نشریه دراسات فی اللغه العربیه و آدابها
سال دوم شماره 7 (پاییز 1390)

There are original spaces in Arabic literature which demand investigation and scholarly work. One such field is narrative poetry, which has received little attention. A narrative poem includes the main elements of a story but it cannot contain all the details of the story as there is little room for them. So, its main components are plot, character, story actions, setting (time and place). The author of this article has chosen nineteen poems from Arab poetry in different periods with narrative charateristics and has analyzed their elemans, so that this subgenre begins to be introducted.

Elegiac poetry written about the Ahlolbeit (the Holy Prophet’s Household) in Khuzestani Arabic is a rich folklore source. This poetic genre is beautiful and appealing and almost comprehensible for its audience. However, it is mysteriously difficult for all to read. This often leads to misunderstandings. The incomprehensibility of Khuzestani Arabic may be due to different reasons. For example, little attention is paid to spelling rules in this dialect, there are no consistent rules for spelling and the majority of those in publishing and editorial work are not familiar with the alphabet of this dialect; therefore, they make spelling errors. Hamza is one of the sounds which is prone to errors, especially the conjunctive hamza so, it may be represented by different symbols in different books or even in one single book. This character has been altered in different forms in Khuzestani Arabic including addition, omission, replacement with another letter, word blending, and the use of an alternative word without hamza. Since the speakers of this dialect are not familiar with its writing system, it will be difficult for them and non-native speakers to read and understand. This article seeks to investigate the changes that hamza goes through in Khuzestani dialect and tries to clarify the ways of writing this character so that it has a consistent written form, typographical errors are distinguishable from the spelling ones, the gap between Khuzestani dialect and the standard Arabic is narrowed and it is comprehensible for all. Furthermore, the poets of this region, particularly poets of Ahlolbeit will be known worldwide. This research is primarily focused on Muhammad Atyyeh’s book of poems.

This research deals with the application of the mythological method to pre-Islamic poetry which includes mythological images and legendary dimensions resulting from the imagination of the pagan poets and aesthetically interwoven with the linguistic structures. The research also aims to underline the efficiency of the mythological method for analyzing poetic texts and revealing their mythological dimensions created by the poet's imagination, in chronological stages. Illustrated by poetic texts we depic these stages in the pagan poetry as follows:1. departure 2. journey and loss 3. searching for indentity The aim of this research is to present the my thological and philosophical aspect of the images which convey the poetic sense and to determine the validity of the application of this method on the pagan poetry.

This study deals with Muhsen Yousef's creative experience, starting with his first collection, Faces of Late Night and ending with his last collection, Mrs Jamila. However, the study is not a survey of the writer's creative experience; it rather traces the development of creative storytelling in this author so as to discover the transformations of the local and national themes in his works. The study also follows the changes his creative experience has undergone as well as the writer's intellectual orientation. It, also, discusses the technical devices employed by the writer such as subdivisions, headings, internal monologues and stream of consciousness. However, it should be noted that the writer does not straitiacket his work by using modern terms; rather, he tries to preserve his own individual narrative voice, using a lively narrative style.

Studying the critical thinking of critics, though plentiful, is not enoughyeto Such study offers the reader the course followed by the critic and his starting points of literary vision. Critic Izzuldin Ismaiel has produced a big volume of work. He is one of the pioneers that played a prominent role in featuring the modern poetic verse in Egypt and other Arab countries. His Book "Contemporary Arabic Poetry: Its Issues and Technical Aspects", though old, is still considered the constitution that outlines this movement. This Research discusses this ideas of the critic in his book, endorsing some and disagreehng with others. The critic has presented a description of Modern Poetic movement both in its topics and in techniques. There has been some disagreement with this scholar on some cases; but this is something normal as the passage of time make it inevitable.

Al- Yatemah is a poem composed by Sweid Bin Abi Kahel Al-Yashkari and is one of the masterpheces of Arabic literature. However, it remains unnoticed like many other masterpieces in our Arabic literature. Earlier people realized its importance; nevertheless, they did not hold it in as high esteem as other heroic poems. The modern critics, apart from Taha Hussein's influential reading for some of its meanings, gave it zero attention. This research attempts to take a practical applied approac to Al-Yatemah, recognizing its multiple aesthetic dimensions drawing upon the creative critical visions in our literary heritage as well as in contemporary literary citicism. In this approach, the value of words alone is close to zero. Every word that is not put in a certain context is without value. Combination and arrangement is the minimal thing for the production of speech. Speech and language, however, is not enough for the production of aesthetic value. There are other secrets which promote a composition to the level of poetry.

The separation of any person from family and friends is an experience that generates a feeling of sadness and loneliness. This is the result of causes outside human will. So, the bitter conditions that the two poets, Masood Saad-e Salman and Al-Mutamid Bin Abbad, have lived through In the days they spent in prison have led them to compose poems that express their emotions about life. The Poetry of Masood Saad-e Salman about prison is called " Habsiat" and that of Al-Mutamid Bin Abbad is called " Osariyat". These poems are characterized by features which make them a special kind of literature. This article tries to survey and study the prison poetry of these two poets, one Persian and one an Arab. The results of this study show the correlation of the two texts. There are common themes in the poems of Masood Saad-e Salman and Al-Mutamid Bin Abbad, is driven by a common attitude about life by these two poets while in prison. The question which is posed here and we are going to answer, is, What are the most important common points which cause us to compare these two poets? This is: what we will try to answer through a review of the similarities in their poetic works.