This piece of research attempts to trace the textual study through examining the
excellencies of Ash-shanfara’s text, next to its artistic secrecies that have been neglected
by those researches who were busy with stories, tales, language and (ideol
ogy). However,
the literary heritage has received a considerable amount folkloric tales and superstitions. In
the past, linguists had been attracted to the al-Lamiyiah semantically and syntactically. A
few contemporary studies had mentioned few selections, the thing that triggered the sence
of poetical in their veins, which found it enough to portray a constellation of its intellectual
proposals. Thus al-Lamiyiah survived, being an artistic masterpiece a virgin soil.
Henceforward comes this research to scrtunize the strata of secrets of artistic aesthetics,
starting from the dynamic polarity structure that systematize the concluded presenceabsence
relationships, and ending with crystallizing the poetical personality (not the
historical) in the poetical heritage. It unleashes the varieties of the ‘ego’ within its unique
tissue ascertaining the poetry is creativity, and not merely virgin before natural scenaries,
or successive episodes through time, nether is it a description per se. Rather, it is an
intuitive creation that manipulates nature, among many other things, for the sake of its
artistic intentions.
The current research criticizes a classical critical text that appeared in (The Book of
Al- Aghani) with two supportive clues: it is reflection to (Musa’b Ibn Abdullah al-Zubeiri),
in which it handles the poetry of (Umar Ibn Abi Rabiaa) and highlig
hts his position among
contemporaries and peers.
This research describes (Musa’b’s) text: it discloses the style, analyses the
constituents, interprets the critical terms and viewpoints, tends to pursue the implications
through scrutinizing the proposed poetical coexistences, up towards conceptualizing the
emerging critical insight-being a critical insight that represents a creative approach within
the critical thinking of Arabs. This is due to that the fact that Musa’b’s legacy stands as the
primordial classical critical Arabic text that encompasses the receptor’s viewpoint in the
comprehensive intuitive experience. Nonetheless, it does not consider the influential
impressionistic rules that had been concurrent at that age sufficient, neither finds it
efficient to have one, two or three lines of verse to pinpoint its viewpoints, as had been the
custom. Rather, it studies the wholesome of Omar’s literary production (Umar’s
Anthology) being one single text in which he pours his expertise, thoughtfully penetrates
its essence in an attempt to uncover the secrets distinguishability, excellence over its
contemporary texts. Therefore, it stands as the first critical Arabic text that examines the
(stylistic uniqueness) that characterizes an outstanding creative figure via the creatorreceptor
interaction over the domain of the text.
This study tackles an important part of Abu-Tammam's
vision that considers the poetry outcome of reason. And that is an
important shift of the concept of Arabic Poetry , which is charged
with lyricism and lack of thought .
