البنية الأليغوريا في شعر أديب كمال الدين ديوان (أقول الحرف و أعني أصابعي)‎

Abstract EN

When standing on the poetic text of the poet Adib Kamal al-Din, we see the poet's tendency towards synthesis and transformation and surprise, as well as the thing and its opposite of the disqualification of the text of the dialectical character and the introduction and response.The Diwan (I say the letter and I mean my fingers) is a qualitative creation of the experience of Adib Kamal al-Din, the poetic poet, which was founded by the insistence of the mid-seventies of the last century.

In the search for the backwardness of the text and the transformation into a world of a second significance we are in the world of the Uighur based on the metaphorical double-edged line, one of which is apparent (the story) that is narrated, and the hidden inner unit is the story (mask) which becomes subject to several interpretations that do not stop at the metaphor One or one, but the conflict between the self, society, religion and culture to expand within that (the story) (mask) other entities distancing the one person who grabs attention, to come magic (Liguria), which makes things retain the meaning inside, as an invitation to reveal the hidden .

The game of elliguria in poetry is a prelude to new names that may appear in the face of hurried reading purely concatenation and puzzles, but in fact reveal a wild desire to return writing to the time of integration with nature.The circle of Aliguria in the poetry of Adeeb Kamal Al-Din and its numerous images between Aleguria is intentional based on the transit from the apparent literal connotation to the hidden hidden connotation, and between the unintended iguria presenting itself as a self-sufficient image without the need to read again to derive its poetry