‫جملة أكادميية حمكمة تصدر فصليا ًعن جامعة أمحد دراية أدرار– اجلزائر ‪.
‬‬
‫اجمللد ‪ ،22‬العدد ‪ 01‬مارس ‪2023‬‬
‫(العدد التسلسلي ‪)64‬‬
‫‪ISSN 1112-4210‬‬
‫رقم االيداع القانوني‬
‫[اكتب رقم الفاكس]‬
‫‪An Academic Journal Issued Regularly from the University Ahmed Draia-Adrar-Algeria‬‬
‫‪Volume 22, Issue 01, March 2023‬‬
‫)‪(Issue Sequence 64‬‬
‫‪Ramadan 1444‬‬
‫رمضان ‪1444‬‬
‫اجمللد ‪ 22‬العدد ‪01‬‬
‫‪/Issue 01‬‬
‫اجمللد ‪ 22‬العدد ‪01‬‬
‫‪22‬‬
‫‪Volume‬‬
‫رمضان ‪/1444‬مارس‬
‫‪March 2023‬‬
‫مارس ‪2023‬‬
‫‪2023‬‬
‫‪EISSN: 2588-2139‬‬ ‫رقم االيداع ‪2003 - 363:‬‬ ‫‪Légal deposit: 363-2003‬‬ ‫‪ISSN 1112-4210‬‬ ‫‪EISSN: 2588-2139‬‬
‫القانوني‬ ‫جامعة احمد دراية ‪-‬أدرار‬ ‫‪University Ahmed Draia-Adrar‬‬
‫الطريق الوطين رقم ‪ 06‬أدرار‪)01000( .‬‬ ‫(‪National Road No 06 Adrar )01000‬‬
‫‪)213( 049.36.18.50‬‬ ‫فاكس‪:‬‬ ‫‪049.36.18.50‬‬ ‫اهلاتف‪:‬‬ ‫‪The Phone: 049.36.18.50‬‬ ‫‪fax: (213) 049.36.18.50‬‬
 ‫جملة أكادميية حمكمة تصدر فصليا ًعن جامعة أمحد دراية أدرار– اجلزائر ‪.‬‬

‫العنوان الربيدي‪ :‬جامعة أمحد دراية‪ -‬أدرار الطريق الوطين رقم ‪ 06‬أدرار‪)01000( .‬‬
‫‪)213( 049.36.18.50‬‬ ‫فاكس‪:‬‬ ‫‪049.36.18.50‬‬ ‫اهلاتف‪:‬‬
‫الربيد اإللكرتوين‪el_hakika@univ-adrar.edu.dz :‬‬
‫‪EISSN: 2588-2139‬‬ ‫‪ISSN 1112- 4210‬‬ ‫رقم اإليداع القانوين‪2003 /363 :‬‬
‫ميكن تصفح مجيع موضوعات اجمللة على الروابط التالية‪:‬‬
‫‪ -1‬على صفحة موقع جامعة أدرار‪https://el-hakika.univ-adrar.edu.dz :‬‬
‫‪ -2‬على صفحة البوابة اجلزائرية للمجالت العلمية ‪:ASJP‬‬
‫‪https://www.asjp.cerist.dz/en/PresentationRevue/49‬‬
‫‪ -3‬شركة املنهل )‪ )almanhal‬بدولة االمارات العربية املتحدة– ديب‬
‫‪ www.almanhal.com‬على الرابط‪:‬‬
‫=جملة‪+‬احلقيقة&‪https://platform.almanhal.com/Search/Result?q=&sf_21_0_3‬‬
‫‪ -4‬قواعد بياانت شركة عامل املعرفة للمحتوى الرقمي‪ ،‬قاعدة البياانت العربية الرقمية (معرفة) ‪(e-‬‬
‫)‪ ،marefa‬عمان – األردن‪www.e-marefa.net :‬‬
 ‫جملة احلقيقــة‬
‫جملة أكادميية حمكمة تصدر فصليا ًعن جامعة أمحد دراية‪ -‬أدرار‬
‫املجلد ‪ 22‬العدد ‪ –01‬مارس ‪ 2023‬م ‪ /‬رمضان ‪ 1444‬هــ‬

