The motives of pain in the play (Bells and Trains) by Yehuda Amichai

Abstract

The upbringing of Yehuda Amichai and the conditions he lived in had a great influence on his deep sense of pain, which made him think of death and suicide. Especially after the Nazis came to power in Germany, and his emigration with his family. Amichai searched for love throughout his life, and his failure was one of the most important factors affecting his psyche, which is A deep influence that made him live in harsh and painful pains that broke him, and prevented her from achieving his ambitions in life.Dramatic texts are characterized by repetition in writing and presentation. It is a textual discourse that has two advantages, first, that it can be read as a literary text like all other literary texts, and second, that it can be considered an acting performance on the stage and it distances the recipient from reading the word until it is heard and seen by real characters.Amichai was able, through his long life and the painful events that accompanied it, to portray many aspects of the social and political life of the Jews, so his literary productions celebrate the writing of pain as an attention-grabbing celebration, so this study aims to search for the motives of pain and employ them in his writing and take from the play "Bells and Trains" Typical of Israeli Holocaust remembrance is a ritual memorial ceremony in which the dead are allowed to speak to the living. This well-known play, which has received many translations on a large scale, is considered as one of the first dramatic attempts in general and radio in particular to address the subject of the Holocaust (the Nazi catastrophe) and its accompanying tragedies and sad memories. The study reached a set of results, the most important of which are: that writing pain is an incentive to act, write, and be free from it, just as remembering and writing painful memories means action, confrontation, and freedom from fear, and pain, in turn, here becomes an incentive to break the restrictions of imposed taboos. Patriarchy through the act of writing