Poetry and the Poetic Language

nasiraijaz June 29, 2025

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Modern poetic theory is constantly looking for new rules of law with which to prove its transcendent legitimacy

As for the form in which it expresses these tasks, it is no longer in meter, rhyme, rhythm and lines

Souad Khalil | Libya

Modern poetic theory is constantly looking for new rules of law with which to prove its transcendent legitimacy. Critical theories of poetry, from Aristotle’s The Art of Poetry to the present day, have become more important than written poetry itself, especially in the field of Western cultural poetry, if critical theories are no longer confined to me Only poetry, but all the arts, speaks of architecture, drawing and planning, as it speaks of fiction, theater, music, dance, song and so on. This is not as strange as it seems: the cognitive impetus that has interfered in the formation of these theories has been given ample space to include all knowledge in their vision, at a time when the gap between literary genres has narrowed, when the arts found themselves in a new circle of creativity, and poetry got rid of its independent qualitative concept, which was defined by the structures of form, the rigor of the meter, rhyme and narrative, and what was connected with it, to become a field of (poetry) in which all types come close, and for poetry to become its home open to the plurality of voices, to a complex dramatic structure, and to the overlap between each sentence, and strokes The one image It came very close to the concept of poetics he was looking for on his long journey.

Just as the arts of history, film and painting did, and when poetry began its initial modernization movement in the 1950s, it found its need in the individual and the people, and later expanded into mythology. But as soon as he delved into its metaphors, a deeper space was revealed to him, namely the everyday and the familiar of life, in which all the arts overlap our mouths, and we bury them with songs of love, poverty and work. And his life brings the controversy of great ideas.

The class struggle is no longer a permanent field for it, and colonial rule is no longer a donor subject through the language of hostility. Poetry, until it sees its repercussions in the day, and people’s lives, thoughts and behaviors are full of legitimacy, and what is difficult for ordinary understanding will not be loaded with poetics. Poetry is the world in motion in which it includes the cosmic and the local. As for the form in which it expresses these tasks, it is no longer in meter, rhyme, rhythm and lines of lines, some of which are a word, and some of which are ten words.

He does not know why he put a period here, and there is a comma, and why he is busy finishing his image in this word. And he does not end there, because he has given the rich overlap between the prose of a fluid and restless life, haunted by the strange, the surprising and the abnormal. The familiar and noisy actions that are seen in economics, politics, wars, death, hunger, fear and alienation at home have an energy to say poetically that the same arguments did not give him in the previous stages, not the poetic taste nor the continuous change of the poetic sensibility to things and to life gave the poet a new vocabulary to say. We do not need the vocabulary of class struggle theories, nor the theories of national chauvinism, nor the theories of market economy and capitalism that define themselves, nor all the outlets and theories of knowledge for which the universities of the world establish:

Since the end of history and the state and the collapse of socialism … etc. Because we explain the situation of some, for example, inside or outside the nobility of what the situation says, for example in Iraq, simple, poetic, black, dark and clear, and the poet sees it as he sees the vegetable seller in the market popular Because everything the poem now says about the situation is full of poetics, and if its weight is lost and its rhyme falters, and its purity is disturbed.

Within this and other contexts, there were many theories of poetry, and the proposals of criticism varied, and the poetry critic is no longer interested in criticizing philosophy, painting or theater, nor is the film critic. , painting and theater is not interested in criticizing poetry, as the distance between the fields of criticism has shrunk, just as the distance between the jungles of Africa, Mexico and the tulip fields in the Netherlands has shrunk.

How these arts, at a certain point in their development, converge in common points: the strangeness generated by simple life, the amazement generated by the cosmic fields of knowledge. This is poetics, a combination of intersections that did not meet before. Today you find it attributed to you via the Internet, advertisements, computers, and even a piece of chocolate and, at some point, in the growth of organic noodles. Do not differentiate in its tools between the word and the scene, between the photographic snapshot and the linguistic image, between being you in the pronouns of others, and being in your own speaking pronoun. Between the important ambiguous language and the balanced interpretation, and between the direct language that flows from the mouth of the public and in the markets. . In this heated, strange, rare and inconsistent poetic climate, which you call a postmodern hermaphrodite, the poem does not grow by itself, to grow everything that makes poetry nourish sight, language, mind and thought. It is not surprising that we find critical currents in philosophy and physics, in the sciences of matter and in the sciences of the soul, benefiting from poetic models of metaphor and models of evidence. It is as if poetry had no dress or identity, and was not a specific language, rather it was a combination of all languages, in human memory it gives it a cosmic language full of human experiences, and it is strange that I imagine the information revolution as poetry and even blame which we have not yet understood, as it is in the structures of our mind, as it satisfies our daily practice.

Writer Yassin Al-Naseer deduces poetic theory with John Cohen’s book (Higher Language), considered one of the books dealing with modern poetic theory, through six new words in research: the principle of contrast, universality, poetic meaning, neutrality and neutrality, text and universe. The titles here may seem vague to us, as they deal with a clear vocabulary in Western culture. When he talks about the principle of contrast, he brings up hundreds of philosophical concepts, to differentiate between poetry and poetry. Starting from de Saussure, I spread the principle that in language there are only differences, and poetry is the bearer of differences. And when he deals with totalitarianism in poetry, he leaves hundreds of perceptions of its political and ideological significance and borrows its full nuances without paying attention to old boundaries or perceptions. Poetry is a complete language for him, just like music and painting.

