This document lists the names and affiliations of members of the board of directors and advisory board of the Democratic Arabic Center in Germany. It includes 17 names with their academic titles and affiliations listed as universities and research centers in countries including Algeria, Morocco, Iraq, Jordan, Saudi Arabia, Turkey, Iran and others.
Ibn Duufayl’s Hayy ibn Yaqthan A Mission for Certainty - حيُ بن يقظان لابن طف...Al Baha University
This document appears to be the table of contents or editorial board for an academic journal on social sciences and strategic studies published by the Arab Center for Democracy and Strategic Studies in Berlin, Germany. It lists over 50 names, their academic affiliations and countries, who seem to make up the journal's editorial board and scientific committee. The journal is titled "International Scientific Refereed Social Sciences Periodical" and is issue number 19 published in June 2021.
Critical Reflections on Frost’s The Road Not Taken - تأملات ناقدة حول قصيدة ف...Al Baha University
This document appears to be the cover of an academic journal on social sciences published by the Arab Center for Democracy and Strategic Studies in Berlin, Germany. It lists the editorial board which includes professors and researchers from Algeria, Egypt, Tunisia, Yemen, Saudi Arabia, Iraq, Sudan, Palestine and Libya. It states that the journal publishes peer-reviewed original research papers in Arabic, English and French on topics related to social sciences. It provides instructions that submitted works must be original and unpublished elsewhere, and authors must confirm that the content is their own work.
MODERN SAUDI POETRY: MOHAMMAD HASAN AWWAD’S NIGHT AND ME, IN BALANCE - الشعر ...Al Baha University
الشعر العربي هو جوهر كل الأنواع الأدبية في جميع الدول العربية، وتناغما مع هذا التعميم، من المنطقي أن يكون تطور الشعر في العصر الحديث، بين جميع العرب، يعتبر مدلول ومقياس إيجابي. بناء على هذا البرهان، يمكن القول بنفس المقياس على الأدب السعودي الحديث باعتباره جزءًا جوهرياً مكمل للشعر العربي. حاول الباحث في هذا البحث تبين بعض الجوانب والنقاط الأدبية للشعر العربي الحديث في المملكة العربية السعودية كنموذج على سمو الشعر العربي، مع استشهاد خاص بشاعر سعودي معاصر، وتبدأ الدراسة بمقدمة عن الشعر العربي في الجزيرة العربية. في الجزء الأول من الدراسة، يشير الباحث إلى أهمية الشعر العربي كأحد الأنواع الأدبية العربية، أما الجزء الثاني فيتناول الشعر والحركة الأدبية في المملكة العربية السعودية باعتباره المحور الرئيسي للدراسة، بعد ذلك ، تتقدم المهمة للتعامل مع نموذج الشعر العربي الحديث في المملكة، ومن ثمَ ينتقل البحث للتعامل مع نموذج ومثال للشعر العربي الحديث في المملكة، وهو محمد حسن عواد كشاعر ثائر معاصر وصاحب شعر صارخ، ثم يلقي الباحث الضوء على عدد من الأبيات المختارة لإحدى قصائد عوّاد ’أنا والليل‘، ولتي يتناولها الباحث تحليلاً ونقداً، وتنتهي الدراسة بمناقشة وخاتمة موجزة. الكلمات المفتاحية: الأدب العربي، الحداثة، الشعر العربي، الشعر الحر، سمو، المملكة العربية السعودية
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Arabic poetry is the heart of all types of literature in all Arabic realms. Consistent with this generalization, it can be right that the development of poetry in the modern age, among Arabs, is a positive measure. In that argument, the same would be focused on modern Saudi literature since it is typically considered a central, authoritative, and undivided part of Arabic poetry. In this paper, the researcher has attempted to illustrate some literary aspects of modern Arabic poetry in the Kingdom of Saudi Arabia as an instance of the greatness of Arabic poetry with a particular reference to a contemporary Saudi poet. The study starts with an introduction to the condition of poetry in Arabia. In the first section of the study, the researcher points up the importance of Arabic poetry as an Arabic literature genre. The second section deals with poetry and literary movement in Saudi Arabia as the central section of the investigation. After that, the task moves ahead to deal with a model of modern Arabic poetry in the kingdom, Mohammad Hasan Awwad, a modernized rebellious poet with stark poetry, then the researcher, analytically and critically, sheds light on some selected verses of one of the poems of Awwad, Night and Me. The study finishes with a discussion and a brief conclusion. Keywords: Arabic literature, Arabic poetry, free verse, greatness, Kingdom of Saudi Arabia, modernism.
Home in the Poetry of Saudi Arabia Poets: Abdus-Salam Hafeth an Example of a ...Al Baha University
المستخلص:
تهدف هذه الدراسة، التي تحمل عنوان
" Home in the Poetry of Saudi Arabia Poets: Abdus-Salam Hafeth an Example of a Distinguished Arab (2)"،
إلى إلقاء الضوء على بعض الجوانب الأدبية في الشعر العربي السعودي الحديث، مع التركيز على مفهوم الوطن كمثال على مكانة الشعر السعودي الحديث، في إشارة خاصة إلى الشاعر السعودي المعاصر عبد السلام هاشم حافظ، يسعى الباحث إلى إظهار فطنة وملكة الشاعر من خلال إبراز مدينته الرائعة، المدينة المنورة، كرمز لحبه للوطن الجلل الجليل - المملكة العربية السعودية، تبدأ الدراسة بمقدمة موجزة عن الشعر العربي ولغته العربية الفصحى. ثم تعرض الدراسة صورة رمزية للشاعر السعودي المتميز عبد السلام هاشم حافظ والشعر السعودي بشكل عام، بعد ذلك، تتبنى الدراسة نهجًا تحليليًا نقديًا لمتنن الدراسة المتمثل في شرح عدد من الابيات الشعرية – من البيت الشعري الخامس الى الثامن من قصيدة حافظ، "الشوق يا وطني"، مع التركيز على مفهوم الوطن باعتباره الموضوع الجوهري وكذلك التطرق الى موهبة الشاعر في استخدام اللغة العربية كلغة عظيمة وجليلة، في النهاية، ينتهي البحث بالفرضيات والتوصيات، ان وجدت.
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Abstract
This study aims to shed light on some literary aspects of modern Saudi Arabic poetry, focusing on the concept of homeland as an example of the standing of modern Saudi poetry, with a specific reference to a contemporary Saudi poet, Abdus-Salam Hashem Hafeth. The researcher seeks to show the poet's intellect by showing his gorgeous metropolis as a symbol of his love for the grand home - the Kingdom of Saudi Arabia. The study begins with a brief introduction to Arabic poetry and its language. Then it gives a symbolic picture of the outstanding Saudi poet – Abdus-Salam Hashem Hafeth and Saudi poetry in general. Following that, the study takes a critical-analytical approach to the second four verse lines of Hafeth's poem, 'Nostalgia, Oh my Home,' focusing on the concept of home as its main theme as well talent of the poet in using the grand Arabic language. Eventually, the research is concluded with a short premise and comments.
الوطن في شعر شعراء المملكة العربية السعودية: عبد السلام هاشم حافظ نموذج الشاع...Al Baha University
ملخص:
الشعر العربي الفصيح هو أحد اهم المرتكزات الادبية لجميع انواع الأدب في جميع البلدان والأقاليم العربية منذ عصر ما قبل الإسلام. هذه الدراسة عبارة عن محاولة لإلقاء الضوء على بعض الجوانب الأدبية للشعر العربي السعودي الحديث مع التركيز على مفهوم الوطن كتوضيح لمكانة الشعر العربي السعودي الحديث في إشارة خاصة للشاعر السعودي المعاصر عبد السلام هاشم حافظ.
قد يكون من البديهي أن تطور الشعر العربي في العصر الحالي بين الشعراء والكتاب والنقاد العرب هو مقياس إيجابي، ومن الطبيعي أن يعمم الأمر والسياق نفسه عن الشعر السعودي المعاصر من حيث كونه جزء من الشعر العربي الواسع ومتطابقاً معه نظرًا لأنه يعتبر بطبيعة الحال مقياساً أساسياً ومتصل بالشعر العربي، من خلال ذلك كله يسعى الباحث إلى توضيح فِكرُ الشاعر عبد السلام هاشم حافظ في تصوير مدينته المجيدة كممثل لعشقه للوطن الكبير - المملكة العربية السعودية.
تبدأ الدراسة بمقدمة موجزة عن الشعر العربي ووسيطه الأساسي المتمثل في اللغة العربية المجيدة، ثم تمضي قدماً تحليلياً لاستعراض مكانة وَمَلَكَةُ الشاعر السعودي عبد السلام هاشم حافظ، بعد ذلك، تجسد الدراسة موقفاً تحليلياً وناقداً للأربعة الابيات الأولى من قصيدة حافظ، التي تحمل عنوان ’الشوق، يا وطني‘ ، مع التركيز على مفهوم الوطن كونه الموضوع الرئيس في هذه الدراسة، وتنتهي الدراسة بالتوصيات، ان جدت، ثم خاتمة موجزة.
ABSTRACT:
Classical Arabic poetry is the core of all categories of literature in all Arabic lands, territories, and realms since the age of pre-Islam. This study is an attempt to shed light on some literary facets of modern Saudi Arabic poetry focusing on the concept of homeland as an illustration of the standing of modern Saudi Arabic poetry with a particular indication to a contemporary Saudi poet, Abdus-Salam Hashem Hafeth. It can be right that the progress of Arabic poetry in the present age, among Arab poets, writers, and critics has a positive measure. It is true to generalize that the same would be identical to current innovative Saudi poetry given that it is naturally considered a principal, commanding, and uninterrupted measure of Arabic poetry. The researcher endeavors to illustrate the poet's intellectuality in depicting his glorious city as a representative of his adoration for the big home - the Kingdom of Saudi Arabia. The study commences with a concise introduction. Then, it analytically moves ahead to inspect the noteworthy Saudi poet – Abdus-Salam Hashem Hafeth. After that, the study portrays a critical-analytical attitude to the first four-verse lines of the poem of Hafeth, ‘Nostalgia, Oh my Home’, focusing on the concept of home as its principal theme. In conclusion, the study ends with a concise assumption and recommendations.
Keywords: Abdus-Salam Hashem Hafeth, Al Madinah Al Monawarah, Arabic literature, Arabic poetry, home in poetry, Kingdom of Saudi Arabia, Saudi poetry,
The Influence of Ibrahim Khafaji as Arabic Lyric Poet - تأثير إبراهيم خفاجي: ...Al Baha University
This document summarizes the influence of Ibrahim Khafaji as an Arabic lyric poet in Saudi Arabia. It begins with an introduction to Arabic poetry as a prominent genre in ancient and modern Arabic literature. It then provides a brief overview of contemporary poetry in Saudi Arabia and its development. The document focuses on analyzing Khafaji's contributions as a significant modern Saudi poet, examining one of his poems in detail. It concludes by emphasizing the importance of Arabic poetry in recording Arab history and culture.
A Voice of Arabs Taabbata-Sharran: A Bandit by Name a Poet of Pride - صوت من...Al Baha University
The magnitude of the Arabic language holds back from its being one of the unblemished languages in its brilliance and its reiterated capability to adapt to countless different sciences and knowledge. The Arabic language has reached creativity and ingenuity in diverse fields and genres of literature in which the supreme is poetry. This article attempts to present the inner landscapes of Taabbata-Sharran and his profession placing him in the context of both his social milieu and his age.
The paper aims at studying the figurative, allegorical and appealing images in Al-Gafiah of Taabbata-Sharran in which it follows the inferential inductive critical methodology concentrating analytically on his Al-Gafiah poem. The study attempts to divulge in the analysis the appealing qualities and poetic matters as well as the rhetorical images in it with particular reference to the first ten verse lines. The article begins with an introduction to Arabia and the Arabic Poetic Language then shifts to shed light on the poet Taabbata-Sharran as a great poet of Arabia, the center of the Arabic language. It is concluded with a brief examination and comments on the poem Al-Gafiah trying to catch on the original Arab ideals, morals, integrity, and beliefs in the pre-Islamic Epoch it contains.
Hassan ibn Thabit: An Original Arabic Tongue (1) حسان بن ثابت: لسان عربي أصيل Al Baha University
حسان بن ثابت واحد من أعظم الشعراء الذين عاشوا خلال عصرين متميّزين للأمة العربية في الجزيرة العربية، الفترة ما قبل الإسلامية والحقبة الإسلامية، قدم حسان خلالها صور حلو الشمائل عن العرب قبل الإسلام وبعده، في هذه الورقة الأدبية، يحاول الباحث سبر غور عمق الشعر العربي عند حسان بن ثابت كأنموذج على عظمة اللغة الشعرية العربية. يستحق الشاعر، حسان بن ثابت، دراسة أدبية، مركزاً، بشكل رئيسي على شعره كنوع من التراث والموروث للغة العربية الفصحى.
تعاملاً مع واحدة من القصائد الشهيرة لحسان بن ثابت، فإن هذه الورقة البحثية تستخدم الأسلوب التحليلي النقدي، والذي تبدأ بمقدمة موجزة عن الشعر العربي ثم تنتقل الورقة لإلقاء الضوء على العرب واللغة الشعرية العربية، ثم يلقي الباحث الضوء على الشاعر حسان بن ثابت، صاحب الملكات اللغوية العربية الغير عادية، وبعد ذلك، تنتقل الدراسة لتركز بشكل أوسع على التحليل والوصف لأول سِتة عشر بيتاً شعرياً من قصيدة حسان بن ثابت الشهيرة المعروفة باسم (قافية الألف). هذا الجزء هو الجزء الرئيسي التي تحاول الدراسة إثباتها من خلال شعر حسان بن ثابت، وتختتم هذه الورقة البحثية بملخص نهائي قصير.
Hassan ibn (son of) Thabit is one of the greatest poets who lived within two distinguished ages of the Arabic nations in Arabia, the pre-Islamic period and the Islamic period. He presented graceful pictures of Arabs before Islam and after Islam. In this literary paper, the investigator attempts to probe the depth of the Arabic poetry of Hassan ibn Thabit as an instance of the magnitude of Arabic poetic tongue. The poet Hassan ibn Thabit deserves a literary investigation paying attentiveness mostly to his poetry as a tradition and legacy of the classical Arabic poetic language.
In dealing with one of the famous poems of Ibn Thabit, the paper operates the critical-analytical method. It starts with a succinct introduction about Arabic poetry then the paper progresses to illuminate Arabs and Arabic poetic tongue. Subsequently, the researcher goes to shed light on the poet, Hassan ibn Thabit as a poet of an unusual Arabic language. After that, it goes on to focus more with analysis and wasf (description) on the first sixteen verse lines of Hassan ibn Thabit's renowned poem known as the Alef rhymed (قافية الألف). This part is the central division of the study in which it attempts to verify via the poetry of Hassan Ibn Thabit. The paper is ended with a short conclusion.
Ibn Duufayl’s Hayy ibn Yaqthan A Mission for Certainty - حيُ بن يقظان لابن طف...Al Baha University
This document appears to be the table of contents or editorial board for an academic journal on social sciences and strategic studies published by the Arab Center for Democracy and Strategic Studies in Berlin, Germany. It lists over 50 names, their academic affiliations and countries, who seem to make up the journal's editorial board and scientific committee. The journal is titled "International Scientific Refereed Social Sciences Periodical" and is issue number 19 published in June 2021.