‫ه ــيئات املـ ــجلة‬

‫مديــر اجمللة‪ :‬أ د‪.‬بن عمر حممد األمني ( مدير اجلامعة)‬
‫رئيس هيئة التحريـر‪ :‬أ‪.‬د‪ /‬غيتاوي عبد القادر‬
‫هيئة التحرير‪:‬‬
‫أ‪.‬د‪/‬بومدين حممد ‪/‬جامعة أمحد دراية أدرار‪ /‬القانون العام‬ ‫‪-1‬‬
‫أ‪.‬د‪/‬لعلى بوكميش ‪/‬جامعة أمحد دراية أدرار‪ /‬علم االجتماع‬ ‫‪-2‬‬
‫أ‪.‬د‪/‬خالدي حممد األمني‪ /‬جامعة أمحد دراية أدرار‪ /‬اللغة واألدب‬ ‫‪-3‬‬
‫أ‪.‬د‪/‬مـامـي فــؤاد ‪ /‬جامعة أمحد دراية أدرار ‪ /‬اللغة االجنليزية‬ ‫‪-4‬‬
‫د‪/‬مصطفاوي سفيان ‪ /‬جامعة أمحد دراية أدرار ‪ /‬االقتصاد واإلدارة الدولية‬ ‫‪-5‬‬
‫أمائـة التحريــر‪:‬‬
‫‪ -1‬مـوحــاد مــومنـ ــة‬
‫أعضاء اهليئة العلمية للمجلة‪:‬‬
‫أوال‪ :‬من جامعة أمحد دراية أدرار‬
‫أ‪.‬د‪/‬بورصايل فوزي‪ /‬اللغة االجنليزية (اللسانيات)‬ ‫‪-1‬‬
‫أ‪.‬د‪ /‬بوهانيـة بشيـر‪ /‬اللغة االجنليزية‬ ‫‪-2‬‬
‫أ‪.‬د‪/‬عزيز مصطفاوي‪ /‬اللغة االجنليزية (األدب واحلضارة)‬ ‫‪-3‬‬
‫أ‪.‬د‪/‬بن عبد الفتاح دمحان ‪ /‬اقتصاد ومالية‬ ‫‪-4‬‬
‫أ‪.‬د‪/‬بوعزة عبد القادر‪ /‬االقتصاد القياسي‬ ‫‪-5‬‬
‫أ‪.‬د‪ /‬وانس حيي ‪ /‬القانون العام‬ ‫‪-6‬‬
‫أ‪.‬د‪/‬ابخواي دريس‪ /‬القانون اجلنائي‬ ‫‪-7‬‬
‫أ‪.‬د‪/‬فتاحي حممد ‪ /‬القانون التجاري‬ ‫‪-8‬‬
‫أ‪.‬د‪/‬أمحد جعفري‪ /‬اللسانيات واللغة‬ ‫‪-9‬‬
‫‪ -11‬أ‪.‬د‪/‬دفرور رابح ‪ /‬اللغة والدراسات القرآنية‬
‫‪ -11‬أ‪.‬د‪/‬موفق الطيب الشريف ‪ /‬الشريعة اإلسالمية‬
‫‪ -12‬أ‪.‬د‪/‬بومجعة بالل ‪ /‬االقتصاد واالقتصاد اإلسالمي‬
‫‪ -13‬أ ‪.‬د‪ /‬الشيخ ساوس‪ /‬التدقيق واحملاسبة‬
‫‪ -14‬د‪ /‬رموم حمفوظ‪ /‬التاريخ احلديث‬
‫‪ -15‬د‪ /‬مبارك جعفري‪ /‬التاريخ احلديث واملعاصر‬
‫‪ -16‬د‪ /‬جاليلي أمحد‪ /‬التاريخ‬
‫‪ -17‬د‪ /‬مسيحة دليل‪ /‬علم النفس الرتبوي‬
‫‪ -18‬د‪ /‬ابشيخ امساء‪ /‬علم اجتماع العمل‬
‫اثنيا‪ :‬من جامعات الوطن‬
‫أ‪.‬د‪/‬أقاسم قادة ‪/‬جامعة اجلزائر‪ / 3‬االقتصاد والتنمية‬ ‫‪-1‬‬
‫أ‪.‬د‪/‬خواجة عبد العزيز‪ /‬جامعة غرداية‪/‬علم االجتماع والعلوم السياسية‬ ‫‪-2‬‬
‫أ‪.‬د‪/‬حينوين رمضان ‪/‬املركز اجلامعي لتمنراست ‪ /‬اللسانيات واللغة‬ ‫‪-3‬‬
‫أ‪.‬د‪/‬شرتة خري الدين‪ -‬جامعة املسيلة‪ -‬التاريخ‬ ‫‪-4‬‬
‫أ‪.‬د‪/‬عويف عبدالكرمي ‪ /‬جامعة ابتنة ‪ 1‬احلاج خلضر ‪ /‬اللغة والدراسات القرآنية‬ ‫‪-5‬‬
‫أ‬
 ‫أ‪.‬د‪/‬قدي عبد اجمليد ‪ /‬جامعة اجلزائر‪ - 3‬األعمال واإلدارة واحملاسبة‬ ‫‪-6‬‬
‫أ‪.‬د‪/‬زايري بلقاسم ‪/‬جامعة حممد بن أمحد وهرن ‪ /2‬املالية‬ ‫‪-7‬‬
‫أ‪.‬د‪/‬عدمان مريزق ‪ /‬املدرسة العليا للتجارة‪ /‬اقتصاد ومالية‬ ‫‪-8‬‬
‫أ‪.‬د‪/‬عليان بوزاين‪ -‬جامعة ابن خلدون تيارت‪ /‬شريعة‬ ‫‪-9‬‬
‫أ‪.‬د‪/‬مصطفى عويف ‪/‬جامعة ابتنة ‪ 1‬احلاج خلضر‪ /‬علم االجتماع‬ ‫‪-10‬‬
‫أ‪.‬د‪/‬خريبش عبدالقادر‪ /‬املركز اجلامعي بتيبازة‪ /‬علم االجتماع‬ ‫‪-11‬‬
‫أ‪.‬د‪ /‬نقادي حفيظ ‪/‬جامعة طاهر موالي سعيدة ‪ /‬القانون‬ ‫‪-12‬‬
‫أ‪.‬د‪/‬محيداتو حممد انصر‪ /‬جامعة الوادي‪ /‬االقتصاد القياسي‬ ‫‪-13‬‬
‫د‪ /‬كمال سي حممد ‪ /‬املركز اجلامعي لعني تيموشنت ‪ /‬اقتصاد‬ ‫‪-14‬‬
‫د‪ /‬محادي هواري‪/‬جامعة معسكر‪ /‬فلسفة‬ ‫‪-15‬‬
‫د‪/‬حيدرة حممد‪ /‬جامعة إبن ابديس مستغامن‪ /‬فقه وأصوله‬ ‫‪-16‬‬
‫د‪/‬رابحي أمحد‪ /‬جامعة حسيبة بن بوعلي شلف‪ /‬الشريعة اإلسالمية‬ ‫‪-17‬‬
‫د‪/‬جماجي منصور‪ /‬جامعة حيي فارس ابملدية‪ /‬قانون البيئة‬ ‫‪-18‬‬
‫د‪/‬زرفة بولقواس ‪ /‬جامعة حممد خيدر بسكرة‪ /‬علم االجتماع‬ ‫‪-19‬‬
‫د‪ /‬بوزاين نصرالدين ‪ /‬جامعة قسنطينة ‪ / 3‬اإلعالم‬ ‫‪-20‬‬
‫د‪ /‬شاكر قامسي ‪ /‬جامعة الطارف‪ /‬السلوك التنظيمي وإدارة املوارد البشرية‬ ‫‪-21‬‬
‫د‪ /‬أمحد شوقي هواجلي‪ /‬جامعة حممد خيدر بسكرة ‪ /‬اللغة االجنليزية‬ ‫‪-22‬‬
‫د‪ /‬مشس ضيات خلفاوي ‪ /‬جامعة ابجي خمتار عنابة‪ /‬اإلعالم واملعلومات‬ ‫‪-23‬‬
‫د‪ /‬وهيبة دالع ‪ /‬جامعة اجلزائر ‪ / 3‬العلوم السياسية والعالقات الدولية‬ ‫‪-24‬‬

‫اثلثا‪ :‬من خارج الوطن‬

‫أ‪.‬د‪/‬عمار أوكيل ‪ /‬جامعة سلطان قابوس‪/‬سلطنة عمان‪ /‬األعمال واإلدارة‬ ‫‪-1‬‬
‫أ‪.‬د‪/‬أمحد إبراهيم حممد بين عطا‪ /‬جامعة اجلوف‪ /‬اململكة العربية السعودية‪ /‬اللغة واللغوايت‬ ‫‪-2‬‬
‫أ‪.‬د‪/‬سليمان عبدالواحد يوسف‪ /‬وزارة الرتبية والتعليم ‪ -‬مجهورية مصر العربية‪ /‬علم النفس‬ ‫‪-3‬‬
‫أ‪.‬د‪/‬البخيت مصطفى‪/‬جامعة بغداد العراق‪ /‬القانون والعلوم السياسية‬ ‫‪-4‬‬
‫أ‪.‬د‪/‬السامرائي زاهد ‪ /‬جامعة عمان العربية‪-‬األردن‪ /‬التسويق‬ ‫‪-5‬‬
‫أ‪.‬د‪/‬مرتضى عبد هللا خريي عبد هللا‪ -‬جامعة ظفار سلطنة عمان‪ /‬القانون‬ ‫‪-6‬‬
‫أ‪.‬د‪/‬مهام القوصي ‪ /‬سوراي‪ /‬القانون وتنظيم سوق األوراق املالية‬ ‫‪-7‬‬
‫أ‪.‬د‪/‬مصطفى أمحد قنرب‪ /‬قطر‪ /‬اللغة واألدب‬ ‫‪-8‬‬
‫أ‪.‬د‪/‬امحد فيصل خالد احلايك ‪ /‬األردن‪ /‬اإلدارة واحملاسبة‬ ‫‪-9‬‬
‫‪ -11‬أ‪.‬د‪/‬بن بلقاسم حلبيب ‪ /‬جامعة تونس ‪/‬علوم اإلعالم واالتصال‬
‫‪ -11‬أ‪.‬د‪/‬كيان الزبيدي ‪ /‬كلية اآلداب جامعة بغداد‪ /‬اللغة واللغوايت‬

