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|b The present study aims at investigating the ways of employing place in the poetic purposes of Ibn-Hamdees’ works. This aspect aroused different questions. The poet was known for his use of most of the genres of poetry, moreover; the critical care of this aspect has been developed by the ancient as well as the modernist critics of the works of the poet, as mentioned in the first part of the research. In the second part, and in order to get to the main concern of the research and because of the interference in the space structure of poetry, the researcher intended to shed light on the main aspects of space which are repeated in his poetic texts which comprise certain elements of space, these elements are: 1-Land 2- Sea 3- Sky The ancients’ care of the poetic purpose of Ibn-Hamdees has started from the poet according to the poet himself and those who lived in his same period like Al-Mu’tamad bin-Abbad, Aby-el-Fadhl Ja’far bin-Muqtarah-el-Katib, Ibn-Bassam, as mentioned previously in the introduction of the poetic texts which were the concern of the ancient critics, described as poetic samples as mentioned by Ibn-Dahiya, Salahaddin-el-Safadi, Abdul-Raheem-el-Abbasi, and Shihab-el-deen Al-Khafaji have investigated his selected poems of which space has a great share, whereas Al- Maqarri has pointed to the idea of the aspect of space in the poetic purpose (description as an example). The agreement has come up with two matters: 1- there is no contradiction about the meaning of space in the previous purpose, whether by quoting from other sources or by self-diagnosis, as in the case of Al-Emad-el-Asfahani, Ibn-Khalakan, Al-Sfadi, Al-Khafaji, and Al-Maqarri. 2- the description of space is seen in the light of poetic plagiarism and in appreciating the additions of the poet in this field as mentioned by Al-Emad-el-Asfahani quoted from Bu-el-Salt, Ibn-Dahiya, and Al-Abbasi. It was presupposed that the previous efforts of the ancient critics have paved the way before the modern researchers who are interested in this field of study, especially the subject of the homeland and its downfalls which were one of the points described as pure expression of the poet’s deep feelings about space, and it seems that the scientific procedures have witnessed a remarkable progress about whether the poet was good in describing nature within the unique purpose, or not. Within the concept of ‘land’, patriotic poetry has become an alternative, which has been introduced by the artistic employment of the attendance as well as absence of space that appeared in connected, non-discordant look that led to the mortality of the enemies of the hero. It is natural that duality of concepts with their purposes is used, thus closeness and distance in space indicate antonyms, as mentioned in the dirge or lyrics sung by the lover. One cannot deny that the existence of space is connected to the space itself, thus unsafe places can be considered a source of horror in the whole area. The idea of getting out of the place has reached some other poetic purposes. So texts of pride, complain, alienation, and strangeness have become expressions of this idea though the reasons were different, yet they are united in one idea; separation. As mentioned earlier, the technique of the alternative place was there in some poetic purposes, the longing to what it yields (of real belonging) was seen in the elegies which were a live ground to spread this noble feeling. It is worth mentioning that the nature of such belonging in elegies is different from that of verses about wine and drinking, and it is different in the relationship between the places also in some descriptive texts. This means that there is a sort of truth in them which cannot be seen clearly in addressing the texts in this panegyric frame, though praising some of their space symbols with (self-patriotic) motivation may support the idea of belonging and compatriotism in terms of space. Concerning the artistic truth, it has a great deal of popularity in some other poetic texts; the characteristics of the sea especially the horrible one has been the concern of many texts, as it was a sign of the place rather than a symbol. Sometimes, it needs from the speaker to address the sea, chiding it without having a specific poetic purpose. Its main employment of this concept within the frame of panegyric verse was only a contemporary risky means to get to the target. Perhaps that urgent need led to stuff the context with emotional elements such as movement, color, and sound. The sky, on the other hand, works as an element of space of which the poetic purpose makes use of. It represented the value of the sublime of the addressee and the position of the lamented person in an elegy, especially after relying on the legality of this integration of the stable ancient criticism. The visual-kinesthetic imageries of the existence of such spaces served the emotional sides which indicate the superiority of the praised person (or addressee). Besides, these imageries were considered as live witnesses on the heroic deeds (epics) the hero has gone through. Some of these poetic texts of the meditative place have motivated man to stand in face of sorrow, it was not a static space, rather, it was an environment where the sounds were related to elegy, or a place concerned with light and color in a great part of poetry (that of patriotism and wine-drinking) in Arabic poetry.
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