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Arabian Literature

MODULE OVERVIEW

Arabic literature began to be known with the collection of the Koran, the sacred book of
Islam, in Arabia in the 7th century A.D. With the spread of the Islamic faith into Asia, Africa, and
Europe, the Arabian language soon became a major world language. Today it is read or understood
by hundreds of millions of people.

Even before the revelations of Muhammad were collected in the Koran, however, the Arabs
possessed a highly developed poetry, composed of recitation and transmitted Orally from generation
to generation. The most famous examples are the elaborate odes, or qasidahs, of the Mu'allagat
("the suspended ones"), beginning with those of Imru' Al-gais. These poems reflected and praised
the customs and values of the desert environment in which they arose.
MODULE LEARNING OBJECTIVES

At the end of the lesson, students should be able to:

a) Understand the History of Arabian Literature
b) Identify the characteristics of Arabian Literature
c) Recognize the prominent writers in Arabian Literature; and
d) Analyze the Arabian Literature (short story and poetry)
e) Understand both the artistry and utility of the English language through the study
f) of literature and other contemporary forms of culture.
Understand both the artistry and utility of the English language through the study
of literature and other contemporary forms of culture.

LEARNING CONTENTS

I. Background of Saudi Arabia

 Found in the Middle East between the Persian Gulf and the Red Sea.
 It borders the countries of Jordan, Iraq, and Kuwait to the north, Yemen to the south, and Oman, the
United Arab Emirates (UAE), and Qatar to the east. It is divided into 13 provinces:
 Al Baha
 Al Jawf
 Al Madinah
 Aseer
 Eastern province
 Ha’il province
 Jazan
 Makkah
 Najran
 Northern Border province
 Qassim
 Riyadh
 Tabuk

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 Arabs originated as the descendants of indigenous people tribes and lived along the Persian Gulf
coast.
 The Arabian Peninsula is the homeland of Islam, the world’s second-largest religion.
 Muhammad founded Islam, the two holy pilgrimage cities of Mecca and Medina
 Arabic is a term for their language. A Central Semitic language that was first spoken in the Iron Age
Western Arabia is now a lingua franca of the Arab world. It is written from right to left. There are
distinct letter shapes, which vary slightly depending on whether they are connected to another letter.
It has 28 letters and is created with various combinations.

II. Historical Periods in Arabian Literature

 The history of Arabic literature is usually divided into periods making the dynastic changes and
divisions that took place within the Islamic world.

A. Umayyad Period (A.D. 661-750)

 Arabic prose literature is limited primarily to grammatical treatises, commentaries on
the Koran, and compiling of stories about Muhammed and his companions.
 The Umayyad poets, chief of whom were Al-Akhtal and Al-Farazdaq, favored poetic
forms such as love lyrics called GHAZALS, it is a wine songs and hunting poems.
These form the conditions of life and manners found in territories conquered by
Islam.

B. Abbasid Empire (750-1258)

 In the early years of this empire, many forms were invented for Arabic Literature,
which then entered what is generally regarded as its greatest period of
development and achievement. Certainly, the Persian influences contributed
significantly to this development.
For Example, translations from Persian, such as those of Ibn al-Muqaff, led to new
refinement in Arabic prose called adab, often sprinkled with poetry and utilizing
rhyme prose (saj’), the style of KORAN.
 The greatest masters of adab were Al Jahiz and Al Hariri.
 An inventive type of folk literature, exemplified in “The Thousand and One Nights”
popularly known as The Arabian Nights, drew upon the recitations of wandering
storytellers called rawis. It is a large collection of stories, mostly in Arabic, Persian
origin, and Indian, written in Arabic.
Richard Francis Burton- the one who translated the version into English.

C. Modern Period
 During the centuries of Ottoman Turkish domination, Arabic Literature fell into
decline. Not until the 19th century was it revived by its intellectual movement known
as Nahdah (reawakening), which originated in Syria and spread to Egypt.
 From being imitative to Europeans, Modern Arabic literature, both prose and poetry,
has gradually freed itself from centuries of neglect and has assumed its former
place among the world’s greatest works of literature.