‫ب‬
 ‫قواعــد النشـ ــر‬
‫هتتم جملة احلقيقة بنشر اإلسهام العلمي اجلامعي املتميز يف جمال العلوم اإلنسانية واالجتماعية بشىت فروعها‪.‬‬
‫تقبل للنشر الدراسات والبحوث املتخصصة وفق القواعد التالية ‪:‬‬
‫‪ -01‬أن يتسم البحث ابألصالة واإلسهام العلمي‪.‬‬
‫‪ - 02‬أن يكون املقال جديداً مل يسبق نشره لدى جهات أخرى‪ ،‬وذلك بتقدمي تعهد كتايب ممضي‪.‬‬
‫‪ -03‬ختضع مجيع املقاالت للتقييم والتحكيم العلميني‪.‬‬
‫‪ - 04‬ترسل املقاالت على عنوان اجمللة عرب البوابة اجلزائرية للمجالت العلمية فقط وهي على الرابط‪:‬‬
‫‪https://www.asjp.cerist.dz/en/PresentationRevue/49‬‬
‫الـدقيق واملؤسســة‬ ‫‪ -05‬جيـب كتابـة لقـب واسـم صـاحب املقـال مباشـرة بعـد العنـوان مــع حتديـد الدرجـة العلميـة والتخصـ‬
‫اجلامعية ورقم اهلاتف والربيد االلكرتوين‪ .‬و إرفاق السرية الذاتية العلمية لصاحب املقال‬
‫‪ -06‬جيب إرفاق عنوان املقال برتمجته إىل اللغة االجنليزية‪.‬‬
‫‪ - 07‬ال ميكن أن يتجاوز عدد مؤلفي املقال إثنني (‪ .)02‬وال ميكن إضافة عضو للمقال أو حذفه بعد تسليمه للمجلة‪،‬‬
‫‪ -08‬جيب أن حيرر املقال ويلصق يف النموذج )‪ (Template‬اخلاص مبجلة احلقيقة واملتوفر يف صفحتها على البوابة‬
‫(تعليمات للمؤلف)‬
‫‪ -09‬جيب أن ال يتجاوز املقال عشرين (‪ )20‬صفحة وال يقل عن عشر (‪ )10‬صفحات‪.‬‬
‫يانيـة (‪)08‬‬ ‫‪ -10‬جيب إرفاق املقال مبلخصني‪ :‬أحدمها ابللغة العربية واآلخر ابللغة االجنليزية‪ ،‬حبيث ال يتعـدى كـل ملخـ‬
‫أسطر كحد أقصى‪ ،‬مع الكلمات املفتاحية ابللغتني‪.‬‬
‫‪ -11‬أن حي ــرر املق ــال ب ــخط‪ Times New Roman :‬احلجــم ‪ ،12‬واهل ــامش حبجــم ‪ ، 10‬أمــا العنــاوين ف ـبخط‬
‫عريض (‪.)Bold, Gras‬‬
‫‪ -12‬أن توضع اهلوامش بصفة آلية (حواشي سفلية) جديد لكل صفحة‪.‬‬
‫‪ -13‬جيب أن يكون إعداد الصفحة كما يلي‪ :‬الفرا بني األسطر ‪1‬سم‪ ،‬وعن اليمني‪2.5‬سم‪ ،‬والباقي ‪1.5‬سم‪.‬‬
‫‪ -14‬أن حيرر املقال وفق الشروط العلمية واملنهجية‪ ،‬حبيث يتضمن‪:‬‬
‫‪ – 01‬مقدمة حتتوي اإلشكالية وعناصر املوضوع على األقل‪.‬‬
‫‪ – 02‬العرض وفق التفريع املنهجي (عناصر أساسية وأخرى فرعية أو جزئية) مرتبة ترتيباً تصاعدايً‪.‬‬
‫‪ – 03‬خامتة تتضمن نتائج البحث وليس تلخيصاً للبحث‪.‬‬
‫‪ – 04‬مصادر ومراجع البحث مرتبة يف آخر املقال وفق منهج علمي متبع‬
‫‪ -15‬اآلراء واألفكار اليت تنشر يف اجمللة ال تعرب إال عن وجهة نظر أصحاهبا‬

‫على العناوين التالية‪:‬‬ ‫االتصال ابجمللة‪:‬‬

‫‪)213(049.36.18.50‬‬ ‫‪ -1‬رقم اهلاتف‪:‬‬
‫‪ -2‬الربيد اإللكرتوين للمجلة‪el_hakika@univ-adrar.edu.dz:‬‬
‫‪ -3‬صفحة اجمللة على موقع جامعة أدرار‪https://el-hakika.univ-adrar.edu.dz :‬‬
‫‪ -4‬صفحة اجمللة على موقع البوابة اجلزائرية للمجالت العلمية‪:‬‬
‫‪https://www.asjp.cerist.dz/en/PresentationRevue/49‬‬

‫ج‬
 ‫الفهــرس العـام للعدد ‪ 01‬من اجمللد ‪ 22‬لسنة ‪2023‬‬
‫أ‬ ‫هيئات اجمللة‬
‫ج‬ ‫قواعد النشر‬
‫د‬ ‫الفهرس العام‬

‫‪22-01‬‬ ‫القوة القاهرة املؤقتة وأثرها يف تنفيذ العقد ‪ -‬دراسة مقارنة –‬ ‫ندى عبد الكاظم‬ ‫‪01‬‬
‫حسني‬
‫‪40-23‬‬ ‫ضوابط ممارسة التأمني التكافلي يف القانون اجلزائري وحتدايت تطبيقه‬ ‫عبد هللا بكراوي‬ ‫‪02‬‬
‫‪68-41‬‬ ‫االجتهاد املقاصدي بني االنضباط والتسيب " حكم احلجاب أمنوذجاً"‬ ‫ابن مبارك وهيبة‬ ‫‪03‬‬
‫‪91-69‬‬ ‫شرح جامع األمهات البن عبد السالم اهلواري‪-‬حتقيق الصواب يف عنوان الكتاب‪-‬‬ ‫أسـ ــامـة رج ـ ــم‬ ‫‪04‬‬
‫‪110-92‬‬ ‫أشكال العنف املوجه ضد املرأة اجلزائرية املعاصرة‬ ‫عبيد زرزورة‬ ‫‪05‬‬
‫التعليم االلكرتوين اجلامعي ودوره يف رفع املهارات التكنولوجية‬ ‫املدرس الدكتور تيسري‬ ‫‪06‬‬
‫‪149-111‬‬
‫فوزي رديف‬
‫أتثري اجلماعات االفرتاضية على التنشئة االجتماعية‬ ‫انصر زيبوش‬ ‫‪07‬‬
‫‪168-150‬‬
‫حممد غزايل‬
‫إشكالية إاتحة األرشيف يف البيئة الرقمية‪ :‬رؤية حتليلية‬ ‫مبارك حشاين‬ ‫‪08‬‬
‫‪190-169‬‬
‫عبد الباسط شواو‬
‫املواقع االلكرتونية للمكتبات الوطنية العربية ودورها يف تفعيل حركة الوصول احلر‬ ‫مقداد سعودي‬ ‫‪09‬‬
‫‪217-191‬‬
‫للمعلومات ‪ :‬مواقع املكتبات الوطنية لدول (تونس‪ ،‬قطر ومصر ) أمنوذجاً‬ ‫انجيـ ـ ـ ـ ــة قم ـ ـ ـ ـ ـ ـ ـ ــوح‬
‫تطبيقات التسيري االلكرتوين للواثئق األرشيفية وحتدايته أرشيف الصندوق الوطين للتقاعد‬ ‫‪10‬‬
‫‪239-218‬‬ ‫زايدي حسنية‬
‫الوكالة احمللية لوالية أدرار منوذجا‬
‫مستوى الضغط املدرك لدى األطباء واملمرضني خالل جائحة كوفيد‪( 19-‬دراسة‬ ‫بوانب نبيلة‬ ‫‪11‬‬
‫‪265-240‬‬
‫وصفية مبستشفى بشري بن انصر ومستشفى احلكيم سعدان ببسكرة)‬ ‫جابر نصر الدين‬
‫مستوى أتثري وابء كوروان كوفيد‪ 19-‬على الصحة النفسية لدى األطباء واملمرضني يف‬ ‫بوفارس عبد الرمحان‬ ‫‪12‬‬
‫‪294-266‬‬
‫اجلزائر يف ضوء بعض املتغريات الشخصية‬ ‫بوشعور زهرة نوال‬
‫السيكومرتية ملقياس االختيار الرتبوي لدى املرأة العاملة ‪-‬مستمد من بعض‬ ‫اخلصائ‬ ‫زهرة فيجل‬ ‫‪13‬‬
‫‪319-295‬‬
‫استبياانت ومقاييس االختيار الدراسي‪-‬‬ ‫عزوز كتفي‬
‫خالد بوذراع‬ ‫‪14‬‬
‫‪341-320‬‬ ‫أساليب التفكري املفضلة لدى املتفوقني واملتأخرين دراسيا من تالميذ السنة الثالثة اثنوي‬
‫عائشة بوكنوس‬
‫‪366-342‬‬ ‫األمراض واألوبئة يف اجلزائر بعد موسم احلج خالل مرحلة االستعمار الفرنسي‬ ‫خدجية حالة‬ ‫‪15‬‬
‫‪381-367‬‬ ‫دراسة حتليلية نقدية لكتاب اجلغرافيا لسرتابون "احلملة الرومانية على اجلزيرة العربية‬ ‫مالية بصال‬ ‫‪16‬‬
‫أمنوذجا"‬
‫‪399-382‬‬ ‫دور البعد الثقايف للمنهج الرتبوي يف حضارة مالك بن نيب‬ ‫نوال بناي‬ ‫‪17‬‬
‫غنية زايدي‬
‫‪426-400‬‬ ‫الباش آغا السي خالدي بن ميلود‪ ،‬زعيم أهلي يف منتصف املسافة مع الوطنية‬ ‫حممد بن داره‬ ‫‪18‬‬
‫( ‪) 1991 – 1895‬‬
Scientific journal issued quarterly by the University Ahmed Draia-Adrar-Algeria

