In this study, I dealt with the effect of the death experience that dug its tracks on the life of the poet and its poetic text. The poetic experience formed aesthetic structures that enriched the text and spread in its airspaces tangible lines of linguistic and pictorial beauty, and I dealt with these two structures of two types: By that I mean the poet's way of expressing those aesthetics and the style of drawing aesthetic. In this study, I relied on the descriptive and analytical method to monitor these aesthetics and classify them according to what they are contained in the diwan, and to analyze its particles and the geometry of the poet. The study consisted of several investigations initiated by a brief introduction in which I introduced the poet and a brief account of her life and poetic productions to be a starting point and a base for the reader to enter the text space and a tool that can be used to receive these aesthetics and understand them within the context of their context, then the study was divided into several axes: Address aesthetics, in which I tried to reveal the relationship of the poetic experience with the poet's choice of the title of her diwan and his poems, and the experience of death imposed itself and cast a shadow on the title of the diwan as well as the titles of the poems that transpired with the functions of loss and alienation and hoarded the signs of alienation and unity, and the engineering excelled in that poet Aesthetic structure that holds the recipient's dressings and casts them in the furnaces of their experience. Aesthetics of gifting, in which I touched the fine lines linking the poetic experience and the techniques of the modernist poem, which uses print techniques and intertwines with other texts that form with the main text a vision and creative proposition that carries strong connotations, and serves as the spotlight that reveals the aesthetic that identifies the paths of the text. The aesthetics of presence and absence, in which I revealed the aesthetics of antiparticles imposed by the experience of death in the formation of the poetic text, where the text revolves in a dramatic framework in which a central dualism is struggling with the dualism of life and death, and from it the subnets of the antagonism branch out and disintegrate into the disorganizations that interfere with the formation So the text moves, and opposite rhythms accelerate and enrich the text and its aesthetic values. Aesthetics of the actual structure / verb and the nominal structure / alienation, in this paper I tried to reveal the relationship between the poetic experience and the linguistic, grammatical and morphological formation in terms of the significance of the vocabulary and structures; where I found that death imposed its influence on the poet's choice of its vocabulary and its structures, and that the life of the conflict between And death determined the percentage of the poet's use of the nominal and actual structure. Whenever the poet at a moment in contact with life and optimism, the actual structure indicated the movement and the desire to act and overcome the factors of loss and alienation, and the more The poet was entrenched in the space of death and surrounded by the factors of loss and alienation. The nominal structure came to describe and explain the death, and this reciprocal movement between the actual structure and the nominal structure formed an aesthetic structure that affected the poetic text and went beyond the limits of monotony and directness. Aesthetics of semantic fields, in this topic I monitored the aesthetics of semantic fields and the effect of experience on the formation of the poet of its semantic fields on the levels of color, sound, movement, life and death within the framework of binary opposites that ignited the text and filled it with dynamism and weave another aesthetic strands of beauty The aesthetics of the poetic image, in this topic I studied the effect of the experience of death on the formation of the poetic image and the formation of its parts; where the poetic image came from its part to the whole image packed with the functions of loss and alienation in the face of the functions of presence and absence, so the image came to be congruent with the connotations and shipping Release from her snare. From all of the above, the poet Suad Al-Sabah's ingenuity in forming the significance and aesthetic events in her poetic text within the framework of the experience of death is evident to us through the pattern / type and formation, and how these aesthetics formed and woven their strings of language and imagination based on vision and expression Awareness of classical and modern techniques of formation and modernity, good use of them, grasping the demands of language and its introspection, and the search for pearls of formation while suffering from the bitterness of the death experience, which the poet fused, which produced for us a poetic text full of significance, and filled with Aesthetic that values the poetic, and make the recipient prisoner of literacy that exudes vision conscious, and the depth of experience, and the density of the semantic and breadth of aesthetic space., Keep the classics of expression, and are deeply rooted in the land of modernity taken from the techniques of expressive structures stylistic deepened experience and raised important aesthetic. الملخص تناولتُ في هذه الدراسةِ أثرَ تجربةِ الموتِ التي حفرتْ مجاريها في حياةِ الشاعرةِ...