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다국어 초록 (Multilingual Abstract)

This research consists of a preface, an introductory chapter, a discussion of the topic along with analysis of its proceedings, evaluation of the results, as well as summary and presentation of the sources and references that the researcher utilized. The preface explores the reasons of conducting this research on Rajaz. In fact, Rajaz, either in its meter or rhyme, has been extensively tackled in many discussions in the ancient and modern monetary heritage. These discussions were concerned with much of its traits such as the reason of naming it like so, its structure, its position with regard to the chronological arrangement of the other measures of Arabic poetry, its relation to both concepts of al-Qareed (poetry) and Qaseed (poem), as well as the aesthetical value of Rajaz poetry compared to the poetry of other meters.These discussions, however, are reviewable in terms of their content and results. That is why this research is valuable and significant. The introductory chapter reviews the concepts, terms and mechanisms to be adopted in this research justifying their usability and validity in achieving the convincing results. Tackling this topic and analyzing its proceedings, the researcher began with discussing the meaning of Rajaz literally and technically, its relation to the meaning of al-Qareed (poetry) and al-Qaseed (poem), as well as discussing the rhythmic structure of Rajaz in the various stages of the Arabic poetry rhetoric improvement. The researcher discussed also the critics’ perceptions about the aesthetical value of Rajaz poetry and evaluated this value in light of the prevailing poetic rhetoric and in its transformations along the historical course. He then ended up with a result that Rajaz is like the first meter in the history of the Arabic-poetic rhythm; the origin from which the other poetic meters in all stages of the Arabic poetry were derived. The notion of al-Qareed (poetry), that was used in a later stage of the improvement of Rajaz, was related to the structure of the two-hemistich line (of poetry), either in Rajaz or other meters that developed thereafter, as it was a measure to the first structure of Rajaz embodied in the twohemistich line, while the notion of al-Qaseed was related to the form that may represent the notion of the poem. However, the difference of the level of its impact in old and modern times is explained according to its structure compared to the other meters and its relation with the functions of the rhythm in the poetic rhetoric. The functions of the poetic rhythm are determined by warble, tension and expressing the meaning. These are interrelated functions, though each of them has its measurable limitations imposed by the prevailing rhetoric, and it seems to be a dominant function over the other functions. There are two kinds of eloquence that dominated the rhetoric of the Arabic poetry, namely: Oral Eloquence, which prevailed in the old and traditional poetry and Written Eloquence, which prevailed in modern poetry. Between these two kinds, the Romantic Poetry represents a midway or a transition between these two distinctive stages of the development of the Arabic poetic rhetoric. When it comes to Oral Eloquence, the positive value of the poem was to be determined by its ability to achieve quick and immediate aesthetic response by the recipients. That is why Oral Eloquence requires taking care of the sound to the greatest degree; and therefore, the function of musicality dominated. Rajaz poetry is the poorest meter to achieve this function. That is because it is a simple meter that is built on the repetition of a single rhythmic unit that is not composed with another unit(s). This made the highly-cohesive compound meters- on the top of which is al-Taweel meter- clearly dominant. When the dominance was assumed by the Written Eloquence that necessitates the poem to take intensive care of the meaning, as the structure of the line and the hemistiches was overstepped