There is no doubt that the narrative form is a mixture of many elements that it
becomes so hard to differentiate between them. Thus, to differentiate between those
elements we must understand the job of every element; and that is the structure of narrative
form in the artistic frame of the old Arabic poem.
Poetry, as the readers confirm, is strongly related to a lot of arts. The rhetorical
form is related to the art of drawing and photography, the rhythm- the core of poetry- is
related to music, its structure to the art of architecture, its tension to drama as it consist of
internal conflict between its elements and ingredients, and the poetry has a narrative
element which relates it to the art of narration and its presentation of characters and the
rapid description of the events and scenes.
We might agree with Dr, Hateem Al- Saqer, that the narrative vision that is based on
the structural narrative was not a phenomenon in the exact sense in the Arabic poetry
before the wave of modernity in poetry, ( drama is not a passing or rapid excitement. And
as a result there isn’t much emotional agitation, nor exhausted picture with obvious
meanings, but it is a tension which results in rich presentation and sound, picture, and full
expression on a consciousness level. The narrative drama produce, on a narrative and
events level, a series of incidents and situations, and determine the narrative pronouns, and
the place and time specification).
To agree with the above opinion does not change the fact that we are not looking for
the merging of narration and poetry and the result is a new literary form which is neither
poetry nor narration, but we are searching for the narrative form in the Arabic poetry, and
that is what we will be discussing in this study.
This study is divided into three chapters and a conclusion.
Chapter one gives a background on the narrative form and its job. It is divided into
three sections. Section one deals with the narration form and the narrator. Two
concentrates on the employments of the narrative structure. The third section deals with
poetic language and its job.
Chapter two deals with the elements of the narrative fiction, and it includes four
sections. Section one deals with the plot and its structure. Section two concentrates on the
characters. Three deals with the time technique, and the fourth section with the time
technique.
Chapter three concentrates on the factious narration techniques, and is divided into
two sections, section on deals with the dialogue and kinds of speeches; which includes the
direct, direct subjective speech, the free indirect speech, and the narrative speech. The
second section tackles the descriptive form and its kinds.
The conclusion sums up the findings of the study.
Arabic prose poem and the antithesis of contrast: poetry _ prose and West _ East
يرسم الشاعر صورة بالكلمات، ومتى ما تتابعت الصور صارت تمثل لوحة شعرية على قدر كبير من الفنية والابداع, وقد أكثر ديك الجن في شعره من هذه اللوحات ويلاحظ القارئ أن الرمز يعمل عملا مهما في تشكيل اللوحة، وظهرت أنواع متعددة من اللوحات منها اللوحة الرثائية, والغزلية, ومن الرموز التي وظفها ديك الجن رمز الظبي, رمز الديك, واستعمل رمز القبر وظهرت لوحات متنوعة في شعره، ومنها اللوحة الخمرية التي تجعل للخمرة احساسا ومشاعر وا
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Şair her zaman yurdunun ufukunda dolaşıp ulusunun bugünkü ve geleck torunları için yanıklı duyguları ile bir yol gosterıci gibi olmuştur.
The Sufi poetry of Ibn Al-Faridh represents a true image of the spiritual experience, in which he presented the bright aspects of his experience, and his suffering in it, by formulating it in a poetic form, because the Sufi poetry is the result of an experience in which the Sufi seeks to achieve his goal of reaching the truth, and this is why Ibn Al-Faridh made his poetry a tool for expression on his own experience, the poet reflected his Sufi life in which he moved rhymes and weights.
The poet Ibn Al-Faridh stands as a witness to his making of Sufi poetry in the service of the purpose of who said, it is the embodiment of the Sufi journey in the stages, and the fluctuation in the places and si
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That this inflection on the poetic heritage is justified by the poets of the sons of the Red were inclined to preserve the inherited values, especially as it was related to their poetry, especially that the Andalusian poet did not find embarrassment in the inspiration of heritage and emerged when he mentioned the homes and the ruins and the camel and the journey, although the community Andalusian
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Through research and research in the creative composition in the poetry of Zafer-Alhaddad it turned out to be superior in its systems, especially that he chose a linguistic and verbal texture accompanied by a cultural dictionary full of creativity and beauty helped this culture arrangement reflects the poetically wonderful and beautiful custom led to the harmony of colors and bodies painted by the poet brush the creative artist evaluates the metaphorical and metaphorical relations that would explain the poets idea, most of which were inspired by the wonderful spirit of nature, its beautiful landscapes and bright colors, especially that we do not forget the beautiful colors and the aesthetic touch that created a fascinating musical intera
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