This study aims to profoundly examine the literary personality and poetic world of Tijani Yusuf Bashir (1912-1937), considered one of the founding and most significant voices of modern Sudanese poetry, through a descriptive and analytical method. In the existing academic literature, Tijani’s poetry has generally been discussed in its Sufi and philosophical dimensions, but the literary and artistic structure (language, style, imagery, rhythm) that constitutes the essence of his works has not been subjected to a systematic analysis. Proceeding from this gap, this paper aims to reveal the literary and artistic manifestations and originality of the poet’s works. The scope of the study is limited to the poems in his sole collection, Ishrāqa. The primary method of the research is the analytical-stylistic method, which allows for the examination of the linguistic and artistic structure of poetic texts. Within this framework, Tijani’s poems are analyzed in light of the three fundamental disciplines of Arabic rhetoric (Balāghah): al-Badīʿ, al-Bayān, and al-Maʿānī. According to the f indings, Tijani used rhetorical arts not merely as tools for verbal ornamentation but as functional elements that deepen meaning, establish an aesthetic balance, and provide internal harmony. Instead of imitating traditional images with the tools of al-Bayān, the poet transformed them into original symbolic images reflecting his philosophical and existential vision. From the perspective of al-Maʿānī, he consciously shaped his sentence structures, lending a contemplative dimension to his texts. Ultimately, this study determines that Tijani Yusuf Bashir transformed rhetoric from an aesthetic goal into a tool for constructing a mode of thought and an existential stance, thereby building a bridge between tradition and modernity and presenting an original model of modernization in Sudanese and Arab poetry.