10 Famous writers (6 from booker list)

The International Prize for Arabic Fiction (IPAF) (‫)الجائزة العالمية للرواية العربية‬
2008 - Bahaa Taher, Sunset Oasis, Egypt
2009 Yusuf Zeydan, Azazel, Egypt
2010 Abdo Khal, She Throws Sparks, KSA
2011 Mohammed Achaari & Raja'a Alem, joint winners.
 Mohammed Achaari, The Arch and the Butterfly, Morocco (co-winner)
 Raja Alem, The Doves’ Necklace, KSA (co-winner)
2012 - Rabee Jaber, The Druze of Belgrade, Lebanon
2013 - Saud Alsanousi, The Bamboo Stick, Kuwait, Arab Scientific Publishers
2014 - Ahmed Saadawi, Frankenstein in Baghdad, Iraq, Al-Jamal
2015 - Shukri Mabkhout, The Italian, Tunisia
2016 Rabai al-Madhoun, Destinies: Concerto of the Holocaust and the Nakba, Palestine
2017 - Mohammed Hasan Alwan, A Small Death, KSA
2018 - Ibrahim Nasrallah - The Second War of the Dog, Jordan-Palestine.

Joumana Haddad: a Lebanese writer and poet who was selected as one of the world’s 100
most powerful Arab women in 2014 by CEO magazine Middle East. She founded Jasad, a
quarterly Arabic-language magazine, and was selected as one of Beirut39's most promising
Arab writers under the age of 39.
Mohamed Sadek: an Egyptian novelist who is relatively new in the literature scene but
has already written four novels including the widely successful romance novel "Hepta" in
2014, which stayed at the top of bestseller lists in Egypt for weeks and is still on the lists.
Ahmed Khaled Tawfik: a prominent and influential Egyptian writer who is considered
the first modern Arab writer to write in the horror and science fiction genre and the first
ever to write in the medical thriller genre. His 2008 novel "Utopia" was incredibly
successful as well as highly acclaimed critically.
Ahmed Mourad: a famous Egyptian writer and one of the most successful modern
Egyptian novelists. Mourad's four novels "Vertigo", "The Blue Elephant", "Diamond Dust"
and "1919" were all critically acclaimed, in addition to being huge commercial successes.
"The Blue Elephant" was turned into a successful film in 2014 and "Vertigo" was turned
into a TV series.
Modern Arabic literature
The instance that marked the shift in the whole of Arabic literature can be attributed to the
contact that took place between the Arab World and the West during the 19th and early
20th century. This contact resulted with the gradual replacement of Classical Arabic forms
with the Western ones, as exemplified in plays, novels, and short stories. Although the
exact date in which this reformation occurred is not known, the process is usually referred
to as the Arabic nahda (revival or renaissance)
The development that Arabic Literature witnessed by the end of the 19th century was not
merely in the form of reformation; both Germanos Farhat (1732) and al-Allusi in Iraq had
previously attempted to inflict some development on literature in the 18th century. On the
other hand, modern Arabic literature fully appeared through the interdependence between
two important movements: the revival of the classical Arabic tradition and the translation
of foreign literature. Advocates of the former movement began their work at the onset of
the 19th century to resist the decline Arabic literature and its styles were facing. High
quality traditional literary models were thus disseminated and imitated to create new
literary models. Meanwhile, proponents of the translation movement, included authors
such as Ibrahim al-Yaziji (1871) from the Levant, Ali Mubarak (1893) from Egypt, and
Mahmoud Shukri al-Alusi (1923) from Iraq. Both Mubarak and al-Yaziji wrote the
Maqamat (lengthy literary works of rhymed prose) "Alam Eddin" and "Majma' al-Bahrain"
[Where Two Seas Meet] respectively, while al-Alusi wrote "Balaghat al-Arab" [The
Eloquence of Arabs]. Other factors including journalism and the literature of the diaspora
helped in the shaping and development of the Arabic literature.
Translation activities:
The translation movement began on the hands of Egypt's Governor Muhammad Ali Pasha
while forming his army. He fostered the movement by importing the first printer in 1828
A.D. to Egypt (the second printer was brought later to Syria). Among the most prominent
translators during that time was Rif'a Rifa'a al-Tahtawi, who translated many scientific
books for the army's use. Al-Tahtawi's influence is mostly recognized, however, in his
"Talkhis al-Ibriz" or 'Paris's Profile',[3] in which he documented his visit to Paris. This
book, written in a rather modern style, is an account of the political and social conditions
in France during that time. Al-Tahtawi was also the translator of the first literary novel into
Arabic 'Tilimak' by French writer Fenelon. However, the mark al-Tahtawi left on the
literary reformation was witnessed later via his different contributions.[2]
Most of the early novels to have been translated into Arabic were of French works. Famous
works including Alexandre Dumas's Le Comte de Monte Cristo, Jules Verne's Cinq
Semaines en Ballon, and many others from different genres, were readily translated and
Arabized, and found a large readership through their circulation in journals.[4]
Schools that were established in Beirut and Tunisia for authorship and translation affected,
and were in turn influenced by, the direct impact of missionaries in Lebanon. These
missionaries were led by Butrus al-Bustani (1883), Ahmad Faris al-Shidyaq (1887),
Ibrahim al-Yaziji (1906), and, from Tunisia, Mohamed Bayram (1889). All of these
missionaries helped in the establishment of Arabic journalism, which was the main force
(second to the revival of traditional Arabic literature and the translation movement) in
