جماليات التشكيل الزمكاني في ديوانِ "لماذا تركت الحصان وحيدا" لمحمود درويش

الملخص EN

The present study stops at the aesthetics of time & location composition in deuan "Limatha Tarakt al-Hisan Wahidan" (Why did you leave the horse alone) by Mahmoud Darwish.

The study focused on the critical aesthetic aspect of the divan as the study seeks to reveal the aesthetic of this composition within the poetic textual fabric.

Since he is among the poets who lost their location / homeland, Darwish constitutes a unique poetic experience that deserves to be studied and explored.

We know that humans' feeling of time and location is increasingly deeplyrooted in one's self whenever we face loss, therefore, the poetic imagination starts to be active in the process of describing them.

Our realization of location and time starts at the moment of birth and humans were interested in both of them since the old times.

The sciences of astrology, astronomy, mathematics, al-Atlal prolegomena, journey through the desert, al-Sa'alik (Tramps) journey, and al-Mutanabi journey are all examples of caring about location and time.

The critical studies were concerned about studying (time and Location) when the theory of location proved that time is its fourth dimension, then it appears in the literature in accordance with the author's vision.

Darwish was among those poets who lost their location and time that transferred to an inner conscious, and Darwish has exceeded their realistic limits since imaginations deletes the reality of location and time phenomenon.

Mahmoud Darwish's divan (Why did you leave the horse alone, 1995) represents an existence and philosophical anger, and a radical change in his poetic philosophy, and a linguistic revolution combining the paradoxes.

The poetics of time and location in this divan (Why did you leave the horse alone) was represented through three axis: the first is about the aesthetics of childish time and location that returned to us after our feeling of depression, apathy, and despair of losing time and location forever, the second includes the aesthetic of present and absent time and location after all locations and times have gone far away from his eyes and became visions, the third tackles the semiotics of historical time and location as an equal topic to our deteriorating Arab reality.