Hamed Hassan belongs to a generation of poets who grew up according to the
conventions of Classicism in Arabic poetry. He was also a contemporary of the fascination
of Romantic originality represented by its elite. He was, thus, influenced by the c
reativity
of both schools, and he mixed their artistic values to an extent with which it became so
hard to determine to which school he belonged.
This study endeavors to shed light on the romantic features of the poet's
creativity. This occurs through the artistic image which is serious and full of human
emotions. In addition to that the poetic diction is characterized by unique coinage. Poetic
musicality implies external as well as internal dimensions. The artistic vision which cannot
be overlooked , appears clearly in the poet’s rejection of the existing reality and replacing
it with another reality which can be fictious or ideal or both. All of this appears in his
romantic poems which centre on love and emotional adventures.
The research discusses the importance of poetic image, and its
methods of study, and the types of images the poet uses, as reflection, a
diagnosis of abstractions, concrete objects, and human emotions in a
suggestive expressive way: The study also
observes the poet's use of
images that observe the dynamics of mobile and static objects that move
only in the imagination; of single and compound colors; of
correspondences of times; of figurative passions with their musical
rhythms, and of significations of lexical meaning of words so that the
poetic expression will reach the highest levels of artistic aesthetics. It also
discusses and a single, composite color, and correspond between the
times, and the varying situations , also words of emotion either catalog
music, or cast the various implications of the lexical semantic; then the
poetic expression, will reatch to the highest levels of influence and
artistic beauty.
This paper discusses the poetic patterns and psychological which are
conveyed by imagery in modern Poetry Divan in Yemen, and which
Poets used to direct their meaning.
Images in poets divans varied between simile, sensational images and
metaphori
cal prosopopoeia, embodiment, "symbolism" the images that
displays poet mentality.
The psychological functions achieved by rhetorical uses create a
bridge of understanding with audience. They show a gap in the relation
between the images and psychological denotations, and they carry a
plenty of contemporary significance in their symbols, these pictures will
remain in the interior constructing context which came from undulation
of the psychological movement whether these images were sensational,
mental or symbolic. So employing the psychological rhetoric and is
denotation by the poets is confined to articulation only, but exceeds to the
inspirations & psychological undulation which addresses the conscience,
therefore the poets did not use certain rhetoric pattern or type of images
move a the others, but they widened the use of rhetoric so as to able to
deal with reality in all its facts and forms, and explain their attitudes and
feeling towards this reality.
The cultural heritage image, which is one of the modern figurative images, has been
increasingly used in modern Arabic literature which finds in traditions a rich source for
figurative image.
This research deals with one of the mechanisms to emplo
y this image in Mamdouh
Adwan's poetry, which is the cumulative employment. The research has chosen one
example highlighting the significance of this partial image in constructing integrated
scenery which, in turn, produces a full image. Moreover, this research confirms the
importance of cultural heritage in providing the poetic image with components and
elements that have specific semantic nature. Consequently, the interaction between the
author and the cultural heritage becomes effective, at the level of the image, in order to
produce poetic vision of a traditional reference. However, it does not eliminate the
originality of the poet; rather it deepens the content and gives the form new artistic devices.
I have decided to study the technical picture depending
on the senses of sight and taste so that I havechosen poetry
Su'ad Al-Sabbah–a Kuwaiti poet -to appliymaterial to support the
theoretical approach to this concept.
