Fatna, in the language of education and the dialect of civilization. And here, in the poetry of the Jamdab, we have poetry like that, which is modern poetry. By this, we mean poetry from the 1950s of the last century to the early 1970s. We have named it, due to its words, vocabulary, rhythm, and music, as light lyrical poetry, or "teema" or "awdaa". Its artistic purposes include what we mentioned as partial poetry, dealing with satire, or realistic poetry that describes some of people's lives. There is also "shir al-seera," which is a type of light lyrical poetry specific to women. Jamdab Poetry: The most famous poets of the region, known for their poetry, some of which was satirical and some satirical, not in support of criticism, nor a rejection of it. A part of it was lyrical poetry. Among these is the poet Miska al-Badan, from the village of Jabal Kalbi. She emerged and did not retreat, and passed away in the 1960s of the last century. She had many exchanges with the poets of her time. Her poetry was bold in its assessment, satirical of certain behaviors. She lived through the eras of the Turks, the Mahdia, and perhaps the earlier Turkish period as well. She used to compare herself to the "Bama" and call the members of her society "Bama soldiers," and portray herself as they passed by her. People feared her sharp tongue. She lived concurrently with the famous poet Mashahi and they would exchange poetry, which was in the form of debates. She would say, and Mashahi would reply, or vice versa. Some of this poetry advised against weeping. Many people refrained from reciting this poetry to us for social reasons, and we only obtained a little of it. The reluctance of these people to recite this poetry caused us to miss an important aspect of the nature of poetry and social life in the region. Mashahi is Mashahi bint Hamad. It seems her origin was from Al-Maqasir, but she lived and died in Al-Hamdab. The "shalub" (a type of scarification) of the path of the statues. And the telegram, a reading of the era. And "alzaq" (a type of adornment) "Tawfa" (a name) is a transformation. Or it was said of one of them: "Al-Yassi" (a name) "Siyan" (a name) "Ta'ami" (my food). And I ascend in the garment of the angels. And the palace begins with the story of lovers of a beautiful woman from Hali Mali, wearing earrings. And the poet's "daree" (a type of adornment) in his land, his beloved, says the "haiqooma" (a type of bird), and compares her "shalookh" (scars) to the road that the poet is in the land, and she has a bottle, and through them, we are not distracted. What draws our attention is that all these things, even the car road, happened to the poet. Therefore, he embodies them in his poetry, even if he distorts them or almost does. And in his opinion, he has compared his beloved with the most modern comparisons that no other girl shares with her. 82 The poetry we have collected in the Jamdab region is part of the poetry of the Shawa'iqiyya. And the sayings mentioned are from the poetry of the Shawa'iqiyya, and contemporary poetry from the 1980s of the last century to the present day is added to it. And the old poetry of the Jamdab which may date back to the 19th century, or its end at the very least. Most people, we found little poetry that could represent the period after World War I or the beginning of the last century. And among those who were active from the beginning of the 20th century to its middle, and we heard here a strange response, which is characterized by strength of expression, beauty of style, and good composition most of the time, and its freedom from foreign words and vocabulary. As for contemporary poetry, it is easy, closer to understanding and comprehension, and close to city poetry, and most of it was influenced. - 101 -- 10 -82 Ahmed Othman Ibrahim, op. cit., p. 5