Contact
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The Phone: 049.36.18.50 fax: (213) 049.36.18.50

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Can Browse The Magazine Topics On The Following Links:
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4- Knowledge World for Digital Content, Arab Digital Database (e-
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 EL - HAKIKA (the Truth)
Journal For Social And Human Sciences
Scientific journal issued quarterly by the University Ahmed Draia-Adrar-
Algeria
Volume 22, Issue 01, March 2023
(Issue sequence 64)

Administrative Board:
President: Prof. Ben Amar Mohammed Amine (The rector of the
University)
Vice President: Prof. Ghaitaoui Abdelkader (The vice rector of the
university charged with scientific research)
Editor: Prof. Ghaitaoui Abdelkader
Editorial Board:
1- Prof. Boumediene Mohammed
2- Prof. Boukemiche Laala
3- Prof. Kalladi Mohammed Amine
4- Prof. Mami Fouad
5- Dr .Mostéfaoui Sofiane
Editorial Secretariat :
1- Mouhad Moumna
The Scientific Committee of the Review:
First: from the Adrar University:
01- Prof. Boursali Fewzi (British Civilization).
02- Prof. Bouhania Bachir (Langue anglaise).
03- Prof. Aziz Mostefaoui (African Civilization (English))
04- Prof. Ben Abdelfattah Dahmane (Monnaie & Finances)
05- Prof. Bouazza Abdelkader (slandered economy)
06- Prof. Ouinas Yahia (Public Law, Administration)
07- Prof. Bakhouya Driss (Law, Safety Research, Criminal Law)
08- Prof. Fattahi mohammed(Commercial Law)
09- Prof. Djaafri Ahmed (Linguistics and language)
10- Prof. Rabah Dafrour (Language and Quranic Studies)
11- Prof. Moufak Tayeb Cherif (Islamic Sciences (legislation and
Law))
12- Prof. SAOUS Chiekh (Audit and Accounting)
13- Prof. Bellal Boudjemaa (Economy and Islamic Economy)
14- Dr. Ramoum Mahfoud (The Modern History)
15- Dr. Djaafri Mebarek (Modern and Contemporary, History)
16- Dr. Djellaili Ahmed (History the Middle Ages)
17- Dr. Dalile Samiha (Educational psychology)
A
 18- Dr. Bachikh Asma (Anthropology, Sociology of work)

Second: from universities across Algeria:

01- Prof. Akacem Kada (Economy and Development) University
of Algeria3
02- Pro. Khouadja AbdeLaziz (Sociology) Ghardaia University
03- Pro.Ramdane Hinouni (Language and Linguistics) University
Center Tamanrasset
04- Prof. Chatra Khiereddine (History) M’sila University
05- Prof. Aoufi Abd ekarim (Language and Quranic Studies)
University of Hadj Lakhdar -Batna 1
06- Prof. Keddi Abdelmadjid (Business, Management and
Accounting) University of Algiers 3
07- Prof. Zairi Belkacem (Finance) Mohammed ben Ahmed 2
University of Oran
08- Prof. Admen Merizek (Economy and Finance) Higher School
of Commerce
09- Prof. Bouziane Aliane (Sharia Law) University of Ibn
Khaldun Tiaret
10- Prof. Aoufi Mostafa (Sociology) University of Hadj Lakhdar -
Batna 1
11- Prof. Kheribeche Abdelkader(Sociology) University Center
Morseli Abdellah Tipaza
12- Prof. Nagdi Hafeez (Law) University of Taher Moulay Saida
13- Prof. Hamidato Mohamed Nasser (Economics and
Econometrics) Hamma Lakhdar Eloued University
14- Dr. Kamal Si Mohammed(Economics, Econometrics and
Finance)
15- Dr. Hammadi Houari (Philosophy) University of Mustapha
Stambouli Mascara
16- Dr. Haidra Mohammed (Jurisprudence and its origins)
University of Ibn Badis Mostaganem
17- Dr. RABAHI Ahmed (Sharia Law) University of Hassiba Ben
Bouali Chlef
18- Dr. Medjadji Mansour (Environmental law) University of yahia
fares Médéa
19- Dr. Zerfa Boulekouas (Sociology and Political Science)
University of Mohammed Khiedr Biskra
20- Dr. Bouziane Nasreddine (Communication) University of
Constantine 3
 21- Dr.GASMI Chaker (Organizational Behavior and Human
Resource Managem) University of Chadli Ben Djdid Eltaref
22- Dr.Hoadjli Ahmed Chaouki (Language and
Linguistics(English)) University of Mohammed Khiedr Biskra
23- Dr. Khalfallaoui Chems-Diat(Communication And Media)
University Of Badji Mokhtar Annaba
24- Wahiba Dalaa (Political Science and International Relations)
University of Algiers3
Third : from Universities outside Algeria:
01- Prof. Amar Oukil (Management science/ Operations
management) Sultan Qaboos University Muscat, Oman
02- Prof. Ahmed Ibrahim Mohamed Bani Ata(Language and
Linguistics) Al-Jouf University / Saudi Arabia
03- Prof. Yousef Sliman abdelwahed (Neuropsychology and
Physiological Psychology) Ministry of Education - Arab
Republic of Egypt
04- Prof. Mustafa al Bkeet (International law) College of Law
University of Baghdad
05- Prof. Assamarai Zahid (Marketing) Amman Arab
University of Jordan
06- Prof. Mertada Abdelah kheiri (Law) Amman Arab
University of Jordan
07- Prof. Humam Al-Qussi (Law, Business, Management and
Accounting, Business and International)
08- Prof. Moustafa Ahmed Qunbor (Linguistics (Arabic
language))
09- Prof. Ahmed Faisal Khaled Al Hayek (Management and
accounting) University Jordan
10- Prof. Ben Belkacem Habib (Media and Communication
Sciences) University of Tunis
11- 10- Prof. Kayan Ahmed Hazim Yahya Al-Zubaidi(Arabic
language (semantics)) university of Baghdad
 Editorial Guidelines:

The review of El-Hakika is dedicated for the publication of any excellent

scientific contribution in the humanities and social sciences as long as such
contributions comply with the following guidelines:
1- Any submitted draft has to be an original contribution in its
respective discipline.
2- A contribution has to be new and never submitted to (or under
consideration by) another review. This has to be ensured via a signed
contract clarifying the legal parts of each party involved (the editorial
board of the El-Hakika on the one hand, and the potential contributor
on the other)
3- All submissions undergo scientific peer-reviewing (however high
the academic position of the contributor)
4- Drafts has to be submitted electronically or sent in 3 copies to the
postal address of the review
5- A C.V. has to be attached to the proposed submission, indicating
clearly the academic position, affiliation, phone number and email,
etc...
6- Any given submission has not to exceed 20 pages in length and
never below 10.
7- Each submission has to include 2 abstracts: one in Arabic, the other
in a language different than the language of the research. Each abstract
has not to exceed 8 lines maximum .
8- In case the language of the proposed article is Arabic, the front used
has to be “Times New Roman”, size: 12. In the footnotes, the author
has to use the same front but the size has to be 10. Similarly, when the
language of the research is either French or English, the front is
“Times New Roman”, size: 12 and in the footnotes size is 10.
9- El-Hakika accepts articles using only footnotes (no endnotes)
10- The page set-up is the following: spacing between lines is 1cm, on
the right 2.5cm, and 1.5 cm on all other sides. (the reverse is true for
contributions written in either English or French)
11- Each proposed article has to be written according to the
acknowledged methodological regulations, as these contain:

D
 a- The introduction has to state clearly the problematic of the
research and the major elements of its development
b- The division of the parts of the development has to be
carried out methodologically.
c- A conclusion that underlies the major findings of the
research, not a summary.
d- A bibliography ordered according to a largely circulated
bibliographical system.

