This study examines the development of poetic language in modem Arabic poetry through discussion of a selection of twelve poems from Bilād al-Shām (Syria, Lebanon, Jordan and Palestine), applying a method of analysis and evaluation based on a close study of the text itself rather than on critical sources. A practical method of analysis is used to examine elements of poetic language, namely rhythm, theme and structure, the poet's voice, word-association, metaphor and symbol, all of which form the text. The study is introduced by a brief review of the development of modem Arabic poetry, of previous studies of poetic language in modem Arabic poetry, and an analysis of the poetic language in four outstanding poems of the post-second world war period. The four poems were chosen since they are typical of die changes, renewal or departure from classical poetic language. These poems embody new forms in both expression and ideas, and express the Arab identity by discussing Arab social and political problems. The four poems may not be the best poems of their time but each one clearly exhibits a different use of elements of poetic language current at the time. These poems, which are written before and during 1967, are still effective and influential today. Their poetic language is still the criterion by which to examine and compare the twelve selected poems in part two. The poems were chosen from those composed in Bilād al-Shām after the events of 1967. This choice was made to enable die writer to investigate die effect of the war upon poetry, to illustrate pan-Arabism and nationalism, and to examine the poetic language in these poems. In both part one and part two my concern is to present facts rather than arguments. My intention is also to make a brief comparison and conclusion. These conclusions - drawn from the discussion - are found in part three. This study deals with the following: the identification of common factors and differences in the poems discussed; the existence, or lack, of creative trends in the use of language; the degree of influence of the four poems upon the twelve selected poems; and whether die twelve poems imitate ideas, concepts, words and symbols derived from the four poems. It also traces the development of poetic language as it approaches the prose style and as it establishes a different use of metaphors and symbols.

The subject of this dissertation is the life achievement of Syrian poet Nizar Qabbani (1923-1998). The study follows two tracks, one literary focused on the poetry and biography of the poet, and one historical focused on the concurrent political and social developments in the Arab world in the twentieth century. The two tracks contextualize and elucidate each other to form a mega-narrative of Arab life in modern times. The narrative begins by investigating the intellectual world in which Nizar grew up, continues on to examine his unique personal and familial makeup as well as the social and political context of the times, then proceeds to analyze his poetic achievement as it unfolded. In so doing, a picture emerges of the Arab experience in modern times as reflected in Nizar's own creative experience and tumultuous life.The narrative concentrates initially on Syria, more specifically on Damascus, being the birthplace and the breeding ground where the poet's character was first shaped. But once the poet leaves on his many journeys, a wider perspective is adopted to highlight the many other influences that ultimately went into his making, reverting back to Syria insomuch as it continued to influence the poet's unfolding narrative. Although a chronological line threads through the work starting from the poet's birth in 1923 to his passing in 1998, this line is accentuated throughout the life of the poet by the many places he lived in - cities that left their distinctive mark on his consciousness and poetry. As such, the mega-narrative, much like a journey, sets a background of progressive time against a foreground of places that give meaning to the timeline. In general terms, this study views the life of Nizar Qabbani in three interrelated and overlapping stages: a sensuous period (1923-52) that can be poetically described as local, direct, masculine, confident, and joyful; a period of social responsibility (1952-1973) that can be described as mixed, confused, itinerant, transvestite (both feminine and masculine), rebellious and conformist, happy and unhappy at the same time; and an exilic period (1973-1998): committed, feminine, rebellious, esoteric, melancholic and despairing.