Of the pre-Mahommedan poets the most famous were the six whose poems were collected by Asma‛ī about the beginning of the 9th century (ed. W. Ahlwardt, The Diwans of the Six Ancient Arabic Poets, London, 1870). Single poems of four of these—Amru-ul-Qais, Ṭarafa, Zuhair and ‛Antara—appear in the Mo’allakat (q.v.). The other two were Nābigha (q.v.) and ‛Alqama (q.v.). But besides these there were many others whose names were famous; such as Ta‛abbata Sharran, a popular hero who recites his own adventures with great gusto; his companion Shanfarā, whose fame rests on a fine poem which has been translated into French by de Sacy (in his Chrestomathie Arabe) and into English by G. Hughes (London, 1896); Aus ibn Hajar of the Bani Tamin, famous for his descriptions of weapons and hunting scenes (ed. R. Geyer, Vienna, 1892); Ḥātim Tā’i, renowned for his open-handed generosity as well as for his poetry (ed. F. Schulthess, Leipzig, 1897, with German translation); and ‛Urwa ibn ul-Ward of the tribe of ‛Abs, rival of Ḥātim in generosity as well as in poetry (ed. Th. Nöldeke, Göttingen, 1863). Among these early poets are found one Jew of repute, Samau’al (Samuel) ibn Adiyā (cf. Th. Nöldeke’s Beiträge, pp. 52-86; art. s.v. “Samuel ibn Adiya” in Jewish Encyc. and authorities there quoted), and some Christians such as ‛Adī‛ibn Zaid of Hira, who sang alike of the pleasures of drink and of death (ed. by Louis Cheikho in his Les Poètes arabes chrétiens, pp. 439-474, Beirut, 1890; in this work many Arabian poets are considered to be Christian without sufficient reason). One poet, a younger contemporary of Mahomet, has attracted much attention because his poems were religious and he was a monotheist. This is Umayya ibn Abi-ṣ-Ṣalt, a Meccan who did not accept Islam and died in 630. His poems are discussed by F. Schulthess in the Orientalische Studien dedicated by Th. Nöldeke, Giessen, 1906, and his relation to Mahomet by E. Power (in the Mélanges de la faculté orientale de l’université Saint-Joseph, Beirut, 1906). Mahomet’s relation to the poets generally was one of antagonism because of their influence over the Arabs and their devotion to the old religion and customs. Ka‛b ibn Zuhair, however, first condemned to death, then pardoned, later won great favour for himself by writing a panegyric of the Prophet (ed. G. Freytag, Halle, 1823). Another poet, A‛sha (q.v.), followed his example. Labīd (q.v.) and Hassān ibn Thābit (q.v.) were also contemporary. Among the poetesses of the time Khansa (q.v.) is supreme. In the scarcity of poets at this time two others deserve mention; Abū Mihjan, who made peace with Islam in 630 but was exiled for his love of wine, which he celebrated in his verse (ed. L. Abel, Leiden, 1887; cf. C. Landberg’s Primeurs arabes, 1, Leiden, 1886), and Jarwal ibn Aus, known as al-Ḥuṭai‛a, a wandering poet whose keen satires led to his imprisonment by Omar (Poems, ed. by I. Goldziher in the Journal of the German Oriental Society, vols. 46 and 47).
