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Introduction to Arab Poetics
Poetry is the quintessence of Arab culture. In this book one of today's foremost Arab poets reinterprets a rich and ancient heritage. He examines the oral tradition of the pre-Islamic poetry of Arabia and the relationship between Arabic poetry and the Qur'an, and between poetry and thought. He also assesses the challenges of modernism and the impact of Western culture on the Arab poetic tradition. Stimulating in their originality, eloquent in their treatment of a wide range of poetry and criticism, these reflections open up fresh perspectives on one of the world's greatest--and least explored--literatures.
108 pages, Hardcover
First published January 1, 1991
About the author
Adonis
183 books179 followersAdonis was born Ali Ahmed Said in the village of Al Qassabin in Syria, in 1930, to a family of farmers, the oldest of six children. At the age of nineteen, he adopted the name Adonis (also spelled Adunis), after the Greek god of fertility, with the hopes that the new name would result in newspaper publication of his poems.
Although his family could not afford to send Adonis to school, his father taught him to read poetry and the Qu'ran, and memorize poems while he worked in the fields. When he was fourteen, Adonis read a poem to the president of Syria who was visiting a nearby town. The impressed president offered to grant a request, to which the young Adonis responded that he wanted to attend school. The president quickly made arrangements for Adonis to attend a French-run high school, after which he studied philosophy at Damascus University.
In 1956, after a year-long imprisonment for political activities, Adonis fled Syria for Beirut, Lebanon. He joined a vibrant community of artists, writers, and exiles in Beirut, and co-founded and edited Sh'ir, and later Muwaqaf, both progressive journals of poetry and politics. He studied at St. Joseph University in Beirut and obtained his Doctorat d'Etat in 1973.
Considered one of the Arab world's greatest living poets, Adonis is the author of numerous collections, including Mihyar of Damascus (BOA Editions, 2008), A Time Between Ashes and Roses (Syracuse University Press, 2004); If Only the Sea Could Sleep (2003); The Pages of Day and Night (2001); Transformations of the Lover (1982); The Book of the Five Poems (1980); The Blood of Adonis (1971), winner of the Syria-Lebanon Award of the International Poetry Forum; Songs of Mihyar the Damascene (1961), Leaves in the Wind (1958), and First Poems (1957). He is also an essayist, an editor of anthologies, a theoretician of poetics, and the translator of several works from French into Arabic.
Over the course of his career, Adonis has fearlessly experimented with form and content, pioneering the prose poem in Arabic, and taking a influential, and sometimes controversial role in Arab modernism. In a 2002 interview in the New York Times, Adonis declared: '"There is no more culture in the Arab world. It's finished. Culturally speaking, we are a part of Western culture, but only as consumers, not as creators."
Adonis's awards and honors include the first ever International Nâzim Hikmet Poetry Award, the Syria-Lebanon Best Poet Award, and the Highest Award of the International Poem Biennial in Brussels. He was elected as Stephen Mallarme Academy Member in Paris in 1983. He has taught at the Lebanese University as a professor of Arabic literature, at Damascus University, and at the Sorbonne. He has been a Lebanese citizen since 1961 and currently lives in Paris.
- See more at: http://www.poets.org/poet.php/prmPID/...
Although his family could not afford to send Adonis to school, his father taught him to read poetry and the Qu'ran, and memorize poems while he worked in the fields. When he was fourteen, Adonis read a poem to the president of Syria who was visiting a nearby town. The impressed president offered to grant a request, to which the young Adonis responded that he wanted to attend school. The president quickly made arrangements for Adonis to attend a French-run high school, after which he studied philosophy at Damascus University.
In 1956, after a year-long imprisonment for political activities, Adonis fled Syria for Beirut, Lebanon. He joined a vibrant community of artists, writers, and exiles in Beirut, and co-founded and edited Sh'ir, and later Muwaqaf, both progressive journals of poetry and politics. He studied at St. Joseph University in Beirut and obtained his Doctorat d'Etat in 1973.
Considered one of the Arab world's greatest living poets, Adonis is the author of numerous collections, including Mihyar of Damascus (BOA Editions, 2008), A Time Between Ashes and Roses (Syracuse University Press, 2004); If Only the Sea Could Sleep (2003); The Pages of Day and Night (2001); Transformations of the Lover (1982); The Book of the Five Poems (1980); The Blood of Adonis (1971), winner of the Syria-Lebanon Award of the International Poetry Forum; Songs of Mihyar the Damascene (1961), Leaves in the Wind (1958), and First Poems (1957). He is also an essayist, an editor of anthologies, a theoretician of poetics, and the translator of several works from French into Arabic.
