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The Mufaddaaliyyat or Mofaddaliyyat (Arabic: المفضليات / ALA-LC: ''al-Mufaḍḍaliyāt''), meaning "The Examination of al-Mufaddal", is an anthology of ancient Arabic poems which derives its name from Al-Mufaddal,〔Maria Hofner, (The Library of Enno Littman 1875-1958 ), pg. 280. Leiden: Brill Archive, 1959.〕〔(Encyclopedia of Arabic Literature ), vol. 2, pg. 537. Eds. Julie Scott Meisami and Paul Starkey. London: Taylor & Francis, 1998. ISBN 9780415185721〕 who compiled it some time between 762 and 784 CE in the latter of which years he died.〔"The Earliest Demon Lover: The Tayf al-Khayal in Al-Mufaddaliyat" by John Seybold. ''Reorientations: Arabic and Persian Poetry'', pg. 180. Ed. Suzanne Pinckney Stetkevych. Bloomington: Indiana University Press, 1994. ISBN 9780253354938〕 It contains 126 poems, some complete odes, others fragmentary. They are all of the Golden Age of Arabic poetry (500—650) and are considered to be the best choices of poems from that period by different authors.〔Ramzi Baalbaki, (The Arabic Lexicographical Tradition: From the 2nd/8th to the 12th/18th Century ), pg. 89. Leiden: Brill Publishers, 2014. ISBN 9789004274013〕 There are 68 authors, two of whom were Christian.〔First Encyclopaedia of Islam, vol. 6, (pg. 625 ). Eds. Martijn Theodoor Houtsma, R. Bassett and Thomas Walker Arnold.Leiden: Brill Publishers: 1993. ISBN 90-04-09796-1〕 The oldest poems in the collection date from about 500 CE. The collection is a valuable source concerning pre-Islamic Arab life. Along with the Mu'allaqat, Hamasah, ''Jamharat Ash'ar al-Arab'' and Asma'iyyat, the Mufaddaliyat are considered the primary source for early Arabic poetry.〔Wen-chin Ouyang, (Literary Criticism in Medieval Arabic-Islamic Culture: The Making of a Tradition ), pg. 65. Edinburgh: Edinburgh University Press, 1997. ISBN 9780748608973〕〔Shady Nasser, (The Transmission of the Variant Readings of the Qurʾān: The Problem of Tawātur and the Emergence of Shawādhdh ), pg. 210. Leiden: Brill Publishers, 2012. ISBN 9789004241794〕 ==The collection== The collection, in its present form, contains 126 pieces of verse,〔〔Kirsten Eksell, "Genre in Early Arabic Poetry." Taken from (Literary History: Towards a Global Perspective ), vol. 2, pg. 158. Eds. Anders Pettersson, Gunilla Lindberg-Wada, Margareta Petersson and Stefan Helgesson. Berlin: Walter de Gruyter, 2006. ISBN 9783110894110〕 long and short; that is the number included in the recension of al-Anbari, who had the text from Abu 'Ikrima of Dabba, who read it with Ibn al-A'rabi, the stepson and inheritor of the tradition of al-Mufaddal.〔 We know from the ''Fihrist'' of Ibn al-Nadim (988 CE) that in his time 128 pieces were counted in the book;〔 and this number agrees with that contained in the Vienna manuscript, which gives an additional poem, besides those annotated by al-Anbari, to al-Muraqqish the Elder, and adds at the end a poem by al-Harith ibn Hilliza. The ''Fihrist'' states (p. 68) that some scholars included more and others fewer poems, while the order of the poems in the several recensions differed; but the correct text, the author says, is that handed down through Ibn al-A'rabi. It is noticeable that this traditional text, and the accompanying scholia, as represented by al-Anbari's recension, are wholly due to the scholars of Kufah, to which place al-Mufaddal himself belonged. The rival school of Basra, on the other hand, has given currency to a story that the original collection made by al-Mufaddal included a much smaller number of poems. The Berlin manuscript of Ahmad ibn Muhammad al-Marzuqi's commentary states that the number was thirty, but a better reading of the passage, found elsewhere, mentions eighty; and that al-Asma'i and his school added to this nucleus poems which increased the number to a hundred and twenty. It is curious that this tradition is ascribed by al-Marzuqi and his teacher Abu Ali al-Farisi to Abu 'Ikrima of Dabba, who is represented by al-Anbari as the transmitter of the correct text from Ibn al-A'rabi. There is no mention of it in al-Anbari's work, and it is in itself somewhat improbable, as in the time of the schools of al-Asma'i at Kufah and Basra were in sharp opposition one to the other, and Ibn al-A'rabi in particular was in the habit of censuring the interpretations of al-Asma'i the ancient poems. It is scarcely likely that he would have accepted his rivals additions to the work of his stepfather, and have handed