Literary Criticism
rasool khammar; seyyed mahdi nouri; Abbas Ganjali; hossein shamsabadi
Abstract
In contemporary literature, poets, writers and artists have shown special attention to symbols in their literary works, including poems, stories, plays, etc. One of the manifestations of symbolism is the calling of various historical, religious, mythological, etc. figures in contemporary Arabic poetry. ...
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In contemporary literature, poets, writers and artists have shown special attention to symbols in their literary works, including poems, stories, plays, etc. One of the manifestations of symbolism is the calling of various historical, religious, mythological, etc. figures in contemporary Arabic poetry. A contemporary poet, like a historian, does not look at history only through the lens of historical data and their logical connection, but adds dimensions to historical characters from his own experiences and according to the current conditions of his society, and thus spiritual concepts and dynamic implications. It conveys what it wants to the mind of the reader. One of the characters that has a meaningful presence in the poetry of some contemporary poets is Meysam Tammar, the companion of the Prophet and the faithful friend of Imam Ali (AS). In the present article, the symbolic appeal of this character in the poetry of two contemporary Arab poets, namely " Jasim al-Sahayyeh " from Saudi Arabia and "Hasan AleHatit al-Amili" from Lebanon, has been analyzed in a descriptive-analytical way. Since no research has been done on the invocation of Maysham Temar's character in contemporary Arabic poetry, it is important and necessary to investigate this issue. The results of the discussion show that Maisham's character traits such as righteousness, truth-telling, frankness of speech, persistence against oppressors and their scandalization have made contemporary poets, including the two mentioned poets, make his character the center of their poems. These two poets identified themselves with Maitham and called him in their poetry and tried to explain the problems and political and cultural disturbances of the society and their experiences, concerns and reform ideas beyond Maitham's personality.
Stylistics
Ali Javadi; Hojjatollah Fasanghari; Abbas Ganjali; Seyyed mahdi Nuri Keyzeghani
Abstract
Music is one of the most important elements of poetry, as it brings words to life and gives them meaning. Hafez Rajab Borsi Helli (744-813 AH) was a poet from the Mamluk era who wrote eloquent and touching poems in praise and mourning of Ahl al-Bayt (AS), and music played a special role in his work. ...
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Music is one of the most important elements of poetry, as it brings words to life and gives them meaning. Hafez Rajab Borsi Helli (744-813 AH) was a poet from the Mamluk era who wrote eloquent and touching poems in praise and mourning of Ahl al-Bayt (AS), and music played a special role in his work. The purpose of this research is to explain the semantic function of different types of music in poetry, and to explore Borsi Helli's position as a Shiite poet whose work is characterized by both verbal and structural beauty in service of meaning. Using a descriptive-analytical method, this article analyzes the semantic and aesthetic function of music in visual imagery. The findings show that Borsi was successful in using both external and internal music to enhance his poetry. In terms of external music, he established harmony between his poetic themes and the chosen weight, creating a strong bond between his poetry and its music. He also used rhymes effectively to create different effects on readers. In terms of internal music, Borsi used both the music of sounds (such as repetition and puns) and spiritual music (such as Moraat al-Nazir, hint, and other innovative musical arrays) to create coherence and harmony within his work. He incorporated special musical elements into his poetry that added enchantment to songs and voices, helping audiences experience spiritual pleasure while conveying meaning effectively. Overall, this research highlights the importance of music in poetry, particularly within the context of Borsi Helli's work.
Sayyed Mahdi Nuri Keyzeghani; Ahmad Ahmadi
Abstract
Imagination is one of the key component of poetry and distinguishes artistic poetry from prose, so much that such literary theorists as early as Aristotle, founded the definition of poetry on the concept of imagination. Qasidat al-Uzriyah fi madh al-Nabi wa Āl al-Bayt is one of the longest and the most ...
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Imagination is one of the key component of poetry and distinguishes artistic poetry from prose, so much that such literary theorists as early as Aristotle, founded the definition of poetry on the concept of imagination. Qasidat al-Uzriyah fi madh al-Nabi wa Āl al-Bayt is one of the longest and the most valuable poems in Arabic literature. This ode possesses a striking literary style and displays a glorious epic style. This ode belongs to the late Iraqi poet Muhammad Kazim al-Uzri, 580 verses of which have survived. One of the salient features of this poem is the use of literary images, especially beautiful images of epic. In various lines of the poem, the poet depicts battle scenes and the glorious feats of ritual heroes by drawing on stunning epic and imaginative images. Since no independent research has been done on the images of this valuable ode of Arabic and ritual literature, such a studying that aims revealing the aesthetics of its imagery is important and necessary. The study tried to enumerate and analyze the most important elements of imagination through a descriptive and analytical method. The results show that the poet has been able to describe the battle scenes and chivalric deeds of the heroes’ fair by sketching the artistic potentials of imagination. The poet has used various types of artistic similes such as eloquent simile, inverted simile, and compound simile as artistic tools to better convey the intended meanings. Likewise, by animating such war tools as swords, spears, or incarnating abstract and mental concepts such as death, times and other concepts consisting of external components of war, the poet has contributed to the dynamism of the images which have gained a remarkable boost as such. In addition to rhetorical images, items such as allusive images and auditory images have helped the poet to map and expand a space appropriate to the epic form and content at hand.
