The Farzdaq is a unique phenomenon in Arab poetry that we rarely find a counterpart, a self-righteous personality enveloped by so Childesh, Shomokh, Fathers and glory. The woman had a privileged position, and he employed her in his poetic creations, as she was an artistic curator of the beginning of his poems as textual values. These introductions create a balance that enters the heart of the poetic industry, because they are the first to encounter the reader, and reach the ears of the listener, and the reader is located on it. These introductions to their diversity and sometimes their brevity between the kinsman, the ruins, the graying and the young, and the description of the spectrum have taken a woman's title and reason. In this light, we can identify the emotions inherent in the same fractal and observe their manifestation in drawing a picture of the woman as a symbol of his hopes and pains and putting everything he feels and is in his chest. We considered this to be indicative of the mediation of the D/text (submitted) as a present signal to reveal its meaning (absence) as referred to by the recipient seeking access to it. The poetic introductions are a response to the need of the Creative Commons, as well as the diligence to convince the reader of the sincerity of his psychological experience, contribute to read the text and receive it with a reader, and interact with him, which invites him to read and meditate and ask himself questions concerning what is coming: Is this yarn intended for oneself to sing the beauty of a woman, or a technical means of expressing his life? Were the introductions a reflection of the character and breathing space in front of the other as a self-part? Did he achieve the substantive and emotional harmony of the reader-the receiver of the text? . Most of our study of poetic sponsors is not only to provide an insight into a poem that is viewed in a superficial way, but to deal with its connotations and its relationship to poetic purposes.
Creative Commons - the other way?
