Perhaps no one opposes herm emetics per se, and no one denies its
significance; but many object to the degrees and levels of hermeneutics:
its places and its practices.
We will search one of the main problems of hermeneutics. The
parameters of he
rmeneutics.
This means the levels of hermeneutics' process which change the
concept of hermeneutics in every degree of hermeneutics' process. There
are five parameters return to origin or root, going beyond apparent
meaning, going the into inner meaning, making the text a spring of
significations, and the and Rinally going to what the text ean and cannot
say.
This paper aims to illustrate the effect of the textual power in the esthetics of the
poetry text, its concepts and the dimension of this effect in the light of psychological
reading of the pre-Islamic poetry. We seek to preeminence the text effect
in the receiver
who uses his psychological tools to find out about the author self, appealing for the tension
power that was assembled by the text of the pre-Islamic poetry, and depending on the
poeticalness of the pre- Islamic figure in order to obtain the esthetics effect that attracts the
receiver and demonstrates the esthetics of the pre-Islamic poetry text and its riches.
The pre-Islamic poetry was not merely an artistic formulation, but it was a position,
thought and expression from the depths of the poet Al-Jahali, in which the da'al floats, and
the meaning falls away, so we get a flexible aesthetic dimension, after it reveals that the
pre-Islamic poetry exceeded and surpassed; Their poems included a special vision of their
mental state.
The interpretation of my reading art is based on the transition from the direct
meaning in the apparent form to the indirect meaning in the implicit pattern, and verbal
functions, images, and loaded structures are strongly suggestive.
The critics
of pre-Islamic poetry have enriched the old literature, adding to it the
dimensions of literacy, and their interpretations of psychological meanings and profound
semantics, indicating beyond the apparent textual levels, to various explanatory meanings,
gave the textual poetry poetic content another poetry is the receipt.
The interpretations of the critics presented a variety of purposes, based on the
linguistic explanation, and the will of the poet at other times. The opinion of the reader and
his convictions may intervene in this position, but they are interpretations, regardless of
their degree of credibility or persuasion. They presented modern thought and opened up
new texts. Jahili with a different vision.
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.
