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

The image, which is one of the four pillars of poetry in literary criticism, is a linguistic structure that the poet uses it to visualize his abstract thoughts and complex modes.This concept plays a prominent role in the resurrection of the word, both in the old literary criticism, which considers imaginary forms as an essential element in its formation, and in the new literary criticism, which includes all means of expression and breaking the linguistic norms. Mohmmad Al-Qaisi has spent his entire life in exile and he has always imaged the sorrow of Palestine through the suffering and exile and displacement.According to the investigation, the bitter experience of Qaisi’s life made sorrow as a steady and unseparable element in Qaisi’s poetry. As a result of enduring song of sorrow in his poems,he was named “sorrow full poet” Considering that the issue of Palestine is reflected as a central social issue in Arab literary works, image analysis plays an essential role in the representation of the issue of Palestine.On the other hand, sadness is one of the important trends in contemporary Arabic poetry so the representation of sorrow in the Qaisi’s poetry is an issue on which study by descriptive and analytical and Semiotics and statistical analysis approach in this research to discovering and decoding how represent the suffering and sorrow of Palestine as a part of the Islamic world,in Qaisi's poetry,the resistance poet of Palestine.The results suggest that Qaisi use the technique of metaphor and simile in visualizing his sad experience.he presents two different and contradictory images of sorrow that have a same origin. This conflict in the representation of sorrow indicates that the poet suffers from a kind of internal conflict In his poetic experience that arises from the conflict between the ideal and the reality of the poet.

Analysis of components of love from the Point of view of the Chishti Order in the works amiran-e Dehlavī Love has always been one of the most fundamental principles of Sufism. Since the spiritual preceptors of the Chishti Sufism know it as arising from the mystical thought of Khorasan, this path regards love as an eternal deposit and gift and the very foundation of the universe that flows in all particles of the Possibility World, and to succeed to the loved is considered as the last degree of seeker behavior. Moein El-din Chishti, Bafareid Ganj Shar, and Mo-hammad Gisooderaz are among some spiritual preceptors of this path, who have left some written works and sensational odes, and they can be found in the works of Chishti poets such as Amir Khosroo and Amir Hasan Dehlavi. In this article, we review the prose and poetry works of the Chishti order in order to find that what is the love position in the foundation of Chishti thinking, and what is the effect of sorrow or grief on the seeker behavior? Is wisdom always at odds with love? And what is the perspective of Chishti order about the virtual love? Keywords: Chishti order; Sufism; Love; Sorrow; Wisdom; Virtual love

Although it is believed that the mystics are not sad, the passion for the origin of being and separation from the homeland make them sad. Believing the unity of existence, Rumi does not accep the separation from the truth of the being for himself, so he expresses gratitude and complacency in his poems, especially when he discovers his existential relation to God; indeed, he realizes that greatness understands him; the one who wishes to be united with the sea of existence which is sometimes realized in revelation. In this sense, mystical sadness is part of mystic spirit which is sometimes interpreted as ecstasy giving it some degree and hierarchy. The current study aims to analyze Divan Shams's lyrics in terms of the themes of sorrow and mystical homage according to the concepts of ecstasy and sadness, in Islamic mysticism with sadness. The findings reveal that the poet has not been alienated by sadness and joy; indeed, he is suffering from sadness which is in relation with self-discovery and self-finding.

On mysticism, the terms “Sorrow and Happiness” have always been of interest to Sufism from both theoretical and practical points of view and mystics, according to their mood and behavior as well as social, political, and cultural status of their time, chose one of these two (sadness and happiness) states. Sorrow is regarded as a veil and destitution which makes the mystic always be sad and sorrowful. On the other hand, Happiness is similar to spiritual revelations and a state of euphoria which offers confidence in God’s mercy and grace for the mystic. Since early Sufism is based more on piety and abstinence, the first Sufis often chose Sorrow and Fear states; but as we move away from early centuries and come closer towards the romantic mysticism, Happiness, hope, and trust in God’s grace and mercy become more prominent. This paper first introduces two mystical states of “Happiness and Sorrow” and then investigates different ways of behavioral development in different periods of Sufism. Ways such as manifestation of Truth (God) on mystic in the guise of body, God’s call and the pleasure of it, reciting the Quran and reflecting upon its verses, visiting Khidr and meeting the sages and the sacred, making a pilgrimage to Sufi masters’ tombs, Sufi dance, listening to the stories of the common people, even drunk and atheistic ones, and infidels, and eventually specific locations and times.

