The rnodern poem is characterized by breaking away from the old molds. It also attempts to sreate models that seek to generate new poetic sentiments. In order to reach that goal the poern follows several techniques and rnechanisms" These techniques attempt to establish a rhythmical structure that rebels against the conventional musical standards and their rigor of meter and rhyme. Moreover, they do not yield to the power of the popular modetrs, and they move to a space where the poet can make use of minute details so as to plan for an interior design that is strongly associated with psychological motives and semantic figures. Both of which will define the focal point of the rhyhmical tension which is compatible with the development of the self and the textual semantic. Therefore, they move towards the interior which develops due to the interaction between the components of the text and its interrelationships. Thus, this paper shall seek to trace the factors and constituents that take part in the formation of the rhythmical structure away from the external component represented by the meter and rhyme scheme. The paper adopts literal repetition as a means to find out about the aspects of the internal rhyhm and its contribution to the construction of the general rhythmical structure of the text as well as its relation with the semantic dimension in order to focus on the relation between rhyhmic semantic and linguistic semantic.