Mustansiriyah Journal of Arts

Rhythm is one of the most important artistic features that characterize poetic
creativity, and this feature has acquired a kind of constancy and stability, becoming one
of the rules that is difficult to break.Hence our starting point for this study, which seeks
to address the arts of internal rhythm in the poetry of Hazem Al Qartajani as a model
of Andalusian poetry, which the poet employed to express his experience, what are the
standards and tools that reveal the specificity of the poetic text, and how the poet
employed the elements of internal rhythmic formation to formulate his experience.This
study deals with the arts of internal rhythm in the poetry of Hazem Al-Qurtajani: the
free repetition of the sound isolated from its function, the dynamic repetition of functions
represented by the arts of (repetition, chanting, and alliteration), and the expanded
rhythmic repetition represented by (division and balancing).

The duality of (the self and the other) represents one of the important issues
because they are interconnected, and this interconnectedness cannot be achieved
except by the presence of these two parties or issues alike, and this existence varies
from oneself to another depending on the difference in the self’s view of the other in
terms of accepting or rejecting him and preparing him, and this acceptance or rejection.
This is what we notice in the work of an ancient Arab critic from the fifth century AH,
who was known for his extensive knowledge of criticism, Arabic rhetoric, and other
linguistic sciences. He is Ibn Sinan Al-Khatami (Died. 466 AH), who is known to have
been a poet and writer as well. Anyone who meditates on his book titled (The Secret
of Eloquence) will find that The presence of the other represented by (the author of
the speech, the poet, and the writer) has been dominated by weakness or negativity.
This is due to the nature of (Ibn Sinan’s The Ego), which looks at it with a superior
look, as he is a critic, linguist, and rhetorician, and knows the secrets of the text. This
is due to the transcendence of the ego. The other is despite what he possesses.
Knowledge does not exceed what the critical ego of Ibn Sinan possesses, and this is
what we have seen in the multiplication of his work, especially since Ibn Sinan did not
content himself with directing the other and shaping him in the way he likes, but rather
he tried to explain the concept of eloquence and the difference between it and
eloquence, indicating the foundations according to which it was determined so that the
other could acquire and be aware of knowledge from In all its aspects, this seems tostem from the Arab critic’s passion for the arts of speech, which was revealed by AlKhafaji.

This research seeks to reveal the personality discourse represented by direct
speech and to reveal the forms of interaction of the narrator's speech .

The pragmatic approach concentrates on the study of language on its context
of use, of which speech acts are considered as an essential component. The study
launches from those actions to explore the pragmatic connotations and communication
goals. It is also concerned with comprehending the relationships between the speakers
and addressees, and the directives (requests) represent a type of speech acts. Those
directives are represented in directing the addressees to comply and respond to the
speaker’s demands, in which those acts are transformed from abstract expressions to
actual acts impact the recipient and direct him/her to perform a specific action or avoid
it.
The current study is to trace the directive speech acts in the verses concerns
human sexuality to prove the genders as they appear in the Wise Mention in several
words, like: men/women, male/female, father/mother, as well as children, young men,
boy, and others, to refute the argument of those who deny the specification of gender
and considers the evidence of gender with showing the effectiveness and influence of
those actions, based on speech acts theory in contemporary pragmatic studies, as they
are discussed by the linguists, like Austin and Searle. The study depends on the
analysis of linguists and Quranic verses commentators to achieve the goal.

The thresholds of the text are among the important elements in the textual
transcendences that surround the main text with all its types, including the title, cover,
novel name, introduction, dedication, introduction, opening, and other thresholds that
accompany the text, as they constitute a basic entry point in reading the literary text, as
it is an identification tool that leads the recipient to secrets, mazes, and places. Beauty,
as there is a close relationship between the textual threshold and the literary text,
suggesting connotations, revelations, and signals that enable the recipient to facilitate his
mission to enter into the depths of the text, penetrate its secrets, and reveal its
components. These thresholds may come in line with the recipient’s horizon of
expectation, and the recipient anticipates the literary text. But if the opposite happens
and the horizon of expectations is broken, then the element of beauty and surprise
emerges that dominates the text and attracts the reader more to delve into its depths.
Therefore, we find that the threshold station is one of the most important stations that
the recipient stops at because of the concise and brief meanings it carries for the narrative
text. It has meanings. They carry intense connotations for the text, declared by the author
so that the recipient can benefit from them. At the same time, thresholds represent an
element of excitement and suspense that summarizes the content of the text. Therefore,
thresholds are not just a station that the writer passes through to complete the pillars of
the literary text, but today they are one of the most important textual phenomena that
surround the literary text. Its secret lies in its composition because of the connotations
.and latent meanings it conveys