Over the course of his career, Adonis has fearlessly experimented with form and content, pioneering the prose poem in Arabic, and taking a influential, and sometimes controversial role in Arab modernism. In a 2002 interview in the New York Times, Adonis declared: '"There is no more culture in the Arab world. It's finished. Culturally speaking, we are a part of Western culture, but only as consumers, not as creators."
Adonis's awards and honors include the first ever International Nâzim Hikmet Poetry Award, the Syria-Lebanon Best Poet Award, and the Highest Award of the International Poem Biennial in Brussels. He was elected as Stephen Mallarme Academy Member in Paris in 1983. He has taught at the Lebanese University as a professor of Arabic literature, at Damascus University, and at the Sorbonne. He has been a Lebanese citizen since 1961 and currently lives in Paris.
- See more at: http://www.poets.org/poet.php/prmPID/...
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Displaying 1 - 21 of 21 reviews
July 22, 2009
Amazing analysis of the function, form and place of oral poetics in communal spaces. Crystalline and lyric description of Adonis' views of Arab 'modernism'--accomplished via a wonderful rendering of the techniques of French Symbolists. Pleasurable, informative and revolutionary. One of the best books of poetic form and theory I've ever read.
December 28, 2020
كتاب مهم جداً في استذكار التراث العربي وإسقاط التجارب التجديدية السابقة على كل المحاولات التجديدية اليوم، وكأن أدونيس يؤكدُ للعالم العربي أن فكرة التجديد والتجريب في الأدب هي حاجة مُلحة للشعوب وللغة كي تنتعش وتبقى وتستمر، والتجديد بوابة للإبداع المفتوح والخيال الرحب، ويتحدث لاحقاً عن محاولات قصيدة النثر برؤية منصفة ورائعة.
April 15, 2022
الشعر العربي بين الماضي والحاضر والمستقبل ملخص هنا، في كتاب يجعلك تأخذ نظرة شاملة لأهم تحولات الإنتاجات الشعرية العربية، دراسة نقدية مكثفة تركز على تغيرات الشعر وترصد أهم مواضيعه وتوجهاته وأدواته في كل حقبة زمنية، أعتقد أني سأعود لقراءته مرة أخرى.
December 24, 2016
ترجمه عالي
October 25, 2020
It is hard to imagine a more superficial, trivializing view of poetry, and one less conducive to an understanding of the poetic experience, than that which has long prevailed in the Arab world.
A rare and beautiful book about Arab poetics and the most prominent example of modern Arabic literary criticism, Adonis goes back, as all great innovators do, to history, and digs up the 'poetics of modernity' that has always been present in Arabic literature and contrasts it with our dominant understanding of poetics: Pre-Islamic poetry/orality.
The book is structured in 4 parts:
1.Poetics and Orality in the Jāhiliyya: Where Adonis examines in full detail the poetics of Pre-Islamic poetry and how language scholars and grammarians, like Al-Khalil ibn Ahmad al-Farahidi, dissected the musicality of Pre-Islamic meter and rhythm, and created a large number of rules about the shape and sound of the poetic form. Adonis also tracks certain ideas about poetry and the poet that were extremely prevalent and later theorized as essential. Ideas like how poetry is supposed to be an effortless, almost improvisational gesture. Something that comes out from the poet unaided by thought or deliberation. Another example would be that poetry should be crystal clear, transparent, without ambiguity or depth. He quotes Al-Jahiz when he says that "the best poetry is the one that is understood instantly."
2.Poetics and the Influence of the Qur’ān: Here Adonis points out how the prosaic nature of the Quran came to defy pre-Islamic orality and served as a radical break from the previous conception of poetics. Content came to the forefront, composition, metaphor, and badee' بديع (figures of speech), triumph over improvisation and effortlessness.
3.Poetics and Thought: Adonis attacks the separation of poetry and thought in Arabic literary criticism and shows how a few "ancient" poets (Abu Tammam, Abu Nuwas, Abu Alaa Al Ma'arri, Al-Niffari) overturned the insistence on Pre-Islamic orality and ushered in the spirit of 'modernity' and reunited poetry and thought.
