This paper aims to examine the renowned Early Islamic elegy, the ʿAyniyyah of the Mukhaḍram poet Abū Dhuʾayb al-Hudhalī in two respects. First, it examines the poem as an entirely unconventional example of a Classical Arabic elegiac poem (rithāʾ) in terms of its thematic structure of introductory lament to the poet’s dead sons followed by three panels: the onager, the oryx and knightly combat. It concludes that the tragic endings of all three panels constitute a dramatic inversion of the triumphal outcomes of such thematic panels in the pre-Islamic qaṣīdah in a manner that reflects al-Jāḥiẓ’s structural insights into the semantic functions of the animal panels in both elegy and qaṣīdah. Second, the paper explores the allegorical aspect of the thematic sections of the poem, the elegiac lament and the three tragic panels, in order to argue that they are a key to understanding the allegorical dimensions of such panels in the Early Arabic qaṣīdah tradition. The paper next explores Arabic critical terminology for the Western term “allegory,” such as tamthīl, umthūlah and majāz, only to conclude that none of them are adequate. Building especially on ʿAbd al-Qāhir al-Jurjānī’s proper understanding of majāz, the paper finally proposes a new etymologically and semantically sound neologism as an Arabic critical term for allegory: umjūzah.

本文旨在从两个方面研究著名的早期伊斯兰挽歌，即穆罕默勒姆诗人AbūDhuʾaybal-Hudhalī的“ Ayniyyah”。首先，从诗歌向死者的哀悼的主题结构的角度分析了这首诗，这是古典阿拉伯抒情诗（rithāʾ）的一个完全非常规的例子，其后是三个部分：暴怒，羚羊和骑士战斗。结论是，这三个小组的悲惨结局构成了伊斯兰前基地组织中此类专题小组胜利成果的戏剧性反转，其方式反映了al-Jāḥiẓ对动物小组在挽歌和语义上的语义功能的结构见解。加迪达。其次，本文探讨了诗歌，挽歌和三个悲剧面板的主题部分的寓言方面，以便说它们是理解早期阿拉伯qaqīdah传统中此类面板的寓言意义的关键。接下来，本文探讨了针对西方术语“ allegory ”的阿拉伯语批评术语，例如tamthīl，umthūlah和majāz，但得出的结论是它们都不足够。特别是在'Abd阿尔·坎希尔AL-Jurjānī的正确理解建设梅杰斯，本文最后提出了一种新的词源和语义上的声音新词作为寓言阿拉伯语评价术语：umjūzah。