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자료유형
학술저널
저자정보
저널정보
한국아랍어아랍문학회 아랍어와 아랍문학 아랍어와 아랍문학 제10권 제2호
발행연도
2006.1
수록면
133 - 163 (31page)

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As a leading Arab poet in the free-verse movement with a politically-committed leftist attitude, he was looking for a new way to continue his engagement in the battle against injustice. In 1962 he wrote his prose play Muḥākama fī Nīsābūr based in its historical framework on Harold Lamb's Omar Khayyam: A Life. Although not successful as a play, it opened for al-Bayyāti the possibility of a new style in his poetry - the style of speaking through a persona, through a mask. The masks which al-Bayyāti used include historical persons like Umar al-Khayyām, al-Ma‘arrī, al-Ḥallāj, and al-Mutanabjī drawn from the Arab-Islamic heritage or like Alexander the Great, Hamlet, Picasso, Hemingway, and Che Guevara drawn from Western history. They also include imaginary persons like Sindbad and the elusive ‘Ā’isha, who might be al-Khayyām's beloved or a woman al-Bayyāti knew or created as persona symbolizing his ideals. His main concern for using masks is to present what he calls "the exemplary hero" in the modern age and in all ages, and to portray the feelings of this hero and express the social and cosmic crisis he faces. And not all personalities of the past can be used for his chosen purpose. And even when they are used al-Bayyāti does not necessarily abide by their historical identities in detail but he may exaggerate some characteristics and invent or ignore other things in order to make his point.

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