The Magic of Language and the Grace of Style in Yemeni Literature

Afrah Borji – Sawt Al-Amal (Voice of Hope)

Have you ever wondered how one writer’s style differs from another? The answer lies in language. Every writer has their own way of using words and forming sentences, which makes each literary work unique. In this report, we will explore the impact of language and style on various types of Yemeni literature through the eyes of specialists and those involved.

The Relationship Between Language and Literature

Dr. Taha Husain Al-Hadhrami, an associate professor of modern literature at Hadhramaut University, says: “First, we must look at the concept of language and literature. The concept of “language” refers to speech that is made up of sounds, words, and signs with meaning, or that constitutes a means of communication between individuals to express their practical and emotional needs, to disclose, influence, and create artistically. It is a system of rules and relationships between words and sentences in their structural arrangement, their grammatical harmony, and their lexical meanings. Ibn Jinni referred to this function of language in his definition of it as: “Sounds by which every people express their purposes.”

Dr. Taha continues: “The concept of language is based on two principles: the first is the soundness of linguistic expression through the soundness of structure, composition, and meaning. The second is linguistic expression as a creative specificity on which the creator builds his compositional, morphological, and lexical choices.”

He adds: “As for “literature,” in its simplest definition, it is a beautiful linguistic expression that expresses a real human experience; it encompasses all that the human mind produces from various types of knowledge. It is one of the most important expressive methods by which the writer expresses his feelings and emotions, and the currents of his thoughts and fleeting thoughts in various written styles, poetry, and prose.”
Regarding the relationship between literature and language, Al-Hadhrami says: “The relationship is like the relationship between the soul and the body. Language is the main tool of literature and its means of achieving its communicative function.”

In the same vein, Dr. Ibrahim Talha, a professor of language and literature, says: “The relationship of language is not only with literature but with all sciences and knowledge. It is the key to them all. Language is a special characteristic of humans, unlike all other creatures. Literature is a part of the linguistic system on the one hand and a part of the human behavioral and mental system on the other.” It was said: “The world lived for centuries without science, but it never lived a single day without literature.”

The Importance of Language in Style and Literature

Dr. Taha Al-Hadhrami explains that language is one of the most important means of social communication. It expresses human thoughts and feelings and embodies religious, social, intellectual, and cultural identity. It is also one of the most important structural elements of literature. Style, on the other hand, highlights the way the writer uses to present his emotional feelings and the organization of his thoughts.
Al-Hadhrami continues: “By reflecting on the above, we arrive at the fact that the relationship between language and style in a literary text is necessary. Style is the writer’s way of expressing what is in his mind in writing.”

He adds: “Some European writers – according to this distinction between the content of speech and the way it is expressed – have considered language or expression as a garment for meaning, and style as a pattern for this garment. Therefore, they went on to say that language “expresses” and style “highlights.”

From this standpoint, the importance of “language” and “style” in a literary text is evident, as they contribute to highlighting its expressive and stylistic distinctiveness. They hint subtly at the writer’s remarkable ability to use language and to employ its diverse and varied expressive levels.

Ibrahim Talha says: “Linguistic style is an expressive method, and stylistic language is an independent science. Talking about language and style often means talking about the writer’s specific style within the linguistic system. There is a famous critical saying: “Man is style, and style is man.”

Colloquial and Formal Language in Literary Works

“I prefer using ‘dialect’ instead of ‘language’ because the relationship between them is like that of a branch to its root. Every dialect is a product of a language, and the difference between them lies in the dialect’s deviation from the strict rules of the language.” This is how Dr. Taha Al-Hadhrami began his discussion about the differences between colloquial and formal language in many literary works.

He pointed out that using both languages in creativity has two sides: the first side is that each one is used in its own domain as a means of expressing its speaker, as we see in folk poetry and formal poetry. This side is not disputed. The other side is the use of colloquial language in the domain of formal language, which is where there is a deep disagreement in our modern Arabic literature.

He explained that there is a division among critics, representing two groups. The first group believes that dialogue in literary prose should be written in colloquial language, based on the fact that its writing receives a response from the audience, who see their real life in it. Therefore, the audience is emotionally connected to the language of that life when they see the character speaking in the language of their real life. The second group believes that dialogue should be written in formal language because writing in colloquial language is a vulgarization of literature. They take such writing out of the realm of Arabic literature, which is expected to survive and last. They believe that the success of such writing among the masses does not mean anything other than momentary pleasure, after which those works die when they pass in time.

Al-Hadhrami said, “When this conflict between the two groups intensified, a third group emerged that came to a middle ground. They believe in the necessity of adhering to easy, flexible formal Arabic, free from obscurity and distant from vulgarity and triviality, so that our national language can ascend to sublime heights. Our national language is an inexhaustible well, full and overflowing with easy and evocative words, from which the writer can choose whatever they want to build sound dramatic dialogue for the play, novel, or story. This is an opinion worthy of acceptance because it is a middle ground between two extremes.”