Arabic Prose
 Saj or “rhymed prose” is the most striking characteristic feature of Arabic prose.
 Consists of a succession of pairs of short rhyming expressions with a rhetorical and

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antithetical balance of sense between the pairs of expressions with a certain loose
rhythmical balance not bound by a strict meter.
 The Khutbah or “formal written in rhymed prose style” is of great antiquity. Turned out to be
religious verses in the earliest time of Islam.
 Most famous: Ibn Nubatah at-Farigi.
 Arabic prose began in the latter days of the Umayyad Empire. It exhibits the use of the
Khutbah style and a more sophisticated and fluent style derived from the literary traditions of
Sasanian Persian.
 The most celebrated work of Ibn Muqaffa, “Klila wa Dimna” is the translation from a Pahlavi
version of the Indian fable, Pachantantra.

Arabic Poetry
 There is not much evidence of written literature among the Arabs before the Islamic Period.
Oral traditions, the poetry of the North Arabs, particularly the Bedouin tribes of the fifth and
sixth centuries, are the most outstanding in artistry and sensuousness of feelings.
 Poetry was constructed in elaborate meters of which sixteen are university-recognized.
 All verses are divided into types:
Occasional Poems- a poem written to document or provide commentary on an event, often
intended to be read or performed publicly. It consists of 2 to 20 lines whose themes are
usually war and revenge and praise of one’s tribe. Various genres include:
 Elegies
 Praising the dead; the most famous type was Kansa.
 The odes or Qasidahs, when elaborated odes usually of 60 to 100 lines.
 Themes are usually about the exploits of a narrator, his old passion, and
descriptions of camp in the life of his patron. The oral transmission of poems lasted
350 years.
Collection or Anthropologies- Al-Mu’allgqat, a group of pre-Islamic odes.
 Al-Mu-Allkat means “suspended” because these poems were supposed to have
been displayed by the Arabs on the Kaaba at Mecca. These collections are
ascribed to Hammed-al-Ravisya in the 8th century A.D. by Amru Ul Kais, the “most
illustrious of Arabian poets”. It showed the nomadic life, views and philosophies,
visions, and dreams arising from such conditions.
 Al Hamasa is anthropology compiled by poet ABRETAMMAN about 863 A.D. and
derived its name from the beginning of books and poems. Themes were usually
valor and constant battles, patience when comforted by reality, seeking vengeance,
pagan rituals, myths, temptations, treasure, and Arab traditions.
 Mujaddiyat is a collection of poems named after MUFFADDALIBN YA’AL who
compiled them for the future caliph Mahdt between 762 and 784. Showed
hospitality, charity, valor, faithfulness, lavishness, entertainment, love for wine, and
love for chance.

THE KORAN or Qur'an (The Reading)

It is the sacred scripture of Islam. Muslims acknowledge it as the actual words of god revealed by
Muhammad.
Contains 114 chapters or suras, arranged, except for the opening, approximately according to
length, beginning with the longer chapters.
Termed the glorious and wonderful, describes the absolute truth, healing mercy, light, and guidance
of God in people’s everyday lives.
Has a great contribution to Arabian Literature.

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III. Characteristics of Arabian Literature

1. Metric and rhyme

 In the beginnings of Arab literature, poetry was recited by bards who sang events
that happened centuries ago. The remains found in this stage revealed a prosodic
system of execution. Later, after the beginning of the written records of the stories,
the poems were marked with particular patterns of rhyme and meter.
 Each line is divided into two half-lines (called miṣrā ’); the second of the two ends
with a syllable that rhymes and is used throughout the poem.