Critical Reflections on Frost’s The Road Not Taken - تأملات ناقدة حول قصيدة ف...Al Baha University
This document appears to be the cover of an academic journal on social sciences published by the Arab Center for Democracy and Strategic Studies in Berlin, Germany. It lists the editorial board which includes professors and researchers from Algeria, Egypt, Tunisia, Yemen, Saudi Arabia, Iraq, Sudan, Palestine and Libya. It states that the journal publishes peer-reviewed original research papers in Arabic, English and French on topics related to social sciences. It provides instructions that submitted works must be original and unpublished elsewhere, and authors must confirm that the content is their own work.
MODERN SAUDI POETRY: MOHAMMAD HASAN AWWAD’S NIGHT AND ME, IN BALANCE - الشعر ...Al Baha University
الشعر العربي هو جوهر كل الأنواع الأدبية في جميع الدول العربية، وتناغما مع هذا التعميم، من المنطقي أن يكون تطور الشعر في العصر الحديث، بين جميع العرب، يعتبر مدلول ومقياس إيجابي. بناء على هذا البرهان، يمكن القول بنفس المقياس على الأدب السعودي الحديث باعتباره جزءًا جوهرياً مكمل للشعر العربي. حاول الباحث في هذا البحث تبين بعض الجوانب والنقاط الأدبية للشعر العربي الحديث في المملكة العربية السعودية كنموذج على سمو الشعر العربي، مع استشهاد خاص بشاعر سعودي معاصر، وتبدأ الدراسة بمقدمة عن الشعر العربي في الجزيرة العربية. في الجزء الأول من الدراسة، يشير الباحث إلى أهمية الشعر العربي كأحد الأنواع الأدبية العربية، أما الجزء الثاني فيتناول الشعر والحركة الأدبية في المملكة العربية السعودية باعتباره المحور الرئيسي للدراسة، بعد ذلك ، تتقدم المهمة للتعامل مع نموذج الشعر العربي الحديث في المملكة، ومن ثمَ ينتقل البحث للتعامل مع نموذج ومثال للشعر العربي الحديث في المملكة، وهو محمد حسن عواد كشاعر ثائر معاصر وصاحب شعر صارخ، ثم يلقي الباحث الضوء على عدد من الأبيات المختارة لإحدى قصائد عوّاد ’أنا والليل‘، ولتي يتناولها الباحث تحليلاً ونقداً، وتنتهي الدراسة بمناقشة وخاتمة موجزة. الكلمات المفتاحية: الأدب العربي، الحداثة، الشعر العربي، الشعر الحر، سمو، المملكة العربية السعودية
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Arabic poetry is the heart of all types of literature in all Arabic realms. Consistent with this generalization, it can be right that the development of poetry in the modern age, among Arabs, is a positive measure. In that argument, the same would be focused on modern Saudi literature since it is typically considered a central, authoritative, and undivided part of Arabic poetry. In this paper, the researcher has attempted to illustrate some literary aspects of modern Arabic poetry in the Kingdom of Saudi Arabia as an instance of the greatness of Arabic poetry with a particular reference to a contemporary Saudi poet. The study starts with an introduction to the condition of poetry in Arabia. In the first section of the study, the researcher points up the importance of Arabic poetry as an Arabic literature genre. The second section deals with poetry and literary movement in Saudi Arabia as the central section of the investigation. After that, the task moves ahead to deal with a model of modern Arabic poetry in the kingdom, Mohammad Hasan Awwad, a modernized rebellious poet with stark poetry, then the researcher, analytically and critically, sheds light on some selected verses of one of the poems of Awwad, Night and Me. The study finishes with a discussion and a brief conclusion. Keywords: Arabic literature, Arabic poetry, free verse, greatness, Kingdom of Saudi Arabia, modernism.
Home in the Poetry of Saudi Arabia Poets: Abdus-Salam Hafeth an Example of a ...Al Baha University
المستخلص:
تهدف هذه الدراسة، التي تحمل عنوان
" Home in the Poetry of Saudi Arabia Poets: Abdus-Salam Hafeth an Example of a Distinguished Arab (2)"،
إلى إلقاء الضوء على بعض الجوانب الأدبية في الشعر العربي السعودي الحديث، مع التركيز على مفهوم الوطن كمثال على مكانة الشعر السعودي الحديث، في إشارة خاصة إلى الشاعر السعودي المعاصر عبد السلام هاشم حافظ، يسعى الباحث إلى إظهار فطنة وملكة الشاعر من خلال إبراز مدينته الرائعة، المدينة المنورة، كرمز لحبه للوطن الجلل الجليل - المملكة العربية السعودية، تبدأ الدراسة بمقدمة موجزة عن الشعر العربي ولغته العربية الفصحى. ثم تعرض الدراسة صورة رمزية للشاعر السعودي المتميز عبد السلام هاشم حافظ والشعر السعودي بشكل عام، بعد ذلك، تتبنى الدراسة نهجًا تحليليًا نقديًا لمتنن الدراسة المتمثل في شرح عدد من الابيات الشعرية – من البيت الشعري الخامس الى الثامن من قصيدة حافظ، "الشوق يا وطني"، مع التركيز على مفهوم الوطن باعتباره الموضوع الجوهري وكذلك التطرق الى موهبة الشاعر في استخدام اللغة العربية كلغة عظيمة وجليلة، في النهاية، ينتهي البحث بالفرضيات والتوصيات، ان وجدت.
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Abstract
This study aims to shed light on some literary aspects of modern Saudi Arabic poetry, focusing on the concept of homeland as an example of the standing of modern Saudi poetry, with a specific reference to a contemporary Saudi poet, Abdus-Salam Hashem Hafeth. The researcher seeks to show the poet's intellect by showing his gorgeous metropolis as a symbol of his love for the grand home - the Kingdom of Saudi Arabia. The study begins with a brief introduction to Arabic poetry and its language. Then it gives a symbolic picture of the outstanding Saudi poet – Abdus-Salam Hashem Hafeth and Saudi poetry in general. Following that, the study takes a critical-analytical approach to the second four verse lines of Hafeth's poem, 'Nostalgia, Oh my Home,' focusing on the concept of home as its main theme as well talent of the poet in using the grand Arabic language. Eventually, the research is concluded with a short premise and comments.
الوطن في شعر شعراء المملكة العربية السعودية: عبد السلام هاشم حافظ نموذج الشاع...Al Baha University
ملخص:
الشعر العربي الفصيح هو أحد اهم المرتكزات الادبية لجميع انواع الأدب في جميع البلدان والأقاليم العربية منذ عصر ما قبل الإسلام. هذه الدراسة عبارة عن محاولة لإلقاء الضوء على بعض الجوانب الأدبية للشعر العربي السعودي الحديث مع التركيز على مفهوم الوطن كتوضيح لمكانة الشعر العربي السعودي الحديث في إشارة خاصة للشاعر السعودي المعاصر عبد السلام هاشم حافظ.
قد يكون من البديهي أن تطور الشعر العربي في العصر الحالي بين الشعراء والكتاب والنقاد العرب هو مقياس إيجابي، ومن الطبيعي أن يعمم الأمر والسياق نفسه عن الشعر السعودي المعاصر من حيث كونه جزء من الشعر العربي الواسع ومتطابقاً معه نظرًا لأنه يعتبر بطبيعة الحال مقياساً أساسياً ومتصل بالشعر العربي، من خلال ذلك كله يسعى الباحث إلى توضيح فِكرُ الشاعر عبد السلام هاشم حافظ في تصوير مدينته المجيدة كممثل لعشقه للوطن الكبير - المملكة العربية السعودية.
تبدأ الدراسة بمقدمة موجزة عن الشعر العربي ووسيطه الأساسي المتمثل في اللغة العربية المجيدة، ثم تمضي قدماً تحليلياً لاستعراض مكانة وَمَلَكَةُ الشاعر السعودي عبد السلام هاشم حافظ، بعد ذلك، تجسد الدراسة موقفاً تحليلياً وناقداً للأربعة الابيات الأولى من قصيدة حافظ، التي تحمل عنوان ’الشوق، يا وطني‘ ، مع التركيز على مفهوم الوطن كونه الموضوع الرئيس في هذه الدراسة، وتنتهي الدراسة بالتوصيات، ان جدت، ثم خاتمة موجزة.
ABSTRACT:
Classical Arabic poetry is the core of all categories of literature in all Arabic lands, territories, and realms since the age of pre-Islam. This study is an attempt to shed light on some literary facets of modern Saudi Arabic poetry focusing on the concept of homeland as an illustration of the standing of modern Saudi Arabic poetry with a particular indication to a contemporary Saudi poet, Abdus-Salam Hashem Hafeth. It can be right that the progress of Arabic poetry in the present age, among Arab poets, writers, and critics has a positive measure. It is true to generalize that the same would be identical to current innovative Saudi poetry given that it is naturally considered a principal, commanding, and uninterrupted measure of Arabic poetry. The researcher endeavors to illustrate the poet's intellectuality in depicting his glorious city as a representative of his adoration for the big home - the Kingdom of Saudi Arabia. The study commences with a concise introduction. Then, it analytically moves ahead to inspect the noteworthy Saudi poet – Abdus-Salam Hashem Hafeth. After that, the study portrays a critical-analytical attitude to the first four-verse lines of the poem of Hafeth, ‘Nostalgia, Oh my Home’, focusing on the concept of home as its principal theme. In conclusion, the study ends with a concise assumption and recommendations.
Keywords: Abdus-Salam Hashem Hafeth, Al Madinah Al Monawarah, Arabic literature, Arabic poetry, home in poetry, Kingdom of Saudi Arabia, Saudi poetry,
The Influence of Ibrahim Khafaji as Arabic Lyric Poet - تأثير إبراهيم خفاجي: ...Al Baha University
This document summarizes the influence of Ibrahim Khafaji as an Arabic lyric poet in Saudi Arabia. It begins with an introduction to Arabic poetry as a prominent genre in ancient and modern Arabic literature. It then provides a brief overview of contemporary poetry in Saudi Arabia and its development. The document focuses on analyzing Khafaji's contributions as a significant modern Saudi poet, examining one of his poems in detail. It concludes by emphasizing the importance of Arabic poetry in recording Arab history and culture.
A Voice of Arabs Taabbata-Sharran: A Bandit by Name a Poet of Pride - صوت من...Al Baha University
The magnitude of the Arabic language holds back from its being one of the unblemished languages in its brilliance and its reiterated capability to adapt to countless different sciences and knowledge. The Arabic language has reached creativity and ingenuity in diverse fields and genres of literature in which the supreme is poetry. This article attempts to present the inner landscapes of Taabbata-Sharran and his profession placing him in the context of both his social milieu and his age.
The paper aims at studying the figurative, allegorical and appealing images in Al-Gafiah of Taabbata-Sharran in which it follows the inferential inductive critical methodology concentrating analytically on his Al-Gafiah poem. The study attempts to divulge in the analysis the appealing qualities and poetic matters as well as the rhetorical images in it with particular reference to the first ten verse lines. The article begins with an introduction to Arabia and the Arabic Poetic Language then shifts to shed light on the poet Taabbata-Sharran as a great poet of Arabia, the center of the Arabic language. It is concluded with a brief examination and comments on the poem Al-Gafiah trying to catch on the original Arab ideals, morals, integrity, and beliefs in the pre-Islamic Epoch it contains.
Hassan ibn Thabit: An Original Arabic Tongue (1) حسان بن ثابت: لسان عربي أصيل Al Baha University
حسان بن ثابت واحد من أعظم الشعراء الذين عاشوا خلال عصرين متميّزين للأمة العربية في الجزيرة العربية، الفترة ما قبل الإسلامية والحقبة الإسلامية، قدم حسان خلالها صور حلو الشمائل عن العرب قبل الإسلام وبعده، في هذه الورقة الأدبية، يحاول الباحث سبر غور عمق الشعر العربي عند حسان بن ثابت كأنموذج على عظمة اللغة الشعرية العربية. يستحق الشاعر، حسان بن ثابت، دراسة أدبية، مركزاً، بشكل رئيسي على شعره كنوع من التراث والموروث للغة العربية الفصحى.
تعاملاً مع واحدة من القصائد الشهيرة لحسان بن ثابت، فإن هذه الورقة البحثية تستخدم الأسلوب التحليلي النقدي، والذي تبدأ بمقدمة موجزة عن الشعر العربي ثم تنتقل الورقة لإلقاء الضوء على العرب واللغة الشعرية العربية، ثم يلقي الباحث الضوء على الشاعر حسان بن ثابت، صاحب الملكات اللغوية العربية الغير عادية، وبعد ذلك، تنتقل الدراسة لتركز بشكل أوسع على التحليل والوصف لأول سِتة عشر بيتاً شعرياً من قصيدة حسان بن ثابت الشهيرة المعروفة باسم (قافية الألف). هذا الجزء هو الجزء الرئيسي التي تحاول الدراسة إثباتها من خلال شعر حسان بن ثابت، وتختتم هذه الورقة البحثية بملخص نهائي قصير.
Hassan ibn (son of) Thabit is one of the greatest poets who lived within two distinguished ages of the Arabic nations in Arabia, the pre-Islamic period and the Islamic period. He presented graceful pictures of Arabs before Islam and after Islam. In this literary paper, the investigator attempts to probe the depth of the Arabic poetry of Hassan ibn Thabit as an instance of the magnitude of Arabic poetic tongue. The poet Hassan ibn Thabit deserves a literary investigation paying attentiveness mostly to his poetry as a tradition and legacy of the classical Arabic poetic language.
In dealing with one of the famous poems of Ibn Thabit, the paper operates the critical-analytical method. It starts with a succinct introduction about Arabic poetry then the paper progresses to illuminate Arabs and Arabic poetic tongue. Subsequently, the researcher goes to shed light on the poet, Hassan ibn Thabit as a poet of an unusual Arabic language. After that, it goes on to focus more with analysis and wasf (description) on the first sixteen verse lines of Hassan ibn Thabit's renowned poem known as the Alef rhymed (قافية الألف). This part is the central division of the study in which it attempts to verify via the poetry of Hassan Ibn Thabit. The paper is ended with a short conclusion.
Thu Al-Ausb’a Al-'Adwani: An Arabic Poet of Acuity with Eternal Arguments - ...Al Baha University
This document provides an overview of the Arabic poet Thu Al-Ausb'a Al-'Adwani. It discusses his life, noting he was from the powerful tribe of Adwan. The document analyzes some of Thu Al-Ausb'a's poetry, highlighting his wisdom and perspectives. It also provides context on the importance of poetry in pre-Islamic Arabic culture and how poets like Thu Al-Ausb'a helped establish classical Arabic.
On the Poetry of The Dog Beneath the Skin - حول الشعر في مسرحية: ’الكلب المتن...Al Baha University
تعتبر مسرحية ’الكلب المتنكر تحت الجلد‘ هي أولى المسرحيات التي اشترك في تأليفها كل من ’ويستن هيو اُودن‘ (Wystan Hugh Auden) و ’كريستوفر إيشروود‘ (Christopher Isherwood)، وهذه المسرحية تعتبر مسرحية شعرية تُحدِث لدى المؤلفين تحدٍ من أجل النجاح لسببين؛ الأول كون هذه المسرحية تكتب شعراً، والسبب الثاني كونها مشتركة في التأليف وما يصاحب ذلك من صعوبة، الدراسة من خلال الشريكين في التأليف، تحاول أن تعرض إلى أي حد استطاعا إنجاز نوع من النجاح في تعاملهما مع مسرحيةٍ شعريةٍ، الدراسة أيضاً تسعى إلى اقتفاء الخصائص الشعرية في مسرحية ’الكلب المتنكر تحت الجلد‘ وتسعى إلى التحقق من القدرة والامكانية في تأليف مسرحية شعرية بالمشاركة، ويتخذ هذا البحث طابع الدراسة التحليلية النقدية كنهج حول مسرحية اشترك في تأليفها كل من ’إيشروود و اُودن‘.
