아랍 가잘(غزل 연애시)의 발전과정 연구 -자힐리야 시대와 우마이야 시대를 중심으로-
A Study on the Development of Ghazal(Arabian Love Poetry) – from the Jahili(Pre-Islamic) Age to the Umayyad Era
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This study dealt with the historical origin of ghazal and its development through the history of Arabic literature, precisely during the period from the Jahili Age to the Umayyad era. In addition, this study included some arguments concerning ghazal, such as definition, concept, and types of ghazal. Results of this research are expected to be used not only in the general studies concerned with love and sexuality in the human, but also in the studies related to the theme of love in the Arabic literature. The following includes some results I have attained in this research. First, ghazal is defined formally and substantially as qasidah(Arabian traditional set-form verse) dealing with physical or platonic love between the sexes, which proceeds unrestrictedly without considering matrimony. And the love as observed in ghazal is not of love that has been completed, but of love that is being under process, so it is dynamic and is filled with excitement and liveliness. Second, an archetype of love poetry is traced to nasib(opening with recollection of the past love) of some earliest Jahili poets’ qasidas such as Imru’ al-Qays and ‘Abid ibn al-Abras. The existence of amatory motif in nasib of Jahili poems proves that the Umayyad ghazal originated from Jahili qasidas. I think that the Jahili nasib although formed a part of a whole qasida, developed into typical ghazal as an independent type of love poetry in the Umayyad Era. Third, the Islamic age since the early 7th century witnessed continuity and prosperity of ghazal, which rejects a presumption that Islam with its strict commandments might suppress human sexuality and instinctive desire. This argument is supported by the existence of many ghazal poets and their poems in the Islamic age, and in particular by activities of distinguished ghazal poets and singers during the Umayyad era. It is attributed to the fact that Islam in its teachings essentially took an openhearted stand toward sexuality on the hand, and to the nature of Umayyad society that had a tendency to secular life on the other hand. Fourth, ghazal of the Arabs during the above mentioned period is classified into two kinds, sensual ghazal and platonic one. Most of Jahili ghazals are characterized by sensuality, for the Arabs at that time were used to relying on feeling in viewing objects without thinking in the abstract nor in a rational way. The sensual ghazal has been extended into the Islamic age and became refined during the Umayyad era by adding narrative style to sensuality. On the while, I think that the platonic ghazal which developed and flourished during the Umayyad era has its root in some Jahili qasidas which convey stories of pure love.
Abstract
This study dealt with the historical origin of ghazal and its development through the history of Arabic literature, precisely during the period from the Jahili Age to the Umayyad era. In addition, this study included some arguments concerning ghazal, such as definition, concept, and types of ghazal. Results of this research are expected to be used not only in the general studies concerned with love and sexuality in the human, but also in the studies related to the theme of love in the Arabic literature. The following includes some results I have attained in this research. First, ghazal is defined formally and substantially as qasidah(Arabian traditional set-form verse) dealing with physical or platonic love between the sexes, which proceeds unrestrictedly without considering matrimony. And the love as observed in ghazal is not of love that has been completed, but of love that is being under process, so it is dynamic and is filled with excitement and liveliness. Second, an archetype of love poetry is traced to nasib(opening with recollection of the past love) of some earliest Jahili poets’ qasidas such as Imru’ al-Qays and ‘Abid ibn al-Abras. The existence of amatory motif in nasib of Jahili poems proves that the Umayyad ghazal originated from Jahili qasidas. I think that the Jahili nasib although formed a part of a whole qasida, developed into typical ghazal as an independent type of love poetry in the Umayyad Era. Third, the Islamic age since the early 7th century witnessed continuity and prosperity of ghazal, which rejects a presumption that Islam with its strict commandments might suppress human sexuality and instinctive desire. This argument is supported by the existence of many ghazal poets and their poems in the Islamic age, and in particular by activities of distinguished ghazal poets and singers during the Umayyad era. It is attributed to the fact that Islam in its teachings essentially took an openhearted stand toward sexuality on the hand, and to the nature of Umayyad society that had a tendency to secular life on the other hand. Fourth, ghazal of the Arabs during the above mentioned period is classified into two kinds, sensual ghazal and platonic one. Most of Jahili ghazals are characterized by sensuality, for the Arabs at that time were used to relying on feeling in viewing objects without thinking in the abstract nor in a rational way. The sensual ghazal has been extended into the Islamic age and became refined during the Umayyad era by adding narrative style to sensuality. On the while, I think that the platonic ghazal which developed and flourished during the Umayyad era has its root in some Jahili qasidas which convey stories of pure love.