Had the simplicity and religious severity of the first four caliphs continued in their successors, the fate of poetry would have been hard. Probably little but religious poetry would have been allowed. But the Omayyads (with one exception) were not religious men and, while preserving the outward forms of Islam, allowed full liberty to the pre-Islamic customs of the Arabs and the beliefs and practices of Christians. At the same time the circumstances of the poet’s life were altered. Poetry depended on patronage, and that was to be had now chiefly in the court of the caliph and the residences of his governors. Hence the centre of attraction was now the city with its interests, not the desert. Yet the old forms of poetry were kept. The qasīda still required the long introduction (see above), which was entirely occupied with the affairs of the desert. Thus poetry became more and more artificial, until in the Abbasid period poets arose who felt themselves strong enough to give up the worn-out forms and adopt others more suitable. The names of three great poets adorn the Omayyad period: Akhtal, Farazdaq and Jarīr were contemporaries (see separate articles). The first was a Christian of the tribe of Taghlib, whose Christianity enabled him to write many verses which would have been impossible to a professing Moslem. Protected by the caliph he employed the old weapons of satire to support them against the “Helpers” and to exalt his own tribe against the Qaisites. Farazdaq of the Bani Tamīm, a good Moslem but loose in morals, lived chiefly in Medina and Kufa, and was renowned for his command of language. Jarīr of another branch of the Bani Tamīm lived in Irak and courted the favour of Hajjāj, its governor. His satires were so effective that he is said to have crushed forty-three rivals. His great efforts were against Farazdaq, who was supported by Akhtal (cf. The Naka’id of Jarīr and al-Farazdaq, ed. A.A. Bevan, Leiden, 1906 foll.). Among many minor poets one woman is conspicuous. Laila ul-Akhyalīyya (d. 706) was married to a stranger. On the death of her lover in battle, she wrote numerous elegies bewailing him, and so became famous and devoted the rest of her life to the writing of verse. Two poets of the Koreish attained celebrity in Arabia itself at this time. Qais ur-Ruqayyāt was the poet of ‛Abdallah ibn uz-Zubair (Abdallah ibn Zobair) and helped him until circumstances went against him, when he made his peace with the caliph. His poems are chiefly panegyrics and love songs (ed. N. Rhodonakis, Vienna, 1902). ‛Umar ibn Abī Rabī‛a (c. 643-719) was a wealthy man, who lived a life of ease in his native town of Mecca, and devoted himself to intrigues and writing love songs (ed. P. Schwarz, Leipzig, 1901-1902). His poems were very popular throughout Arabia. As a dweller in the town he was independent of the old forms of poetry, which controlled all others, but his influence among poets was not great enough to perpetuate the new style. One other short-lived movement of the Omayyad period should be mentioned. The rajaz poems (see above) had been a subordinate class generally used for improvisations in pre-Mahommedan times. In the 7th and 8th centuries, however, a group of poets employed them more seriously. The most celebrated of these were ‛Ajjāj and his son Ru’ba of the Bani Tamīm (editions by W. Ahlwardt, Berlin, 1903; German trans. of Ru’ba’s poems by Ahlwardt, Berlin, 1904).
With the establishment of the Abbasid dynasty, a new epoch in Arabian poetry began. The stereotyped beginning of the qasīda had been recognized as antiquated and out of place in city life even in the Omayyad period (cf. Goldziher, Abhandlungen, i. 144 ff). This form had been ridiculed but now it lost its hold altogether, and was only employed occasionally by way of direct imitation of the antique. The rise of Persian influence made itself felt in much the same way as the Norman influence in England by bringing a newer refinement into poetry. Tribal feuds are no longer the main incentives to verse. Individual experiences of life and matters of human interest become more usual subjects. Cynicism, often followed by