The Abdulaziz Saud Albabtain Cultural Foundation continues its activities in the 19th edition of its poetic creativity awards, titled the "Poet Abdulaziz Saud Albabtain Session," renewing its commitment to Arabic poetry and creativity. On the afternoon of the second day, the second literary panel about the late poet Abdulaziz Saud Albabtain was held, featuring speakers Dr. Nour Al-Huda Badees from Tunisia, Dr. Salem Khadadah from Kuwait, and chaired by Dr. Me’jib Al-Adwani.

Dr. Al-Adwani welcomed the elite of writers, poets, and thinkers in attendance, adding: "On behalf of all of you and myself, allow me to extend my greetings to Saud Abdulaziz Albabtain, Chairman of the Board of Trustees of the Abdulaziz Saud Albabtain Cultural Foundation, and the family of the late poet, for continuing their beloved father’s legacy of supporting poetry and poets across the Arab world." Dr. Al-Adwani expressed his delight at having the honor of chairing this panel.

The panel commenced with a paper by Dr. Nour Al-Hadi Badees, titled "The Linguistic Fabric in the Poetry of Abdulaziz Saud Albabtain." She began by addressing some stylistic and linguistic phenomena found in Abdulaziz Saud Albabtain’s poetry. She also emphasized that the late Abdulaziz Albabtain maintained a deep connection to the authenticity of poetry and the Arab registry, thereby emphasizing his commitment to the various artistic standards and aesthetics inherent in traditional poetry. His rootedness remained in classical poetry, particularly the vertical or traditional form, which holds great pride for the Arab nation.

Dr. Badees explained that the central theme of most of Abdulaziz Saud Albabtain’s poems is the concept of the journey, viewed as a crossing of boundaries and limitations—whether in time or space. The journey seeks to embrace the poetic expression, thus reflecting a close connection between the poet’s journey through time and space and his journey within the poetic realm. A closer examination of the collection of poems linked to the journey reveals a smooth style that resonates with the heart and ears effortlessly.

She added, "As for the phenomenon of repetition in Abdulaziz Saud Albabtain’s poetry, it wasn’t merely for the sake of repetition. Rather, it was a poetic method chosen by the poet to ensure the cohesion of the text and enrich the internal rhythm of the poem. Repetition served as a choice in the poet's structural design and a tool for conveying meaning, enabling the poet to articulate his expression and allowing the reader to grasp the poetic meanings of the text. The linguistic fabric, built on both verbal and thematic repetition, contributes to highlighting the poet’s experience."

Dr. Nour Al-Huda Badees concluded her research paper, emphasizing that these stylistic phenomena—such as thresholds, repetition, intertextuality, dialogue, and narrative—contributed to giving Abdulaziz Saud Albabtain’s experience a distinct creative dimension, making us reject the notion of describing it as a traditional experience.

Dr. Salem Khadadah presented a paper titled "The Structure of Rhythm in Abdulaziz Saud Albabtain’s Poetry," examining the artistic imagery of rhythmic structure through four key elements: meter, rhyme, parallelism, near-parallelism, and rhythmic intertextuality. He emphasized, based on his research, the consistency with which Albabtain adhered to the principles of classical Arabic poetry and his use of traditional poetic meters.

Dr. Khadadah explained that the rhyme letters in Albabtain’s three collections of poetry varied; some poems had rhymes with two letters, while others featured rhymes with three letters. Regarding voiced consonants in the poet’s works, they were prevalent, reflecting Albabtain’s tendency to emphasize the rhyme, ensuring its desired impact on the audience.

Khadadah concluded his paper, emphasizing his focus on the concept of rhythmic intertextuality in Albabtain’s poetry, where it intertwines with other texts. He noted that Albabtain constructs his poems with a rhythmic structure rooted in the rhythms of well-known poems, reflecting his deep affection for both classical and contemporary poetry.