The Spiritual and Aesthetic Values in the Poem “On the Carpet of Longing” by the Poet Jalal Guessabi -Stylistic approach –
DOI:https://doi-001.org/1025/17688006802839
Dr. Samia Ghechir
University of Hassiba Ben Bouali, Chlef (Algeria)
Dr. Akila Zemouri
University of Nour Al-Bachir, Al-Bayadh (Algeria)
Linguistics and Literature Laboratory
Dr. Safa Medjahed
University of Tahri Mohamed, Bechar (Algeria)
Dr. Fatima Abderrahmane
University of Hassiba Ben Bouali, Chlef (Algeria)
Received: 10.04.2025, Accepted: 02.08.2025, Published: 19.01.2026
Abstract:
This article aims to explore the spiritual and aesthetic values in the poem “On the Carpet of Longing” by Algerian poet Jalal Guessabi, which is a deeply spiritual experience, rich in moral values and religious rituals associated with the memory of the Prophet’s birthday. The poet also excelled in praising the Prophet, relying on innovative techniques in language, poetic imagery, symbolism, and rhythm, thus creating a different poetic experience in expression, imagery, and poetic creation.
Keywords: Spiritual values, aesthetics, experience, on the carpet of longing, the Prophet’s birthday.
1- Introduction:
Poetry is one of the most accessible, influential, and aesthetic arts for depicting human feelings, states, and appearances, as it enjoys special techniques of language, poetic imagery, and music that penetrate the essence of souls, engage in dialogue with the self, and establish remarkable experiences. It encapsulates the psychological and artistic impact of a particular era, as the poet is the messenger of humanity, the bearer of messages of happiness, hope, joy, and truth.
The theme of the poem “On the Carpet of Longing” by Algerian poet Jalal Guessabi falls within the theme of prophetic praise and love for the Messenger, the best of creation and the example for all worlds, Muhammad al-Siddiq. In it, the poet highlights his intense mystical love for the Messenger of God, describing his characteristics and morals, and emphasizing the sanctity, generosity, and miracles of the Holy Quran, which God revealed to His noble Prophet.
In the poem, images, letters, and sounds come together in lavish intimacy, painting a picture steeped in the wonder of the letters and the majesty of the meaning, purposeful in its lofty messages, distinguished in its artistic form characterized by power and depth, and eloquent and powerful in its wording.
Based on the above, we will attempt to answer the following two questions in our stylistic approach: How are spiritual values manifested in the poem “On the Carpet of Longing”? What aesthetics does it contain?
2- Definition of prophetic praise:
It is a poetic genre that has been popular since the Abbasid era and has spread widely in our current era. It is based on mentioning the virtues and good deeds and praising the beautiful qualities of a noble Islamic personality embedded in the collective consciousness, which influences individuals of different ages, colors, and ethnicity, based on the words of Allah, “Indeed, you have in the Messenger of Allah a good example for those who hope for Allah and the Last Day and remember Allah often” [Al-Ahzab: 21].
3- Spiritual values in the poem “On the Carpet of Longing”:
The poem is rich with a set of spiritual values that the poet instilled in his poem in celebration of this important occasion for Muslims. The poet aims to fill his poem with these values to reinforce the principles of solidarity, mutual affection, and love, and to follow the example of the Prophet, peace be upon him, his noble biography, and his enlightening guidance. The poet excelled in the art of praising the Prophet and wrote many poems, including: ” On the Banks of Memory,“ ”Prophet of Mercy,“ and ”What Was Revealed in the Light.” He also qualified for the finals of the Katara competition for poets of the Prophet in Qatar.
Everything has value, whether positive or negative, and many fields have focused on defining the concept of value, most notably the social and humanitarian fields, as it is considered “the only way out of chaos, for the existence of moral standards in all aspects of our lives brings us out of chaos and randomness.”1 Spiritual values are manifested in:
3-1- Mentioning the Prophet’s deeds and beautiful qualities:
The poems of praise focused on following the Islamic religious approach, which establishes moral, Islamic, and human principles and values. This type of poetry endears young people to the character of the Prophet Muhammad and encourages them to follow his example in both form and substance. and thus preserve the Holy Quran and protect individuals from moral corruption and assimilation into foreign cultures, especially in light of what Arab societies are witnessing in the era of globalization in terms of the destruction of their symbols of identity, religion, and language.