The school of Romanticism, as a sociological, intellectual and artistic school which emerged at late of the 18th c., influenced the literature of other nations, notably Iran. The signs of such an influence on different Persian works are traceable from the Constitutionalism. Bijan Najdi is one of authors who has a romantic point of view when dealing with different issues. By mixing poetry and fiction and making much use of poetic elements and emotional contents, he invented a new style. The concern of the present research is a romantic reading his short stories with a descriptive-analytic methodology. The findings of the present research indicate that among the different elements of Romanticism, Bijan Najdi focused mostly on naturalism, love, past, sorrow and disappointment, and dreams. Furthermore, the renunciation of industry and urban civilization and favoring flora and fauna and transferring emotions and feelings from characters to nature are other naturalistic characteristics of Bijan Najdi’s short stories. Love in his short stories dominated the reason of his characters and they love man, nature and animals. To gain emancipation from sorrow, he takes refuge in past—youth and teenage. Some of his characters also to escape from the bitters facts of life take refuge in dream, objectifying their unfulfilled desires. On the other hand, in Bijan Najdi’s short stories such fictional elements as words, images, tone and ambiance possess an organic unity, suggesting an effective romantic perspective.

Stylistics as a criticism approach, examined the literary texts from within the text itself and its main task, focusing on elements inside a work of art. Thus, the present study has attempted to investigate stylistic characteristics of the poem "Alkas and Alhomum with Descriptive- Analysis method. Stylistics selected layers for text search that the first layer, is layer phonetic and in this layer has been defined, the poet has used the metre of the poem al basit due to its flexibility and stable and select ridf and motlagh rhyme which has been saturated by moving kasre and put the letters of “sin” because of having adjectives of whispered phonemes as the rhyming letters that the sum of "A ,Sin , yā" the best words to express the intention to describe and praise. In Lexical layer has been defined, the poet's has brought words that is appropriate in terms of significance with three elements, wine, courtiers and butler as inspired by some Quranic words and historical figures in order to strengthen the meanings of wine and butler. In the layer rhetoric, is used the phenomenon of personification to express spiritual emotion. But the syntactic layer, some linguistic phenomena which is contrary to the norm of the Arabic language is taken into consideration including: anastrophe;inversion, delete and apostrofhe. Intellectual layer is based essentially on the sanctity of wine; since, the wine in his opinion, in addition to the pleasure, brings åts owner to religious ecstasy.

The analysis of black color in the Nima''s poetry and Mahmoud DarwishColoColor is a deep link with literature، especially with the literature of resistance. The colors represent different emotions and symbols، through which we can find out a lot of secrets and codes، and we can find the political and social situation of the contemporary poet. in the Nymayvshyj in the Persian Literature and Mahmoud Darwish in the Arabic Literature have used the colors in the poems themselves. In this paper، we examine the extent of black color. Both poets alike have used this color، indicating that they are not optimistic about the political and social issues. Black is the most color in the poetry of Nima. Black means oppression and injustice in the Nima''s poetry. Black is also used on Mahmoud Darwish، which is showing the displacement and oppression.