هذه الدراسة تتعقب بإيجاز نشأة وتطور المسرح الشعري منذ نشأته حتى القرن العشرين مروراً بنوعية التعاون في التأليف بين ’إيشروود و اُودن‘، وتُختَتَم في جزئها الرئيسي باستنباط وتحليل الخصائص والعناصر الشعرية في مسرحية ’الكلب المتنكر تحت الجلد‘.
The Dog Beneath the Skin is the first play to be coauthored between Wystan Hugh Auden and Christopher Isherwood. It is a play written in verse, which creates a challenge of success for the dramatists for two reasons, the first is that it deals with verse, the second it is collaborative. The study through the collaborators, trying to show, to what extent, both achieved attainment in dealing with verse drama. This study also endeavors to trace the poetic features in The Dog Beneath the Skin and to attempt proving the capability and controllability in writing successful drama in verse through collaboration. This paper is done by using an analytic-critical method. It is an approach to a drama shared by both Auden and Isherwood.
The study tersely traces the growth and elaboration of poetic drama until the twentieth century. It goes through the sort of collaboration between Auden and Isherwood. It is concluded by examining and analyzing, its central part, the poetic features and essentials in the play The Dog Beneath the Skin.
Judgmental Point of View on Marlowe’s Doctor Faustus (1) وجهة نظر ناقدة حول م...Al Baha University
The Elizabethan poet-dramatist Christopher Marlowe is one of the most distinguished literary figures who put a touchable print and significantly contributed to the English literature through various masterpieces such as The Tragical History of the Life and Death of Doctor Faustus. The main character is Doctor Faustus, who surpasses in many fields of learnings but unfortunately, he detours his track searching for unlimited power and influence. The paper attempts to shed light on some critical and condemnatory points of view on Elizabethan theater with particular reference to Doctor Faustus as a person of extravagant ambition, an experienced philosopher who rejects natural sciences to metaphysical powers. This task might be extended with more investigations to deal with the two broad points fully; the Elizabethan theater and Doctor Faustus. This study comes to an end with a concise summary as an initial conclusion.
Eliot’s Treatment of the Chorus: A Steady Logical Structure (1): The Rock and...Al Baha University
This study is an investigative method on Thomas Stearns Eliot’s multipart theatrical development and progress in the use of a very ancient dramatic technique. It is the implementation of the chorus in his dramas. The paper is an attempt to shed light on the way Eliot employs the technique of the chorus into his plays. The study tries to track the procedure of Eliot in applying the chorus in his plays, tracing the development he reached with particular reference to The Rock and Murder in the Cathedral as Case in Point and as an imitation of the ancient Greek style and device. It equally, sheds light on the traditional Greek dramas from which Eliot hunted his themes. The study -analytically and critically – starts with an introduction on Eliot and his theory on the chorus. Then the task moves ahead to deal with the usage of the chorus in The Rock. After that, the work shifts to the second point that investigates the play Murder in the Cathedral and to be followed by the conclusion.
Milton’s Samson Agonistes: A Renaissance Image of Man - مسرحية شمشون اقونيستس...Al Baha University
جون ميلتون يعتبر شاعرا اكثر من كونه كاتب مسرحي، لهذا السبب فان شعره قد اخذ حيزا كبيرا من الدراسة والتمحيص والتحليل و/أو النقد لكن لم يعطى ذلك الاهتمام في مسرحيته، تحاول هذه الدراسة إلقاء الضوء على "سامسون اقونيستس" لميلتون كمسرحية أكثر من كونها قصيدة شعرية، الدراسة تستخدم النهج التحليلي والفلسفي والأدبي لأحد أبرز الشخصيات الأدبية في العصر التطهيري البيروتاني، جون ميلتون ومسرحيته "سامسون اقونيستس" كصورة أو مفهوم رجل عصر النهضة التي كثيرون ينسبون ارتباط ميلتون كأخر شخصية ادبية لهذا العصر، يستهل البحث بموضوع المعرفة – سواء المعرفة السماوية أو البشرية (من وجهة نظر ميلتون) وردة فعل الانسان فيما يتعلق بتلك المعرفة، الدراسة تحاول في هدفها ان تؤكد وتبرز النقائص المألوفة و اللافتة للنظر مثل المعاناة وسوء الحظ، الزوجة الغير ملائمة، المهمة الفاشلة والورطة بين كل من ميلتون وبطل مسرحيته، "سامسون".
الدراسة هي عبارة عن عملية تتبعيه لعصر "ميلتون" وأفكاره المعكوسة في مسرحيته " سامسون اقونيستس"، تحاول الدراسة إلقاء الضوء على كيفية توظيف ميلتون تقنياته الأدبية النابغة في المسرحية الشعرية قيد الدراسة، تستهل الدراسة بمقدمة متبوعة بالفقرة الأولى مفهوم رجل عصر النهضة ثم تتطرق الى معاينة المعاناة وسوء الحظ وبعد ذلك يتبع بوصف لمرئيات ميلتون نفسه حول المرأة كنتيجة لبغضه زوجته التي لم تعش معه، في القسم التالي تتبع تحليلي لمفاهيم المهمة الفاشلة والمأزق المصور في ذهن ميلتون عن نفسه وبطل مسرحيته.
John Milton is a poet more than a dramatist, hence, his poetry is plentifully studied, examined, analyzed, and/or criticized but his drama is sparsely done. This study tries to shed light on Samson Agonistes as drama. It is an analytical, philosophical and literary approach of one important figure in The Puritan age, John Milton, and his play as an image of the Renaissance man. The study takes up the theme of knowledge—divine or human knowledge and man’s reaction apropos that. The current study tries in its aim to highlight the frequent remarkable demerits such as misfortunes and suffering, unfortunate wife, unsuccessful mission, and plight between Milton and Samson. It is a pursuing process for Milton's age, and thoughts reflected in his work, Samson Agonistes. The study also attempts to shed light on how Milton employs his genius literary techniques in this verse play. The study starts with an introduction followed by the concept of the Renaissance man. The paper deals with views of misfortunes and suffering thereafter, it depicts Milton’s views concerning women as a result of his hatred to his wife. The research pursues analytically the concepts of ineffective mission, and plight imaged by Milton about himself and Samson, his main character of the play.
Eliot’s Treatment of the Chorus: A Steady Logical Structure (2) The Family Re...Al Baha University
This study is a follow up investigative method on T. S. Eliot’s complex theatrical growth and progress in the handling of a very ancient dramatic technique. It is the functioning of the chorus in his dramas. The study is a continuous attempt to shed light on the means Eliot employs the technique of the chorus into his dramas. The study tries to track the procedure of Eliot in employing the chorus in his plays, tracing the development he reached with particular reference to The Family Reunion and The Cocktail Party as Case in Point and comparing Eliot’s imitation of the ancient Greek technique and device in these two plays. The study – analytically and critically – commences with an introduction on Eliot and his theory on the importance of the chorus. Then the task moves ahead to manage and analyze the usage of the chorus in The Family Reunion. Subsequently, the work shifts to the second point that investigates the play The Cocktail Party and to be followed by a conclusion.
Milton’s On His Blindness: Eye Sight or Heart Vision - ’حول قصيدة ميلتون في ا...Al Baha University
John Milton, in his Sonnet 16 'On his Blindness,' meditates on the disturbing effect blindness has had on his whole life and literary works. He compares his lost vision with 'light spent' and grieves not the handicap in itself but the restrictions it carries out on his work as a literary figure, particularly a poet. His poetic skill is significant to him that he describes it as that one talent,' signifying it is the only talent that is of importance.
This study is an attempt to analyze the concepts of blindness, sight, light, vision, and obedience with particular reference to his poem, sonnet 18 or 'On his blindness.' It starts with an introduction to John Milton as a poet. After that, it shifts to discuss the concept of Vision or Sight. Then, the study goes on to deal with the concept of obedience. Next, it sheds light on the concepts of Blindness and Light. Afterward, the task moves to close with a conclusion. In this paper, the researcher applies the critical-analytical approach.
Eliot’s Treatment of the Chorus: A Steady Logical Structure (3) The Confident...Al Baha University
This study is a scrutiny investigative approach on T. S. Eliot’s complex dramaturgical development and progress in the implementation of a very olden dramatic practice. It is the operational of the chorus in Eliot’s verse dramas. This analysis is the third continuous effort to track the treatment that he employs in dealing with the chorus from antiquity to a modern approach. The study tries to pursue the procedure of Eliot in using the chorus in his dramas, tracing the progress Eliot reached with particular reference to his two final plays The Confidential Clerk and The Elder Statesman as Case in Point. The study uses descriptive-analytical and critical methodology. It begins with a brief outline of Eliot and his theoretical views on the merits and demerits of the chorus in drama. Then the task moves ahead to examine and analyze Eliot's usage of the chorus in The Confidential Clerk. Later, the work moves to the next part that explores the play The Elder Statesman. The study ends with discussion, conclusion, and recommendations if there is any.
The Eminence of Poetic Arabic Language: Lamiyyat Al Arab of Ash-Shanfara Exam...Al Baha University
إن أهمية اللغة العربية تعود إلى كونها واحدة من أكثر اللغات وضوحاً في تألقها وقدرتها المتكررة على التكيف مع عدد لا يحصى من العلوم والمعارف الأخرى، وصلت اللغة العربية إلى الإبداع والأصالة في مختلف مجالات الأدب المختلفة التي يكون فيها الشعر أعظم ما يكون.
تهدف الورقة البحثية إلى إمعان النظر في الصور الرمزية والبلاغية والجمالية في قصيدة "لامية العرب" للشنفرى والتي يتبع فيها الباحث المنهج النقدي الاستدلالي والاستقرائي الذي يركز بشكل تحليلي على الأبيات العشرة الأولى من القصيدة، وتحاول الدراسة أن تكشف تحليلا بتعمق للصفات الجمالية والمواضيع الشعرية وكذلك الصور الرمزية والاستعارية في القصيدة، حيث تبدأ الدراسة بمقدمة عن الجزيرة العربية ولغتها العربية الشعرية ثم تنتقل لإلقاء الضوء على الشاعر الشنفرى كشاعر عربي عظيم، تختتم بتحليل وتعليقات على قصيدة "لامية العرب" التي تحاول ابراز القيم العربية الأصلية، والاصيلة والأخلاق والمبادئ في عصر ما قبل الإسلام التي تحتوي عليها.
The significance of the Arabic language holds back from its being one of the most explicit languages in its brilliance and its repeated ability to adapt to countless other sciences and knowledge. The Arabic language has reached creativity and originality in different fields of literature in which the greatest is poetry.
The paper aims at scrutinizing the figurative, rhetorical and aesthetic images in Lamiyyat Al Arab by Ash-Shanfara in which it follows the deductive, inductive critical approach focusing analytically on the first ten verses of the poem. Applying the historical-analytical method, the study attempts to reveal in the in-depth analysis of the aesthetic qualities and poetic issues as well as the figurative images in the poem. It commences with an introduction on Arabia and Poetic Language then moves to shed light on the protagonist-poet Ash-Shanfara as a great Arabic poet to be concluded with analysis and comments on the poem Lamiyyat Al-Arab trying to find out the original Arab values, morals, ethics, and tenets in the pre-Islam era it contains.
Hassan ibn Thabit: An Original Arabic Tongue (2) حسان بن ثابت: لسان عربي أصيل Al Baha University
As it is suggested and recommended in the first part of a previous paper that carries the same title, this paper is a continuous effort not to claim to be wide-ranging in mastering a poetic piece as one sort of expressive manuscript in Arabic but an impartial effort through analytical assessment of a poem. The study is limited to a few selected verses of Hassan ibn Thabit poem named ‘Al Alef rhymed (قافية الألف).’ It is a representative of the Arabic tongue and its magnificence. It is a piece of poetry that cannot be examined and scrutinized in a short paper like this.
The study focuses, with analysis, on six verse lines – 17/22 – of Hassan ibn Thabit's poem mentioned above. It employs an analytical and critical method, makes an effort to illustrate the inspiration of Arabic poetry as a means of the tongue and its grandeur and glory. The study initiates with an introduction raising the importance of Arabic classical poetic tongue. Then it goes go forward to give a picture of Hassan ibn Thabit as a man and a poet. The researcher, then, shifts to the foremost segment of the study, attempting to bring an interpretation to some selected verses of Hassan’s above-mentioned long poem. The paper reaches its conclusion by a concise discussion and recommendatory afterword.
الملك لير والمهرج لشكسبير: تبادل الأدوار - Shakespeare’s King Lear and the Fo...Al Baha University
السلوك الطبيعي والمقبول هو أن أي الملك يفترض أن يسلك سلوك الملوك وفي المقابل فالمهرج، من الطبيعي أن يظهر من سلوكه نوع من السذاجة والحمق والفكاهة، لكن الفكرة في مسرحية ’الملك لير‘ King Lear لوليام شكسبير معكوسة، كقارئ للمسرحية، أعتقد أن ’لير‘ هو الملك ويفترض أن يتصرف كملك يتمثل المسئولية والواجب وفقاً لمنصبه، من المتوقع أن يكون سلوك المهرج ينم عن أنشطة فكاهية ومسلية.
تهدف هذه الدراسة، في محاولة، لسبر غور مفهوم ’انعدام العقلانية‘ ومقابلها ’الحكمة‘ من أجل إظهار الأدوار العميقة المقلوبة للشخصيتين الرئيسيتين ’لير‘ و’المهرج‘؛ يُعنى بالدراسة إيضاح السلوك الهزلي الفكاهي في شخصية الملك ’لير‘ وفي المقابل إبراز السلوك الحكيم والمتبصر لدى شخصية ’المهرج‘ من خلال إتباع المنهج التحليلي الناقد.
الدراسة تُستهلُ بمقدمةِ موجزةِ عن شكسبير وعن مسرحيتهِ ’الملك لير، King Lear، ثم تقومُ الدراسةُ في الجزءِ الرئيسي الأول بالتعليقِ تحليلياً عن سلوكياتِ ’لير‘ كشخصيةٍ هزليةٍ تمزجُ بين السخريةِ والتصرفِ الغير ملائم، ثم تُتبعُ بالجزءِ الرئيسي الثاني الذي يَتمحورُ حولَ أوجه الحكمة في سلوكيات شخصية ’المهرج‘، ومن ثم تنتهي بخاتمةٍ موجزةٍ.
The natural and accepted behavior is that a king should behave like a king. In a different way, a fool might show the conduct of a comedian or a silly person, but the notion in Shakespeare’s King Lear can be seen reversing. As a reader of the play, I believe that Lear is a king and should show responsibility and obligation according to his title. It is expected that the Fool behaves with amusing and humorous activities.
This study aims to explore the concepts of ‘irrationality’ and its conflicting ‘wisdom’ to illustrate the profound inverted roles of the two major characters ‘Lear and the Fool’. Through an analytical and critical examination, the study is meant to expose the comic conducts of King Lear and on the other side, the wisdom sides of the Fool.
The paper starts with an introduction about Shakespeare and the sources of the play, then analytically comments, in its first central part, on the behavior of Lear as a comic person mixing hilarity and inconvenient conduct. It is followed by the second central part which deals with the aspects of wisdom in the behavior of the Fool. Then the paper ends with a concise conclusion.
Emily Dickinson's I Died for Beauty: Saying too Much Using Few Terminologies ...Al Baha University
Emily Dickinson had a distinct talent for capturing the core of an event or emotion in her written expression. She is likened to a genius. She wrote hundreds of well-defined poems. This study attempts to spur the depth of one of the resounding poems, ‘I Died for Beauty.’ The paper tries to prove the greatness of the poem, Dickinson, in revealing too much using few words. The study starts with an introduction about the poet, then shifts to the next main point – critical-analytical description of the three-stanza poem, illustrating its style, themes, symbols, and the study ends with a brief conclusion and recommendation if there is any.