The poet says:
To the Prophet who adopted the universe with his wisdom
When time became a market of deception
If I say light, there are no lights to explain it,
for the sun sets and the Guide is eternal.
If I say cloud, the cloud was an echo
of the eye’s gaze when he walked in his robes.
If I say fragrance, tell me how to describe it,
O poetry, say it with lofty sentences.
The poet is deeply influenced by the character of the Prophet, his deeds, and his noble qualities, likening him to the most eloquent, beautiful, and noble attributes. He is the eternal sun that shines on humanity, showering it with warmth, love, and tenderness. He is the cloud that rains down moral virtues and noble principles as he walks among people in his finest attire. He is like a fragrance with his sweet scent and beautiful spirit. The biography of the Messenger is beyond the power of poetry to write and express, for it is a biography steeped in generosity, purity, and purity, deserving of greatness, reverence, and celebration. We must teach this biography to new generations and raise them to love this man, who is unmatched in his qualities, his positions, and his conduct.
3-2- Strengthening human relations among Muslims and healing wounds and sorrows:
The occasion of the Prophet’s birthday is an important occasion in the lives of Muslims for celebration and social solidarity, and for strengthening the bonds of love, brotherhood, and affection. Poetry has conveyed beautiful images of Muslims coming together and gathering around tables of mercy. and we have seen the joy, happiness, and satisfaction on their faces, for this occasion revives souls and spirits. The poet says:
“And carry the heart like a lantern, wandering among
souls that have been troubled by afflictions.
Return to life and teach us how to live,
for sorrow has left us at the bottom of the mountain.
The hearts are filled with ancient sorrow,
and fear is shattered in a world without reason.
These verses convey the greatness, holiness, and generosity of the noble Messenger, who was a shining light for humanity and a cure for various illnesses, ailments, and psychological and spiritual problems. The poet addresses the Prophet in a passionate plea full of longing, hope, and love for him to return to a life that has become empty of substance, bankrupt, stripped of its beauty, and distorted by the perversion of things. Sadness has taken hold of us and pain has overwhelmed us. Mercy and blessing have disappeared. Jerusalem, Yemen, Iraq, and many Arab cities have been lost, children have been orphaned and displaced, and many dreams and hopes have been lost in silent, usurped Arab homelands. He asks him to shower us once again with the spiritual blessings and Ramadan prayers that deliver humanity from its sins, corruption, and injustices, and elevate it to the heights of goodness, righteousness, and success in this world and the hereafter. May affliction, fear, and anxiety disappear, and may humanity be transported from a dark and gloomy world to one of greater clarity, purity, and holiness.
4 –Stylistic structures in the poem “On the Carpet of Longing”:
The stylistic approach examines the artistic structures and aesthetic values of literary texts, as well as approaching the poet’s emotional experience, which is manifested in:
4-1- The title:
The title is the first threshold for entering the literary text, as it is linked to the meanings and connotations of the text. No creative work is complete without it, It “occupies a special strategic position, overseeing the text, ensuring its unity and preventing it from disintegrating and dissolving into other texts, like the flag that flies above an official institution. It is the first printed and prominent phrase in the book2.”
The title usually carries an ideological connotation related to the body of the text, expressing various meanings and multiple connotations, and is the first gateway to understanding ideas, visions, and perceptions. In the poem, the title (a semi-sentence) consists of three words: on, carpet, longing, which has a religious connotation that reveals the poet’s sacred divine love, his sincere emotional journey filled with feelings of love, loyalty, devotion, and devotion to the Prophet, and his mystical love for him, using the symbol of wine in the word (thaml), which suggests intense intoxication and constant remembrance of the beloved, in addition to guidance from his holy book, the Qur’an, which was revealed to him on Monday of Ramadan in the cave of Hira, leading people from misguidance to guidance and from ignorance to enlightenment.
The title is imbued with religious significance, calling for adherence to sound Islamic principles and following in the footsteps of the Prophet Muhammad, whose noble values and principles guide people to the right path, freeing them from a life of misguidance and loss, It frees them from the gloom of materialistic life and leads them to the light of God and transcendence through unity with Him.
4-2- Poetic language:
Poetic language refers to “the energy and creativity of a poem, and its artistic potential, which, if we attempt to analyze it in detail, includes poetic images, musical images, and human experience3.”
