Dr. Walid Mashouh 

Because many understood modernity wrongly, they worked to destroy many of the on which the Arabic poem was built. As for the we meant here, they are the vital structures that built its architecture. I am not ing into detail in the total and partial structures, but I wanted to address one of them, namely the musical formation which is considered one of the most important foundations on which the architecture of poetry was built. 

Some fell into the illusion of the modern meaning, so they thought – out of ignorance – it meant canceling the internal and external formation in the structure of the poem. They canceled the rhythm and silenced the voice in its emotional and sensitive connotation in its expressiveness and composition, and consequently closed all paths before the psychological movement of the creator and the recipient at the same time. There was no longer any room for the contemporary poet to use the psychological waves carried by the music of poetry because modern poetry in its musical image relies on expressive music more than its reliance on compositional music.

Thus, poetry loses its elements little by little and consequently its influence recedes and it loses its luster and our Arab culture is affected because it lost its existential root. Because music existed before language – according to Otto Jespersen – it is one of the important foundations in forming the modern Arabic poem. When Al-Khalil bin Ahmad spoke about the relationship of poetic meters to the states of the human soul, he presented models from ancient poetry, and extended the effects of music on the soul through its formation in the poem, and through the alignment of letters in the word, and the alignment of words with the meaning, and the progression of meaning in the subject of formation.

In this regard, Dr. Izz al-Din Ismail says: "Since the poem was a complete musical structure, it was natural for the poet, in his formation of this structure, to pay attention to these elements that achieve harmony among its vocabulary. Although a large part of the aesthetic top of poetry is attributed to its musical image, perhaps the greatest part of this value is due to this musical image, and many critics attribute the magic we find in poetry to the value established by the musical image (The Psychological Interpretation of Literature). 

Therefore, critics created critical standards in different forms for the phenomenon of musical formation. Since the issue of musical formation is one of the most important and dangerous issues in modern poetry, we see the danger coming from two sides: 

As for the first side, it lies in the fact that this issue (musical formation in poetry) is one of the most prominent foundations calling for the rejection of this poetry. 

As for the danger coming from the second side, it is represented in the illusion of some poets that new poetry is devoid of the constraints of meters and rhymes, so they composed without a law to rely on or meters to depend on, and they were not skilled in looking into them, so their poems came as a form of chaos and a type of composition that is painful to the ears and confusing to the minds. They did not know that the new poem has its precise conditions and strict standards which we see summarized in two main criteria that summarize the will to control the musical rhythm for the integration of formation in the poem.

The first of these criteria relates to meter. The great rule on which the weight of new poetry is based is the foot (Tafila), within its musical framework. That is, when the poet chooses a meter to compose his poem on, he should form the foot of that meter in all the lines of the poem. The poet has the freedom to choose the appropriate number of feet within a single poetic line, i.e., the poem may be limited to one foot or more depending on the psychological state that qualified the poet for creation and pushed him to pour his poetic surges into one text. Here it is not permissible for the poet to use a foot under the pretext of renewal or freedom of creation, or destroying the familiar, or rebelling against the prevailing, or (what came to us imported of claims under the pretext of modernity to destroy and remove poetry from its kingdom through floating the bad in the heat of chaos and the absence of controls) because that leads to a difference in the musical tone, which hurts the sensation, scatters the feeling, and mixes meters in one poem. We have noticed (this mixing) in many poets who claimed the desire for experimentation and gave themselves the right to do such a heinous act in poetry. 

The other critical criterion relates to rhyme as it is the basic melody in the music of poetry, i.e., the core support for psychological alignment with the aesthetics of the poem. Meter and rhyme are the two fixed artistic foundations in ancient and modern poetry. However, new poetry developed the form of the rhyme and introduced the appropriate adjustment to it. We know that the rhyme in poetry – according to Al-Farahidi – is the letters between the last quiescent letter in the verse and the moving letter before the quiescent letter before the last, while the rhyme-letter (Rawi) is the last letter to which the poem is attributed (A Theory in the Science of Prosody - Michel Adib). Thus, rhyme is one thing and the rhyme-letter is another. New poetry canceled the monotonous musical role of the rhyme-letter but kept the rhyme. 

Regarding the prominent critical in understanding the role of rhyme in modern poetry is realizing the relationship between the form of the rhyme – as a musical formation – and the psychological and emotional state, since music controls the form of the emotion associated with it, and then in choosing the appropriate last word for that emotion. Otherwise, the poem loses its clear integrated sound unity and its obvious coherence. Perhaps the poet's linguistic harvest and his ability to choose the appropriate words clearly contribute to creating an artistic movement that makes the end of the poetic lines form in a regular artistic context on the one hand, and a non-monotonous one on the other. 

Therefore, renewal does not come from a void, to fall into a void. Rather, it falls in a historical context that corresponds to the renewal of people's lives in their time and place. The Arabs made of poetry important subjects that took part in their life movement. Therefore, they called the poetic line a "Bayt" (house), and the house is a shelter for housing and tranquility. If the house started with the cave then developed to the (hair tent) and from it to the mud brick house, and from it to the khan and to the local stone then the cement block, and from opposite rooms with a sky space (house courtyard) in between to opposite rooms with a roofed hall in between to a story building and to equal apartments of spaces and number of rooms to a tower building carrying several apartments of different space and number of rooms and so on. But the dwelling continued to be called the "Bayt" (house), evolving and renewing with the evolution and renewal of time, and its builders excelled in its styles with the evolution of the essences of its place, but it remained within the harmony between the sense of pleasure of tranquility, stability and peace in the midst of the civilizational data of the lived era. 

Renewal – based on this – is not the destruction of the existing and creating a vacuum in the place, and the illusory perception of living in a paradise created by the pickaxe as dictated by the (magnetization) of the wrong understanding of modernity, or the dominance of the desire for tradition and making a protruding mountain of consumed waste. It is just an opinion representing a conviction, and the respect for the other opinion remains existing in the depths of the personal conviction, and so we differ, we dialogue, and we agree.