Sadness is one of the common phenomena in many Arabic contemporary odes which is proportionate with modern civilization and today’s problems. Grief’s phenomenon is a general feature in Arabic poetry and is more remarkable in romantic poetry. Ibrahim Naji is More
Sadness is one of the common phenomena in many Arabic contemporary odes which is proportionate with modern civilization and today’s problems. Grief’s phenomenon is a general feature in Arabic poetry and is more remarkable in romantic poetry. Ibrahim Naji is pionner in this type of poetry amongst Egyptian poets who is more interested in glory; in a way that reader finds out sorrowful whispers which unwrap his thoughts and opinions by studying his works. The mentioned songs are more appear in the themes such as love, life, Egypt and death and etc. the present article attempts focus on the manifestation of sadness and grief and their reasons and also tries to point out the concept of sorrow in Arabic literature; the method id descriptive – analytical.
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Emotional complain is derived from the human being inner pains and grief. Hafiz Ibrahim poetry is full of cries and yells because of happiness loss in his life. He has experimented poverty and difficulty and heard the oppressed people complians and shared with them. A s More
Emotional complain is derived from the human being inner pains and grief. Hafiz Ibrahim poetry is full of cries and yells because of happiness loss in his life. He has experimented poverty and difficulty and heard the oppressed people complians and shared with them. A strong relationship between his chosen vocabulary and his grief can be seen that the reader would understand the depth of his saddness. His language is simple and has used the simple past tense to express his memories. He also applies the Holy Quran, Haddith and humorous in order to express his sorrow. The complain’s effect also can be seen in his poetry rhyme and rhythm. The words and sentences repeatition helps him to transfer his grief to thev reader and aids to concentrate.
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