4. Poetics and Modernity: Adonis, in the closing chapter of this short, yet dense book, sets out to strike the killing blow (he has been attacking this single idea the entire book up until now) to the single most pernicious dogma looming over Arabic thought: What is ancient is best, what is new and innovative is bad, imported, unequal, unworthy. He believes the "return to tradition" types and "let's copy what the West is doing" types, when it comes what Arabic poetry today should be, are both wrong. Firstly because our tradition is far richer and more varied than what the close-minded dogmatists believe, and because 'modernity' already has a rich heritage in our literature, contrary to what people who want to adopt western forms believe.
I have scarcely done justice to the enlightening discussions and analysis contained within this book, what I have written here is a very rough outline. If you find any of these ideas interesting, please read the book on your own. It's a slim 90 pages or so but the content and luminous thought within amounts to hundreds of pages.
For an Arab poet to be truly modern his writing must glow like a flame which rises from the fire of the ancient, but at the same time is entirely new.
A rare and beautiful book about Arab poetics and the most prominent example of modern Arabic literary criticism, Adonis goes back, as all great innovators do, to history, and digs up the 'poetics of modernity' that has always been present in Arabic literature and contrasts it with our dominant understanding of poetics: Pre-Islamic poetry/orality.
The book is structured in 4 parts:
1.Poetics and Orality in the Jāhiliyya: Where Adonis examines in full detail the poetics of Pre-Islamic poetry and how language scholars and grammarians, like Al-Khalil ibn Ahmad al-Farahidi, dissected the musicality of Pre-Islamic meter and rhythm, and created a large number of rules about the shape and sound of the poetic form. Adonis also tracks certain ideas about poetry and the poet that were extremely prevalent and later theorized as essential. Ideas like how poetry is supposed to be an effortless, almost improvisational gesture. Something that comes out from the poet unaided by thought or deliberation. Another example would be that poetry should be crystal clear, transparent, without ambiguity or depth. He quotes Al-Jahiz when he says that "the best poetry is the one that is understood instantly."
2.Poetics and the Influence of the Qur’ān: Here Adonis points out how the prosaic nature of the Quran came to defy pre-Islamic orality and served as a radical break from the previous conception of poetics. Content came to the forefront, composition, metaphor, and badee' بديع (figures of speech), triumph over improvisation and effortlessness.
3.Poetics and Thought: Adonis attacks the separation of poetry and thought in Arabic literary criticism and shows how a few "ancient" poets (Abu Tammam, Abu Nuwas, Abu Alaa Al Ma'arri, Al-Niffari) overturned the insistence on Pre-Islamic orality and ushered in the spirit of 'modernity' and reunited poetry and thought.
4. Poetics and Modernity: Adonis, in the closing chapter of this short, yet dense book, sets out to strike the killing blow (he has been attacking this single idea the entire book up until now) to the single most pernicious dogma looming over Arabic thought: What is ancient is best, what is new and innovative is bad, imported, unequal, unworthy. He believes the "return to tradition" types and "let's copy what the West is doing" types, when it comes what Arabic poetry today should be, are both wrong. Firstly because our tradition is far richer and more varied than what the close-minded dogmatists believe, and because 'modernity' already has a rich heritage in our literature, contrary to what people who want to adopt western forms believe.
I have scarcely done justice to the enlightening discussions and analysis contained within this book, what I have written here is a very rough outline. If you find any of these ideas interesting, please read the book on your own. It's a slim 90 pages or so but the content and luminous thought within amounts to hundreds of pages.
For an Arab poet to be truly modern his writing must glow like a flame which rises from the fire of the ancient, but at the same time is entirely new.
October 23, 2019
در همان دهۀ دوستی متن عربی را به من داد و خواندم و با دنیایی از لذّت و اندیشه و چیزهای نو آشنا شدم و نثؤ درخشان نویسنده مسحورم کرد.
بعدتر ترجَمۀ درخشان به دستم رسید و با متنِ أصلی مُقابله کردم، حاصل؟ ترجمه ای درخشان.
کتاب را نشر نی منتشر کرده است و چاپِ أوّلش سال 1376 منتشر شد و چاپِ دوم بعد از فوتِ دلخاشِ مترجمِ بی همال و یکّۀ أثر مرحوم کاظم برگ نیسی. دِریغ ک هدیگر نیست.