2. Categories and shapes

 One of the first methods by which poems were categorized was according to the
syllable of the rhyme. Even from the ninth century on, it was common to refer to
these by this syllable.
 The first was the qiṭ’ah (“Segment”), which consisted of a relatively short poem
dedicated to a single theme or well composed and made for a particular occasion.
3. Genres and themes
 Along with these methods of categorizing poetry and poets, some classical critics
identified three main "purposes" (aghrāḍ) for the public performance of poetry.
 First, there is the eulogy (mad), which consists of a compliment to the tribe and its
elders. This was a genre of poetry that became the preferred mode of poetic
expression during the Islamic period.
 Another of the purposes is the opposite satire (daughter') of praise, used to verbally
challenge the enemies of the community. Finally, there is the praise of the dead, or
elegy (rithā ’).

IV. Arabian Writers and Poets

’
Arabic writers of the past hundred years have been extremely versatile. Most of their work is
characterized by a strong concern for social issues.

Many of their stories are still told today: Ali Baba and the 40 thieves, Alladin.

There are many prominent Arabian writers. The following are just the 3 well-known Arabian
writers:

1. Ali Ahmud Said Esber (Adonis)

Ali Ahmad Said Esber, known by his pen name Adonis, is arguably one of the most prominent Arab
writers from the Levant and has been regularly nominated for the Nobel Prize in Literature since
1988. Adonis’ poetry epitomizes modernity and rebellion, building on the historic tradition of Arabic
poetry which often deals with themes of transformation, exile, and reform. At the same time, he
rejects the classic poetic structure and form to experiment with verse, meter, and prose poetry. He
has been internationally recognized and was awarded the prestigious Bjørnson Prize in 2007 by the
Norwegian Academy for Literature and Freedom of Expression, as well as winning the Goethe Prize
of the City of Frankfurt in 2011.

2. Colette Khoury

Born to a well-known, affluent family in 1931, Colette Khoury is noted for being one of the first Arab

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writers from the Levant openly to address themes of love and eroticism in her novels and poetry.
Due to this, her works have attracted a large amount of controversy for breaking literary and social
taboos in Syria’s conservative society. Her works feature strong female protagonists who search for
personal identity, romance, and sexual fulfillment, all while navigating society’s strict rules and
expectations. Khoury herself is notable for challenging women’s place in society and politics. In
2009, she was Syria’s first-ever ambassador to Lebanon and has written about a range of political
issues in national newspapers and journals.

3. Joumana Haddad

A journalist and a women’s rights activist, Joumana Haddad is one of Lebanon’s most honest voices
and was elected one of the world’s 100 most powerful women in the Arab world by Arabian
Business Magazine. Haddad speaks seven languages and has written in many of them. In her most
successful books, I Killed Scheherazade and the sequel Superman is Arab, she explores issues of
gender, feminism, and the need for renewed self-image in a changing Arab world.

The Food of Paradise (Short Story)

About the Author:

Ahmad ibn Mājidwas an Arabian navigator and cartographer born in 1421 in Julphar, which is now known as
Ras Al Khaimah. This city makes up one of the seven emirates of the United Arab Emirates, but at that time
it was classified as the coast of Oman. He was raised in a family famous for seafaring; at the age of 17, he
was able to navigate ships. He was so famous that he was known as the first Arab seaman. The exact date
is not known, but ibn Majid probably died in 1500. He became famous in the West as the navigator who
helped Vasco da Gama find his way from Africa to India; however, the leading scholar on the subject, G.R.
Tibbetts, disputes this claim. Ibn Majid was the author of nearly forty works of poetry and prose. He was also
known as the lion of the sea.

The Food of Paradise by Ibn Amjed

The devout Mullah Ibrahim taught Islam to his Muslim students in the seminary founded by the Caliph. The
work was thankless and ill-paid. Once, while sitting in the meditation, his hands folded in his lap, he thought
of his sorry state. "Why is it," he asked himself, "that a holy man like me must toil so hard teaching a pack of
blockheads when others who have earned nothing through pious work eat sumptuous every day? And
without having to work!"

