The socio-cultural, Semantic and Pragmatic Study of using

Aesthetic Symbolism in Poe's ''Annabel Lee" and Al-

Sayab's "The Rain"
Israa Rashed Mahdi Eltaif Al-Kubaisy
Gifted Students' School in Al-Anbar
Iraq1902@yahoo.com
Dr. Jamal Fadhil Farhan
Khalid Ibn Al-Waleed Secondary School

Abstract
The present study aims at investigating the functionality of symbolism in
Poe's ''Annabel Lee'' and Al-sayab's ''The Rain'' linguistically and literary.
It shows the meaning of symbolism explicitly and implicitly in both
languages and societies. It examines the use of symbolism in everyday
life and in literature concerning two different societies and languages. It
focuses on recognizing that similar and differing personal and cultural
backgrounds may influence interpretation of two selected poets and
poems. It explains the notion of how to use the aesthetic symbolism in
expressing linguistic aspects in two different social and cultural
backgrounds.

This study seeks to reveal the semantic and the pragmatic of the used
symbol in the Arabic and Western poetry, through a linguistic and literary
pursuit of a poem (rain song ) for the Iraqi poet Badr Shaker Al-Sayab,
and poem (Lee) for the English poet Edgar Allan poe ; as they are one of
the most profound contemporary poems in form and content. In order to
address this issue an integrated approach was adopted , which combines
tools and mechanisms of different methodology in the analysis and
description of the phenomenon, such as the semantic and pragmatic
approach, In a literary- linguistic study we consider it - to the best of our
knowledge - the first that employed these tools together in order to
examine and approach the phenomenon of the symbol in the poetry of the
Arab poet Bader Shaker Sayab, and poem Lee for the English poet Poe.

Key words: pragmatics, symbolism, linguistics, semantics, Poe, Al-

sayab, literature, rain song, Lee.

1.Introduction

In language of poetry, symbolic feature is ingrained in the very close to

human life throughout feeling and mood (Langer, 1954: 35).

In Arabic, The symbol is one of the most important means of expression,

and technical techniques that "allows us to reflect on something else
behind the text" (Adonis, 1987: 160, Tr: Al-Kubaisy)poets resort to it to
reveal what is in the depths of their human selves, and their emotional
thrill, In cases where the word cannot, in its lexicon, express its thoughts,
transfer the impenetrable abstractions into visible realms that we see,
represent and sense, and thus achieve a high degree of dynamic
interaction between the creator and the recipient.

One of those who directed critical reading to the dominant theories of

symbolic inspiration in poetry, the Iraqi poet Badr Shaker Al-Sayab,
because he was able to "sing his poetry in a symbolic way inspired by the
careful application of many elements of pure symbolism appeared in the
nineteenth century, although the symbolic school in its artistic style may
be an exotic way of Arabic literature, But he was able to use the symbolic
language to express his intentions inherent in himself , as well as the poet
Poe.

In order to read the poetic achievement of Al-Sayab and Poe in the

context of their symbolic representations in a manner that reveals their
different dimensions, our study will focus on the approach of one of their
symbolic poems represented by the poem "Rain Song" for the first, and
"Lee" for the second; as they are one of the most profound and
guaranteed poems. The reason for our choice of this topic is because of its
importance in the linguistic and literary arena, and for the value of poets
and their poetic status, their impact on literary, cultural and social life, as
well as the uniqueness of the characters in their poetry.

Before embarking on this study, it is necessary to ask a set of questions to

be a guide in our research, perhaps the most important question that
comes to the mind of researchers, is whether the Arab and Western poet
create in the employment of the symbol in their poetry? and how was
their employment of this technical technique? Are there similarities and
differences in the way of this employment?

2. Basic Concepts

2.1Symbolism

The most prominent figure who used the symbolism is Edger Allan Poe (
Rajimwale,2006: 324 ). DiYanni ( 1994 : 45 )& ( Todorov, 1982: 20) say
that ''symbol is a subject or a theme that means more than itself and
performs something beyond itself.

The symbolic image is that the image of a thing or a situation that has
an implied ethical purpose, as within the image of the camel, which
stands to be a symbolic expression of the strong , which puts
underneath the image a saying or verses are often placed to precise the
intended meaning(AL-Silmi, 2009:188 and Zayed, 1997:151,Tr: Al-
Kubaisy)

In Arabic Language, the symbol means the sign and gesture (Ibin
Mundour, 1956: 40, Tr: Al-Kubaisy), which is in (literary idiom: «a sign
for representing of something else, it represents and replace it» (Al-
Tanuji, 199: 488, Tr: Al-Kubaisy), which is one of the important
technical means in poetry, the poet in which refer to the inspiration and
hint instead of resort to direct and revelation.

