جستجوی مقالات مرتبط با کلیدواژه "الرثاء" در نشریات گروه "ادبیات و زبان ها"

Sufism is regarded as an internal revolution and a mental evolution to perceive the unity of the existence and release from the materialistic world and its belongings. Sufism was first emerged in 2 A.D As time dragged on, the objectives and features of the mental flow emerged to expand it and the tendency of others to this school in poem. In consequence, the Sufi poet's sapped forward to compose their Sufi notions, thus; a new spectrum of poetry came into existence in literature called Sufi poetry. Undoubtedly, this type of poetry was first initiated among the Arab poets right from its emergence and the development of Sufism. However, it has not been well- developed and glorified by the pioneer poets. According to the fact that the Sufi poets had been anonymous and there is no written record of their poem books, researchers did not take steps to elucidate them. Ibn-e- Kenaseh is one of those poets who is less recognized. He lived in Abbasid dynasty. There are traces of Sufism thoughts in his Sufism thoughts. Up to now, researchers have not considered these issues. The authors have done this research based on a descriptive- analytical method to present a new review of asceticism and elegies to the addresses. Therefore, the authors of this research aim to dissect the Sufism thought in the asceticism and elegies of Ibn-e- Kenaseh. In fact, this research has tried to provide the addresses with a broad view of the features of these poems and the way of their emergences and the motifs of the poets. It also ims to identify the position of this anonymous poet among the Sufism poets during Safavide era. This research aims to respond the following questions: 1. How the intentions and subjects of the Sufism poems have emerged in the asceticism and elegies of Ibn-e-Kenaseh? 2. What are the aims and motifs of the poet of composing this type of poem? 3. What are the features of Sufi poetry in the poems of this poet? Conclusions Since the poet had been in the gatherings of the great men of this school, he had realized and comprehended the thoughts of this tendency. He had been affected by the concepts of prominent ones like Ibn-e-Adham, he achieved the glory and perfection of the existence. Hence, the asceticism and elegies of Sufism intensions are apparent in his poems. One of the main concerns of the poet is the arrogance of the boastful ones that has annoyed the Sufi one. He tried to guide those who have lost their way as well as the arrogant ones. Further, such attempts can be traced in his poems. Rasai, the son of the poet, and Yahya, his uncle and disciple express his honest emotions and his delicate spirit. Before, the poet commenced composing Sufism poems, he had experienced and joined the Sufism gatherings and he had learned their doctrines. Being meek and humble to God's will and determination are the prominent specifications of Sufism poetry. This is considered as the attributes of the great men the Prophet (peace upon him). As there are harmony and rhythm in his poems, it is easier to keep in mind the Sufism notions and thoughts. As a result, this type of poetry could be glorified. Hence, another aim of the poet is to expand the doctrines of Islam in the form of Sufism. Considering that Ibn Kenaseh was influenced by the Sufi views and thoughts of Ibrahim Ibn Adham and this figure was one of the first Sufis of the second century AH after Hassan Basri and Uthman Ibn Sharik known as Abu Hisham Kufi, he may be deliberated as one of the first Sufi poets. He considered himself a sect or even the first Sufi poet. Lucidity and clarity and dodging of ambiguity and vagueness and mystery and symbol are also the protruding features of Ibn Kenaseh's poetry in this field. As t Ibn Kenaseh lived in the first centuries of the emergence of Sufi poetry, this type of poetry has not yet developed and has not reached the stage of ambiguity, consequently the absence of Sufi mysteries and vagueness and complexity in his poems is quite natural. Furthermore, the lack of using complex poetic images and difficult metaphors similarly indicate the lack of maturity of Sufi poetry in the poet's era and accordingly in our poet's poetry.

Some of the Arabic poems sought in the mourning of the Master of the Martyrs (peace be upon him) have taken on an eternal color, including the “seer” of Sheikh Saleh bin Al-Arandas. He is considered one of those who confined his poetry to the people of the house in praise, lamentation, and mourning, including his famous seer who became famous in Islamic history because of what received special attention from Imam Al-Mahdi (may God bless him and grant him peace). He did not recite in a gathering unless attended by the presence of the greatest remnant of God. Given the importance of this poem, and in order to understand more of the hidden meanings behind the text of the poem, to clarify the ideas presented in it, and then to reveal its stylistic phenomena, the present study investigates the text of the poem, relying on the stylistic approach and its different levels to produce the meanings of the intellectual and suggestive poem and to indicate its important stylistic indicators.

