When a classical Arabic poem lacked a noticeable degree of thematic coherence and formal structure, it was at risk of foreign intervention aiming to improve it. Who was recognized in such a case as the author of the poem and on which grounds? This article looks at the interrelated questions of the poem’s unity and its authorship through the lens of collaborative poetry that was practiced by completing verse composed in the past. It presents an analysis of poetic collaboration cases from the second/eighth century to the Ayyubid era, and discusses different practical approaches of poets to authorship questions related to the earlier source poem and their own later completion. In the third/ninth century, as an expansive reservoir of ancient and modern poems became increasingly available, we occasionally notice the marks of plagiary, rather than forgery, on collaborative poems of this type. At the same time, and based on this very expansion, kinds of legitimate poetic influence can be detected in the completions of the later poets. Remarkably, poetic intervention did not cease and the poem conceptually did not achieve an inviolable status, when the scholars replaced the transmitters as the authorities on poetry around the third/ninth century and throughout the period under study. Nevertheless, the cultural domain for reshaping earlier verse changed, and the repertoire of poetry considered as “fair game” for this practice was narrowed down based on quality considerations.

当一首阿拉伯古典诗歌缺乏显着程度的主题连贯性和形式结构时，就有外国干预旨在改善它的风险。在这种情况下，谁被认为是这首诗的作者，又是基于什么理由被承认的？本文通过协作诗歌的角度研究了诗歌的统一性和作者身份的相互联系的问题，这种诗歌是通过完成过去创作的诗歌来实践的。它提供了对从第二/八世纪到阿育吠陀时代的诗歌合作案例的分析，并讨论了诗人对与较早的原始诗及其后来的完成有关的作者问题的不同实践方法。在三，九世纪，随着越来越多的古代和现代诗歌的涌现，我们偶尔会注意到of窃的痕迹，而不是伪造，是关于这种类型的合作诗的。同时，基于这种扩展，可以在后来的诗人的作品中发现各种合法的诗学影响。值得注意的是，诗意的干预并没有停止，这首诗从概念上讲，当学者取代传教士成为三世纪至九世纪乃至整个研究时期的诗歌权威时，这种观点并没有达到不可侵犯的地位。然而，重塑早期诗歌的文化领域发生了变化，出于质量考虑，缩小了被认为是“公平游戏”的诗歌的范围。