شعر "محمد توفيق علي" : بين التراث و المعاصرة

الملخص EN

This research (The poetry of Muhammad Tawfiq Ali between heritage and contemporary) aims to present the most important works of the poet by testing some poetic evidence, in light of the Westernization of the term contemporary criticism and stylistics, and how the poet combined the revival of ancient heritage and keeping pace with the modern era, and the manifestation of the cover of treasure that many critics ignored; believing that it does not rise to the level of study, or receives their contemporary critical attention.

This is what we will explain in the next pages by the will of Allah the Almighty and His conciliation.

Therefore, there were many motives for choosing this topic.

The most important of which were: First: The lack of studies that revolved around this poet, and that he did not receive the attention of critics and scholars - except for some studies - attention commensurate with the originality of his adherence to his heritage, and the contemporaneity in his poetry.

Second: We are facing a poet whose appearance in Egypt is a unique literary phenomenon, and a national poet who has his own independent literary personality, but does not have much influence over many poets of Arab countries, especially Egypt, Iraq, the Levant, Sudan and other Arab or Moroccan countries.

Third: Most of the studies that dealt with the poetry of Muhammad Tawfiq omitted the value of the first diwan, “Qafa Nabek, which represents the miniature graphic painting of the poet's experience with its multiple threads, and I do not mean by this that his next books are a repetition of the same melodies in the first diwan, but I mean that his poetic experience has created its basic features to a large extent in this diwan...

It then began to grow, deepen and develop in his other poetic works, which amounted to five volumes.

The nature of the research required me to proceed systematically as follows: I divided it into two sections, preceded by an introduction, appended to a conclusion and proven by sources and references.

It came as follows: The first section: (The poet's philosophy in his diwan ...

a critical vision) Second Section: (Aesthetics of Style ...

Between Heritage and Contemporary) Finally...

The study ended in a conclusion, through which the most important results of the research were monitored.