The sentence of spectacle between the clarity of musical and narrative forms in Dalrahim’s experience of poetic seriousness:

Mahdy, Taleb; Al-Mansour, Zuhair

doi:10.21608/aafu.2024.288376.1493

The sentence of spectacle between the clarity of musical and narrative forms in Dalrahim’s experience of poetic seriousness:

Document Type : Original Article

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Uni

10.21608/aafu.2024.288376.1493

Abstract

The scenic sentence between musical and narrative formations in Abdul Rahim Jadiya’s poetic experience
Throughout its long history, Arabic poetry has gone through a number of transformations. It began vertically, and it was characterized by the stability of rhythm and the molding of form. Then came the AL- Ta’feela poem, which was the origin of the cultural and aesthetic transformations in the new Arab reality.
the AL- Ta’feela poem relied in its music on repeating one of the ancient AL- Ta’feela of the Meters, with an unlimited number of AL- Ta’feelalat in its poetic lines. Then came the prose poem, where the musical rhythm faded, and attention was given to aesthetic formation.
Narration has been associated with the Arabic poem since antiquity and from its earliest beginnings. Narration, storytelling, storytelling, and dialogue were sometimes the basis for its construction, but it remained a single-voiced lyric poem. Only the poet’s loud voice appeared, weaving his verses, rhymes, and syllables, and he could not escape from it. It is Own it and control it.
However, in our modern era, after the emergence of theatre, cinema, and the novel, the arts and genres have intertwined, and the poet’s voice has become loaded with many voices and dramatic elements that Arab poetry is not familiar with. The poem has become a scenic, pictorial structure that relies on inspiration, condensation, depiction, and a multiplicity of scenes and sounds that are full of contradictions. And the couplets that express unrealistic, unfamiliar visions, fantasies,

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