initiating the new literary movement. In Egypt, journalism, first aided by intellectuals from
the Levant, and later becoming a genuine Egyptian force, was considered the pivotal
ingredient that polished new literary styles and helped in the dissemination of ideas and
opinions. It was the natural and organic atmosphere for the development of modern Arabic
literature
Journalism
In the final thirty years of the 19th century, the growth of journalism helped in the
emergence of notable figures in literature. It also created a comprehensive image of the
stages of the development of the literary prose genres-excluding poetry- until the First
World War. On the pages of the newspapers and journals came the powerful classical prose
of Muhammad Abduh (1905), and the nationalist-laden expressive prose of Saad Zaghloul
in al-Waqa'i' al-Masriyya [Egyptian Affairs] newspaper. We also saw Muhammad al-
Muwailihi's rhythmic prose (1930), al-Manfaluti's sweet romantic prose (1924), as well as
the works of Jurji Zaydan (1914), Yagob Sarrof (1927), and Qasim Amin (1908) that relied
on uniform ideas and lucid expressions to perform social-educational purposes.[2]
As for romantic valor (Hamasah), such as the works of Mustafa Kamil (1908) and Wali
Eddin Yakun (1921), it first appeared in journals. Other forms of literary genres such as
sardonic narratives mixed with colloquialisms, as in the works of Yaqub Sanu (1912) and
Abdullah al-Nadim (1896), gained their socio-literary power from appearing in journals.[2]
Diaspora
From the American diaspora emerged the new Pen League of authors like Gibran (1931)
and al-Rihani (1940). The works produced by members of this league quickly spread
through the Middle East, as new currents in modern Arabic prose took shape. Gibran, for
instance, not only published works in both Arabic and English, but attempted to self-
translate some of his works, such as his collection entitled Sand and Foam (1926).[5]
The translation movement also revived on the hands of the literary figures of the league.
Although the Pen's translation did not directly affect the development of modern literature
(unlike the translations of al-Manfaluti and Othman Jalal); translation, as that undertaken
during Ibn al-Muqaffa' and al-Jahiz's time, did, nevertheless, help in finding the true literary
essence in both Arabic and foreign literature. Without translation, regardless of its quality,
modern Arabic literature would not have reached different horizons.
Translation also influenced the Arabic repertoire of imageries and ideas. Most importantly,
it introduced new literary genres, such as novels, plays, short stories, articles, etc. The first
effect of translation was in the adaptations of foreign plays. It began with Maroun al-
Naqqash's (1855) adaptation of Moliere, and Najib Haddad's (1866) translations of
Corneille, Hugo, Dumas, and Shakespeare. However, the most successful attempts in the
adaptations of foreign dramas were on the hands of Muhammad Othman Jalal (1898), who
adapted from Molière, and Arabized the novel "Paul and Virginie" . Despite all these
efforts, the play, as a distinct literary genre, did not reach its full popularity until the 20th
Century
New Literary Genres
Novels
Arabic literature was not entirely lacking of narrative prose. There existed many lengthy
works of literature such as 'Kitab al-Aghani' [The Book of Songs] by al-Isfahani, 'Qisas al-
anbiya'a' [The Stories of Prophets] by al-Tha'alibi, as well as the eloquent maqama. This
latter work, characterized by its embellishing rhythmic prose style, is thought to be the
invention of al-Hamadani's (1008).
The realization of the novel underwent extensive efforts to reach its full, complete form.
The first attempts in writing novels were on the hands of Jurji Zaydan in his historical novel
'Sukot' [Silence], and Farah Antun's (1922) experimentation in the analytical novel. Other
writers benefited from the foreign repertoire in discussing social and political matters. Non-
fiction Arabic books were hence written to reflect new current concerns as well as the
authors' thoughts and convictions. This is clearly present in the writings of al-Kawakibi
(1093) in 'Taba'i al-Istibdad wa-Masari' al-Isti'bad' (The Nature of Despotism) and 'Umm
al-Qura', as well as Qasim Amin's 'Tahrir al-Mar'a' [The Liberation of the Woman].
Authors like Aisha Taymur (1902) and Malak Hifni Nasif (1918) were also inspired by the
foreign cultures but maintained-along with Qasim Amin- an Islamic and didactic spirit.[2]
Poetry, on the other hand, was not affected by foreign models until First World War, and
remained in its ridged form that was prevalent since the age of decadence. Nonetheless,
poetry was slightly affected by some of the nationalistic issues and debates taking place
across the Arab World. Famous poets of the period included Samy el-Baroudy (1904),
Ahmed Shawqi (1932), and Hafez Ibrahim (1932) from Egypt. These poets differed in their
styles, sense of solidarity, and the degree of involvement in nationalist events.[2] However,
their names are usually associated with the rise of the neo-classical movement in poetry.
Ibrahim al-Mazini (1949) was probably among the most prominent authors who employed
his style in the production of new literary themes, when he wrote his successful social novel
"Ibrahim al-Kateb" [Ibrahim the Writer], which was essentially a description of current
social norms. Since then, the novel flourished through the contributions of many authors
like: Tawfiq al-Hakim in 'Awdat erroh' [The return of the Spirit] (1933), followed by al-