A symbol is a method of figuration, or a suggestive means of its means,

both symbol and imfeatureage based on analogy, and their relationship is
closer to the relation of the part to the whole(Ahmed, 1978: 139, Tr: Al-
Kubaisy). The symbol in modern and contemporary literature includes
several types: the mythical symbol, the religious symbol, the historical
symbol as well as the natural symbol, the mystical symbol as well as the
personal symbol(ibid).

2.2Semantics

Semantics is a component of linguistics which wont to ask the study of

meaning. Meaning covers a spread of aspects of language,
and there's no very general agreement either about what meaning is or
about the way during which it should be described (Palmer, 1976: 6) &
(Panevova and Jirka,2015: 1).Semantics, in Arabic language, is the
indication about something by a sign you learn, says: I have guide
someone to the road, so you tell him about the sign that refer to
(Harun,1999: 259, Tr: Al-Kubaisy). and in terminology: "The fact that the
thing is necessary to know about ; knowing something else; the first thing
is the symbol, and the second is the intended meaning "(Matlob, 1989,
61, Tr: Al-Kubaisy) and this definition meets with the thoughts of modern
scholars; symbol is the spoken voice, and the intended meaning is the
idea or the thing ... This series of (referral to) consists what we call the
(semantic)(Al-Wali and Al-Omari, 1986: 27, Tr: Al-Kubaisy), therefore
most of our attention will focus on what the ( symbol) refers to and the
(intended meaning), which the two poets wish to convey to the recipient
from the single word to the relationships that are created by the
accumulation of vocabularies

2.3Pragmatics

Verschueren (1999: 2) characterizes pragmatics as

''a common cognitive, social and social viewpoint on phonetic marvels in
reference to their utilization in sorts of behavior''. O'Grady et al (1996:
305) state that pragmatics explores the meaning that the
speaker extreme to talk by utilizing a specific expression amid a specific s
etting which is known by the recipient. To Lyons (1981: 164), pragmatics
is taken under consideration since the consider of expression meaning.
Cruse ( 2006: 3) proposes that
a significant a portion of dialect in utilize is
what individuals are actually doing with dialect once they talk ; whether
or not they are advising, criticizing, deploring at that point on. Pragmatics
is that the consider of the relationships between etymological shapes and
thus the clients of these shapes since it needs us to create sense
of people and what they require in intellect (Yule. 1996:3). With respect
to Trask (1999: 224), pragmatics ''studies the ways amid which meaning
springs from the interaction of articulations with settings amid which
they're used''. For Widdowson (1996: 130), pragmatics is that
the ponder of what individuals cruel by dialect once
they utilize it inside the ordinary setting of social life. In Arabic,
Pragmatics ‫( علم التداول‬ilm al-tadaul) is taken under consideration as
a substitution science of human communication
that analyzes the wonders of dialect in utilize. It shows up inside the 1938
as a portion of Semiotics taking care of the relations between the
signs and so the clients of those signs. Etymologically, it implies ''dalet
days''. Moreover, it implies ''Moving to talk approximately Qaulah''
. Too it relates to the premise ''dul'' which recommends the move and
move , either from one put to a distinctive or from one condition to
a distinctive (Abdulrahman, 2000: 28,Tr: Al-Kubaisy).

pragmatics, in Arabic language, is moved from case to another one(Ibin

Mundour, 1956: 63, Tr: Al-Kubaisy) as for (terminology): it is a
linguistic branch concerned with the study of communication between the
speaker and the recipient, or in other words, the study of the symbols
used by the speaker in the communication process and the factors
influencing the selection of certain symbols, as well as the relationship
between speech and context(Al-Baalbaki, 1990: 390). and pragmatic is a
science concerned with studying the laws of linguistic use to achieve
communication between the parties to the discourse, achieving
congruence between the semantic of symbols and the
referenceal,historical and the humanal contexts ;explaining the words
used(Sahrawi, ND: 16-17, Tr: Al-Kubaisy).

2.4Poe

Edgar Allan Poe was born in Boston, Massachusetts on January 19, 1809.
Both of his parents died before he was three years old. As a result, Poe
was sent to live with foster parents in Virginia. Poe's relationship with his
foster father was difficult throughout his entire life. Poe's foster mother
died from tuberculosis, and her death helped Poe and his foster father to
patch up their relationship for a brief time. Their relationship worsened,
however, and when Poe was expelled from the United States Military
Academy at West Point, he moved in with his aunt and her daughter,
Virginia. Poe and Virginia fell in love and married in 1836. Poe worked
as a poet, editor, and short story writer but struggled with alcoholism and
depression. This worsened when Virginia contracted tuberculosis and
died in 1847in Baltimore. (Gieling, 2014: 29).

