حركية العدول واحتراق النسق : دراسة تحليلية في عمود الشعر

Abstract

Abstract: The study tackled the most technical syndrome in our critical heritage which is represented in: the poetry column, or the ancient's style, which is considered as the most honest example that indicates the closed-style structure. As described in some students, as reported about alamady in his saying: ....because albuhtry is the poetry's Arab who is allocated, he is following the ancient's style, and did not quit it the known poetry column. It may be that through his balancing-he wanted to assess the art of poetry on the basis of the ancient's style. But he choose an obligatory law which is to be followed. The poetry column, in the concept which is we tackled, is only a standardization theory based on imitating, and is identical to the ancient's style. It does not quit this style and comply with its standards both in shape and concept. The poetry column triggered the problem of the old and the new, the original and intruder. Quitting the poetry style means the rise of a renewal, overcoming, created points of view whose first outstanding were crystallized by poetry. But most of the criticism was against this. The fight between those backing and calling for the ancient's style, and those in favour of the new style become very critical. The knowledge path, the creation of concepts, the bases of knowledge, and the cultural references that participated in crystallizing the rules for criticism which established the poetry column, emerged mostly from the already-agreed on culture and the logic of following. Poetry from the point of view of those in favour of the poetry column, should be initiated by an Arab; to the extent that the word "almuhdth" the synonym of the word "almuwalid" become the contrary word for the "ancient's style. The poet must be oriented. The poet cannot be that unless he is of an original route and language, and is belonging to the desert, the symbol of nature and fluency. The point of view from which poetry column has arised is the bilateral view that does not accept both edges; that the beautiful was the contrary of the ugly, the good was the contrary of the bad, and the natural was the contrary of the acquired; etc., to the rest of the contradictories that did not go for motivating contradictories, solidarity. On the contrary, it magnified the ABC's of segregation and forced the standards of characterization to accept the clear cut verdict. It is true that the originality of character, nature, and fluency, give the poet the ability to shape out, and that telling the news participates in triggering the imagination. But the coincidence of tellings and situations reduce the imagination and constitutes an obstcle to the innovative deed; to the extent that it was to told about abutaman: " he wants the fantastic but he goes to the impossible". The trial to assess the art syndrome and to establish a theory of poetry is considered as the core of critical enlightening through its fully completed stages. It, may be, is an early invitation to those who back the column of poetry. But their "mistake" is that they start with the idea of the "frame" or the "example" and concentrated on the ABC's of structure according to the model" and complying with "the ancient's style". These values were clearly seen, in closed-style poets, as a result of the mental structure, (the logic of opinion), and in the effectiveness of agreement (absolute verdict). This was reflected 66 on the taste memory which was saturated with the familiarization of receiving and was cornered in its horizon. The art frame was not safe from the absolute verdict which is the result of an obligatory culture of specific styles based on instructing and prohibiting. In spite of the invitation to elaborate of the Arabic language; this language remained surrounded in most of its out standings "almagaz". As the style were designed for the reference frames, the obligatory laws of art structuring were constructed including the rhythmic structure. For each word and meaning there became a style to be followed, and the poet has no right to keep away from this style..... so that its meanings stick in his mind, and its routes stick in his heart and become a material of his attitute, and his tongue melts with its words.