참고문헌 (29)
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- "االلأأصصففههااننيي (أأببوو ففررجج)( ١1٩9٩9٤4 )،، ككتتاابب االلأأغغااننيي،، دداارر إإححييااءء االلتتررااثث االلععررببيي،، ببييررووتت،، للببنناانن", ~
- "ببككاارر،، ييووسسفف ححسسيينن،، ااتتججااههااتت االلغغززلل ففيي االلققررنن االلثثااننيي االلههججرريي،، دداارر االلأأننددللسس،، ببييررووتت،، للببنناانن", ~
- "االلتتببررييززيي (االلإإمماامم االلخخططييبب أأببوو ززككرريياا ييححييىى ببنن ععلليي)( ١1٩9٨8٥5 )،، ششررحح االلققصصاائئدد االلععششرر،، ضضببططهه", ~
- "االلججوواارريي،، أأححممدد ععببدد االلسستتاارر( ٢2٠0٠0٦6 )،، االلححبب االلععذذرريي: ننششأأتتهه ووتتططووررهه،، االلممؤؤسسسسةة االلععررببييةة للللددررااسسااتت", ~
- "ححااططوومم،، ععففييفف ننااييفف( ١1٩9٩9٧7 )،، االلغغززلل ففيي االلععصصرر االلأأمموويي،، دداارر صصااددرر،، ببييررووتت،، للببنناانن", ~
- "ححنناا االلففااخخوورريي( ١1٩9٨8٦6 )،، االلججااممعع ففيي تتااررييخخ االلأأددبب االلععررببيي،، دداارر االلججييلل،، ببييررووتت", ~
- "ددييوواانن ققييسس للببننىى( ١1٩9٩9٣3 )،، ججممععهه ووححققققهه ووششررححهه دد. إإممييلل ببددييعع ييععققووبب،، دداارر االلككتتاابب االلععررببيي", ~
- "ددييوواانن ككععبب ببنن ززههييرر( ١1٩9٩9٤4 )،، صصننععةة : االلإإمماامم أأببوو سسععييدد االلححسسنن ببنن االلححسسيينن االلععسسككرريي،، ققددمم للهه", ~
- "االلززووززننيي (االلققااضضيي االلإإمماامم أأببوو ععببدد االلللهه االلححسسيينن ببنن أأححممدد ببنن االلححسسيينن)( ١1٩9٨8٩9 )،، ششررحح االلممععللققااتت االلععششرر،،", ~
- "االلضضببيي،، أأببوو االلععببااسس االلممففضضلل ببنن ممححممدد( ٢2٠0٠0٣3 )،، ددييوواانن االلممففضضللييااتت،، االلممججللدداانن االلأأوولل ووااللثثااننيي،، تتححققييقق", ~
- "ضضييفف( ١1)،، ششووققيي،، االلععصصرر االلججااههلليي،، دداارر االلممععااررفف،، ممصصرر", ~
- "ضضييفف( ٢2)،، ششووققيي،، االلععصصرر االلإإسسللاامميي،، االلططببععةة االلسسااببععةة،، ممصصرر", ~
- "ععببدد االلللهه،، ممححممدد ححسسنن،، االلححبب ففيي االلتتررااثث االلععررببيي،، دداارر االلممععااررفف", ~
- "ععممرر ببنن أأببيي ررببييععةة( ١1٩9٩9٢2 )،، ددييوواانن ععممرر ببنن أأببيي ررببييععةة،، (ققددمم للهه ففااييزز ممححممدد)،، دداارر االلككتتاابب االلععررببيي،،", ~
- "ففييصصلل،، ششككرريي( ١1٩9٨8٢2 )،، تتططوورر االلغغززلل ببيينن االلججااههللييةة ووااللإإسسللاامم: ممنن ااممررئئ االلققييسس إإللىى ااببنن أأببيي ررببييععةة،،", ~
- "ييووسسفف،، ححسسننىى ععببدد االلججللييلل( ١1٩9٩9٨8 )،، االلممررأأةة ععنندد ششععررااءء صصددرر االلإإسسللاامم: االلووججهه ووااللووججهه االلآآخخرر،، االلدداارر", ~