2.5AL-Sayab
Badr Shaker Al-Sayab is a famous Iraqi poet, born in the village of Jikur
in southern Iraq in 1926, when he reached the age of six, his mother died,
and his father married another woman, that influenced his psychology
and personality. He completed his primary education in 1938 and then
went to Basra to continue his secondary education(Balata, ND: 17-25, Tr:
AlKubaisy), after graduating from high school, he traveled to Baghdad,
where he joined the Arabic language department at the high school of
teachers, here he is met with Nazik AI-Mala'ika, and he visited her from
time to time and discussed the literary issues, especially poetic ones,
After graduating from this school in 1948, he was appointed as an
English teacher at Ramadi High School. He died in 1964 after a severe
illness that took from him several years in the end of his life(Balata, ND:
56 and 165, Tr: Al-Kubaisy).

Sayab is the pioneer of the Free Poetry movement alongside with Nazik
Al-Malikah, who established the cornerstone of the new construction of
this movement in 1947(Jeeda, 1980: 296, Tr: Al-Kubaisy). as well as he
was able, as he influenced by the poetry of TS Eliot, Adit Stiol,to bring
out Arab poetry from the arena of intellectual individual rationalism to a
new revival dealing with the treatment of social conditions, realism, the
struggle against colonialism, and social disintegration in his country, As
well as he re-linking the Arabic poem to the cause of the masses through
many details of daily life, which in his poetry turn into symbols that show
the social, political and economic trend(Al-Hawi, 1983: 179 and 183, Tr:
Al-Kubaisy).

Sayab was not the first contemporary Arab poet to use the symbol in his
poetry, but he made it an important center in his texts, even he superior
other poets in the ability of choosing, and the method of use; because of
its up growth in crises and in a psychological and physical fluctuations,
And because of the violent changes in the political situation of Iraq, and
the spread of chaos in his community, all of this feeded by his great
impact in the European poets, the culture that he had, and the literary
awareness that he had received(Ali, 1978: 49, Tr: Al-Kubaisy).

3.Data Analysis

3.1 Social and Cultural aspects in Poe's " Annabel Lee" and Al-
Sayab's "The Rain''
Poe's ''Annabel Lee'' is described by a youthful man who depicts himself
as a ''child''. the individual falls insane with a young lady named Annabel
Lee. They rest in a kingdom by the sea. The storyteller and Annabel Lee
are exceptionally cheerful and truly insane. Their cherish for each other is
so seriously, in truth, that the seraphim in Paradise (blessed
messengers) ended up desirous and kill Annabel Lee, by sending a wind
that chills her to passing. The storyteller is crushed but doesn't hand over
on their cherish. He accepts that his soul is indivisible from Annabel
Lee's. daily he dreams of her and rests another to her in her
tomb(Whitehead, 1927: 18). Poe's ''Annabel Lee'' is closely resembling to
a number. Also to a varying rhyming design in each of the poem's six
stanza, Poe rehashes tons of words. The impact of organizing a lyric like
this causes it to wait inside the reader's intellect, also to putting together
meaning at whatever point a word is rehashed. one among the
foremost imperative rhymes inside the lyric is that
the cherish interest's title, Annabel Lee, with the circumstance of
the lyric: the domain and Annabel Lee's tomb are both portrayed as being
"by the ocean". The narrator's and Annabel Lee's adore is challenged by
Annabel Lee's passing, but the storyteller doesn't hand over on
her, accepts that their souls are interlaced, and sleeps in her tomb within
the dull. Another social topic amid this sonnet is envy. The blessed
messengers are so jealous of the adore between the storyteller and
Annabel Lee that they're impelled to kill Annabel Lee.
The storyteller portrays the degree of the angel's envy by expressing that
they're not indeed ''half as happy'' as he and Annabel Lee are (Tadorov,
1982: 20).

The sonnet, ''Annabel Lee'', is packed with images. The lyric reflects
Poe's genuine world. for occurrence, in lines "2, 8,14, 20, 24, 31, 40, 41"
the sea symbolizes the exposed state and lose hope which
the storyteller feels after the misfortune of his cherished.
the sea is specified inside the moment line of the sonnet as ''kingdom by
the sea'', it's aiming to symbolize the office of the sea, which
is eventually the representation of nature's control whereas kingdom is
that the sign of the specialist the individuals hold. Be that as it may,
the extreme line of the sonnet terms the sea as ''sounding sea''
which clears out the perusers with the frequenting, vacancy of an
open forlorn sea. All through the sonnet the word sepulcher is said a
few time. it's as it were image through which perusers get
the information of Annabel Lee's passing. In line '' 40 '' the term
sepulcher stands for both passing and frightfulness.
It moreover symbolizes pity. the domain in lines '' 2, 8, 14, 20, 24''
symbolizes remorselessness and oppression.
The put is appeared such barbaric where cherishing somebody is treated
as a criminal offense and as a result of their cherish. Annabel Lee
was grabbed from the storyteller. He feels alarmed and nauseated as
his cherish was stolen from him. From the title itself, Annabel Lee is that
the greatest image amid this lyric. She symbolizes Edgar Allan
Poe's misplaced adore, Virginia. to point out
his cherish and despondency for Virginia, he has depicted the picture of
Annabel Lee which may be
a image of immaculate excellence and adore. In spite of the fact
that there's no coordinate comparison between Virginia and Annabel Lee,
the depiction of his unlimited and unceasing cherish lead towards
his claim feeling. The storyteller is completely captivated by Annabel Lee
that he cannot consider anything but her in lines ''34 to 39 '' (Hall,2001:
17).

