Arabic Literature

Abstract Metaphor, a concept that first started with the book "Metaphors We Live by" (1980) by Likoff and Johnson, considers metaphor not as a tool for creating beauty and artistic invention, but as a tool for thinking that It flows automatically in human life; The secondary meanings and rhetorical purposes of the theologian are always hidden behind the invisible veils of permission, including conceptual metaphor, and the analysis of conceptual metaphor in literary texts reveals the hidden layers of the writer's hidden meanings and purposes to the audience..The book "Oraq al-Ward" (1931) is the highest and most creative book of Mustafa Sadegh Al-Rafi'i (1837-1937) in terms of content and form, which has reached the stage of full maturity. The subject of this book is love and full of original illustrations. But it remains to be seen how the author conceptualized love metaphorically. The present article is descriptive-analytical and tries to analyze the conceptual metaphors of this novel based on the theory of George Likoff and Mark Johnson. The purpose of this study is to identify the types of conceptual and visual metaphors of love in Oraq al-Ward. The findings showed that Al-Rafi'i conceptualized the concepts of love in the form of very beautiful visual and structural metaphors with concepts such as perfume, perfume glass, magic, light, flower, volcano, wild animal and man. And light is the most central word in the conceptualization of love. And in fact has given a new meaning to love with imaginative, creative and new metaphors. And because it pursues a mystical goal in the conceptualization of love, it makes everything look good and beautiful and hides the negative aspects of love behind beautiful metaphors. He also combines conceptual metaphors into a structure with his unique style and expresses correspondences

Abstract The theory of paradigmatic and syntagmatic axes developed by Roman Jacobson is one of the important approaches employed in semantic and formalist criticism. This theory has a unique function in discovering the internal meanings of linguistic structures and, in particular, the study of contemporary literature and the innovations of the authors of this era. Mohammad Ali Shams al-Din is one of the contemporary modern poets of Lebanese resistance literature who fashioned stunning imagery by creating innovative methods of linking elements of discourse. Taking note of the complexity and multi-layered concinnity of Shams al-Din’s poetry, the present paper seeks to employ a descriptive-analytic method to elicit the aesthetic elements of his ode “Al-Nazaloon Ala al-Riyh” based on paradigmatic and syntagmatic axes. This leads to an analysis of the covert semantic relations found in this literary work, as well as to discovering the innovative symbols used in it, and to determining the extent of its relevance to Iranian history, on the one hand, and the Islamic-Shi’i culture on the other. The results of the discussion indicate that Shams al-Din, by carefully selecting his words and combining them in paradigmatic and syntagmatic axes, has made intricate and delicate concinnities, using the literary devices of Īhām (a literary device in which the author’s words, phrases, or sentences do not have a fixed interpretation and can be interpreted in different ways), metaphor, and irony. Furthermore, he, for the first time, using the symbols of Iranian history, like Zenobia, along with the novel symbols derived from the Koranic culture and the battle of Karbala, such as wind and zabiha (the Islamic method of slaughtering halal animals), exhibited the interrelation of Arab, Iranian, and Islamic cultures. Moreover, the nature of his poetry is such that in critique and analysis of his literature, the paradigmatic and syntagmatic axes work properly and efficiently.