The Artistic picture in the sunset garden diwan by Ghazi Abdul Rahman Al- Gosaibi: الصورة الفنية في ديوان حديقة الغروب لغازي عبد الرحمن القصيبي

The poet "Ghazi bin Abdul Rahman Al- Gosaibi" is considered one of the figures of Saudi literature in particular, and Arab literature in general. I tried to reach in this book the literary depth, which made with Mina Al- Qusaibi broadcast his book the juice of an experience that was not a little in literature, and the same is true that the exploration of the literary depths that we discussed in this book, did not come to Al- Qusaibi that he is only a poet, but that he combined politics And literature, and this is what brings us to the beautiful literary eras, when the poet combined literature and politics, for example: to be a minister, or a prince, in the Abbasid era, for example, and a poet at the same time. When you stand with the Diwan of Sunset Garden, you can stand with Al- Qusaibi's biography, as if he wanted to summarize the stations of his life, and his lost companions, and he is fully aware that, today, he laments those who lose his comrades, and tomorrow he laments. In this research, we found out how political life played a major role in making Al- Gosaibi see things that the public did not see. Had it not been that he came out for us with a literary- political book he called "In My Humble Opinion", which is not the field of our research now, but the follower of Al- Qusaibi's production knows how much he had a view of life different from that of the ordinary human being. As for the title of the Diwan, Al- Gosaibi combined two opposites with it. It is as if he wanted to summarize great things in himself, through this title, as he came at the beginning “The Garden” and it is known to us that the garden denotes greenery and psychological comfort; As it bears a natural divine beauty, it restores calm to the human soul. As for “sunset” it indicates the end, indicates the end of the day, and comes after sunset the night, and the worries and pain that the poets endured since the pre- Islamic era. As for Al- Qusaibi: He tried to say through the title of the Diwan: His condition is like that of the owner of any house who takes care of him and makes him in the best condition, and takes care of his garden, but at the end he sits in this garden waiting for his day.

Moral Virtue as a Requisite for Illumination in the Platonic Tradition

This paper traces the development of the idea that we must cultivate moral virtue in order to attain some degree of illumination regarding the nature of reality. I use the term “illumination” to cover a range of meanings intended by the philosophers I discuss, such as the “acquisition of wisdom” (Phaedo, 65a), the “sight” of divine beauty (Symposium, 210d–212b), or a mystical experience involving God or divine reality. Although this theme appears in many texts from the Platonic tradition, I focus on three major stages of its development. First, I show how Plato provides the basic framework of the idea that moral virtue is necessary for illumination, especially in his Phaedo and Symposium. Then, I explain how Plotinus synthesizes and substantially develops Plato’s discussions of this idea. Finally, I discuss the Cappadocian Fathers’ (Basil of Caesarea, Gregory of Nyssa, and Gregory Nazianzen) Christianization of this Platonic theme. In other words, Plotinus develops the basic framework of this argument first set forth by Plato, and the Cappadocians then adapt and modify Plotinus’ views to fit their Christian commitments.

“Se non scritto, almen dipinto”: The ethos of becoming in Purgatorio 28–33

A central question facing the reader of the Paradiso terrestre (Pg 28–33) concerns the selfhood of the protagonist, the character Dante. While the state of Dante’s soul was critical to the poem’s beginning in the dark wood, and remained implicit through the intervening cantos, it is only in the Paradiso terrestre that it becomes the poem’s central focus. This question is explored in cognitive and theological terms in a sequential reading of the six cantos that elucidates the learning process occurring in the character before and after his confession in Pg 31: in his encounter with Matelda, his sensory and perceptual experience of the procession, his dialogues with Beatrice, and his witnessing of her divine beauty as the analogia entis reflecting the beauty of God. The analysis acknowledges the changes in Dante’s style in this interval, which serves as a fulcrum of the entire Commedia, a spatio-temporal threshold in which the transition of one soul, from confession to redemption to instruction on the divine word, is linked to the destiny of humankind and the prospect of universal salvation. Throughout this process of becoming, the character’s cognitive limitations are exposed, not simply as flaws but as signs of his intrinsic humanity.

Ἀμήχανόν τι κάλλος. Re-evaluating the Concept of Beauty in Heliodorus’ Aithiopika

Of the extant ancient Greek novels, Heliodorus’ Aithiopika is by far the most ‘sophisticated’. One of its topics is the virtually irresistible, and almost ‘divine’, beauty of both protagonists, Theagenes and Charicleia. Whereas earlier scholarship brought Heliodorean beauty into line with Platonic concepts and highlighted its ethical value or even metaphysical character, this article tries to throw into relief another aspect of Heliodorean κάλλος, emphasising a link between the Aithiopika and rhetorical exercises based on beauty. Thus, κάλλος makes explicit the persuasive effect of the text itself. By means of Heliodorus’ art of description, the quality of beauty also bears meta-literary implications. The Aithiopika, consequently, advertise in a self-referential way their own rhetorical attraction and persuasiveness.

