N0vExaVelle

@waxcvjikln  اي

The reason for the critical understanding of good poetry being accepted by it, and its rejection of bad poetry, and its being moved by what it accepts, and its aversion to what it rejects, is that every sense of the body only accepts what is connected to it from what it is naturally inclined towards, if its arrival to it is a gentle arrival with moderation that has no injustice in it and with agreement that has no opposition with it. The eye is familiar with a beautiful sight and is offended by an ugly, repulsive sight. The nose accepts a pleasant scent and is harmed by a foul, putrid one. The mouth enjoys a sweet taste and rejects a bitter, unpleasant one. The ear longs for a low, quiet sound and is harmed by a loud, terrifying one. The hand enjoys a soft, smooth touch and is harmed by a rough, hurtful one. Understanding finds solace in speech that is just, correct, true, permissible, known, and familiar; it yearns for it and is revealed to it. Conversely, it recoils from speech that is unjust, erroneous, false, impossible, unknown, and reprehensible; it is repelled by it and becomes rusty with it. — Abu al-Hasan Ibn Tabataba [The Standard of Poetry; p. 19, Al-Khanji Library]   .

قَصِيدَةٌ تَسْكُنُ بَيْنَ الِانْتِظَارِ وَالوَفَاءِ، كَأَنَّهَا قَلْبٌ وَاقِفٌ عَلَى طَرِيقٍ لَا يَمَلُّ التَّرَقُّبَ؛ تَحْمِلُ وَجَعَ الشَّوْقِ وَثِقَلَ الصَّبْرِ، وَفِي كُلِّ كَلِمَةٍ مِنْهَا مَنَارَةٌ تُنِيرُ دَرْبَ رُوحٍ أَتْعَبَهَا الغِيَابُ، لَكِنَّهَا بَقِيَتْ ثَابِتَةً عَلَى عَهْدِهَا  .

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