The language of the poem reveals the poet’s strong influence by Islamic religious culture, as he uses words from the Holy Quran. This highlights his strong religiosity, his religious orientation, and the purpose of praising the Prophet, for which he is known in his poetry. One of the most dominant themes in the collection is the ethics associated with the Prophet, which the poet uses to encourage people to adhere to the noble values found in the Holy Quran and to follow the noble ethics that characterized our venerable Prophet. Among the most prominent terms that fall within the theme of ethics are: “Prophet, guide, revelation, praise be to God, intercede, Jerusalem, Messenger of God, goodness, patience, and messengers.”
The poet relied on direct language in some places and symbolic, suggestive language in many places of a religious nature, characterized by the power and grandeur of the words and the depth of their meanings, charged with supplication, sincerity, and intense spiritual identification with the Messenger of God, calling on people to follow his path, adhere to his qualities, and learn from his shining prophetic biography. He employed innovative words that reveal his broad imagination and his ability to adapt language and discover its new possibilities. “She welcomes ink with hugs and kisses, gray hair appeared, Muhammad, O gathering of beauty in language, when she wore the cloak of beauty in language, the gazelle of love grazes in the intoxicating hay, and the Tigris of goodness has turned gray from boredom, The determination was at the bottom of the mountain, when I came to water the herd of patience from my camels…”
The words of the poem are characterized by precision and power, contributing to the conveyance of the deep meanings that the poet aims to convey. They are also characterized by their richness and their multiple references (religious, natural, and mystical), in order to activate the passionate discourse and urge people to be moved by the heroism, attitudes, and qualities of the Prophet of Guidance, the Messenger of Humanity, all of which are sublime and profound messages that have a strong and significant impact on the soul and conscience.
It is clear that the precise, authentic, explicit, and powerful words of the poems have a great emotional, psychological, and human impact, calling for joy, hope, and faith, and instilling in us noble values and beautiful attitudes. They contain reminders and admonitions, and heroism and lessons that elevate the human spirit, lead it to the paths of worship and forgiving religion, and free it from the captivity of a dark and deadly materialistic life.
“I rejoice as I run, and memories pull at my hands.
Praise be to God that the secret has been revealed to me.
Muhammad, O gathering of the universe in language,
the drums of passion beat in the presence of ideals.
When I donned the “burda” of tender dreams,
I began to write with the feeling of my shame.
My father forbade me to remain silent, except to extend my blood
to your crowded shadows to intercede for me.”
These verses are a spiritual monologue, presented by the poet to express his intense mystical attachment to the Prophet Muhammad. This love is what drives the writer to write, inspires him, and captivates his thoughts, memories, and feelings. He sacrifices his blood, breath, and pen, seeking salvation from the monotony and ugliness of life, seeking refuge in him to find intercession on the Day of Judgment.
4-3- The aesthetics of music:
Rhythm plays a prominent role in the success of communication and the establishment of aesthetic impact. The meters used vary depending on the style and general meaning of the subject. Some rely on simple meters, while others prefer complex meters, with the meter taking its meaning from the main theme of the poem.
Rhythm has an artistic and aesthetic effect on the poetic text, as it adds musical tones and melodies. It is considered “the effect that is transmitted to the sensitive recipient, who feels an internal movement with growing vitality that gives the movement sequence its own melody by imparting certain characteristics to the elements of the movement mass.”4
4-3- A. External rhythm:
The poet usually chooses a meter that is appropriate for the psychological state he presents in his poem and the subject matter he addresses. The aesthetics of rhythm are revealed through the emotional flow it imparts, through which the poet expresses his emotional experience.
Now I attribute this dream to honey
The gazelle of love grazes in the intoxicating grass
Now I attribute this dream to the gazelle of love
/0/0//0///0/0/0/0///0
Mustaf’alun fa’alun mustaf’alun fa’alun
The gazelle of love grazes in the intoxicating grass
//0//0/0//0/0/0//0///0
mutaf’alun fa’alun mustaf’alun fa’alun
The poem was affected by zehaf al-khabn (deletion of the second consonant)
Mustaf’alun Mutaf’alun/ Fa’alun F’alun
The rhyme: Mili (/0/0), which came out as absolute, resulting from the poet’s liberation from everything that hinders his expression. His love for the Prophet gave him the space to express himself and describe, using various expressive words and graphic images.
