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Register a new userThe tale on the tongue of animals in Lafontaine's poetry
الحكاية على لسان الحيوان في شعر لافونتين
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يشير البحث إلى السّمات الفنيّة و الأسلوبيّة للحكاية على لسان الحيوان في شعر لافونتين ، و الّتي تتمثّل في تعدّد مصادر الحكايات و تنوّعها ، و روح الفكاهة ، و الإيقاع الموسيقيّ المتنوّع ، و الحدث في الحكاية و علاقته بالنّقد الاجتماعي .
The research refers to the artistic and stylistic features of the story of the animal Lafontaine's poetry, which is the multiplicity of sources and diversity of stories, spirit of humor, the varied rhythm of music, the story and its relation to social criticism.
References used
Isob, None, Isop Myths. Translated by: Mustafa Al-Sakka and Saeed Joudah Al-Sahar, Dar Al-Writers, Egypt
Bitar, d. Jacob and Hamoud, d. Comparative Literature. Faculty of Arts and Humanities, Tishreen University
Jalal, Muhammad Othman, 1324 AH / 1906 CE, Oyoun al- Awqaz in proverbs and sermons. 1, Nile Press, Egypt
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The goal of the poets Lafontaine and Shawki to
employ ridicule and humor in their tales on the tongue of animals,
is to create moral values related to the spirit of the times and events,
and provide the sermon and the lesson resulting from experience
and depth of suffering, and enjoy the reader and entertain himself.
This research studies an important aspect in the poetry of Yahya Bin
Alhakam Alghazal, one of the most brilliant poets in the Andalusia
literature.
This research discusses:
- Subjects of the tale in the poetry of Alghazal.
- The main artistic el
ements in his poetry.
The subjects in the tale revolve about the poet's experience and his
own life and the things in his community.
The tale in his poetry depends on dialogue, simple action, satire, and
folk language.
This poetic tale found approval from all the people in its own time
because it depends on simplicity and discusses daily problems like
bribery, justice and hypocrisy
These cases are very important that Alghazal had studied in his
poems.
يشكل تأطير أساطير العالم القديم في الشعر الحديث بداية مزايا تكثيف النص الشعري وتشكيل طبقات القصائد - الأساسية منها والفرعية - خاصة إذا ما كانت هذه القصائد مشبعة بالاساطير
The prominence of the subjective aspect in Prince Manjak's poetry has
made him by far one of the most renowned poets of the Ottoman Period.
This aspect is well and fully exemplified by his poetry of alienation. His
alienation manifests itself in t
hree dimensions:
1. Conscious alienation that penetrates deep into the personal
obsessions vis-à-vis the suffering of staying and itinerancy,
the bitterness of deprivation and failure;
2. Temporal (Time) alienation, incorporated in the absence of
spiritual, social and moral communication with others,
following his consciousness of departure from his period
deepens; and
3. Spatial (Place) alienation, as a result of his life turning into a
muddle of anxiety, confusion and instability.
However, the poet then strives to overcome his alienation and
compensate for his estrangement and deprivation through recalling the
past, celebrating himself, evoking legacy, and sticking to faith. To
achieve that end, he uses, as a vehicle, his distinctive language that
speaks out his emotional experience and individual ability to pick up the
exact, most felicitous term. Therefore, his poetry is seen to be rich in
everlasting artistic portraits –portraits expressive of a conscious self that
transcends reality to embrace the contradictions of existence, and
subsequently looks forward to a new world, alive with all that is pleasant,
fair and noble.
This paper, which is entitled "The Inheritance in Fayez Khadour's Poetry" aims at
studying and analyzing the methods of inspiring the different types of inherited elements in
the poetic text, with the purpose of uncovering two things: first, the vi
sions they contain,
which entails laying the importance on the (text language), meaning the style used in
forming the text language, based on the fact that poetry is an aesthetic, cognitive and
linguistic structure and any deviation in any of these characteristics results in a deviation in
poetry from its true concept; second: the new space that the poet presented in this aspect of
his poetic experience and the amount of distinction and difference which he achieved from
his fellow poets of poetry of modernity. I have discussed the methods of using the
inheritance in Khadour's poetry in two fields: the folkloric and literary inheritance, and the
religious and mythic inheritance. I purposely joined together one aspect of these fields in
one context because of the proximity of their references on the one hand, and in orderto
avoid the wordiness which is not applicable within the limits of this paper on the other
hand.
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