الشَّفَاهِيَّةُ الْمِصْرِيَّةُ فِي شِعْرِ الْبَهَاءِ زُهَيْر

Although the Egyptian essences in El Bahaa Zohair's poetry were tackled by many researchers, none of them investigated it from the perspective used in this study. According to this perspective, the Egyptian essence is represented by the oral works of art stored up in the poet's creative subconscious. These works formed clear expressive trend, in Zohair's poetry, that is: intertextuality. This study will analyze this trend by exploring the linguistic phrasing and stylistics of the Zohair's poetry.
The two axes that the present study follows to tackle the orality in Zohair's poetry are: shifting from orality to writing and shifting from writing to orality. The former was investigated by exploring oral works of art in the Zohair's divan that provides an evidence of their existence in the Egyptian poetry. Thus, the study tackles the contextual clues in which these works were mentioned: (the secrets and hiding them- sleeping and its stuff- the self's status in health and sickness- spelling- welcoming and visiting-love and blaming). The latter, whichfocuses on the reverse shift from writing to orality through singing the poetry, was investigated by conducting musical analysis of the famous EL Bahaa's couplet: "ya man la'bet behi shmol" classified under the terza rima section in the Arab musical tradition.
The study supported the idea that the presence of orality, especially the Egyptian one, in the Zohair 's poems enriched his poetry; in addition, it highlighted the uniqueness of the Egyptian literature.