انماط سردیّه الزمن فی شعر محمّد عفیفی مطر؛ قصیده «خطوات مقتلعه» نموذجاً

تمیّز الشعر العربیّ المعاصر بخرق جدران نظام القصیده التقلیدیّ واتّسعت آفاقه الدلالیّه عن طریق تطعیم الخطاب الادبیّ ببنیً سردیّه تنیر اقصی مبلغ من ابداع الشاعر فی تجسید الخیال والرویه الجمالیّه لمواضیع ارجائه المثیره. یعدّ الزمن بین اهمّ العناصر المکوّنه للسرد تقنیهً زاهرهً اتت العنایه بها انطلاقاً من التتابع المنطقیّ للاحداث، بینما لا یخضع الزمن السردیّ له الیوم، بل یمکن السارد ان یتلاعب ببنیته ویوظّف انماط عدوله عن الخطّیّه عبر تمازج وتفاعل یقیمهما بین مستویات زمنیّه شتّی. لقد اهتمّ محمّد عفیفی مطر فی قصیده «خطوات مقتلعه» بانماط زمن السرد اهتماماً بالغاً بحیث یلمس بغزاره انّ الزمن فیها یتحوّل دوماً ویتحقّق التداخل الزمنیّ ببناء جسر دلالیّ من احداث الحال الی الحدث الماضی والمستقبل. تعتمد هذه الدراسه علی المنهج الوصفیّ التحلیلیّ وتهدف ایضاً بمتابعه عنصر الزمن فی هذه القصیده الی تسلیط الضوء علی حوافزه و وظائفه السردیّه. لقد وصل البحث الی انّ القصیده تتّسم بالنسیج الزمنیّ المتماوج فی حنایا احداث اللحظه الآنیه الّتی تستطیع ان تشمل الماضی فی وحده شعریّه ثمّ تبغی رویه الآتی فی اخری؛ فیتلاعب الشاعر بالنسق الزمنیّ للسرد ویخرج مراراً عن رتابه الازمنه مستمدّاً من المفارقات الزمنیّه لسدّ الفجوات الجذریّه فی الماضی او اخباره العاجل بالاحداث اللاحقه وقد یتدخّل فی مدی حرکه الزمن.

The Element of Time in Muhammad Afifi Matar’s Poem “Uprooted Steps”

Arabic neopoetry is known for breaking down the traditional structure of poetry and extending its semantic boundaries by equipping the literary discourses with narrative structures which enable the poet to show their creative imagination and aesthetic views towards objects. “Time” is one of the prominent elements of narration. Formerly, it manifested itself through the logical sequence of events, whereas nowadays narration time does not depend on this sequence and the narrator can change its structure through the interaction between different levels of time to avoid monotonousness. Muhammad Afifi Matar has paid special attention this in his poem “Uprooted Steps” in which, through forming a semantic bridge between present, past, and future events, we see a temporal overlap. This article seeks to analyze the element of time in this poem. It suggests that the poem has a fluid temporal structure so that inside time present, the past and the future are contained. In many cases, the poet does not narrate the events according to the order of their happening, but rather delays or even stops them. The functions of time in this poem are different, changeable, and intertwined depending on the context of the events. These events sometimes take a long time and sometimes happen in the blink of an eye to create a temporal overlap between the past, the future, and the present. Returning to the past in the context of the present sometimes depicts the unpleasant experiences of the past, and sometimes has epic and hopeful effects through the historical calling of nonnarrative characters. The poem uses flashforwards from the beginning to highlight future events and to respond as early as possible to the reader’s curiosity about the future. The poet continously plays with the time of narration; to avoid monotonousness, he, with the aid of temporal paradoxes, fills the gaps in time past, informs the reader of future events before their happening, and sometimes interferes with the the passage of time.