Contemporary Drama in the Arab World: Commencement and Evolution (1) المسرح ا...Al Baha University
Drama has echoed and paralleled the life, customs, conduct, and general living traditions of society from its dim commencements on the ancient auditoriums and the banks of the Nile in olden Egypt approximately six thousand years ago. Drama is an advanced and simple means of recording and documenting human effort. There are many central playwrights significantly contributed to the progress and evolution of Arabic drama and theater and tended to perform dramatic representations within many Arabic countries throughout time and place.
This study is an attempt to shed light on two pioneer dramatists who were the first innovators, paving the way for the development of Arabic drama and theater. The first is the Lebanese Marun An-Naqqash, and the second is the Syrian Ahmad Abu Khalil Al-Qabbani. The paper is analytically and critically charted with an introduction. Then, it deals with a brief notion on the meaning of drama, focusing mainly on poetic drama and the origin and development of Arabic Drama. The central part copes with the two pioneers, An-Naqqash, and Al-Qabbani, shedding light on the struggle they made to give life to a very famous genre called drama. The paper reaches the end with a brief conclusion and recommendations if any.
The Conflict of Virtue and Corruption in Shaw's Major Barbara: A Perspective ...Al Baha University
This study focuses on analyzing the conflict between good and evil, and to ascertain the importance of justice and rights in society through a crucial factor that touches all people – poverty and wealth. It aims to detect the measure of the Islamic hints of George Bernard Shaw with particular reference to one of his great plays, Major Barbara, which focused on economy, money, and poverty. The paper begins with a general introduction about some social and dramatic philosophical indications of George Bernard Shaw. After that, it shifts to shed light on (1) the perspective of the dramatist, Bernard Shaw, on the contrastive concept of Good against Evil and (2) the analysis on the central part of the study illustrating the perspectives of the play. Then the paper ends with a summary of the results and a discussion of the study to be followed by the conclusion. The study applies the deductive, critical, and analytical approach as a suitable method of literary research.
Arabic Contemporary Poetic Drama Ali Ahmed Ba Kathir A Pioneer - المسرح الشعر...Al Baha University
Many central playwrights significantly contributed to the progress and advancement of Arabic drama. They were apt to achieve dramatic illustrations in several Arabic countries all the way through ages and places. Still, this study attempts to shed light on an innovator poet-dramatist who represents many cultures and experiences. It aims at displaying the most significant features of renovation associated with the development of the modern Arabic poetic drama that employs history and social problems to present a vision for Arabic literature in the contemporary age. The researcher adopts the critical-descriptive approach in analyzing the poet-dramatist, Ali Ahmad Ba-Kathir, and two of his poetic dramas. It is mapped with an introductory overview dealing with a concise notion of drama, concentrating predominantly on poetic drama. The foremost part copes with the developer and pioneer Ali Ahmad Ba-Kathir, focusing on his thoughts and experiences in the field. The paper, then, moves ahead to deal with two verse plays as a model of his craftsmanship and mastery. After that, the study finishes with a brief argument and/or recommendations and an end.
Mua'llagat Zohayr ibn Abi Solma: Elegant Piece of Arabic Poetry (1) - معلقة ز...Al Baha University
Zohayr ibn Abi Solma is identified as an eminent poet who produced poetry distinguished with preeminence in courtly and virtuous love. The study employs an analytical and critical methodology, attempting to elucidate the influence of virtuous love narrated by the poet in the first verse lines of his great Mua'llagah. It employs the critical-descriptive-analytical approach. It commences with a terse introductory synopsis shedding light on the importance of classical Arabic language and its involvement with poetry. It goes on to shed light on Zohayr ibn Abi Solma, the person and the poet. The next section is dealing with selected verse lines from Al-Mualagah of Zohayr. The paper attempts to prove, via poetry of Zohayr ibn Abi Solma, the greatness of the Arabic classical poetry and demonstrate the aptitudes of the poet through his Mua'llagah. It is divided into four parts. The first part deals with the greatness of Arabic language then it moves to the second part that focuses of Arabic Poetry: Treasure of Wisdom. The third part sheds light on the poet's Courtly Love and the last main part goes with analytical and critical endeavor to the first ten verse lines of Al-Mua'llagah of Zohayr. It comes to an end with a conclusion.
The Eagle: Tennyson's Magnificence Six lines profoundly show Probing, Perpetu...Al Baha University
Irrespective of that, Winter is a short poem; however, it bears inside profound, interesting meanings and connotations. It is composed of eighteen lines at the end of the comic play Love’s Labour’s Lost. Its significance might be looked at from two sides; the first is the meaning of the natural season, winter, and how such time of year is described in this poem. The second side goes with the sort of used verse and its technique, style, and devices.
This study intends to explore the perceptions of descriptions, pictures, and metaphors behind this poem. Through an analytical and critical examination and scrutiny, the study tries to present the verse and poetic concepts that Shakespeare applied in the lines of this very short poem. The study starts with an introduction about Shakespeare, the poet, and dramatist, then critically, it comments on appreciating the profound elements of the poem. Afterward, the study moves ahead to deal with some verse elements such as rhythm, the use of meters, and other devices.
The Elder Statesman: Eliot’s Ultimate Modernity - رجل الدولة العجوز: حداثة إل...Al Baha University
في مقالاته وكتاباته النقدية، كان T. S. Eliot مهتماً بإمكانية كتابة مسرحيات شعرية للجمهور المعاصر، هذه الدراسة هي محاولة لتقصي قدرة ونجاح إليوت في التعامل مع اللغة بأسلوب حديث في كتابة مسرحية ’رجل الدولة العجوز‘ للقراء والمشاهدين المعاصرين، تتلمس الدراسة قدرة الشاعر والكاتب المسرحي T. S. Eliot في التلاعب بالتقنيات اللفظية اللازمة لكتابة لمسرحية الحديثة والهامة للمتفرجين والقراء في العصر الحديث والاستشهاد بمسرحية ’رجل الدولة العجوز‘ The Elder Statesman، لأن هذه المسرحية هي آخر مسرحية أنتجها T. S. Eliot، يحاول الباحث، من خلالها، تسليط الضوء على قدرة T. S. Eliot في ابتكار أسلوب وخطاب غزير في معناه، والذي يجعل المسرحية ذات طبيعة تلقائية عند الأشخاص المعاصرين، تبدأ الدراسة بمقدمة عامة موجزة عن T. S. Eliot، يتبعها تحليل وصفي ناقد للمسرحية والذي يركز في الغالب على الأسلوب الحديث الذي اعتمده الكاتب المسرحي وعلى وجه الخصوص تعامله مع اللغة، ثم يتبع ذلك مناقشة موجزة للباحث، وتختتم الدراسة بخاتمة تحليلية نقدية. In his critical essays and reviews, T. S. Eliot was preoccupied with the possibility of writing poetic plays for contemporary audiences. This study is an attempt to disclose, to what extent, Eliot succeeded in using modern language and style in The Elder Statesman to contemporary readers and audiences. The study touches on the ability of Eliot in manipulating techniques necessary for modern theatre and modern spectators/readers with reference to The Elder Statesman. Because this play is the last one that Eliot produced, the researcher tries to shed light on the ability of Eliot in creating a style and profuse speech, making the play spontaneous to the contemporary people. It begins with a brief general introduction about T. S. Eliot, to be followed by a descriptive-critical analysis of the play focusing mostly on the modern style the dramatist adopted particularly the language, and then a brief discussion follows. The study is concluded with a critical-analytical conclusion.
The Merits of Shakespeare's The Tempest as a Poem - إمكانية إعتبار مسرحية ’ال...Al Baha University
The Tempest is one of the greatest comic plays of the English writer William Shakespeare. The significance of this play, I feel, is not only being a drama but also poetic. This study attempts to disclose the poetic elements of the play as proof to be called a long poem. The paper is an attempt to show the formations of poetry in the play and to ascertain the dominance of verse such as blank verse in Shakespeare’s time, which was introduced in place of the rhyme, and poetic variations such as accent variation, inversion, deletion of syllables, and additional syllables.
The researcher applies the critical and analytical approach as a literary technique of the study. The paper starts with an introduction about Shakespeare and the composing of The Tempest; then, it sheds light briefly on some verse instances. Afterward, the point is shifted to illustrate the core of the study Discussion on Making Verse in which the researcher sheds light on some essential poetic elements such as blank verse, normal variations, and sporadic variations as instances proofing his arguments.
Modern Saudi Poetry: Mohammad Hasan Awwad’s Night and Me, in Balance - الشعر ...Al Baha University
This document discusses Arabic poetry, particularly modern Saudi poetry. It begins by highlighting the importance of poetry in Arabic literature and pre-Islamic Arabian society. It then examines the development of poetry and literary movements in Saudi Arabia. The main section analyzes selected verses from the poem "Night and Me" by modern Saudi poet Mohammad Hasan Awwad, praising his rebellious style. It concludes by affirming the ongoing greatness of Arabic poetry.
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
Thu Al-Ausb’a Al-'Adwani: An Arabic Poet of Acuity with Eternal Arguments - ...Al Baha University
This document provides an overview of the Arabic poet Thu Al-Ausb'a Al-'Adwani. It discusses his life, noting he was from the powerful tribe of Adwan. The document analyzes some of Thu Al-Ausb'a's poetry, highlighting his wisdom and perspectives. It also provides context on the importance of poetry in pre-Islamic Arabic culture and how poets like Thu Al-Ausb'a helped establish classical Arabic.
On the Poetry of The Dog Beneath the Skin - حول الشعر في مسرحية: ’الكلب المتن...Al Baha University
تعتبر مسرحية ’الكلب المتنكر تحت الجلد‘ هي أولى المسرحيات التي اشترك في تأليفها كل من ’ويستن هيو اُودن‘ (Wystan Hugh Auden) و ’كريستوفر إيشروود‘ (Christopher Isherwood)، وهذه المسرحية تعتبر مسرحية شعرية تُحدِث لدى المؤلفين تحدٍ من أجل النجاح لسببين؛ الأول كون هذه المسرحية تكتب شعراً، والسبب الثاني كونها مشتركة في التأليف وما يصاحب ذلك من صعوبة، الدراسة من خلال الشريكين في التأليف، تحاول أن تعرض إلى أي حد استطاعا إنجاز نوع من النجاح في تعاملهما مع مسرحيةٍ شعريةٍ، الدراسة أيضاً تسعى إلى اقتفاء الخصائص الشعرية في مسرحية ’الكلب المتنكر تحت الجلد‘ وتسعى إلى التحقق من القدرة والامكانية في تأليف مسرحية شعرية بالمشاركة، ويتخذ هذا البحث طابع الدراسة التحليلية النقدية كنهج حول مسرحية اشترك في تأليفها كل من ’إيشروود و اُودن‘.
هذه الدراسة تتعقب بإيجاز نشأة وتطور المسرح الشعري منذ نشأته حتى القرن العشرين مروراً بنوعية التعاون في التأليف بين ’إيشروود و اُودن‘، وتُختَتَم في جزئها الرئيسي باستنباط وتحليل الخصائص والعناصر الشعرية في مسرحية ’الكلب المتنكر تحت الجلد‘.
The Dog Beneath the Skin is the first play to be coauthored between Wystan Hugh Auden and Christopher Isherwood. It is a play written in verse, which creates a challenge of success for the dramatists for two reasons, the first is that it deals with verse, the second it is collaborative. The study through the collaborators, trying to show, to what extent, both achieved attainment in dealing with verse drama. This study also endeavors to trace the poetic features in The Dog Beneath the Skin and to attempt proving the capability and controllability in writing successful drama in verse through collaboration. This paper is done by using an analytic-critical method. It is an approach to a drama shared by both Auden and Isherwood.
The study tersely traces the growth and elaboration of poetic drama until the twentieth century. It goes through the sort of collaboration between Auden and Isherwood. It is concluded by examining and analyzing, its central part, the poetic features and essentials in the play The Dog Beneath the Skin.
Judgmental Point of View on Marlowe’s Doctor Faustus (1) وجهة نظر ناقدة حول م...Al Baha University
The Elizabethan poet-dramatist Christopher Marlowe is one of the most distinguished literary figures who put a touchable print and significantly contributed to the English literature through various masterpieces such as The Tragical History of the Life and Death of Doctor Faustus. The main character is Doctor Faustus, who surpasses in many fields of learnings but unfortunately, he detours his track searching for unlimited power and influence. The paper attempts to shed light on some critical and condemnatory points of view on Elizabethan theater with particular reference to Doctor Faustus as a person of extravagant ambition, an experienced philosopher who rejects natural sciences to metaphysical powers. This task might be extended with more investigations to deal with the two broad points fully; the Elizabethan theater and Doctor Faustus. This study comes to an end with a concise summary as an initial conclusion.
Eliot’s Treatment of the Chorus: A Steady Logical Structure (1): The Rock and...Al Baha University
This study is an investigative method on Thomas Stearns Eliot’s multipart theatrical development and progress in the use of a very ancient dramatic technique. It is the implementation of the chorus in his dramas. The paper is an attempt to shed light on the way Eliot employs the technique of the chorus into his plays. The study tries to track the procedure of Eliot in applying the chorus in his plays, tracing the development he reached with particular reference to The Rock and Murder in the Cathedral as Case in Point and as an imitation of the ancient Greek style and device. It equally, sheds light on the traditional Greek dramas from which Eliot hunted his themes. The study -analytically and critically – starts with an introduction on Eliot and his theory on the chorus. Then the task moves ahead to deal with the usage of the chorus in The Rock. After that, the work shifts to the second point that investigates the play Murder in the Cathedral and to be followed by the conclusion.
Milton’s Samson Agonistes: A Renaissance Image of Man - مسرحية شمشون اقونيستس...Al Baha University
جون ميلتون يعتبر شاعرا اكثر من كونه كاتب مسرحي، لهذا السبب فان شعره قد اخذ حيزا كبيرا من الدراسة والتمحيص والتحليل و/أو النقد لكن لم يعطى ذلك الاهتمام في مسرحيته، تحاول هذه الدراسة إلقاء الضوء على "سامسون اقونيستس" لميلتون كمسرحية أكثر من كونها قصيدة شعرية، الدراسة تستخدم النهج التحليلي والفلسفي والأدبي لأحد أبرز الشخصيات الأدبية في العصر التطهيري البيروتاني، جون ميلتون ومسرحيته "سامسون اقونيستس" كصورة أو مفهوم رجل عصر النهضة التي كثيرون ينسبون ارتباط ميلتون كأخر شخصية ادبية لهذا العصر، يستهل البحث بموضوع المعرفة – سواء المعرفة السماوية أو البشرية (من وجهة نظر ميلتون) وردة فعل الانسان فيما يتعلق بتلك المعرفة، الدراسة تحاول في هدفها ان تؤكد وتبرز النقائص المألوفة و اللافتة للنظر مثل المعاناة وسوء الحظ، الزوجة الغير ملائمة، المهمة الفاشلة والورطة بين كل من ميلتون وبطل مسرحيته، "سامسون".
الدراسة هي عبارة عن عملية تتبعيه لعصر "ميلتون" وأفكاره المعكوسة في مسرحيته " سامسون اقونيستس"، تحاول الدراسة إلقاء الضوء على كيفية توظيف ميلتون تقنياته الأدبية النابغة في المسرحية الشعرية قيد الدراسة، تستهل الدراسة بمقدمة متبوعة بالفقرة الأولى مفهوم رجل عصر النهضة ثم تتطرق الى معاينة المعاناة وسوء الحظ وبعد ذلك يتبع بوصف لمرئيات ميلتون نفسه حول المرأة كنتيجة لبغضه زوجته التي لم تعش معه، في القسم التالي تتبع تحليلي لمفاهيم المهمة الفاشلة والمأزق المصور في ذهن ميلتون عن نفسه وبطل مسرحيته.