Notes:
1 – Whole opinions and ideas are published in this Journal does not reflect
only the view of the author of the article.
2 –This article presented does not return and / or appear to be published or
not published in this journal.
 General Index
Volume 22, Issue 01, March 2023

Administrative Board A
Editorial Guidelines: D
General Index F

Online Teaching During Covid-19 Pandemic

01 Soumia Makouf the Case of EFL Students at the University 427-438
of Oran
Mohammed Kamel
Teachers’ and Pupils’ Attitudes and
CHIKH 439-459
02 Dr. Mohammed Nassim
Practices towards the Use of Mother Tongue
in EFL Teaching
NEGADI
Dr. Yahya Saleh Hasan Home in the Poetry of Saudi Arabia Poets:
03 Dahāmi Ibrahim Khafaji an Example of a 460-478
Distinguished Arab
L'expérience et L'expression Contemporaine
04 TAIBI Rima de L'exil et de L'errance Comme Outil 479-492
Didactique D’apprentissage
Le texte littéraire et son potentiel
interculturel dans
05 TORCHI Feyrouz l’enseignement/apprentissage du FLE: une 493-508
perspective ascendante en didactique des
langues-cultures.
Hayat-Saïda
Identité littéraire et culturelle dans Attilah
BERRACHDI 509-517
06 Mohamed El-Badr
Fakir, les derniers jours d'un apostropheur
d’Ahmed ZITOUNI
TIRENIFI
Hadefi Fatima Zohra L’écriture djebarienne, une écriture 518-531
07 Aissa-Kolli Khaldia tourbillonnante
A qui est destiné Le Petit Prince d’Antoine
de Saint-Exupéry ? Ou une approche 532-549
08 Sidi Mohammed TALEB
phénoménologique de la lecture du Petit
Prince
l’image de l’algerie, entre discours et
YOUSFI Chakib Khalil 550-563
09 BOUTERFAS Belabes
representations dans « ce que le jour doit a la
nuit » de yasmina khadra
10 Bellakehal Abdelkader Faut-il dire:« Excusez-moi ou je m’excuse?» 564-578
 EL - HAKIKA (the Truth)
Journal for Social and Human Sciences

Volume: 22 / Issue 01 / (2023), PP:460-478

Home in the Poetry of Saudi Arabia Poets: Ibrahim

Khafaji an Example of a Distinguished Arab

Dr. Yahya Saleh Hasan Dahāmi, Associate Professor

English Department –Faculty of Science and Arts – Al Baha University,
KSA; dahami02@gmail.com
Received: 04/09/2022, Accepted: 08/12/2022, Publication: 30/03/2023
Abstract:
Arab poets legally use the phrase homeland, relying on vocabulary
that introduces both divine and physical. This is depicted in dense poetry that
is inspired by the poet's pastures and that portrays the joy of an entity's
existence. The poets gather their material and transcendent resources and
conclude by saying that the homeland is the exemption that does not allow
partnership regarding patriotism.
This study aims to shed light on some literary traits of contemporary
Saudi poetry with specific reference to the Saudi poet Ibrahim Abd Al-
Rahman Khafaji. It explicitly uses the idea of homeland as an example of
where modern Saudi poetry stands. One may say that among Arab writers,
critics, and poets, Saudi poetry is currently in a favorable situation. A brief
analysis of Glimpse at Saudi Poetry and the Conception of Home in Saudi
Poetry follows the study's introduction. The main body of the study uses a
critical-analytical approach to assess the poem ‘Hasten to Glory and
Supremacy’ (‫ارعِي ل ِْل َمجْ ِد َو ْال َع ْليَاء‬
ِ ‫س‬َ ) by Ibrahim Khafaji. The focus of the poem's
analysis is on the notion of home, which serves as its main theme. The
research concludes briefly at this point.
Keywords: Arabic literature ; Arabic poetry ; home in poetry; glory;
homeland; Kingdom of Saudi Arabia ; Saudi poetry ; supremacy.

INTRODUCTION
A human being is born with a natural love for his environment
and the people who have lived with him throughout his life. His/her
memories became an important part of his/her psychological and
intellectual development until he/she began to defend the homeland
with every available means at his/her disposal. The love of the
homeland is an innate topic, and the connection of man to his
homeland is an issue rooted in the soul because the homeland is where

460
 Home in the Poetry of Saudi Arabia Poets

hopes are planted and ambitions are expanded. The homeland is thus
the living memory of a man that makes him feel pride and dignity and
motivates him to loyalty and belonging. The homeland is an authentic
word in the Arabic language, meaning a person’s place of residence
and residential. He belongs to his homeland, whether he was born on
its land or not.

What poets write about patriotism is fertile material for lyrical

literature. The great poets invoke poems, especially the eloquent ones,
to become well-known songs later, through which the homelands
perpetuate themselves. Love is shared by feelings and standpoints
with words and actions. Affection for the homeland is an innate
human feeling that Islam has increased with emphasis, insight, and
depth, and the love of the homeland is a nature that Allah ‫ ﷻ‬has set
souls on, and an emotion that rages in the soul, like all other emotions.
The love of the homeland is a duty sanctioned by Sharia and imposed
by reality, as it is the birthplace, the stability of life, and the place of
reverence. Moreover, the love of the homeland is evidence of the
strength of attachment and sincerity of belonging.
In Arabic poetry in general and Saudi poetry in particular, the
conception of the home is structurally considerable. The poetry of
Saudi poets has been shown to be of such great prominence through
their poetry. They determine that it contains an attitude of admiration
and praise for the nation. When a poet chants about, idealizes and
points out the attraction and self-esteem of home as a pivotal poetic
manifestation, he then reveals the distinctiveness that a person thinks
through belonging to that home.

A Glance at Saudi Poetry

The Kingdom of Saudi Arabia is a significant and noteworthy
percentage of the noticeable and substantial Arabic realm. Arabic
literature, primarily poetry, was the primary of all literary forms in the
Arabic countries. In line with this notion, it is possible that the
development and success of poetry in modern Arabic literature is a
positive development. The phenomenon of ‘belonging’ is one of the

461
 Yahya Saleh Hasan Dahāmi
most important positive phenomena in modern Arabic literature, and
over the past years, it has witnessed various developments, according
to the intellectual and civilizational development that the world is
witnessing in our time. As a result, this phenomenon was named in
modern Saudi poetry, and its objective features derive from literary
research priorities concerned with keeping up with cultural
developments in direct contact with reality, thought, and events. See
more at (Al-Khawaji, 2008).

The same would be handled for current Saudi literature at that

point because it is unavoidably thought to be an essential, preeminent,
and crucial component of contemporary Saudi literature. Poems can
be categorized into categories such as sarcasm, religion, praise, heroic
poetry, and many others in Saudi Arabia. And “poetry in Saudi Arabia
is a significantly noticeable genre of literature. The prominent genres
of Arabic poetry in the Kingdom of Saudi Arabia are love, praise,
irony, sarcasm, lamentation, religious, heroic poetry, and several
others” (Dahami, 2020). Since history is a reliable eyewitness, the
renewal movements in Saudi poetry that identified with the Arab
heritage in its magnificent ages started almost in the 1960s of the 20th
century, and possibly earlier. It was accessible through the Western-
influenced renewal movements, and thus marked the beginning of the
rise of competing and occasionally at odds literary schools.

The ‘Realism Movement,’ as its followers refer to it,

recognizes the importance of upholding Islamic and Arab values and
is proud of the Arab literary tradition's preference for rhythm. It also
embraces modernity without undermining or destroying the
connection to legacy and history. Regarding the modern trend, its
proponents were unsure about how to interpret it, how to describe its
characteristics and bounds, and what belonged to it and what did not.
Because of this, their perceptions and tendencies varied, and they were
categorized, not in just one category but rather in a number of books
and studies with a range of literary and lyrical styles.

462
 Home in the Poetry of Saudi Arabia Poets

It is thought that studying Saudi Arabian literature as a whole

and Saudi poetry, especially, is crucial since Saudi Arabia's society
has seen enormous and major changes and transformations that have
allowed it to transition from a life in the desert to a contemporary one
in a matter of decades. These enormous shifts and transformations
affect not just the outwardly materialistic and economic aspects but
also the intellectual, cultural, and social spheres.

Saudi Arabian poetry evolved and advanced in accordance

with educational, social, economic, and cultural advancements as a
result of the Kingdom's development in all spheres of life. The media,
the press, radio, educational institutions, libraries, printing presses,
and other general impacts on literacy growth were just a few of the
factors that contributed to the revival of poetry. Additionally, the Holy
Qur'an, Prophet Muhammad's hadiths, and classical literature all
played a significant role in the rebirth of poetry. The Saudi poets were
particularly influential in reviving the perception, imagination,
thinking, and symbolism of classical poetry. It also covers current
literature, where the ideologies, poetic movements, and trends that
occurred in Arab nations during the contemporary renaissance, such as
migrant literature and free verse, have had an impact on Arab and
Saudi poetry. There are two main categories into which this poetry has
been divided. The first is referred to as the conservative movement,
and the second is the regeneration movement.

