Authors
Abstract
Undoubtedly, Maqameh (Maqamat pl.) or Rhythmic Composition is one of techniques that have been stemmed in ancient history of Arabic literature and since the beginning of it emergence, several salient and well- known writers and authors appeared in the field of this technique and represented their power and skill in this regard. Of these writers, one may refer to Hariri (446-516h.) and Soyouti (849-911h.). In this technique, Hariri and Soyouti have purposed fifty and thirty Maqameh as reminiscent works in this field.
Despite of this fact that in general the final subject of all Maqamat of Hariri has led to begarry and poverty but he has overtaken other writers of Maqameh (rhythmic composition) by showing his lexical power and skill as well as employing speech and prosodic literary terms at his time. One may not compare position and stand of Hariri in this field with any other writer. These rhythmic compositions (Maqamat) are full of colloquial rhythms and metalepsis and different allusions that are important in terms of literary persepective so that many of these phrases and sentences may be observed through rhetoric books. Soyouti does not possess higher position in writing of composition and maqameh. This point is not probable for someone like Soyouti, who has made all his efforts for writing and teaching so no time might be remained for him for well- writing and prosodic advantageous implications; nevertheless, Soyouti has not be deprived from writing in the literary field and rhythmic compositions as well as benefitting from such endless spring. His rhythmic compositions are not certainly at same level with Hariri’s Maqamat since a scientific method has governed on most of his writings and they are full of religious texts and quotations from literati and scientists and they are mostly filled with religious admonishments and speeches than a literary technique
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