Baby hair. | Dr. Al-Dawy Muhammad al-Dawwi

The first thing we think about is the songs that we sing for children in our different Arab environments (only the song comes out of hair) we sing for them and they forget about it, and if they don't know what it means, they forget about it, and so we can find all the sound we want for them when they're old, the popular songs, or the fantasies.
In response to this question, we must point out that poetry derives from what it is, according to the French architecture, John Quinn - from the fact that he crosses the daily words, at two levels: voice and meaning, on the one hand, poetry includes a certain rhythm system (the poetic weights) which does not have this system for daily concussions (which represent the initial or standard level of language), and from the point of view of poetry. These are also not available for daily talk.
This makes the core function of the poetry language a beauty function that focuses first on the structure of the text itself, rather than on its cognitive performance, which is the purpose of the language at its initial level (day dialogues).
If we move into a special form of poetry, which is presented to children, the recipient (child) of the recipient (the adult human) must redefine what hair and its role.
On the one hand, children ' s hair is not kept in the same sense, so there is no difference between adult hair and child hair at the sound level, with the child ' s rhythms being glorified if it is presented to children (with the frequency of the use of child hair and the simple and emotional patterns that are fit for children, such as rhythm.
On the one hand, poetry: while hair generally plays a beautiful role, children ' s hair has to play a dual role, both beautiful and cognitive, because adult hair is directed at a person who does not change knowledge in poetic texts, to the extent that it does not want to be aesthetic, but the child is begging to transfer knowledge to him with a variety of haircuts.
Children ' s poetry, as well as aesthetic construction, must go from its content towards a knowledgeable purpose, and the knowledge content may override the aesthetic performance, bearing in mind that poetic formulation does not fall to the news level of the daily word language, and is not merely to complete with the aesthetic function in a way that ignores the knowledge and educational dimension of child-oriented hair.
Thus, the knowledge or educational content of children ' s hair, including the definition of the world in its various affairs and components, is unknown to the child and its knowledge adds to new information and awareness dimensions, such as the definition of the surrounding nature, emotions and others, and the details of simple and spectacular life, but all of this must be a masculine beauty that transforms all of these knowledge into abularities.
The poet, writing children ' s hair, must, according to that cognitive purpose, summon a set of goals to be achieved -- some or all -- by the child ' s depth of the child ' s relationship to the artifact of 80, which is the language of his or her vocabulary, and the creation of new language skills, which, in addition to his or her general mental and psychological abilities, as the child ' s guardian ' s imagination.

If we come to talk about the history of children ' s poetry in Arab literature, the children are relatively modern in our literature, the Arab poets of the nineteenth century are drawn from their pursuit of European morals, particularly the book of Lafotine, which was written by the French poet Jean de Lavontin.
Among the first tribes of Arab children in Egypt, Mohamed Osman Jalal (1828-1898), Ibrahim al-Arab (1863-1927), Ahmed Shoqi (1868-1932), Mohamed Al Harawi (1885-1939) and in other Arab countries, the Iraqi poet known as Rasafah (1877-1945), the Lebanese poet Jibrán Al-Nahas (1882-1954) and others.
Hamid Othman Jalal was published in 1989. The first book of "The Eyes of the Yellows" was published in 1894, and the knowledge glasses of the Lafontine tale were issued in '98.
It's like Muhammad Al-Harawai, and it's their finest and mature children's hair. «Sameer the baby.» Children and girls from the publications of the Comité de l ' Entrepreneurship, Translation and Publishing of Egypt, which include the child ' s Sameer for boys in three parts and the child ' s Sameer for girls in three parts, in 1923. «The sun of sacrifice.» In 1938, the Abulu al-Adiba group in Egypt was published in its literary magazine (which was issued between 1932 and 1934) under the " Children ' s poetry " door, including the Suai Muhammad Sabah, Barakat Muhammad, Ali Abd al-Amir ' and Kamal Kilani (Hadi Yan al-Haiti: former, S212).
In 1970, Arab poets who wrote poets of Iraqi children were known as Razabi (1877–1945), whose office was issued in 1910, including a number of poems directed at children, and the Lebanese poet Jibraan al-Nahassahs (1882—1954), who issued a Diwan al-Basr al-Sa`idiyah al-Sharqabah and theat al-Sulayun.
As we follow from the pioneers ' attempts, the stories of Lavontin, which were folders of poetry on the tongue of animals, have had a great impact on the formation of children ' s hair in modern Arab literature, as the poetry began to be treated with the stories of Lavontin, from which the beauty came after them in writing this hair, so that would add to the haircut.
In addition to these other types of hair for children, children ' s hair may be a song, an anthem, an orbreet, a musical, a poetry story, and other different forms of poetry (Ahmed Najib: children ' s literature, science and art, Arab think tank, Cairo, 1991, p. 150).
Children ' s poetry in our modern Arab literature has not stopped at the radar, and many generations have followed up on our Arab poets, who write this poetry, such as Ahmed Swilm, Ahmed Fazul, Ahmed Bakhit (Egypt), Jamal Ali (Palestine), Al-Naslam (Iraq) and others. In addition, these generations have been motivated by the publication of children ' s poetry, which has been published as well as well as well as child writing.
In conclusion, children ' s hair must be more marked by basic features: children ' s hair must be shaped and guaranteed with the levels of moral, mental, emotional and social development of children, because every stage of childhood is the appropriate hair, the poetry language is simple, and the gravity of children ' s passion and sense of humour is available, and the images of children ' s hearts and passions.