Key Critical Issues in Literature During the Early Abbasid Era
The early Abbasid period holds a distinguished place in Islamic literary and cultural studies. Among the significant matters that garnered considerable attention is the critique of literature and poetry. The main issues that critics focused on include the following:
The Debate Between Tradition and Innovation
This particular issue emerged in the second century AH, resulting in a distinct divide among narrators into two separate factions. One faction embraced evolution and sought to break free from the constraints of classical poetry, adapting to new poetic themes due to the Abbasid state’s extensive interactions with other cultures. Conversely, the other faction clung to the principles of pre-Islamic poetry, aiming to suppress all contemporary poetic expressions. An example of this is the strong opposition from Ibn Al-Arabi against a poetic piece by Abu Tammam:
وَعاذِلٍ عَذَلتُهُ في عَذلِهِ
فَظَنَّ أَنّي جاهِلٌ مِن جَهلِهِ
He requested that the reciter attribute it to Huthayl, claiming he had not heard anything better. Upon discovering it was by Abu Tammam, he exclaimed: “The writer has erred.” Ibn Al-Arabi argued, “The poetry of these modern poets, like Abu Nuwas and others, is akin to basil, which wilts and is discarded, while the poems of the ancients, akin to musk and amber, gain potency when stirred.”
The Issue of Plagiarism
According to Ibn Faris, plagiarism refers to the act of taking something discreetly. In the context of poetry, it specifically involves a poet adopting the words or ideas of another poet and claiming them as one’s own. In the realm of Arabic literature, the term plagiarism extends beyond mere appropriation. It encompasses practices such as embedding, imitation, and adaptation.
During the Abbasid era, poetic plagiarism diversified, reaching unprecedented levels compared to earlier periods. This led to the emergence of rigorous critical methodologies designed to address and regulate such transgressions. For instance, Bashar Bin Burd wrote:
مَن راقَبَ الناسَ لَم يَظفَر بِحاجَتِهِ
وَفازَ بِالطَيِّباتِ الفاتِكُ اللَهِجُ
His student, Sallam Al-Khasir, took inspiration from this work, stating:
مَن راقَبَ الناسَ ماتَ غَمًّا
وَفازَ بِاللّذَّةِ الجَسورُ
It is reported that when Bashar learned of this imitation, he lamented, “He resorts to my meanings, which caused me sleepless nights and exhausted my thoughts, yet he cloaks them in lighter words. He recites his poetry while mine is forgotten. By God, I shall neither eat nor remain silent today.” Numerous works document instances of poetic plagiarism; however, many exaggerate their claims. For example, Al-Asma’i asserted that nine-tenths of Al-Farazdaq’s poetry was plagiarized.
The Question of Truth and Deceit
The first to bring up this issue was Ibn Tabataba, who emphasized the need for truthfulness in similes and poetry, dismissing any imaginative elements present in verses. He was supported by Abdul Qahir Al-Jurjani, who allowed for some imagination in poetry. In contrast, Qudamah Bin Ja’far sided with those who claimed, “The sweetest poetry is that which is fabricated.”
According to Ihsan Abbas in “The History of Literary Criticism Among Arabs” (pages 35-36), critics divided into three camps: one advocating for truth, another supporting deceit, and a third represented by Al-Marzouqi who asserted that the best poetry is concise.