The Kingdom of Saudi Arabia's revival and renaissance began

with the invitation and demand of Imam Muhammad ibn
Abdul Wahhab, who greatly urged people to stand for the
unification of one strong homeland. Countless Saudi and Arab
authors and literary personalities have acknowledged the effect
of this exhortation on their eloquence, poetry, and creative
writing. The key historical and pedagogical factors and
inspirations for this comeback or revival can be identified and
easily witnessed (Dahami, 2022b).

463
 Yahya Saleh Hasan Dahāmi
Modern poets were inspired to write nationalist poetry, a
powerful form that celebrates a country's glory and its people's
excitement. The writers delighted in writing poems primarily about
Saudi Arabia and Arabs, the splendors of nationality. It is poetry,
which implies that it depicts the struggles, hardships, and concerns of
the populace. Their goals, aspirations, and analyses of these
challenges are solid, convincing, and persuasive.

The Conception of Home in Saudi Poetry:

Without a doubt, given the circumstances of the country,
current Saudi Arabian poetry expresses a sense of identity and
belonging. It stands for both the past and the present civilization, as
well as memories and aspirations for the future. Therefore, this
interpretation must have a definite and discernible influence on the
poetry of countless Saudi authors. The Saudi poets' awareness of their
love and concern for the country has taken the form of numerous
lovely and lavish demonstrations of feelings and devotion. The depths
that are planted in the middle of the kingdom are inspiring.

According to some critics, the national movement, national

interests, and affection for the homeland take up a substantial amount
of space alongside various intellectual currents until their conclusion.
Several publications opened their doors to thinkers and authors who
wanted to advance the literary revolution. Many authors, critics, and
literary giants passed up this fantastic chance to educate the public
about exciting ideas. Ibrahim Abd Al-Rahman Khafaji is one of them.
Such a poet considers his love for his nation of origin and writes of its
magnificence with the greatest meanings and the most beautiful,
accurate images.

The poems of the Saudi poets about the homeland begin with
subjective feelings that express longing and nostalgia for the
homeland. Because of their deep love for their homes, everyone has a
wealth of feelings for their country that are carried within them by the
poet. “The homeland is valuable to a person's soul, heart, spirit,
conscience, emotions, feelings, sensations, thoughts, and beliefs. The

464
 Home in the Poetry of Saudi Arabia Poets

affiliated poet is the poet who improves his poetic depiction of the
place called home” (Al-Dakhil, 2015). Nationalism is supposedly a
universal human emotion, according to many analysts, observers, and
critics.

Saudi poets appreciated creating poetry about the grandeurs of

nationalism. Nationalism is 'a spirit represented in the love of
the homeland, infatuation with it, working for it, defending it
and preserving it and running in the souls. To it, people are
endeared by self-sacrifice, surrender, and altruism. Loyalty
raises it to the ranks of the righteous and the ranks of heroes'
(Dahami, 2022; Sayed, 2006, p. 15).

Like the Saudis, the Arab poets have kept a sizable body of
original works that demonstrate their affection for their home nations.
It depicts an Arab with his motherland as a place of local loyalty. But
only a gifted poet is capable of capturing this dedication and
translating it into historical records. Everyone who values beauty and
loyalty, including poets and kings, enjoys reading poetry.

It can be used to support the language in a variety of contexts,

including praise and feelings of patriotism, as well as in both peaceful
and tumultuous periods. When the poet sings about home, loves it, and
highlights its beauty and pride, it is said that the poet captures the
identity that a person feels via belonging. The status of the country
unquestionably conveys a sense of identity and belonging in current
Saudi Arabian poetry. It stands for the civilization of the present, the
memories of the past, and the hopes for the future. Al-Atwi (2016,
2013) states that “a lofty civilization and a well-known renaissance in
the Arabian Peninsula did not arise until after the establishment of the
Saudi Kingdom” (p. 23). The term ‘homeland’ refers to the place and
things that the poet associates with his humanity, including his
dreams, suffering, and singing of his triumphs. Therefore, this
interpretation must have obvious and unmistakable effects on the
poetry of many Saudi poets. The rich and overflowing expressions of
feelings and devotion that the Saudi poets' awareness and
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 Yahya Saleh Hasan Dahāmi
consciousness of their love and affection for the country have taken
are numerous. The homeland is a source of inspiration since it exists
in the deep and is ingrained in one's innermost self.
In Khafaji's poem ‘Hasten to Glory and Supremacy’, the word
‘homeland’ is employed in an honest manner, depending on a
language that alludes to both spiritual and physical elements like the
stars, hills, sky, terrain, and valleys. This is portrayed in lush music
that was inspired by the poet's meadows and expresses an entity's joy
in its own existence. The poet gathers his material and mystical
resources. He concludes by saying that the nation is the exception and
does not accept partnership when it comes to patriotism. The critic
also observes that the concept of homeland is raised from above the
clouds and from beneath the brightness of the sun streaming across the
nation. The critic is aware of the rhythm of time. As a result, the poem
is surrounded by things that enhance it in terms of pride, dignity, and
self-indulgence as it advances under the exalted supervision of Allah.

Khafaji: The Saudi Lyric Poet on Glory Homeland

The poet and writer, Khafaji, is a brilliant person. His frequent
readings, in addition to his literary works in the areas of education and
literature, were significantly worthwhile to Khafaji. In one of the most
blessed places on earth, Makkah, he was born, schooled, and brought
up. It should be noted that this inventor had a great poetic talent that
was discovered at an early age in his life. In addition to his early
brilliance in writing lyrical texts, Khafaji's language itself is
characterized by ease, softness, and sweetness, which made his poetry
slender and capable of singing and chanting. This is what earned his
poems great fame in artistic and lyrical circles, whether in the
Kingdom of Saudi Arabia or the Arab countries, in the East and the
West.
Ibrahim Abd Al-Rahman Khafaji is revered in Saudi Arabian
songs and history and has an enduring name. His fame and position
have been resurrected in the hearts of people on the Arabian Peninsula
and a significant portion of Arab space. He has added a sizable
number of lyric poems to the canon of Saudi poetry that is sung by a

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number of legendary Saudi vocalists as well as Arabs. The majority of

the Saudi vocalists who sang his poetry shared a common love of
them, including Mohammad Abdo, Talal Maddah, and many more. A
lot of performers have reached the pinnacle of success and renown
owing to Khafaji's poetic poems. Not just Saudi vocalists, but a
number of well-known vocalists in the Arab world shared Ibrahim
Khafaji's poems. See more at (Albayan, 2017).
It is noteworthy that Ibrahim Khafaji was not only keen on the
success of his scientific and professional career but was also
passionate about literary creativity. He was known for his wonderful
ability to compose diverse lyrical poems. Perhaps the most prominent
thing that Khafaji was known for were the words of the national
anthem of the Kingdom of Saudi Arabia, which earned him a
distinguished place among the people of the Kingdom and its rulers.
His writing of the operetta (Kingdom Brides) was done at Al-
Janadriyah Festival for Heritage and Culture in its eleventh session in
1416 AH. Consequently, Khafaji won the approval, gratitude, and
appreciation of all (Ash-Shehri, 2019, p. 16).
The poet Ibrahim Khafaji exemplifies the richness and depth
of Saudi literature. His poetry stood out from other works of literature
and continues to do so because of its lovely and alluring lexicon. His
poetry is the result of feeling and emotion; it has a loving and
emotionally conscious tone. “It is poetry than prose, which is
concerned with the analysis and definition of emotion and feeling”
(Dahami, 2020b; Dahami, 2016; Russel, 1963, p. 303). The poet,
Ibrahim Khafaji, speaks about love and the motherland via his poetry
compositions, which are infused with Saudi culture and literature. In
addition, King Fahd ibn Abdul Aziz gave Khafaji the Medal of Merit
of First Class in 1985 in appreciation of his imaginative poetic
endeavors, particularly in writing the Saudi National Anthem
(Dahami, 2021; Saudi Arabia. Safārah (U.S.), 1984, p. 7).

