الفهرس 
المقدمةيوجد فقط 14 صفحة متاحة للعرض العام
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المستخلص
The researcher targeted the romantic and lyrical poetry written by the Poet Said Akl, totaling five collections of poems during the period from 1950 to 1973, namely ””Rindala”” in 1950, ””Ajmalou Minki? La (More Beautiful than You? No)”” in 1960, ””Ajrass Al Yasameen (The Jasmine Bells)”” in 1971, ””Qassa’ed min Daftariha (Poems from Her Notebook)”” in 1973 and ””Doulza”” in 1973. These collections of poems constitute the lion’s share of Said Akl’s poetry (3521 verses out of 5564 verses, i.e. 63.28%) which means about two thirds of his poems. The researcher addressed Said Akl’s poetry at four levels, which are phonetics, structures, imagery language and lexical patterns. The phonetic level tackles prosodies, poetic meters and rhyme and studies the use of meters and rhyming letters. It also examines the internal rhythm of poems such as pun and Leonine rhyme. The structural level addresses the functions within the overall context in order to understand the meaning of the structure unlike the old grammar that examines I’rab cases. The structural level views the poem as a poetic phrase that has elements represented in the distribution and movement of pronouns and has unique compositional styles. It also has a structure reflected in studying the relationships between sentences, the relationships between syllables and the relationships between major text units. The imagery level touches upon a single poetic image first. Then, it examines the relationship between this image and other images contained in the poem and describes its role in the entire text. A poetic image is a linguistic connection between a single word and its counterpart and it is considered a key element in the language of poetry as it is the poet’s tool to imagery and imagination. Moreover, the lexical level examines the most recurrent words in the poet’s poem; the poet uses them in a special way that reflects a different meaning inspired by his emotions and fantasies. In other words, it is a research in the context in which a word occurs. The researcher concluded the following: First: At the phonetic level: 1-The Rajaz meter ranks first place in the research’s poems (68 poems out of 223 poems, representing 30.94%). 2- Said Akl agrees with the ancient poets in using the Basit meter and agreed with the modernists in using Al Raml meter. 3- The short poetic meters constitute about 48.43% (108 poems) while the long poetic meters represent 51.56% (115 poems). 4- The poet and ancient poets excessively used loose rhymes ””verses ending with vowels) (94 poems constituting 42.15%) as compared to the fettered rhymes (ending with consonants) (65 poems representing 29.14%). 5- The diverse rhymes are used in more than one quarter of the research’s poems (64 poems representing 28.69%). 6- The ””R”” letter is the most commonly used rhyming letter in more than one quarter of the research’s poems (42 poems constituting 26.41%). 7- Said Akl and the ancient poets and modernists agrees on using six rhyming letters which are commonly used, namely the ””R””, ””L””, ””M””, ””N””, ””B”” and ””D”” although the poets uses them in different proportions. 8- Said Akl builds the rhymes in the research’s poems on sixteen rhyming letters; 13 of which are voiced letters which dominate the first nine ranks and the last four places. Therefore, the voiced letters constitute 81.25% while the voiceless letters account for 18.75%. Second – At the Structural Level: 1- The elements of poetry materialize an essential pillar in the construction of the poem according to Said Akl. 2- The poet frequently combines the pronouns of speaker, addressee and third person within a single poem. 3- The compositional style carries great semantics in Said Akl’s poetry. 4- The methods of expansion of poem phrase vary in Said Akl’s poetry through conjunction, repetition and multiplication, which lead to the diversity in production of semantics of the poetic meaning. 5- Multiplication plays an important role in comprehending the creative poet elements. 6- Hysteron proteron and omission entail precise purposes that enrich the poetic significance in Said Akl’s poetry. Third – At the Imagery Level: 1- Said Akl is well-versed in using imagery and he has many styles and images to the extent that his poetry is perfect. 2- The simile is of particular importance in Said Akl’s poetry which depends on imagery as he uses it widely; even all types of simile, simple and complex are fully present in his poetry. 3- The metaphor occupies the great level in Said Akl’s poetry as it presents a new and creative imagery to the reader, whether implicit or explicit metaphor. 4- Metonymy of all types appear in the study material and it play an effective role at the imagery level of the text, as the poet employed it in hyperbole and emphasis on what he wanted to introduce. Fourth – At the Lexical Level:1- The lexical field of love represents the central focus of the poems of study. 2- The word ””eyes”” occupies a prominent position in the lexical field of love as the words ””eye, eyelid, eyelash, eyeball, black eyes, looking, glance and glimpse”” are mentioned 167 times with a percentage of 29.04%. These words occupy the first place of the words of body as they have a special charm between man and woman as they are the first tongue and subject in this relationship. 3- The word ””kiss”” occupies the first place in the classification of words of ””love desire”” as it is mentioned 68 times with a percentage of 30.08% and occupies the sixth place in the classification of the whole words of love with percentage of 12.27%. 4- The poetry of Akl is full of flowering nature words and they occupied the largest share in the number of common words in the lexical field of nature as they are mentioned 393 times with the percentage of 32.12%. The words ””flower”” and ””rose”” took over most of the semantic – lexical field for the flowering nature words as they are mentioned 207 times with the percentage of 62.91%, which uniquely makes Said Akl the poet of roses. 5- The words of ””sun, stars and moon”” occupy the first three places in the classification of words of clearness and light in the lexical field of outer space as they are mentioned 220 times with the percentage of 48.88%.