John Milton is a poet more than a dramatist, hence, his poetry is plentifully studied, examined, analyzed, and/or criticized but his drama is sparsely done. This study tries to shed light on Samson Agonistes as drama. It is an analytical, philosophical and literary approach of one important figure in The Puritan age, John Milton, and his play as an image of the Renaissance man. The study takes up the theme of knowledge—divine or human knowledge and man’s reaction apropos that. The current study tries in its aim to highlight the frequent remarkable demerits such as misfortunes and suffering, unfortunate wife, unsuccessful mission, and plight between Milton and Samson. It is a pursuing process for Milton's age, and thoughts reflected in his work, Samson Agonistes. The study also attempts to shed light on how Milton employs his genius literary techniques in this verse play. The study starts with an introduction followed by the concept of the Renaissance man. The paper deals with views of misfortunes and suffering thereafter, it depicts Milton’s views concerning women as a result of his hatred to his wife. The research pursues analytically the concepts of ineffective mission, and plight imaged by Milton about himself and Samson, his main character of the play.
Eliot’s Treatment of the Chorus: A Steady Logical Structure (2) The Family Re...Al Baha University
This study is a follow up investigative method on T. S. Eliot’s complex theatrical growth and progress in the handling of a very ancient dramatic technique. It is the functioning of the chorus in his dramas. The study is a continuous attempt to shed light on the means Eliot employs the technique of the chorus into his dramas. The study tries to track the procedure of Eliot in employing the chorus in his plays, tracing the development he reached with particular reference to The Family Reunion and The Cocktail Party as Case in Point and comparing Eliot’s imitation of the ancient Greek technique and device in these two plays. The study – analytically and critically – commences with an introduction on Eliot and his theory on the importance of the chorus. Then the task moves ahead to manage and analyze the usage of the chorus in The Family Reunion. Subsequently, the work shifts to the second point that investigates the play The Cocktail Party and to be followed by a conclusion.
Milton’s On His Blindness: Eye Sight or Heart Vision - ’حول قصيدة ميلتون في ا...Al Baha University
John Milton, in his Sonnet 16 'On his Blindness,' meditates on the disturbing effect blindness has had on his whole life and literary works. He compares his lost vision with 'light spent' and grieves not the handicap in itself but the restrictions it carries out on his work as a literary figure, particularly a poet. His poetic skill is significant to him that he describes it as that one talent,' signifying it is the only talent that is of importance.
This study is an attempt to analyze the concepts of blindness, sight, light, vision, and obedience with particular reference to his poem, sonnet 18 or 'On his blindness.' It starts with an introduction to John Milton as a poet. After that, it shifts to discuss the concept of Vision or Sight. Then, the study goes on to deal with the concept of obedience. Next, it sheds light on the concepts of Blindness and Light. Afterward, the task moves to close with a conclusion. In this paper, the researcher applies the critical-analytical approach.
Eliot’s Treatment of the Chorus: A Steady Logical Structure (3) The Confident...Al Baha University
This study is a scrutiny investigative approach on T. S. Eliot’s complex dramaturgical development and progress in the implementation of a very olden dramatic practice. It is the operational of the chorus in Eliot’s verse dramas. This analysis is the third continuous effort to track the treatment that he employs in dealing with the chorus from antiquity to a modern approach. The study tries to pursue the procedure of Eliot in using the chorus in his dramas, tracing the progress Eliot reached with particular reference to his two final plays The Confidential Clerk and The Elder Statesman as Case in Point. The study uses descriptive-analytical and critical methodology. It begins with a brief outline of Eliot and his theoretical views on the merits and demerits of the chorus in drama. Then the task moves ahead to examine and analyze Eliot's usage of the chorus in The Confidential Clerk. Later, the work moves to the next part that explores the play The Elder Statesman. The study ends with discussion, conclusion, and recommendations if there is any.
The Eminence of Poetic Arabic Language: Lamiyyat Al Arab of Ash-Shanfara Exam...Al Baha University
إن أهمية اللغة العربية تعود إلى كونها واحدة من أكثر اللغات وضوحاً في تألقها وقدرتها المتكررة على التكيف مع عدد لا يحصى من العلوم والمعارف الأخرى، وصلت اللغة العربية إلى الإبداع والأصالة في مختلف مجالات الأدب المختلفة التي يكون فيها الشعر أعظم ما يكون.
تهدف الورقة البحثية إلى إمعان النظر في الصور الرمزية والبلاغية والجمالية في قصيدة "لامية العرب" للشنفرى والتي يتبع فيها الباحث المنهج النقدي الاستدلالي والاستقرائي الذي يركز بشكل تحليلي على الأبيات العشرة الأولى من القصيدة، وتحاول الدراسة أن تكشف تحليلا بتعمق للصفات الجمالية والمواضيع الشعرية وكذلك الصور الرمزية والاستعارية في القصيدة، حيث تبدأ الدراسة بمقدمة عن الجزيرة العربية ولغتها العربية الشعرية ثم تنتقل لإلقاء الضوء على الشاعر الشنفرى كشاعر عربي عظيم، تختتم بتحليل وتعليقات على قصيدة "لامية العرب" التي تحاول ابراز القيم العربية الأصلية، والاصيلة والأخلاق والمبادئ في عصر ما قبل الإسلام التي تحتوي عليها.
The significance of the Arabic language holds back from its being one of the most explicit languages in its brilliance and its repeated ability to adapt to countless other sciences and knowledge. The Arabic language has reached creativity and originality in different fields of literature in which the greatest is poetry.
The paper aims at scrutinizing the figurative, rhetorical and aesthetic images in Lamiyyat Al Arab by Ash-Shanfara in which it follows the deductive, inductive critical approach focusing analytically on the first ten verses of the poem. Applying the historical-analytical method, the study attempts to reveal in the in-depth analysis of the aesthetic qualities and poetic issues as well as the figurative images in the poem. It commences with an introduction on Arabia and Poetic Language then moves to shed light on the protagonist-poet Ash-Shanfara as a great Arabic poet to be concluded with analysis and comments on the poem Lamiyyat Al-Arab trying to find out the original Arab values, morals, ethics, and tenets in the pre-Islam era it contains.
Hassan ibn Thabit: An Original Arabic Tongue (2) حسان بن ثابت: لسان عربي أصيل Al Baha University
As it is suggested and recommended in the first part of a previous paper that carries the same title, this paper is a continuous effort not to claim to be wide-ranging in mastering a poetic piece as one sort of expressive manuscript in Arabic but an impartial effort through analytical assessment of a poem. The study is limited to a few selected verses of Hassan ibn Thabit poem named ‘Al Alef rhymed (قافية الألف).’ It is a representative of the Arabic tongue and its magnificence. It is a piece of poetry that cannot be examined and scrutinized in a short paper like this.
The study focuses, with analysis, on six verse lines – 17/22 – of Hassan ibn Thabit's poem mentioned above. It employs an analytical and critical method, makes an effort to illustrate the inspiration of Arabic poetry as a means of the tongue and its grandeur and glory. The study initiates with an introduction raising the importance of Arabic classical poetic tongue. Then it goes go forward to give a picture of Hassan ibn Thabit as a man and a poet. The researcher, then, shifts to the foremost segment of the study, attempting to bring an interpretation to some selected verses of Hassan’s above-mentioned long poem. The paper reaches its conclusion by a concise discussion and recommendatory afterword.
الملك لير والمهرج لشكسبير: تبادل الأدوار - Shakespeare’s King Lear and the Fo...Al Baha University
السلوك الطبيعي والمقبول هو أن أي الملك يفترض أن يسلك سلوك الملوك وفي المقابل فالمهرج، من الطبيعي أن يظهر من سلوكه نوع من السذاجة والحمق والفكاهة، لكن الفكرة في مسرحية ’الملك لير‘ King Lear لوليام شكسبير معكوسة، كقارئ للمسرحية، أعتقد أن ’لير‘ هو الملك ويفترض أن يتصرف كملك يتمثل المسئولية والواجب وفقاً لمنصبه، من المتوقع أن يكون سلوك المهرج ينم عن أنشطة فكاهية ومسلية.
تهدف هذه الدراسة، في محاولة، لسبر غور مفهوم ’انعدام العقلانية‘ ومقابلها ’الحكمة‘ من أجل إظهار الأدوار العميقة المقلوبة للشخصيتين الرئيسيتين ’لير‘ و’المهرج‘؛ يُعنى بالدراسة إيضاح السلوك الهزلي الفكاهي في شخصية الملك ’لير‘ وفي المقابل إبراز السلوك الحكيم والمتبصر لدى شخصية ’المهرج‘ من خلال إتباع المنهج التحليلي الناقد.
الدراسة تُستهلُ بمقدمةِ موجزةِ عن شكسبير وعن مسرحيتهِ ’الملك لير، King Lear، ثم تقومُ الدراسةُ في الجزءِ الرئيسي الأول بالتعليقِ تحليلياً عن سلوكياتِ ’لير‘ كشخصيةٍ هزليةٍ تمزجُ بين السخريةِ والتصرفِ الغير ملائم، ثم تُتبعُ بالجزءِ الرئيسي الثاني الذي يَتمحورُ حولَ أوجه الحكمة في سلوكيات شخصية ’المهرج‘، ومن ثم تنتهي بخاتمةٍ موجزةٍ.
The natural and accepted behavior is that a king should behave like a king. In a different way, a fool might show the conduct of a comedian or a silly person, but the notion in Shakespeare’s King Lear can be seen reversing. As a reader of the play, I believe that Lear is a king and should show responsibility and obligation according to his title. It is expected that the Fool behaves with amusing and humorous activities.
This study aims to explore the concepts of ‘irrationality’ and its conflicting ‘wisdom’ to illustrate the profound inverted roles of the two major characters ‘Lear and the Fool’. Through an analytical and critical examination, the study is meant to expose the comic conducts of King Lear and on the other side, the wisdom sides of the Fool.
The paper starts with an introduction about Shakespeare and the sources of the play, then analytically comments, in its first central part, on the behavior of Lear as a comic person mixing hilarity and inconvenient conduct. It is followed by the second central part which deals with the aspects of wisdom in the behavior of the Fool. Then the paper ends with a concise conclusion.
Emily Dickinson's I Died for Beauty: Saying too Much Using Few Terminologies ...Al Baha University
Emily Dickinson had a distinct talent for capturing the core of an event or emotion in her written expression. She is likened to a genius. She wrote hundreds of well-defined poems. This study attempts to spur the depth of one of the resounding poems, ‘I Died for Beauty.’ The paper tries to prove the greatness of the poem, Dickinson, in revealing too much using few words. The study starts with an introduction about the poet, then shifts to the next main point – critical-analytical description of the three-stanza poem, illustrating its style, themes, symbols, and the study ends with a brief conclusion and recommendation if there is any.
Contemporary Drama in the Arab World: Commencement and Evolution (1) المسرح ا...Al Baha University
Drama has echoed and paralleled the life, customs, conduct, and general living traditions of society from its dim commencements on the ancient auditoriums and the banks of the Nile in olden Egypt approximately six thousand years ago. Drama is an advanced and simple means of recording and documenting human effort. There are many central playwrights significantly contributed to the progress and evolution of Arabic drama and theater and tended to perform dramatic representations within many Arabic countries throughout time and place.
This study is an attempt to shed light on two pioneer dramatists who were the first innovators, paving the way for the development of Arabic drama and theater. The first is the Lebanese Marun An-Naqqash, and the second is the Syrian Ahmad Abu Khalil Al-Qabbani. The paper is analytically and critically charted with an introduction. Then, it deals with a brief notion on the meaning of drama, focusing mainly on poetic drama and the origin and development of Arabic Drama. The central part copes with the two pioneers, An-Naqqash, and Al-Qabbani, shedding light on the struggle they made to give life to a very famous genre called drama. The paper reaches the end with a brief conclusion and recommendations if any.
The Conflict of Virtue and Corruption in Shaw's Major Barbara: A Perspective ...Al Baha University
This study focuses on analyzing the conflict between good and evil, and to ascertain the importance of justice and rights in society through a crucial factor that touches all people – poverty and wealth. It aims to detect the measure of the Islamic hints of George Bernard Shaw with particular reference to one of his great plays, Major Barbara, which focused on economy, money, and poverty. The paper begins with a general introduction about some social and dramatic philosophical indications of George Bernard Shaw. After that, it shifts to shed light on (1) the perspective of the dramatist, Bernard Shaw, on the contrastive concept of Good against Evil and (2) the analysis on the central part of the study illustrating the perspectives of the play. Then the paper ends with a summary of the results and a discussion of the study to be followed by the conclusion. The study applies the deductive, critical, and analytical approach as a suitable method of literary research.
Arabic Contemporary Poetic Drama Ali Ahmed Ba Kathir A Pioneer - المسرح الشعر...Al Baha University
Many central playwrights significantly contributed to the progress and advancement of Arabic drama. They were apt to achieve dramatic illustrations in several Arabic countries all the way through ages and places. Still, this study attempts to shed light on an innovator poet-dramatist who represents many cultures and experiences. It aims at displaying the most significant features of renovation associated with the development of the modern Arabic poetic drama that employs history and social problems to present a vision for Arabic literature in the contemporary age. The researcher adopts the critical-descriptive approach in analyzing the poet-dramatist, Ali Ahmad Ba-Kathir, and two of his poetic dramas. It is mapped with an introductory overview dealing with a concise notion of drama, concentrating predominantly on poetic drama. The foremost part copes with the developer and pioneer Ali Ahmad Ba-Kathir, focusing on his thoughts and experiences in the field. The paper, then, moves ahead to deal with two verse plays as a model of his craftsmanship and mastery. After that, the study finishes with a brief argument and/or recommendations and an end.
Mua'llagat Zohayr ibn Abi Solma: Elegant Piece of Arabic Poetry (1) - معلقة ز...Al Baha University
Zohayr ibn Abi Solma is identified as an eminent poet who produced poetry distinguished with preeminence in courtly and virtuous love. The study employs an analytical and critical methodology, attempting to elucidate the influence of virtuous love narrated by the poet in the first verse lines of his great Mua'llagah. It employs the critical-descriptive-analytical approach. It commences with a terse introductory synopsis shedding light on the importance of classical Arabic language and its involvement with poetry. It goes on to shed light on Zohayr ibn Abi Solma, the person and the poet. The next section is dealing with selected verse lines from Al-Mualagah of Zohayr. The paper attempts to prove, via poetry of Zohayr ibn Abi Solma, the greatness of the Arabic classical poetry and demonstrate the aptitudes of the poet through his Mua'llagah. It is divided into four parts. The first part deals with the greatness of Arabic language then it moves to the second part that focuses of Arabic Poetry: Treasure of Wisdom. The third part sheds light on the poet's Courtly Love and the last main part goes with analytical and critical endeavor to the first ten verse lines of Al-Mua'llagah of Zohayr. It comes to an end with a conclusion.
The Eagle: Tennyson's Magnificence Six lines profoundly show Probing, Perpetu...Al Baha University
Irrespective of that, Winter is a short poem; however, it bears inside profound, interesting meanings and connotations. It is composed of eighteen lines at the end of the comic play Love’s Labour’s Lost. Its significance might be looked at from two sides; the first is the meaning of the natural season, winter, and how such time of year is described in this poem. The second side goes with the sort of used verse and its technique, style, and devices.
