A study of the Conceptual metaphor in Visual Composition in the poems of Ali Jaafar al-Allaqh, for example

The new poem expresses its meaning through different symbols and forms. The poet borrows several ways with great skill to tell what is on his mind, from which he makes an architectural poem on which he builds his expressive production and links between its linguistic system and its geometric form in a way that cannot be separated from each other so that the visual image next to the text system becomes two sides of the same coin. This makes the reader see its transition from the audible to the visual side. Thus, he made a poem with an interpretive text that exercises its suggestive work through these changes until this poem, in its written form, became a practical element that contributes to the production of significance and meaning. This research sheds light on the phenomenon of visual formation, but from a different vision from its predecessors, through the lens of  Thematic metaphor, where we took models from the poems of the Iraqi poet Ali Jaafar Al-Alaq based on the descriptive analytical method to analyze this study. The results indicate that each rule of this phenomenon called visual formation is an allegorical expression that takes its conceptual format to express the concept that the poet wanted as a soul that embodies the interaction in his poem to give its words a kinetic aspect to that written in it. It was also found that visual metaphors, visual metaphors, and sensory-motor inferences are among the most potent metaphors that can be coordinated in the visible form in the narrative poem. The classification categories, our inherent predictions between the structure of the lyrics and the punctuation marks, and the metaphors of the form discussed by Lakoff & Johnson were close to the visual and kinetic incarnations reflected in the form of the poems.