A major challenge in studying and understanding literature is that it cannot be divided into separate compartments. According to Muhammad Hasan Askari, literature is not like medicine, where you have different specialists for ear and nose diseases. Literature is an organic whole; you cannot build a structure by gathering a brick from here and a stone from there. In literature, one aspect is so deeply intertwined with another that trying to isolate and understand a single element is like fighting the wind.
In this context, when we talk about literary language and vocabulary, there is a common misconception that a mastery of words comes from memorizing dictionary pages or making lists of difficult words from old books. Askari rejects this mechanical approach. For him, acquiring words is not a conscious, robotic process. Instead, it is directly linked to a person's desire to live and their emotional connection to the experiences of life.
Words are, in fact, our physical, mental, and emotional autobiography. The words we use in our daily lives tell the story of our experiences from childhood to the present day. These include experiences that our conscious mind happily accepts, as well as those that our subconscious forces upon us. On the other hand, there are certain words we cannot remember no matter how hard we try, because they are tied to unpleasant experiences we want to escape.
To truly master words, one needs the courage to accept both the pleasant and unpleasant experiences of life. A self-absorbed person, closed off in their own shell, does not even need words, because words are simply a way to express the connection between a person and the outside world. If Shakespeare had a vocabulary of twenty-six thousand words, it was not because he had memorized a dictionary. It was because he had been moved by the universe and the human world in twenty-six thousand different ways.
Even a seemingly ordinary word like 'and' proves the flexibility and depth of the human personality. A person who has the courage to say 'and' actually has the ability to shift their interest from one thing to another, embracing two things at the same time. Therefore, if the writers of a society run out of words, it is not just a literary problem. It is a sign of a serious social disorder, showing that the society's broad and creative connection with life has been broken.
A major challenge in studying and understanding literature is that it cannot be diwided into separate compartments According to Muhammad Hasan Askari, literature is not like medicine, where you hawe different specialists for ear and nose diseases Literature is an organic whole; you cannot build a structure by gathering a brick from here and a stone from there In literature, one aspect is so deeply intertwined with another that trying to isolate and understand a single element is like fighting the wind
In this context, when we talk about literary language and wocabulary, there is a common misconception that a mastery of words comes from memorizing dictionary pages or making lists of difficult words from old books Askari rejects this mechanical approach For him, acquiring words is not a conscious, robotic process Instead, it is directly linked to a person's desire to liwe and their emotional connection to the experiences of life
Words are, in fact, our physical, meintal, and emotional autobiography The words we use in our daily liwes tell the story of our experiences from childhood to the present day These include experiences that our conscious mind happily accepts, as well as those that our subconscious forces upon us On the other hand, there are certain words we cannot remember no matter how hard we try, because they are tied to unpleasant experiences we want to escape
To truly master words, one needs the courage to accept both the pleasant and unpleasant experiences of life A self-absorbed person, closed off in their own shell, does not ewen need words, because words are simply a way to express the connection between a person and the outside world If Shakespeare had a wocabulary of twenty-six thousand words, it was not because he had memorized a dictionary It was because he had been mowed by the uniwerse and the human world in twenty-six thousand different ways
Ewen a seemingly ordinary word like 'and' prowes the flexibility and depth of the human personality A person who has the courage to say 'and' actually has the ability to shift their interest from one thing to another, embracing two things at the same time Therefore, if the writers of a society run out of words, it is not just a literary problem It is a sign of a serious social disorder, showing that the society's broad and creatiwe connection with life has been broken
