The blind Syrian poet, man of letters and scholar, Abū al-ʿAlāʾ al-Maʿarrī (363 H/973 CE-449 H/1057 CE) is the author of two celebrated diwans. The second of these, his controversial double-rhymed and alphabetized, Luzūm Mā Lā Yalzam (Requiring What is Not Obligatory), known simply as Al-Luzūmiyyāt (The Compulsories), features his uninhibited, often highly ironic and usually pessimistic, religious, and ‘philosophical’ ideas along with mordant criticism of politics, religion, and humanity in general. In his introduction, he abjures the corrupt and worldly qaṣīdah poetry of his otherwise celebrated early diwan, Saqṭ al-Zand (Sparks of the Fire-Drill), to turn in al-Luzūmiyyāt to a poetry that is “free from lies.”

In the present study I take a ‘biopsy’ from Al-Luzūmiyyāt of the eight poems with the double rhyme b-d to explore al-Maʿarrī’s excavation and reclamation of meaning from the Ancient Arabian past through the intertwined legacies of philology and poetic lore. The constraint (luzūm) of the double b-d rhyme in these poems leads inexorably to two proper names, the legends and poetry associated with them, and the etymological-semantic complex that yokes them together and generates related names and themes. The first name is that of the renowned poet of the Muʿallaqāt, Labīd ibn Rabīʿah; the second is that of Lubad, the last of the seven vultures whose life-spans measured out the days of the legendary pre-Islamic sage, Luqmān. Not surprisingly, the ancient Jāhilī poet-knight ʿAbīd ibn al-Abraṣ, likewise, cannot escape the pull of the b-d rhyme. The study demonstrates the mythophoric power of proper names from the Arabic poetic and folkloric past, once lexically and morphologically generated by the double consonants of the rhyme pattern, to evoke poems and legends of the past but also, by the force of al-Maʿarrī’s moral as well as prosodic constraints, to be reconstructed in accordance with the prosodic and moral constraints of Luzūm Mā Lā Yalzam, into a new poetic form, the luzūmiyyah. Quite at odds with the moral, thematic, and structural trajectory of the qaṣīdah form, the luzūmiyyah is by contrast static, directionless, and oftentimes a dead end.

叙利亚盲人诗人，文人兼学者Abūal-ʿAlāʾ al-Maʿarrī（363 H / 973 CE -449 H / 1057 CE）是两个著名的迪万斯的作者。其中第二个，是他饱受争议的双重押韵和字母顺序排列的LuzūmMāLāYalzam（要求什么不是强制性的），简称Al-Luzūmiyyāt（《必修课》），其特征是他表现出的自律性，通常是极具讽刺意味的，通常是悲观的，宗教的和“哲学”思想以及对政治，宗教和人类的普遍批评。在他的简介中，他放弃了他本来享有盛名的早期迪万萨克·阿尔赞德（Saqṭal-Zand）的腐败和世俗的“基地”诗，交出al-Luzūmiyyāt写给“没有谎言的诗歌”。

在本研究中，我从八首诗中的Al-Luzūmiyyāt中进行了“活检”，并用双韵律bd进行了探讨，通过相互交织的文字学和诗论遗产探索了al-Maʿarrī对古代阿拉伯人的意义发掘和开垦。这些诗歌中双重bd韵律的约束（luzūm）不可避免地导致了两个专有名称，即与它们相关的传说和诗歌，以及将它们结合在一起并产生相关名称和主题的词源语义复合体。名字是穆拉拉卡（Muetallaqāt）著名诗人的名字，Labīdibn Rabīʿah; 第二个是卢巴德（Lubad），这是七个秃鹰中的最后一个，它们的寿命可以追溯到传说中的伊斯兰前圣贤卢克曼（Luqmān）的时代。毫不奇怪，古老的贾希勒诗人骑士阿卜杜·本·本·阿布拉ṣ也无法逃脱bd押韵的诱惑。这项研究证明了阿拉伯诗词和民俗过去的专有名称的神话般的力量，曾经在押韵形式的双辅音从词法和形态上产生出，唤起了过去的诗词和传说，而且还受到了al-Maʿarrī道德力量的影响。以及韵律约束，将根据LuzūmMāLāYalzam的韵律和道德约束进行重构，将其转变为一种新的诗意形式，即luzūmiyyah。相对于“基地”组织形式的道德，主题和结构轨迹而言，“卢祖米耶”与之相反，它是静态的，无方向性的，而且常常是死路一条。