Most of Sayab's poems absorbed symbolic characteristics, but the most

prominent poem in its comprehension and contemplation of these
characteristics was its famous poem (Rain Song); the features of the
formation of natural and legendary symbols emerged in its context, which
absorbed the social, historical, and life phenomena in the context of the
correspondence of the senses, to show the revolutionary pattern dominant
on it .
The contemplated reader finds that (rain) was the natural symbol, and the
pivotal picture, around which ,(mythological)symbols revolves,
suggestive to fertility and emission, which is the Legend of Ishtar, and
(Dumuzi; (Ishtar) is the legendary goddess or mother, a lover of
(Dumuzi) in the Babylonian legend as a symbol of the return of life to
earth, and the poet here used these gods or some of her descriptions as a
symbol of the restoration of fertility and life in his country, as «the poem
is no more than a translation of that myth» (Abbas, 1978: 303, Tr: Al-
Kubaisy), he said in the first section:

Your eyes are two palm forests within the late night,
Or two overhangs from which the moonlight subsides

When they grin, your eyes, the vines put forward their clears out,

And lights move . . . like moons amid a river

Undulated by the edge of an paddle at break of day;

As on the off chance that stars were throbbing inside the profundities of
them

(Al-Sayab, 2014: 123, Tr: Al-Kubaisy)

Although AL- Sayab in these verses did not use the name of god directly,
but he was referring to the attributes of these gods, like restoration
recovery and fertility and life to the ground, and then he added to the
poem a holiness atmosphere ,suggests the poet's invocation in the
presence of a female.

The word "Rain" in this poem reveals its symbolic semantic; by its entry
into a group of relationships with the rest of the vocabularies, it has
acquired many possibilities of semantic, all of which combine to suggest
the concept of revolution; rain is a change in nature and also in the soul,
This word was said by a fisherman and emigrants and a voice of a mill, as
the poet said:

As in case a pitiful angler gathering nets

Reviled the waters and fate

And scattered a melody at moon set, Trickle, drop, the rainTrickle, drop,
the rain(Al-Sayab, 2014: 124, Tr: Al-Kubaisy) .

I can nearly listen the palm trees drinking the rain,

Listen the towns groaning and emigrants

With paddle and cruise battling the Inlet

Winds of storm and thunder, singing

"Rain . . . rain . . .

Drip, drop, the rain . . .

And there's starvation in Iraq, The gather scrambles the grain in-it,

That crows and grasshoppers may eat their fill, Storage facilities and
stones crush on and on

(Al-Sayab, 2014: 125, Tr: Al-Kubaisy),

Mills turn within the fields, with them men turning . . .

Drip, drop, the rain(Al-Sayab, 2014: 125, Tr: Al-Kubaisy) . . .

In this poem, there is a contradiction not in the picture of the earth's

sterility and the rain, but between the fertility of the earth, which was
watered by the rain and the sterility of the human spirit. It is "an image of
the desired life through the infertility of injustice, tyranny and loss of
freedom and dignity"(Al-Hawi, 1983: 184, Tr: Al-Kubaisy) here he said:

Since we had been children, the sky

Would be clouded in wintertime,

And down would pour the rain,

And every year when earth turned green the hunger struck us.

Not a year has passed without hunger in Iraq(Al-Sayab, 2014: 126,

Tr: Al-Kubaisy)
Here we find the rain that is life-giving, falling on a fertile valley and grass it, but it is also
full of hungry people. Another similarity exists between the rain and the
salty Gulf waters:

'O Gulf,

Giver of shells and passing."

And over the sands from among its extravagant blessings

The Gulf scrambles raging of foam and shells

And the skeletons of hopeless suffocated displaced peopleWho

drank passing until the end of time
From the profundities of the Gulf(Al-Sayab, 2014: 127: Tr: Al-Kubaisy)

This is a tragic end, its result is death and resurrection. Hence, there is
no difference between the rain, the revival of life and the saltwater of
the Gulf, but the future is fertile with hope ,as Sayab said:

I can nearly listen Iraq husbanding the thunder,

Storing lightning inside the mountains and plains,

So that in case the seal were broken by men

The winds would go absent inside the valley not a follow of Thamud

(Al-Sayab, 2014: 125, Tr: Al-Kubaisy)

Another beautiful resemblance takes place between rain drops and the
tears of hungry and nude, and the blood drops of the persecuted, which is
depicted in the context of the following verses:

In every drop of rain

A red or yellow color buds from the seeds of flowers.

