Throughout the ages, rhetorical arts have formed a fundamental pillar in shaping the structure of Arabic poetic discourse. They have not merely served as tools for verbal embellishment, but have transcended that to become expressive means that contribute to highlighting meanings and deepening connotations. Among these arts, alliteration occupies a prominent position in Arabic rhetoric, due to its phonetic and semantic impact that enriches the text, engages the ear, and lends a sense of balance and harmony to speech.

Critics and rhetoricians, both ancient and modern, have devoted considerable attention to studying alliteration in terms of its types and aesthetic and expressive functions. It is not merely a similarity of words; rather, it often carries semantic depth, contributes to directing and condensing meaning, and reveals the poet's or prose writer's skill in adapting language.  In this context, Ibn Abi Husayna (390-457 AH) stands out. He was one of the leading figures in poetry during the late Abbasid period in the Levant, and his name is associated with poets of that era, such as Abu al-Ala al-Ma'arri. His poetic experience was characterized by precise formulation, rich vocabulary, and exquisite diction. His use of alliteration in his collection of poems is evident as a conscious aesthetic element, lending his poetry a special musical character and highlighting the cohesion of word and meaning.

  The research plan is based on an introduction that addresses the importance of alliteration in Ibn Abi Husayna's poetry. The research concludes with a conclusion summarizing the findings. The research consists of two main sections: the first concerns itself with defining alliteration from a linguistic and technical perspective, presenting the views of rhetoricians and critics on this rhetorical art form. The second focuses on studying applied models of alliteration in Ibn Abi Husayna's poetry. The research relied on the analytical rhetorical method.