• Parts: 1
• Subject: Arabic Language and Literature
• Year of Publication: 2012
• Edition: First
• Dimensions: 17x24 cm
• Number of Pages: 143
• Weight: 275g
• Language: Arabic
• Author: Batool Al-Bustani
• Publisher: Dar Fadaat
• Category: Literature & Arts

This book is an attempt to read studies by Dr. Mustafa Nasif on pre-Islamic poetry to uncover his vision and interpretation of the poetry of that era, as well as to read texts by poets of that period.

The book consists of two chapters. The first chapter presents a reading of Dr. Mustafa Nasif's studies on pre-Islamic poetry, which includes two studies: the first on 'Pre-Islamic Arabic Poetry in the Studies of Dr. Mustafa Nasif,' and the second on 'The Influence of Dr. Mustafa Nasif on Scholars of Pre-Islamic Poetry.'

The second chapter provides a reading of examples from that poetry through three studies. The first and second studies examine two rhythmic phenomena and stylistic procedures that diversify the rhythm, break its monotony, and express the poet's emotional experience and vision on life and death, love and hate, defeat and victory, connection and separation, fear and security, doubt and certainty, reality and dream, movement and stillness... These two phenomena are: enjambment in the poetry of Al-A'sha—using the poem 'Ma Buka' al-Kabir fi al-Atlal' as an example—a study of semantics in rhythm, and the aesthetics of prosodic enjambment in examples from pre-Islamic poetry. In this, the focus is on external enjambment, which many ancient and modern critics considered a flaw in the rhyme, revealing its aesthetics and functions in poetic texts by Imru' al-Qais, Al-A'sha, Aws ibn Hajar, and Al-Khansa.

My approach to the poetry in these two studies stemmed from the richness of pre-Islamic poetry and my admiration for its magnificence and depth, despite the difficulty of excavating and then interpreting it.

In the third study, I approached Durayd ibn al-Simmah's D-rhyme elegy for his brother with a stylistic approach, examining its semantic, syntactic, rhetorical, and rhythmic levels. I did not separate the semantic level from the syntactic level due to the intertwined relationship between them.