زمن الإيقاع –تأسيس أولي / هيثم حسان

كان العرب يتشادقون أي يتفاخرون بسعة الفم الذي يمكنهم من أن يعطوا كل حرف حقه من النطق.

والمسعودي عندما زار جنوب فرنسا وصف صوت كلامهم بعدم الإفصاح وشبهه بأصوات العجماوات لاختلاط الحروف وعدم تميزها.

إن وزن الشعر في العربية في أسماعنا كما تبدو لأنظارنا الجبال والوديان في تمايزهما بينما وقع أوزان شعرهم تبدو لمسامعنا كما تبدو لأعيننا الأرض المنبسطة التي لا تكاد تجد فيها تفاوتا إلا اليسير.

النبر موجود في العربية وله ارتباط بالمعنى كما تفضلت.

والتصوّرُ بأن له دورا كبيرا في العروض ناتج من تأثر الدارسين بالأعاريض الأخرى.


وقد كتب بعض الإنجليز أشعارا تعتمد على الوزن الكمي ولكنها بقيت محدودة ولم يقيض لها القبول. وإن الارتباك والغموض الذي يعانيه من يفتروض الوزن العربي قائما على النبر يماثل الارتباك والغموض لدى الإنجليز في النظر إلى وزن شعرهم بالميزان الكمي :

http://journals.cambridge.org/action...line&aid=74789


The Renaissance experiments in quantitative meter in English pose a long-standing puzzle: not only have their specific principles of composition proved elusive; so has any more general explanation of their ultimate failure. This article argues that the solution to the puzzle lies in interactions of quantity and stress in both the meter and the language. An analysis of the dactylic hexameter as based on moraic trochees explains why stress is more straightforwardly accommodated by some positions than others. Analyses of stress-induced ambiguities in English syllable quantity such as the resyllabification of intervocalic consonants in C[V acute]C[V times over] contexts explain apparent inconsistencies in scansion. When these complexities are taken into account, Sidney's compositions reveal themselves to be systematic and phonologically well founded; ambiguities are acknowledged and the meter is exploited to structure them. Ultimately, however, such ambiguities mean that quantity alone provides an inadequate basis for meter in English, because it underdetermines the metrical possibilities.

*****

http://www.britannica.com/EBchecked/...chor=ref503187


QUANTITATIVE METRES
Quantitative metres determine the prosody of Greek and Latin verse. Renaissance theorists and critics initiated a confused and complicated argument that tried to explain European poetry by the rules of Classical prosody and to draft laws of quantity by which European verse might move in the hexameters of the ancient Roman poets Virgil or Horace. Confusion was compounded because both poets and theorists used the traditional terminology of Greek and Latin prosody to describe the elements of the already existing syllable-stress metres; iambic, trochaic, dactylic, and anapestic originally named the strictly quantitative feet of Greek and Latin poetry. Poets themselves adapted the metres and stanzas of Classical poetry to their own languages; whereas it is not possible here to trace the history of Classical metres in European poetry, it is instructive to analyze some attempts to make English and German syllables move to Greek and Latin music. Because neither English nor German has fixed rules of quantity, the poets were forced to revise the formal schemes of the Classical paradigms in accordance with the phonetic structure of their own language.

تنتشر اللغات وتقوى بارتقاء أهلها وليس بخواصها الذاتيه.


للعربية من الفضل الكثير بذاتها . وتضاءلَ أثرها بتضاؤل مكانة أهلها.


يرعاك الله.