Ibn Al-Arandas and its Raeea:

Sheikh Saleh bin Abdul-Wahhab bin Al-Arandas Al-Hilli, nicknamed Ibn Al-Arandas, was one of the great scholars, poets, and scholars of the Shiites in the ninth century AH. He died about 840 in Al-Hilla Al-Fayhaa, and was buried there, and has a grave to be visited. Scholars such as Abd al-Hussein al-Amini in Al-Ghadeer, Seyyed Mohsen al-Amin in Shiite Notions, al-Samawi in Al-Tali’a, Jawad Shubar in Adab al-Tuff, and Al-Tarihi in Al-Muktab praised him for his mastery in the sciences of jurisprudence and principles, his piety and his sincere love for Ahl al-Bayt (AS). Also, they mentioned some of the poems of this great poet. His poetry tells about his skill in Arabic literature and his victory over language, morphology, grammar, and rhetoric. He has sad praises and elegies for Ahl al-Bayt (AS), especially the martyr Hussain (peace be upon him). Among the most famous of them is his famous seer in lamenting al-Hussain (AS), with this beginning:طوایا نظامی فی الزمان لها نشر   یعطرها من طیب ذکراکم نشر  This poem is full of emotions, soft feelings, and verbal and moral improvements prevailing in that era, with the support of faith and Qur’anic themes, in honor of the position of Ahl al-Bayt, especially Abu Abdullah al-Hussain (peace be upon him). The poem recounts the painful events that took place in Tuff, as well as the crimes of Yazid and his soldiers reprimanding them and talking about the sacrifices of Imam Hussein (AS) and his companions. This poem comes from a sad heart filled with sincere sad feelings spreading throughout the poem.

Stylistics and the Stylistic Approach:

Stylistics is one of the new topics that researchers have paid close attention to in recent years. Stylistics was at first concerned only with classical rhetoric. Today, however, it is also associated with several branches of science such as new criticism, literary history, linguistics, cognitive science, media, language education, and explores the characteristics of the text. The most important features of stylistics are the discovery of linguistic relationships in the text and the discovery of the special phenomena that produce valuable features of the text. In addition, in style, some try to find out the relationship of some traits to the personality of the author by studying the words of his poetry. Stylistics has different methods that examine each literary text from a certain angle. One such linguistic style is the structuralist style.Structuralism is one of the schools that today in the field of criticism and analysis of literary issues has presented and welcomed new literary perspectives and ideas. Structuralists believe that no single component makes sense and that each component of the work must be taken into account in relation to other elements and ultimately to the system as a coherent whole. It is worth noting that in stylistics, cases are studied that show a prominent style in the text (poetry or prose) and lead to the highlighting of the discourse and giving it a special form. The stylistic researcher touches on several levels in his analysis and focuses on them to achieve accurate and objective results. From this perspective, according to the point of view of stylistic researchers, a stylistic study of texts requires an approach that is considered one of the most effective methods of text analysis on three levels: linguistic, literary, and intellectual. It is throughcooperation and interdependence between these distinct linguistic levels that the  stylistic study of a text is organized.In this way, while investigating the components of the text, we analyze the structure of the work to find the stylistic elements contained in it. Based on the principles of stylistics at the intellectual level, we investigate the main idea of ​​the text and try to draw the recipients to what the author of the text wants to say, and what his interests are. On the literary level, attempts are made to investigate the techniques involved in the text, including rhetorical issues such as simile, metaphor, and idiosyncratic and semantic issues. As for the study of the linguistic level of the text, it includes three parts: phonetic, lexical, and grammatical, in which the stylistic researcher examines the music of the literary work and how to choose words, from the point of view of the simplicity or the structure of words, their repetition, and the type of selection according to the substitution axis, and the analysis of sentences in terms of shortness, length, and nominalism.

Elegy involves the most sincere affections. Elegy for father, mother, brother, sister and spouse existed in ancient Arabic Poetry but elegy for wife is rare in comparison with elegy for husband. In addition, elegy for wife exists in Farsi Literature. This study reviewed elegy of Jarir Ibn Atieh and Khaqani Shervani for their wives based on the American School of Comparative Literature and René Wellek Theory. The purpose of this study was to investigate literary and cultural commonalities of Ancient Arabic and Farsi Literature. In addition, this study found that rare elegies for wives exist in Arabic and Farsi poems. Based on the American School, the culture of the poet has been effective in accepting this literary genre and the complicated poetic language of Jarir and Khaqani has become soft and simple in these poems. This is because the poet has had deep sighs and wails and has been mourning. This shows the sincerity of emotions in the poems of these two poets. Descriptive-analytical methodology was used in this study.

