Censure in poetry is a pattern of poetic construction, in which the poet evokes a voice other than his own voice or creates out of his own self another self and engages with him in dialogue in the traditional artistic style whose origin remains unknown. Example of the same may be found in the classical Arabic poets’ stopping over the ruins, crying over separation and departure and speaking with stones and andirons; all in the traditional technical mould. Censure confronting the poet usually emanates from the women as blaming, censure and cursing is closer to woman’s hearts than to the man’ hearts. Censure revolves around some social issues, such as the habit of over drinking wine and extravagant generosity taking risks, traveling, leaving home country and ageing etc.
Classical poets have insisted on these topics and have frequently used them in their compositions. One such fact doing the rounds is that women love money and they are eager to sacrifice everything for the sake of money.
The disobedience of the censurer is something the poets have been proud about, and they have stated the same in many places. Their disobedience to their censurers is a proof of their staunch faith in their thoughts and their pride in their own behave or.The censurer represents a rejection of something, or social practice facing the objection of other voice or expression of the pot’s philosophy on the issues of death and life; the poet always complaining about this censure gets fed up with it and refuses to surrender to him, the censurers follow the youth although the youth does not hear and urges his companions to disobey the censurers.
In the same way as the Jahili poets followed this technical tradition, the mukhadram poets also followed suit, they remained beholden to it even the arrival of Islamic dawah could not turn them away from it and could not deter them from following in the footsteps of the first generation of poets in their compositions. We see Hassan bin Thabit, the poet of Prophet Mohammad (Peace be upon him) going on without any hesitation in diversification of the styles of his poems even while defending Islam and defending the Prophet and attacking the Quraish tribe.
This is the traditional legacy which was keenly pursued by Hassan and the poets of his generation and other mukhadram poets who followed completely in the footsteps of their forefathers in their themes, styles and ways of composition.
The present paper will dwell in some detail on one of the phenomena of Jahili Arabic poetry which has hitherto not received much attention i.e. the phenomenon of censure. The study aims to take a peep into the magical world of Jahili poetry to identify some of its hidden aspects and bring them out for all. We pray to Almighty Allah to help me achieve this goal.
the researchers pointed that the poet relied on several means in the form of poetic images, including analogy, and the metaphor with its various elements, The chromatic component has also been used in the formation of its poetic image,and resorted to the correspondence of the senses and the symbol of two types:Self-code, public code : And we find a variety of symbolic stems from different sources, from these symbols, what is religious, including what is historical and what is legendary, and such symbols, which resorted to the rare places of his poems confined to the myths contained in the Bible, His use of the general symbols was ineffective in the poetic picture, relying on the metaphor and metaphor.
The present study identifies the linguistic means used to realize hyperbole in poetry as a rhetorical device that makes readers experience the beauty of poetic language. To achieve the aim of the study, a model of analysis in accordance with Spitzbardt (1963), Norrick (1982), and McCarthy & Carter (2004) is used. The analysis of data under investigation reveals that hyperbole is a crucial aid used by poets to portrait the real world as imaginative. In conclusion, poets prefer using lexico-grammatical repertoires than lexico-grammatical configurations. Keywords
موازين النقد في الشعر الفارسي
الميسر في موسيقى الشعر العربي
After this trip in the poetry of irony fields, which restricted to the second Abbasid poetry .it is necessary to mention the most notable results that the research reached
Abstract:
This research deals with two topice of the modern stylistic topics among
.It attempts to give answers on them .the contemporary Arab scholars
The first topic: The application of modern western stylistics on the
Quraanic text.
The second topic: The roots of stylistics in the Arabic rhetoric history.
Speech is associated with all early term grammar - somewhat - talking about the beginnings of the emergence of grammar, its foundation, and the truth is that this period has remained obscure, what came of them was a novels dealt with a facilitator beginnings as, and this means that what was of grammatical terms in the period of the first generation of grammarians do not constitute in itself, but the initial harbingers of serious way as in the science, and the real beginning of the term grammar mature as orally were at Hebron and Sibawayh evident in the book, then the efforts of the grammarians available until after the term of grammar arrived to what it is .
In this area is (actor) a grammatical terminology, which won at the ancient s
Magic is an attempt to affect people or events either by cheating and charlatanry means or by expecting devil powers in order to bring advantage or to avoid a harm or to bring harm to others or to for see the future and divition .
Magic is either real by the devil like writing majic works to prevent the marriage of someone and to depart the husband and his wife , causing someone to be distressed the physical and nervous diseases and stopping the stories and the project; majic can be artificial by being intellect and legerdemain and different types of triks and to cancel the magic by using magic or by protecting the self by using Talismans as well as presenting or offering sacrificers to the masters and th
... Show MoreMost of the propositions, after the Arabic letter reached a position of integrity and proficiency, the calligrapher turned to the production of calligraphic formations in various aesthetic and expressive forms, investing the spiritual energies in what these calligraphic compositions show in artistic paintings. It carries a lot of meanings that are embodied in linear formations, and in order to reach these expressions and know the effective positions of space, this research is concerned with studying these technical treatments. The first chapter included the research problem, which included a question about the effectiveness of space in the linear painting, the importance of research and the temporal and spatial boundaries. As for the s
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