The problem of the study revolves around two major parts: the striking rhythmic diversity in the poetic purposes of Ibn Sheikhan's collection and the variation of this rhythm from one poetic purpose to another where a number of emerged phenomena formed the rhythmic structure of each purpose and distinguished it rhythmically from the others. This variation in the phenomena divided into two parts.Thefirst one is unique phenomena to one poetic purpose without being remarkably found in any other poetic purpose. The second is other phenomena that are found in more than one poetic purpose, but they varied in their components and functions in the poetic purposes where they are found. Actually, the topic of the study came from that there is no specialized study on this subject, as all previous studies were characterized by either comprehensiveness, or focusing on models of Ibn Sheikhan's poetry, the rhythm of which is limited to few pages. Whereas, this study is considered as an attempt to shed light extensively on the rhythm of Ibn Shaykhan's poetry, as it dealt with its most prominent phenomena, their components, their functions, their effect on the structure of the text at its various levels, and the aesthetics and connotations of the text, that were formed through a system of connections among the component of the rhythm. Methodically, the study has adopted the poetic symmetry theory of Roman Jackson, which is based on the projection of the principle of equivalence from the axis of selection to the axis of combination, as an applied stylistic approach to it, and has used statistics in some of its parts. Hence, the research tools have varied according to the phenomenon. The study relied on the elements of meter and rhyme on the tables and the data they could provide, and then analyzing them to get specific results. Whereas, in other phenomena it relied on the representation of the phenomenon from the Code, then analyzing the examples to show the phenomenon and its aesthetic effect. The results of the study revealed a striking and varied rhythmic diversity from a poetic purpose to another in terms of meters that varied between total and brachy catalectic, net and compound, the variety of their frequency levels, the degree of stability of this frequency in all purposes and the single purpose and the connection between the rates of orientation and frequency. Rhymes also varied into the following: absolute rhyme, restricted rhyme, rhyme with acronym, rhyme with enterprise, rhyme without acronym and enterprise. Besides, the study revealed a number of other rhythmic phenomena, in terms of vocal scales, compositional symmetries, whose images and components varied, their connections with their structural system, their aesthetic implications from one poetic purpose to another, and from one rhythmic phenomenon to another, in order to form into the text a regular rhythmic pattern of harmony in poetic music