The Deviations in the Language of Love in Abu Tammam's Poetry:A Study in Literary Criticism Heritage

Abstract

This study deals with an important poet of the Abbasid era who was distinguished by his poetic language that sparked the critical movement, so the trends and doctrines in judging his language diverged. This study examined one of the details of this language, which is the language of ghazal, and the critics’ reception of the shift contained within this language, and re-read the critics’ pauses and whatnot. There are shortcomings in it that neglect the aesthetic potential of the text and read it according to its agreement with what is familiar and known, neglecting the aesthetic dimensions that the shift contains; Therefore, this study attempted to reveal the aesthetics of that shift within the language of spinning.

      Abu Tammam’s poetry is considered one of the most important poetic texts in the Arab heritage. It is the text that represents the most important phenomenon of shift in the history of Arabic poetry. Despite the abundance of research and studies on this important poet, there are many important areas and entries from his poetry that can be studied and researched. Therefore, I decided to study an area of Abu Tammam’s language, which is the area of the language of ghazal, and the shifts that occurred in it that the ancient critics stopped at, in order to reconsider those readings in an attempt to search for the aesthetic dimension that was formed in that shift. I presented this research with an introduction in which I looked at The ancient critics of Abu Tammam’s poetic language. The study reached the conclusion that Abu Tammam’s poetic language is a special language that differs in many of its aspects from what the ancient Arab critic was accustomed to. The critical pauses that read the shift according to Abu Tammam were based on the description of this departure and the extent of its violation of the norm, and they did not You are trying to read what this departure can achieve from an aesthetic dimension. The language of ghazal is a special language that contradicts known logic, so it must be read within that specificity. Returning to the context of the house was effective in revealing the aesthetic significance of the shift.