Aqqad's "Sara" (1933), Taymour's 'Nida'a al-Majhoul' [The Call of the Unknown] (1939),
while Farid Abu Hadid wrote the all-Arabic novel 'Ibnat al-Muluk' [The Daughter of
Kings]. The success this novel attained later supported Zaydan in his own endeavors.[2]
As for the psycho-analytical novel, it was introduced by Taha Hussein for the first time in
his autobiographical novel 'Al-Ayyam' [the Days] (1926). This novel was one of the
greatest works of modern Arabic literature with its themes, style and depiction of life.[2]
Social themes
Social themes along with reformations in the field of poetry were not greatly affected
despite the attempts some poets such as Khalil Mutran to inflict some changes on the genre.
Other attempts were made by al-Zahawi (1936) and al-Rasafi (1954) in Iraq, though with
little or no implications. This can be due to the fact that poetry in Iraq did not suffer the
same decline as it did in Egypt and the Levant, which were under unstable political
circumstances.[2]
After the war, modern Arabic literature changed dramatically. Topics such as modernity
and social change, and people's interests and doubts, all became the center of the new
themes of literature. The first to have undertaken this change are the disciples of
Mohammad Abduh, who were advocates of liberated and innovative thought. These
students eventually governed 'al-Jaridah' [The Newspaper] and 'al-Siyasah [The Politics],
two newspapers which were jointly edited by Lutfy Asyyed and Muhammad Husayn
Haykal. These newspapers also proliferated the new literary genres of novels, stories,
articles and plays. One of the first successful realizations of these genres was Haykal's
novel 'Zaynab' (1914) which demonstrated the difficulty of wielding Arabic rhetoric in
writing the social novel. Mohammad Taymour (1921) tried to overcome these difficulties
with his novel 'Ma taraho al-Oyon' [What the eyes see], a task that was supported by his
brother's (Mahmoud Taymour) efforts. Many others including Issa Obeid, Shahata Obeid,
and Taher Lasheen contributed to the novel, yet were never able to reach the elevated
stylistic and linguistic abilities of the Taymour brothers in their portrayal of a realistic and
vivid life.
Short stories and articles
Authors in Egypt, Syria, Lebanon, Iraq, and the American Diaspora all tired their hands
out in writing many short stories. However, it was the article, of all genres, that had
undergone profound development and change. The reason for that is due to the rise of and
the attention journals and newspapers received since the 1919 revolution. The articles
changed in style and form and were tailored towards discussing various topics, including
social and political issues, literature, religion, etc. It eventually reached the elevated level
of its foreign counterpart. Among the important topics discussed in articles were the
reformation of the Arabic culture and its comparison with foreign traditions and
civilizations, including Latin and Greek traditions.[2]
As for the writers of the 'article', they included Taha Hussein and al-Aqqad, advocates of
innovation of style; the conservative Rashid Rida (1935) who wrote for al-Manar
Magazine; as well as Farid Wajdi and Mostafa Saadeq al-Rafe'ie (1937). From Syria, there
was Muhammad Kurd Ali (1952), and from Lebanon and the Diaspora we had Mikha'il
Na'ima (1889). Whether they were supporters of innovative or traditional styles, these
authors played an important role in reforming old and new notions of both extreme ends;
they founded a balance between the two directions after an extensive filtration of ideas and
opinions. In addition, these authors influenced the following current of thought which
promoted scientific reasoning in the process of writing the article. Later on, social criticism,
which had already become an active element in the article, found its place in the novel. For
example, this could be seen clearly in the novels of Tawfiq al-Hakim, Husayn Fawzi's 'The
Modern Sindibad", as well as in the works of Naguib Mahfouz, Hassan Kamil, and many
more. Subsequent to that, the novel took a turn in realism, disregarded style, and promoted
many political currents, particularly after the Second world War.[2]
Plays
As is the case with other literary genres, the first accounts of plays during that period were
in the form of translations and adaptations of Western works. Gradually, however, the
stage, particularly in Egypt, reached its full potency as Egyptian dramatist began writing
plays that reflected the current socio-political situation of the country and its people. A
major theme that was recurrent in most of the plays was the West-East struggle; an issue
that seemed to have both coincided and aggravated the search for an Egyptian national
identity
The shift towards realism that took place in writing the novel extended to the play.
Dramatic plays, particularly in Egypt, flourished immensely, and subsequently dominated
the rest of the Arab world.[2] In that reals, Mahmoud Taymour was the first to experiment
with the social realist play, but it did not reach its full potency except on the hands of
Tawfiq al-Hakim, who mastered motifs and mental representations, utilized Pharaonic,
Islamic, and Western myths, and wrote remarkable cognitive plays such as 'Ahl al-Kahf'
[the People of the Cave], and 'Scheherazade'. He also wrote social plays including 'al-
Sultan al-Ha'er' [the Bewildered Sultan]. Shawqi's contributions to the poetic theater, taken
up later by Aziz Abaza, are noticeable for their dealing with historical and classical themes.