BEAUTY AND UGLINESS IN THE POETRY COLLECTION MAULĪDAL-DIBA' I BY ABDURRAHMAN AL-DIBA'I: A SIEGELIAN AESTHETICS PERSPECTIVE

Purpose: The formal objective of this study is to explore the beauty and ugliness contained within the poetry collection Maulīd Al-Diba'i, an Arabic-language text that conveys messages of beauty and ugliness in its verses. The material of this study is the poetry collection Maulīd Al-Diba'i, which was written by Imam Wajihuddin 'Abdur Rahman bin Muhammad bin 'Umar bin 'Ali bin Yusuf bin Ahmad bin 'Umar ad-Diba'ieasy-Syaibani al-Yamani az-Zabidiasy-Syafi'i (henceforth Abdur Rahman Al-Diba'i). Methodology: The current research is descriptive that explains the crux of poetry. For this purpose the poetry collection Maulīd Al-Diba' I was used and analysed. To achieve the objective analytical method was used. .Main Findings: Based on the analysis, it may be concluded that the poetry collection Maulīd Al-Diba'i is a work of Arabic-language Islamic literature that was influenced by the verses of the Qur'an and their beauty. The verses of Maulīd Al-Diba'i are conveyed through the language of prayers, hopes, and blessings. These prayers, hopes, and blessings contain within them their beauty, both at the surface and below it. The poet, Abdurrahman Al-Diba'i, readily conveys his prayers, hopes, and blessings by briefly retelling the story of the Prophet Muhammad's travels to spread Islam throughout the Arabian Peninsula. Implications/Applications: This article applies the theory of aesthetic realism, which contains within it two key concepts: physical beauty and divine beauty. Physical beauty is related to the perceptions of the senses, and is cognitive, cultural, and natural, whereas divine beauty is perceived through the mind and promotes awareness and mental experience. Novelty/Originality of this study: This research will uncover the facts that on what basis, in the poetry collection Maulīd Al-Diba'i, is there a dominant message of beauty that is expressed explicitly and opposed with a message of ugliness that is expressed implicitly. It will also add to literature explaining that the text Maulīd Al-Diba'i may be understood as a tool for satisfying the spiritual demands of readers and enabling them to contemplate their religion.

The Beauty of the Pre-existent Wisdom and Word ‘in Heaven’

Augustine named God as ‘the Beauty of all things beautiful’. The Old Testament speaks not only of the beauty of God but even more of overlapping realities: light, glory, wisdom, and word. The radiant light and glory of God, celebrated frequently in the Psalms and other biblical books, manifest the divine beauty. God’s creative and self-revealing activity is personified in beautiful Lady Wisdom. By being identified with divine Wisdom, Christ justifies Augustine in calling him beautiful in his pre-existence ‘in heaven’. Identified also with Word, another personification of God’s active power and self-manifestation, Christ can also be declared beautiful before his incarnation. By ‘becoming flesh’ the Word (or Wisdom) of God brought into the world the beautiful glory and light of God.

An Account of Beauty

Jacques Maritain followed Thomas Aquinas by identifying the truly beautiful as perfect, harmonious, and radiantly splendid. To this account we may add that beauty, above all the beauty of God, enjoys inexhaustible meaning and overlaps with the Holy (see Rudolf Otto). The divine beauty is an awesome and fascinating mystery. Beauty triggers love. Loving beauty opens the way to knowing the truth, and helps us grasp and practise virtue. We can speak of beauty ethics, as well as virtue ethics. Despite a partial, modern ‘eclipse’ of beauty, a sense of beauty has not disappeared. Experiments with newly born children suggest that a sense of beauty is innate. Love of beauty, however, should not lead us to ignore ways in which beauty may be used for evil purposes.

Journey of Savitri From Birth to Young-Age: Tale of a Legend in Sri Aurobindo’s Epic “Savitri”

Yoga leads to right knowledge and right knowledge makes right action possible. The struggle and the victory are the hard core of poetry “Savitri”. The legend Savitri’s birth and childhood are far from conventional. Her girldhood is a wonder. She is a king’s daughter. But she masters sculpture and painting, music and architecture, dance and poetry and many other arts and crafts. She is divine and outspaces her friends. She is a divine beauty and nobody dares to claim her. She is free to choose her husband. Savitri leaves her parent’s home, her palace. She visits many places and many woods. She is attracted towards Satyawan. He tells that he is a son of king, but a king no more. Savitri becomes sure in her decision to marry Satyawan but before this, she wants to return to her parents to tell them about her choice. Inspite of being intimations of future, she is committed to her chosen path.

In Search of a Perfect Match: Jian’an (196-220) Writing about Women and the Formation of a Literati Community

The pursuit of divine women or women with divine beauty is a common theme in the earliest works of Chinese literature. Many fu (rhapsodies) composed at the Western Han courts feature the speaker’s failed pursuit of a beautiful woman. Yet during the Jian’an period, the image of a seductive yet inaccessible woman lost its prominence in the literary imagination and was replaced by a lonely beauty yearning for a worthy match and lamenting the swift passage of time. This transformation had much to do with the social and cultural transitions of this particular historical moment. This article places Jian’an representations of women in the context of group composition and literary communication at the Cao courts, and discusses the literary and political implications of these representations in comparison with previous court writing about women. The article argues that under a new environment of court writing, Jian’an literati transformed the image of beautiful women from the embodiment of imperial power and privilege into the symbol of their ideal personality and shared values. Writing about women became a crucial means to forming a literary and political community, and defining that community’s values and principles in a troubled time.