There is a close relationship between prosodic poetry and folk literature, if not one of harmony then at least one of tension.1 in the present study, this claim may be read between the lines, in the sense that prosodic poetry has not been granted a great deal of ‘legitimacy’ since it has been perceived as having distanced itself from the concepts of traditional poetry. A tension thus exists between the prosaic, the poetic and the folk aspects of the text, which the poet attempts to put into equilibrium. in this study we shall see that metrical feet used by the poet serve the content and also the creation of the images that he imagines and presents to the reader. This can be seen quite clearly in the novel feet he uses as well as in the changes that he adds to the original feet of the rajaz meter. The foot thus becomes a stylistic device that serves the image or the topic with which the poem deals. This relationship is reflected in both the style, namely the meter, and the content, which is the image painted by the poet.

中文翻译：

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Amal Dunqul 作品所反映的现代阿拉伯诗歌中拉贾兹韵律的演变

韵律诗与民间文学之间有着密切的关系，如果不是和谐，那么至少是张力之一。1 在本研究中，这种说法可能是字里行间，从某种意义上说，韵律诗还没有被授予大量的“合法性”，因为它被认为与传统诗歌的概念保持距离。因此，在文本的平淡、诗意和民间方面之间存在一种张力，诗人试图将其置于平衡状态。在这项研究中，我们将看到诗人使用的韵律脚为他想象和呈现给读者的图像的内容和创作服务。这可以从他使用的新颖脚以及他对原始拉贾兹米的脚添加的变化中清楚地看出。因此，脚成为一种风格装置，为诗所涉及的图像或主题服务。这种关系既体现在风格上，即韵律，也体现在内容上，即诗人所描绘的形象。