The employment of colloquial Arabic within the dialogues of the plays was a central issue
in studying Arab litterateurs and their motives behind such act. The issue, however, was
not as prominent in novels and stories as it was in plays. Nevertheless, al-Hakim and
Taymour both tried to utilize colloquialisms in dialogues in both novels and stories, yet
their success did not stop the debate that had risen as a result. In fact, it led Taymour to
refrain from using colloquialisms in his writings, and he rewrote his previous works by
replacing any colloquialisms with Modern Standard Arabic. Despite many efforts to create
a distinct colloquial literature, particularly in Lebanon, all attempts failed. Reaching a
necessary compromise between the two was done by simplifying the Standard form and
elevating the status of the colloquial. However, judgments of this issue and its implications
are yet to be explored, although some argue that the use of colloquialism in Arabic drama
is a direct result from the interaction with the Western forms of literary production.[1][2]

Both the spread of education and of Standard Arabic offered solutions for the instability
the Arabic status was facing. Some of these solutions were due to the journal article as it
created a new form of prose, characterized by precision and an ability to portray reality in
a way that surpassed eloquent prose, where meaning in the latter is not definite, and gives
the sense of the older era of Arabia. Through this new variety of language, the modern
author was now able to find in the Standard form of Arabic many specific expressions that
allowed him to portray reality.
Poetry
Poetry made way for prose, particularly after the war. While the influence of Western
literature accelerated the production of innovative literary prose in Arabic, poetry was
slower in liberating itself from classical poetic forms and creating new rhythms and
melodic moods. As classical Arabic poetry held an important position in the literary
heritage of the Arabs, it is not surprising that the first attempts in renewing the poetic forms
would be by a re-employment of these traditional forms.[1][2]
Insofar as Suleyman al-Boustani's (1925) attempt in introducing new forms by a rather
mediocre translation of the Iliad into Arabic, the role it played was weaker than to be
mentioned in the movement towards reformation.[2]
Nationalist poetry was an important element in the progression of modern verse, whose
doyen is Tunisian poet Aboul-Qacem Echebbi (1934). Echebbi succeeded in using
traditional models and imageries to present new and powerful reflections of the current
time. Others tried to create psychological effects by playing with rhymes and old structures.
Gradually, classical poetic forms were replaced by newer forms. The guiding force behind
that change is due to literary schools of thought such as al-Diwan Group, led mainly by
poets al-Aqqad, al-Mazini, and Abdel Rahman Shokry (influenced by neo-romanticism);
School of Northern Diaspora, known as the Pen League, that include Elia Abu Madi; and
the School of Southern Diaspora, known as the Andalusian League, that included Rashid
Salim al-Khoury and Fawzi Ma'louf. Members of all these schools called for a change in
the poetic production. They also advocated liberating poetry from classical forms, as well
as a call for sincerity of emotions, self-inspiration, and portrayal of direct feelings.[2]
The result of these efforts was a powerful Romantic poetry (Ghazal). The pioneers of this
type of poetry were the members of the Apollo Group. Led by Ahmed Zaki Abu Shadi
(1955), and competing against the New School of Mutran in Egypt, and Abu Shabaka's in
Lebanon, the Diwan Poets, and the Leagues, the Apollo Group was more liberated and
largely influenced by Western Romanticism.[2] The Apollo Group's contributions to the
new, unrestricted forms of poetry is largely manifested in the periodical 'Apollo', a
magazine that fostered and proliferated both traditional and innovative styles of poetry.[1]
While al-Aqqad and other poets in Iraq remained faithful to classical forms of poetry,
others, including poet Abdel Rahman Shokry, the Northern Diaspora School, and the
Apollo Group, all diverted greatly from these traditional forms. In fact, the argument that
existed between the proponents of Classical poetry who favored the single-rhyme and
meter poem, and those advocated the free verse poem 'shi'r hurr' remains till this day. A
few years later, the prose poem appeared in the 1970s. Writers of this hybrid form were
Ameen al-Rihani, Onsy Al-Hajj, and Shawqi Abi Shaqra (Lebanon), Jabra Ibrahim Jabra,
Tawfiq Al-Sayegh, Ezz Eddin al-Munasira (Palestine), Muhammad al-Maghut (Syria),
Sargon Boulus, Fadil Al-Azzawi, Mu'ayyid al-Rawi (Iraq). Al-Rawi is notably recognized
for liberating poetry from rhythm and metre, and replacing that with inner music, while
maintaining the original imageries, creating in this way a new genre in Arabic poetry.
 ‫همزة إن بعد القول‪:‬‬
‫أن من حاالت وجوب كسرهمزة ( ّ‬
‫إن ) وقوعها بعد القول ‪...‬فهل يجوز أن نفتح بعد القول في حاالت محددة ‪ ...‬و‬ ‫نعلم ّ‬
‫هل ورد عليها شواهد من كتاب هللا ‪..‬؟؟؟‬
‫يصح فتحها مطلقًا ‪ .‬وهي لغة بني ُ‬
‫سليم ؛ حكاها سيبويه في كتابه ‪ ..‬وهللا أعلم‬ ‫نعم ِ‬

‫يجب كسر همزة ّ‬

‫إن بعد القول‪ ،‬ألن مقول القول جملة‪.‬‬
‫لكن إذا أجري القول مجرى الظن بشروطه المعروفة‪ ،‬فُتحت همزة ّ‬
‫إن لوقوع المصدر المنسبك من ّ‬
‫أن وما دخلت عليه‬
‫موقع المفعول ‪ .‬وهللا أعلم‬
‫ويكفي إلدراك ضعف هذه اللغة التي حكاها سيبويه عن بني سليم أن نعلم أن فتح همزة " إن " بعد القول لم يرد في أي‬
‫موضع من القرآن‪.‬‬
‫مــعـانــي وإعــراب لـــو‪:‬‬
‫‪1‬ــــ ـ شرطية‪ :‬تدل على امتناع الجواب المتناع الشرط‪ ،‬أي امتناع شيء المتناع غيره ‪،‬كقولنا ‪ ":‬لو جئت ألكرمتـ ُـك "‬
‫‪،‬فالمعنى ‪ :‬قد امتنع إكرامي إياك المتناع مجيئك ‪،‬ألن اإلكرام مشــــــروط بالمجيء ومعلق عليه ‪ .‬وال يلي (لو) هذه إال‬
‫الفعل الماضي صيغة وزمانا‪.‬‬
‫وتحتاج (لو) الشرطية إلى جواب كجميع أدوات الشرط ‪ ،‬ويجوز اقترانه الالم ‪ ،‬وان يتجرد منها كما في قوله تعالى ‪":‬‬
‫لو نشاء جعلناه أجاجا " الواقعة (‪)70‬‬
‫*ــــــــ إذا دخلت (لو) الشرطية على اسم أعرب إما (فاعل ‪،‬نائب فاعل‪،‬مفعول به )لفعل محذوف يفسره الفعل الذي جاء‬
‫الشعب استسلم لـطال االحـتـالل"‬
‫ُ‬ ‫بعده ‪ ،‬كما في قولنا ‪ ":‬لو‬

‫"لو الكرامة أردت لـجاهدت من أجلها"‬

‫المتفو ُق أ ُكـرم الجتهــد الـطـ ُّ ُ‬
‫ـالب"‬ ‫ّ‬ ‫"لو‬

‫لو‪ :‬حرف امتناع المتناع‪ ،‬مبني على السكون ال محل له من اإلعراب‪.‬‬

‫لـ ‪ :‬رابط لجواب الشرط ال محل له من اإلعراب‪.‬‬
‫الجملة الفعلية بعد الالم ال محل لها من اإلعراب ألنها جملة جواب شرط غير جازم‪.‬‬