This study intends to explore the perceptions of descriptions, pictures, and metaphors behind this poem. Through an analytical and critical examination and scrutiny, the study tries to present the verse and poetic concepts that Shakespeare applied in the lines of this very short poem. The study starts with an introduction about Shakespeare, the poet, and dramatist, then critically, it comments on appreciating the profound elements of the poem. Afterward, the study moves ahead to deal with some verse elements such as rhythm, the use of meters, and other devices.
The Elder Statesman: Eliot’s Ultimate Modernity - رجل الدولة العجوز: حداثة إل...Al Baha University
في مقالاته وكتاباته النقدية، كان T. S. Eliot مهتماً بإمكانية كتابة مسرحيات شعرية للجمهور المعاصر، هذه الدراسة هي محاولة لتقصي قدرة ونجاح إليوت في التعامل مع اللغة بأسلوب حديث في كتابة مسرحية ’رجل الدولة العجوز‘ للقراء والمشاهدين المعاصرين، تتلمس الدراسة قدرة الشاعر والكاتب المسرحي T. S. Eliot في التلاعب بالتقنيات اللفظية اللازمة لكتابة لمسرحية الحديثة والهامة للمتفرجين والقراء في العصر الحديث والاستشهاد بمسرحية ’رجل الدولة العجوز‘ The Elder Statesman، لأن هذه المسرحية هي آخر مسرحية أنتجها T. S. Eliot، يحاول الباحث، من خلالها، تسليط الضوء على قدرة T. S. Eliot في ابتكار أسلوب وخطاب غزير في معناه، والذي يجعل المسرحية ذات طبيعة تلقائية عند الأشخاص المعاصرين، تبدأ الدراسة بمقدمة عامة موجزة عن T. S. Eliot، يتبعها تحليل وصفي ناقد للمسرحية والذي يركز في الغالب على الأسلوب الحديث الذي اعتمده الكاتب المسرحي وعلى وجه الخصوص تعامله مع اللغة، ثم يتبع ذلك مناقشة موجزة للباحث، وتختتم الدراسة بخاتمة تحليلية نقدية. In his critical essays and reviews, T. S. Eliot was preoccupied with the possibility of writing poetic plays for contemporary audiences. This study is an attempt to disclose, to what extent, Eliot succeeded in using modern language and style in The Elder Statesman to contemporary readers and audiences. The study touches on the ability of Eliot in manipulating techniques necessary for modern theatre and modern spectators/readers with reference to The Elder Statesman. Because this play is the last one that Eliot produced, the researcher tries to shed light on the ability of Eliot in creating a style and profuse speech, making the play spontaneous to the contemporary people. It begins with a brief general introduction about T. S. Eliot, to be followed by a descriptive-critical analysis of the play focusing mostly on the modern style the dramatist adopted particularly the language, and then a brief discussion follows. The study is concluded with a critical-analytical conclusion.
The Merits of Shakespeare's The Tempest as a Poem - إمكانية إعتبار مسرحية ’ال...Al Baha University
The Tempest is one of the greatest comic plays of the English writer William Shakespeare. The significance of this play, I feel, is not only being a drama but also poetic. This study attempts to disclose the poetic elements of the play as proof to be called a long poem. The paper is an attempt to show the formations of poetry in the play and to ascertain the dominance of verse such as blank verse in Shakespeare’s time, which was introduced in place of the rhyme, and poetic variations such as accent variation, inversion, deletion of syllables, and additional syllables.
The researcher applies the critical and analytical approach as a literary technique of the study. The paper starts with an introduction about Shakespeare and the composing of The Tempest; then, it sheds light briefly on some verse instances. Afterward, the point is shifted to illustrate the core of the study Discussion on Making Verse in which the researcher sheds light on some essential poetic elements such as blank verse, normal variations, and sporadic variations as instances proofing his arguments.
Modern Saudi Poetry: Mohammad Hasan Awwad’s Night and Me, in Balance - الشعر ...Al Baha University
This document discusses Arabic poetry, particularly modern Saudi poetry. It begins by highlighting the importance of poetry in Arabic literature and pre-Islamic Arabian society. It then examines the development of poetry and literary movements in Saudi Arabia. The main section analyzes selected verses from the poem "Night and Me" by modern Saudi poet Mohammad Hasan Awwad, praising his rebellious style. It concludes by affirming the ongoing greatness of Arabic poetry.
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
हिंदी वर्णमाला पीपीटी, hindi alphabet PPT presentation, hindi varnamala PPT, Hindi Varnamala pdf, हिंदी स्वर, हिंदी व्यंजन, sikhiye hindi varnmala, dr. mulla adam ali, hindi language and literature, hindi alphabet with drawing, hindi alphabet pdf, hindi varnamala for childrens, hindi language, hindi varnamala practice for kids, https://www.drmullaadamali.com
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
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Political authoritarianism in Arab cinema
Salah Abu Seif as a model
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Psychodrama: a group psychotherapy theater
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ࡦƁƅ Ɓ౭ࡦƁ።ጼƜ ܸࣀ ݕ
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Poetic Seduction
Research on Letters of Lovers in Arab Patrimony
According To Communication Theory
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ࠟၱ ܸกſƃƉܸၫᓕƢ࢚ ީࡦƁ।ौރ።ጼࠣࢲ ƁƋƉ
The text and its counterparet “ within the two Algerian authors Ibn Ali and Ibn Ammar’s”
A study in the text reception and reproduction
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أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
9
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ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
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ࡦƁฤ คᇱᇊ ᑀᐺ
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Panorama Desert Narrative In a novel between the desert and water
By Omani writer Mohammed Eid al-Arimi
ƋƉܸߢࡦƁ߁ަݎ౭ౄࡴଘଐƁࠣݕ
ࡴܸၱ Ũ
ƃݕ
ࡴࣝݽ
ƞ ƁࣝހƃƋࣝެ࠾ኃቮ
Ɓ
ᚼ ᚼ ᚼ ݳƁ
ॅ Ɓࠣީ࣍ޟ ީࢽ ߕࠣࡴޟോെࢲ ଔଐƁƟूरݕ
ᑀᐺ
290
-
306
19
ܸ
ƥ
߁ၭ Ƣܸ
ƥೕಹ߁ߕࠣၦോെަࡦƁࠣࡴܸࠤޟƞ ࣝ߾ ࠣݽ
ƋܸߢࡴŻ
ܸఱచଔଐƁƢߋ ࢟ ࣝࡦƁໝ ແݽ
ࠣၦോെަࡦƁ
Rhetoric between description and figuration
an approach on the rhetoric in ancient and modern times.
ێ
Ɖ
Ƥ Ƌ୍ܸኃቮ
Ɓ߁ዖಜಚ
،
Ƃ ݐ
ଉƁࢪ ࠾ Ɓ୶୧Ɛ ܸݎޟ࿀ Ⴆ ܸߢࡦƁࠣݕ
ࡴܸၱ
307
-
314
20
น ߁இ
ॅ ƁƢᎥᎉ߁ߢࡦƁໝ ແݽ
ࠣࢲޟ ƁࣝީࡦƁࠣݶ
ݕ
ࣀ ࡦƁ
Nawasi poetry between ancient and modern
Ƃ ݐ
ଉƁƍ ܸߖٴ NJ
ƫ
ٲٳƁ߁ަݎ௧ ߁ዖಜಚƤ ߁ࢲޟ ࠣݕ
ࡴܸၱ Ƥ ƌƁƌഀ સၫێ
Ɖ
315
-
328
21
Ƃ Ɓ୶ݎଔଐƁƢསཌݕ
ଉƁƞ Ɓ࣐ࢲ
-
ૐ።ጼƃŻ
Ɓߕ
Ƥ ߁ࢽ
ଉƁƟോെࢽ ࡦƁ߁ަݕ
ࡦƂ Ɓ୶ݎଔଐƁƢࠣୃݕ
ࡦƁƂ ܸ
-
Question of Meaning and Declension:
-Reading in the book: Arabic and Declension by Abdessalam Al-Mseddi
Ƥ Ƣܸࢽ ფၫ௧ ோኃቮ
ƁƋࣝހ
،
Ơ ܸࡷࢲޟ Ƥ କଐࣝࡴƠ ܸ࣍ ࢽ ࡦƁࠣݕ
ࡴܸၱ
ƞ ോെࡴઔ੨
-
Ƃ ݐ
ଉƁ
329
-
342
22
ެ
ଉƁƢท ܸޯࡦƁໝ ແݽ
Ƥ ݕ
ࣀ ࡦƁƓƁ৶ଔଐƁ
ێ
ܸၱ ƉࣝೕೃŽ
ࠣހƌƁࣝ
ଉƁ
17. ƞ ࣝࠏ
Poetic creativity between constant and shifting balance as a model
फࣿƁ
ॅ ƁƋܸఱగ߁ዖಜಚƤ ࠤܸ࣊ ࠣݕ
ࡴܸၱ Ż
ോെ༩
ဂ ࣬ ዖዔफउƉ
343
-
350
23
Ꭵᎉ߁ߢࡦƁ።ጏݕ
ࡦƁƂ ƉଘଐƁ።ጼƠ ࣝީ
ॅ ƁƢݕ
ࣀ ࡦƁ
ܸၱ ƊࣝೕೃŽ
Ƈ ूर
ଉƁ௧ ࢧ ფߕࠣݽ
༩
စ
Article title: Poetry and madness in ancient Arabic literature
The experience of Qais bnou Al-Mallouh as a model
߾ݜ ܸݽ
Ɗܸެࢲ Ž
ߋ ݐ
ݶ
ࣝݽ
ऩं୴ݎ
-
Ƅ ƁƌƁƌƋƢ௧ ோࣝࡐ ެࡦƁƢࠣୃ౭ᑀᐺ
ࠣݶ
ࣝࠦ
ॅ ƁࠣޟೕಹƉᇱᆚ ଘଐƁ
-
Ƃ ݐ
ଉƁ
351
-
362
24
ࠣݕߖޟ
ଉƁܸಘಔࣝ࢟ Ž
Ƣ࣐ࣀޟ ჱࡦƁቼቮ
ࣝߢ
ଉࠣࡷޟߣܸࠤޟ
ଉƁࠣݽ
Ƌܸߢ
ଉƁ
conceptual approach to reification and its epistemological assets
ߋ ࣍ޟ ࢲ ໝ ແၦܸݽ
Ɖໝ ແ
ଉ߁ዖಜಚࠣݕ
ࡴܸၱ Ũ
ƟूरၫơƁƋࣝެ࠾ƉŨ
ƃƋܸߕƇ ܸަ࢟
2
ێ
फࣿƁ
ॅ Ɓێ
363
-
379
25
࣬ ࡷࡦߢޟƁࢄ ࢽ ხࡦƁ።ጼƃŻ
ƁߕƂ ݐ
ࡦƁࠣߢ࣍ ީೕೀཬཉݕ
ࣀ ࡦƁݐ
ᑀᐺƁ።ጼࠣࡷޟஆ
ॅ Ɓࠣݶ
୴୧Ƌ
The symbolistic aspect of the tent in the garb region tradition: exploring the traditional
pattern.
।ौஆ
ॅ Ɓƃ୴ݎࣝݽ
،
ࡠ ࣊ߣޟ ௧ Ɓࠣݕ
ࡴܸၱ
-
ێ
Ƃ ݐ
ଉƁŨ
ƃ࣍ ࡦߢީޟƁ
380
-
389
26
ࠣ߁இ
ॅ Ɓࠣࡷޟࠓ ݕ
ଉƁࠣၫܸީࢤ ࡦƁŻ
ࣝ࢝ ።ጼ።ጏݕ
ࡦƁࡱ ࠓ ݕ
ଉƁߋ ࣉܸݳ Ƣ
ࠣߖܸߢޯࡦƁߋ ࢟ ƢƢࠣݐ
ᑀᐺ
Ɓߋ ࢟ Ƣໝ ແݽ
The functions of Arabic dictionaries in the light of modern lexicography
Between describing language and describing culture
Ƒ ܸݽ
༜་ܸݽ
ࢧ ࡴܸஆ
ॅ Ɓ߁ዖಜಚࠣݕ
ࡴܸၱ Ũ
फं୶୧Ž
ߋ ࢲ ࣝݶ
–
Ƃ ݐ
ଉƁ
390
-
405
27
ƉƁ߁ࢵ ௧ ƃ౭ީݎƃ౭ౄࢲ ።ጼƆ ܸᓆ
ᒱ
ၡƁࠣၦോെݽ
ƢবঐߢࡦƁࠣݶ
ݕ
ࢵ ໝ ແݽ
ݚ ࡷࢤ ࡦƁ
Silence between poetical values and rhetorical argumentation in Antar Ibn Chaddad’s biography
406
-
418
18. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
10
ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
ࡩƄƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
Ɵോെၦࠣၾ ߾ޯࠣߖެޟ ܸަࡦƁ
،
இ
ॅ Ɓࠣݕ
ࡴܸ༩
Ż
ܸࢢ ࡦަޟƁƋƁኃቮ
Ɓࢄ ࣀ ࡦƁໝ ແၫ።ጒܸޯࡦƁࡹ ࢽ
-
Ƃ ݐ
ଉƁ
28
La représentation du patrimoine culturel matériel et immatériel dans l’art plastique : une
étude des symboles dans certains œuvres d’art.
The representation of tangible and intangible cultural heritage in plastic art: a study of
symbols in certain works.
ƅ Ɓ౭ࡦƁࡠ ޯޟೕೆ
ࠣࡦߣީޟƁƞ ܸዖኵଘଐƁ࢘ ݕ
ݽ
።ጼƌࣝࡴ༜་Ɓࠣࢲ ƁƋƉસຘࣀ ჱࡦƁࡹ ߣࡦƁ።ጼƤ Ɖܸࡴോᑆᐺ
ƁƢƤ Ɖܸ
ଉƁ።ጼܸߢޯࡦƁ
ᄂ ྅ࣝቼቴޟଵ
ଠƁƠ ࣝީߣᑀᐺ።ፎܸݕ
ࡦƁ߁ࠦݕ
ଉƁപഎᚸࡦܸ
ଉƁᎥᎉƋێ
Ɖ
419
-
448
29
Plath's Mirror a Reflection of her Life
Ɓƃ߁ࢤޟ ߕ
ܸᐮ
ܸޟஇ
ॅ ƍ ᇱᇊ ݕ
ހƁƅ ോെަࡦƃż
ଉ
Dr. Yahya Saleh Hasan Dahami (Associate Professor)
Currently: English Department - Faculty of Science and Arts AL BAHA UNIVERSITY – KSA
Previously at Faculty of Languages and Human Sciences, Future University – Sana'a -
Yemen
449
-
470
20. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
449 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
Plath's Mirror a Reflection of her Life
ܸᐮ
ܸޟஇ
ॅ ƍ ᇱᇊ ݕ
ހƁƅ ോെަࡦƃż
ଉƁƃ߁ࢤޟ ߕ
Dr. Yahya Saleh Hasan Dahami (Associate Professor)
Currently: English Department - Faculty of Science and Arts AL BAHA UNIVERSITY – KSA
Previously at Faculty of Languages and Human Sciences, Future University – Sana'a - Yemen
dahami02@gmail.com
ABSTRACT
Sylvia Plath is a very distinguished American poet who lived a famous but depressed life. Plath’s poem
Mirror is composed of only eighteen lines; however, it bears many profound connotations reflecting
life with both its poetic beauty as well as a reflection of misery in the life of the poet herself. The study
is an attempt to shed light on Plath’s thoughts of life with special reference to her short piece of poetry
Mirror illuminating Plath’s ingenuity with poetic devices. The paper starts with a brief introduction
about the poet herself to be followed by general ideas of the poem, and then the method moves ahead
to analytically elucidate the concepts of reality and truth. The next pivotal aspect is Self-Discovering.