أصل عربی کتاب بر سه بخش إشتمال دارد: ۱) گذشته(الماضی): الف: پذیرش(القبول)، ب: پُرسش(التساؤل)، پ: صنعتگری(الصنعة)؛ ۲) حال و سرآغاز دگرگونی(الحاضر و بدایات التحوّل)؛ و ۳) افقهای آینده(آفاق المستقبل). در ترجَمۀ فارسی دو بخشِ دیگر نیز اضافه و ترجَمه شده است، سخنرانی أدونیس در کُلِژ دو فُرانس، یکی: بوطیقا و گفتارْبنیادیِ جاهلی، و دو دیگر: بوطیقا و فضایِ قرآنی.
اگر از أدونیس بخواهیم بدانیم: أدونیس فقط شاعر نیست، کتابِ شعرِ "ترانه های مهیار دمشقی"اش بنیادِ شعر مدرن عربی است. تحصیلاتِ رسمی اش در ادبیات عرب است و استاد و پژوهشگر نامدار ادبیات عرب است، أدونیس(و همسرش خالدة سعید) در نقد هم نامدارند.
نثر أدونیس هم مانندِ شعرش پر از کلماتِ غریب است، نثرش نیز درخشان است. و همین کار ترجَمه را سخت دُشوار می کند. امّا مترجمِ فقیدِ دانشمند و بی همال کتاب یعنی کاظم برگ نیسی کاری کارستان کرده است. خود کاظم برگ نیسی در عربی دانی اش حدّاقل در صد سال أخیر نظیری نداشت و دریغ که کار ترجمه های دیگرش با مرگِ نابهنگامش سامانی نگرفت. در یک کلام ترجَمه درخشان است و در نهایت امانتداری.
أدونیس در کتاب از تلقّی شاعران جاهلی از مرگ، مکان-زمان، جوانی و پیری، زیبایی، شهسواری، عشق، گواهی، واقعیّت، خَیال، بی ثباتی صحرا، و ... صحبت کرده است و ربط و نسبت اینها را با زندگی ایشان و شعرِ درخشانشان سراغ کرده است. تحلیلها درخشان اند، گیرم جاهایی با آنها همدلی نداشته باشم. شواهدِ شعری همه به جا هستند(و همه از دیوان الشعر العربي که گزیده ای است از شاعرانِ عرب به انتخاب خودِ أدونیس، که سابق بر این سه جلد قطورمنتشر می شد و در قرن ۲۱ چهار جلد شده است، خودِ این گُزیده شهرتی دارد).
شعرِ جاهلی درخشان است و شکّی نیست که بر شعرِ بعد از خود و نیز به واسطۀ شعرِ عربیِ بعد از إسلام بر شعرِ فارسی و فرهنگِ إسلامی تأثیر گذاشته و نفوذ داشته است. ارتباط شعرِ جاهلی و قرآن هم بحثی است که به آن پُر پرداخته اند، کمابیش در مهمترین تفاسیر قرآنی شیعه و سُنّی در قرونِ أوّلیه هرجا آیه ای بحث شده، مفسّران(زَمَخْشَری و طَبْرسی) از شعرِ جاهلی شاهد آورده اند. گمان می کنم همینها کافی است تا اهمیّت یکی از شعرشناسترین و بهترین متخصّصان شعر قدیمِ عرب را دَریابیم و کتاب فوق العاده اش را به شوق برگیریم و بخوانیم.
از دو پیوستی که مترجِم أثر به متن افزوده یکی اش: "بوطیقا و گُفتارْبنیادیِ جاهلی" است. بَس خواندنی است و شاید خوانندۀ آشنا با مباحثِ أدبی و قرآنی را به یادِ نظریّۀ مرحوم محمّد أرکون دربارۀ قرآن بیندازد. و شاید خواننده با این نظرِ مشهور ناآشنا نباشد که گفته اند زبانِ قرآن متأثّر از زبانِ شعر جاهلی است، و این نکته "گفتارْبینادیِ شعر جاهلی" و قرآن(از نظر أدونیس) و "گفتارْبنیادیِ قرآن"(در نظر محمّد أرکون) را مهمتر جلوه می دهد، چه نظرشان را بپذریم و چه نپذیریم. اینکه گُفتارْبنیادی چیست هم تفصیلی می طلبد که برای این نوشتۀ تا اینجا طولانی شده نیز شاید چندان مطلبو نباشد تفصیلِ بیشتر.