them on to Abu 'Ikrima with his annotations. The collection is one of the highest importance as a record of the thought and poetic art of Arabia during the time immediately preceding the appearance of the Prophet. Not more than five or six of the 126 poems appear to have been composed by poets who had been born in Islam. The great majority of the authors belonged to the days of Jahiliyyah or Ignorance, and though a certain number (e.g. Mutammim ibn Nuwayrah, Rabi'a ibn Maqrum, Abda ibn at-Tabib and Abu Dhu'ayb), born in paganism, accepted Islam, their work bears few marks of the new faith. The ancient virtues of hospitality to the guest and the poor, profuse expenditure of wealth, valour in battle, faithfulness to the cause of the tribe are the themes of praise. Wine and the gambling game of maisir, forbidden by Islam, are celebrated by poets who professed themselves converts; and if there is no mention of the old idolatry, there is also little spirituality in the outlook on life. The 126 pieces are distributed between 68 poets, and the work represents a gathering from the compositions of those who were called ''al-Muqillun'', (authors of whom little has survived), in contrast to the famous poets whose works had been collected into diwans. At the same time many of them are extremely celebrated, and among the pieces selected by al-Mufaddal several reach a very high level of excellence. Such are the two long poems of 'Alqama ibn 'Abada (Nos. 119 and 120), the three odes by Mutammim ibn Nuwayrah (Nos. 9, 67, 68), the splendid poem of Salama ibn Jandal (No. 22), the beautiful nasib (opening theme or prologue) of al-Shanfara (No. 20), and the death-song of Abd-Yaghuth (No. 30). One of the most admirable and famous is the last of the series (No. 126), the long elegy by Abu Dhu'ayb of Hudhail on the death of his sons; almost every verse of this poem is cited in illustration of some phrase or meaning of a word in the national lexicons. Only one of the poets of the Mu'allaqat, al-Harith ibn Hilliza, is represented in the collection. Of others (such as Bishr ibn Abi Khazim, al-Hadira, Amir ibn al-Tufail, 'Alqama ibn 'Abada, al-Muthaqqib, Ta'abbata Sharra and Abu Dhu'ayb) ''diwans'' or bodies of collected poems exist, but it is doubtful how far these had been brought together when al-Mufaddal made his compilation. Pre-Islamic poets are well represented, with 48 of them versus only 20 from the Islamic era.〔 An interesting feature of the work is the treatment in it of the two poets of the Bakr bin Wa'il tribe, uncle and nephew, called al-Muraqqish, who are perhaps the most ancient in the collection. The elder Muraqqish was the great-uncle of Tarafa of Bakr, the author of the Mu'allaqat, and took part in the long warfare between the sister tribes of Bakr and Taghlib, called the war of Basus, which began about the end of the 5th century CE. Al-Mufaddal has included ten pieces (Nos. 45–54) by him in the collection, which are chiefly interesting from an antiquarian point of view. One, in particular (No. 54), presents a very archaic appearance. It is probable that the compiler set down all he could gather of this ancient author, and that his interest in him was chiefly due to his antiquity. Of the younger Muraqqish, uncle of Tarafa, there are five pieces (Nos. 55–59). The only other authors of whom more than three poems are cited are Bishr ibn Abi Khazim of Asad (Nos. 96–99) and Rabi'a ibn Maqrum of Dabba (Nos. 38, 39, 43 and 113). The ''Mufaddaliyat'' differs from the ''Hamasah'' in being a collection of complete odes (qasidas), while the latter is an anthology of brilliant passages specially selected for their interest or effectiveness, all that is prosaic or less striking being pruned away. It is of course not the case that all the poems of al-Mufaddal's collection are complete. Many are mere fragments, and even in the longest there are often lacunae; but the compiler evidently set down all that he could collect of a poem from the memory of the ''rawis'', and did not, like Abu Tammam, choose only the best portions. We are thus presented with a view of the literature of the age which is much more characteristic and comprehensive than that given by the brilliant poet to whom we owe the ''Hamasah'', and enables us to form a better judgment on the general level of poetic achievement. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Mufaddaaliyyat」の詳細全文を読む スポンサード リンク
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