Son of the King Entexturement Between Adynaton and Tapinosis Gestalt and Deictic Shifts Theory in Robert the Bruce, Al-Hussein Revives and Gird the Supreme Throne, They!
Asst. Prof. Haider Gh. J. Al-Jabbery Al. Moosawi

Abstract
May the king live forever, may the son of the king live forever, may the sheikh live forever, may the president live forever and so forth , much more iterative , in the short and the long run, purport such hosannas or mantras in life and literature .Man gains perception that the king devolves scepter and authority to the son ; the fledgling son with malice and machination aforethought , the populace , reluctantly and inevitably , panders to the son as the father grows senile or familial schisms or other tactics flouting conventionality under the banner of change and human rights . In the lyrics folklore, the son takes ownership of charm and beauty, thus he blows his own trumpet in a market or an arena or in media. The king-son entexturement grows momentum in literature, in the merest sense, in drama throughout ages. Robert the Bruce sets the parameters to the acts of a noble insurrection; liberty looms more profound in the eyes of those who take the long view of life and livelihood and pay no heed to the kingdom senility as long as there is a dream of tomorrow. In any shape or form, such an entexturement falls within the orbit of both organizational identification and organizational commitment that propels him to clinging to the kingdom as a blood and flesh organ to him. More into the locus, Al-Husseinist theatre theory resists definition and categorization as a movement; it palpitates with the human desires for freedom and dignity: Al- Hussein Revives, for Ali Mohhammed Al-Khufaji, reconnoiters the feasibility of having the portrait of Al-Hussein, the epitome of martyrdom at any age, notwithstanding his demise, he invades all the edifying artworks one could draw inferences from, that is why such a figure deserves mention and emulation. To better fathom and explicate, it is mandatory to delve into Gird the Supreme Throne, They! , Ridha Al-Khufaji`s, to strike a note of paramountacy to the one who emulates the Husseinist path to the last; Imam Mosa Al-Kadhim, the seventh infallible, revives the martyrdom concatenation at the face of Omayyad hammer with a different vein of sacrifice in pursuance of Allah and religion. In all these plays history weaves the breeding ground of the events, they could be regarded as chronicle plays whose dramatists employ various ores and techniques to catch hold of admiration and text globality ; both adynaton and tapinosis as a gestalt give nurture and buttress to the deictic shifts theory and vice versa ; adynaton , a device, serves as a vent to elucidate unattainibility or rather it is a cubicle for some litterateurs to boast of their emotional and intellectual states; it is a kind of hyperbole and manifests itself more evidently in the realms of deictic shifts theory as the reader gives full rein to his mind`s eye to contemplate a textual ambience .Yet tapinosis ,as a device ,intends to underrate someone or something to the mere sense of character delineation , sometimes it spills the beans of certain facts and decisive true expose. On neutral ground, both adynaton and tapinosis impose some restrictions on the insight of readers to trace. Thus, the deictic expressions heave into the sunbeams as narrative markers to provide the prescient readership with the story line details and critical interpretations.

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