‫ﺍﻹﻳﻘﺎﻉ ﻭﻋﻼﻗﺘﻪ ﺑﺎﻟﺼﺮﺍﻉ ﰲ ﺍﳌﺴﺮﺡ ﺍﻟﺸﻌﺮﻱ‬

‫ﳕﺎﺫﺝ ﻣﺘﻨﻮﻋﺔ)*(‬

‫–‬

‫ﺘﻤﺜل‬
‫–‬
‫‪-‬‬

‫ﻲ‬
‫‪-‬‬ ‫‪-‬‬
‫‪.‬‬

‫‪-‬‬ ‫‪-‬‬ ‫‪-‬‬ ‫–‬

‫‪-‬ﺜﺎﻟﺜﺎ‪-‬‬ ‫‪-‬ﺜﺎﻨﻴﺎ‪-‬‬
‫‪-‬‬ ‫‪-‬‬

‫)*( ﻣﺠﻠﺔ ﻛﻠﯿﺔ اﻵداب ﺟﺎﻣﻌﺔ اﻟﻘﺎھﺮة اﻟﻤﺠﻠﺪ )‪ (٧٨‬اﻟﻌﺪد )‪ (٦‬ﯾﻮﻟﯿﻮ ‪٢٠١٨‬‬
٢٠١٨ (٦ ٧٨ ١٤
Abstract

This paper attempted to examine the relations among rhythm,

conflict and dialogue in poetic play (verse drama). It based on a
hypothesis that rhythm can play a major role in the conflict emerging
between the characters of the Poetic play and can highlight the hidden
meanings and connotations of dialogue, on other hand; it tends to add
new dimensions to conflict.
To testify this hypothesis we chose a number of scenes from
poetic plays representing different theatrical and Poetic schools; the
basis of choice of these scenes, on the one hand, was the
intensification of the conflict - whatever its kind- on the other hand,
the intuition of the role of rhythm as one of the most important aspects
of the text structure of a poetic play.
The paper chose to focus its discussion on the quantitative
element of rhythm, because it is the most prominent rhythmic element
in a poetic play, in the first place, and investigating the qualitative
elements - which did not be neglected totally in this paper- needs more
space and a comprehensive view beyond the scope here.
The paper presented a number of examples that reveal the extent
to which the rhythm can play a significant role in the poetic play. It
concluded that rhythm can highlight a conflict in the theatrical work,
add a number of meanings and connotations, show audience the
feelings and emotions in auditory form and do many other roles. This
issue still to be a fertile soil needs more research interest.
‫‪١٥‬‬