religion in a poet’s later life, is common. The tumultuous mixture of interests and passions to be found in a city like Bagdad are the subjects of a poet’s verse. One of the earliest of these poets, Muti‛ ibn Ayās, shows the new depth of personal feeling and refinement of expression. Bashshār ibn Burd (d. 783), a blind poet of Persian descent, shows the ascendancy of Persian influence as he openly rails at the Arabs and makes clear his own leaning to the Persian religion. In the 8th century Abu Nuwās (q.v.) is the greatest poet of his time. His language has the purity of the desert, his morals are those of the city, his universalism is that of the man of the world. Abū-l-‛Atāhiya (q.v.), his contemporary, is fluent, simple and often didactic. Muslim ibn ul-Walīd (ed. de Goeje, Leiden, 1875), also contemporary, is more conservative of old forms and given to panegyric and satire. In the 9th century two of the best-known poets—Abū Tammām (q.v.) and Buḥturī (q.v.) —were renowned for their knowledge of old poetry (see [Hamasa]) and were influenced by it in their own verse. On the other hand Ibn ul-Mo‛tazz (son of the caliph) was the writer of brilliant occasional verse, free of all imitation. In the 10th century the centre of interest is in the court of Saif ud-Daula (addaula) at Aleppo. Here in Motanabbī (q.v.) the claims of modern poetry not only to equal but to excel the ancient were put forward and in part at any rate recognized. Abū Firās (932-968) was a member of the family of Saif ud-Daula, a soldier whose poems have all the charm that comes from the fact that the writer has lived through the events he narrates (ed. by R. Dvořák, Leiden, 1895). Many Arabian writers count Motanabbi the last of the great poets. Yet Abū-l-‛Alā ul-Ma‛arrī (q.v.) was original alike in his use of rhymes and in the philosophical nature of his poems. Ibn Farīd (q.v.) is the greatest of the mystic poets, and Busīri (q.v.) wrote the most famous poem extant in praise of the Prophet. In the provinces of the caliphate there were many poets, who, however, seldom produced original work. Spain, however, produced Ibn ‛Abdūn (d. 1126), famous for the grace and finish of his style (ed. with commentary of Ibn Badrun by R.P.A. Dozy, Leiden, 1846). The Sicilian Ibn Hamdīs (1048-1132) spent the last fifty years of his life in Spain (Diwān, ed. Moaçada, Palermo, 1883; Canzoniere, ed. Schiaparelli, Rome, 1897). It was also apparently in this country that the strophe form was first used in Arabic poems (cf. M. Hartmann’s Das arabische Strophengedicht, Weimar, 1897), and Ibn Quzmān (12th century), a wandering singer, here first used the language of everyday life in the form of verse known as Zajal.
Anthologies.—As supplemental to the account of poetry may be mentioned here some of the chief collections of ancient verse, sometimes made for the sake of the poems themselves, sometimes to give a locus classicus for usages of grammar or lexicography, sometimes to illustrate ancient manners and customs. The earliest of these is the Mo‛allakat (q.v.). In the 8th century Ibn Mofaddal compiled the collection named after him the Mofaddalīyāt. From the 9th century we have the Hamasas of Abū Tammām and Buhturī, and a collection of poems of the tribe Hudhail (second half ed. in part by J.G.L. Kosegarten, London, 1854; completed by J. Wellhausen in Skizzen und Vorarbeiten, i. Berlin, 1884). The numerous quotations of Ibn Qutaiba (q.v.) in the ‛Uyūn ul-Akhbār (ed. C. Brockelmann, Strassburg, 1900 ff.) and the Book of Poetry and Poets (ed. M.J. de Goeje, Leiden, 1904) bring these works into this class. In the 10th century were compiled the Jamharat ash‛ar al Arab, containing forty-nine poems (ed. Būlāq, 1890), the work al-‛Iqd ul-Farīd of Ibn‛ Abdi-r-Rabbihi (ed. Cairo, various years), and the greatest work of all this class, the Kītāb ul-Aghāni (“Book of Songs”) (cf. Abu-l Faraj). The 12th century contributes the Diwān Mukhtarāt ush-Shu‛arā’i with fifty qasīdas. The Khizānai ul-Adab of Abdulqādir, written in the 17th century in the form of a commentary on verses cited in a grammar, contains much old verse (ed. 4 vols., Būlāq, 1882).
