الشاعر أو الكاتب في الغالب ينطقان بلسان غيرهما، وإن كان الظاهر يتكلمان عن نفسهما، فالآخر يعجز عن ترجمة مشاعره فيلجأ الشاعر أو الكاتب إلى تقمص شخصيته، ولكن بأسلوب فني مبهر، وإن كان يحمل في طياته ألما، وهذا الألم هو علاج في حدّ ذاه؛ أو كما نسميه" العلاج بالألم"، ولهذا نجد الشاعر والكاتب أكثر الأشخاص راحة نفسية رغم عمق الجرح.

The poet or writer often speak with the voice of others, even if it appears they are speaking about themselves. When one is unable to translate their own emotions, the poet or writer assumes a different persona, but in a captivating artistic manner. This persona may carry pain within, and this pain becomes a form of therapy in itself, often referred to as "healing through pain". That's why we find poets and writers to be some of the most psychologically at ease individuals, despite the depth of their wounds.

The poet or writer often speak with the voice of others, even if it appears they are speaking about themselves. When one is unable to translate their own emotions, the poet or writer assumes a different persona, but in a captivating artistic manner. This persona may carry pain within, and this pain becomes a form of therapy in itself, often referred to as "healing through pain". That's why we find poets and writers to be some of the most psychologically at ease individuals, despite the depth of their wounds.

Nowadays, artistic expressions are rarely framed as being objective, but rather as being intellectually, emotionally, affectively relatable. And yes, writers do express experiences of loss, oftentimes by demonstrating what kind of feelings are evoked through these. The rendering of loss in literature does not necessarily mean that the writer experienced it her-, him, or themselves. There is no easy alignment between character or voice and personal experiences.

أحسنت التعبير واختزلت صور البناء لدى الكتَّاب والشعراء، فغلبة العاطفة في التعابير الفنيّة تخرج بصاحبها من

الموضوعية إلى الذاتيّة مهما حاول الحياد، والحقيقة أن الفقدان في الأدب هو الوجود في حدّ ذاته، فلو حاول الكاتب خلاف ذلك فقد اللذة والمتعة .

You expressed yourself well and captured the essence of the construction of writers and poets. The dominance of emotion in artistic expressions takes the author from objectivity to subjectivity, regardless of attempts at neutrality. The truth is that loss in literature is an existence in itself. If the writer were to try otherwise, they would lose the pleasure and enjoyment.

The question seems to be ambiguous as the primary purpose of aesthetics is connected with finer representation in literature. "Aestheticism is a literary and artistic movement in the 18th and 19th centuries that focused on the importance of beauty."

Well, personally to me, feeling of loss or rather to call it grief or bereavement disconnects one emotionally, and in such situation how far can one succeed in remembering the aesthetic appeal or rhetoric is the question to ponder.

Loss or love is part of literature. What is expressed emotionally serves the langauge and the tone of literature.

Loss and pain experiences could be expressed aesthetically via poet lanuguage. Tony Morisson's "Beloved" beautifully portrayed the traumatic experinces via the stream of consciousness. And Byron's "Don Juan" also aesthically delineated the loss experiencs.

Yes, this can mean accepting and reconciling with suffering or even loving it. Looking at suffering and loss from different angles is a way of broadening perception. Something that gives both the author and the audience who did not have that experience new perceptions of life.

yes, I agree with Soheila's view of suffering, which could help with growth in mentality if we keep it in a positive perspective. Sometimes, suffering in a disguise of blessings. And a victim can become a victor.

This is quite alluring subject. I encourage you to search in it.Godspeed

Narration of suffering through writing is in a sense a kind of healing. Sharing the experiences of suffering and thus arousing sympathy and understanding of others can serve as a psychiatric therapy. Either persoal or collective traumatic experinces and histories are encouraged to be narrated via any kind of artist expressions. For it's touching and works.

“Can loss be aesthetically represented through literature?” I think this question can be answered by a counter-question, “What is literature other than an aesthetic representation of loss?” In this context, the term “lack” would be more useful. Loss inevitably indicates a sense of lack, of not having something. The common themes of literature are centred on the theme of lack (or loss, both words can be used interchangeably in this context): struggle against poverty (lack of capital or wealth or a roof above the head), unreciprocated love (lack of companionship), unfulfilled desire (lack of physical intimacy) failed relationships (lacking the means to retain mutual interpersonal connectedness), collective trauma (due to the lack of a healthy, peaceful and non-oppressive psychosocial or psycho-political life), death and mourning (lack of someone very close) and so on. In courtly love romance, it is the prohibition against sexual relationships that constitutes the tension and trajectory of the narratives. In a poem like “Lycidas” or a collection like In Memoriam loss of someone very close is the poetic trigger. Scores of poems – from lyric poetry to epics (Iliad or the poetry of Dante and Petrarch, for instance) – are based on the theme of unreciprocated love. All the rags-to-riches narratives are motivated by the struggle against poverty. In a different sense, Dostoevsky admitted having embraced poverty because this would have supplied him with experiences that could be artistically translated into literature. And it is commonplace in psychoanalysis, that in most cases, writing poetry is a coping or sublimating mechanism for those (of course, only those who have the literary competence) whose life is marked by a series of personal losses (deaths of close ones, for example). Rabindranath Tagore is a curious case in this context. But we need to remember that the transformation of extremely traumatic experiences (like those of the Holocaust) into literature calls for a different kind of poetics altogether – because it is not so much based on the aesthetics of pleasure as it is based on the aesthetics of anxiety. Psychoanalytic writings of Freud, Lacan, and Žižek on the subject of lack/ loss in literature can help further to develop this subject. I hope this helps.

إن التعبير عن الشقاء أو الخسارة في تجربة شاعر ما هو جزء من تلك التجربة، لا سيما إذا علم أن للتكوين البشري شقا كبيرا منه (لا وعي) مسؤول بالدرجة الكبرى في تشكيل الرؤية الشعرية والخبرة الكتابية للشخص ذاته، بل جزء كبير من معرفته وتصوراته يتم من خلال ما خزنه في لاوعيه، ولن يسلم أي شخص من المرور عبر الشقاء أيا كان نوعه وفي أي سن كان، وفي تعبير الشاعر عن ذلك صورتان

الأولى: حقيقية، بحيث يفصل ما أجمل في لحظة من لحظات حياته

الثانية: حكاية حال، وليس بالضرورة أن يكون قد عايشه، وفي هذه الحالة سيعمل على التخييل كعنصر أساسي في بث نجواه من أجل مزيد تأثير على المتلقي

وليس يخفى أن العملية المنتظرة من الأدب عموما ومن السرد الدرامي هو التطهير، أي تطهير النفس مما لحق بها من أذى نفسي بالدرجة الأولى، وعلى هذا يتجلى مسار الكتابة عن الشقاء وفيه عن ضرورة حياتية هي متنفس الإنسانية من درك هذه الحياة الدنيا