الديوان في الأدب والنقد

الديوان في الأدب والنقد pdf

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An Egyptian poet of the modern era. He was known as one of the great writers of his time. He was also known for his ironic style, whether in literary writing or poetry, and he was able to shine despite the presence of many great writers and poets, where he managed to find a place for himself next to them, despite his different direction. And his new concept of literature, as his culture combined Arabic heritage and English literature, like other poets of the Diwan School. The writer about the characters can choose the profession that suits the characters he presents, but it is difficult for anyone to imagine a profession other than literature. And that literature follows him wherever he goes and does not leave him until he brings him back next to him.Al-Mazini presented many distinguished poetic and prose works, among which we mention: Ibrahim Al-Katib and Ibrahim II - two novels, Al-Mazini hadiths - a collection of articles, Wildfire Harvest, Cobwebs, Al-Mazini's Diwan, The Hejaz Journey The Fund of the World, Return to Beginning, Catch the Wind, The White Book, Life Story, From the Window, The New in Arabic Literature in partnership with Taha Hussein and others, Radio Talk in partnership with Al-Akkad and others, and he also won the book “The Diwan in Literature and Criticism,” which he issued with Al-Akkad. In 1921 he became famous, and many other poems, in addition to large collections of articles, and he also translated a selection of English stories, Al-Mazini died in August of 1949. He wrote a number of books, including: Wildfire Harvest (in cash). The wind, the box of the world (in politics and for a meeting). cobwebs; Ibrahim al-Katib is back on the road.

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الديوان في الأدب والنقد pdf by Ibrahim Abdul Qadir Al Mazni

الثَّورةُ عَلى القَديمِ سُنَّةُ الحَياة، والتَّمرُّدُ حَالةٌ مُستَمِرةٌ تَتناقَلُها الأَجيَال؛ سَعيًا وَراءَ الوُصولِ إِلى أَدواتٍ جَدِيدةٍ تُعبِّرُ عَن عَصرِها. ولَم تَكُنِ الحَياةُ الأَدبِيةُ فِي مِصرَ بِمَعزِلٍ عَن ذَلكَ الصِّراع؛ فَقدْ رَأى المُؤلِّفانِ أنَّ الشِّعرَ والأَدبَ فِي عَصرِهِما لا يُمثِّلُهما شِعرُ «أحمد شوقي» وأَدبُ «المنفلوطي»؛ لِذا أَعلنَا الثَّورةَ عَلى أَصنامِ عَصرِهِما، ورَاحَ «العقاد» يُفنِّدُ شِعرَ «شوقي»، وتَفرَّغ «المازني» لأَدبِ المنفلوطي. ثَارَا عَلى كُلِّ ما هُو قَديم؛ فَرَفضَا نِظامَ القَافِية، والقَصِيدةَ الطَّوِيلَة، وأَعلنَا تأسيسَ مَدرَسةٍ أَدبِيةٍ جَدِيدةٍ سُمِّيتْ «مدرسة الدِّيوان» — نسبةً لعنوانِ الكِتابِ الذي بينَ أيدِينا — كانَ أَهمُّ مَبادِئِها أنَّ مَذهَبَها «إِنسانِي، مِصرِي، عَربِي»، ودَعوَا إِلى التَّجدِيدِ فِي شَكلِ الشِّعر، ومَضمُونِه، وبِنائِه، ولُغتِه. ومَثَّلَ الكِتابُ مَرحَلةً أَدبِيةً مُهِمَّةً فِي تَارِيخِ الأَدَب والشِّعرِ العربِي، ومعركةً من المعارك الأدبيةِ التي خاضَها عمالِقةُ الأدبِ والفِكرِ فِي تلك الفترةِ.

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