[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-608140-105":3,"detail-sidebar-cat-0-en-105":80,"doc-detail-608140-en":130},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":73,"head_meta":75,"extra_data":77,"updated_unix":79},105,"en","journal-of-arabic-literature-volume-xxvii-abu-tammams-contribution-to-abbasid-gazal-poetry-thematic-classification","Journal of Arabic Literature - VOLUME XXVII - Abu Tammam’s Contribution to Abbasid Gazal Poetry - Thematic classification","","Journal of Arabic Literature, Volume XXVII, presents a scholarly study of Abū Tammām’s contribution to Abbasid gazal poetry. It contrasts Western “neo-classical” labels with evidence from the diwan, arguing that gazal is quantitatively and structurally significant. The text highlights anthology quotations and explains how love appears across genres, especially through nasib in madih and directly within gazal. It then develops a formal classification method, starting from dramatis personae (first/second/third person) and extending it through semantic criteria to establish five subcategories of love poems.",{"@graph":14,"@context":72},[15,34,55],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/literature/","Literature",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/journal-of-arabic-literature-volume-xxvii-abu-tammams-contribution-to-abbasid-gazal-poetry-thematic-classification/608140/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/journal-of-arabic-literature-volume-xxvii-abu-tammams-contribution-to-abbasid-gazal-poetry-thematic-classification/608140.png","ImageObject",300,407,{"name":42,"@type":43},"Sarah ","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-21","2026-10-17",true,{"@type":52,"interactionType":53,"userInteractionCount":22},"InteractionCounter",{"@type":54},"ViewAction",{"@type":56,"mainEntity":57},"FAQPage",[58,64,68],{"name":59,"@type":60,"acceptedAnswer":61},"Why do scholars call Abū Tammām “neo-classical,” and what does the text challenge about that view?","Question",{"text":62,"@type":63},"Western scholars connect Abū Tammām with the Hamasa, badi'-style, and madih-poems, and call him “neo-classical” partly because he is not associated with “modern” genres like wine and love poetry. The text argues this is not true for the gazal genre, showing that love material and gazal output are substantial.","Answer",{"name":65,"@type":60,"acceptedAnswer":66},"How does the text explain the smaller number of gazal lines compared with madih lines?",{"text":67,"@type":63},"It states that gazal poems are much shorter than madih poems, so fewer lines in gazal do not necessarily imply less importance. When counting poems rather than lines, the ratio of madih to gazal is surprisingly close.",{"name":69,"@type":60,"acceptedAnswer":70},"What classification method is proposed for Abū Tammām’s love poems?",{"text":71,"@type":63},"The text proposes starting with formal (linguistic) criteria by sorting poems according to dramatis personae—whether the poet speaks to someone (second person), about someone/something (third person), or uses a “lyrical I” (first person). After this step, semantic criteria are applied to establish five categories.","https://schema.org",{"og:url":32,"og:type":74,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":76,"canonical":32},"index,follow",{"doc_id":78,"site_id":7},608140,1792611949,{"code":4,"msg":81,"data":82},"success",[83,87,90,94,99,104,109,114,119,122,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":84,"show_sort_weight":85,"slug":86},"Story & 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\nJ.E.MoNTGOMERY,University of LeedsR.C.OSTLE,University of Oxford  \nEditors  \nR.ALLEN,University of Pennsylvania—M.M.BADAWI,University of OxfordP.CACHIA,Columbia University—W.HEINRICHS,Harvard.University  \nM.C.LYoNs,University of Cambridge—J.N.MATTOCK,University of Glasgow  \nVOLUME XXVII  \nABU TAMMAM’S CONTRIBUTION TO ABBASID GAZAL POETRY  \nWhen Abū Tammam is mentioned,three things come to mind:the col-lection of the Hamasa,the badi'-style and the madih-poems,because it wasthis genre to which Abū Tammām devoted most of his verses.Therefore,western scholars label Abū Tammam as a “neo-classical”poet along withal-Buhturi and al-Mutanabbi because,unlike Abū Nuwas,Abū Tammam didnot contribute to the“modern”genres,such as,e.g.,wine and love poetry.  \nWhile this is quite true in the case of wine poetry,it is not true at all inthe case of the gazal genre.Of course,the number of lines of Abū Tam-mām's gazal poems is much smaller than the number of lines devoted tomadih poems.But this is simply due to the fact that gazal poems are muchshorter than madih poems.If we take the number of poems,the proportionof madih to gazal turns out to be rather surprising:the diwan¹contains 132gazal poems compared to 175 madih poems,so the difference is not sogreat.In fact,as far as we know,there is no poet between Abū Nuwas andHalid al-Katib who has left behind a comparable amount of gazal verse.This comparatively high number of gazal verse in the diwān of Abū Tam-mam corresponds to the importance this poet is given in the later antholo-gies of love poetry.Let us take as an example the first part of the Kitab az-Zahra of Ibn Dawud al-Isfahani.²In this book,the most often quoted poetsare al-Buhturi and Abū Tammam.But we have to take into account thatAbū Tammam treated the theme “love”in two different genres:first,in thenasib of his madih poems,and second,in his gazal poems.It is thereforenot surprising that a great part of the Abū Tammam quotations stems fromhis nasib,not from his gazal,but this is much more the case with al-Buh-turi,who did not contribute so much to the gazal.While the al-Buhturi quo-tations are taken almost exclusively from the nasib-and madih-sections ofhis panegyrical odes,more than one third of the Abū Tammam quotationsare taken from his gazal,all in all 18 passages.Now compare this numberto the quotations from Abū Nuwas(13),al-Abbās b.al-Ahnaf(11),Muslim  \nb.al-Walid and Baššar(12 each),and you get the impression that Abū Tam-mām was in fact regarded as one of the most important gazal poets.Thisimpression is very well corroborated by other anthologies as e.g.the sectionabout love poetry in the Nihayat al-Adab of an-Nuwayri and others.  \nABU TAMMAM’S GAZAL  \nAs there can be no doubt about the general importance of Abū Tam-mām's love poetry,we have to ask a more important question:Is Abū Tam-mam's contribution to love poetry only of quantitative importance,or doeshe contribute more essentially to the development of the genre?This ques-tion is not so easy to answer,because our knowledge about post-AbūNuwasian Arabic love poetry is extremely poor.  \nThe first thing we will do in order to answer this question is to try towork out a classification of different subgenres of gazal poetry.The mostpromising way to get there is to start with formal,i.e.linguistic,criteria.Having done this,by applying semantic criteria in a second step we can es-tablish five categories of love poems.  \nIn the first step,we will sort the poems according to the dramatis per-sonae.The main difference here is whether the poet speaks to somebody orabout somebody or something.If he speaks to somebody,the poem will befocused on the second person.If he speaks about somebody or something,we can again distinguish two cases:If he speaks about himself(or better:the “lyrical I”),the poem is focused on the first person.If he speaks aboutsomebody else (namely a","cbCailqWOnNYAJZZ","https://ap.wps.com/l/cbCailqWOnNYAJZZ","pdf",7349717,"English","# ABU TAMMAM’S CONTRIBUTION TO ABBASID GAZAL POETRY\n## Abū Tammām’s position and gazal vs madih\n## Anthology evidence and treatment of “love”\n# ABU TAMMAM’S GAZAL\n## Quantitative vs essential contribution\n## Classification of love-poem subgenres\n## Criterion 1: dramatis personae (first/second/third person)","[{\"question\":\"Why do scholars call Abū Tammām “neo-classical,” and what does the text challenge about that view?\",\"answer\":\"Western scholars connect Abū Tammām with the Hamasa, badi'-style, and madih-poems, and call him “neo-classical” partly because he is not associated with “modern” genres like wine and love poetry. The text argues this is not true for the gazal genre, showing that love material and gazal output are substantial.\"},{\"question\":\"How does the text explain the smaller number of gazal lines compared with madih lines?\",\"answer\":\"It states that gazal poems are much shorter than madih poems, so fewer lines in gazal do not necessarily imply less importance. When counting poems rather than lines, the ratio of madih to gazal is surprisingly close.\"},{\"question\":\"What classification method is proposed for Abū Tammām’s love poems?\",\"answer\":\"The text proposes starting with formal (linguistic) criteria by sorting poems according to dramatis personae—whether the poet speaks to someone (second person), about someone/something (third person), or uses a “lyrical I” (first person). After this step, semantic criteria are applied to establish five categories.\"}]","Journal of Arabic Literature - VOLUME XXVII - Abu Tammam’s Contribution to Abbasid Gazal Poetry - Thematic classification | PDF",1792217511,15]