فنون الشعر العربي المستحدثة، تاصيلا واوزانا

Many scholars and researchers believe that the weights of Arabic poetry are all summed up in the presentations of Arabic poetry, its laws, and its chapters that he developed, or described by Al-Khalil bin Ahmed since the middle of the second century AH. Distinctively contrary to Hebron, the seas are fifteen or sixteen, and the weights, any weights, do not exceed sixty-three. The skis and the ills are the same as those identified by Al-Khalil through his extrapolation of Arabic poetry at the time, and his explanation of what the poet can move within his framework within the weight and what cannot. Everything that was mentioned by al-Jawhari in the presentations of the paper or by Hazem al-Qirtagani in the curriculum of the rhetoricians and Siraj writers and others who tried to provide additions to all the presentations is nothing more than an expansion of an issue or an opinion in a part of the total rules of presentations. However, these researchers were not concerned with what poets produced of new weights and new poetic templates through their poetic experiences within the framework of both the formal and colloquial language, despite the private and public’s fondness for these poems and their celebration of it in the councils of princes and caliphs, and its codification in many references that Pay attention to literature. By these poems we mean the new poetic arts after Al-Khalil bin Ahmed, that is, after setting the rules of poetry in terms of weights, and the poets are bound by those laws in the systems. Despite this, poetic arts appeared in separate times, not less in quality and order than the Arab poem known since the pre-Islamic era, with mastery in its weights, both in eloquent poetry and in colloquial poetry. an‎d the new arts are the muwashshah, the dubbit, the zajal, the mawālā or the mawāl, the kan and kan, the hamaq and the qūm, and the series is added to it. It is comic poetry, and some sources add the poem, i.e., the poetry of the Qur’an, and put it all under the title: The Arts of Systems, as is the case with Safi al-Din al-Hilli in his book: The Present Unemployed and the Exalted Licensed. The total of these new arts in Arabic poetry is seven. These poetic arts have special weights that are mentioned in a few references, including, in particular, the book Al-Atil al-Hadi and al-Mukhris al-Ghali by its owner Safi al-Din al-Hilli, and al-Durr al-Maknoun fi al-Sab’ al-Funun by Muhammad ibn Iyas al-Hanafi, and a book on unexpressed folklore by Reda Muhsin al-Quraishi, al-Mustazir fi al-Abshihi’s book al-Mustaziram fi al-Abshihi. an‎d the book “The Masterpiece of Literature in the Balance of Arab Poetry” by Muhammad bin Shanab, and the book “The Balance of Gold” by Mr. Ahmed Al-Hashemi. There are other books that mentioned some of these purposes, such as the book Dar Al-Tarraj fi Al-Muwashahat by Ibn Sana Al-Malik, in which he talked about the muwashahat. an‎d the book “Buluhu Al-Amal fi Al-Zajjal” by Ibn Hajjah Al-Hamawi, in which he talked about zajal, its weights, and purposes, and the book “Nafh Al-Tayyib” by Al-Muqari mentioned the muwashahat. There are pioneering letters and researches in the study of zajal and al-Malhoun poetry, among which we mention in particular al-Zajal in Andalus by Abdul Aziz al-Ahwani and al-Zajl in Morocco, and the book “The Teacher of Malhoun” by Muhammad al-Fassi. The author of the article has a PhD thesis entitled The Relationship between Classical Poetry and Colloquial Poetry in the Light of the Relationship Between Classical and Colloquial Poetry.