‫الشعب ‪:‬فاعل لفعل محذوف يفسره فعل(استسلم) مرفوع وعالمة رفعه الضمة‪...‬‬
‫ُ‬
‫الكرامة ‪:‬مفعول به مقدم لفعل"أردت" منصوب‬
‫ُ‬
‫المتفوق ‪:‬نائب فاعل لفعل محذوف يفسره فعل (أكرم)مرفوع وعالمة رفعه الضمة الظاهرة على آخره‬
 ‫‪2‬ــ حرف عرض‪ :‬تدل على طلب بلين ورفق‪ ،‬تدخل على الفعل المضارع كقولنا "لو تزورنا فنكرمـك‪" .‬‬
‫وجواب (لو) مقترن بفاء السببية (منصوب بأن المضمرة بعد فاء السببي‬
‫لو‪ :‬حرف عرض مبني على السكون ال محل له من اإلعراب‪.‬‬
‫فـ ‪ :‬فاء السببية ‪ ،‬نكرم‪ :‬فعل مضارع منصوب بان المضمرة وجوبا بعد فاء السببية وعالمة نصبه الفتحة الظاهرة على‬
‫آخره والفاعل ضمير مستتر تقديره"نحن" ‪،‬ك ‪ :‬ضمير متصل مبني على الفتح في محل نصب مفعول به‬
‫‪3‬ــ حرف مصدري (مصدرية)‪ :‬بمعنى (أن) ‪ ،‬ولكن ال ينصب‬
‫وأكثر ما يقع بعد فعل (ودّ) كقوله تعالى‪ ":‬ودّت طائفة ٌ من هل الكتاب لو يضلونـكـُم‪".‬‬
‫ألو‪ :‬مصدرية مبنية ال محل لها من اإلعراب والجملة الفعلية (يضلونكم) في محل نصب مفعول به لفعل (ودّ‪).‬‬

‫‪4‬ــ حرف ّ‬
‫تمن‪ :‬وتدل على طلب المحال أو البعيد المرام‪ ،‬كقولنا "‬
‫صاخبة "‬
‫لو أشتري جزيرة فأهرب من ضجيج المدينة ال ّ‬
‫وجواب (لو) التي للتمني مقترن بفاء السببية (مثل جواب العرض‪).‬‬
‫لو‪ :‬حرف ّ‬
‫تمن مبني على السكون ال محل له من اإلعراب‬

‫‪5‬ــ حرف تقليل‪:‬كقولنا " تصدّق ولو بدينار "‬

‫لو ‪ :‬حرف تقليل ال محل له من اإلعراب‪.‬‬

‫مــعــانــي وإعـــراب لـــوال ‪،‬و لـــومــا‪.‬‬

‫‪1‬ــــــــ شرطية‪:‬حرفا شرط يدالن على امتناع شيء لوجود غيره‪ ،‬كقولنا "لوال رحمة ُ هللا لهلك الناس ُ" وكقولنا أيضا "‬
‫العلم" ففي المثال األول امتنع هالك الناس لوجود رحمة هللا‪ ،‬وكذلك امتنع ضياع العلم لوجود‬
‫أكثر ِ‬
‫لوما الكتابة ُ لضاع ُ‬
‫الكتابة‪.‬‬
‫تدخل (لوال) و(لوما) على الجملة االسمية ‪،‬وخبرها محذوف وجوبا تقديره (موجود) معلوم من سياق الكالم‪.‬‬
‫جواب (لوال) و(لوما)مقترن بالالم ويجوز التجرد منه كما في قولنا‬
‫"لوال كر ُم أخالقك ما علوت"‪،‬ويمتنع من الالم إذا كان الجواب فعال مضارعا منفيا مثل " لوال حب العلم لم أغترب‪" .‬‬
‫لوال‪ :‬حرف امتناع لوجود مبني على السكون ال محل له من اإلعراب ‪.‬‬
‫لوما‪:‬حرف امتناع لوجود مبني على السكون ال محل له من اإلعراب ‪.‬‬
‫الكتابةُ ‪ :‬مبتدأ لخبر محذوف وجوبا تقديره (موجود)‪،‬مرفوع وعالمة رفعة الضمة الظاهرة على آخره‪.‬‬
 ‫‪2‬ــ حرف تحضض ‪ :‬تدالن على طلب بقوة وشدة ‪،‬تدخالن على الفعل المضارع كما في قولنا‪:‬‬
‫لوال تشكرون هللا على نعمه الكثيرة‪.‬‬
‫"لوما تأتينا بالمالئكة إن كنت من الصادقين" الحجر(‪)7‬‬
‫لوال ‪،‬لوما ‪ :‬حرف تحضيض مبني على السكون ال محل له من اإلعراب‪.‬‬

‫‪3‬ــــــــــ حرف توبيخ ‪ :‬تستعمل (لوال) و(لوما) للداللة على التوبيخ والتنديم وعندئذ تختص بالماضي كما هو واضح في‬
‫الجملتين اآلتيتين‪:‬‬
‫لوال نقلت المصاب إلى المستشفى‪.‬‬
‫لوما رضيت بالمعروفلوال‪،‬لوما ‪ :‬حرف توبيخ مبني على السكون ال محل له من اإلعراب‪.‬‬

‫إليك هذا ااتمرين لتطبيق أحكام الدرس‪:‬‬

‫إحكام موارد المتعلم‬

‫حدد معاني األدوات التي تعرفت عليها في هذا الدرس وأعرب ما تحته ّ‬
‫خط‪:‬‬
‫‪1‬ــ لو أخلص األصدقا ُء دام ودُّهم‪.‬‬
‫‪2‬ــ لوال اإلخالص لفسد طعم الحياة‪.‬‬
‫‪3‬ــ لوما عاقبت المسيء‪.‬‬
‫‪4‬ــ لو ينج ُح ابني فأكون سعيدة‪.‬‬
‫‪5‬ــ لوال األمهات النقرض الحنان‪.‬‬
‫‪6‬ــ قال هللا تعالى ‪":‬يودّ أحدهم لو (يع ّم ُ‬
‫ـر ألف سنة" )‬
‫‪7‬ــ "اتـّق الــنّـار ولو بشق تمرة " حديث شريف‬
‫‪8‬ــ لو تعفو عن المسيء فتنال الحمد‪.‬‬
‫‪9‬ــ قال الشاعر‪:‬‬
‫زار‬
‫والحبيب يـ ُ ُ‬
‫ُ‬ ‫استعبار ولزرتُ قبرك‬
‫ُ‬ ‫لوال الحياء لهاجني‬
‫‪10‬ــ قال تعالى ‪" :‬لوال أنتم (لكنـّـا مؤمنين‪) .‬‬
‫‪11‬ــ قال إلياس فرحات‪:‬‬
‫ولوال يدُ اإلنـسـان ما كــان لألسـى‬
 ‫إلـــى شــاعـر الطير البريء وصو ُل‬
‫‪12‬ــالسب ُع سب ٌع ولو كــلـّت مخالبـُهُ‬
‫والـكلب كـلب ٌ ولو بين السبــاع ُربـّي‪.‬‬
‫ُ‬

