واسطة الشعر ٦_a , كتاب دراسة الصورة الفنية

In this, it is like any living, developing natural phenomenon, and it is enough to realize how the poetic intuition expresses the word within the scope of artistic experience and how it is transmitted by it and transmitted by it in responsive and hesitant vibrations, and from a stage that is not integrated or complete to a situation in which it is complete and complete - to reject every scientific explanation of the nature of the image Like Watson's interpretation.

Dozens of years ago, Coleridge (1) said that poetry has a logic of its own that is as harsh as the logic of science, and perhaps it is more difficult than it because it is more gentle and more complex, because when the poet sets out to work, he starts from an inner emotional unity, and pleads with a tool that fits this. Unity, and if the external linguistic image with which we express our logical, algebraic ideas is subject to its own and fixed symbolic law, then the internal linguistic image that carries all our emotional energies and expresses them is subject to its special and moving emotional law, and there is a difference between the two laws.

God spoke the first thing that spoke in the image, and wisdom spoke the first thing that spoke in the image, and the prophets spoke the first thing that spoke in the image, and the first human crossed the first thing that crossed the image. It is the vision of the Creator and the artist of the soul and life (2), however, the historical development distanced the mind from all of that and worked to fragment the universal and multiple significance of the means of expression, and destroyed the unity of the universe (1), and brought man closer to generalization, abstraction and isolation, and replaced the word with the image as a tool of creation, and I I claim that this becomes, for all the binary period, a period of self-separation from the subject, or a period of destroying the unity of the universe and man. With poets, whether in this period or in others, they yearn to return to the first primitive period of expression in the image, but rather they were always trying to express it and create new relationships and connections. There are many differences between words and the establishment of compounds, sometimes based on similarity and others on others, and therefore the language continued, and it lived and continues to live while it is pregnant with living, dead and half-dead forms (8).

In fact, the phenomenon of the death of the image, like the phenomenon of its creation (2), needs a hadith, because any image, like any new child, soon lives its life and then dies, and every word in the language begins as a living metaphor when its creator creates it and uses it for the first time, but it is gradually stripped of its fresh nature and lost. Its pulse and vitality become one of the interviews that language museums and dictionaries fill with as lifeless mummy. Then the yoke comes and uses these traces that the poets left behind and left for others. In poetry, Shelli noticed that over time, images become mere signs indicating parts or types of ideas instead of being integrated images of ideas (3).

It seems that many of those who use these interviews or signs forget their figurative emotional origin that they lost, and use them as literal expressions that fell to them, and prose is not the only one that uses these interviews. The proverbs and ready-made regular uses (cliches) with which we express or describe certain states or ideas are nothing but patterns of dead images (2), and perhaps some do not agree with this last adjective (dead), which we described as defunct images, and prefer to say that they are half dead. Or sleeping (3), like those thorny weeds that have lost their ability to prick, and only the great artist is able to resurrect them and wake them up from their deep slumber in one way or another, and that may be true, but we must not that death befell it twice, once when it was created from many Usage and the passage of days, and once when it lost its vitality, freshness, novelty, and uniqueness, and turned into a single literal connotation, and that any use of it, whether in its ready-made form or with a little modification, is harmful to poetic work. Modification alone does not create life from death, and what does that is destruction alone. , The destruction of old relationships and compounds and the establishment of another, living, vibrant creation, and perhaps the first ready use is more harmful and dangerous because it means that the poet uses general literal signs in his art, that is, he uses prosaic tools in a poetic work, and this is the elimination of the artist and his art.

The truth is that the language was and still is the work of the poets and their gifts, through their use of the image, and through their creation of new relationships. Always between words, it revives, expands, lives, and continues. Poetry renews the value of language in its partial units, unlike prose, which works to preserve the continuity of value, that is, the continuation of the meaning in the word. And if the language among us remained descended from the past, it was constantly renewed, and it will remain so to the future as long as poets push it forward, and if no language was endowed with such poets who work on its freshness and maturity by harmonizing its methods and expressions with the spirit of the age and generating different images that they derive from Their feelings that necessarily differ or should differ from the feelings of those who followed them, for they will inevitably become poor and helpless, rather they will become mere empty, dead words with no quenching or life, and will inevitably lead to stagnation and petrification From its elements, if we have finished in our book “Poetry Among the Fine Arts,” that the art of poetry conveys to us the temporality of the emotional experience in two formations, one successive and the other simultaneous, and that the following ages when they exalted one rhythmic or pictorial at the expense of the other were wrong in what they did because poetry begged With the two elements together, we conclude in this chapter that the language of art is an emotional language, and emotion (9) does not invoke the word, but it invokes the unit of a complex, vital composition that does not accept abbreviation. We call it the (image). Poems are a complete unit within which multiple units are organized. Its general building blocks, and each of these building blocks is an image that forms with its sisters the overall image that is the work of art itself, and from here we claim that the structure of poetry is a pictorial structure, and if the eras and periods used the image in different degrees and in multiple forms, and with different concepts, and created different sensitivities for it And different natures - in the end, poetry still carries its basic characteristics. The terminology of poetry may come and go, the styles of its music may change, its construction patterns change, and its materials differ from one environment to another, and from one artist to another, but the means of expression in it and the principle of its creation. . . Image : . . Its first and main tool remains (1). It distinguishes era from era, current from current, poet from poet, and shows the originality of the Creator, and indicates the value of his art, and symbolizes his genius and personality, and even bears his privacy and individuality because it is the only tool that conveys his experience and cannot be borrowed from anyone else (2).