هذا القسم يحتوي علي العديدمن المصادر التي تختص بالشعر وعلومه.

يصعب تعريف الشعر بطريقة تشمل أنواعه في مختلف اللغات، لكن هناك عدد من التعريفات التي قد تعطي معنى متكاملاً عن ماهية الشعر. عُرّف الشعر بأنه كلام موزون مقفىّ (للشعر العربي)، دالٌ على معنى، ويكون أكثر من بيت، ويشمل هذا التعريف النظم. وقال بعضهم: هو الكلام الذي قصد إلى وزنه وتقفيته قصداً أولياً، فأما ما جاء عفو الخاطر من كلام لم يقصد به الشعر فلا يقال له شعر، وإن كان موزونا. وقد عرفه ابن خلدون بأنه: «هو الكلام البليغ المبني على الاستعارة والأوصاف، المفصل بأجزاء متفقة في الوزن والروي، مستقل كل جزء منها في غرضه ومقصده عما قبله وبعده، الجاري على أساليب العرب المخصوصة به». الشعر: هو شكل من أشكال الفن الأدبي في اللغة التي تستخدم الجمالية والصفات بالإضافة إلى أو بدلاً من معنى الموضوع الواضح. قد تكون كتابة الشعر بشكل مستقل، وقصائد متميزة، أو قد تحدث جنبا إلى جنب مع الفنون الأخرى، كما في الدراما الشعرية، التراتيل، النصوص الشعرية، أو شعر النثر. أما من الناحية المعنوية فإن الشعر هو العِلم.

Poetry (derived from the Greek poiesis, "making") is a form of literature that uses aesthetic and rhythmic qualities of language—such as phonaesthetics, sound symbolism, and metre—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning.

Poetry has a long history dating back to prehistoric times with hunting poetry in Africa, and to panegyric and elegiac court poetry of the empires of the Nile, Niger, and Volta River valleys.[4] Some of the earliest written poetry in Africa is found among the Pyramid Texts written during the 25th century BCE. The earliest Western Asian epic poetry, the Epic of Gilgamesh, was written in Sumerian.

Early poems in the Eurasian continent evolved from folk songs such as the Chinese Shijing; or from a need to retell oral epics, as with the Sanskrit Vedas, the Zoroastrian Gathas, and the Homeric epics, the Iliad and the Odyssey. Ancient Greek attempts to define poetry, such as Aristotle's Poetics, focused on the uses of speech in rhetoric, drama, song, and comedy. Later attempts concentrated on features such as repetition, verse form, and rhyme, and emphasized the aesthetics which distinguish poetry from more objectively-informative prosaic writing.

Poetry uses forms and conventions to suggest differential interpretation to words, or to evoke emotive responses. Devices such as assonance, alliteration, onomatopoeia, and rhythm are sometimes used to achieve musical or incantatory effects. The use of ambiguity, symbolism, irony, and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations. Similarly, figures of speech such as metaphor, simile, and metonymy[5] create a resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between individual verses, in their patterns of rhyme or rhythm.

Some poetry types are specific to particular cultures and genres and respond to characteristics of the language in which the poet writes. Readers accustomed to identifying poetry with Dante, Goethe, Mickiewicz, or Rumi may think of it as written in lines based on rhyme and regular meter. There are, however, traditions, such as Biblical poetry, that use other means to create rhythm and euphony. Much modern poetry reflects a critique of poetic tradition,[6] testing the principle of euphony itself or altogether forgoing rhyme or set rhythm.[7][8] In today's increasingly globalized world, poets often adapt forms, styles, and techniques from diverse cultures and languages.

Contents
1                                                      History
1.1                                   Western traditions
1.2    20th-century and 21st-century disputes
2                                                      Elements
2.1                                                   Prosody
2.1.1                                                Rhythm
2.1.2                                                Meter
2.1.3                                Metrical patterns
2.2                   Rhyme, alliteration, assonance
2.2.1                                Rhyming schemes
2.3                                           Form in poetry
2.3.1                                Lines and stanzas
2.3.2                                Visual presentation
2.4                                                   Diction
3                                                      Forms
3.1                                                   Sonnet
3.2                                                           Shi
3.3                                                   Villanelle
3.4                                                   Limerick
3.5                                                   Tanka
3.6                                                   Haiku
3.7                                                   Khlong
3.7.1                                Khlong si suphap
3.8                                                           Ode
3.9                                                   Ghazal
4                                                      Genres
4.1                                           Narrative poetry
4.2                                           Lyric poetry
4.3                                           Epic poetry
4.4                                           Satirical poetry
4.5                                                   Elegy
4.6                                           Verse fable
4.7                                           Dramatic poetry
4.8                                   Speculative poetry
4.9                                           Prose poetry
4.10                                         Light poetry
4.11                                         Slam poetry
 

A text-book for the study of poetry

he purpose of this book is not to furnish instruction in
the art of verse-making, but rather to set forth the fundamental principles of criticism by which to form some estimate of acknowledged poetry. It h3s been truly said that
in order to judge a poem, it is first necessary to enjoy it.
This susceptibility to poetry, so far as it is communicable
at all, must come from contact with the living teacher, and
neither this nor 3ny other book is calculated to aw3ken it.
But once 3wakened the taste ma y be educated, as it may
be vitiated; it ma y be developed, controlled, directed into
right channels; and this ma y be done efficaciously, by principles and precepts, provided that they are not learned as
abstractions, but- tested and realized in the student's own
reading. 

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