‫"‬

‫"‪.١‬‬

‫"‬
‫ﺼﻠﺔ‬ ‫‪٧٦‬‬

‫‪....‬‬

‫"‪.٢‬‬
‫‪٢٠١٨‬‬ ‫‪(٦‬‬ ‫‪٧٨‬‬ ‫‪١٦‬‬

‫‪-‬‬ ‫–‬
‫‪-‬‬ ‫ﻨﻴ‬ ‫–‬

‫"‬

‫"‪.٣‬‬
‫"‬

‫ﻓﻲ‬ ‫‪..‬‬ ‫ﻟﻜﻨﻬﺎ ﻻ ﺘﻨﻔﺼل ﻓﻲ‬

‫ﻻ ﻗﻴﻤﺔ ﻟﻬﺎ‬

‫‪.٤‬‬
‫–‬
‫‪-‬‬

‫‪-‬‬ ‫–‬
‫‪١٧‬‬
‫‪٥‬‬

‫‪-‬‬
‫‪-‬‬

‫)‪(١‬‬
‫‪-‬‬ ‫–‬

‫‪.٦‬‬

‫‪٧‬‬
‫ﻟﻴﻠﻰ"‬
٢٠١٨ (٦ ٧٨ ١٨

‫ﺘ‬

o/o/o// o/o//
١٩
٩

o// /o//
-
‫ ﻟﻘ‬-

١٠

o/o/ o//o/o/ o/// o//o/o/

١١

o/o//o/ o//o/o/

١٢

o/// o//o/
٢٠١٨ (٦ ٧٨ ٢٠

- –

‫ﺎﻤﻠﺔ‬

o/o/

oo/o//o/

١٣
‫ﻟﻴﻠﻰ‬
o/o/
٢١

١٤
‫؟‬ ‫ﻤﺎ‬
o///o//o/

.١٥ ‫ﻤﺎ ﻓﻲ‬

o//o/o/ o//o/o/ o//o/o/ o//o/o/

٢٠١٨ (٦ ٧٨ ٢٢
١٦

o///o/ o//// o//o/o/ o//o/o/

(٢)
١٧

‫ﻨ‬

١٨
٢٣

١٩

٢٠

oo/o/

o/o// o/// o/o/

٢٠١٨ (٦ ٧٨ ٢٤

٢١

٢٢

٢٣
 ‫‪٢٥‬‬

‫‪٢٤‬‬
‫ﻫﻴﻼﻨﺔ‪:‬‬

‫‪٢٥‬‬

‫‪٢٦‬‬

‫)‪(٣‬‬
‫ﺎﻟﻤﻪ‬
‫‪،‬‬

‫‪٢٧‬‬
‫‪٢٠١٨‬‬ ‫‪(٦‬‬ ‫‪٧٨‬‬ ‫‪٢٦‬‬

‫ﻤﻌﺎ ﻟﻨ‬
‫ﺤﺎﺒﻲ‪ ،‬ﺒﻨﻲ‬

‫‪٢٨‬‬
٢٧

‫ ﺒﻨﻲ‬،‫ﺤﺎﺒﻲ‬
o//o/o/
٢٩

o//o/ /o/// o/o//o/

o//
٣٠

oo/o/
٢٠١٨ (٦ ٧٨ ٢٨

٣١

oo//

٣٢

o//o// o//o/

- -

٣٣

٣٤
‫‪٢٩‬‬

‫ﻰ‬
‫‪٣٥‬‬

‫ﻰ‬

‫‪٣٦‬‬

‫ﺤﺎ‬
‫‪٢٠١٨‬‬ ‫‪(٦‬‬ ‫‪٧٨‬‬ ‫‪٣٠‬‬
‫‪٣٧‬‬

‫‪٣٨‬‬

‫‪-‬‬ ‫‪-‬‬

‫‪-‬ﺜﺎﻨﻴﺎ‪-‬‬
 ‫‪٣١‬‬
‫‪٣٩‬‬

‫ﻨﻔﺴﻪ‪:‬‬
‫‪٤٠‬‬

‫‪٤١‬‬

‫‪٤٢‬‬

‫)‪(٤‬‬
٢٠١٨ (٦ ٧٨ ٣٢
٤٣

:‫ﻜﺎﻟﺘﺎﻟﻲ‬

٤٤

oo/
٤٥

o//o/ o/ o/

‫ﺘﻲ‬

٤٦

