Abstract

 Iraqi critics from 1950 to 2010 discussed the subject of different and changing, and the unpredictability in the rhythm issue was the philosophy of Caius or the theory of the unpredictable way to explain this great diversity in poetic rhythms and the diversity of poetic speech on what came in the Iraqi critical debate on the issue of rhythm, according to opinions The philosopher Bergson, who spoke on reversible and irreversible time, or, the physicist and creator of the special and then included in the theory of chaos, which classified systems to closed and open. And its effect on understanding the effectiveness of the rhythm and diversity and hide behind the elements of the poem, it becomes clear that the idea of running the poem on a single system is far from being realized, because it drops astonishment and vaporization as the souls do not settle on one system repeated and must be breached and exceeded the system.

This research was divided into a preface and three chapters. In the preface we talked about the philosophy of rhythm in ancient philosophy and then at the Greek and Arab Muslim philosophers in which the rhythm was linked between rhythm and time after existential anxiety and given psychological and ontology and the resulting Caius works to breach the rhythmic system in poetic speech to save from monotony entitled (controversial presentations and rhythm).

We examined the first chapter of this research and the presentations and rhythmic criticism through the presentations in Iraqi criticism and explained the picture of the criticism in its early stages, it does not exceed the authoring and the occasional mistakes, but did not take all the literature of the presentations, but took the actor, which is a clear difference, And through out of the scope of educational discourse.

The second chapter (rhythm and music in the critical player), the research took the activity of some Iraqi critics, who used music techniques such as Notta in its amounts of time to measure the movement of speech and in which the activity seemed more obvious than before. To compose and obey the musical elements by revealing the artistic value of all the poems that were analyzed musically, although not all words fit for composing and singing.

In the third chapter, we studied a variety of rhythmic critical discourses through the production of four Iraqi critics whose rhetoric included the concept of rhythm. Their critical lumberjacks were characterized by a peculiarity far from similarity in discourse, with rhythmic and aesthetic rhythm tracing and studying investing the enormous potential offered by the poet’s language. The results of this research include:

Each poem has its own rhythm, each language has its own rhythmic potential that differs from another language, and measuring or projecting language standards on another language rhythmically can only be a comparative rhythmic study separated from its original language.

Poetic speech flowing and being regular and irregular. According to the self-ripple, two poems may be similar but differ in terms of verification and existence.

A philosophy that has studied time and motion can profoundly probe the cause of rhythm, especially the Burgundian philosophy that considered self-time as a vital creative time.

 Can study the rhythm through the phrase in poetic speech because it moves according to poetic phrases.

 There is no poetic activation similar to another activation only in terms of the position of the linguistic character moving and consonant.

Poetic speech is a more appropriate term than the language of poetry, because of its originality and its indication of the personal use of the language, and the designation of speech and what was approved by modern linguistics.

Iraqi criticism produced three concepts, presentational, musical, and creative, all took to contain the term rhythm in synchronous motion until it produced an open letter in which it introduced the concept of rhythm and gave it a creative personality.

The term rhyme can be replaced by the term rhythm, because rhyme denotes in ancient Arab criticism the flow. The Arabic criticism contains terms that indicate the movement of poetic speech and its aesthetics coupled with the movement of water. Such as frequent water, diameter, flow, and luster. And effusion, and spillage.

The Iraqi critics have their own philosophy in the rhythm issue. They were unique in their theoretical and action and did not bring foreign theories about the possibilities of our great language.