TAHMĪS U RUKOPISNOM DIVANU HASANA BOŠNJAKA
TAḪMĪS IN THE MANUSCRIPT DĪWĀN OF HASAN BOŠNJAK

Summary/Abstract: Taḫmīs, as a specific poetic form, represents an important segment of the Oriental-Islamic literary tradition. This genre implies a form of intertextuality in which a poet enters into dialogue with another author by adding three new lines to an existing distich, thus creating a five-line stanza. Such a structure requires strict unity of metre and rhyme, testifying to a high level of poetic skill and aesthetic discipline. Hasan Bošnjak, a poet who lived in Medina at the end of the eighteenth and the beginning of the nineteenth century, composed in Arabic and left behind a dīwān containing three hundred and five poems of varying length, predominantly panegyric in nature. Alongside praise poetry, he also wrote in the genres of taḫmīs, tašṭīr, and tasbīʿ, which differ according to the number of verses in the metatext and the prototext. His taḫmīs compositions include verses by classical poets such as al-Mutanabbī, Ibn Zaydūn, Bahāʾ al-Dīn al-Miṣrī, and ʿUmar ibn al-Fāriḍ, as well as by his contemporaries, most notably Muḥammad Amīn. The taḫmīs of Hasan Bošnjak and al-Mutanabbī can be analysed through three key aspects: structure, motifs, and theme. This demonstrates how taḫmīs functions as an intertextual practice in which new verses not only continue earlier ones but also create a new context and new meanings. These poems are not only examples of poetic mastery, but also provide a valuable insight into the dynamics of literary dialogue across different regions and historical periods. At the same time, they confirm the cultural rootedness of a Bosniak author in the Arab-Islamic tradition and contribute to a deeper understanding of the interaction between literature and identity.

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