He went on, "O Compassionate One, isn't this unjust? Why should Thy servant be burdened like an ass in
the marketplace, which carries two panniers both filled to the top and stumbles at every blow of the driver's
stick? Isn't it promised in the Koran, that Allah will not anyone starve?"

So, saying, Ibrahim the Wise, as men called him, left the seminary, and walked out of the City of Baghdad
where he had lived for many years. He selected a dry and shady spot beneath a spreading cypress tree by
the riverbank. There, waiting for the bounty of Allah, he fell asleep.

When he woke early the next morning, holy silence lay upon everything. Ibrahim wondered how he would be
fed. Would the birds of the air bring him food? Would the fishes from the river leap ashore and offer

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themselves to appease his hunger? How did those who deserve Allah's help receive it if not through some
miracle? True, the rich were bequeathed wealth by their parents. But there must be some beginning. A
pasha might sail down the river in his barge and supply his wants out of golden dishes and cups.

But morning blossomed into day and day into night and still no miracle came. More than one pasha sailed
past him in a gilded barge, but they made only the usual greetings and made no other sign. On the road
above, pilgrims and travelers passed, but they ignored him. Hunger gnawed at his vitals, and he recalled
with envy the millet and the goat's milk the mullahs would now be enjoying at the seminary. Still, he did not
lose hope but prayed with usual fervor.

He slept again without eating and woke up too faint from hunger to stand. Stifling from the noontime heat,
Ibrahim saw something floating on the river. It seemed like a pack of leaves with food inside. He waded into
the water and reached for it. Back to the bank with his prize, he opened it. Inside was the most delicious
halwa, that famous marzipan, the making of which only Baghdad knows the secret, sweet meat composed of
sugar mixed with a paste of almonds and attar of roses and other delicate essences.

After satisfying himself with the delightful food, Ibrahim the Wise, drank deeply from the river, and lolled on
the sward, sure that his prayers had been answered, and that he would not have to toil anymore. The
ambrosial food was enough for three meals a day, and on each day after the hour of midday prayer, a similar
package of halwa came floating down the river as though placed there by the hands of angels.

After some months, Ibrahim started to wonder where his daily ration of food came from. If he could trace the
spot on the river where it was deposited, he might see a miracle. Curious about this, Ibrahim started on a
journey upstream one morning. He walked upstream for some days, keeping close to the riverbank and
fixing his eyes on its surface lest he miss the package of halwa. But every day at an even earlier hour, it
floated regularly, just within his reach. At night he slept beneath a convenient tree.

Nobody molested him, recognizing him to be a holy man. On the fourth day of his journey, Ibrahim came
upon a fair castle on an island amid the river. There was a meadow and rich gardens around, interlaced by
narrow streams. Beyond were the jagged peaks of great blue mountains. The castle itself was made of white
marble, sculptured as ice. Its green and shady lawns sloped down to a silent and forlorn shore of golden
sand. A hermit saw Ibrahim and they got acquainted. The hermit narrated to him the history of the castle.

“That is the Silver Castle, built by a pasha now dead. He fell in love with a certain princess but her father
forbade their marriage. But so strong was the pasha’s love that he built this castle and cast numerous dark
and terrible magic spells upon it. None could enter or leave without his permission. Then, he abducted the
princess, married her, and kept her in that tower. The King, her father, pursued them with an army to recover
her, but so strong was the pasha’s magic that the king was compelled to give up.

“And does the princess still live there?” asked Ibrahim.

“No,” replied the hermit. “Both she and her husband died, but they left behind a daughter who governs the
castle. A lady of surpassing beauty and wealth, her one great sorrow was that none could dissolve the spells
woven by her father the Pasha. She lives there to this day in great loneliness.”

The hermit, who was on his way to a pilgrimage to Baghdad, left the Mullah, who thanked him for his story.
The next day, while at the riverbank, Ibrahim the Mullah saw a lady of exceeding beauty on the castle
veranda overlooking the river. She threw something into the river and disappeared like a moon behind the
clouds. His eyes followed the object she had thrown. It was the very package of leaves containing the halwa
that he had been receiving daily.