He added, “There is no conflict between formal and popular use of language in general communicative settings, but in scientific, educational, and standardized media settings we use formal language.”

Types of Literature

Dr. Ibrahim Talha reviewed many aspects related to types of literature. He noted that poetry is a genuine reflection of the feelings of society, and it is the voice of every individual in it. He also touched upon the decline in the popularity of Arabic theater compared to the 1980s, expressing his belief that life itself is an open theater.

He mentioned that Sufi literature is a refuge for the soul in the face of life’s materiality, and that coded Sufi poems have become a source of inspiration for many songs.

He explained that there is a connection between humorous literature and social suffering, relying on Ibn Khaldoon’s theory that links increased suffering to increased desire for humor. Epic poems are considered to be among the arts that have roots in Western cultures, and the Arabs tried to adapt this art into other forms, such as Al-Mu’allaqat.

Dr. Taha Al-Hadhrami says, “Arabic criticism has distinguished between the two main literary genres: poetry and prose. Every organized work was poetry for them, and every unorganized speech was prose. Within these two genres, literary forms emerged and branched out among them in the modern era. Poetry was the prominent field of their literature, so it was said to be ‘the Diwan of the Arabs’ (the collection of their poetry).”

He explained that prose, which represents one of the branches of creative writing, has two meanings. The first is speech that circulates among people in general during their interactions, and this concept of prose has no connection to literature whatsoever. The second is artistic prose, which is the literary term for the concept of organized speech that contrasts with poetry. It is distinguished from ordinary speech by its good organization of ideas, attractive presentation, good wording, and fine craftsmanship, with a clear consideration for the rules of language in which it is presented, in terms of syntax, morphology, and lexical meaning.

The Fundamentals of Distinguishing Poetry from Prose

When asked about the basis for distinguishing between poetry and prose, Dr. Al-Hadhrami responded that this is a very important question because it delves into the unique characteristics of each of these genres and because it refers to the basis upon which we rely when we say, “This is a poetic text, and this is a prose text.”

He pointed out that many opinions have emerged over the stages of Arabic literary history that have delved into the distinction between these two genres, and they can be summarized in five directions:

1. Some scholars have gone to distinguish between poetry and prose, through their subject matter. They said: These are poetic themes; that is, suitable for poetry, and these are prose themes; that is, suitable for prose. This is a statement that is refuted by the literary facts of both genres, which have expressed common themes.
2. This is what Qudama Ibn Ja’far went to in his book ‘Criticism of Poetry’ when he defined poetry as: “A measured and rhymed speech that indicates a meaning.” Many scholars followed him in this, who saw that music, meter, and rhyme are what distinguish poetry from prose. However, this opinion was refuted by referring to Ibn Malik’s ‘A Thousand Verses’ and what followed it, which had the above characteristics, but despite this, it is not considered poetry, but rather organized verses and nothing more.

Some opponents of the advocates of this distinction believe that they rely on the external formal element (music, meter, rhyme). They should have relied on the inherent nature of both poetry and prose in their distinction.

• The advocates of this distinction believe that the distinction should be based on the difference in the source of both poetry and prose. The source of poetry relies on poetic sensitivity; that is, the emotional state; therefore, poetry was called poetry because of its connection to feelings, and because it is more stimulating to feelings and emotions. Meanwhile, the source of prose is reason; therefore, its connection to the mind and thinking is more than its connection to emotion and feeling.
• Others believe that the distinction between poetry and prose relies primarily on the use of language. Language in poetry is more tense and suggestive than the language of prose. The poet chooses words with multiple meanings so that these words are more capable of suggesting emotional, sentimental, and intellectual content.
• Proponents of reception theory argue that the distinction between these two genres is determined by how the reader perceives them. This method controls the form and language of the genre. The difference in the language of the poem from the language of the novel or the language of the play is based on how these genres are received. The play engages both the viewer and reader; the novel relies on reading, while poetry is experienced through both listening and reading.

Dr. Al-Hadhrami said: “If we look carefully at the previous trends, we will find that they were based on absolutes, which is why they appear contradictory and conflicting on the surface. However, many scholars have said that the element of music is almost obvious in poetry and poetic wording, but this does not deny its existence in prose. Emotions and feelings are more closely connected to poetry, and ideas are more closely connected to prose. This does not mean that prose is devoid of emotions and feelings, and neither is poetry devoid of ideas.”

In conclusion to the discussion on the subject of literature and its genres, Dr. Taha Husain Al-Hadhrami, Associate Professor of Modern Literature at Hadhramaut University, says: “In this context, it should be emphasized that there is no difference between poetry and prose, especially in terms of essence. Each has its own use of language, music, imagery, emotion, and thought. However, the difference between them lies in the degree of use of these matters.”