Because of Arabic countries'' unfavorable political and social conditions، Arabic modern poetry is overfilled with sorrowful concepts. Rarely there is a poet whose poetry is empty of the grief''s subject matter. One of the most prominent modern poets is «Mohammad Maqoot» a famous poet from Syria who has a special place among modern poets. Since most of his poetical concepts are sorrow، he is known as «the Father of sorrow». In principle، Maqoot''s poetry is the poetry of grief. A poetry in which wishes، hopes، fervency and eagerness are dissipated and instead of them despair and grief are replaced. There are more personal and social factors which have played a role in creating this sorrow in the poet''s existence. Factors like prison، exile، family and society in attention، foreigner''s sovereignty، Arab governor''s carelessness، weakness and ignorance of Arab nations. This article attempts to illuminate، in addition of considering the phenomenon of sorrow in Maqoot''s poetry، the reasons and basis of its forming، the circumstance of its manifestation and also the objects of view which were Maqoot،s means for his sorrowful expression.

European romanticism infiltrated Iranian literature and came to be called Iranian romanticism.The influences of European romanticism can be clearly seen in the poems of post-constitutional poets, specially the poets of the Nima era and even afterwardsup to now.Utilizing some components of Iranian romanticism such as emotions, vast imagination, and love, QeisarAminpour has approached the main product of this school, i.e. the resulting sorrow and sadness that in some cases led to philosophical hopelessness and nihilism of the positive type.The present study is an analysis of the poet’s romantic capability to compose poems on romantic bewilderment and sorrow and, in some cases, on peripheral subjects, like love, mysticism, naturalism, etc.

One of the most enchanting genres of Persian poetry is Saghinameh. It is employed to express a variety of subjects. Hakim Nezami has a number of Saghinamehs which are more often concerned with mystical, moral and romantic issues. The purpose of this article is to trace Nezami’s intellectual development in two Saghinamehs, included in two romantic verses of Laily and Majnoon and Sharafnameh. According to social, political and cultural circumstances he raises various subject matters with a mastery of style which is the outcome of his intellectual sophistication and maturity. Sometimes upon expressing mystical concepts he takes his audience to heavens and at times he takes them to the Eden of love and invites them to the impeccable pure world of piety.

considering the Indian style poetry, specially, the sonnets of the poets’ of this style, we find out that sorrow, disappointment and pain are the most frequently used words In the sonnets of the Indian style poets which the reason can be sought among various factors such as social, economical, culture and political issues of safavid era and also in severe individualism of the poets of this period of time, migration and sorrow resulted from homesickness and being far from one’s hometown, from the oppression on people and effect of sorrow and three-pain in Indian philosophical school of thought: analyzing the sonnets of this style’s poets, specially Taleb Amoli’s which this research hasemphasized on, we can attain following indicators in themes of pain and sorrow; determinist way of thinking, creating paradoxical image with the joy and sorrow, disappointment and hope themes, giving nobility to the theme of sorrow in existence, high ambition and seeking for sorrow, honoring and souls such as graceful idols, using natural elements to describe sorrow pain as romantic, using vulgar and informed diction to suggest better and more touchable the theme of sorrow, the motif of oppressive beloved and accordingly the stimulation of poet’s pain and sorrow and the important theme of love and pain.

Sorrow is one of the poetic subjects which is frequent since the ignorance period through elegiac poems which are full of kindness and sad motions. But since the recent & new era in particular since he romanticism era it gains progress in such a way that it does not only appear through the poetic couplets which illustrate an experience of poetic elegical sense, but also it becomes of potential nature which sheds light on most of the poetic subjects accompanied with sad issue. Though the famous Iraqi poets belong to free verse poetry such as Badr Shakir al-Sayyāb, Nāzok al-Malāekah and Abdul-Wahhāb al-Bayāti have been in the beginning of their poetic way toward romanticism, sorrow has become a shinning characteristic in their poetic subjects such as love, nostalgia, death and the like. This article is going to restrict: first, the factors which strengthen the flourishing of romantic sorrow in the poetry of famous poets. Second, the harmony of technical illustrations with the romantic sad expressions and finally tries to show that whether these poets in spite of their diverse attitudes through the poetic passage follow the great romantic poets or not.