Nazik al-Malaika was influenced by the poets of the Romantic movement, and this led to the prevalence of the sad spirit in her poems
We can classify the poet Farouk Shousha in the moderate sect
The General Egyptian Book Authority of the poet Samir Al-Amir issued his book “Poetry or No Poetry: The Foundations of Language, Popular Conscience and Identity”, and he confirms through its pages that if criticism returns to its job and its pioneering role in plowing the soil and preparing the recipient, university students, and educated people in general, will know the important names of poets And novelists and storytellers, some of them died, without criticism putting it in the place it deserves, and some of them wait, perhaps the foam on the surface will disappear..
Samir Al-Amir relies a lot on criticism, because – as he sees it – an intellectual and aesthetic project, looking at the sources and foundations of language and identity, and aims to evaluate visions and ideas, and put them in their place, according to their proximity and distance to the aesthetic theory, which aims to reshape our vision of the world, according to those The theory that arises as a result of objective social and economic conditions and conditions, as happened when Romanticism emerged as a reaction to the hustle and bustle that accompanied the Industrial Revolution, in order to try to return man to the bosom of nature and to his humanity.
The book deals with more than one issue, mainly related to poetry, including “the prose poem.. the activation poem.. We are all in the wind,” “the prose poem is a copy of the abrogated,” and “some literature is a lot of criticism.” It also deals with issues such as the case of Helmy Salem, And the crisis of Laila Murad’s balcony, that poem that haunted the late poet’s curse, so that some demanded the withdrawal of the excellence award from him, although it is greater than that award, and there is also in the book the secret of the bleak beginnings of Nazik Al-Mala’ki, plagiarism and literary thefts, in addition to allocating a large part of the The book for issues of colloquial poetry.
On this occasion, Samir al-Amir remembers meeting with him and the poet Fouad Haddad. The chemistry of writing is known to all».
Haddad was expressing in a polite way that he was not convinced of what he heard, as Samir Al-Amir understood, because he discovered after contemplating the poem in light of the great poet’s comment, that it resembles hundreds of other poems, and there is nothing in it that distinguishes it, and that glimpse was a logic for the Emir, to stand on the causes of the crisis, The one that belongs to him, and belongs to his generation, and most of him writes the prose poem, which has become a stereotypical form, like the Tafeila poem and the vertical poem..
This – as the prince believes – makes it lose many of its justifications for its existence, “as it is supposed to constitute a revolution in the basis of the stereotypical form and the traditional content, but if one looks closely at the prose poem with its current manifestations among young poets, one has only to decide, with a clear conscience, Most of those poems that are published in literary magazines do not indicate their poet, despite the subjectivity of their subjects. Rather, it seems as if these poems were written by one poet.“.
The picture is not that black, as Samir Al-Amir confirms in another place that “some names escaped that stereotypical framework, and this is due to their real talent, and their love and respect for all the history of poetry in this country, and therefore their prose was beautiful, and their rebellion was more beautiful, because it was not He is fully aware that the prose poem is an attempt to break free from the captivity of the poetic column and its dominance, and a desire to enter the experience of writing, stripped of all traditional tools, in order to establish a poem that affirms that form is an authentic part of the poet’s experience, and thus frees the poem from the framework of a single form. And then the prose poem has infinite forms, because each poem becomes a new adventure.
Samir Al-Amir holds on to many poets of the prose poem, and acknowledges the special poetic abilities of others, for reasons he did not mention in his book, that can be added to his own vision, that most of the poets of this generation lack the minimum knowledge of the heritage of Arabic poetry, and some of them even boast Without the slightest shame, he considers that his knowledge of the heritage clouds his vision of reality, as he put it. Rather, what is worse is that they are cut off from the heritage of the same prose poem, written by great poets such as Muhammad al-Maghout and Onsi al-Hajj, and therefore – as he sees – the poems of these poets return to their source. In prose, they become mere impressions, and cannot establish a new poetry.
We do not need to stress that Samir Al-Amir is not against the prose poem, but he is against laxity and vulgarity in the name of poetry, against taking lightness in writing, and riding the wave of some who seek to go out for reasons that have nothing to do with the value of what they write. Prose is not one solid block. There are differences between those who belong to the eighties generation and those who know the nineties generation, and even the post-millennial generation, if the name is correct, and even within the circle of one generation the experience of one poet differs from another, and there is no room for naming poets, for they have become dead, New poets follow their lead.