The rhyme: (L), which is a voiced letter, adds an aesthetic tone and a musical cadence. It is (L) of attachment, indicating the poet’s attachment to the Messenger, his intense love for him to the point of annihilation in his adoration, his identification with his image, and the intensity of his longing and yearning for him.
The poet relied on the simple meter in his poem, which is one of the compound meters, and is the most suitable for expressing psychological emotions and strong feelings, in addition to presenting the psychological, human, and moral influences that the noble Prophet instills in the hearts of Muslims, his miracles and great heroism, and his fragrant biography.
4-3- B. Internal rhythm:
Internal rhythm is usually generated by the contact, juxtaposition, and solidarity of sounds. The internal music in the poem is manifested in several artistic phenomena that contributed to the generation of aesthetic musical tones and the formation of a warm musical melody. Among the most prominent of these phenomena are:
-Repetition:
One of the most prominent stylistic structures that appeared in the poem, which gave it an aesthetic rhythmic resonance and a warm musicality. Repetition is one of the tools that achieve the structural consistency of the text, where something is usually repeated to indicate its importance in the context of the speech.
Verbs, nouns, and letters are repeated in the poem, including the verb “I said” to indicate urgency and intense demand, and the desire to know and clarify the matter. The word “poetry” is also repeated to indicate the poet’s use of his sincere words to praise and sing the praises of the Messenger.
We note the repetition of the letter “L” in the poem, which signifies attachment, and I used it to indicate the poet’s emotional, spiritual, and psychological attachment to the noble Messenger. The letter “G” is also repeated frequently in the poem, signifying strength, grandeur, and severity.
We also note the repetition of the letter “R” which is considered a voiced consonant, as the letter ‘R’ indicates repetition and movement. The letter “S” is also repeated, which is a voiceless consonant and indicates ease: smoothness, softness, whispering, and lowering. The letter “N” , which is one of the voiced letters, is also repeated, conveying the meaning of supplication on the one hand, and on the other hand, the meanings of burning desire, longing, and nostalgia. The poems are dominated by the sounds of supplication, invocation, and entreaty, reflecting the poet’s emotion in expressing his sincere feelings for the noble Prophet, his emulation of him, and his adherence to his qualities.
Internal rhythm is also generated by artistic phenomena that help create aesthetic musical tones and add a warm musical melody. Among the most prominent of these aesthetic phenomena are:
-Alliteration:
Alliteration is a verbal embellishment that usually occurs at the beginning of a poem, as we see in the opening lines of this poem:
Now I liken this dream to honey
The gazelle of love grazes in the intoxicating grass
This adds an aesthetic effect, a musical tone, and a sense of depth.
We also find the long vowel “ya” in the poem, which has contributed to making the rhythm more extended and helped to lengthen the musical breath. The long vowels have given the poetic passages a kind of musical slowness, or what is described as musical relaxation.
4-4- Semantic aesthetics:
The creative text is rich in a series of rhetorical and artistic images that constitute its meaning. “The study of images occupies the first place in stylistic studies, and we must distinguish within which criterion this study is part of the stylistics of expression or the stylistics of the individual.”5
4-4- A. Semantic fields:
The semantic fields in the poem are distributed across numerous fields that shape the poet’s vision and diverse culture. These fields vary between happiness and hope, sadness and pessimism. Among the most prominent of these fields are:
– The field of religion: Among the words that refer to it are: “Muhammad, Messenger of God, praise be to God, revelation, prophet, Burda, the guide, Jerusalem, the messengers, goodness, death, patience…”
– The field of love: Terms associated with this field include: “love, embraces, kisses, tenderness, longing, passion, wandering, yearning…”
– The field of humanity: Among the words that refer to it, we find: “eyes, tears, intuition, turned away, my blood I said, obsession, I run, my hands, laugh, walk, write, with feeling, breasts, child, taught, see into souls…”
– The field of nature: Among the words that refer to it are: “gazelle, lightning, darkness, green, valley of the sun, water, falcon, mountain, water, my camels…”
It is clear that the field of religion (Islam) was more common and dominant, given the poem’s connection to a religious theme, which is love for the Prophet (peace be upon him), Sufism in his love, and the presentation of his illustrious biography, his humanity, and his mission to unite people under the banner of Islam. The poem carries values, lessons, and morals, as well as noble ethics that enrich humanity and elevate it in every place and time.