Every tear wept by the hungry and naked people

And every spilt drop of slaves' blood

Is a smile aimed toward a replacement dawn,

A nipple turning rosy in an infant's lips

In the young world of tomorrow, bringer of life(Al-Sayab, 2014: 126:

Tr: Al-Kubaisy)

As for the imagined future for AL- Sayab, its fill with hope and green,
and in Iraq, which ("storing thunder and lightning)"); as the rain is a main
supplies of (revolution) that will come and change, and grow a new life:
((in the world of young tomorrow ) . At the end of the poem, he is
optimistic about the coming of "rain / revolution" to Iraq:
Drip.....
Drop..... the rain . . .In the rain.
Iraq will blossom one day '
3.2Semantic and Pragmatic aspects in Poe's " Annabel Lee" and Al-
Sayab's ''The Rain''

Poe's "Annabel Lee' speaks to his godlike unlimited adore for

his spouse. In spite of the fact that there's no coordinate specify of it, but
from his individual life, we'll expect this coincident as
a cognizant appearance of
his possess individual melancholy. inside the sonnet the speaker tells that
the cherish between him and his cherished Annabel Lee is
so profound that the blessed messengers of paradise envy at that point.
due to that envy, the blessed messengers have caused his
beloved's passing rashly. Shockingly, the blessed messengers come up
short to wrap up their adore since the speaker pronounce that not one or
the other blessed messengers nor devils can isolated the cherishing souls
of him and his Annabel Lee's. His cherish remains as solid as some time
recently that presently he routinely rests daily by the side of
his cherished Annabel Lee's tomb which is arranged nearly the sea.
The lyric is predicated on the images of the sea, Annabel Lee's sepulcher,
a kingdom etc. and in truth the title of Annabel Lee.In
case we endeavor to translate the sonnet without these images,
we'll discover nothing cleared out inside the structure
as since the images are the soul of this sonnet(Rahman, 2015: 40).

Despite the fact that pragmatic has been favored in the interpretation,
"attention to the function trend is increasing day by day, and it draws
clear boundaries on the map of contemporary linguistic research(Alwai,
2011: 1, Tr: Al-Kubaisy)", but it did not take deep steps in criticism,
especially in the Arab criticism, although it can be ignored; as pragmatic
is the best to understand many texts and speeches as they are works of
language linked with events, and accomplished in contexts, and cannot be
separated from the conditions of production of the sender and recipient,
the event, the public, the subject, and others. As the literary critic cannot
eliminate the function of communication in literature, otherwise the text
was closed to itself (Khatabi, 2006: 303, Tr: Al-Kubaisy), pragmatic - so
- interested in studying the process of communication in its psychological
and social dimensions.
Based on this, we will examine the most important pragmatic elements of
the symbol (rain) in this poem, namely, (the repetition). We observe that
the phenomenon of repetition of the symbol (rain) is present in a large
presence, and we do not exaggerate if we say that the poem was
structurally and relationally based on repetition , because it has the ability
to strengthen the verbal action, in terms of the strength of semantics
leading to the interconnectivity of the text in the context of the text, the
repetition of an acoustic pattern and a component of the structure of
poetic text, cannot be separated from the general structure of the poem;
because its existence is vital in the fabrication of the text, which makes it
"a complex technique that needs long meditation to ensure that its
movement is monitored and analyzed"(Haidar, 2005: 157, Tr: Al-
Kubaisy).

The repetition was not merely a demonstration of the poet's ability to

add it many times in the poem . Rather, Sayab deliberately repeat it to
raise the poetic text, making it channels of watering its purposes and
enriching its meanings to achieve the desired purpose of the message (the
text).

The word "rain" was repeated in this poem 35 times, and this repetition
was not in a single pattern; it was varied according to the poet's aim of
semantic enrichment for each type of repetition, , as this repetition is
simple, complex, and the simple is what we call the repetition of the
word; as the word is «the first source of sources of modernity poetry
repetitive, which consists of an isolated voice, or from a set of complex
sounds distributed within the poetic line, or the poem horizontally or
vertically, and these sounds unite in its construction and influence,
whether it is a letter or a word with fixed characteristics such as
names”(Shurtah, 2010: 493, Tr: Al-Kubaisy), and the repetition of the
word (rain) three times in a row at the end of sections of the poem, such
as the poet said:

Not a year has passed without hunger in Iraq

Rain
Rain
Rain(Al-Sayab, 2014: 126, Tr: Al-Kubaisy)
This repetition showed the emphasis on the extent of psychological
suffering, and on the desired semantic of (symbol) which is fertile after
the sterility, and then reported the recipient in recognition of the
dimensions of the purpose of on the one hand, and highlighted the depths
of the poet psychological; Repetition is «insistence on an important
aspect of the phrase, which means the poet more than his attention to
others ... In this sense is a valuable psychological value for the benefit of
the critic Literary literature which studies the impact and analyzes the
psychology of the writer »(Al-Mala'ika, 1987: 276, Tr: Al-Kubaisy).

