Personal reflections of the pre-Islamic poet’s on his poems

Abstract

       The dimensions of this research are determined in an attempt to reveal the extent of the influence of the poet’s personality and its variations on the variation in poetry in the pre-Islamic era. This is because the phenomenon of contrast does not represent a phenomenon from two aspects, one of which is related to poetry at all, and Miami has now become behind this poetry; Therefore, it does not allow us to understand poetry, but rather it is also an awareness of the poet’s self. Even though poetry began among the pre-Islamic people based on nature and intuition, without gratitude, it became a “craft.”

       Meaning that it has its own artistic, critical, and rhetorical bases, and accusing (craftsmanship) of being a reason for the low level of poetic performance and a means to affectation is a misplaced accusation, and therefore the critical consideration of this art among the pre-Islamic people cannot be from one side; Because it was a complete life, and life has many faces; Therefore, it is not sufficient to study this poetry merely by looking at its words and compositions - although that is important - but this must be supported by other points of view.

       Different approaches to study include the poet, his environment, and what influenced his poetry, whether near or far.

       Therefore, I have adopted two models of poetic characters (the greedy, earning character), represented by the veteran poet Al-Huttayya as a model, and (the disobedient, rebellious character), represented by the vagabond poets and their style of poetry that is specific to them, which crystallized - that is, their style - as a result of individual cases of rebellion and disobedience, which formed a phenomenon known in history. In the name of the “baldness” phenomenon.