Aesthetics of daily language in the poetry of Nizar Qabbani


  • Saleh Mohamed Abd Jinan University Faculty of Arts and Humanities the department of Arabic language Major: Modern Arabic Literature
  • Widad Ismael Al-Ayoubi Faculty of Arts and Humanities the department of Arabic language Major: Modern Arabic Literature


Poetry , derivation, , creativity, language, Nizar Qabbani


Each poet has his own poetic language, working on making it from poetic and linguistic accumulations over his life, and working hard to improve and develop it to reach the threshold of uniqueness and specialization. He is one of the most inclined and eager to innovate and innovate. This is because “the desire that the poet possesses for innovation and novelty may take his poetry a long way, bypassing the well-known ways of dealing with language and its vocabulary, and seeking to move the language away from its generality and give it a special characteristic that distinguishes it from other poets who preceded him. And Nizar Qabbani is one of those poets who were able to create a new language that no one else was able to ride a horse to be able to master it, as he did with his poetic chivalry and his unique poetic lust. He was also able to break the stalemate and decipher the duality that exhausted ideas and feelings in our lives by merging between the originality of the Arabic language and the ease of colloquialism . In this article, we tried hard to reveal the manifestations of development, verbal creativity, and spectacle in the expression and description that characterized Nizar Qabbani's poetry. He was known for his distinction and rebellion against the natural, by creating a language that broke the restrictions of language and dictionaries. He traveled with it to the world of simplicity in expressing his feelings, and all of this was in a language Simple, it was between the colloquial language and the standard language. Nizar called it (the third language). And he had multiple and varied ways to create this language, such as derivation and borrowing (on the morphological level), and the use of colloquial language in his poetic scenes and images, and his reliance on linguistic plurality to express his feelings and feelings, and this is what we tried to show in this article through some selected poetic models that glowed and sounded. The light of Nizar's third language, and the aesthetics and innovations of the daily language emerged in his poetry.