oo//o/ o/o//o/ o/o//o/ o/o///

٣٣

٤٧
‫‪٢٠١٨‬‬ ‫‪(٦‬‬ ‫‪٧٨‬‬ ‫‪٣٤‬‬

‫‪٤٨‬‬

‫ﻓﺎﻋﻼ‬

‫‪٤٩‬‬

‫‪٥٠‬‬
‫‪٣٥‬‬
‫‪٥١‬‬

‫‪٥٢‬‬
‫ﻲ‬

‫‪٥٣‬‬
‫ﻟﻪ‬
‫‪٢٠١٨‬‬ ‫‪(٦‬‬ ‫‪٧٨‬‬ ‫‪٣٦‬‬
‫‪٥٤‬‬

‫‪٥٥‬‬

‫‪٥٦‬‬

‫ﺨﻼل‬

‫)‪(٥‬‬
 ‫‪٣٧‬‬

‫‪٥٧‬‬

‫‪٥٨‬‬

‫ﺘﺎﻫﻤﺎ‬

‫‪٥٩‬‬
‫‪٢٠١٨‬‬ ‫‪(٦‬‬ ‫‪٧٨‬‬ ‫‪٣٨‬‬

‫ﺘﻲ ﺤﻤﻠﻬﺎ‬

‫‪٦٠‬‬

‫‪٦١‬‬
‫‪٣٩‬‬

‫ﻤﺎ‬

‫‪٦٢‬‬
‫‪٢٠١٨‬‬ ‫‪(٦‬‬ ‫‪٧٨‬‬ ‫‪٤٠‬‬

‫)‪(٦‬‬

‫‪٦٣‬‬

‫‪٦٤‬‬

‫ﻜﺎﻟﺘﺎﻟﻲ‪:‬‬
٤١
٦٥

..٦٦

٦٧
٢٠١٨ (٦ ٧٨ ٤٢

٦٨

٦٩
‫‪٤٣‬‬

‫‪٧٠‬‬
‫ﺴﻠﻤﻬﺎ‬

‫ﺘﻪ‪ ،‬ﻗﺎﺌﻼ‪:‬‬

‫‪٧١‬‬

‫ﻗﺎﺌﻠﺔ‪:‬‬
‫‪..٧٢‬‬

‫‪٧٣‬‬
‫‪٢٠١٨‬‬ ‫‪(٦‬‬ ‫‪٧٨‬‬ ‫‪٤٤‬‬

‫‪-‬‬ ‫‪-‬‬

‫)‪(٧‬‬

‫‪ -‬ﻋﻠﻰ‬ ‫‪-‬‬
‫‪-‬ﺜﺎﻨﻴﺎ‪-‬‬ ‫‪-‬‬ ‫‪-‬‬
‫‪-‬ﺜﺎﻟﺜﺎ‪-‬‬
‫‪-‬‬ ‫‪-‬‬

‫‪-‬‬ ‫‪-‬‬

‫‪-‬ﻜﻤﺎ‬
‫‪-‬‬
٤٥
٢٠١٨ (٦ ٧٨ ٤٦

.٢٦٦ . ١
.o١٩٦ .٣ o١٧ . ٢
٢٠ ٣
.١٩٦٣
.١٩٧٨ ٤١١ ،٤٠١ ٤
٥
،١٩٩٦
‫ﺔ‬ .٣٠ ٦
٧
٢١ ،٢٠ ٨
٩
١٠
١١
١٢
١٣
.‫ﻪ‬ ١٤
١٥
١٦
.١٩٤٦ ١٧
.٩ ١٨
١٩
٢٠
٢١
٢٢
٢٣
٢٤
٢٥
‫‪٤٧‬‬

‫‪٢٦‬‬
‫‪.١٢ ،١١‬‬ ‫‪٢٧‬‬
‫‪٢٨‬‬
‫‪٢٩‬‬
‫‪٣٠‬‬
‫‪٣١‬‬
‫‪٣٢‬‬
‫‪٣٣‬‬
‫ﻨﻔﺴﻪ‪.‬‬ ‫‪٣٤‬‬
‫‪٣٥‬‬
‫‪٣٦‬‬
‫‪٣٧‬‬
‫‪٣٨‬‬
‫‪٣٩‬‬
‫‪٤٠‬‬
‫‪٤١‬‬
‫‪٤٢‬‬
‫‪٤٣‬‬
‫‪٢٢ ،٢١‬‬ ‫‪٤٤‬‬
‫‪٤٥‬‬
‫‪٤٦‬‬
‫‪٤٧‬‬
‫‪٤٨‬‬
‫‪٤٩‬‬
‫‪٥٠‬‬

‫‪٥١‬‬
‫‪٥٢‬‬
٢٠١٨ (٦ ٧٨ ٤٨

٥٣
٥٤
٥٥
٥٦
.٣١ ،٣٠ ٥٧
٥٨
٥٩
٦٠
٦١
٦٢
٦٣
.١٩٩٣
،o١ ٦٤
٦٥
٦٦
٦٧
٦٨
٦٩
٧٠
٧١
٧٢
٧٣