the intertextuality levels in the poet Mohamed Mohran El Sayed play (A tale from the salt valley)

The research aims to study the intertextuality levels in the poet Mohamed Mohran El Sayed play "Hekaya Men Wadi El Malh" (A tale from the salt valley), in which the author re employs the Pharaonic heritage novel, to express a contemporaneous issue disconcerting him, using the artistic techniques of selection and distribution, and mechanisms of Harmony and offset with the referential text, in order to present his new vision.
The research does not depend on the narrow concept of intertextuality of Julia Kristeva, which means the linguistic presence of a text in another text, but Gérard Genette concept depends on textual transcendence, which represents in acquaintance of all that may render the text at a concealed or an apparent relationship with other texts, where the second concept implies and outstrips the first concept.
The study conducts the investigation of three levels of intertextuality in the same time, first of which; intertextuality with the heritage tale, the second; intertextuality with the very texts of the complaints of the "El Fallah El Faseeh" (the Eloquent Peasant) itself, and the third; intertextuality with Salah Abdel Sabour contemporaneous play "Ma'sat El Hallag" (Scooper Trajedy).
Where the researcher observes the argumentativeness of the Quotations from the two referential heritage texts and changing in them, step by step, from the play onset to the end, trying to interpret every relation of harmony or offset in light of the poet recent vision, as well as persuading the effects of the contemporaneous poetic play texts, which were apparent in his poetic discourse and his dramatic treatment.

However, the substantial question we are concerned, in the research, with seeking its answer throughout the study, is not what the poet has borrowed from the heritage tale and what he left, or from the contemporaneous texts he rendered intertextuality therewith, but, it is why he has conducted that specifically and not something else in each location in the text, to arrive at the end to the recognition of the artistic value of employment of the theater heritage.