4-4- B. Poetic imagery:
Poets found refuge in imagery, and contemporary poetry became an imaginary world dense with figurative language, given its significant role in creating the poetic nature of the text. Among the most prominent figures of speech found frequently in the poem are metaphors and similes. The following are some examples:
– Metaphor:
The poet uses a number of metaphors in the poem, believing in the beautiful magic that this figurative style adds in stimulating the mind of the recipient and prompting them to visualize and interpret. Metaphors play a major role in creating a poetic atmosphere that enhances the message to be conveyed. Among the metaphors we noticed are: “The gazelle of love grazes in the intoxicating hay, I began to write with feeling out of shyness The ink is received with embraces and kisses, giving birth to green tears in rhyme, And my questions walk hurriedly, for I have seen whiteness wearing my clothes, Sorrows suffocate it, the soul sees, for I came to the herd of patience from my camels, and the Tigris of goodness has grown old from boredom, I write with feeling out of my shyness…”
– Simile: Simile is one of the most prominent figures of speech that contribute to stimulating the mind and bringing meanings closer together. It appears in the poem in two forms: eloquent and additional. Among the most prominent similes are: “The gazelle of love, and the guide is the eternal one, Muhammad in the gathering of decisiveness in language, the Tigris of goodness, it is the spirit that suppresses the jar of hope…”
It is clear from the figures of speech used that they carry beautiful descriptions and images, and a fascination with the splendor of Islam, the greatness of its message, the strength of Muhammad’s character, his courage, his bravery, his stances, and his righteous character.
– Intertextuality:
Intertextuality is one of the aesthetic techniques celebrated in contemporary poetry. It is based on overlapping and dialoguing with ancient traditional texts in order to add an aesthetic character to the texts, enrich and strengthen them, and deepen their meanings. It reproduces a new text that overlaps with literary works and dialogues with sacred religious books, folk heritage, history, and mythical and mystical symbols. Intertextuality is a bridge that connects new texts with ancient texts, enriching and enhancing them, and increasing their power, beauty, and meaning.
The poet intertextualizes with the famous poem Al-Burda (Bint Su’ad) by the poet of the Prophet, Ka’b bin Zuhair, which is the most famous poem written in love for the Prophet. He also evoked its events and the story of the Prophet Muhammad with Ka’b, when he gave him his cloak, from which the story spread and became a reference for many poets.
The poet not only referred to this historical religious event, but also composed his poem in the same meter as the poem and recited it as it appears in Ka’b’s Burda.
The poet says:
“Bint Su’ad” and her curricula still
welcome ink with embraces and kisses
When Burda donned her dreamy tenderness,
I began to write with the feeling of my shame.”
The poet also evoked the event of the revelation to the Messenger, peace be upon him, in Ramadan, by Gabriel, peace be upon him, in the holy month of Ramadan.
The poet says:
Bring the revelation from the valley of longing so
that you may cast your staff upon the meaning without fear.
4-5- Syntactic level:
Nominal sentences predominate over verbal sentences in the poem, due to the fixed nature of the descriptions. The poet is describing the greatness of the Prophet Muhammad and his great miracles in life (those who wander in search of meaning have discovered it, and a child clutching a loaf of bread, so excuse me, Messenger of God… Excuse me, the soul sees and the servant is powerless, for sadness has overtaken us at the foot of the mountain…)
We also find verbs in the poem, which suggest movement and the continuation of the action
and the specific human conditions it conveys (appeared, said, flashes, gives birth, rejoiced, refused, I see you carrying, return, spent, brought forward…)
4-5- A- Anticipation and delay:
The phenomena of advancement and delay are prominent features in contemporary poetry, due to the aesthetic value and artistic touch that these two techniques add to the text. “Advancement and delay are a source of many benefits, numerous virtues, offers great flexibility, has far-reaching implications, never ceases to amaze you with its beauty, leads you to delicacy, and continues to present you with poetry that pleases your ear and delights your heart.”6
Contemporary poets deliberately shift and break the structural order of the sentence through fronting and backstopping. Usually, a word is fronted because of its importance in the context of the sentence and its deep connection to the body of the text. Delaying a word is due to its lack of importance in the sentence structure. Advancement and delay dominate most of the verses of the poem. The poet usually advances the clause and delays the verbs to honor and magnify the status and value of the Messenger and his position among the people. Examples of this include: To the prophet who adopted the universe with his wisdom, every possibility I see today sets me free, to your shadows crowded to intercede for me, on the souls that cried out from affliction…”
What we noticed in the poem is the presentation of the circumstances of time before the verb and the subject, because the poet is narrating real details and events and showing the greatness of our Prophet Muhammad, peace be upon him, and his immediate desire for spiritual communication with him. Examples of this include: (Now I liken this dream to honey, as I came to water the herd of patience from my camels…)
The strategy of presentation and delay contributes to stimulating the reader’s mind, tickling their senses, and prompting them to interpret the sentence and understand the shift in its structure in order to comprehend the poet’s reason for resorting to it.