Ibrahim Abd Al-Rahman Husain Khafaji was born in Mecca,

the holiest of places, in 1926. Khafaji is “a modern Saudi poet who
worked on defining the rhythmical poem” (Al-Fleih, 2021, p. 23) from
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 Yahya Saleh Hasan Dahāmi
Makkah Al-Mukarramah, which was once known as Al-Hijaz before
the unification of the Kingdom of Saudi Arabia. He is descended from
a family of writers and intellectuals. Ibrahim Khafaji was hailed as the
Jeweler of Saudi Song. We can also say that he is the engineer of the
Saudi lyrical song, which is noted for its references to Saudi nature.
He draws his ideas for his poems from a variety of popular
collections, including folklore melodies, particularly “the folk and
classical music” (Stanton, 2012, p. 315), and many more.

The critic and reader discover various poetic meanings

between religious poetry and sorrowful poetry in his poems when
reading them in a contemplative and reflective manner. These areas
and also social poetry attests to Ibrahim Khafaji's wide range of poetic
motivation. They differ in the variety of events and motivations that
stimulate the poet's interest and give him a wealth of connotations and
emotions that he transforms into pleasant poetry. The result is simple
connotations flowing with peace and tranquility. As we will see in the
analysis of a work of poetry in the next section of this paper, Ibrahim
Khafaji's lyrics heavily apply William Wordsworth's sentimental
concept of poetry.
Sentimental poetry accompanied the establishment of the
Saudi state and the formation of society. It records the credibility of
art that accompanied the renaissance and revealed new horizons.
Therefore, the sentimental poet - with his high transparency and
spirituality - embodies the values and their idealism in society, such as
love of the homeland and pride in belonging to it. In addition to his
sensitivity to the issues and concerns of the Arab and Islamic nations.
See more at (Al-Ghannam, 2013).
Wordsworth defines poetry as "the spontaneous overflow of
powerful feelings: it takes its origin from emotions recollected in
tranquillity" (Dahami, 2018; Waugh, 2006: 53; Blank, 1995, p. 46).
Nevertheless, we must keep in mind Wordsworth's quote, which
captures the height of emotional serenity. Poetry displays the
uncontrollable outpouring of strong emotions; it derives from
sentiments calmly gathered. Such indications are the points that the

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researcher tries to display in the poem of Khafaji ‘Hasten to Glory and

Supremacy’ (‫)سا ِر ِعي لِلْ َم ْج ِد َوالْ َعلْيَاء‬.
َ In comparison to other poets of his era,
the poet himself and his lyrical spontaneity made him a pioneer in this
area of poetry.

Khafaji struggled and called for upholding the national artistic

culture and the opening of art and literary institutions and
sought for a revival of the theater. He left a rich artistic legacy
that is echoed and preserved by generations after his passing
away. Khafaji caused and left to the new generation patriotic
literary works that preserve nearly a century's history. Khafaji
is called the master of Saudi-song-poets. He died at the age of
90 years in 2017, leaving behind a magnificent cultural and
literary legacy (Dahami, 2021).
The Poem Analysis: Hasten to Glory and Supremacy

‫َسا ِر ِعي لِلْ َم ْج ِد َوالْ َعلْيَاء‬

َّ ‫َِمِّ ِدي ِِلَالِ ِق‬
‫الس َماء‬
‫ض ْر‬
َ ‫َخ‬ْ ‫َّاق أ‬َ ‫َو ْارفَ ِع اِلَف‬
‫ُّور الْ ُم َسطَّْر‬ ِ
َ ‫ََْيم ُل الن‬
‫َرِّد ِدي هللاُ أ ْك ََب ََي َم ْو ِط ِِن‬
‫ت فَ ْخَر الْ ُمسلِ ِمني‬ ِ ِ
َ ‫َم ْوط ِِن ع ْش‬
‫ك لِْل َعلَ ْم َوالْ َوطَ ْن‬ْ ِ‫اش الْ َمل‬
َ ‫َع‬
Poetry is the food for the soul since it satisfies the mind and
heart. Poetry speaks in a higher literary language than common
speech; it expresses ideas and sentiments through the heart, mind,
feelings, and sentiments. Furthermore, poetry can be compared to
music. Additionally, there are undoubtedly more benefits to learning.
The same number of poets are available, and there are literally many
definitions of poetry. Any type of metrical production can be
considered poetry because the term is so inclusive. See more at
(Beardsworth, 2022, p. 101).

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 Yahya Saleh Hasan Dahāmi
However, it is typically used sparingly and frequently in
opposition to verse. The idea is that, while not necessarily more
serious, poetry is a better form of production. The essence of the
previous description enables readers to understand that poetry is a
more expansive arrangement of design, which implies that its impact
on language acquisition is vital and essential. It is a more expansive
framework for creating and growing information. On the other hand,
S. T. Coleridge exhorts budding poets to recall his distinction between
prose and poetry, stating that the former is the correct arrangement of
words, while the latter is the finest arrangement of words, realizing
that poetry has an advantage over prose. He says, “poetry [is] the best
words in the best order” (Mahoney, 2009, p. 11; Rosengarten, 2009, p.
1038; Coleridge, 1905, p. xxx). Here, the superiority of poetry over
prose is presented in a magnificent illustration and wonderful
comparison.
The expressions of the poem ‘Hasten to Glory and Supremacy’
(‫)سا ِر ِعي لِْل َم ْج ِد َوالْ َع ْليَاء‬
َ seem dense with glorifying connotations of the
Creator of the universe. From it, the clear reference to the holy lands
in the kingdom, the birthplace of revelation, and the origin of the
Islamic message, from which the kingdom derives its acclaim, and
through which it seeks its glory among the nations. From it, the clear
reference to the holy lands in the kingdom, the birthplace of
revelation, and the origin of the Islamic message, from which the
kingdom derives its glory, and through which it seeks its glory among
the nations. The reader also notes that the poem's words are closely
related to the style of government, so the homeland has been placed in
its Islamic circle.
)Beghoura, 2019, p. 173( ‫َسا ِر ِعي لِلْ َم ْج ِد َوالْ َعلْيَاء‬
Hasten to glory and supremacy! (Zuhur, 2011, p. 290)
To enjoy listening to great poetry, we need to find two
essential points in this sort of poetry. First, there had to be meaning,
and not just meaning, but a deep or profound connotation. The listener
and reader should understand not only the lines but also what is
between the lines. He/she might display the veil of poetry such as

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metaphor, personification, comparison, allegory, and figurative

symbols. Second, such listeners or readers also need to comprehend
the musical or poetical devices such as meter, intonation, foot, rhythm,
internal or regular rhyme, and various patterns of musical repetition.

In the first verse line of this poem, we find the poet Ibraheem
Khafaji composing emotions and sentimental pictures more than just
words. This line can be imagined as a conversation between him as a
Saudi man and his homeland, the Kingdom of Saudi Arabia.
"Conversation in the poetic text is often treated as a dramatic element
that works to highlight objectivity by presenting the content on the
lips of personalities behind whom the poetic self hides, and then it
works on the effectiveness of the narrative within the poetic work"
(Almahfali, 2020). This is what we realize in this context. The
conversation takes the nature of urging. The poet urges the homeland
to hasten in its moves and strides in order to quickly reach splendor
and sovereignty. However, of course, the land itself can never be
walked upon. So, with whom does the poet speak? No doubt, the poet
Khafaji speaks and directs his urging to the people of the kingdom,
who should work hard in every field of life to help in the progress and
development of the country. The outcome of learning and hard work,
according to the poet, is supremacy and glory that come hastily.

The official translation of the verse line is of great importance

to declare the right meaning that the poet wants people to conceive.
So, the first word indicates music and a melodious tone. The
synonyms of this word can easily be replaced with words like quick,
fast, or speed, but all of them are less musical. From here, we witness
the ingenuity of the poet in selecting and arranging his poetic words.
The line - Hasten to glory and supremacy! – presents a portrait that
has extraordinary ambitions. Such ambitions do not belong to a single
man but to the whole people of this homeland, The Kingdom of Saudi
Arabia.

