مجله زبان و ادبیات عربی
پیاپی 1 (پاییز و زمستان 1388)

The image of a wild bull in pre- Islamic poem usually links to the roadster of poets, that is a camel, and from their view points the constituents of bull's image are similar to those of camel’s image. Relying on Jahez's ideas on such an image in the pre-Islamic poems, some of the contemporary researchers and critics argue that the camel’s image corresponds to the religion, rites, social customs as well as literary traditions. Furthermore, it consists of certain echoes of traditions, habits and tribal worships as the people in Arabia, while worshipping cows, considered them as a magic fetish and spell in case of praying for rain. To show a harmony between the different elements of the pre-Islamic ode, one may choose a mythological analysis which reveals a deep relation between the concepts and contents of the ode. In this type of analysis, the wild bull represents the symbol of wisdom and power and cleverness which are considered the characteristics of camel which – in turn- is the persona of the poet.

The Poet is considered a sculptor, a painter and a musician who dramatizes his thoughts and visions through the technique of his poetry. Mu’allaghat Sab’ – as a part of classic Arabic literary masterpieces – display this aspect brightly. These works represent a wonderful variety of images among which the sensory images – including visual, auditive and tactile images – are very common. This article explores the auditory images of pre – Islamic odes and attempts to show that – besides the use of onomatopoeia – the pre – Islamic poets used different phonological features and auditive images frequently and successfully. Along with the visual images of various colors and smelling pictures of odors, they created dynamic auditory images of natural and not natural sounds in order to bridge the gap between the world of thoughts and visions and the real world.

Phonetics was initially made the subject of diversified range of sciences, and attracted many researchers, who were under the influence of Arabic – Islamic cultural system. In the meantime, syntacticians and grammarians dealing with conjugation and syntax issues inevitably encountered phonetically related points. For, these sciences, and in particular conjugation, had overlaps with phonetics in many issues and subjects. Ibn-e-Jenni was the first grammarian who allocated an independent book on phonetic subjects and discussed it as a distinct science. He used the linguistic term of "Elm-al-Aswat (Phonetics)" for referring to this science. The present article is an endeavor for extracting Ibn-e-Jenni's viewpoints and doctrine regarding Arabic language phones by studying his works as available, and for studying considers that Ibn-e-Jenni's method in his phonetical studies is descriptive. It further demonstrates that despite notwithstanding paucity of facilities and tools for phone analysis, the conclusions reached by him on description of phones are so advanced that they do match to a large extent with those of the contemporary phoneticians who are equipped with advanced laboratories and instruments.

Baresque style was first employed in pearl-making, and it was not until late 19th, when it found its way into art and literature. Motion and dynamism, transgression, renovation and poetic images can be enumerated among its characteristics. This article is an attempt to examine themes of Baresque style, followed by an investigation of its examples in Zahawi’s poems, the contemporary Iraqi poet. Some of the themes of Baresque styles used in Zahawi’s poems include transgression, thought of death, and inconsistency of the world, carpe diem, motion and dynamism, to name some.

Badi’ iyaat – created as a new technique in a period of Arabic literature, that is known as the decline era. The study of this technique as a form of poetry in this era, creates a cloud of doubt for naming the period. There have been many poets with thousands of great poems that reflect the prominence of this era not its decline. The writer of this article has studied Badi’ iyaat in Khazaanat – al – Adab, written by Ibn – e Hojja – al Hamawi.

Dik al – Jen is one of the great Poets of Shiite sect who was living during the Abbasids period. He has been the master of poetry at that time and has affected other great poets like Abu – Tammam. Although he had a great position among the poets of the era, he was actually forgotten after his death and he has not been introduced to the other generations. This poet is known as the poet of Ahl al – Bayt (The Family of the holy Prophet, Mohammad, Peace be upon Him) and has some odes and poems about this holy family. The writer of this article, studies this great poet and his position among other Abbasid's Poets.

Poets due to various social problems have tried not to limit their symbols to a specific domain but to use them in various domains such as religious ones. In such a plot, the prophets have a constructive role. Modern Arab poets have used these characters, since they carry potential indicators and are compatible with poets’ internal experiences. They use these personas to highlight their forgotten characteristics and to represent their innermost mental data in a symbolic way. However, since these symbols are closely related to vocabularies in the text, they contain various and specific meanings which are technically important and they deserve to be carefully studied. This paper deals with some of the technical values of these indicators such as exile and sufferance, patience and faith, endurance and freedom, sterility and rebirth, revolution, sacrifice and compromise.

Humans have been seeking a philosophy for life since remote antiquity and as a consequence they have always wanted to discover the mystery of death too. They have constantly feared death without really understanding it and they have sought to elude this absolute fact; but there is no escape from it. And only those who resort to religious beliefs could seek the truth about death without being nagged by fear. Life and death are of the issues that have always preoccupied man’s mind and the contemporary philosophical-literary and artistic schools have not been neglectful of them and they have tried to understand and study them and discover the truth about them.Abol Ghasim Shaabbi is one of the contemporary Arab poets who is deeply preoccupied with the subject of life and death. He has taken every opportunity including: passing hints at religious beliefs or diseases or passing away of loved ones or literary trend or the like to write again and again about life and death in his meager poetical works.Apparently, some critics accuse him of contradicting himself in a number of occasions and here we intend to study the cause of these contradictions based on his poetry and viewpoints.