بعدتر ترجَمۀ درخشان به دستم رسید و با متنِ أصلی مُقابله کردم، حاصل؟ ترجمه ای درخشان.
کتاب را نشر نی منتشر کرده است و چاپِ أوّلش سال 1376 منتشر شد و چاپِ دوم بعد از فوتِ دلخاشِ مترجمِ بی همال و یکّۀ أثر مرحوم کاظم برگ نیسی. دِریغ ک هدیگر نیست.
أصل عربی کتاب بر سه بخش إشتمال دارد: ۱) گذشته(الماضی): الف: پذیرش(القبول)، ب: پُرسش(التساؤل)، پ: صنعتگری(الصنعة)؛ ۲) حال و سرآغاز دگرگونی(الحاضر و بدایات التحوّل)؛ و ۳) افقهای آینده(آفاق المستقبل). در ترجَمۀ فارسی دو بخشِ دیگر نیز اضافه و ترجَمه شده است، سخنرانی أدونیس در کُلِژ دو فُرانس، یکی: بوطیقا و گفتارْبنیادیِ جاهلی، و دو دیگر: بوطیقا و فضایِ قرآنی.
اگر از أدونیس بخواهیم بدانیم: أدونیس فقط شاعر نیست، کتابِ شعرِ "ترانه های مهیار دمشقی"اش بنیادِ شعر مدرن عربی است. تحصیلاتِ رسمی اش در ادبیات عرب است و استاد و پژوهشگر نامدار ادبیات عرب است، أدونیس(و همسرش خالدة سعید) در نقد هم نامدارند.
نثر أدونیس هم مانندِ شعرش پر از کلماتِ غریب است، نثرش نیز درخشان است. و همین کار ترجَمه را سخت دُشوار می کند. امّا مترجمِ فقیدِ دانشمند و بی همال کتاب یعنی کاظم برگ نیسی کاری کارستان کرده است. خود کاظم برگ نیسی در عربی دانی اش حدّاقل در صد سال أخیر نظیری نداشت و دریغ که کار ترجمه های دیگرش با مرگِ نابهنگامش سامانی نگرفت. در یک کلام ترجَمه درخشان است و در نهایت امانتداری.
أدونیس در کتاب از تلقّی شاعران جاهلی از مرگ، مکان-زمان، جوانی و پیری، زیبایی، شهسواری، عشق، گواهی، واقعیّت، خَیال، بی ثباتی صحرا، و ... صحبت کرده است و ربط و نسبت اینها را با زندگی ایشان و شعرِ درخشانشان سراغ کرده است. تحلیلها درخشان اند، گیرم جاهایی با آنها همدلی نداشته باشم. شواهدِ شعری همه به جا هستند(و همه از دیوان الشعر العربي که گزیده ای است از شاعرانِ عرب به انتخاب خودِ أدونیس، که سابق بر این سه جلد قطورمنتشر می شد و در قرن ۲۱ چهار جلد شده است، خودِ این گُزیده شهرتی دارد).
شعرِ جاهلی درخشان است و شکّی نیست که بر شعرِ بعد از خود و نیز به واسطۀ شعرِ عربیِ بعد از إسلام بر شعرِ فارسی و فرهنگِ إسلامی تأثیر گذاشته و نفوذ داشته است. ارتباط شعرِ جاهلی و قرآن هم بحثی است که به آن پُر پرداخته اند، کمابیش در مهمترین تفاسیر قرآنی شیعه و سُنّی در قرونِ أوّلیه هرجا آیه ای بحث شده، مفسّران(زَمَخْشَری و طَبْرسی) از شعرِ جاهلی شاهد آورده اند. گمان می کنم همینها کافی است تا اهمیّت یکی از شعرشناسترین و بهترین متخصّصان شعر قدیمِ عرب را دَریابیم و کتاب فوق العاده اش را به شوق برگیریم و بخوانیم.
