| المستخلص: |
1) The new concept (for music) or rhythm of the verse is no longer limited to (distinctive style and rhyme), and poetry is no longer the words of the distinctive style balance, but has become in general a wonderful musical expression and disclosure of the innermost beauty in nature and meanings of existence and colors of life, Words and access to the depths of the conceptual philosophy and the creation of the rules of musical rhythm of words. 2) Said Aql realized the importance of music and the rhythm of poetry, because it is closer to the self-related, because from Grain of sand to the planet from the most accurate cells to the farthest reaches of the universe, it is always trembling, permanent ripples, believing that the soul is a melody, Do not explain, its essence is like music. 3) When we consider the rhythm of poetry in general, the work of Said Akl poetry, and construction demonstration in particular, we note that the image of poetic writing of the poet has come in three stages: The first stage was the practice of writing poetry traditional before the year (1950), specifically his classic poetic play (The daughter of Jephthah) in 1935, and then the book (Magdalene) poetry architecture with its prose introduction as a model of poetry epics in 1937, followed by (poetry) the story of the year 1944 in the essence of music united with the elements of the universe, and then begin the second phase of poetic writing new transformations We are overcome (Rendley), and it has become the meaning of things, the beginning of a new poetry era on the level of formal structure and content or what can be called the stage of the song, which focuses on the contribution of regenerative rhythm level, crystallize more features in his (1960? (1971), then (Poems from the book) 1973, to begin the third stage by returning to the traditional form and forms and rules at the Diwan (as columns) in 1947, and here represents the The beauty of poetic architecture and the combination of luxury and splendor Then comes its (Kmacat) in 1978, which represents the peak density in the form and content. 4) The musical works of poet Said Aql have formed the widest area in his poetry and the diversity of the use of his poetic poetry and his varied poetic symbols and adaptations to his music. In Rendli, which came as a singing garden. 5) If we stop at the poetry of Dalzi and (Khumasyat Asseba), they are a return to the traditional systems seeking novelty, because Said Aql can not be excluded from the framework of poetic modernism in its advanced forms and its contribution is evident more through the rhythm of novelty in systems On the more than one letter of the poem and the 6) I diversification between the fragmented one sea and the end, as well as the addition of new influences imposed by the poetic position and poetic experience existing, and use the segment as a unit of the equivalent of the equivalent of the verse of poetry, which we see in the structure of his poetry. 7) As for the internal music of poetry in Said Aql as one of the important rhythmic values in poetry in general, it has a suggestive connotation that gives the internal structure of the text a tonal rhythm with the functions of the mark and aesthetic, which is often related to the vocal structure, as well as a number of other rhythmic mechanisms, Sound is just a harmony in letters or an agreement between the exits or the ability to use soft characters or other, but the subject is much more that it concerns the acoustic structures, as the poet to use his skills to benefit from the new relationships that he creates in the text, And arrange Olevat sounds and structures Alttrizih. 8) When standing on the lines of Said Aql manifestations in terms of genre and Roy, -multi we see the colors of his poetic work formed ns and between (narrative, play, poetry occasio Wisdom poetry), especially in the his Khumasyat (Khumasyat Asseba) (Kema ela'amida), as well as what represents the peak (Rendli, Ajmelu Minki, Laa?, Qesa'ed Min Defteriha) or oscillation between renewal and classic, which we see in .(Alyasemeen Dalzi, Ajras)
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