The aesthetics of poetic formation according to Al-Sarraj Al-Baghdadi in his book The Lovers’ Gladiator

The poetry of Al-Sarraj shows the aesthetic structural levels that the poet distinguished in his presentation of spin and lineage, and his style emerged clearly across those levels and includes the research plan of a preface dedicated to the poet's biography and his description of his book and four studies, the first for the formal formation, the second for the linguistic formation, the third for the morphological formation and the fourth for the phonemic formation. The sensual and graphic images reflected the psychological worlds of the poet. He also employed some morphological formulas to show the beauty of the beloved and the hardship of the lover, as the poet more than the methods of request, formulas of the increase, the past verb and the matter to broadcast worries and complain about the singing of conscience. The diversity of the fixed and variable rhythmic formation and occupied a full position and the light rhythmic structure to accommodate the various emotions and the rhyme of Mem, Lam, Kaf, and Raa took the forefront of its strength and loudness, while the Fatha movement topped the verses of Al-Sarraj for the multiplicity of past verbs, effects, adverbs, and manner of kindness. The poet also decorated the changing rhythm with contrast, alliteration and repetition. As for the poet's style, it is traditional, emulating that of Omar bin Abi Rabi'a and Abu Nawas. His style was characterized by honesty, clarity, simplicity, and the choice of balanced weights and rhymes.