Many of Samir al-Amir’s remarks are true in their entirety, and this fragmentation, poetic rush, and unpopular stereotypes may be due to the absence of seriousness in our cultural life, lack of clarity, and avoidance from engaging in real battles that break up the clash between most of those issues, which the Prince raises in his book, to remain despite This is the fact that we “suffer from an intellectual adolescence in Arab cultural life, and it is difficult to predict its imminent end.”.
Here lies the danger of that adolescence, because it goes beyond being a stage in the history of the Arab mind, to become the entire history of this mind, which still refuses to believe in the fundamental ideas of progress, which guarantee the emancipation of this mind from the families of dualism, and make it believe that pluralism and accumulation are necessary conditions for development at all levels.“.
Among what caught my attention in this book was what Samir Al-Amir wrote under the title “Nazik Al-Malaika.. What is the secret of the bleak beginnings?” Nazek Al-Malaika is a great Iraqi poet who belongs to us as Egyptians more than anyone else. She lived her last years in Cairo, in the Gardens of the Dome, and she passed away on June 20, 2007 at the age of 84. In memory of her death last month.
Nazik Al-Malaikah belongs to us as Egyptians, because the poem that she wrote, and transferred poetry to a revolution in form, was known as the Al-Tafilih poem, and its leadership disputed with others, including its citizens, Badr Shaker Al-Sayyab and Abdel-Wahhab Al-Bayati..
This poem, which represents a shift in the history of Arab poetry, was about the cholera epidemic that struck Egypt at the time, and the poet followed the news of death that spread in more than one place, under the weight of this terrifying disease..
Nazik al-Malaika belongs to us because we printed her poetic and critical heritage in the Supreme Council of Culture, during the years of her illness and residency in Cairo, before her departure in Cairo as well..
Nazik Al Malaka comes from a family that specializes in poetry. The father, mother, brother and uncles are poets. The beginning of her relationship with poetry goes back to the poem “The Tragedy of Life,” which she wrote at the age of twenty-two, and the poem contains a pessimistic view of the issue of life..
The poet admits this pessimistic view, and returns it to her belief in the words of the German philosopher Schopenhauer: “I do not know why we lift the curtain on a good life whenever defeat and death come down. I do not know why we deceive ourselves with this whirlwind, which revolts around nothing“.
Prince follows the Diwans of Angels to capture the influences of English poetry on them, especially the poets of the romantic movement, and this is what led to the prevalence of the sad spirit in her poems. Which makes her very sad, and which may contribute to the departure of a section of poetry lovers from re-reading her first books“.
He asks in his book: Why did the critics and readers not pay attention to Farouk Shousha’s poems to the extent that they find the shells of this deep sea? He means here the famous verse about the Arabic language, which was at the forefront of his most famous program, “Our Beautiful Language.”: “I am the sea in its guts, the pearl is latent, so did they ask the diver about my shells?!” Samir Al-Amir attributes this absence to the fact that Shousha “was lacking this amount of selfishness, which obliges the poet, to make him celebrate his poetry, and venerate it, to the extent that those around him realize that ignoring his production, may hinder or cause problems in human communication with him.”“.
Samir Al-Amir explains that Shousha is distinguished by the tyranny of his calm tone of voice over everything he reads, to the extent that you often did not distinguish between the way he read Al-Sayyab or Salah Abdel-Sabour, and the way he read the poems of Imru’ Al-Qays, Al-Bahri or Al-Ma’arri, as it is a calm sea that always flows in deep peace and tranquility. The sea of the great poet Farouk Shousha may be suitable for meditating divers and romantics, but it never tempts those adventurers looking for the bustle and diversity of emotion“.
The prince is fully aware that the broadcaster’s fame has overshadowed the poet’s confusion, and this is what determined others’ vision of him within the framework of his work on the Egyptian radio, which began at the end of the fifties of the last century, and thus the requirements of his job imposed on him not to be a subject of public discussion, And then his poems sculpt the same approach in dealing with topics, and this is a great restriction on a real talent like Shusha’s talent and on a deep culture like his..
In conclusion, we can “classify the great poet Farouk Shousha in the sect of moderates who do not hypocrit anyone, but at the same time avoid the biased feelings of anger due to clear intellectual and political conflicts, a moderation that befits the nature of personalities that express the overall morals of Egyptian fathers, grandfathers and peasants, which is a close matter. Also, his early work as a teacher of the Arabic language, and a quick look at his poetic production is enough to provide us with an idea of this moderation and not to engage in conflicts that moderates consider inappropriate for a poet who presents himself as a voice for his Arab nation, not as a voice expressing a specific vision.“.