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“So now, I know at last from whose hands Allah, the Merciful, the Just has deemed I shall be fed daily,” said
Ibrahim as he devoured the savory sweetmeat. “Now, shall I not repay her kindness by freeing her from the
spells which keep her prisoner in her castle?”

With these grateful thoughts, Ibrahim cast himself into a trance, for as a holy man he had acquired some
knowledge of the magical art. His spirit walked in the land of the Jinns. There he met Adhem, one of the
Jinns, who promised to aid him in breaking the magic spells of the castle.

First, Adhem, with the help of the other Jinns, tore down the invincible web that hung around the castle itself.
Inside the castle, Adhem and a host of Jinns dueled with giant guards armed with spears and scimitars. After
a terrible strife, the giants fled, leaving the castle free at last. Ibrahim now tried to see the Princess. An old
guard with a bared scimitar ushered him into a magnificent hall. There, upon a dais, sat the incomparable
Princess whom he had seen from the castle veranda as she threw the package of halwa into the river.
Before her, the Mullah knelt and told his tale.

“And what, most wise Ibrahim, do you ask in return for your services on my behalf?” asked the Princess.
“Speak and it shall be granted to you, even to the half of my inheritance.”

“Nay, noble Lady,” exclaimed Ibrahim, “the delicious food with which you have fed me daily is reason enough
for me to be grateful to you. That halwa which you cast every morning from your verandah, and which
floated down the stream I have eaten. Surely an angel from paradise must have put it into your hand to
throw away.”

The Princess blushed so deeply that her face turned crimson, visible beneath her vill.

“Alas, good Mullah!” she cried wringing her hands. “What is this you tell me! Curses on the day on which I
first threw that halwa, as you call it into the river. Know, that each morning, it is my custom to take a bath of
milk, after which I anoint and rub my limbs with the essence of almonds, sugar, and sweet-scented
cosmetics. These, then, I remove from my nakedness and wrapping them in leaves, throw them into the
river.”

“Ah, now, Princess, I see who has been blind,” cried Ibrahim with a wry face. “Allah surely gives food to
everyone, but its quality and kind are dictated by what man deserves."

Characters in the Story

 Mullah Ibrahim (Main Character)
 The Hermit
 The Princess
 Adhem

Settings
 Baghdad
 In a riverbank
 A Silver Castle

Point of View
 The story's POV is third person.

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Conflict
 Man vs. Himself.

Plot:

Ibn Amjed's tale "The Food of Paradise" focuses more on a religious approach. Mullah Ibrahim, the
protagonist of the story, works as a teacher at the seminary. He simply believed one day that no one valued
him. So, he asked Allah why he had to go through suffering. He left the seminary and traveled to Baghdad
City. He waited for Allah's blessings under the large tree next to the river.

He saw something floating on the river and he thought it was food. He received the same thing the next day
until he got curious about where it came from.

Ibrahim just found himself crying in the end because he had been blind. The food he always received was
the Princess's things used during a bath. Then he understood that while Allah does provide food for
everyone, its type and quality are determined by what each one deserves.

Theme:

The theme of the story is about hope and faith in our God. We must always have hope and faith in our God
because he is the only one we can cling to when everything is at a loss. The story also has a religious
approach.

Literary Techniques used:

Metaphor
Example: “Why is it," he asked himself, "that a holy man like me must toil so hard teaching a pack of
blockheads?”

Personification
Example: Would the birds of the air bring him food? Would the fishes from the river leap ashore and offer
themselves to appease his hunger?

Literary Devices used:

Kennings

Possessive Kenning
- goat's milk
- Allah's help
- driver's stick
- pasha's magic

Prepositional Kenning
- On the fourth day of his journey, Ibrahim came upon a fair castle on an island amid the river.

Hyphenated Kenning
- ill-paid

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Caesura

Initial Caesura
- True, the rich were bequeathed wealth by their parents.

