دور الحبکه السردیّه فی تکوین الوحده العضویه فی الشعر الحرّ؛ بدر شاکر السیّاب ومهدی اخوان ثالث نموذجاً

یتمثّل جمال العمل الادبی وخاصه الشعر الحرّ فی تماسک اجزائه شکلاً ومضموناً لیظهر امام القارئ کبناء متماسک بوحدات متناسقه من البدایه مروراً بالوسط وحتى النهایه. انّ الوحده العضویه من ابرز القضایا التی اثیرت بعد ظهور الشعر الحرّ ومن اهمّ مکوّناتها هی الحبکه السردیه. یقوم الباحثون فی هذا المقال بدراسه الوحده العضویه ودور الحبکه السردیه فی ایجاد الترابط والتلاحم العضوی والتماسک بین اجزاء النص الشعری من خلال المقارنه بین رائدَی الشعر الحرّ العربی والفارسی بدر شاکر السیّاب ومهدی اخوَان ثالث، اعتمادا على المنهج المقارن الذی یستمد من المدرسه الامیرکیه. یرید الباحثون ان یبیّنوا کیف استخدم کلا الشاعرین من هذه العناصر ومن اهمّ نتائج البحث ان الحبکه السردیه فی شعر اخوَان ومن ضمنها العقده والحل تظهر بشکل اکثر نجاحاً فی خدمه الوحده العضویه اذ ان شعره یکون فی مسار خطی واضح معتمداً على العقده والحل ویتبع التسلسل المنتظم للافکار ویبدو ان غناء تراث الشعر القصصی الفارسی له اثر فی هذا الامر.

The Function of Narrative Plot in Formation of Organic Unity in Free Poetry: A Case Study of Badr Shākir alSayyāb and Mehdi Akhavān Sāles

The beauty of the literary work, especially free poetry, is due to the cohesion of its different parts in form and content, so that it appears to the reader as a coherent construction of harmonious units from the beginning to the end. Organic unity is one of the most prominent issues raised after the emergence of free poetry of which the plot is the most important element. In this article, the authors examine the organic unity of narrative plot and its importance in forming organic cohesion and coherence of the constituents of poetry through the comparison between the pioneers of Arabic and Persian free poetry, Badr Shakir alSayyab and Mehdi Akhavān Sāles, from a comparative view point and reliance on the American school. They are also examine how each of these poets uses these elements. The findings of the research show that Akhavan is more successful in applying narrative plot, including rising and falling action (gereh goshāei and gereh afkani), in formation process of organic unity, because his poetry is in a clear linear process that is materialized this by using rising and falling action as well as logical systematic sequences of thoughts in which the richness of the Persian heritage in fictional language has been effective.