Belles-Lettres and Romances.—Mahomet in the Koran had made extensive use of saj’ or rhymed prose (see above). This form then dropped out of use almost entirely for some time. In the 10th century, however, it was revived, occurring almost simultaneously in the Sermons of Ibn Nubāta (946-984) and the Letters of Abū Bakr ul-Khwārizmī. Both have been published several times in the East. The epistolary style was further cultivated by Hamadhāni (q.v.) and carried to perfection by Abū-l‛Alā ul-Ma‛arrī. Hamadhīni was also the first to write in this rhymed prose a new form of work, the Maqāma (“assembly”). The name arose from the fact that scholars were accustomed to assemble for the purpose of rivalling one another in orations showing their knowledge of Arabic language, proverb and verse. In the Maqāmas of Hamadhāni a narrator describes how in various places he met a wandering scholar who in these assemblies puts all his rivals to shame by his eloquence. Each oration forms the substance of a Maqāma, while the Maqāmas themselves are united to one another by the constant meetings of narrator and scholar. Harīrī (q.v.) quite eclipsed the fame of his predecessor in this department, and his Maqāmas retain their influence over Arabian literature to the present day. As late as the 19th century the sheik Nāṣīf ul Yāzījī (1800-1871) distinguished himself by writing sixty clever Maqāmas in the style of Hariri (ed. Beirut, 1856, 1872). While this class of literature had devoted itself chiefly to the finesses of the language, another set of works was given to meeting the requirements of moral education and the training of a gentleman. This, which is known as “Adab literature,” is anecdotic in style with much quotation of early poetry and proverb. Thus government, war, friendship, morality, piety, eloquence, are some of the titles under which Ibn Qutaiba groups his stories and verses in the ‛Uyūn ul Akhbār. Jāhiz (q.v.) in the 9th century and Baihaqī (The Kitāb al-Maḥāsin val-Masāwi, ed. F. Schwally, Giessen, 1900-1902) early in the 10th, wrote works of this class. A little later a Spaniard, Ibn ‛Abdrabbihi (Abdi-r-Rabbihi), wrote his ‛Iqd ul-Farīd (see section Anthologies). The growth of city life in the Abbasid capital led to the desire for a new form of story, differing from the old tales of desert life. This was met in the first place by borrowing. In the 8th century Ibn Muqaffa‛, a convert from Mazdaism to Islam, translated the Pahlavi version of Bidpai’s fables (itself a version of the Indian Panchatantra) into Arabic with the title Kalīla wa Dimna (ed. Beirūt, various years). Owing to the purity of its language and style it has remained a classic work. The Book of the 1001 Nights (Arabian Nights) also has its basis in translations from the Indian through the Persian, made as early as the 9th century. To these stories have been added others originating in Bagdad and Egypt and a few others, which were at first in independent circulation. The whole work seems to have taken its present form (with local variations) about the 13th century. Several other romances of considerable length are extant, such as the Story of ‛Antar (ed. 32 vols., Cairo, 1869, &c., translated in part by Terrick Hamilton, 4 vols., London, 1820), and the Story of Saif ibn Dhī Yezen (ed. Cairo, 1892).
(G. W. T.)
Historical Literature.—Arabian historians differ from all others in the unique form of their compositions. Each event is related in the words of eye-witnesses or contemporaries transmitted to the final narrator through a chain of intermediate reporters (rāwīs), each of whom passed on the original report to his successor. Often the same account is given in two or more slightly divergent forms, which have come down through different chains of reporters. Often, too, one event or one important detail is told in several ways on the basis of several contemporary statements transmitted to the final narrator through distinct lines of tradition. The writer, therefore, exercises no independent criticism except as regards the choice of authorities; for he rejects accounts of which the first author or one of the intermediate links seems to him unworthy of credit, and sometimes he states which of several accounts seems to him the best.
A second type of Arabian historiography is that in which an author combines the different traditions about one occurrence into one continuous narrative, but prefixes a statement as to the lines of authorities used and states which of them he mainly follows. In this case the writer recurs to the first method, already described, only when the different traditions are greatly at variance with one another. In yet a third type of history the old method is entirely forsaken and we have a continuous narrative only occasionally interrupted by citation of the authority for some particular point. But the principle still is that what has been well said once need not be told again in other words. The writer, therefore, keeps as close as he can to the letter of his sources, so that quite a late writer often reproduces the very words of the first narrator.