Subsequently, the paper is concluded by the findings of the study. Moreover, through such
examination, the researcher attempts to critically illustrate the genuine usage of poetic devices that
Plath used to make the mirror an object reflecting life both metaphorically, symbolically, and/or truly.
Keywords: Mirror, poetry, reality and truth, reflection of life, self-discovering, Sylvia Plath
࢚ ࠎ
ଉƁ
:
22. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
450 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
INTRODUCTION
Sylvia Plath (1932 -1963) was born in Massachusetts to German immigrant and
professor Otto Emil Plath, and Aurelia Schober Plath, a past student of him who
was twenty-one years. When her age was eight, she experienced a significant
influence on poetry. Our poet received an allowance to attend Smith College in
1950, where she studied energetically and determined to accomplish social and
academic success. She suffers from reiterated depression that would plague her all
through her life. Her life was full of worries, suspicions, fears and anxieties. As a
result of high anxiety over success, she joined electroshock therapy. However, the
therapy enlarged her anxieties to hide herself in the basement of the house and
endeavoring to suicide by having overdosing drugs.
The year 1954 witnessed Plath's return to college, and her graduation was
in 1955, then she received a Fulbright scholarship to study at Newnham College
of Cambridge in which she met Ted Hughes, the future husband. When Plath
returned to America, she began teaching at Smith in which her career began to
ascend.
The marriage was achieved, and in 1959, Plath and her husband returned
to England in which their life there resulted in two children. Just after three
years, she learned of her husband's disloyalties, and the two failed to reunite
peacefully; Plath left him and departed with her two children to London. The
miscarriage of her marriage led to additional struggles with severe
downheartedness, anxieties, and misery, and she committed the crime and sin of
murdering herself in 1963. During her life, just a single book of poetry was
23. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
451 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
published. Many of the posthumous publications of the works of Sylvia Plath
were edited by Hughes, including The Collected Poems that gained the Pulitzer
Prize obtained in 1982.
Mirror was composed two years before Sylvia Plath’s suicide; these two
years were among the most fruitful of her literary profession. Her poetry is
collected in her most broadly celebrated book Ariel. It is frequently dark and
gloomy at times full of anguish and resentment at life and contains vehement
portraits and disconcerting metaphors. The piece of poetry defines itself in the
mirror by affirming that it is bright as silver, but the most important is that it is
exact. It has no previous anticipating conceptions. The poem Mirror is composed
of a mirror's viewpoint, and it presents, at first, what appears to be a light-
hearted reflection on the reliable honesty, exactitude, and precision of its
reflection. There is a metaphorical similarity about the expression ‘light’ between
John Milton and Silvia Plath. This last point is what the researcher analyzes in
the third part self-discovering.
The Problem of Research
As a literary study, this study employs the critical, analytical, and descriptive
approaches as its tools for assessing the dealings of the study. The paper is
divided into three parts. The first part deals with some standpoints on the poem
Mirror. The second part deals with the subtitle Reality and Truth in which the
researcher attempts to explain these two concepts in light of the poem Mirror as
a way to apply the lines of the poem to the actual practice of the poet. It focuses
mostly on the relationship between the two diverse concepts. The third part
reviews the argument on Self-Discovering.
24. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
452 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
Mirror
study
deductive
Analysis synthesis
Mirror
1. About Mirror
Plath wrote Mirror in the early 1960s, a period during which most eminent
poems denoted the opening of women’s attempts to accomplish equivalence with
men. Plath’s Mirror shows several thematic and stylistic potentials that make the
poet one of the best-recognized poets of her time. She says about the importance
of her poetry: “I use my poetry as my most serious way of paying attention to the
world outside of my own interior struggle. The poems begin as acts of attention
and try to allow in whatever is there waiting to make itself heard” (Riggs, 2001,
p. 380). Likewise,
Das, n.d.
25. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
453 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
The poem is not only about mirror image but also a self-reflective
manuscript that is; it is a piece of poetry dealing with poetry. The mirror, as the
narrator boasts of its devotion to the literal, swiftly changes to metaphor by
‘swallowing' anything that stands or passes in front of it sees. A metaphor “is a
figure of speech that presents an idea via a picture of another object” (Dahami,
2017, p. 115). The poem is itself a metaphor that can be used for the poet or
poetry, or even for representational art in common. The claim of neutrality that
the mirror boasts repeats an attitude long taken and used by artists appealing to
be realistic. The artists do not invent, but they merely mirror what is out there.
Consequently, we find that the mirror, as well as the pond, can deny bond and
obligation for the pictures and representations they generate.
This piece of poetry is compiled of two stanzas, every stanza comprising
nine lines; in this way, the formula of the poem may be seen as a representation
of a mirror's portrait with every stanza reflecting one another. The tone of the
mirror, in the first stanza, might be perceived as lively in which the opening lines
virtually seem like hints to a child's puzzle. Nevertheless, there is an intense turn
at the commencement of the second stanza, and the last nine lines of the poem,
while almost equal in structure to the first stanza, exhibit a far dimmer message.
2. Reality and Truth
Reality is what this influential poem is placed around. The poem is emotionless,
and its limits are unquestionably sharp to the touch. Plath somewhat “used poetry
to overcome or reconstruct relationships which in reality caused her pain and
confusion” (Roberts, 2003, p. 204). The mirror reflects reality. When someone
looks straight to the mirror; he/she gets precisely what is there, and what is seen
is a reflex that can never lie. The second line supports and confirms the idea that
states ‘Whatever I see I swallow immediately’. A piece of glass has no prejudice or
partiality in which it displays the moral and the wicked without hesitation or
26. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
454 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
reluctance; it is straightforward. The mirror can never be cheated by emotions or
moods that are not distorted by love or aversion.
I am silver and exact. I have no preconceptions (Lehman1
, 2006, p. 887).
As a reflection to its title, the first line of the poem Mirror may possibly seem to
be evidence to a child’s riddle. The evidence quickly makes it obvious that the
first-person pronoun of the poem ‘I’ is the reflection referred to the mirror in the
title. In this piece of poetry, the mirror is the storyteller. The concise, chopped
wording of this line, accompanied by language including ‘exact’ and ‘no
preconceptions’, helps to make the mirror’s persona as direct, honest, and
unresponsive. “Generally, the vivid image presented by the poet allows readers
and critics to retain formal poetic features as closely as possible by his talented
way of applying the language” (Dahami, 2018c). Furthermore, the poetic
language “needs to have … a rhythmic speech, which would sound natural and
normal speech” (Dahami. 2018b). It is the elegance of the poetic language.
“Poetry uses an elevated and preeminent literary language over everyday
language; it is not the speech of the tongue only, but it is the language of the
heart, mind, feeling, and the sentiment” (Dahami, 2018a); see also Dahami, 2019.
Additionally
Plath becomes the mirror and does the work of a mirror. In fact, Plath does not
like mirrors because it comes between her and her true self. At several places, she
expressed her hatred and dislike towards mirrors as much as towards society. She
blamed the Society and its norms and practices coming in the way of her true
self. When she has failed to control the above dynamic, she identifies herself with
the mirror and feels victorious. In the same poem in the following stanza, she
identifies herself with the lake Das, n.d.
1
All verse lines of the poem Mirror in this research are from this edition of the book and page numbers
will be added in parentheses within the text.
27. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
455 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike p. 887
In the above second and third lines, the poet presents the first of some
surprisingly ferocious pictures, as she depicts the mirror instantly absorbing all it
comes into interaction with, regardless of the emotional apprehensions of ‘love
and dislike’.
I am not cruel, only truthful— p. 887
Moving to the fourth line, the reader discovers the denial of the mirror’s
cruelty. This verse line appears to be based on the usage of the proposition that
reality can never be compared with cruelty; it is a proposition that comes under
nearer examination and inspection as mentioned in the final lines of the poem.
“The mirror has traditionally symbolized mental reflectiveness and truthfulness”
(Rahimi, 2015, p. 12).
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon p. 887.
The above lines seem to propose a desire for truth and reality, on the part
of the unidentified lady, who ponders her image seeking ‘what she really is’.
However, paired with this desire for truth, there is an inclination to discard it.
Not discovering the truth of her image to her love, the lady turns her stare away
on the way to a softer and more sympathetic light of the moon or candles.
However, “The moon, like the mirror, has no light of its own; … it reflects the
light of the sun while its nature remains totally unaffected” (Rahimi, 2015, p.
13). Again, the poet seems to compare the starkly precise image of the glass with
the more passionate and less truthful but imaginably more cheering world of
misconception. Consequently, “the human mind is mirrored by the natural world,
and the natural world is, conversely, mirrored” (Bloom, 2011, p. 191).
The eye of a little god, four-cornered p. 887.
28. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
456 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
In the above line appears a way of interrogating the nature of god;
according to Plath, the mirror creates a title for itself; it is ‘the eye of a little god’;
the poet seems to be employing the cold and unresponsive reflection of the echo
or reflect as a metaphor for a remote and indifferent maker. Plath informs her
readers metaphorically that her mirror is the shape of an eye of a little god.
There is an indication to be understood that the poet has a weak association with
the real God.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long (p. 887)
In the above two lines, critics might realize the ironic humor that the poet
presents since the mirror indicates how it passes its days. The mirror is
permanently gazing and glaring at the wall it encounters because there is nobody
between it and the wall. However, in this thought, there is also a further
insinuation of the mirror's precise nature, as it perceives not the wall's shade, but
its slight inadequacies. Despite such ‘speckles', the faithful depiction, mirror, looks
to have molded an affection to the wall whose representation so often reflects a
representation that ‘flickers’ owing to the passing of time. In the eighth and ninth
lines, the readers can understand that the mirror on the side of the room
correspondingly signifies the passage of time that marks the succession of ‘faces
and darkness' which are used once more in line 16 below; they are used as
depictions that propose morning, which replaces the dimness showing a marker
of time ephemerality.
The poet’s choice of the expression ‘flickers’— an expression that most
people would unite with a transitory foundation of light, for example, a candle to
pronounce how the mirror beholds the passing of complete days, indicates how
very contrarily the mirror beholds time and mortality in contrast with people.
29. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
457 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
I think it is a part of my heart. But it flickers.
Faces and darkness separate us over and over p. 887.
In the above lines, it can be understood that the poet is referring here to
the anguish of loneliness and sadness. There is a sort of relationship, but this
relationship is not stable; coming and going. It can be understood that the
affiliation between the mirror and the wall is not as continual as readers may
think, the wall flickers. In this instance, there is a reflection, but it is not about
the mirror; it is about the poet herself who stands behind the mirror.
Now I am a lake. A woman bends over me p. 887,
At the start of the second stanza, Mirror undertakes and shows a much
darker attitude. The poem “introduces … a process of change by showing a life
without illusion in two images of replication, a lake and a mirror” (Broe, 1980, p.
92). The manner of Mirror grows dim and the theme of morality undertakes a
dramatic modification, as the lady finds her echo in the mirror to be an
undesirable reminder of her growing age reflecting her mortality—and eventually,
a foundation of trepidation. The change is sharply indicated by the presentation
of a dissimilar sort of mirror; it is the reflective external of a lake.
This brings to mind the allegorical figure Narcissus2
, who loved his own
reflection in a pond and died because of impossible obsession. Even though the
woman bent over the pond in a manner similar to Narcissus, she did not adore
her own copy as Narcissus did but she was filled with loathing the self at what
she perceived. The mirror is the symbol of her other self, and it is this
narcissistic image Masal, 2006, The poet shows us a good reason for
using water imagery in the last lines because they provide identical reflective
abilities as the mirror does, however also suggests profundity, aloofness, the
mysteriousness, to conclude the image with a threat of demise through drowning.
In the poem ‘Mirror', Plath expresses an elaborate exploration of the particular
2
In Greek mythology; it is a good-looking young man who fell in love with his own reflection
30. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
458 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
connotations of this image. These connotations can be well understood in terms
of relation with death and drowning figures as moonlight, candle light, silver and
water Masal, 2006,
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness p. 887.
Despite the woman's ostensible denunciation of the mirror, the mirror,
according to Plath, carries on its work of reproducing the image ‘faithfully’, even
while the woman's back is twisted. We find the poet uses personification when
we realize that the mirror can see. The lady who scrutinizes the pond, wishing to
get back a pleasing picture of herself is dissatisfied again. The lady’s reply to the
ruthless morality of the image she realizes every morning involves ‘tears and an
agitation of hands’. The women’s distress at being repeatedly drawn to her
personal depiction in the mirror, and thus far been resisted by what the woman
sees there, is made more and more evident by her ‘agitation of hands’ and ‘tears’.
As the mirror recognizes, however, the reflected depiction is essential to her, and
every morning, she is obliged to come back to it.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish p. 887.
The above closing two lines to the poem present a specimen of the type of
swift, suddenly violent, metaphors for which the poetry of Sylvia Plath is famous.
Here the variances between a pond and a piece of glass are significant. The pond
is not ‘silver and exact' as the mirror, but it partakes greater depth. The pond’s
picture is improved, at the time the mirror becomes an unattractive prompt of
the woman’s personal lost youth. It is the woman, the piece of poetry proposes,
31. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
459 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
who had been the ‘young girl’ who was ‘drowned’ in the pond. At this point, the
pond seems to signify time, in the opinion of the poet, it is time that has
exterminated the young hood of the girl and changed her into ‘old woman’. The
mirror is capable of seeing everything. The Mirror finds everything not merely
reflecting and ever-changing seeds of the future (Debata, 2014). The poet
employs a rather outrageous metaphor, equating the woman’s image to ‘a terrible
fish’ going up from the lowest point of a pond; the face has been made ridiculous
by the progress of days and nights. Finally, the poem, Mirror, is apparently like a
mirror. The final inquiry of the poem into the flowing nature of reflection is
directed through the particular association between the two chief portraits or
figures: the mirror as well as the pond.
3. Self-Discovering
The quest for identity and liberation that characterizes Mirror is of great concern
and love. It is a piece of poetry that is represented by love and singing. “Love
poetry is not only written but also sung” (Dahami, 2015). “Light indicates the
internal light, the spiritual light that gleams in the poet” (Dahami, 2020). The
woman who peers into the lake attempting to determine ‘what she really is'
represents the person's search for identity in this poem on several levels, most
obviously. As the woman trusts that ‘what she really is' is decided by her natural
appearance, she seemingly accepts the conventional womanlike role allocated to
her via her culture. Plath “manages to convey with absorbing complexity the
experience of a woman interacting with her environment while at the same time
undergoing a period of intense suffering” (Roberts, 2003, p. 102). The woman's
mission for self-discovery is unpretentious, and the lake is ‘important to her'
however, she cannot agree with what is ‘faithfully' reproduced in its profundities
and she comes back the morning after morning, expecting better results. The girl,
who once was drowned by the lady herself, now substituted, to her awfulness, by
an aged lady who gets up from the deepest point ‘like a terrible fish’. In the
32. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
460 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
poem ‘Mirror’ the moon and the candles are grouped together as liars in contrast
to the truthfulness of the mirror Singh, 2005, A slight wonder that
the lady wishes to mislead herself with the more pleasurable representations
delivered by the light candle and moon.
In Mirror, the voice that speaks throughout the poem belongs, paradoxically, to
an inanimate entity, namely to a mirror. The mirror is personified and endowed
with a voice and a soul of its own. In accordance with this assumed perspective,
the deictic system employed by Sylvia Plath in the poem revolves around the use
of the first person narrative (Burcea, 2014).