Medial Caesura
- Speak and it shall be granted to you, even to the half of my inheritance.
- That is the Silver Castle, built by a pasha now dead.

Terminal Caesura
- Circumspectly and slowly, and heedful

Type of Imagery used:

Visual and Gustatory Imagery

Example: Inside was the most delicious halwa, that famous marzipan, the making of which only Baghdad
knows the secret, sweet meat composed of sugar mixed with paste of almonds and attar of roses and other
delicate essences.

Visual Imagery
Example: Ibrahim the Mullah saw a lady of exceeding beauty on the castle veranda overlooking the river.

Bewildered Arab (Poetry)

About the Author

Nur ad-DnAbdar-RahmnJm also known as DJm, MawlanNr al-Dn 'Abd al-Rahmn or Abd-Al-RahmnNur-Al-
Din Muhammad Dashti who is commonly known as Jami.

Jami was born in Khardijird/Kharjerd in central Khorasan (Khorasan is a historic region that covers parts of
modern-day Afghanistan, Iran, Turkmenistan, Uzbekistan, and Tajikistan).

He studied Peripateticism, mathematics, Arabic literature, natural sciences, language, logic, rhetoric, and
Islamic philosophy at the Nizamiyyah University.

THE BEWILDERED ARAB by Jami

From the solitary desert

Up to Baghdad came a simple Arab;
There amid the rout
Grew bewildered by the countless
People, hither, thither, running,

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Coming going, meeting, parting.

Clamor, clatter, and confusion,
All about him and about.

Travel-wearied, hubbub-dizzy,
Would the simple Arab fain
Get to sleep then, on waking,
"How", quoth he," amid so many
Walking, know myself again?

So, to make the matter certain,

Strung a gourd about his ankle,
And into a corner creeping,
Baghdad and himself and people
Soon were blotted from his brain.

But one that heard him and divined

His purpose slyly crept behind.
From the sleeper's ankle clinging,
Round his own, the pumpkin tied
And laid him down to sleep beside.

By and by the Arab, waking,

Looks directly for his signal
Sees it on another's ankle
Cries aloud, "Oh, good-for-nothing
Rascal to perplex me so!
That by you I am bewildered,
Whether I will be or I will be no!
If I the pumpkin why on you?
If you then where am I, and who?''

Literary Devices Used

1. Consonance
Ex: clamor, clatter, and confusion
coming, going, meeting, parting

2. Caesura
 Initial Caesura
Ex: Walking, know myself again?
So, to make the matter certain

 Terminal Caesura
Ex: If you then where am I, and who?
Get to sleep then, on walking

3. Kennings
 Hyphenated Kenning

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Ex: Travel-wearied, hubbub-dizzy

Type of Imagery used:

Tactile Imagery
 Round his own the pumpkin tied
And laid him down to sleep beside

THE BEWILDERED ARAB (Summary)

The man arrived in Baghdad for the first time. He got confused about where to go. He got confused
because of the chatting, clanking, and running all around him. While traveling, he got dizzy and tired, so he
rested for a moment. When he woke up, he forgot about himself, almost like he had amnesia.

So, he tied his ankle and tried to walk in a corner. He got really confused about Baghdad, the people,
and himself in his head. But he found another person. He has the same looks as the bewildered man. So,
the man agreed to help the bewildered Arab. He slept with him beside him and tied the rope to his ankle.

The Arab woke up and looked for the signal of the man, but he found another man who had a rope on
his ankle. In the end, he's still confused about what is happening.

Group 2:
Banogon, Nest Lene A.
Dabu, Sheila Mae C.
Ofiana, Diane
Supangan, Angelene

REFERENCES

Reference/s:

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https://www.arabamerica.com/some-of-the-most-famous-arab-writers-from-the-levant/
https://warbletoncouncil.org/literatura-arabe-4048
https://www.slideshare.net/JennyOh17/arabian-literature
https://www.scribd.com/doc/65609342/Arabia-The-Food-of-Paradise

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