From very early times story-tellers and singers found their subjects in the doughty deeds of the tribe on its forays, and sometimes in contests with foreign powers and in the impression produced by the wealth and might of the sovereigns of Persia and Constantinople. The appearance of the Prophet with the great changes that ensued, the conquests that made the Arabs lords of half the civilized world, supplied a vast store of new matter for relations which men were never weary of hearing and recounting. They wished to know everything about the apostle of God. Every one who had known or seen him was questioned and was eager to answer. Moreover, the word of God in the Koran left many practical points undecided, and therefore it was of the highest importance to know exactly how the Prophet had spoken and acted in various circumstances. Where could this be better learned than at Medina, where he had lived so long and where the majority of his companions continued to live? So at Medina a school was gradually formed, where the chief part of the traditions about Mahomet and his first successors took a form more or less fixed. Soon men began to assist memory by making notes, and pupils sought to take written jottings of what they had heard from their teachers. Thus by the close of the 1st century many dictata were already in circulation. For example, Ḥasan of Baṣra (d. 728 A.D.) had a great mass of such notes, and he was accused of sometimes passing off as oral tradition things he had really drawn from books; for oral tradition was still the one recognized authority, and it is related of more than one old scholar, and even of Hasan of Basra himself, that he directed his books to be burned at his death. The books were mere helps. Long after this date, when all scholars drew mainly from books, the old forms were still kept up. Ṭabarī, for example, when he cites a book expresses himself as if he had heard what he quotes from the master with whom he read the passage or from whose copy he transcribed it. He even expresses himself in this wise: “‛Omar b. Shabba has related to me in his book on the history of Baṣra.” No independent book of the 1st century from the Flight (i.e. 622-719) has come down to us. It is told, however, that Moawiya summoned an old man named ‛Abid ibn Sharya from Yemen to Damascus to tell him all he knew about ancient history and that he induced him to write down his information. This very likely formed the nucleus of a book which bore the name of that sheik and was much read in the 3rd century from the Flight. It seems to be lost now. But in the 2nd century (719-816) real books began to be composed. The materials were supplied in the first place by oral tradition, in the second by the dictata of older scholars, and finally by various kinds of documents, such as treaties, letters, collections of poetry and genealogical lists. Genealogical studies had become necessary through Omar’s system of assigning state pensions to certain classes of persons according to their kinship with the Prophet, or their deserts during his lifetime. This subject received much attention even in the 1st century, but books about it were first written in the 2nd, the most famous being those of Ibn al-Kalbī (d. 763), of his son Hishām (d. 819), and of Al-Sharqī ibn al-Quṭāmī. Genealogy, which often called for elucidations, led on to history. Baladhuri’s excellent Ansāb al-Ashrāf (Genealogies of the Nobles) is a history of the Arabs on a genealogical plan.
The oldest extant history is the biography of the Prophet by Ibn Isḥāq (d. 767). This work is generally trustworthy. Mahomet’s life before he appeared as a prophet and the story of his ancestors are indeed mixed with many fables illustrated by spurious verses. But in Ibn Isḥāq’s day these fables were generally accepted as history—for many of them had been first related by contemporaries of Mahomet—and no one certainly thought it blameworthy to put pious verses in the mouth of the Prophet’s forefathers, though, according to the Fihrist (p. 92), Ibn Isḥāq was duped by others with regard to the poems he quotes. The original work of Ibn Isḥāq seems to be lost. That which we possess is an edition of it by Ibn Hishām (d. 834) with additions and omissions (text ed. by F. Wüstenfeld, Göttingen, 1858-1860; German translation by Weil, Stuttgart, 1864).