Article info

Keywords

• for
• in
• The land
• MahmoudDarwish
• TheDramaticLand
• thePoem

Abstract

This study devotes –and through methodology - to exceed the traditional critical an intended critical or adopted studies which were based on the historical continuations to the clerk or the poet literature, or dealing his text within a clear, linguistic, rhetorical logic depending on the criterion of the old domains which cover a scope of the technical data which wasn't existed – in the previous days – from the critical domains of the poetical time and the narrative poetry and its time , its aesthetics, dialogue composition or the intertextuality, the version and the formation, the author, the narrator, and the multiplicity of pronouns and the sounds. The poetry -as its readers and its scholars -emphasize is closely linked with a lot of arts, the graphic images stretch outpouring channel of evidence, imaging or drawing and the rhythm – which are essential features in the poet- which generally strengthen its bonds to music and to its structure- whatever it varies and it is formed upon the aesthetics of the unity or contiguity- which relates it with the architecture anyway, and relates its tension with drama on the basis of what it has of internal conflict between the elements and the components. Every poem is a small drama, as the critic Client Brox said. Because it is based on the sound that argues itself or (I) that argues the world within its argument to itself.