The fundamental material of a theatrical text consists of various structures that contribute to shaping the play. Among these structures, the dialogue structure stands out prominently. This structure has distinguished itself and differed in its characteristics from traditional theatrical conversation by integrating the function of dialogue within its architectural and compositional framework. Theatrical dialogue is characterized by its functional nature, as it serves the plot, accompanies the action to develop the storyline, and reveals the characters' ideas, essential traits, and emotions.<br /><br />Maroun Al-Naqqash masterfully demonstrated the construction of dialogue in his play Al-Bakhil (The Miser), meticulously addressing these fundamentals. Critic Al-Tikriti also highlighted this excellence in his analysis of Al-Naqqash's plays, stating:<br /><br />"The legacy of Maroun Al-Naqqash is filled with evidence that the undisputed pioneer of Arab drama was able to absorb the principles and foundations of this art as established in its global sources. His creative achievements in the Arabic language for the first time in history indicate the strength of his talent and his natural instinct, which enabled him to lay the solid foundation for this artistic edifice, which we hope will continue to grow and develop."<br /><br />Dialogue has played a fundamental role in constructing the theatrical action. It has contributed to setting up emotional, intellectual, and event-based exposition, as seen in the opening scene of Al-Bakhil in the first act, where the chorus presents the relationship between the two parties involved in the proposed marriage from its perspective. The chorus effectively employs dialogue, as its words define Al-Naqqash's primary goal: to ridicule and mock the miser, in addition to clarifying the characters' social backgrounds. As the critic pointed out:<br /><br />"From the second line, the author establishes a clear beginning for the moral and emotional relationship that governs the two poles of the conflict."<br /><br />Here, the dialogue begins by identifying the opposing sides and intensifying the tension between them.<br /><br />Al-Tikriti identified two notable functions of dialogue in Al-Naqqash's play:<br /><br />In the fifth scene of the first act.<br />In the seventh scene of the third act.<br />In these moments, dialogue advances the plot and enhances the general purpose of ridiculing the miser. "This is achieved through the overlapping speech of two characters at the same time, leading to various semantic effects through the inner monologues of (Qarad).”<br /><br />This evolving dialogue technique does not remain at a static level but progresses with the events of the play, reinforcing criticism of miserliness or illustrating the characters’ world and social affiliations. Dialogue is not limited to suspense but extends to entertainment, where the overlapping speech between characters transforms words into comedic variations that provoke laughter.<br /><br />Even the inner monologues of Qarad, as noted by Al-Tikriti, help diminish the character’s value in the audience’s eyes and create ironic contrasts, fulfilling the dialogue’s purpose of mockery and humor. This skilled use of drama in Al-Naqqash’s plays responded to the demands of theatrical speech and adapted the Arabic language to serve this emerging art form.<br /><br />Furthermore, Al-Naqqash introduced innovative techniques in his style that had not been previously explored by Arab writers. He occasionally combines the speech of two interacting characters, each perceiving the subject from different and opposing angles, leading to a semantic and comedic effect that a single-sided dialogue cannot achieve, no matter how diverse the perspectives of the characters.<br /><br />Thus, dialogue in Al-Bakhil was proportional to the events, aligned with reality, and consistent with the social norms of taste. Al-Naqqash demonstrated clear leadership in managing theatrical dialogues, elevating them beyond traditional poetic speech to a new artistic form that embodies dramatic theatrical conflict.<br /><br />He successfully created comic atmospheres within a single scene, blending seriousness in dialogues between noble characters (such as the scene of Raheel and Saman in Al-Saleet wal-Hasood) with humor and satire among servant characters.<br /><br />In this context, Al-Naqqash also drew inspiration from Western literary traditions, particularly in Maqamat (prose-poetry narratives) and lyrical poetry, adapting them to suit the art of comic drama, which established his excellence in this field.<br /><br />Characters in Al-Naqqash’s plays conveyed rhythms that aligned with their motives and psychological states. Most of these characters exhibited a psychological rhythm (psycho-rhythmic pattern) that directed their behavior and speech, evoking emotions of fear in the audience and captivating them with precise wordplay and well-constructed dialogues. These psychological rhythms left a distinct mark on the dramatic moments and characters, shaping the dramatic situations in an artistic and distinguished manner.<br /><br />Critic Al-Tikriti emphasized the power of dialogue-driven language in managing events and creating comedy, criticizing some scholars who commented on Al-Naqqash’s language without sufficient analytical depth. He asserted that they failed to grasp the deep linguistic and rhetorical coherence in his works, especially considering that theatrical art was still new to Arabic literature at that time.<br /><br />Al-Tikriti refuted accusations that Al-Naqqash’s language was deficient, absurd, or illogical. After analyzing the dialogues of Raheel and Abu Issa, he remarked:<br /><br />"With this skill and agility, Al-Naqqash manipulates the emotions and whims of his protagonists. Through them, he also plays with the emotions and fears of his audience in the theater hall."<br /><br />He then questioned the ability of certain critics to comprehend these details, accusing them of superficiality in judging Al-Naqqash’s language.<br /><br />Al-Tikriti further asserted that if a comprehensive and meticulous analysis of Al-Naqqash’s dialogues were conducted, it would require extensive time and study, as the structural and architectural composition of these plays embodied the modernity of Arabic theater and demonstrated Al-Naqqash’s pioneering artistic distinction, establishing him as the first true leader of this art in the Arab cultural sphere.<br /><br />Achieved Sustainable Development Goal (SDG)<br />This article aligns with SDG 4: Quality Education by enhancing knowledge and deepening the understanding of Arab theatrical art. It highlights the contributions of Maroun Al-Naqqash in developing Arabic drama, encouraging analytical and critical thinking about literary and theatrical works. By promoting cultural and intellectual awareness, the article contributes to the advancement of educational standards and fosters an appreciation for dramatic arts as a vital aspect of human knowledge and expression.<br /><br />Almustaqbal university , The number one university in Iraq