It transcends language into languages. And when he speaks of the poetic meaning, we find that he simply reaches it, since the words of the poem do not send us back to another perception. Nor any other references. Jean Cohen has another book, Poetic Language, which was translated into Arabic years ago and addresses the problem of language shifting in French poetry through three French poets. And because we read that vague word and that displacement, our Arab criticism uses it without discussing it. This is our business, we don’t always leave a trace. Rather, we trace the trace of a past rhyme. It is undoubtedly true that the poetic language of Al-Mutanabbi is not the pre-Islamic language of Imru ‘al-Qays. Nor is it the language of Muallaqat, while the language of Abu Nawas’ renewal was also not the language of Abu Tammam’s renewal. Nor does the language of the avant-gardes trample the poets in the time of ignorance. It is the new language of Al-Mutanabbi in the Abbasid era. Thus, we find ourselves in linguistic changes that trigger developments in poetic sensitivity to the subject and the subject, as this subject has not been studied in our poetry, which spans a long history. It is enough to give any student a modern theoretical horizon, and he excluded from the saying Dr. Jamal Al-Din bin Al-Sheikh (Arabic Poetry), who reached a new conception of the development of Arabic poetry through a statistical approach –analytical

No theory has the rules of the art with which poetry pours out its poetry, and this means that no theory comes after poetry, and speaks of poetry, of nature in its technical revolution and its generating capacities, and of the seas in its gas, unknown and important. The mountains concern the visual and material aspect hidden in them, and their ability to reach the sky, the caves and their ability to contain drawings, skeletons, religions, traditional books in their papyrus papers, in their writings, in the language and in their magical codes The fire that cooks food for the future of science, and they say it about all that is known and unknown. Poetry is not made from a theory, nor was it made from a theory. In all its cases it is above and below that. It does not fill the gaps in life and it does not empty itself completely. It limits it when you need it to escape the evils of life and flees when it finds no room for it on the stage of life. Therefore, there is no queen language, and modern theories were trying to turn it into mathematical equations, and it may not be successful if we do not consider that it is above all law, hence the theories follow poetry, and poetry is a original animal that changes its impact every time it crosses the grounds of an unknown forest.

The meaning, as the writer explains, is in the supreme poetic language, that common language among the arts. You read it and feel you are watching a movie, and you feel it as if you were in the presence of music, and you contemplate it as if you were in front of a painting, and when you cut it as a witness to insert it in another victory, you are satisfied with the sense of what you say.

Second: his vocabulary derives from the first components of life: water, earth, air and fire. This means that in dealing with the phenomenon it goes to the extremes of primitivism: when you borrow a single word from the sea, it indicates all the water, and from the wood it indicates all the trees, and from the stove it indicates all the fire, and from the wind indicates all the air, and from the environment it is a signifier to the ground, all matter, and this does not mean limiting the poetic language to a specific vocabulary, but it means expanding the meaning and making the vocabulary in the form open to the interpretation and interpretation.

Third: In the cases of the poetic process, there are no interruptions between one singular and the other except in the transmission of meaning, since the words follow the bundle, so a single word has only the meaning of the link in the chain, the image, and the image is a unit of complete meaning.

Fourth: Poetic language is different from words. Words are part of it. One word can give you the effectiveness of the code and you have to decipher its symbols. Therefore, there is no specific time for it other than its time and no place for it except its own place. It crosses dates and events and establishes itself in the permanent meaning we read. Gilgamesh, Shakespeare, Al-Mutanabbi and Imru ‘al-Quays, from Greece, mythology, myths, heavenly books and popular life stored in all images. It is the language of heritage, folk tales and dreams.

Fifth: It is not a condition that the poem is in the same language starting from top to bottom or from right to left, or from left to right, or from the length of the verse from it to those words, or ending with this or that narrator , and enter the form of this or that cultural. It is a deluge of language that transcends its expressive form to meaning, bypassing the need for sight to hear and the need for hearing for the rest of the senses. It can be tangible as it is legible.

Sixth: The higher poetic language does not deal with personal cases or general situations The higher poetic language does not have an ethical or ideological function, unless they are universal cases, in the sense that it accustoms us to purposes but to cosmic purposes.

Seventh: The higher poetic language seeks to create a mythology of everyday life, a life rich in what it says, but poetically poor in expressing it from the spread of knowledge of that life in which ancient man was, progress does not replace one life with another, but rather tries ways to achieve it.

Eighth: And that this language does not stop to change its skin, including rhetorical, grammatical and expressive, just as silence is a language, and the separator is a language, and taking the comma is a language, and taking a step is a language, and the comma is a language, the subject is open to clarification in the letters and pronunciation whenever there is a need for expression.

Ninth: From here, and in the light of the changes that have affected the modern text, we find the supreme poetic language, a balanced or weightless language, a narrative or a prose, a collage or a drawing within the text, a musical score , ancient a poem, a photograph or a silent scene. An advertisement or a tone in a branch did not lead to a stable. The text has its beginning as well as its end and the body of its methods and methods.