5- Conclusion:
After delving stylistically into the poem “On the Carpet of Longing” by the Algerian poet Jalal Guessabi, we noticed his intense love for the Prophet Muhammad, his intense loyalty to him, his praise of his qualities and characteristics, and his noble attitudes. His feelings varied between love, longing, and joy on the one hand, and sadness, pain, sorrow, and anguish on the other. He also presented a series of spiritual values in which he praised the character of the Messenger and extolled his physical and moral qualities. He also highlighted the importance of this great occasion in the hearts of Algerians and Muslims, and their celebration of it every year.
The title carried great semantic momentum and opened up to religious references. The poet tended to adhere to the rules of prosody, sticking to meter, rhyme, and rhythm, and employed various rhetorical devices and evocative language leaning toward poetry and symbolism in order to achieve poetic experimentation. He also diversified his semantic fields, with a clear emphasis on religion, due to his connection to the religious theme of “love for the Prophet and singing his praises.” Syntactic shifts are also evident, as the poet deliberately breaks with standard sentence structure in most of the poem’s verses.
6– Search margins:
- Various authors: Al-Qayyim fi al-Dhahira al-Ijtima’iyya (The Curator of Social Phenomena), House al-Bachir for Culture and Science, Egypt, 1st edition, 2011, p. 46.
- Al-Tahir Rawaniya, “The Poetic Role of the Initial Letter in the Structure of Ancient Arabic Narrative,” Semiotics and Literary Text, Proceedings of the Conference of the Institute of Arabic Language and Literature, University of Annaba, May 1995, p. 141.
- Al-Said Al-Warki: The Language of Modern Arabic Poetry: Its Artistic Elements and Creative Energies, House Al-Nahda Al-Arabiya, Lebanon, 3rd edition, 1984, p. 321.
- Muhammad Sabir Obeid – Faisal Saleh Al-Qaisari: The World of Nidal Al-Qasim Al-Shari, Dhafaf Publications, Beirut, Lebanon, 1st edition, 2008, p. 96.
- Pierre Giro: Stylistics, Translated by Munther Ayashi, House Al-Hassoub Publishing House, Aleppo, Syria, 2nd edition, 1994, p. 66.
- Abd al-Qahir al-Jurjani: Dalail al-I’jaz (Signs of the Miraculous), edited by Mahmoud Muhammad Shaker, Al-Khanji Library – Al-Madani Press, Cairo, Egypt (n.d.), 2008, p. 33.
• List of sources and references:
- The Holy Quran
A. Sources:
1. Jalal Guessabi: Poem on the Carpet of Longing.
B. References:
1. Pierre Giro: Stylistics, translated by Munther Ayashi, Dar Al-Hassoub Publishing House, Aleppo, Syria, 2nd edition, 1994.
2– Al-Said Al-Warki: The Language of Modern Arabic Poetry: Its Artistic Elements and Creative Potentials, House Al-Nahda Al-Arabiya, Lebanon, 3rd edition, 1984.
3– Al-Tahir Ruwaniya, The Poetic Nature of the Dal in the Structure of the Introduction to Ancient Arabic Narrative, Semiotics and Literary Text, Proceedings of the Conference of the Institute of Arabic Language and Literature, University of Annaba, May 1995.
4– Abd al-Qahir al-Jurjani, Signs of the Miraculous, edited by Mahmoud Muhammad Shaker, Al-Khanji Library – Al-Madani Press, Cairo, Egypt, (n.p.), 2008.
5– Various authors: The Value of Social Phenomena,House al-Bachir for Culture and Science, Egypt, 1st edition, 2011, p. 46.
6– Muhammad Sabir Obeid – Faisal Saleh Al-Qaisari: The World of Nidal Al-Qasim Al-Shari, Dhafaf Publications, Beirut, Lebanon, 1st edition, 2008.