A.D. Ahmed Al-Jib
Cash and Egyptian academics
The poem of modernity in the Sultanate of Oman is a remarkable position, with the richest bamboo poets in the Arab poetry arena inside and outside Amman, with their masculine poems, which dig a special place among other poetry types.
I believe that Amman ' s poem is more profound and self-sustaining, on the one hand, and on the other, it has not been widely observed in romance, but it has been all about self-inflictedness in its various forms, and thus it represents a special self-help situation, a sense of self-help and knowledge in the movement of Arab modernity, and the notion that this colour is infinite.
- Poetry:
The modern Omani poet relies on religious heritage, which is based on a series of cultural advances that have contributed to its formation, and we therefore note that the modern Omani poem has relied on the multiplication of religious heritage, so we note the tale in the use of the Koranian text, which is reflected in the inspiration of the Prophet Yousssus story of peace in the poet of Hassan Al-Muruchi.
And what was his brother's name?،
How Dad spoils him,
I didn't have them,
To suspect his mother with the deer.،
And what they think of the house...
In the previous section, the poet was employed for the Prophet Youssouf story of peace, by relying on the patriarchal pattern of religious heritage, where he remembered the love stories of the Prophet Yakub to his son Yusuf, which had led to the use of the prophet and the fact that the Yusuf ' s brothers had taken refuge in the al-Muqab, and had not been seen as a question of the ruqah al-Shusif al-Shusif ' idah al-Sud of the recent lus.
You're welcome to the old poets in the modern Omani poem, because they have a clear effect on the structure of the Arab poet from the ocean to the bay. The poem has been opened with the uterus of poetry with great influence on the Arab poetry.
I don't want to lie to anyone.
Or believe something.
I'll sleep filling my eyelids.
About the wars and the streets.
I'll take the poisoned dagger off my body.
I'll describe my soul from the memories.
To fly out of time and cities,
Light.
As a sailing spirit, he crossed the storm.!
You're welcome to see the image of the prophet in a syphilis poem by saying: I'm going to sleep filling my eyelids of wars and deserts, replacing the hair with the war and replacing the people around, saying:
I'm filling my eyelids out of her.
And the creation is made easier, and it's consumed.
You are welcome to retrieve the rebellion, which strikes in every mushroom with an arrow, to draw language battles around the poem and its encroachment, while it comes against the sword of my own descendants. The intention is to seek self-determination from life, despite wars, deserts, deaths, direct killings, infringements of freedoms and small battles between people in our Arab society.
The poet says the sky of Issa calling the position of the exile:
My shadow.
Exile stars.
The remains of our prophets.
We stayed.!
The image of inner exile appears to be clear in the hair of the sky of Issa, where it is a self-importation within the home, where it lives in a world that is not commensurate with what it dreams, but all it occupies is to feel the spirit of life and joy, but it finds itself bound by destitution, pain and restraint.
It's a palm land.
As Christ is among the Jews.
I'm in a nation of God.
Strange as good in Thomod!
Undoubtedly, a sense of alienity, internal exile and marginalization contributes to its demise and, in fact, to its death, as if it dies in its own home, in the face of its own wounds, so exile is the spirit that tends to be self-inflicted in exile.
The poet says the Stone Hill, calling the sound of the blade:
Good morning, sunshine.
You noble wicked.
Friend of wolves and daughters of Owe.
Mr. Al-Khafar, in the empty quarter.
The Prophet of the Revolution!
In the past poem, the stone-threatening poet, the prince of the Sha ' alik in the Arab heritage, drawing from his voice the symbols of the revolution on society, rejection and rebellion on customs and traditions, and the central building of the martyrs who try to dig behind the destruction of other traditions and construction, the poetic vocal vocabulary may depend on the culverted cultural footing of the shrine. The stone-throwing poem bears a very close social vision from our Arab reality, where the weaker powerful eats and the right to the unemployed prevails, leading to the emergence of the poetry of the shoals on the modern poem as a symbol against the miserable social order of Arab culture.
- People ' s heritage:
The voices of the people ' s heritage are reflected in the modern Omani poem, as the popular heritage represents a remarkable presence in the structure of modern poem. We therefore note the poet ' s reliance on popular tale by talking about the Moon, the stars, the myths, the folk myths, etc., where it became part of the artisanal construction elements of the modern Arab poem, where the popular folklore is the first reference of the popular culture to which is enriched by leaders and researchers in the legendary.
The moon is as simple as the mourning of the prophets.
And my soul that God has.
On a spectrum of fire.
Will you give it back to me?
Seabirds.
I hear her calling me.
As a widow with a crush on her in a dump!
The poet, the sky of Issa, is based on the structure of the cultural pattern through the presence of the popular legend of the moon that lights the universe at night, in popular self-expression and destination, as well as the moon, as the main engine of the myth, the moon, the sadness of the prophets, the sadness of the sorrows and the symbols of the moon and the gloomy of the sea.
You're welcome.
The poet is the sky of Issa.
The poet, the stone gel.
The poet Hassan Al-Mamroshi