‫أنواع (لـو)‬
‫(لو)‪ -‬هو حرف امتناع المتناع – أي امتناع الجواب المتناع الشــــــرط‪ ،‬وهذا الحرف ال عمل له‪ -‬أي أنه شــــــرط غير‬
‫جازم‪ ،‬فإذا قلنا‪ :‬لو حضرت ألكلت الكنافة‪ ،‬فمعنى ذلك‪ -‬أنك لم تأكل الكنافة ألنك لم تحضر‪.‬‬

‫من العجيب أن هناك من النقاد من يكتبون على نحو‪:‬‬

‫لو درسنا شعر فالن لوجدنا عددًا من المحسنات‪...‬إلخ‬

‫بالطبع فالكاتب ال يقصد امتناع وجود المحسنات‪ ،‬وإنما يقصد أنه وجد المحسنات‪.‬‬

‫ومثل هذا اللَّبس في االستعمال‪:‬‬

‫لو بحثنا في جوهر القضية لرأينا عددًا من البراهين‪ ،‬أولها‪....‬‬

‫مثل هذه الجملة معناها أنه لم ير البراهين‪ ،‬وهذا خالف ما يقصده القائل‪.‬‬

‫الحل في مثل هاتين الجملتين هو استخدام (إذا) أو (إن)‪ ،‬وعند ذلك نحذف الم الجواب‪.‬‬

‫ضـوا ِمن‬
‫ب النف ُّ‬ ‫نالحظ أن (لو) غالبًا ما يعقبها دخول الالم في جوابها‪ ،‬وذلك في الجملة المثبتة‪ :‬ولو ُكنت ف ًّ‬
‫ظا غ ِليظ القل ِ‬
‫حو ِلك‪ -‬آل عمران ‪.159 :‬‬

‫إعراب الالم= واقعة في جواب (لو)‪ ،‬ويمكن االكتفاء بحرف جواب‪.‬‬

 ‫حتى نعرف (لو) التي هي شرطية‪ ،‬فإننا نستطيع وضع (لكن) بعدها‪:‬‬
‫لو جئت ألكرمتك‪ ،‬لكنك لم تجئ فامتنع اإلكرام‪.‬‬
‫ويمكن أال يكون الجواب امتنا ًعا‪ ،‬نحو‪:‬‬
‫الحر أذهب إلى البحر‪ ،‬فهي هنا شرطية تقتضي تعلّق أمر بأمر‪ ،‬ولكنها ال تقتضي االمتناع‪.‬‬
‫ُّ‬ ‫لو يشتدُّ‬

‫(لو) الوصلية‪:‬‬

‫حرف ال عمل له وال جواب‪ ،‬ويفيد التقليل‪ ،‬نحو‪:‬‬

‫تصدّقوا ولو بش ّ ِ‬
‫ِق تمرة!‬

‫في مثل هذه الجملة تكون (كان) مقدّرة= لو كان تصدُّقُكم ّ ِ‬

‫بشق‪...‬‬
‫إعراب (بشق) شبه الجملة متعلق بمحذوف خبر كان المحذوفة‪.‬‬

‫(لو) التمني‪:‬‬

‫حرف ال عمل له بمعنى (ليت)‪ ،‬وال يشترط الجواب‪ ،‬نحو‪:‬‬

‫لو يعود الشباب!‬

‫وقد يُؤتى لها بجواب يكون مضار ًعا منصوبًا بأن مضمرة وجوبًا بعد فاء السبب‪ ،‬نحو‪:‬‬
‫كرة ً فنكون من المؤمنين‪ -‬البقرة‪.167 ،‬‬
‫لو أن لنا َّ‬

‫في اآلية يكون المصدر المؤول من أن ومعموليها في محل رفع فاعل‪ ،‬ألن (لو) تختص بالدخول على األفعال‪.‬‬

‫ومثلها (لو) التي للعرض‪ ،‬وهي أقرب للتحقيق= لو تحدّثُنا عن الرحلة!‬

‫لو المصدرية‪:‬‬
 ‫حرف مصدري واستقبال بمعنى (أن)‪ ،‬وأكثر وقوعها بعد الفعل (يودّ)‪ ،‬نحو‪:‬‬

‫ودّوا لو تُدهنُ فيُدهنون‪ -‬القلم‪ .9 ،‬ومن الذين أشــــــركوا يود أحدُهم لو يُع َّم ُر ألف ســــــنة‪ -‬البقرة‪ .96 ،‬ومثل (ودَّ) تمنى‪،‬‬
‫رجا‪ ،‬سأل‪ ،‬طلب‪...‬‬

‫في اآلية األولى‪:‬‬

‫المصدر المؤول من (لو والفعل المضارع= دهان بمعنى النفاق) في محل نصب مفعول به‪.‬‬

‫هذا موجز ما اخترته من كتب اللغة‪ ،‬وقد أفاض الدارســــــون والنحويون في (لو) وأنواعها‪ ،‬وليس أدل على ذلك من‬
‫أطروحة دكتوراة بعنوان "أوجه اســتعمال (لو) في األســاليب العربية"‪ -‬قدمها د‪ .‬محمد حســانين في جامعة الهور ســنة‬
‫‪ ،1978‬وهي في موقع "منتدى مجمع اللغة العربية على الشبكة العالمية"‪ ،‬ويمكن تحميلها لمن أراد أن يتوسع‪.‬‬

