AliAkbar Mollaie; Reza Mohammadi
Abstract
Lamiat Al-Arab is the famous ode that consists of 68 verses were related to Shanfara, Saalouk poet, in the pre-Islamic era. The present study based on a coherent or comprehensive analysis that explores all the elements and factors of ode technically, historically, and psychologically. This research ...
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Lamiat Al-Arab is the famous ode that consists of 68 verses were related to Shanfara, Saalouk poet, in the pre-Islamic era. The present study based on a coherent or comprehensive analysis that explores all the elements and factors of ode technically, historically, and psychologically. This research aims to analyze poetic interpretations, understand the poet's emotions, and discover the quality of the relationship between his mind and his language. Both psychologically and rhetorically, this research reveals the inconsistency between the poet's and his unconscious claims. In the discussion of fantasy, the poet's vehicles reflect his attention to society and social life, while the poet from the first verses claims to leave the tribe. The poet's tone also fluctuates between the lyric and addressing poem, and even the addressing aspect of it overcomes the harmonious and intrinsic factor. These contradictions are not the reason for the poet's audacity and the poet's untruthful feeling but refer to the gap between the confusing and contradictory lives of Shanfara and his ideals.
AliAkbar Mollaie
Abstract
Reading the Arabian poems attributed to pre-Islamic era, especially Mu’allaqat, one constantly faces a widespread linguistic phenomenon that somehow impedes the process of understanding “the signified” and the meaning of the poems. This linguistic technique is characterized by deletion of the qualified ...
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Reading the Arabian poems attributed to pre-Islamic era, especially Mu’allaqat, one constantly faces a widespread linguistic phenomenon that somehow impedes the process of understanding “the signified” and the meaning of the poems. This linguistic technique is characterized by deletion of the qualified and replacement of one or more qualifiers for it. The phenomenon is today discussed in some references on meaning and locution as “figurative language based on qualifier” and in some others as “figurative semantic collocation”. The researcher hypothesises that the occurrence of this linguistic usage in pre-Islamic Arabian poetry is not a superficial and accidental occurrence, but a linguistic approach realized in the “syntagmatic axis” aimed at enriching the literariness of speech, being an eloquent selection much in line with the temperaments of those nomadic desert dwellers. In the present paper, this common linguistic occurrence is investigated in meaningful and basic connection with geography, thought, and culture of the pre-Islamic Arabs and their life conditions. The findings indicate that the process of deletion of the qualified and transfer of meaning to the qualifier creates a kind of succinctness and empowers the representational character, leading to better dynamicity of the reader’s mind.
Ali Akbar Mollaie
Abstract
Abufiras al-Hamdani is a romantic poet of the fourth century A. H. who composed a mourning ode for his mother when he was in the Roman’s prison; and Barudi is a gifted poet of the thirteenth century A. H. who, in the time of exile, shed tears of wistfulness and composed a magnificent ode in memory ...
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Abufiras al-Hamdani is a romantic poet of the fourth century A. H. who composed a mourning ode for his mother when he was in the Roman’s prison; and Barudi is a gifted poet of the thirteenth century A. H. who, in the time of exile, shed tears of wistfulness and composed a magnificent ode in memory of his late wife. These two odes are of the most magnificent mourning poems of these two poets and Arabic literature. An analysis of the structure and the content of these two immortal works, and putting them on the scale of criticism and equalization make up the vast perspective of this writing. The present study suggests that these two meritorious works, with their thematic unity and artistic veracity, picture the painful sentiments, mental concerns, and conditions governing the lives of these afflicted poets well and in an artistic manner. The results of the present study show that although the artistic techniques of expressing the poets’ affection have differentiated the odes, the transcendental affection, the outstanding personality and the relatively similar conditions of these two poets have given them a similar atmosphere.
Ali Akbar Mollaie
Abstract
Frequency of vocabulary used in a piece of writing, prose or poetry, is one of the stylistic features of the writer. Words are like bricks which constitute the structure of a literary work, and the way the writer puts or organizes the words , reflects his/her literary characteristics which in turn distinguishes ...
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Frequency of vocabulary used in a piece of writing, prose or poetry, is one of the stylistic features of the writer. Words are like bricks which constitute the structure of a literary work, and the way the writer puts or organizes the words , reflects his/her literary characteristics which in turn distinguishes him/her from other writers. Being simply one of the elements constituting the writer’s style, frequency of the words used in a literary work can-on analysis- demonstrate some secrets of the literary style .
Assessing reiteration and frequency of the words in Mutanabbi and Ibn Hani’ and Shawqi, three Arab poets’ selected odes , this paper displays that diversity of words is the highest in Ibn Hani’ ‘s poems and the lowest in Shawqi’s ,whilst Mutanabbi’s poems possess a moderate variety in between.
The results of this research justify the efficiency of the statistical method applied.