471
 Yahya Saleh Hasan Dahāmi

َّ ‫َِمِّ ِدي ِِلَالِ ِق‬

‫الس َماء‬
Glorify the Creator of the heavens

The second line goes on the same track of talking with the
homeland, urging it to seek supremacy, superiority, and ascendancy.
Readers and listeners need to keep in mind the poet's wish to be true.
As previously stated, the land itself is incapable and inactive of doing
anything. However, the wish of Khafaji is connotative. The poet and
the readers know that achieving supremacy and glory can be effective
and real through the endeavors and tasks of the people on this land.
This is what can be said about the first word (‫)مِّ ِدي‬,
َِ glorify, but the
point does not end here. The main connotative idea is to whom this
glorification is directed. It is to Allah, the creator of the heavens. The
belief of the poet indicates his Islamic orientation. The Kingdom of
Saudi Arabia is an Islamic country and its people are Muslims, so it is
natural to find the poet proud of being a Muslim and Saudi. A central
issue in the matter is that the two holy mosques are Makkah and Al-
Madinah. They are central stars shining with guidance to all people,
Saudis, Arabs, and Muslims.

‫ض ْر‬
َ ‫َخ‬
ْ ‫َّاق أ‬
َ ‫َو ْارفَ ِع اِلَف‬
And raise the fluttering green,

In this line, the poet changes his opinion in his conversation

with the homeland, but the idea is still connected with the process of
glory and supremacy. At his urging, Khafaji requests the people of the
kingdom to raise the banner of the country high into the sky. A banner
or flag is a symbol of a nation’s identity. The Saudi flag is colored
green. The poet does not mention the flag directly, but it is
connotatively understood.
Personification is one of the poetic techniques. Another
interesting one is symbolism. This line can be used to create two
images. The first one is personification, in which the poet is talking to
the homeland as a person who can communicate, listen, and respond.
Another picture the poet draws concerns the green flag. Khafaji

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presents the flag as an animate creature whose heart flutters (‫)خيفق‬. The
second picture is the use of symbolism in which the poet symbolizes
the flag with its color – green. Green in this context becomes a noun
representing the flag. Not only that, but also this flag is beating and is
full of life.

‫ُّور الْ ُم َسطَّْر‬ ِ

َ ‫ََْيم ُل الن‬
Carrying the written light reflecting guidance,

The previous line - And raise the fluttering green, - is not

completely finished. We can state that this line - Carrying the written
light - is associated with the previous one. One of the most interesting
depictions is perceived from this line. The line is three words, but it
bears many connotations. The poet says in this verse, ‘Carrying the
written light reflecting guidance’. Light is a central key connotative
expression. The laymen cannot discover the depth of the meaning of
(ْْ ‫ُّور الْ ُم َسطَّر‬
َ ‫ )الن‬the written light, however, it needs a thoughtful mind to
realize that ‘the written light’ is illumination.

It is the fluttering flag that, according to the poet, can carry the
written light as an indication of enlightenment and knowledge. Here
comes the role of symbolism in which the poet refers to the written
logo on the green flag. The emblem written on the flag is ( ‫ ُُمَ َّم ٌد‬،ُ‫اّلل‬ ِ ِ
ِّ ‫آل الَهَ اِّّل‬
ِْ ‫اّلل‬
ِّ ‫‘ ) َر ُس ُول‬There is no God but Allah, Muhammad is the Messenger of
Allah’. If we remember the second poetic line - Glorify the Creator of
the heavens -, we can comprehend the connotation of this line. The
poet might declare that while glorifying the creator of all heavens
through witnessing that there is no God but Allah, Muhammad is His
Messenger. Another picture to support the idea is that glory is attached
to power. Power is symbolized in the sword drawn over the green flag
as a symbol of glory, supremacy, and power.

‫َرِّد ِدي هللاُ أ ْك ََب ََي َم ْو ِط ِِن‬

Retell - Allah is the greatest, O my country,

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 Yahya Saleh Hasan Dahāmi
Again, the poet uses personification when he speaks with the
kingdom, requesting it to repeat a religious phrase of dignity and
worthiness. The phrase, as Khafaji states, is ‘Allah the greatest'. The
end of the phrase is my country, which creates perplexity for some
listeners or readers. For some other intellectuals, the matter is
different; the speakers are all citizens of this homeland. According to
the poet, as stated in this line, repetition is perpetual for two reasons.
The first is a spiritual idea related to Islam and Muslims who always
glorify Allah at every opportunity and in every place. The second is
the measureless respect and praise of the valuable homeland, the
Kingdom of Saudi Arabia.

‫ت فَ ْخَر الْ ُمسلِ ِمني‬ ِ ِ

َ ‫َم ْوط ِِن ع ْش‬
My country, may you always live, The glory of all Muslims!

In this line, the poet shows that it is time to announce his

glowing and shining sentimental phrase about his home. It is a binary
saying; the first is a supplication to Allah to protect this great country
forever. The second is a way of informing others about the greatness
of their homeland because it is the homeland of all Muslims. If any
harm touches it, all Muslims will be soldiers to defend it. The first line
of the poem urges hastiness to take its proper glorious place among
other countries. This line seems to be a conclusion to the desire of the
poet, which has been mostly achieved.

‫ك لِلْ َعلَ ْم َوالْ َوطَ ْن‬

ْ ِ‫اش الْ َمل‬
َ ‫َع‬
Long live the King, for the flag and the homeland!

The final line of the poem indicates a triangular axiom

connecting the King, the Flag, and the kingdom. All three pivotal
symbols are proper nouns. The King is known, the flag is
distinguished for the kingdom, and the land is the Kingdom of Saudi
Arabia. Thus, it can be stated that Khafaji enjoys a distinct style that is
more analogous to classical Arabic poetry in language, terminology,
structure, portrayal, and analogy, to the extent that critics may assume
it is ancient poetry. This is due to the fact that Khafaji could spray his

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poetry with delicate and sentimental Arabic words with multifaceted

significance that could be easily picked up without consulting a
specialized language dictionary. Approximately all of the poet's
formulations contain such great language.

Recommendations
A great literary figure like Ibrahim Khafaji merits being given
the same amount of importance as the literary works he has produced
among Saudis and Arabs. He has written hundreds of lyrical poems,
but it is rare to find academic investigations, examinations, and studies
on his work in Arabic. In English, the matter is worse. Since Khafaji
was a significant literary personality who wrote a large number of
poems in a variety of genres, including astonishing lyrics, his poetry
must have been gathered, examined, and published. It is recommended
that the different literary productions of Khafaji need to be given
suitable care. Due to the importance of examining the depth of Saudi
literature in English, which presents an untapped well, various
research on this topic needs to be conducted.

CONCLUSION
The impressive lyrical poem 'Hasten to glory and supremacy'
serves as an emblem of affection, joy, and belonging on the occasions
of national poets and their celebrations of achievements at all levels in
a great nation like the Kingdom of Saudi Arabia. The lyrical poem's
true patriotic utterance and delightful melody have made it eternal
since its inception, demonstrating the creative poem's leadership in
framing the Saudi song's identity during one of its golden times. This
work's foundation was an examination and analysis of Ibrahim
Khafaji's verse lines, who is credited with creating modern Saudi
Arabian sung poems for the country. The study attempted to shed light
on the significance of Saudi poetry by showcasing its vivacity and
originality. The study also tried to rapidly place poetry in the
Kingdom of Saudi Arabia as the Arab country that is actively
developing and encouraging education, literature, and culture, in
addition to modern poets and literary leaders. Ibrahim Khafaji is one

475
 Yahya Saleh Hasan Dahāmi
of them; he worked assiduously to improve modern Saudi poetry and
elevate the nation.
The poem was written by Khafaji in a spirit of respect for his
country. He uses creative and significant language, as seen in the song
'Hasten to glory and supremacy'. It is possible to get the conclusion
that Khafaji's skill and aptitude in utilizing poetry to praise his
illustrious motherland, the kingdom of Saudi Arabia, had substantial
and noticeable consequences after evaluating and examining the
poem's chosen poetic lines. As per the analytical study enlighten, the
document followed a reasonable manner and involved some
considerable Saudi lyrical poetry points. The analyzed piece of poetry
by Khafaji is a poem, an example of numerous Saudi poems glorifying
their homeland. 'Hasten to glory and supremacy' depicts clear
standards, illustrations, and significance toward the revitalization and
renewal of modern Saudi poetry in the contemporary phase of
development.

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