The protection of the poet on the numerical balance in the repetition of

the word (the rain) three consecutive times at the end of the sections of
his poem, gave to this numerical repetition (= three) a certain symbolic,
and intendant meaning, and was not purely coincidental; the number
(three) in many African cultures symbolizes the male. All men must do
three rituals in(Buru) ceremonial in (Sinovo) tribes(Molefi Kete, ND:
462, Tr: Al-Kubaisy). This figure symbolizes the power of the action. ,
That to do change for the better, this must be obtained by powerful men.

The other type of the repetition of the symbol in this poem - which is the
complex repetition - consists of verbal units repeated by the poet to give
his text similar semantics in their music, and to enrich the meaning of its
theme, "the repetition of the sentence may be a phrase for itself ... The
sentence may not be repeated in itself, and this is done by reformulating it
again by changing the syntactic relations between sentences" (Al-Assad,
1996: 108-109, Tr: Al-Kubaisy), this type in the poem "Rain Song" is
based on the repetition of the phrase containing the symbol word , such as
repeating the words "drink rain" and "rain" twice in different contexts.

I can nearly listen the palm trees drinking the rain,(Al-Sayab, 2014: 124,
Tr: Al-Kubaisy)

Since we had been children, the sky clouded in wintertime,(Al-Sayab,

2014: 125, Tr: Al-Kubaisy)

And down would pour the rain,(Al-Sayab, 2014: 126, Tr: Al-Kubaisy)
 In the youthful world of tomorrow, bringer of life Drip, drop, the
rain(Al-Sayab, 2014: 127, Tr: Al-Kubaisy)

This repetition emphasized the importance of rain in the creation of the

"Fertility / Revolution", and the increase of the emotional tide, and
expressed the poet's desire to move towards the desired dream; "repeated
words lead to raise the level of feeling in the poem to an extraordinary
degree, The poet is exempt from direct disclosure, and reaches the reader
the extent of all his emotional peak »(Al-Sayd, 1986: 298, Tr: Al-
Kubaisy), and then this repetition characterized by combining the
subjective and objective, between the poet and his country, and between
the poet and the members of his community.

4.Contrastive Study

In order to address this issue, the integrated approach was adopted, which
combines various tools and mechanisms in the analysis and description,
such as the semantic and pragmatic approach, in linguistic and literary
study that we think is the first to employ these tools in order to examine
and approach the symbol phenomenon in the poetry of the Arab poet
Shaker Al-Sayab and the western poet represented by Poe(Ajrash, 1998:
140, Tr: Al-Kubaisy).

5.Conclusion

Each and each image that's utilized in Poe's ''Annabel Lee''

is associated to the topic of haziness. This obscurity is not one or the
other the nonattendance of daylight nor fair melancholy; or
maybe it means the final word stage of human life-death. Poe, as a
private, was closely related to the misfortune of passing.
He misplaced his cultivate mother, sister, senior brother
and adored spouse amid his lifetime. Particularly, the passing of
his spouse harmed him in such how that he got to be crazy to a
few degree. it's planning to act as a reason behind
his development of passing asa fundamental component in numerous line
s of his sonnet. For him passing is that the foremost crucial a portion of
life. He was eventually captivated with death.
Al- Sayab used the symbols in his poem (Rain Song)within an intellectual
use to serve the political, social and cultural dimensions, and to express
the human anxiety, fear and suffering, Thus, he represented the realist
trend in its most prominent sociological and historical manifestations, but
this realism was strengthly subject to the pressure of the symbolism that
strongly served the aesthetic of his texts and did not pay them to the
confusing ambiguity that dominated the poems of Arab modernity.

Al-Sayab used beside (rain), which is the natural pivotal symbol in the
poem, mythological symbols revolve around it, such as the myth of Ishtar
and Dumuzi, by referring to some of the characteristics of that myth
without referring to the legend itself, which gave aesthetic dimensions
related to intensification and inspiration.

Our semantic approach to the poem of ( rain song), showed Sayab's

awareness in the symbolic theory and its methods, especially in his
production for the most prominent feature in the representations of
symbolism, which is the characteristic of the correspondence or
disintegration of senses whose models dominated the contexts of the
poem.

Al-Sayab invested his artistic ability to employ the symbol for

communication purpose based on his socialist culture in conveying his
experience, the suffering of his community and his pain, to the recipient
in an influential lyrical language.

