قراءة في رؤية حازم القرطاجني للخطاب الهزلي

Abstract EN

The first scholar to offer a comprehensive study of discourse of burlesque (lutz!) in classical Arabic poetry was the Andalusian, Hazim al-QurUjanni in his work Minhaj al-DuIagha wa Sirajal-Udaba.

Al-Qurtajsmni views burlesque (hazl) poetry purely in terms of its function to entertain.

In his view, to express humour the poet must use vocabulary and phrases taken from the ver/iactiiar, or perhaps a mixture of foreign and Arabic terms understood by the man in the street, free from the stylized, predictable and stale speech that one associates with the court.

Colloquial phrases and words associated with thieves, craftsmen and common people would be skillfully worked into the poem to imbue it with a vitality and wit, which entertained the court throughout the night.

It is not unlikely that a great deal of wine would be drunk at these sessions where the people wished to be amused rattier than impressed or edified.

This allowed the poet a great deal of poetic license and room to maneuver and experiment with Burlesque {had) forms.

Ai'Qurtajamii notes an interesting development in the hazl convention, namely the practice of transferring the role of spokesman from the poet himself to anther figure, remarking that "they would perhaps report that in the form of quotation of the words of others".

Al-Qurtajanni reports that this is often found in the Burlesque {hazl) poetry of Abu Nivas, who uses it sparingly and unobtrusively.

He notes the use of the verb "to say" to introduce this imaginary spokesman, often in the guise of a thief or a man who is drunk, or time, with the vocabulary to match the situation, and convey a wit which is Hajjajinan in spirit.

Another outstanding characteristic of burlesque (hazfy according to Al-Qurlajanni is the frequent occurrence of solecism {/afiin), and expression in a foreign dialect.

A purpose of all this Al-Qurtajanni comments saying:" This style is never followed by the poet who wishes to compose his poetry according to the rules governing desincniial inflection and parity of diction, but is rather followed by the poet who combine colloquial with classical Arabic, by introducing solecisms alongside grammatically correct expressions, seeks to amuse his audience, The third interesting characteristic of burlesque occurs where material is borrowed by a poet from the works of other poets to be used by him for a new or different purpose.