رواية (هي في معبد الفن)‎ لتوفيق الحكيم : دراسة في السرد و اللغة

Abstract EN

The novel of "Hiya Fi mabad alfann" is a real master piece in the form of narration and language-as for narration, the events come logically sequential with in the usual order of the novel beginning, climax and end.

The Characters comes harm on side with the events of the novel and adjacent to its intellectual structure.

Moreover, the novelist narrator's personality, embodied by the hero whose name was unknown, by Tewfik alhakim has emerged or appeared clearly.

The diversity of the setting between realistic and my ethical imagine Cary places besides the factual geographical from hase given the text credibility when being criticized by a critic, therefore the novelist has dwelled on explaining the details of the places where he stays or passes nearby so that the scene can be complete and spacious not confined to only one space lite the stage of the theatre.

That is one of the distinguished qualifications of the literal work to be a novel not a theatrical text.

As for "time" of the novel, it stays only for few days.

It has started by the train trip from Salz burg aly in Austral to Paris in France, then the rest of the events has taken place in Paris.

Time stops at the end of the novel in the dialogue which happened between the novelist narrator and the my thick character, god of art; however, it resumes to finish the events after the arrival of Morris's message.

As for the linguistic structure, we can notice that the narrator has depended mainly on two styles or techniques of language forms: Sometimes the direct form which is characterized by repenting round up style and that is clear in the text.

On the other hand, the em bodying gorm which is represented by his use of figures of speech in his structures and em blemishing the description of his scenes.

All of this has been very clear since the rhetoric initialization in the first section of the narration where the novelist narrate or compares or describes the train as a snake in three special stages of movement, mobility not stability or constancy.

As for – dialogue, the narrator novelist has been always a main pout in the dialogue and it has varied between internal self and external descriptive dialogues.