This poem was full with an important pragmatic element, which is

repeating the symbol several times and in different patterns; to form foci
that make the reader dive beyond the lines to catch the meanings
(intended ones) that the poet intended.

6.Bibliography

6.1English References

Cruse, Alan.(2006). Glossary of Semantics and Pragmatics. UK:

Edinburgh University Press .

Hall, Donald E. (2001). Literary and Cultural Theory: From Basic

Principles to Advanced Applications. Boston: Houghton Mifflin Press.
Gieling, Natasha. (2014). The Still Mysterious Death of Edgar Allan Poe.
Smithsonian.

Lyons, John. (1981). Language and Linguistics. Cambridge: Cambridge

University Press.

Langer, S.K. (1954). Philosophy in New Key: A Study in Symbolism and

Reason. USA.

Palmer, F. (1976). Semantics. Cambridge: Cambridge University Press.

Panevova, Jarmila & Jirka Hana. (2015). Introduction to Linguistics.

USA.

Rahman, Shegufta. (2015). Significance of Symbolism in Edgar Allan

Poe's Selected Works. Published Thesis Submitted to the Department of
English and Humanities. BRAC University.

Todorov, T. (1982). Symbolism and Interpretation. New York. Cornell

University Press.

Trask , R . L . ( 1999 ) . Language : The Basics . 2nd ed . London : Rout

Ledge .

Verschueren , Jef . ( 1999 ) . Understanding Pragmatics . Oxford : Oxford

University Press .

Widdowson , H . G .( 1996 ). Linguistics . Oxford : Oxford University

Press.

Whitehead, A. N. (1927). Symbolism its Meaning and Effect. Cambridge:

Cambridge University Press.

Yule, George. ( 1996 ) . Pragmatics. Oxford: Oxford University Press.

Molefikete Asante -Encylpedia of African religion: P462

6.2Arabic References ‫المصادر العربية‬

‫ دار الفكر‬:‫القاهرة‬.‫ أستدعاء الشخصيات التراثية في الشعر العربي المعاصر‬.)1997( .‫ علي‬,‫زايد‬

.‫العربي‬

.‫ جامعة مؤتة‬,‫ رسالة ماجستير‬.‫ الصورة الفنية في شعر الخنساء‬.)2009( .‫ سليم‬,‫السلمي‬

.‫ المركز الثقافي العربي‬:‫ بيروت‬.2‫ ط‬.‫ اصول الحوار وتجديد الكالم‬.) 2000 (.‫ طه‬,‫عبد الرحمن‬
‫جيدة‪ ,‬عبد الحميد‪.)1980( .‬االتجاهات الجديدة في الشعر العربي المعاصر‪ ،‬مؤسسة نوفل‪،‬‬
‫بيرت‪ ،‬ط‪.1‬‬

‫عباس‪ ,‬إحسان‪ .)1978( .‬اتجاهات الشعر العربي المعاصر‪ .‬مجموعة عالم المعرفة‪ ،‬الكويت‪.‬‬

‫علي‪ ,‬عبد الرضا‪ .)1978( .‬األسطورة في شعر السياب‪ .‬وزارة الثقافة والفنون‪ ،‬بغداد‪.‬‬

‫عجرش‪ ,‬خيرية‪.)1998( .‬االيحائية في شعر بدر شاكر السياب‪ .‬مجلة التراث االدبي‪ ،‬ع ‪.6‬‬

‫السياب‪ ,‬بدر شاكر‪.)2014( .‬حياته وشعره‪ ،‬عيسى بالطة‪ ،‬دار النهار للنشر‪ ،‬ط‪( ،2‬د‪ .‬ط)‪.‬‬

‫الولي والعمري‪.)1986( .‬بنية اللغة الشعرية‪ ،‬جان كوهن‪ .‬دار توبقال المغرب‪.‬‬

‫‪-‬األسد‪ ,‬نور الدين‪.)1996( .‬تحليل الخطاب الشعري‪-‬رثاء الصخر نموذ ًجا‪ .‬مجلة اللغة واآلداب‪،‬‬
‫جامعة الجزائر‪ ،‬ع ‪.8‬‬

‫عليوي‪ ,‬إسماعيل‪ .)2011( .‬التداوليات علم استعمال اللغة‪ .‬عالم الكتب الحديث‪ ،‬إربد‪ ،‬ط‪.1‬‬

‫صحراوي‪ ,‬مسعود‪( .‬بدون تاريخ)‪ .‬التداولية عند العلماء العرب‪ .‬دار الطليعة‪ ،‬بيروت‪.‬‬

‫الحباشة ‪ ,‬صابر(‪)2007‬التداولية من أوستين إلى جوفمان‪ ،‬فيليب بالنشيه‪ .‬دار الحوار‪ ،‬سوريا‪.‬‬