Mehdi Nowdehi; Abbas Ganjali; Seyyed Mahdi Nouri Keyzeghani
seyyed mahdi nouri
Abstract
Extended Abstract
1. Statement of the Problem
In the era prior to the contemporary Arabic literature, long, epic poems, which are considered to be the first sparks of epic poetry, were composed. One of these poems, or maybe the very first one of them, is the long, renowned ode of “Ozrie” composed ...
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Extended Abstract
1. Statement of the Problem
In the era prior to the contemporary Arabic literature, long, epic poems, which are considered to be the first sparks of epic poetry, were composed. One of these poems, or maybe the very first one of them, is the long, renowned ode of “Ozrie” composed by Sheikh Kazem al-Ozri. The poet owes his fame, to a large extent, to this poem. In terms of literary classification, the long ode of Ozrie is placed within the category of religious odes. In classic Persian literature, poems such as “Ali Nameh” written by a poet with the pen name of “Rabi”, “Khavaran Nameh” by “ ibn Hisam Khusfi” and “Heydari Attack” by Bazel Mashhadi are considered among this category of odes. One of the issues which merits investigation in religious and non-religious odes is to analyze the epic features of such works, for they are, owing to their nature, replete with descriptions of their heroes’ bravery and warrior spirit; therefore, the present study aims to analyze the epic features in the long ode of Ozrie.
2. Necessity and Objectives of the Research
As the ode of Ozrie has been named “the great Ode”, a title which refers to its epic content and its hero’s courage and valor, it is incumbent to identify whether this work, from a technical point of view, enjoys the features of an epic and whether, from the viewpoint of an epic, poetic style, it has been able to have the intended influence on its audience. It is incumbent to undertake a study to depict these features and their function in Ozrie. To this end, the present study aims to portray the epic features of the mentioned work and analyze them.
3. Methodology
This study, using a descriptive-analytical and at times comparative methodology, has tried to present major epic features of Ozrie and analyze such instances as lofty, epic terms; music; epic meter; opponent's development; and epic hyperbole.
3. Discussion and Conclusion
Taking a brief look at this ode, we can propound that it has numerous epic features and factors such as epic description of heroes, opponent’s development, stupendous and extraordinary events together with lyricism and concepts of wisdom have added to its literary and epic facets. Following, brief descriptions regarding each of the mentioned issues are presented as summation and conclusion
1. With regards to the descriptions of the battlefield, the author has solely concerned himself with the description of the protagonist, his valor and courage, and has paid little attention to issues like description of other heroes, description of the battleground, details of fights, warfare, and etc. This exiguity of descriptions is quite evident, not only in comparison with renowned world epics, but also with some contemporary Arab epics such as “Eid al-Ghadir” written by Boulos Salamah. Of course, one of the strengths of Ozrie in this context is the utilization of “opponent development” technique which the poet has handled gracefully in instances such as descriptions of Amr-ibn Abdud
2. Among the issues portrayed in renowned epics “stupendous and extraordinary” events can be named which happen at hero’s or heroes’ discretion. In Ozrie's epic, instances of such events are presented which have added to the epic atmosphere of the ode. Events such as the miraculous cure of Imam Ali’s eyes (PBUH) in the battle of Kheybar and pulling the gates of Kheybar stronghold off their hinges are some examples which Ozri has been able to depict beautifully and nicely in his epic.
3. In the epic poems of the world, such as Shahname, Iliyad, and etc. trances of love and lyricism are abound, bestowing a unique glory to the stories. In the Ode of Ozrie, there is no lyricism in either a narrative or dramatic form; however, its romantic preamble, which constitutes forty-seven couplets, can replace it.
4. Through studying and analyzing Ozrie, it becomes clear that the poet has been able to incorporate the literary device of hyperbole into his work, making it even more epic through utilization of hyperbolic images and descriptions
5. Advice, counsel, and concepts of wisdom are among the issues that are present in epics and poets such as Ferdowsi have paid attention to. This feature can also be seen in Ozrie’s ode; he has interpolated many wise sayings in his poems, befitting various occasions, and they have added to the appeal and richness of his work.
6. Concerning the rhythm and the metrical line used in Ozrie it can be said that the poet has made the most of the intensity and starkness of Bahr-Al khafif. In couplets that carry an epic load and concern the descriptions of the heroes, he has added to the attractiveness and the epic dimension of his poem through techniques such as using epic words and terms (like Samsam (sharp sword) and QimQam (stableman)), words with signs of emphasis (Shaddah), repetition of words, various types of pun, conformation, alliteration, and etc.
