Hairworms did not feel strange in the library. They are those who believe that they have a private and warm voice that is quiet or loud in the spirit of poets. They collect symbols based on indexing and classification criteria. When we enter the Library we are naturally aware that they belong to certain shelves, they are consistent with their geography and history.

This is what we see in public libraries, but we also find other models of poetry book incubators - books and studies - such as the library being fully designed for poetry, as is the case in the Baptist Library of the sister State of Kuwait. A special approach has been taken by the Majidah Centre for Culture and Heritage, providing poetry to a number of libraries, the Arab Hair Library, the Hair Library of the United Arab Emirates, the poet ' s library of Nazar Qabani, and the poet ' s library of Hamid Khalifa Bouhab, which is a library of personal books, which has been set up by scientists.

The poetry libraries have emerged from the interest of His Excellency Al-Majad, who, since the founding of the great cultural vocabulary, has sought to take care of the creative literary product, because of the voice of poetry and the fact and depth of his message.

These libraries are very important in research and reading. Many studies are based on the idea of poetry, the study of topics addressed by Arab and Arab Emirates poems. A number of university messages have been discussed between masters and doctorates on the basis of those libraries, and the Centre also plays an active role in strengthening the Library through the poetic events it has held, poetic evenings and dialogue sessions with poets, as well. «Prospects of culture and heritage» It is the Centre ' s authoritative scientific journal, which carries among its numbers research on poetry and monetary issues, as well as investigations of old poetry logo, and it will now come from poetic libraries at the Centre.

Hamad Khalifa Bo Shahab Library

He is the poet and representative of the United Arab Emirates, known as Hazar al-Shadi, born in 1932m in Ajman, and learned in her books and schools. He was the first to submit poetry boards through Kuwait Television from Dubai in 1971, the first to publish popular poetry in the daily press through the Journal since 1981, the most notable of which was written. «Our heritage of popular hair.»I'm sorry.

The Centre included a part of our poet ' s library, with about 727 titles, whose concerns were reflected in most literature, religion and history.

The work of this library has been one of the most interesting experiences I have had, with the opportunity to look closely at the contents of the Library, accompanied by the professors of the researcher and historian Ali Al-Mamroshi and the researcher, Ms. Abdullah al-Mahiri, who had written books and a collection of poetic books, writing his daily life notes and putting his comments on books.

Nazar Qaban Library

The Library has a story that was preserved by the memory of His Excellency the Majidah and the staff of the Centre at the time. The poet Nazar Qabani visited the Mojadah al-Majdah centre on 6 December 1994, when he received the Cultural and Scientific Achievement Award at the Sultan Bin Ali Al-Awes Cultural Foundation, and was a building in the guest of the Shari Sultan al-Aouis who told him about the Centre and asked him to visit him. Nazar was impressed by the location, the library, the services of researchers, and, according to His Excellency the Majidah, Nazar Kabbani asked him if his books were in the centre. He was very pleased when he saw a collection of his books, then travelled to Beirut and shipped the Library for the rest of his publications. It was then developed by the people on the premises, and each new book from a Spanish butcher is now being added to this library. «Wartimes: a poetic veteran inspired by the fire of the present war and the euphoria of the arrogant, arrogant humanity.»It was published in 1941m. «She told me the brown one.»- Hair, published in 1944.

Chibani Library

The Centre ' s library also includes a library of another poet, Mohamed Sharif al-Shibani, a poet and a date of death in 1998, serving as Secretary of a public library in Abu Dhabi, who has turbines in 20 books. The Library ' s acquisitions varied between printed books, documents, correspondence, audio recordings and poet photographs. In the library, we found audio recordings in the poet ' s voice reading pawns for mosque collectors, documents of which are related to its work in the Library, and the Centre will now use these documents for issuance in a special book on poetic librarians.

Arab Hair Library

In general, Arab poetry has a library called the Arab Hair Library, a specialized library of all poetry and poetry, with approximately 13,000 titles of which more than 500 books of printers, such as a book. «Eyes, preachers, statues and preachers.»The library provided extensive research services to researchers from within and outside the State and some interested in issuing poetry.

Other specialized libraries

In 2011, H.E. Al-Majdah raised another group of specialized libraries at the Centre, including: the palm library, the diving library, the U.S. poetry library (the poeming house), which was opened the same year with the generous sponsorship of Ma ' ajda al-Majad and with the presence of a number of directors of cultural institutions, poets and interested persons. The library was established to serve Arab poetry researchers.

