The Arabic poetry collection in the pre-Islamic era abounds in various colors of descriptive paintings about nature with all its elements and components. Therefore, it was not a strange phenomenon for natures poetry to be represented by its movement and silence, by its witnessed visual events, and by the unseen imagined matters that it suggests .. So studies were held on nature in poetry. Al-Jahili reveals the depth of its impact on the life of the Arab man, and the reflection of its manifestations in poetry is a reflection based on the intimate interaction between nature and the poet. And I saw that these studies did not pay much attention to the night phenomenon - which is the most prominent phenomenon of nature - only fragments that do not go beyond the point of allusion. If there is this dynamic interaction between the poet and nature around him, then the night time covers the half of his life. This research was - therefore,% pw - a careful step that was motivated by the desire to study this phenomenon, a study whose lines stemmed from the nature of the poets private conversation about the night. Through poetic texts, it was revealed that the night is different, different forms, joined together by a psychological bond, and composed between its parts self-feelings whose dimensions are inspired by the night and time, and through this interaction it turns into a psychological night that bursts on its pages the bursts of those self-feelings and emotional excuses. And through this artistic observation emerge two distinct, clear lines that contain these feelings and distribute those arguments. The outcome of that was that these two lines were identified in the night of dread and the night of familiarity. And about these two lines it appears to us. Through the scattered texts - that there is another mistake is the line of night time, but his features do not bear the strength of what he observed in those two clear lines of strength and effectiveness. One of the requirements for fulfilling the requirements of the study was that we had a brief modern contract through its examples and evidence without the need for detail and elaboration, due to its narrow significance that is separate from the main event in the text, it is nothing more than a vessel for the accident only. It was imperative that we clarify the meaning of dread, familiarity, and their general psychological dimensions, so that the methodology for distributing their elements would be consistent for us, which is somewhat distant from arbitrariness and arrogance. Moreover, the night in the examples of awe and familiarity constitutes the active part in the entirety of the event painting, so that if the night element had slipped from the painting, it would not have that active vitality, and the distinct characteristic of its embodiment of awe or familiarity. And for that, there was - in the last part of the research - an artistic study that reveals the connotations that are consistent with the elements of the night in terms of vocabulary, structures, music and pictures. Familiarity.