بنية الإيقاع في ديوان ضاع الندى لحنان محفوظ الإيقاع الصوتي ــــ إيقاع البياض والسواد أنموذجاً

Abstract

This study is grounded in the rhythmic structure (phonetic rhythm and the rhythm of white and black space) in the poetry collection Ḍāʿ al-Nadā by Hanan Mahfouz. It seeks to explore the significance of rhythmic structure, its forms, and its impact, while also attempting to present Libyan poetry through one of its most prominent contemporary poets, whom we may rightfully regard as among the pioneering figures.

The choice of rhythmic structure as the focus of this study is justified by the artistic and thematic transformations that have characterized the poetic climate in Libya since the 1950s. Libyan poetry has remained closely connected to rhythmic modernity and to the symbolic implications, formations, and images it embodies. This has made rhythm—and the poetic text itself—a comprehensive gateway to the issues and themes of poetry, as well as a spatial symbol of its dimensions and imagery. This suggests that poetic discourse has continued to be influenced by its own cadence and historical trajectory, thereby reflecting the movement of society, art, poetry, and ultimately the human condition.

By its nature, the research adopts the descriptive-analytical method, which has been employed in analyzing the poetic texts under study