از دو پیوستی که مترجِم أثر به متن افزوده یکی اش: "بوطیقا و گُفتارْبنیادیِ جاهلی" است. بَس خواندنی است و شاید خوانندۀ آشنا با مباحثِ أدبی و قرآنی را به یادِ نظریّۀ مرحوم محمّد أرکون دربارۀ قرآن بیندازد. و شاید خواننده با این نظرِ مشهور ناآشنا نباشد که گفته اند زبانِ قرآن متأثّر از زبانِ شعر جاهلی است، و این نکته "گفتارْبینادیِ شعر جاهلی" و قرآن(از نظر أدونیس) و "گفتارْبنیادیِ قرآن"(در نظر محمّد أرکون) را مهمتر جلوه می دهد، چه نظرشان را بپذریم و چه نپذیریم. اینکه گُفتارْبنیادی چیست هم تفصیلی می طلبد که برای این نوشتۀ تا اینجا طولانی شده نیز شاید چندان مطلبو نباشد تفصیلِ بیشتر.
October 13, 2014
This is a great introduction not only to Arab poetics, but to Arabic literary criticism and history as well. Adonis first starts with an overview of pre-Islamic poetry, then goes on to discuss the influence of the Quaran on Arab poetry. There is then a fantastic chapter about poetry and thought which is a fantastic treatise on poetry in general. The collection ends with Arab poetics and modernity where Adonis comments both on contemporary Arab poetry but politics as well. Highly recommend.
February 19, 2020
“Therefore it became clear to me that modernity was both of time and outside time: of time because it is rooted in the movement of history, in the creativity of humanity, coexisting with man’s striving to go beyond the limitations which surround him; and outside time because it is a vision which includes in it all times and cannot only be recorded as a chronological event: it cuts vertically
through time and its horizontal progress is no more than the surface representation of a deep internal movement. In other words, modernity is not only a process that affects language; it is synonymous with its very existence.
Modernity in poetry in any language is first of all modernity of the language itself. Before you can be a ‘Modern’ or an ‘ancient’ in poetry you have to be a poet, and you cannot be a poet until you feel or write as if you are your language
and it is you. As language is a vocal, musical and social value, it has a history and a past. Without a knowledge of this past, modernity is not possible. Moreover, the language of modernity can have no value independent of the history of the creative genius of the language. In any language, the establishing of a new artistic value relies first of all on a comprehensive understanding and assimilation of whatever is of value in the history of that language.”
pg 100
through time and its horizontal progress is no more than the surface representation of a deep internal movement. In other words, modernity is not only a process that affects language; it is synonymous with its very existence.
Modernity in poetry in any language is first of all modernity of the language itself. Before you can be a ‘Modern’ or an ‘ancient’ in poetry you have to be a poet, and you cannot be a poet until you feel or write as if you are your language
and it is you. As language is a vocal, musical and social value, it has a history and a past. Without a knowledge of this past, modernity is not possible. Moreover, the language of modernity can have no value independent of the history of the creative genius of the language. In any language, the establishing of a new artistic value relies first of all on a comprehensive understanding and assimilation of whatever is of value in the history of that language.”
pg 100
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August 2, 2023كتاب اكثر من رائع.
لو مر خمسون عاما وجاء ذكر هذا الكتاب، سأتذكر ان الكتاب رائع ومهم ، حتي لو نسيت ما جاء في الكتاب ، ذاكرتي في النسيان لا محل للتهاون معها..
ولكن مثلما يأتي الدهر الي الشاعر الجاهلي من الخلف ويحاول الشاعر مقاومته بالتشبث بالفروسية والشعر والحب والجنس، انا ايضا يحاصرني داء نسيان ما اقرأ وان كان عنوان الكتاب الجيد بتشبث بذاكرتي جيدا.
لو مر خمسون عاما وجاء ذكر هذا الكتاب، سأتذكر ان الكتاب رائع ومهم ، حتي لو نسيت ما جاء في الكتاب ، ذاكرتي في النسيان لا محل للتهاون معها..
ولكن مثلما يأتي الدهر الي الشاعر الجاهلي من الخلف ويحاول الشاعر مقاومته بالتشبث بالفروسية والشعر والحب والجنس، انا ايضا يحاصرني داء نسيان ما اقرأ وان كان عنوان الكتاب الجيد بتشبث بذاكرتي جيدا.
October 26, 2017
من الممكن ان اختصر رائي في هذا الكتاب بكلمتين هما "مش ولابد" .
