Dr. Mahmoud Fergli
Egyptian poet and critic.
The characteristic of the modern poem is that it flares on the event and its history, to survive the time-bound moment and space. In addition, it is always prone to disintegration.[1]This distinction between the incident and its irration, despite the avoidance of the event, we find that it has the capacity to consume, as soon as it is surrounded and circumvented and spread in its fabric, to prevent the appearance of elements that constitute its technical identity; and to help the reception process to induce the event outside the text of any representational manner within the text, above the event more robust and clearer, and to report any expression of any relevant substantive formulation.[2]And so we don't send word to his senses, we stop in front of the Noah son mask.Hope of Dingle and the knowledge of the courier.The heart of the event or changing the perspective of the vision is a creative necessity, so that it can be sent as a new vocal event, with the ability to influence, open to continuous deliberation, linked to life contexts and realities, and this has emerged in different historical contexts of the two experiments, so we find the divergences that reflect a deep reading of the event ' s plurality of culminations.
The ruler's vocabulary, the vocabulary, the vocabulary, and the ultrasound of the artifacts, the brushing of the sorrow, and then the brushing of the cloth, the squeezing of the sorrow, the sternity of the sternity, the stuntling of the cliff.
Good conscience.
The reversal of the world ' s modern potential and its velocity through its linguistic effectiveness, so the criticism of its importance and role in the building of the literary sex, each sex that seeks a homophobia scheme, and Jakobson refers to its close association with different races, the various functions, the inspirational hair is about the conscience of the alien, and the morality of the word.
The unscrupulous conscience of the scholar, the conscience of the speaker, played a role in the prominence of self-production, as well as its effective achievement of the inspiration of another non-famous presence, addressed to him, while the sound calibration between I am the sad poet in the poem of Hope Ding, and I am the mask and diversity of the narratives in order to achieve the desired dramatic balance.
We also note that the correlation between poets and humanistics is evident in the column of Al-Sadi, where the text of the contemporary human crisis and the fact that it occurred in the past, which calls for another endeavor, while the humanitarianism of the Budddhista unleashes the national dimension, in the context of the concept of citizenship, which is separate from the religious reference, so as to reject the position of the Nhuah ' apos; apos; idah ' s son ' apos; idah ' s religion as ab.
There's the wise guys running towards the ship.
The singers, the Messiah of the Prince-Mrabun, the judge, his kings.
The sword bearer, the temple dancer, when her borrowed hair was lifted, the importers of the cable trucks, the princess' lover in his prestigious female name came to the ends of Noah.
These cowards are fleeing to the ship.
While I was...
It was city youth.
They feed the wild water horses.“[3].
The paradox plays its part in the previous section, where two opposite voices overlap through the word of the wise, which bears the view of the deserters to justify their subjugation and their reluctance, while the perspective changes at the end of the segment and the image of the son of Noah itself, when they describe their cowardly truth, and the diversity of their creators plays their role in breaking the intersection between the script and the religious platforms, where it is carefully revealed.
Speed time.
In terms of sardine time, the time frame is based on retrieval, where the time of the story is preceded by the time of the speech, and with the rise of the self voice in its dialogue, the time is ripe to the temporal present, which calls for a new endurance, the point where the narrative shift turns from the angle to the vocabulary to the vocabulary.
His club and sound threads are rising. Is on the ship, my lord.
I called them all.
And I asked him, old lady, who survived your unit, and the rest fell?
Through the dialogue in question, it is clear to the son, in asserting the uniqueness of the perspective and the singular vision, while the other party remains silent, but the combination of the elements of the description gives us a picture of this Sheikh, so hearty at the relationship level.
Will you rest?
And how do you start this universe again and you let the boy and the ripper rip?
Self-evidently emerges from and follows up on many questions, which, while counterfeited by their creation, make the poem go through the movement consistent with self-expression and its search for salvation, and as dialogue takes one direction, the consensual and adversarial referrals make the poem a dramatic dimension, with no renunciation of enchantment.
Before death, how we narrowed my eyes, and the eye of death widens.
And in your eyes, the eyes of your child, the games and the fun.
………………………………………………
All the details went through the imaginations of the house, the parents, the trees gather.[4]
The mask poem is of a controversial nature, based on the presence of me, the poet and the absence of me, the mask and vice versa, in a balanced exchange movement, with the possibility of misappropriating the voice and conscience within the poem, entailing a retreat of self-sing, which keeps itself in traditional shapes such as musical, repetitive, optical formation, and all the poems that the poetry speaks in the same way.
What we affirm here is that the mask of the courier did not dissolve his clerical pattern without the emergence of an architectural feature that detonates him with evidence and relieves his singing without ignoring it, as did the vocal dichotomy by persuasing a role in shifting from direct expression to direct expression, direct speech, express meaning a sign of tacit meaning, mask and meaning on the surface, while left behind.
However, the visual composition and the activation of the markings in the Dangal text was richer, effective and linked to the rise in the dramatic pattern of poems. The existence of certain markings, such as bows, interceptive police and white areas, added another vote within the text to comment on personalities.[5]There is no doubt that visual formation is a narrative mechanism when the poet succeeds in recruiting it, while the couriers did not activate visual space, making it particularly in the retrograde monologue to move father-dominated passion.
[1] Saeed Bunkrad, Al-Saidi and Conceptual Refrigeration, Marks of 12, Morocco 2012, p. 31: 37
[2] Hatim al-Kahr, al-Ahtiya, al-Shaqiyah and al-Qa ' idah, al-Qa ' idah, al-Qa ' idah, al-Qa ' idah, al-Qa ' idah, al-Qa ' idah, al-Sha ' al-Qa ' al-Sha ' al-Sha ' al-Atam al-At al-At al-Sha ' al-Sha ' al-Sha ' al-Sha ' al-Sha ' al-Sha ' al-Sha ' al-Sha ' al-Sha ' al-Sha ' al-Sha ' al-Sha ' al-Sha ' al-Sha ' al-Sha ' al-Ah, al-Ah, al-Ah, al-Ah, al-
[3] Hope Denzel, full work, Public Authority for the Shortages of Culture, Cairo 1998, p. 408.
[4] I know the courier, the towel, the site of the poem Dotcom.
[5] See the detail of that in the Seid al-Sarawi study, searching for the impossible pearl, the East Cairo House, 1996.