Ancient Arabs recognized early the possibility of numerous usage of linguistic context, especially in
Arabic grammar, that endorsed the importance studying Arabic language grammar, Arts and guidelines
to maintain its sanity from erroneous, and misuse of tone, hence they distinguished between what is
known now days as Educational Grammar and Educational Pedagogical Grammar which was featured
in their Workbooks through differentiating relevant tools to preserve audience from linguistic mistakes
by using variety of competencies such as linguistics, communication, strategic to fulfills Educational
process effectively and this can be seen distinct in in Ibn Iyaz book to communicate grammar rule to
his students in a concise, clear & simple methods with enough examples and use cases among various
opinions and explained with poetry samples.

Arabic language is characterized by features and characteristics, including the interconnection
between its elements, and one of the forms of interconnection is what is called grammatical
collocations .The grammatical literature is full of collocations, represented by grammatical
pairs that are interconnected and connected, and functionally united to produce a grammatical
meaning that may not be able to perform it separately from its counterparts, as if they were like
one word in context.Therefore, they must be consecutive and interconnected in the attributive
structure in order for the meaning of the speech to be correct, such as the subject, the predicate,
the verb, the additive and the genetive .The word “separation” appears in most grammarians’
books, especially grammatical issues in which they talk about grammatical pairs that are
permissible to separate and those that are not, in addition to mentioning the breaks that separate
grammatical conjunctions.The separation between grammatical conjunctions has been
in ،mentioned in several forms, whether by adverbs, prepositions, or interjective sentences
search path or something else.The reason behind the separation to expand in speech, the interest
and attention, or to limit it or take into account the proportionality between the Qur’anic
chapters and the poetic verses.The intended purpose of this research is to monitor the
phenomenon of separation between grammatical conjunctions in one of the Arabic books,
namely (Al-Muqabasat[Quotes] by Abu Hayyan Al-Tawhidi (403 AH), which contained texts
of rare compositions in various sciences and knowledge in what he narrated, heard, and
attended the councils and sheikhs (the elite people) of his time, according to eloquent language
and powerful expressions and structures. The research included a presentation of selected texts
from Al-Tawhidi’s quotes , especially those in which the separation of grammatical
conjunctions was mentioned in a manner consistent with the rules and analogies approved by
.grammarians in their work

The current research addressed the issue of poetic taste in ancient Arabic criticism. The concept
of taste, reception, and poetics was addressed in the context of ancient Arabic criticism. The
research also concluded that the literary councils and Arab markets in pre-Islamic times were
among the most prominent factors that contributed effectively to the emergence and
development of criticism in the pre-Islamic era. One of the most famous of these markets is
Souq Okaz, where poets from different regions gather and publish their poetry collections,
which listeners receive with commentary and criticism. Their criterion for this is poetic taste.
As for the Islamic era, Islam had a profound impact on criticism, especially since the Arab
society at that stage moved from nomadism to civilization, as well as its transition from
simplicity to complexity and from pursuing taste to following reason. Criticism flourished in
the Umayyad era in the Hijaz, Iraq, and the Levant

The research dealt with the role of waste among those with transformative,
generative (interpretive) formations. Because they were looking for the explanatory
aspect of the structure of the language in language, they established a new journey of
thinking in which they discussed the interpretation of what happens in the mind when
producing speech, not its description after its completion; Likewise, they looked at the
descriptive description of Leydiwi and saw it as devoid of interpretation. So the Persian
copyists took a logical view in their approach to the linguistic phenomenon, and they
were the active descriptiveists who looked at the components of the Arabic sentence.
The predicates were composed of the components of the Arabic sentence, but the
ancient grammarians used to use them, as they were composed of the empty participle
in the Arabic sentence. After the advent of Modern approaches have treated the Arabic
structure from their view that it has a superior role that is not less than the role of the
predicate and the predicate, and that it restricts the element of attribution and shifts its
meaning from failure to specification.

