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Register a new user"Saub al- oqual" a poetic concept at Abu-Tammam
مفهوم (صوب العقول) لدى أبي تمام
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يحاول هذا البحث الكشف عن جانب مهم في رؤية أبي تمام الشعرية التي جعلت الشعر وليد العقل, و هذا يعد تحولا مهما في مفهوم الشعر العربي الذي اتهم بأنه شعر غنائي يفتقر إلى الفكر.
This study tackles an important part of Abu-Tammam's vision that considers the poetry outcome of reason. And that is an important shift of the concept of Arabic Poetry , which is charged with lyricism and lack of thought .
References used
أدونيس, 1989م - الشعرية العربية. ط2, دار الآداب, بيروت, 112.
إسبر, ميادة كامل, 2011م - شعرية أبي تمام. وزارة الثقافة, دمشق , 304.
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The research presents the image of women in the life of Abu Tammam and his artistic
experience through what Abu Tammam presented in his poetry library. It shows us that
women occupy a prominent place in their artistic experience and have appeared i
n many
ways.
There is a beloved that the greatness of his travel and talk about it, is often a talk of self,
and women who refuses to obey the poet's desire because it will lead to the life of fainting
and idle.
We start by talking about the image of women as drawn by the poet in his verses, and his
concept of true love as presented by the poet, and then we offer the concept of beauty of
women in Abu Tammam and as presented by his hair and his position of gray,
This project is displayed to the syntactic Andalusian he has had
aprominent role in the scientific life in Andalusia in the seventh
century AH, he has helped to enrich the grammar Heritage, he is
Abu Al hasan Al-Obbazi (680 AH).
The search contains the identifying of Abu Al-alaa Al-Ma'arry's
life, and talking about role of alliteration and counterpoint in
achievement of the internal musical rhythm during his poetry. Abu
Al-alaa did not adhere in the traditional musical st
andards not only
what it includes of the strength in the unity of meter and rhyme, but
he moves of its traditional course to court which specific details and
parts dominate on it for planning to internal architectural
engineering, he ladled in the usage of alliteration, which did not
appeare in his poetry to achieve the musical rhythm in what
independs on it of agreement between things. and also from counter
point, he combines between good formula and the benefit of
content.
Counterpoint did not appeare just for appearance of the opposite,
but every opposite had rhetorical art or adorable, or something of
wisdom which made the reader feels the agreement and combination
between counterpoint and the meaning which it achieves or the
rhetorical formula which it contacts.
There is reference to the poem of Abu Zooeb Al Hozaly in almost all
studies about the trace of the time in Arabic poetry, the poet who said
when he elegized his sons whom he lost at same time. So, the poet
formed a unique elegizing experiment. He
started it with special speech
about his sadness and wisdom, then moved to the common state; when he
comforted himself by saying three stories which shaped the ultimate
power of man, then shaped the collapsing of this power in front of time
and death.
This research aims at light lighting the aspects of the poem by
studying the duality of mortality and eternity that controlled the poem,
the properties of poetic speech, and the narrative elements style of Abu
Zooeb.
The approaching of the poem by criticism forms a reading which
may add new to dimensions previous reading in some aspects and agrees
with it in the others.
The object of this research is taking about the art image in the
poetry of Abu Al-alaa Al-Ma'arry's through metaphor and
metonymy. Abu Al-alaa Al-Ma'arry used the metaphor because he
was able -by using it- to evade from taking directly about the
attribute or about what he describe. So that, his metonymies varies
between the obvious and the obscure which Demonstrate his ability
to use words and puzzles to express the various meaning by using
brief words.Metaphor also contributed to express his ideas and
meanings which he translated it as metaphoric images, and he
assorted his relations linking the two parties.
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