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|b This study addresses the fire as a semantics in the works of two major poets. The first is a traditional Andalusian poet, Ebn-Sarah Al-Shentreeni, who died in 517, h. The fire and its forms are the main source in constructing his poetry. Ebn-Sarah was deeply interested in its effects, infatuated with its representation: he describes, personifies it and records its developmental stages. He employs it in his major artestic themes, in different representations, creating new dimentions. In one occasion, the fire is represented as a fantastic woman dancing in a red dress. In other places she is a playful young lady dancing in the breeze. Some times the fire is a loving mother, etc, This excessive interest in the fire has become a common artistic in his poetry, to the extent that he urges his fellow poets to ... in stead of the fire. The second is a contemporary poet: Abdullateef Abdulhaleem (Abu hamaam), (Abu hamaam) interestingly employs the fire in his poetry in a way worthy of consideration and study. He fulfills his task in a symbolic way as a result of which we encounter different types of metaphors. Sometimes we encounter the fire as a symbol of emotional distress, on one side, and of psychological agony, on the other. In other occasion, the fire represents the social suffering. According to (Abu hamaam), the fire is a means of change and is able to alter and replace all what is monotonous and boring in life. (Abu hamaam) has issued six volumes of poetry. Zahrat Alnaar (the fire flower) is the most well known among his works. The title of this collection shows that the word (flower) is a symbol of the poet’s poetic production, where as (the fire) is a semantics of his suffering which resulted in this poetry/flower. In brief, this study traces the semantics of fire in the works of the two poets and indicates their semelarities and differences on both the semantics and artistic level. This study attempts to provide an answer to the following question: Does the contemporary poet’s envision of the fire as a poetic motif differs from that of the traditional poet?
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