A text’s poetic characteristic is what gives it its literary attribute .The poetic characteristic
of a structural constituent is what gives it the main attribute amongst others. Scholars,
therefore, are interested when attempting to identify the p
oetic quality in tracing the
technique, whose effective presence, along with its links to other set constituents, indicates
that the studied text is distinguished for its poetic characteristic .Each artistic means, which
is significant in indicating the implication of the text, is a poetic means. This is the paper’s
hypothesis in illustrating the significance of contrast, relying upon a set of theoretical
postulates, of which some are confined to linguistics, although they have their basis in
Arab linguistic and rhetorical discourse. They help a scholar in drawing rhetorical
conclusions, in the aftermath of examining the texts. As for the practical objective, the
paper will try to make use of the theoretical postulates in dealing with one of al-
Mutanabby’s texts, which are strikingly rich with contrasts: their abundance on the text's
level. Thus , al-Mutanabby invested it [contrast] in weaving a network of relations linking
the signified, whereby contrast is their main linking device, and the first controlling factor
in directing them towards giving the text a consistent poetic structure.
this research is astudy of two important poems,Baayet Al-
Bohtori in praise of Al-Fateh bin khakan,andlakyet Al-Moutanabbi
in praise of the prince Bader bin Ammar bin Ismael.The two poems
have the same purpose- praise- and describe The wrestling b
etween
The praised and The lion.
But The unity of purpose and The main event does not mean
That both of The poems share a number of characteristcs,where
each poem expresses The artistic style of its own writer and his
unique way of expression.
This paper seeks to study the shortcomings of son of Makl AL
Azeedi AL Muhalibi (644h) on
AL Marri’s explanation (440h) in AL Mutanabis volume tilled
with(AL Lami AL Azizi ) in his book (the shortcomings of
illustrators of AL Mutanabis volume ).
As one on of the sciences of the Arabic Language, this research concentrates on the morphological criticism to al-Mutanabbi's poetry by a few ancient Arab critics who were not grammarians. The introduction presents the significance, aim and methodolo
gy of the research, then follows the talk of the aspects of the morphological criticism to al-Mutanabbi's poetry through highlighting the beginnings of the morphological and syntactic criticism. Building on this, it mentions the morphologically-criticized line of verse, records the criticism, and assesses this criticism based on the principles of syntax, morphology and the statements of the eloquent Arabs.
Eventually, this research addresses the characteristics of this criticism, pointing out that such criticism carries heavy bias against Abu Tayyeb al-Mutanabbi. It neither utters the truth, nor is sincere; but tends to be envious and offensive, being follower of al-Basra school of syntax and morphology, and considering its opponents mistaken and faulty. It then mentions the important results is ends up with.
The term greatness was taken on multiple meanings, and different
ways. However in the Islamic Arab thought, which Al-Motanabby
belongs to this concept was based on an essential point which is
perfection. In other words, perfection is the core of g
reatness and the most important feature in it is glory.
In Al-Motanabby's poetry, greatness was manifested in this sense,
and included many elements of existence, but the clearest and most important image was the one of the great man. Therefore, we focus, in this study, on human greatness through two images:
First, the great self, the image of Al-Motanabby him self.
Second, the great hero, the image of Sayf-Aldawlah the ideal savior Arab hero .
And as great is associated with beautiful for Al-Motanabby, so we
clarified his understanding of this kind of beauty, to discover that it was from spiritual or mental word, and not from material one
يعالج البحث تقنية القناع في قصيدة "رحلة المتنبي إلى مصر" لمحمود درويش،
إذ ُتعد القصيدة الأولى التي يستخدم فيها الشاعر تقنية القناع.
و يتناول البحث توظيف القناع ضمن أربعة محاور: المونولوج الدرامي، و الوجه
و القناع، و زحرحة القناع، و العنصر الدرامي
و العنصر القصصي. و علاقة هذه
المحاور بحركة القصيدة و أبعادها الدلالية، و مدى نجاح الشاعر في توظيفها.