‫مطلوب‪ ,‬أحمد‪ .)1986( .‬التعريفات‪ ،‬الشريف الجرجاني(ت‪816‬هـ)‪ .‬دار الشؤون الثقافية‪،‬‬

‫بغداد‪.‬‬

‫السيد‪ ,‬عز الدين‪ .)1986( .‬التكرير بين المثير والتأثير‪ .‬عالم الكتب‪ ،‬بيروت‪ ،‬ط‪.2‬‬

‫شرتح‪ ,‬عصام‪ .)2010( .‬جمالية التكرار في الشعر السوري المعاصر‪ .‬دار زيد للطباعة والنشر‬
‫والتوزيع‪ ،‬دمشق‪ ،‬ط‪.1‬‬

‫السياب‪ ,‬بدر‪.)2014( .‬ديوان أنشودة المطر‪ .‬مؤسسة هنداوي للتعليم والثقافة‪ ،‬القاهرة‪.‬‬

‫أحمد‪ ,‬محمد فتوح‪ .)1978( .‬الرمز والرمزية في الشعر العربي المعاصر‪ .‬دار المعارف‪ ،‬ط‪.2‬‬

‫الحاوي‪ ,‬أيليل‪.)1983( .‬الرمزية والسريالية في الشعر الغربي والعربي‪ .‬دار الثقافة‪ ،‬بيروت‪-‬‬
‫لبنان‪ ،‬ط‪.2‬‬

‫حيدر‪ ,‬فريد‪ .)2005( .‬علم الداللة‪-‬دراسة نظرية وتطبيقية‪ .‬مكتبة اآلداب‪ ،‬القاهرة‪.‬‬

‫المالئكة‪ ,‬نازك‪ .)1987( .‬قضايا الشعر المعاص‪ .‬دار العلم للماليين‪ ،‬بيرت‪ ،‬ط‪.5‬‬

‫إبن منظور‪ .‬لسان العرب‪ .‬دار صادر‪ ،‬بيروت‪1956 ،‬م‪.‬‬

‫خطابي‪ ,‬محمد‪ .)2006( .‬لسانيات النص‪-‬مدخل إلى انسجام الخطاب‪.‬المركز الثقافي العربي‪،‬‬
‫الدار البيضاء‪ ،‬ط‪.2‬‬

‫البعلبكي ‪ ,‬منير‪ .)1990( .‬معجم المصطلحات اللغوية ‪.‬دار العلم للماليين‪.‬‬

 ‫التنوجي‪ ,‬محمد‪ .)1999( .‬المعجم المفصل في األدب‪.‬دار الكتب العلمية‪ ،‬بيروت‪ ،‬ط‪.2‬‬

‫هارون‪ ,‬عبد السالم‪ .)1999( .‬مقاييس اللغة‪ ،‬أحمد بن فارس‪ .‬دار الجيل‪ ،‬بيروت‪ ،‬ط‪.2‬‬

‫جمالية الرمز في "انابيل لي" اليغور الن بو و"انشودة المطر" للسياب ‪ :‬دراسة‬
‫اجتماعية ثقافية تداولية‬
‫م‪.‬م إسراء راشد مهدي الكبيسي‬
‫م‪.‬د جمال فاضل فرحان‬
‫مديرية تربية االنبار‬
‫الملخص‬

‫تسعى هذه الدراسة إلى محاولة الكشف عن داللة‪ ،‬وتداولية الرمز الموظف في الشعر‬
‫العربي والغربي‪ ،‬عبر مالحقة لغوية وأدبية لقصيدة(انشودة المطر) للشاعر العراقي بدر شاكر‬
‫السياب‪ ،‬وقصيدة( ِلي) للشاعر األنجليزي(بُو)؛ بوصفهما من أعمق القصائد المعاصرة شكالً‬
‫ومضمونًا‪ .‬ومن أجل معالجة هذا الموضوع تم اعتماد المنهج التكاملي الذي يجمع أدواتًا وآلياتًا‬
‫منهجية مختلفة في تحليل ووصف الظاهرة‪ ،‬كالمنهج الداللي والتداولي‪ ،‬في دراس ٍة لغوي ٍة أدبي ٍة‬
‫وظفت هذه األدوات مجتمعةً في سبيل فحص ومقاربة‬ ‫نحسبها –على حد علمنا‪ -‬األولى التي ّ‬
‫ظاهرة الرمز في شعر الشاعر العربي بدر شاكر السياب‪ ،‬والشاعر الغربي(بُو) ‪.‬‬

‫الكلمات المفتاحية‪ :‬الرمزية‪ ,‬انشودة المطر‪ ,‬قصيدة لي ‪ ,‬الشاعر بو ‪ ,‬الشاعر السياب‬