The Library includes both poetry and public, poetry studies and poetry in the United Arab Emirates, as well as a list of poetry names and works to facilitate researchers, and the Library works on enhanced poetry events for the research role of sources and references, including at its opening ceremony the hosting of the two great poets, Rabib Bin Yagot, Rahmah Allah, Rashid Shaharar, and the honour of the United Arab Emirates.

These are the libraries that have been clearly depicted or possessed by poets, and it is not limited to these libraries; because the Centre also includes books on the slogans of other cultures and diverse languages, and includes a special section on poetry-related university messages, and this interest will not cease, so God will keep the place in keeping with the creativity of the ocean.

I was supposed to be at the Paris National Library looking for a manuscript. othèque nationale de France."
The presentation was for a map designer named Cissy Lupé, which inspired the technical partnership between the Ukrainian artist Sonia Dillonai and the famous Roman poet Tristan Tazara, and even stepped on their path, with the development of tools, where the elements were merged, produced dresses from paper, tower, poems, drawings and fabrics from crying napkins and hairs thrown under the windows.

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.

«And we're a regular supervisory ride.
Yeah, the perfume is fate without us.
We may have taken the afternoon of the poor to school.
It has the prophecy of God's religion to show us.»I'm sorry.

This regular portal is not just an individual enlargement of poetry, its emotional repercussions that may sometimes go behind a collective formula in trying to hide, kill, wear lustious language masks and engage in traffic, as far as it is publicized with the community ' s desire and self-interest;
Moritaini, of course, is not satisfied to be less vibrant than his treacherous deserts on her face, that extends further as he speaks of her, or summons her as an alien in one of his winter nights, and this is the secret of our armour and its frostbite cloth, it's not just a cloth of glory and a rash.
Even the tables we're offering to the guests, they have to be a steamer with everything that's delicious and redundant, not only to eat, but to keep food forever. «You're alive.»I'm sorry.
The only thing we've failed to deal with is time.
I once thought I'd say to Nikos' wife as Zantzakis when she made a shocking language - in his report to Greco - about his desire to go down to the street to beg half an hour of transit, to keep his business. To tell her, we would have given him our half-lives and killed the rest with friends, or rather to say it to my tastes, which have once been broken, and she's enthusiasming the shrines of the Zoraba novel writer's widow through his wonders.
Suddenly, I felt a linguistic impulse and a trophy that guides me to another time we borrowed from the fourth dimension, which is poetry.
"I promise you the ugly
"You have Ahmad Muttar."
Oh, my God, grave. Tonight Ahmed comes down with his brother's perfume!
She wasn't allowed to say any more, and the woman we had, especially at that time, has no right to more than two lines, and this poetic pattern is called "bearing," which is only for women, and it was not fit to say the name of her disabled, but she did a habitual exit, and she went out of customs and what she was dictated to trust women.
But when did we start saying poetry?
This question is surprising, no one knows when the poet arrived, where the first poet was born, or how he died. «Kuwait» The country writes a report on the national situation that arises at that time, seven years after our independence and from hanging to an Islamic Republic with various ethnicities and diverse cultures, from the river to the desert.
The motive for the launching of this stereotypical title is that the magazine ' s delegation, from this vocal influx of bananas and this mass inspiration of poets, even the noble pastoralists give their lives the meaning of the time, the touching of trees in their crucible friendships, their only improvised flavors, the flavored flares, and here.
Moritanics still deal with the activation with extreme ridicule, and they're just mental schizophrenia and exaggerated laughter.
«If the poet didn't shake you when he heard it,
It's not free to say:»I'm sorry.
That doesn't mean that sudden exceptions did not take the hairy scene there. At the beginning of the nineteenth century, a poetic voice emerged from the mainstream and the public, blocking a path away from the ancestors, but it's the voice of an eternal cheek that never lasted, cried once and then erased.
«You idiot!
Threatening to a point where he didn't cry.
I'm done saying poem.
I'm early. I'm aware of the view.»I'm sorry.
This classical voice is Sidi Mohamed Ben Sheikh Sidia, who is the first call to remove the austered language clothing, and to fake a new, soft spot, not crying, and not vomiting on the bodies of the previous texts, after which the appeal that has not lasted long has been interrupted, because it is not based on a radical attitude of calcification, and editor.
The situation then continued, until poetic voices emerged in the twentieth century, in different moods, incessant harbours and a new language on space there, among these poets Ahmed Ould Abdelkader, born in 1941, whose ship was splintered by the flames of that raging poetic sea, with the applause of art and its enlargement.
"We left as our parents were leaving.
And here we go,
As our grandparents were liberating...
The sand bat tells us:
- Wow.
Your ship has lifted all the halls...
In particular, it has not been revealed in depth, but has been floating on the surface, preoccupied with national issues, alienism outside Mauritanian geography, and it is abhorrent to the ancient artifacts of Mauritanism, which has been crafted by the Sunshine, and whose al-Sharaq al-Sharbiyah al-Murbiyah al-Sharqah al-Sharbiyah al-Ayyadah al-Mahbiyah al-Qudah al-Mah al-Mah al-Mah al-Qudahbiyah al-Mah al-Mah al-Mah al-Mah al-Mah al-Qudah, who was born in the al-Mu`idah al-Aqah al-Mah al-Mah al-Mah al-Aqah al-Mah al-Mah al-Mah al-Mah al-Mu`idah al-Mah al-Mah al-Mah al-Mah al-Mah al-Mah al-Mah al-Mah al-
It's not just a spectacular world, despite its great contributions, other voices have been infiltrating the scene, and the fact that, in spite of the few years, there's been some kind of vocal musical, which, in spite of the greatness of the greatness of the young people, has lost their lives and distributed them to their flimsy clubs.
Indeed, the clubs are no longer present in the scene, but members of the founders continue to be deeply rooted in their poetry and creative projects, including Sheikh Noah, Mulay Ali al-Hassan, Jakiti Sheikh Suk, Mohammed Al-Mumu, Osman Bonn Omar Lee and Khalil Mohamed.
In spite of the women ' s voices, much remains to be remembered, since the 1990s, Dr. Mubarak Bint Al-Bara, the throne has been steep in the throne, and it can be said that there are whispering voices, the scripture of the woman ' s vocal vocabulary, and then, for social reasons, the presence of the woman ' s culture, the poetry, the poetry has disappeared.
With regard to criticism, he was unable to keep up with the Mauritanian poem for purely social reasons, basket fears that emanate from the misery of the incubator and the destination. Every poet there represents his side, his social incubator, every criticism directed at a poet, an arrow that penetrates the body of the incubator, a tribe or a destination.
And this is the secret of enthusiasm and intense vote in TV contests.
Because the title is not for poets, not for Mauritania, but for the history of ancestors and their hilly grandparents: "The Earth is a people, the people of Earth, the poets..."