‫تصوروا (دكتوراة) حول حرف!‬

‫وبالدارجة أعجب‪" :‬ولو"!‬

‫معجم الغني‬

‫ازم‪ِ ،‬بمعنى أن تأتِي‬ ‫ون‪ ،‬ولهُ ِعدَّة ُ معان ِمنها‪ : .1 :‬حر ُ‬

‫ف شــــرط ِلل ُمســــتقب ِل غي ُر ج ِ‬ ‫الســــ ُك ِ‬
‫ف مبنِي على ُّ‬ ‫*لو** \‪ : -‬حر ٌ‬
‫ف امتِناع‪ ،‬أي يدُ ُّل على امتِن ِ‬
‫اع‬ ‫احك"‪ .‬وال تد ُخ ُل ِإالَّ على ال ِفع ِل‪ : .2 .‬حر ُ‬ ‫س ـ ِررنا ِبنج ِ‬
‫الش ـر ِط‪" :‬لو تنج ُح ل ُ‬ ‫ب ِب َّ‬ ‫ِبرب ِط الجوا ِ‬
‫ب ألكرمتُك"‪ ،‬والمعنى ‪ :‬ق ِد امتنع ِإكر ِامي ِإيَّاك ِالمتِناعِ م ِجي ِئك فِي‬ ‫اســــــ ِ‬
‫ت ال ُمن ِ‬‫شــــــيء ِالمتِناعِ غي ِر ِه‪" .‬لو ِجئت فِي الوق ِ‬
‫صـوبا ً‪" :‬لو تسـأ ُل فت ِجد جوابا ً ِلما ت ُ ِريدُ"‪ .4 .‬حر ُ‬
‫ف‬ ‫اء ومن ُ‬‫ض والتَّم ِنّي ويأ ِتي جوابُها ُمقت ِرنا ً ِبالف ِ‬ ‫ب‪ِ .3 .‬للعر ِ‬ ‫اسـ ِ‬‫ت ال ُمن ِ‬‫الوق ِ‬
‫صــــوالً حر ِفيّا ً‬
‫ف مصــــدر‪ ،‬وي ُكونُ مو ُ‬ ‫يف ُخبز" ‪ :‬أي ِبما ملكت يدُك ولو كان ق ِليالً‪ : .5 .‬حر ُ‬ ‫تع ِليل‪" :‬تصــــدَّقُوا ولو ِبر ِغ ِ‬
‫سؤالك‪.‬‬ ‫ارعا ً‪" :‬أودُّ لو تسأل ع ِنّي" ‪ :‬أي أودُّ ُ‬ ‫اضيا ً أو ُمض ِ‬ ‫يُوصل ِبال ُجمل ِة ال ِفع ِليَّ ِة سوا ٌء كان ِفعلُها م ِ‬
‫معجم اللغة العربية المعاصرة‬

‫لو [ كلمة وظيفية ] ‪ - 1 :‬حرف شــرط غير جازم يفيد التعليق في الماضــي أو المســتقبل ‪ ،‬يســتعمل في االمتناع أو في‬
‫غير اإلمكان ‪ ،‬أي ‪ :‬امتناع الجواب المتناع الشرط لو كنت غنيا لتصدقت بنصف مالي ‪ { -‬ولو شاء هللا لذهب بسمعهم‬
‫} ‪ - 2 .‬حرف مصدري بمنزلة أن ‪ ،‬إال أنه ال ينصب ويأتي غالبا بعد الفعل ( ود يود ) وددت لو برئت ‪ { -‬يود أحدهم‬
‫لو يعمر ألف ســــــنة } ‪ - 3 .‬حرف للتمني ال يعمل ويقترن جوابه بالفاء ويكون منصــــــوبا لو تذاكر فتنجح ‪ - 4 .‬حرف‬
‫للعرض ويقترن جوابه بالفاء ويكون منصوبا لو تعمل معي فتكسب كثيرا ‪ - 5 .‬حرف للتقليل اتقوا النار ولو بشق تمرة‬
‫[ حديث ] ‪ - 6 .‬حرف للدعاء ‪ ،‬ويقترن جوابه بالفاء ويكون ‪ - ] 2044 [ -‬منصــــــوبا { فلو أن لنا كرة فنكون من‬
‫المؤمنين } ‪ - 7 .‬حرف للنفي لو كان عندنا شــيء ألعطيناك ‪ :‬ما عندنا شــيء فنعطيك ‪ - 8 .‬حرف يفيد الحض واألمر‬
‫لو قمت ‪ :‬قم ‪ { -‬وإنه لقســـــم لو تعلمون عظيم } ‪ :‬اعلموا ‪ - 9 .‬حرف يفيد التعميم والداللة على المســـــتقبل { ولو كره‬
‫المشركون } ‪ :‬وإن كره المشركون ‪.‬‬
‫المعجم الوسيط‬