The current paper investigated the ability of the artistic image to link parts of the
literary text, taking rhetoric as an entry point to reveal artistic phenomena and the
poetics of performance that is organized under which. The image of similarity has been resulted from the combination of two images that almost correspond to each other ,
namely the images of simile and metaphor. This vision was the collection of lexical
ideas and multiple readings by critics. They have found that the beautiful image is not
presented in ordinary language, but rather it is submitted metaphorically or poetically
.of the poetic language entails that

Research into the grammatical significance of the past tense is not new in recent
studies، as previous studies have emerged that dealt with this issue through analysis،
research and investigation in general. As for our research here, it was taken from the
grammatical use of the past tense in the narrations of Al-Kafi by Sheikh Al-Kulaini, as
material for grammatical analysis to highlight the grammatical use as well as The
grammatical use and its specific context for the past tense of the verb that appears
within the contexts of the word paradise in Al-Kulayni’s narrations. This is because
there is a specific context in the meaning of the structure that imposes the grammatical
tense without the morphological، as will appear. The analysis models were specific to
the narrations in which the word “paradise” appeared.
The analysis models were specific to the narrations in which the word “paradise”
appeared in the past tense sentence، applied to the verb or related to it. The aim of
the study is to prove the connection of the presumption of connotation of paradise,
which transferred the past tense tense to a future tense which is the grammatical tense
of the structure in which it appears

Nostalgia is the obsession with beautiful memories in the poet’s conscience,
which he longs for and his soul yearns for the beautiful past, which represents the
scenario of the poet’s life since childhood, and his inspiration in the stages of his
creativity. Nostalgia for the past has a psychological basis, which is called nostalgia or
nostalgia (nostalgia for the ideal past). It provides us with happiness, comfort and
reassurance.
Each of us often longs for memories we lived in the past or people with whom we
marked the path. He remembers them from time to time, as he sees that the past is
beautiful with all its events and relationships, and is characterized by simplicity,
spontaneity, and credibility.
A person may resort to nostalgia (nostalgia for the past) in order to escape from his
harsh and bitter present by immersing himself in his beautiful memories. He feels
comfortable and relaxed when thinking about the past and imagining the most beautiful
images that provide him with hope, optimism and psychological comfort.
This is what we find in the poet’s beautiful writings through his creative texts.
Here we ask a question

This research underscores the eloquence of the systematic structure in Surat
Muhammad (peace and blessings of God be upon him). It is based on contemplation
and careful consideration, taking into account the context of each verse. The study
emphasizes the significance of this structure to the surah's connotations and highlights
the need to clarify the connections, organization, and construction. This understanding
is crucial as it is one of the methods to discern the intended meaning. Given that the
meaning of the Holy Qur'an differs from a typical literary text, understanding it
necessitates a serious study of this structure.

Our topic touches on several aspects of Arabic language sciences , such as
morphology, rhetoric, and dictionaries. Language sciences are like a ladder through
which one rises to the art of discourse. In particular we mention morphology and
semantics . because of their relationship to the subject of our study which is (the
significance of the additional verbs in Al_AfwahAl_Awdi,s poetry.
In this study , we discussed the significance of the verbs in the poetry of one of the
most important poets of the pre-islamic era, which is Al_AfwahAl_Awdi. The study
concluded with results, the most important of which is the agreement of
Al_AfwahAl_Awdi,s poetry with the provisions of the language and its rules in terms of
the use of the structures of the the verb "maza" was the triple "maza" with one letter, as
it,s percentage reached (53%) . it was followed by the trible verb with two letters , at
arate of (44%) , and the percentage the trible verb withplural with three letters was
sma;;, and its occurrence rate was (3%) the four-letter verb "more" is not mentio.ned
in Diwan AL-Afwah.
Keywords : AL- Afwah , AL-Awdi, the verb, and more. My interest was in identifying
these element in the multiplicative verbs and not in others. Because of its major role in
revealing the meaning of the verb which helps in studying the semantice of the
additional structures of verbs

The research deals with an important pillar of poetry, which is rhythm. More importantly,
it studies the poetry of two poets as if they spoke with one tongue. They are the
Khalidis, the eldest brother of whom is Abu Bakr Muhammad (d. 380 AH) and Abu
Uthman Saeed (d. 390 AH). Perhaps he is one of the rarities in the history of our
Arabic literature. To find two poets born from the same womb, who roamed the cities
together, loved together, and flirted together. Therefore, their translation was the same
and the critics’ talk about them was the same, until it came to the point that their poetry
was not attributed to one of them, but rather to both of them, such as: Al-Khalidian
said.. and Al-Khalidian chanted. It is a critical problem that was addressed by Dr. Sami
Al-Dahan, a member of the Arabic Language Academy in Damascus, when he made
an effort to extract the poetry of the two poets from the main books of literature and
the history of ancient literature and to verify their attribution. He produced for us a
verified collection consisting of two sections, the first section: by Abu Bakr Al-Khalidi
and the second section: by Abu Othman. Al-Khalidi, while he devoted a third part to
the poetry that books and sources attributed to the two brothers together, and none of
them was unique in it from the other. Therefore, the importance of this study comes
from tracking the poetry of two special poets, as it will monitor the similarities and
differences in an important aspect of poetry, which is rhythm, as it is considered a
prominent feature that the statistics we have adopted can highlight in light of revealing
the meters that the two poets used and determining the nature of the musical
enhancements that they employed. Within the framework of what is called internal
rhythm?