The poem Mirror, for several critics, is part of an interim period in the poetic life
of the poet; a period shows that Plath’s poetry lacks humor and honesty and her
poetry fails to measure the shadowy influence of her last poetry in which life
“imitates art in her mirror notebook” (Butscher, 1977, p. 78). The Mirror, as a
title of Plath, divulges the speaker's identity and the piece of poetry still forces the
readers and listeners to ask what accurately is being described. The poet utilizes
this technique of personification to provide a lifeless object such as the glass,
which makes the mirror and the capacity for speech personify the human. From
such an unanticipated first-person perspective, the readers and listeners learn a
great deal of everyday objects that the readers and listeners might otherwise
believe.
The personality of the speaker as a mirror or lake is also under
investigation. In the first stanza, there is the element of personification that the
mirror takes on the potentials of a person, claiming that it is an impartial
observer who does not distort or evaluate what stands in front of it. Besides, the
dependability of self-evaluation is weakened by the mirror's credence that the
pink spotted wall it stares at all day is a part of its private sentimental heart. The
association and sympathy of the mirror with the wall become too comprehensive
33. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
461 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
that when a person utilizes the mirror for its planned intention, his face is
considered an interruption that separates the mirror from a fragment of itself,
which is the heart.
In the second stanza, the characteristics of the speaker are more
challenging because it claims that it is a pond. Its voice is outstandingly similar to
that of the mirror. The external face of the tranquil pond could hardly mirror
descriptions with the same lucidity as a mirror. The speaker still claims that its
representations are accurately contrasted with what is provided by ‘those liars,
the candles or the moon'. The mirror's indication of the face and the darkness
affords further proof that the mirror and the pond symbolize the same. Once
more, the speaker's knowledge of self is beneath accuracy. Brutality is not its
intention; however, the outcome measured by the reaction and response of the
woman; suggests that the speaker is not the best evaluator of its particular
purposes.
Since several critics come to an agreement that the mirror or lake in
Mirror is a metaphor for poetry as well as poets, the inconsistency between the
speaker’s intentions and the clear values of its images suggest that the poet may
be inquiring about her personal self as a poet who misleads herself about her
peculiar independence. A well-accepted obsession with loss runs all through much
of the work of Sylvia Plath and as well appears in Mirror. The notion that
normal objects, while apparently benevolent, actually harbor the threat of loss is a
recurring matter in the major poems of our poet. At this point, the mirror
preserves a passive manner but then goes into an unkind pond from whose
depths a representation of the lady's private mortality ascends ‘like a terrible fish'.
This alteration is also signaled in the first stanza through the admission of the
mirror, which it ‘swallows' anything it looks at, proposing that it is not very
benevolent after all. The pond has completely absorbed the girl who has been
sunk in its deep bottom by the lady who substitutes her. Sylvia Plath thinks that
34. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
462 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
if the woman has no purpose except to reflect the realization of the husband and
children which is similar to a mirror and if she is considered merely decorative,
and if her value as an individual is dependent upon youth and beauty, in such a
way, she is right to be depressed by the picture, which rises ‘like a terrible fish'.
The feature that Plath assigns to the mirror is circuitously appropriate to
poetry too. In other words, when the poem precisely designates a mirror, it
metaphorically or symbolically designates poetry itself. As the metaphorical
meaning of a piece of poetry is not openly stated, the readers and listeners might
ask a question like ‘how do the readers and listeners know that what the narrator
says characteristically denotes to poetry? A common reply is that poetry
frequently utilizes representation, and lots of poems are in a sense concerning
poetry, what it says, and how it is constructed. A reply exact to Plath's poem is
found indefinite evidence the poet gives his readers. They realize that her verse
talks about a mirror as well as about poetry from the evidence that exists in the
poet's word adoptions in the formal structure and the metaphors of the poem.
However, before the readers can comprehend what Plath pronounces about the
verse, the readers must first comprehend what she pronounces about the mirror.
Plath “has come to want poems not merely to exist in print or to be read but to
be eaten and taken in [the] whole” (Riggs, 2001, p. 604).
The Mirror and other “poems, setting up opposites, mirror images of self
and other self, reflect Sylvia’s strange perception of the world and go some way
toward explaining her preoccupation with doubles, or doppelgangers” (Stevenson,
1986, p. 146). The mirror appeals for itself to a kind of broad-minded and
dispassionate character that people lack even though Mirror is personified as we
realize from its announcing in the first line of the piece of poetry, as ‘I am silver
and exact. I have no preconceptions'. Consequently, the mirror owns both human
and non-human qualities. The mirror has no hidden reasons or motivations, and
it does not postpone in reflecting whoever meets it; the mirror says, ‘Whatever I
35. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
463 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
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see I swallow immediately/Just as it is, unmisted by love or dislike' that shows a
senseless feeling. Plath plays on the expression ‘unmisted’ to demonstrate that the
reflection of the looking-glass is visually clear and unblemished to one who looks
into it and to repeat that the mirror offers an image that is candid and true, even
if such truth is hurting. Plath
Shah, n.d. The mirror is not affected by sentiments that might ‘mist’
its decision and force it to change the view it provides either for worse or for
better.
The mirror does not only reflect an image passively but actively grasps
with an ‘eye of a little god, four-cornered'. The expression ‘eye' here differs from
the eye of a human in that it is square or oblong. The mirror does not necessitate
the attendance of a person to perform. It confirms to the readers, ‘I meditate on
the opposite wall' and additionally it speaks ‘I have looked at it so long/I think it
is a part of my heart'. It seems that the mirror is no longer an instrument of
unsympathetic reflection, but possesses a vital heart and being with the capacity
to ‘meditate'. However, the reader/critic should observe that behind the
expression ‘meditate’ is a witticism on ‘reflect’. Readers would ordinarily correlate
a mirror with the term ‘reflect’ in the sense of a pictorial phenomenon that a
mirror’s echo is a thing approximately readers see with their eyes. With the
intention of having the mirror assert that it ‘meditates’ on the contrasting wall,
our poet delicately calls up the meaning of ‘reflect’ as a mental activity or
reflectiveness.
In the second part, the mirror interrelates with an exact person. Mirror is
divided into two parts of nine lines in which a line break separates the two parts.
The speaker, in the second section, is shown suddenly as a lake; Plath ordains a
characteristic alteration from a piece of glass to water expressing habitual
documentation between them. The alteration repeated in Plath’s literary work is
36. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
464 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
almost predictable. The second part starts with the word ‘Now’ to strengthen the
distinction between the two and to indicate a new opening. The speaking of the
mirror pronounces that ‘Now I am a lake’ which shows a sort of great motion
and activeness. The alteration is significant because it makes a metaphor for the
mirror itself. The lake looks like a mirror as far as both can reflect portraits in
front of them; however, there are factual alterations between the two objects.
The lake possesses depth unlike the superficial mirror because the lake's
material is accurately fluid; its reflection is hypothetically less stable than that of
an immovable mirror. Besides, water is penetrable differently from an immovable
piece of glass. “There is an image of the lake as ‘morgue of old logs and old
images.’ The lake contains the mirror that shines in so many poems – a reflection
of the double in herself and a convenient symbol for art’s peculiar process”
(Butscher, 1977, p. 314). Additionally, the echoing surface of the movable lake is
positioned horizontally, but the mirror hangs vertically. Lastly, the lake is a
natural entity, whereas the piece of glass is not. Such discrepancies might
complicate the appreciation of the intention of the poet about her mirror, but she
highlights the similarities more willingly than the differences between the two
objects, the mirror, and the lake. Through using a metaphor, the poet might speak
about the two objects simultaneously.
The alteration from a type of reflector to another counterpart is an even
more significant modification in tone from a section to another. In contrast with
the mirror's accurate impassivity in the first section, the lady who appears in the
second section displays a significant part of the feeling. When the lady realizes
her reflection, the piece of glass ironically affirms, ‘She rewards me with tears and
an agitation of hands’. Personified, the mirror gossips that she acts with absolute
passion, ‘Searching my reaches for what she really is'. The lady is pursuing more
in-depth evidence about her uncomplicated identity, not, as some may think,
investigating the mirror to prove her appearance. The woman is principally
37. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
465 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
anxious with increasing older, reviewing her face as proof of getting old. Her
nervous response displays that a deteriorating carnal look is removed from her
sagacity of self-worth. Assuming that the lady searches for an assertion of her
original selfhood in her mirror image, the mirror devalues the case when it
announces ‘I am important to her’.
Given the viewpoint of the lady, it makes sense to envisage the mirror as a
pond, as it appears, she wishes it holds more profound information than it really
does. The weeping that she does over the looking glass also affords the water to
load the ‘lake’. It is a metaphor that permits Plath to provide two rather
astounding images in the final two lines. The mirror finishes:
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish p. 887.
The two young and old ladies symbolize the lady in Mirror at diverse
phases of her life. Over the progress of the lady’s life, she has observed her face
modification from youth to her existing middle age, and the lady anticipates her
appearance as it is going to be after she becomes an older lady. Besides, Plath,
who rides the whirlwind precariously … wrote some very tender poems about
motherhood and domestic life (Preminger, et al., 1993, p. 352). Furthermore,
The ‘Mirror’ is the symbol of the life that is approaching an aid Masal, 2006,
The progress of the poem starting from the first to the second section is
from the description of the reflection ‘I am silver and exact’ moving to the
movable depiction of the lake, ‘Now I am a lake’.
Plath’s employment of the expression ‘drowned’ proposes that the lady has not
inactively perceived herself getting old, but instead, she is in charge of having put
an end to a part of herself. Possibly the woman's apprehension with aging
prohibited her from relishing her youth. Her tears of wailing for what she
perceives in the piece of glass have ‘drowned' the individual she formerly was.
38. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
466 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
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Such tears are also frightening to plunge her existing self and to acquiesce to the
‘terrible fish’ of middle age that is steadily approaching the externality.
On the one hand, the pond really puts up with a mirror; on the other
hand, we conceive that the mirror stands for poetry since verse can afford an
advantaged sight of the poet herself. The mirror is ‘four-cornered' like the
approximately square outlining the poem, which is seen on the sheet of paper
with four corners. A significant point in appreciating this piece of poetry, the
readers need to take into consideration both its verbatim significance and its
allegorical or metaphorical connotations in which reading a piece of verse
necessitates similar attention.
The poet takes benefit of the sort of ambiguity of her poem in which the
title denotes to ‘a mirror' as a noun and also denotes as a verb as in ‘to mirror'.
The expression mirror in such a way is not simply a motionless object that
readers can look at and grasp in the hands. The readers are taken to a
comparative wonder at the sudden advent of a ‘terrible fish' at the close of the
poem counterparts that of the lady in expecting herself as an unappealing older
woman. With such subtle similarities between the learner and the lady character,
Plath may be cautioning the readers that if they come to the poem for relaxation
rather than for certainty, they might risk being dissatisfied. Our poet, Plath may
also suggest that it is unsuitable or ill-advised for the listener to look too
profoundly into the indirect connotations of the poem, fair as is the situation
with the lady who pursuits very energetically in the mirror for a thing it cannot
offer. The mirror reflects back to the lookers what is candid about them. They
might imagine that it is a reflection of life.
4. Findings
The personality of the speaker in the poem as a mirror or a lake is under in-
depth examination. The reader might discover that there is an element of
personification that the mirror takes on the potentials of somebody, claiming that
39. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
467 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
it is an impartial observer who does not distort or evaluate what stands in front
of it. The quest for personality and liberation that characterizes this poem is of
great concern. The poem Mirror is composed of a mirror's viewpoint, and it
reflects what looks to be a light-hearted reflection on the reliable decency and
exactness of its reflection.
Several critics harmonize that the two identities, the mirror as well as the
lake in this Mirror are metaphors for poetry as well as a representation of the
poet. The inconsistency between the two beings stated intentions and clear
principles of the images that suggest the poet may be inquiring about her private
identity who misleads herself about her peculiar independence. The woman who
peers into the lake attempting to determine ‘what she really is’ represents the
person’s search for identity in Mirror on several levels, most obviously.
The poem is actually like a real reflection. The final analysis of the poem
into the flowing nature of reflection might be directed via an exclusive
association between the two chief representations or figures - the pond and
before that the mirror as well. The characteristics of the mirror are more
stimulating because such characteristics assert that the mirror is a pond reflecting
active life with all its mixed elements such as youngness, oldness, misery, reality,
light-heartedness and other reflections of life. All in all, it is obvious that the
short poem of Sylvia Plath, Mirror, reveals that the events indicated by the
mirror are a sheer reflection on life and a representation of Plath.
References
Bloom, H. (2011). American Modernist Poets: Bloom’s Modern Critical Views,
New York: Bloom’s Literary Criticism.
Broe, M. L. (1980). Protean Poetic: The Poetry of Sylvia Plath, London, and
Columbia: University of Missouri Press.
40. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
468 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
Burcea, R. (2014). Journal of Research in Gender Studies; New
York Vol. 4(2); pp. 1052-1063.
Butscher, E. (1977). Sylvia Plath: Method and Madness, New York: Washington
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Dahami, Y. S. H. (2020). Milton’s On His Blindness: Eye Sight or Heart Vision,
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Dahami, Y. S. H. (2019). Hassan ibn Thabit: An Original Arabic Tongue (1),
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Dahami, Y. S. H. (2017). Introduction to English Literature, Germany: Noor
Publishers.
Y. S. H. ( The Contribution of Arab Muslims to the Provencal
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Saud Univ., Riyadh: Vol. 27(1); pp. 1-19.
41. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
أﻟﻤﺎﻧﻴﺎ ISSN : 2625 - 8943
Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
469 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
م
–
ኆቷ഻
വറƄ
5
Das, K. A. (n.d.) Anxiety Syndrome in the Poetry Sylvia Plath, Ph. D. Thesis,
Department of English, Pt. Ravishankar Shukla University, India.
Debata, P. (2014). PLATH’S MIRROR IS AN ALL-SEEING EYE. PARIPEX-
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Masal, N. B. (2006). Sylvia Plath: A Critical Study, Ph. D. Thesis, Shivaji
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Preminger, A. And T. V. F. Brogan, (1993). The New Princeton Encyclopedia of
Poetry and Poetics, Princeton, and New Jersey: Princeton University Press.
Rahimi, B. L. (2015) Mirrors of Entrapment and Emancipation: Forugh
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Riggs, T. (2001). Contemporary Poets, (7th
Ed.). USA: St. James Press of Gale
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42. ɰ ؈
ɦ
ف
ȉʎɇ Ȅ
ȳɜɮʆȯɦȄʎȌ
ȳɐɦȄ
ȵɟȳɮɦȄɵ ɏ
Ȳȯɀ ȕȓʊɳɘɦȄɼȓʈɽɔɨɦȄɼȓʊɗȆɜȝɦȄȔ Ȇȷ Ȅ
ȲȯɦȄȓɨȣ ɭ
–
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Journal of cultural linguistic and artistic studies issued by the democratic Arabic center – Germany - berlin
470 ࠦࡩߦެޢƄƥࠦݓ࣠ݹ
ᑃᐽƄƥࠦࡩߥܻߙޢƄƇ ܻࢵ ƄƎኆቱ
Ƅቿቷ༬
ீ
–
Ƅƌ߄ݘ
ࡩƄ
݊ࢵ ܻޯࡩ
ྲ Ⴁݑ
–
ƣ Ƅमअ༅
–
ƣ Ƅ࣠ࠅ
2021
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–
ኆቷ഻
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Shah, J. K. (n.d). Inner Conflicts in the Works of Sylvia Plath: Karen Horney’s
Approach, Ph. D. Thesis, Pt. Ravishankar Shukla University, Raipur (C.G.), India.
Singh, T. (2005). Sylvia Plath: A Reassessment, Ph. D. Thesis, Veer Bahadur
Singh Purvanchal University, Jaunpur – India.
Stevenson, A. (1986). Bitter Fame: A Life of Sylvia Plath, Boston: Houghton
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