqlal-Zahmwl‘
(1862–1936), ‘Umar AbnRlshah (1908–?), Bishmrah al-Khnrl(pen named
al-Akhyal al-Xaghlr, 1884–1968), and Amln Nakhla (1901–?). She traced
change in the poetry of FawzlMa’lnf (1889–1930), Shaflq Ma’lnf (1905–?),
Ilyms Farhmt (1893–1977), Rashld Sallm al-Khnrl(1887–1984) in Latin
America, and Amln al-Rayhmnl(1876–1940), Mikhm’ll Nu‘aymah (1988),
Gibrmn Khalll Gibrmn (d. 1931), LliyymAbnMm,l(1890–1957), and Naslb
‘Arl,ah (1887–1946) in North America.
49 See Jonathan Culler’s use of Walter Benjamin, Robert Jauss, and Hugo
Friedrich, “On the Negativity of Modern Poetry,” pp. 189–208, at p. 201.
50 James Frazer, The Golden Bough: A Study in Magic and Religion(New York:
Penguin, 1922); reprint. 1996, p. 391. A member of the group JabrmI. Jabrm
translated the part on Tammnz. See John Mikhail Asfour, When the Words Burn,
p. 55. He was also the one who used the term Tammnzlpoets in reference to a
group, including himself.
51 Ibid.
52 On Adnnls, cAllA.mad Sacld, see Shmkir Muxyafm. “Al-Shi’r flSnrlym,” Al-Mdmb,
31 ( January 1955), p. 125.