Born to a Christian family in the Nasara region of Syria in 1917, Yusuf al-Kḫāl went to Beirut for university education and studied philosophy there. He founded his first magazine Al-Funûn [The Arts] while he was a student, and his passion for journalism, which had started in this way, continued for many years with various responsibilities such as editor and magazine founder. Adonis, Badr Shakir al-Sayyab, Jabra Ibrahim Jabra, and Ḫalīl Ḥāvī gathered around Al-Shi’r [The Poetry] magazine that he founded in Beirut in 1957 and called themselves a poetry community in reference to the magazine. However, one of them, Jabra Ibrahim Jabra, used the title of Tammūzī for these poets. They saw man and nature as alike and thought that their productive power comes from water and soil. While highlighting these motifs in their poems, they included the Sami-origin Tammūz myth, a symbol of continuity and protector of rural life, in Arabic poetry for the first time. The function of the Tammūz myth was to signify resurrection and rebirth in the poetry of these poets, who draw attention to the socio-politically depressing situation in the Arab world and focused on ways to be free of this situation. The Arabs, who’d entered a state of death and sleep, would be resurrected and regain their former glory, just like this mythological hero who was resurrected by the spring rains. These poets found something similar to their own situation in T.S Eliot’s poem The Waste Land, in which he showed the ways to remove the spiritual depression of the West and how he was not pessimistic about the future. These Tammūzī poets took influence from Eliot while processing religious and mythical elements in their poems. The point where al-Kḫāl differed from Eliot was his feeling of pessimism and hopelessness. Although the existential philosophy of both poets influenced their poems, the strength of Eliot’s belief in God was reflected in his poems as a sense of hope, while al-Kḫāl’s belief in God was sometimes in doubt. However, references to the Old and New Testaments are frequently seen in al-Kḫāl’s poems. Especially in his poetry collection Al-Bi’r al-Mahjūra, which this study will address and in which he reveals the relationship between religion and myth by equating humans, the Messiah, Tammūz, and God. The three main sources of Tammūzī poetry were mythology, religious narratives, and English poetry led by Eliot. In addition to these sources, al-Kḫāl’s poems also contain the thoughts of Anṭûn Sa‘âde, the founder of the Syrian Social Nationalist Party (SSNP). Sa’âde’s view toward Syrians as carriers of Mediterranean culture and separate from other Arab nations were influential in shaping al-Kḫāl’s poetry. For this reason, his most frequently used symbols are sea, water, sand, and ship, as if he wanted to emphasize that his roots belong to the Mediterranean civilization. These also point to rebirth, productivity, civilization, movement, and backwardness. In addition to the myth of Tammūz and other mythical elements that he worked into under the influence of the West, he made legends of folk heroes such as Gamal Abdel Nasser in his poems and turned them into symbols. He also wanted to reflect the universality of poetry by sometimes bringing together figures from Akkadian, Sumerian, Phoenician, Babylonian, Egyptian, and Greek mythologies in the same poem.