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.
يتناول البحث شخصية شعرية وأدبية فذة هو محمد صالح بحر العلوم الشاعر العراقي المعروف والمولود في بيت ثوري من بيوتات النجف المعادية للاستعمار البريطاني في مطلع القرن العشرين، وينحدر من أسرة عريقة مشهورة بالعلم والأدب، عاش بحر العلوم شاعراً ينقل بصوره الجمالية كل ما يقع في حواسه، وتجربته تثري من اتصاله ببيئته فنجد الشاعر اشبه بالمصور يستمد صوره من واقع بيئته المتنوع. ونحن في بحثنا هذا نحاول أن نرصد أهم المصادر
... Show MoreUsing religious characters which come from religion is a significant means that poets applied in their texts. The Iraqi poet Adib Kamal Aldin applied religious characters as an active means helping the theme of the text and playing a great role in expanding the meanings and their implications in the text.
The Qur'an was revealed with a clear Arabic tongue, and it seized minds, and was astonished by its eloquence and eloquence of tastes, so it was a new dawn, and a nucleus for the birth of a new literature inspired by the tolerant thought of Islam, its fresh words, and its delicate and revealing meanings
This research is dedicated to study Al-Ra’ee Al-Numayri, a distinctive poetic character, to find out the most important (artistic) pre-Islamic features that contributed to its formation. It is further dedicated to know the influence of these features on his literature in the literary arena. After surveying his poetic texts and reading them according to the analytical and investigative methods, the art of the researcher was limited to the field of traditionalists. He was following the footsteps of the ancients by adhering to the traditional Arabic poetry style and the traditional poetic image. Despite that, he had his own imprints and unique style of interrogating times and places with its people, animals and plants. H
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This study comes to be as an attempt by the researcher to
participate in gathering part of the heritage of the Arab nation which is
dispersed between the historical and literary sources and references.
The study also aims to accumulate and achieve poetry to be more
useful and effective in the productions of the researchers and scholars
of Arabic literature and history.
The research is an extension of eight handwritings studied by
the researcher for the same poet. These handwritings are found in the
form of five eulogistic stanzas about the great prophet (may peace be
upon him). Therefore, the researcher decides to reveal what other
researchers have transcended but from the side of concern and belief
in th
Poets of the age since ancient times to recount the events of their adventures in a fun story style in which the elements of the story of personalities, time and place, and we do not mean this modern art technique (poetic story) as it is now, but was aimed at the pleasures of the other receiving because it is the rule of the quality of literary output, Other times the narrative of events inspired by his broad imagination and this mixing indicates the story's involvement with Arabic poetry to be (poetic story) and this depends entirely on addressing the poet to the recipient, and requires in this narrative to be familiar with the elements of influence and suspense in the other or turned into a monotonous and dull narrative Influential, un
... Show MoreThe resort to the eloquence of the poetic image as a style reveals the poet's creativity and creativity in dealing with external influences, and reflect them with emotional images express a sense of intense emotional imagination, and this imagination stems from the experience of a poetic sense of truth, tasted by the recipient before the creator of the poetic text.
That art and poetic creativity is not associated with a certain time and place and that artistic inspiration is a gift from God loved to a group of individuals so that their experiences be simulated speaking to the insides of the human self and that the creativity of the artist poet lies in the purpose of what is familiar and accepted and mocked for this purpose to