Similarity and Difference between Andalusian and Omani Maqams: Maqamat (24) by Al- Saraqusti and the Maqamat (Al-Nadiya) by Al-Barwani as examples

This study intends to extrapolate the aspects of similarity and difference between Andalusian and Omani Maqams by observing the elements that make up the Maqamat text in the Maqamat (Twenty-Fourth) by Al- Saraqusti and the Maqamat (Al-Nadia) by Al-Barwani. Regardless of disagreements over the origins of Maqamat in Arabic literature, Arabs have long been enhancing their social gatherings with stories and anecdotes, showcasing their exceptional skills in storytelling. These stories portrayed the customs, beliefs, and society of their writers and the period in which they were written. By applying an inductive and analytical appraoch to two examples of Omani and Andalusian literatures, this study determines the points of convergence and divergence in the two maqamats. It is considered a new study on Andalusian and Omani maqamat. The study concluds that both the Andalusian and Omani Maqama adhered to the same framework of Arabic literature's Maqama art, although the two writers' aims and objectives were different. Consequently, the Andalusian and Omani Maqama were similar in artifice, beginning, and use of assonance. This shows that the Andalusian and Omani characters' interactions with Maqamat art were typical of this literary form. However, the Andalusian Maqama differed from the Omani Maqama in respect to elements inherent to art of Maqamat, such as the characters, narrative language, place, space, and time. The study recommends directing Omani literature researchers to other studies that indicate similarities and differences between Andalusian and Omani literature and monitoring their cultural and cognitive richness together.