انا لم افهم مايريد ادونيس اصاله لي ، وهذا يرجع الى احد أمرين : اما انني أبله ، او ان ادونيس ليس المُمثل الجيد والمناسب للحداثيين لإقناع البسطاء من امثالي..
تجربة اولى سيئة يا ادونيس، اتمنى ان لا تكون الاخيرة.
انا لم افهم مايريد ادونيس اصاله لي ، وهذا يرجع الى احد أمرين : اما انني أبله ، او ان ادونيس ليس المُمثل الجيد والمناسب للحداثيين لإقناع البسطاء من امثالي..
تجربة اولى سيئة يا ادونيس، اتمنى ان لا تكون الاخيرة.
April 21, 2020
الشعر العربي.. من القبول إلى التساؤل إلى الصنعة إلى محاولات التجديد.
March 5, 2022
مرجع نقدي مكثّف للواقع الشعري العربي...مرجع بشقّه الأخير يحفزنا لكي نفكّر بمستقبل الشعر واللغة والكلمة.
March 20, 2024
unbelievable.
This is the single most compelling instruction into the soul and temporal body of poetry ever written. Must read. Regularly.
This is the single most compelling instruction into the soul and temporal body of poetry ever written. Must read. Regularly.
May 2, 2022
في فهرس الكتب العربية المحدودة التي قرأتها، لم اقرأ كتاب مثل هذا الكتاب. دراسة للشعر العربي بشكل سريع. كشخص ثنائي اللغة والثقافة و كشخص متعلم في الخارج، شعرت بأن هذا الكتاب يجب أن يدرّس في جميع المدارس التي تدرّس الشعر والادب العربي. أدونيس طالب شعر و يرى ان لا احد فوق الشعر، حتى المتنبي وغيره من عظماء الشعراء. رؤيته للمستقبل يعطيني الأمل بأن أمشي الى الامام بآرائي بأفكاري، سواء كان الشعر المكتوب أو في حالتي الشعر المرئي وهو التصوير.
هذا كتاب، كما كان كتاب الاستشراق لي، مرجع و كتاب يجب ان اعود اليه في المستقبل القريب حتى افهمه بشكل أفضل.
هذا كتاب، كما كان كتاب الاستشراق لي، مرجع و كتاب يجب ان اعود اليه في المستقبل القريب حتى افهمه بشكل أفضل.
December 31, 2016
مدخل جميل
لأدونيس قلم سلس عذب عندما يتحدث عن الشعر
لأدونيس قلم سلس عذب عندما يتحدث عن الشعر
June 13, 2014
I think to many westerners like myself the very notion of modernity in any aspect of Arab culture is inseparable from the ascendency of radical Islam. So while I'm grateful this book was written in 1985 for the historical perspective it provides, I'm obviously skeptical how many of its premises have held up through the transformation of the intervening 30 years of geopolitics. But Adonis' is a meaningful voice in this discussion and I look forward to reading more of him.
January 7, 2015
لا يوجد مكان افضل من ان تفهم الشعر من الشاعر وحده
أودينس الغني عن التعريف , احد اباء الشعر العربي الحديث
يقوم بدراسة الشعر الجاهلي والاندلسي في ظل الشعر الحديث بطريقة سلسلة و بسيطة , و يدعو إلي التحرر من قيود شكلية الشعر القديم و حرية الشعراء ...
كتاب بسيط و يوقظ الحس الشعري ..
أودينس الغني عن التعريف , احد اباء الشعر العربي الحديث
يقوم بدراسة الشعر الجاهلي والاندلسي في ظل الشعر الحديث بطريقة سلسلة و بسيطة , و يدعو إلي التحرر من قيود شكلية الشعر القديم و حرية الشعراء ...
كتاب بسيط و يوقظ الحس الشعري ..
October 31, 2016
These essays on Arabic Poetics expand our knowledge of poetical aesthetics opening our consciousness to another scope of poetry (which according to Adonis are questions and uncertainty provoking new thoughts).
August 5, 2007
Essential.
February 24, 2013
Superb writing on Arab poetic , another way to look at traditional poetic , exploration of voiceless voices , questioning of traditional forms of poem as they were oral forms. It's good to read
November 24, 2014
Read the chapter on poetics & modernity for class! I didn't like his poetry in Arabic, so I started a bit weary.. but this is an excellently written book ..
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