A Literary History of the ArabsNicholson, Reynold Alleyne
History
A Literary History of the Arabs
Nicholson, Reynold Alleyne
Arabic literature -- History and criticism
By the ancient Arabs the poet (_shá‘ir_, plural _shu‘ará_), as his name
implies, was held to be a person endowed with supernatural knowledge, a
wizard in league with spirits (_jinn_) or satans (_shayáṭín_) and
dependent on them for the magical powers which he displayed. This view
of his personality, as well as the influential position which he
occupied, are curiously indicated by the story of a certain youth who
was refused the hand of his beloved on the ground that he was neither a
poet nor a soothsayer nor a water-diviner.[140] The idea of poetry as an
art was developed afterwards; the pagan _shá‘ir_ is the oracle of his
tribe, their guide in peace and their champion in war. It was to him
they turned for counsel when they sought new pastures, only at his word
would they pitch or strike their 'houses of hair,' and when the tired
and thirsty wanderers found a well and drank of its water and washed
themselves, led by him they may have raised their voices together and
sung, like Israel--
"Spring up, O well, sing ye unto it."[141]
[Sidenote: Satire.]
Besides fountain-songs, war-songs, and hymns to idols, other kinds of
poetry must have existed in the earliest times--_e.g._, the love-song
and the dirge. The powers of the _shá‘ir_, however, were chiefly
exhibited in Satire (_hijá_), which in the oldest known form "introduces
and accompanies the tribal feud, and is an element of war just as
important as the actual fighting."[142] The menaces which he hurled
against the foe were believed to be inevitably fatal. His rhymes, often
compared to arrows, had all the effect of a solemn curse spoken by a
divinely inspired prophet or priest,[143] and their pronunciation was
attended with peculiar ceremonies of a symbolic character, such as
anointing the hair on one side of the head, letting the mantle hang down
loosely, and wearing only one sandal.[144] Satire retained something of
these ominous associations at a much later period when the magic
utterance of the _shá‘ir_ had long given place to the lampoon by which
the poet reviles his enemies and holds them up to shame.
[Sidenote: Saj‘.]
Public-domain text, read in full here on John Shaqi.
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