Poets of wandering
** Youssef Apolluzlist, the Arabic prose poem, a place or place of place;Rather, it is closer to being a poem of thought, philosophy and contemplation.The intended place here is the cities with their things, streets, people, shops, voices, smells and material, visual and concrete spaces.That is, cities as they are or places as they are.Raw places with their heritage, refraction, glow, and bright dumplings.
The Arabic prose poem does not carry places: streets, roads, squares, dust, dust, bustle, poverty line or rich line, no difference.As if this poem, when I got rid of weight, shows and seas, got rid of the rhetoric of the place and its direct scenes, the place is weighing in the language as well, and it is not weighted only with things, beings and architectures in it, and therefore, there is no need for the poet of prose poem to stop long at places and examine them, and see them well,And mix it completely to be direct pictures of his hair.
The poet of prose poem, and in accordance with his nature, and his linguistic, cultural and reference psychology is that I tend to read the spirit of the place and its inner rhythm, and therefore, he is not concerned with describing the place, and converting it from direct material space into a direct poetic space as well.Rather, the place for him is a transient presence, if it is permissible to describe.It is a fleeting presence as well.This idea may be related to some poets of the Arab prose poem with the concept, idea and meaningHis poem, his language, or his departure or exile, and some of the poets of prose poem sees that and his tone is his love.Love in the emotional sense, and also love in the existential sense.
Some poets of the Arab prose poem were deeply influenced, but extremely extremist of European modernity poets: Rambo, Bodlaire, Pierce, and other French poets and Syrians in particular.They are poets of wandering, absence, tension, and horrific walking on the edge, so there is no intimate place for them, and because the poets of the Arab prose poem or some of them were passionate about the poets of European modernity whom the translation pumped to us to the degree of worship of these European poetic symbols, it was natural for the place to become the placeWas it a home, a house, a house, a house, a castle, a mosque or a cathedral..Rather, there is no need for the poet to talk completely in the poem;Rather, there is no need for the poet to talk at all about his hometown, city, or village...Because the world is his homeland! ”.
Missile
Of course there are places that pass through some poets of the Arabic prose poem, but they are not places "with their fat and flesh", as they say, they are incomplete or transient places.There are complete places in the prose poem, but they are very rare, such as a poem of pictures of the Lebanese poet Abbas Baydoun, one of the most prominent poets of the prose poem, but the pictures of the city or the place in this poem behind it is a passion or an ideological obsession if the phrase is permissible, and the poet writes a complete poem for a city or for the sakeA place governed by this to the signs, to transfer, the politician or emotional, the emotional in the psychological social abdomen of the place. The poet is not written here for the place in itself, the city itself. بل المدينة التي تشي بما هو نفسي، عاطفي، أيديولوجي، ومع ذلك يبدو مكان عباس بيضون"مدينته صور» كما يقول Missile، مكان نتن الرائحة، محفوف بالخوف: .."..You are pictures that fell from the pocket of history.How do you stay on the sand?Whoever pushes you again to the sea, who carries a tree to your roofed streets, hunting is still connected to your forehead.Your forehead, and your cheese is imitating the smell of hunting, and cold blood are still afraid of students from the sea, and the fishermen from the books..».
يوصف شوقي أبي شقرا (86 عاماً) بأنه شاعر السوريالية الريفية، ويقول إنه رفع ما سمّاه:"هذا العالم» إلى مستوى شعره الخاص، وقال إن قصيدته كانت"وعرة» ولم يلحق به أحد.
مثل هذه الآراء أو ما شابهها وبخاصة"الوعورة» هي موجودة كثيراً عند شعراء قصيدة النثر: عباس بيضون عنده وعورة، سليم بركات أكثر وعورة، ثمة وعورة أيضاً عند بول شاؤول، وقاسم حداد، وأنسي الحاج، وشربل داغر، والجنابي، وغيرهم العشرات من شعراء قصيدة اللامكان أو القصيدة الطاردة للمكان، لا بل لعله سليم بركات من قال:"حين تحن إلى المكان، لا تعد إليه أبداً..»، وعلى أية حال قد تصلح كلمة"وعورة» للإحالة إلى الخلاء، والوعر من الأرض: الصعب والقاسي منها، ووعر الطريق: صلب وصعب السير فيه، وكأن هذه الوعورة، أو كأن هذه الإحالات الراشحة عن هذه الكلمة البسيطة السريعة التي جاءت على لسان شوقي أبي شقرا مدخل إلى نفي المكان من قصيدة النثر، وإن ورد المكان بوصفه علامة ذات أو علامة حنين أو علامة وطن، فإنه ورود عابر، سريعاً ما يخبئه الشاعر بنوازعه الوجودية، التأملية، الفلسفية.
دماء من حروفإن هذه"الوعورة» التي تحيل إلى الشعور بالوحشة ليست هي مآل أو قدر شاعر قصيدة النثر، إنه بطبعه الشعري الحياتي والوجودي ضد الوحشة. يقول عبد المنعم رمضان أحد أبرز شعراء قصيدة النثر بين جيل السبعينات في مصر:"..I am a man who feels the brutal if he sits in a room alone, he feels brutal if he walks on a street free of humans, animals and birds, he feels lonely if his poems appear as if they were empty homes that no one inhabits...»، ويقول في مكان آخر:"..Humans in my poems are not human beings, they are human beings.Their blood from letters.Their pain is from letters.Their joys of letters.With them narrowing the phrase, and the vision expands..».
However, the letters alone do not make a material, spatial entity, with aesthetics, memory, and history.Poetry is not a city or a place of letters, the poem of Abdel Moneim Ramadan, and other poets of the Arabic prose poem acquires its cultural, aesthetic, intellectual and philosophical value through places, and humans who live in these places.A second time raw places.Discussions, lanes, quarrels, and alleys with all their kindness, moisture, shadows and darkness are the people who move in it.
The poet of the prose poem born near the sea, and his hair is free from the neighborhood of his time and childhood with their names, names, salinity, bombings, and boats..And the Bedouin poet, the desert, whose hair is free of sand alloys, must suffer a lack of emotional himself towards his place, and the rural poet whose hair is free of the nature of the village, and the smell of agriculture implicitly pushes you to doubt his poetic heart.
Floss is isolated
آخر مطاف في هذه الكتابة التي تبحث عن"مكان للمكان في قصيدة النثر» أن الكثير من شعراء قصيدة النثر العرب مولعون حد المرض أحياناً بفكرة أو مفهوم العزلة.It is a completely existential concept for them;It is a kind of pieces sometimes with the place and from the place.So that the poet appears to be the same in another place.A place outside the place in a world outside the world, and this violent lust rises to isolation whenever the poet is in the experiences of poets from the world who live deadly or semi -fatal, negative, not only for the place;Indeed, it is also a negation of the human being, this beautiful being, who, if it denied it from a street, from a house, from a café, or a pub..These places immediately turn into empty spaces are the spaces of brutality.Row spaces.