The present paper is looking for expressing one of the most important human's phenomenon: mourning; one of the types of the poetries which has a close relationship with humanistic, social and natural tendencies. The poets paid special attention to mourning since years ago as well as the contemporary era. The Lebanese contemporary poets also paid special attention to the majesty of this great family. This article attempts to study Ahle Beit Mourning in Lebanese Christian Contemporary Poetries and analyzes the literary techniques applied by those poets.

Abdulazimal-Rabii is a contemporary Arab poet, nurtured in the literary tradition of Najaf, Iraq, who wrote many poems on the virtues of Ahl al-Bayt and how they were wronged. Life and poetry of Al-Rabi’i is not much known to Iranian researchers. This study therefore intends to focus on him using an analytical-descriptive methodology. The findings show that al-Rabi’i, neglecting the New Poetry style, chooses the ode (Qasida) and quatrain (Rubai) forms for writing his poems, each of which provides him with different poetic capacities. He uses odes for presenting themes in greater details, often mixed with supplications and pleading intercession. His quatrains, on the other hand, often quickly touch on a philosophical subtle theme, mostly to present an argument or poetic opposition.

Anyone who studies elegies about Imam Hossein (AS)) in Poems would find themes which narrate great events at the same time show the extent that poets are affected by events of Karbala. The achievements of present study, that has studied the elegy of Imam Hossein (AS) in poems attributed to Imam Sajjad (AS) using a descriptive-analytic approach, suggest that in these verses in addition to themes like evoking a spirit of repentance among people or encouraging them to revolt against Umayyad corrupted rulers; some of that period’s features such as Umayyad rulersinjustice and innocence of Prophet (A)’s family and also ignorance and stupidity of people because of excess of common wealth and concern about material world is reflected.

‘Adodeh’ is among the most manifest samples of Egyptian folk literature and closely related to death and mourning. This technique-although with some differences- is folk bemoaning sample in formal literature and also one of the most important types of Egyptian folk music. Hence, the present study investigates texts of ‘Adodeh’ technique with analytical- descriptive method and cinematic approach and consists of two parts; the first part compares all types of montage according to Eisenstein theory on the technique and the second part studies fundamental factors in applying montage technique in ‘Adodeh’, i.e. frame of the technique and repetition. In the investigation, some cinematic techniques were discovered which is consistent with the aims of this technique in expressing sorrow, sadness and counting a dead person's features through imagery and visualization.

This paper reviews the elegy themes of Imam Hussein (AS) in the epic of ‘Eid Ghadir’ composed by Christian poet boolos Salama, and begins with the introduction of the Ashura literature and especially poetry surrounding Imam Hussein. This article talks about the laborious life of poet and his compilations especially his great Islamic epic, which is famous in the field of literature, and also talks about his character representing the spirit of excellence, the dilemma beyond the endurance of spirit confined to writing poetry, especially writing on household of Imam and their eulogy. Salame believes that they are exemplary models that should be followed, this invitation from a Christian poet absorb more attention when we he composed this epic in the year of Palestine occupation. So he believes that Arabic nations need to follow former gallants at that time more than ever but the fascination of this poet appear in particular when speaking of the event of Ashura .He weeps and writs the event in the eve of Imam Hussein martyrdom and prepare others to cry. He expresses his feelings in writing and goes from the usual tradition of epic poetry to a form of non-self poetry. The output is not only a defect, but also an epic which absorbs astonishing critics. Finally, this article examines the elegy themes of Imam Hussein (AS) in his epic grandeur, including expression of the virtues of Imam and his ordeal and others mentioned in the this article.