bn Abi Saqr al-Wasiti is considered one of the unknown poets of the fifth century
AH (d. 498 AH). Despite his contact with political figures such as the Dean of the
State Ibn Juhayr, Saif al-Din Ibn Sadaqa, and other politicians, historians in the
past did not attach importance to mentioning more poetic verses than what we have
collected, and we have collected them. His overall poetry was characterized by a
variety of purposes, and the most important purposes that we dealt with were
(complaining, reproach, and flirtation), as we found him always complaining about
advancing age, which made him choose the stick to be his companion in his journey
and travel. Indeed, it was his third leg. One of the characteristics of his poetry is
the ease of the language used to express it. For these purposes, he also used AlBadi’s methods, such as repetition, preposition, alliteration, quotation, and
inclusion, and quoting from the Holy Qur’an was the most common. As for Ibn AlSawadi Al-Wasiti, he is considered one of the poets who left an imprint on Arabic
poetry in the sixth century AH in general and Iraqi poetry in particular (d. 566 AH),
and he often complained and reproached. Most of his flirtatious meanings revolved
around old age and the pain of loneliness that he suffered from. His language was
far from complicated, in addition to his skill in using demanding methods such as

This paper concentrates on the position of the ‘other’ in Sa’adi Youssef’s
consciousness and his ‘ego’, as he said: I walk with everyone and my steps are alone.
Along with, his connection to the poetry of the ‘other’ and its impact on his reader.
Finally, he wrote about the cities of the other, especially New York as a city and a sign
of a system. In light of this, this research reads the manifestations of the other and its
manifestations that it will stop at: the issue of the center and the margin, weak and
strong, black and white, man and woman. Or the ego and the other, as well as Sa’adi's
employment of heritage in his poetry with special artistry as an intellectual reference,
the selection of its illuminating texts, and the restoration of what shines from it in the
present, and the use of symbols, masks, biographies, mirrors and other numerous
shreds of evidence of that in his production. So I was describing, based on my belief
in the task of revealing reading, not judging, coupled with textual evidence and
indications provided by the text, especially in the case of a poet like Sa’adi Youssef.
This is what I tried to clarify, and I read it with a cultural horizon that allows openness
to its reality and its margins that are absent from critical theorizing, arriving at
conclusions that are in turn presented for certainty and discussion

The image of the sun appeared in Andalusian poetry, and it carried multiple meanings
that the Andalusian poet wanted to convey in various poetic purposes such as (praise,
lamentation, flirtation, description). He made it in its rising equivalent to exaltation and
exaltation, and in its setting equivalent to the mourning of the deceased, and he also used its
rising to depict his connection with his beloved. If it leaves him, it is the setting sun, so he made
the sun in its various forms a symbol that expands into multiple meanings that express what is
simmering in his chest.
Through it, he also tried to shed light on the features of his society and environment,
including the social, psychological, and religious dimensions included in this image. The
artistic image showed the extent of his creativity in adapting the symbolism of the sun, in its
rising and setting, to give rise to various connotations in the context of the poetic text, in which
the elements of all kinds of poetic images combine, such as simile and metaphor, exquisite
enhancements, and a color and kinetic image, suggesting the aesthetic sense and the Andalusian
artistic taste. The unique one.

Au XIXe siècle, le mariage représente une des clés sociales qui mène facilement
à la fortune. Nous avons un tableau bien figuré par Balzac. De fait, il a bien dessiné
le tableau du mariage par un processus qui le précède: celui du contrat du mariage.
Il nous figure comment ce processus sème les germes de la haine surtout entre la
famille des deux mariés. (entre la famille des deux mariés et ….)
Le récit est bien marqué par un noble marié qui a tout fait pour faire réjouir sa
femme avant de le trouver mort du fait de la trahison et de la perte de sa fortune.