‫حرف تقدير‪ ،‬وقاعدتها أنها إِذا دخلت على ثبوتين كانا منفيين‪ .‬تقول‪ :‬لو جاءني ألكرمته‪ ،‬فما جاءني وال أكرمته‪ .‬وإن‬
‫طولب‪ .‬وإِن دخلت على نفي وثبوت كان‬ ‫دخلت على نفيين كانا ثبوتين‪ ،‬تقول‪ :‬لو لم يســــــتدِن لم يُطالب‪ ،‬فقد اســــــتدان و ُ‬
‫النفي ثبوتا ً والثبوت نفياً‪ ،‬تقول‪ :‬لو لم يؤمن أريق دمه‪ ،‬فالتقدير أ نه آمن ولم يُرق دمه‪ .‬والعكس‪ :‬لو آمن لم يُق تل‪.‬و هي‬
‫ستة أقسام‪ 1:‬ــــــــ أن تكون مستعملة في نحو‪ :‬لو جاءني ألكرمته‪ ،‬وهذه تفيد ثالثة أمور‪ (:‬أ ) الشرطية‪ ،‬أي عقد السببية‬
‫والمســـببية بين الجملتين بعدها‪ (.‬ب ) تقييد الشـــرطية بالزمن الماضـــي‪ ،‬وبهذا الوجه فارقت إِن‪ ،‬فإ ِ َّن هذه لعقد الســـببية‬
‫والمســببية في المســتقبل‪ ،‬ولهذا قالوا‪ :‬الشــرط بإِن ســابق على الشــرط بلو‪ .‬وذلك أل َّن الزمن المســتقبل ســابق على الزمن‬
‫الماضــــي‪ ،‬أال ترى أنك تقول‪ :‬إِن جئتني غدا ً أكرمتك‪ ،‬فإِذا انقضــــى الغد ولم يجئ قلت‪ :‬لو جئتني أمس ألكرمتك‪ (.‬ج )‬
‫االمتناع‪ ،‬وعن هذه قال جماعة‪ :‬هي حرف امتناع المتناع‪ ،‬أي امتناع الجواب المتناع الشــــــرط‪ .‬وقال ســــــيبويه‪ :‬هي‬
‫حرف لما كان سيقع لوقوع غيره‪ 2.‬ـــــــ أن تكون حرف شرط في المستقبل‪ ،‬إال أنها ال تجزم‪ ،‬نحو‪ :‬و لو تلتقي أصداؤنا‬
‫ش‬‫ت صــــدى ليلى يه ُّ‬ ‫ب‪ .‬لظ ّل صــــدى صــــوتي وإن كنتُ ِر ّمة ِلصــــو ِ‬ ‫بعد موتنا ومن دون رمســــينا من األرض ســــبســــ ُ‬
‫ب‪.‬والفرق بين هذا القسم وما قبله أن الشرط متى كان مستقبالً كانت لو بمعنى إن‪ ،‬ومتى كان ماضيا ً كانت حرف‬ ‫ويطر ُ‬
‫امتناع‪.‬و متى وقع بعدها مضارع فإنَّها تقلب معناه ِإلى المضي نحو‪ :‬لو تقوم أقوم‪ ،‬أي لو قمت قمتُ ‪ 3.‬ـ أن تكون حرفا ً‬
‫مصـــــدريّا ً بمنزلة أن‪ ،‬إال أنها ال تنصـــــب‪ ،‬وأكثر وقوع هذه بعد ودَّ‪ ،‬ويودُّ‪ ،‬نحو‪ ( :‬ودُّوا لو تُد ِهنُ فيُد ِهنُونُ )‪ ،‬و‪ ( :‬يودُّ‬
‫وربَّما م َّن الفتى وهو المغي ُ‬
‫ظ‬ ‫أحدُهُم لو يُع َّم ُر )‪ .‬ومن وقوعها بدونهما قول قُتيلة بنت النَّضــــر‪ :‬ما كان ضــــ َّرك لو مننت ُ‬
‫المحن ُق‪.‬فإِذا وليها ماض بقي على مض ـ ِيّه‪ ،‬و ِإذا وليها مضــارع تخلَّص لالســتقبال‪ 4.‬ــــــــ أن تكون للتمني‪ ،‬ويأتي جوابها‬
‫بالفاء منصوبا ً نحو‪ :‬لو تأتيني فتحدِّثني ( بنصب تحدِّث )‪ 5.‬ـــــ أن تكون للعرض مثل‪ :‬أال‪ ،‬ويأتي جوابها بالفاء منصوبا ً‬
‫أيضا ً نحو‪ :‬لو تنزل عندنا فتصيب خيرا ً‪ 6.‬ـ أن تكون للتقليل نحو‪ :‬تصدَّقوا ولو ِب ِظلف ُمحرق‪.‬‬
‫لَو [كلمة وظيف َّية‪]:‬‬
‫‪1 -‬حرف شرط غير جازم يفيد التعليق في الماضي أو المستقبل‪ ،‬يُستعمل في االمتناع أو في غير اإلمكان‪ ،‬أي‪:‬‬
‫امتناع الجواب المتناع الشرط (لو كنتُ غنيًّا لتصدَّقت بنصف مالي‪{ -‬ولو شاء هللاُ لذهب ِبسم ِع ِهم}[قرآن‪]).‬‬
‫ي بمنزلة أن‪ ،‬إالَّ أنّه ال ينصب ويأتي غالبًا بعد الفعل (ودَّ يودُّ) (وددتُ لو ب ِرئت‪{ -‬يودُّ أحدُهُم لو‬
‫‪2 -‬حرف مصدر ّ‬
‫يُع َّم ُر ألف سنة}[قرآن‪]).‬‬
‫‪3 -‬حرف للتَّمنّي ال يعمل ويقترن جوابُه بالفاء ويكون منصوبًا (لو تذاكر فتنجح‪).‬‬
‫كثيرا‪).‬‬
‫‪4 -‬حرف للعرض ويقترن جوابُه بالفاء ويكون منصوبًا (لو تعمل معي فتكسب ً‬
‫‪5 -‬حرف للتَّقليل (اتَّقُوا النَّار ولو بِش ّ ِ‬
‫ِق تمرة)[حديث‪].‬‬
‫‪6 -‬حرف للدّعاء‪ ،‬ويقترن جوابُه بالفاء ويكون منصوبا {فلو أ َّن لنا ك َّرة ً فن ُكون ِمن ال ُمؤ ِمنِين}[قرآن‪].‬‬
‫‪7 -‬حرف للنفي (لو كان عندنا شيء ألعطيناك‪ :‬ما عندنا شيء فنعطيك‪).‬‬
‫الحض واألمر (لو قمت‪ :‬قُم‪{ -‬وإِنَّهُ لقس ٌم لو تعل ُمون ع ِظي ٌم}[قرآن]‪ :‬اعلموا‪).‬‬
‫ّ‬ ‫‪8 -‬حرف يفيد‬
‫‪ - 9‬حرف يفيد التعميم والداللة على المستقبل ({ولو ك ِره ال ُمش ِر ُكون}[قرآن]‪ :‬وإن كره المشركون)‪.‬‬