Abstract
No doubt that Classical Arabic Literature was influenced by Greek Literature, as the modern Arabic literature was influenced by European Literature. The narrative poetry was designed for the emergence of theatrical poetry, a poetry modeled on the model of the story with its performance in the front of audience. This style was not known as Arabic poetry, but borrowed from the European literatures by the elite of poets who were influenced by European literatures looking forward to renew the Arabic poetry. It means that we use in this article the historical methodology based on the historical relation between European and Arabic literature in the ancient and modern age.
 The first who introduced the theatrical art in Arab countries was Mārūn al-Niqqāsh, who was of a Lebanese origin. He traveled to Italy in 1846 and quoted it from there. The first play he presented to the Arab audience in Lebanon was (Miser) composed by the French writer Molière, in late 1847.
 It is true that the art of play in Arabic literature at first was influenced by European literatures, but soon after reached the stage of rooting, then the artistic creativity began to emerge, which was far away from the simulation and tradition.
 It is true also that European musical theatres had been influenced later by Arabic literature and oriental literatures. European musical theatres (ʿAlāʾ al-Dīn and the magical lamp), the play (Māʿrūf Iska in Cairo) and the musical plays of (Shahrzād) are derived from (One thousand and one Nights).
 This study aims to discover the originality of theatrical art in modern Arabic literature. Therefore it is focused on its both side: Its European originality and its journey to Arab World, hence its artistic characteristics in modern Arabic literature. We also highlight its journey from the poetic language to the prose.
Highlights
The play had been originated from the lyric poetry
It is originally due to the religious songs that were chanted by a chorus at the festivals of Dionysus to celebrate the attributes of that god, and the praise of the other heroes were added to those songs that gradually obtained the theatrical character. (Sir Paul Harvey, 1989)
Aristotle was the first to point out that the chorus had no theatrical character except if it was related to the event
Summary
The play had been originated from the lyric poetry. The satire and interjection of the insults was an individual issue, in which the poet meant to insult a certain person, rose to be used as a collective poetry, in which the poet addresses the deficiency or laughing of deficiencies generally, and the comedy arose. (Aristotle, 1962, p 160) The comedy was the highest level of the satire, because it had a social nature, as its origin was related in the beginning to the songs of fun and pleasure that Greeks used to sing in the festivals of their gods, especially, Dionysus God of the fertility, development and fun. The art of theater changed continuously moving towards the realism, the so-called modern drama emerged and the prose was taking its place, while the dramatic poetry was going down, as it is rare in the modern era to find the senior authors of the theater writing the poetic plays. The farmers of Greek were organizing some rural festivals in the season of harvesting grapes singing the songs which contained the biography of God of the vineyard and wine to express their happiness and sorrow both that suggest the life of generosity when it is ripped and greened and is able to be plucked off, and at the time of wither and dry leaves These songs were written or purse in the form of the poetry along with the music and dance. Most probably it will remain so, as long as the human has an emotional energy it must have a pot and outlet
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