You can imagine as a council of a prince or successor who has given up to poetry, but this scene has been preceded by a lot of experiments that have stirred the poet's return and removed his talent, and it may be confused by a display of his hair on the lanterns, and then by a long way, he'll be removed from his family's business like he's been waiting.

Award

The literary awards have been a remarkable feature of this era, and only a city of culturally interested vegetables has a prize or prize, whose work mechanisms and interest are different, their financial and literary values are different, poetic awards in the Arab world have the attention, care and follow-up to their news, races and end-of-the-families are understandable.

Says son of a perspective. «Arab tongue.» In the first place, "The Prize: The Attah" was given by a number of words, and he wanted to speak for more than one, and in our present he was not far from the naked, and if the paint had evolved and changed, many literary people would go to being a natural development called by the movement of the days to give away the hair.

Different roses.

Our master Omar, in his article to the daughter of Harm Bennan, gave a word and a poet's destiny, and his satisfaction was in front of a poet in poetry, and Zahir Harem was praised by a grandson, gave a hierarchy to a moron, each one to the other, and they were both worthy of the Budd, and then one token of the honour.

And I didn't want to spend the debt that was kidnapped.
He doesn't know what he's doing.

My broser wants to wear his poem at the end, as stated in the house, the memory of what has been given to you by the gifts of the Flora of the Floor, the broser sees a false eye, and our Lord Omar says, "but what he has given you is not forgotten," and he has taken this, and he has given us a certain exchange of experience, and he has given us a certain message.

Flowers are not only money taken by the recipients, but the literary addition and the driving force of the poet in the sky of fame and starvation. Winning a prize of value that shines light on the poet and opens the door to the bank to participate in the great festivals, quickly makes it necessary in the evenings of poetry, draws the eyes of critics and those interested in it, and the very good hairs.

Entry instrument

One of the most important terms of professional trust is that the headmaster in the poem, the specialty and the insight, and the value of the prize rises only with those.