Exploring Saadi’s literary character to gain insight of overall picture of Arab literature in his work is not entirely realized when dealing only with his Persian accomplishments, it is necessary to study his accomplishments in Arabic poems alongside with his Persian works to succeed in such venture.
Saadi has a variety of purpose in his usage of Arabic language, such as Preaching, monotheism, intimacy, hope and elegy. Saadi has a unique poem among his Arabic poems, which deserves taking it into consideration; it is known as Rayyhe Qaside which is mourning for Baghdad after its destruction by Mongols, and the killing of Musta’sam and the loss of the Abbasid Caliphate.
This wonderful poem is one of his finest Arabic ones. It is also the longest one among his Arabic and Persian works of poetry, which has not got a fair consideration.
Quran had a great impact on Saadi’s works, and as primary source, Saadi managed to use his Quranic culture to express his various purposes, experiences and his different ideas and goals.

Imagery has been an important subject among the men of literature and dealing with this issue is not considered an extraordinary matter. This literary device plays a prominent role in transmitting the poet''s feelings and experiences to its addressees. Employing various styles of imagery by the poet provides the reader with rather a detailed and clearer literary work. This phenomenon is highlighted in the works of a great poet، Sharif Razi، of the Abbasid dynasty. With the help of imagery in drawing a canvas of concepts and themes، Razi aimed to emphasize his literary style on the reader. In relation to different poetic imageries، the present paper endeavors to investigate the metaphorical imagery in the elegies of this poet. In this regard، before analyzing the poems، a brief introduction on the practical aspects of this kind of imagery is provided. More than eighty odes and elegies of the aforementioned poet has been studied، its metaphorical imageries have been extracted، and thematically categorized. These themes mostly deal with the condition of the diseased person، the mourners، the mental state of the poet، death، time and tragedy. Moreover، the proportion of the images in relation to the represented themes is also taken into account. Onomotopia، colors along with their inspirational concepts are the result of this study. Furthermore، materialistic and concrete elements are the predominant features of the used imageries in which the poet has been inspired by nature and reality.

The aim of this essay is to find the characteristics of the elegy in Abu Tammam''s ode in which he is wailing for mohammad Ibn Homaid al- Tusi (one of al-Motasam billah''s army commander) and this essay subjcet is to study and to criticize its emotion and imagination. The conclusion is that Abu Tammam، almost، in his poem applied a philosophical approach to deal with death، thus in the first stamza، he mentioned humans weakness against life tragedy and his obedience against fate and fortune. This poem at whole has a dignified، elevated، worthy faithfulness، and purified theme. Emotion in this poem is human and truthful and its imagination is fertile because the poet was successful in creating beautiful images to mention the outstanding personalities of that late leader such as his devotion and self-sacrifice. In addition، applying some elements like personification and metaphorical images effect on the poet''s success.

There is a bond and relation between praise and other poetic devices. Among these devices, praise is the origin and other artistic devices are, in fact, its branches. In a self-laudation, as a pre-Islamic form of poetry, a poet is motivated by admiration of himself and his claim of superiority over those around him. And his pride is of a tribal nature, dominated by a passionate spirit. Lamentation is of two types: personal and particular and tribal and general. The first type is more truly a lamentation, intertwined with the soul and being close to mankind’s temperament and nature. Crying over the fall of tribal heroes and the notion of accepting the determined fate became typical of the tribal general lamentations. Ghazal (‘Lyrics’), in the Ignorance Era (Pre-Islamic Arabia), was of three types: explicit lyrics which dealt with physical description of a woman, decent lyrics which dealt with the moral qualities of the woman, and artificial lyrics which meant to be an introduction to a qasida (‘ode’). So self-laudation, lamentation and lyrics largely or partly contain acclamation. For, in a lyric poem a woman or the beloved’s merits are stated and she is praised. In a self-laudation one’s personal qualities or his tribe’s merits are mentioned or they are praised. In a lamentation a dead person is praised and his/her merits are illustrated. The only difference they have is the one who is praised. When the praised one is the poet himself or his tribe, then this kind of praise is called ‘self-laudation’. If the praised one is the poet’s beloved, it is named ‘lyrics’. Accordingly, if the praised one is a dead person, it is called ‘lamentation’. And even the descriptions that a particular poet provides in his poetry, is actually acclamation of the phenomenon and manifestations he enjoyed perceiving by eyes or by heart. Satire, on the other hand, which is the opposite of acclamation, is naming the existing or claimed disadvantages of the satirized one. However, if we had the right to divide acclamation into two main types of positive and negative acclamation, we would call satire as negative acclamation. As a conclusion, we can say that the whole pre-Islamic poetry is acclamation and praise in nature.