I appeal to report:

All of them, Mother of Prophets... and nights I'm measured by the slowness of the universe.

Hasan said he went halfway.

Then he said a mountain to hang:

You had a heart in Al-Husan, arrogance... with the young man's promise being flawed.

So Hassan said he went to my other half, said to me:

Hossan stepped up and appealed, and he was given three hundred dinars, and he was... and the news is long.

And for you, the boards of princes and successors were councils of the parents of the language, science and poets, in which only those tested were found, and only those who had hair and ears were sitting there.

A compass.

With the nature of the boards with scientists and language parents, they have begun to determine the transit routes for gaining the (wass) data that pass through the language and literature portal and the preponderance of a society that includes the Mummator, which has created a new pressure on the poet, or whether you're as close as a machete who makes the others in the mall. «Arab literature history» The sign speaks. And I'm going to say, "Languans have become hairy in this afternoon, who's got his name on it, and then you're going to have to hear it again."

Then why the princes grabbed the hair, barred the hair, left each other's hair, went some other stuff, said the good sign of Abdullah in his good book. «Guide» Speaking of the crocodile poem, "why did you take poets in systems like gamblings, puzzles and steams, until the prophet poem got up, she was a poetry lady."

Take and give.

While the prizes have been determined by the dominant hair link in the majority of times, and have made the flow of certain channels with which they are more dependent than insurgents, the hair is required, the poets and their news are of interest, so that the technical value of the hair is significantly linked to the end of the poetry, as well as the trophies now.

Alfred Hitchcock, the famous British director and producer, says, "The movies are the reality after we take it off, that is, they're the opposite of reality, and because I'm convinced that poetry meets with Louis Burgess in that it's "famous and unidentified" is the kind of thing that's different, like they're gonna be, like, "fine and hair,"

However, as I say this, I must put in two important notes: first, I do not believe in saying the intrusion of races, because the same interference with the nature of any literary or artistic race, there is no crucifixion that is completely free of the narrative, image or drama, nor is there a crude-free movie, so it is the fabric of hair, or the opposite. The movies. In her natural vest. By swim. With or against objective reality, The poet. Looks like The diver. In it, so poetic cinemas are deeper than movies in their traditional shape as a reality carrier.

The second observation is that when I talk about the hair relationship with the movies or the opposite, I don't mean the poem or the part of the poem that arrives to turn into a movie, not the scene where I can get a haircut.

We note that the cinema, without being in this particular area resulting from this convergence, is no more than being skilled only in entertainment and entertainment, as well as poetry, whose role is no greater than the role of the veteran or the sinner, to assert that art, art, consciousness, creativity and destruction may cause a loss and destruction.

As a dynamite poet, I find me, despite me, reading poets only as a cinema witness, and watching movies only as a hairdresser, I can't read the piano of Ben Bird, for example, and it describes the sound of the eagle out of the bow:

Also, I can't see the hold of the airborne grape in the iron door in the final scene after he was abducted, it's like a dream world, a long-distance cord, with his hard-won, sick, hard-won, but I can read this fascinating psychotic phrase, or I can't help it. «A failed attempt.» Because it stems from the fragile dream world in exchange for strong, objective reality.

If the word in the poem can bring us a whole movie scene, see, for example, that the spectacular image made by the sperm, when the army is stalking its enemy, it's not like the army is flying in the sky, but it's going through the country, and it's never been raining.

The prophet says:

You're going through the ryan horse.

It's got nothing to do with it.

An army like you're in a land you're dealing with.

The Earth is not mother and army. I don't.

If he's ever known, he's never learned.

And if he's gone, he's never learned.

I say, if in the poem, words can convey to us a whole movie scene, the movie scene can also say a poetry phrase without words, see, for example, the image created by the Swedish director, an ingasm, in spite of his great film, the seventh seal, which tells the mountain knight of my cross back from one of the crusades not to see the truth. This clown is the one who lives and does not ask, amazed at those tortured who have lost life in search of its meaning.

In that particular area, from the shining hair of that new creature, we see the different beauty that makes the surprise of giving out what we feel, and we can't express it, so we can't get a sense of humor, and we can't find a word of love in the Austrian film, Michael Heinki, or "amour,"

And in conclusion, maybe because I'm a poet, I don't look at poetry as a literary or craft-friendly type, but I look at it, and I look at poetry in essence, not in words, poetry, which is the opposite science, not the system, which is the opposite of masculinity, the father of arts, or it's a higher end for all artists, running away, not in all human arts.