Muzah Abdullah Al-Abduli
Cash from the Emirates.
This article aspires to stand on the sound of a deaf poet, where the Syrian poet lost. «Riyad Al-Salih Al-Husse» (1954-1982) My hearing and speech guardian, who is 13 years old, following a sudden illness likely to be a kidney failure.[1]The poet continued to see his illness from the crowd, resting in his cold shadow, blunt in front of the world, saying about him. «Egyptian vow.»It was a sport that wanted to be true, it didn't lack anything like everyone, full or semi-financial as everyone, and capable of everything, and more than everything.[2]The poet kept the memory of the sound or its ghosts, and he kept the songs back as the impossible tone.
In front of this vocal and linguistic treasury, any reader in the poet ' s experience is shown: the simplicity of words, images, telescopes and the limits of vocabulary. His poems are based on his ceremonial vocabulary, as he speaks in his revolutions and liberties, as he cries for the abandonment of love, the brutality of unity, or the glimony of the glory.[3]This is evidenced by the experience of the good, but its compound is an advanced and afflicted by the Arab poetry experiment, a mine with its linguistic limits reflecting its fenced poetic world, while there are no effects on the formation of its poem by the forced silence of the world itself. «David Lobron.» The sealed gap is: "The Meaning Clan is in its larger apartment, a voice clan, and an openness to the euphoria of everyday life, deafness is a possible dimension of reality."[4]
The voice crosses the bridges of communication with self, the world and memory, and the song is centred on poems as the missing substance after deaf wounds, and the envy of beautiful voices and their parties, so that songs come on poems, creating the bridge to the world yesterday, or the distant dream of tomorrow, showing as hope, treatment and peace for the miserable present, saying:
"I was tearing love in hearts
As they distribute lead.
I was scattering songs on mountain roads.
As they scatter the mines.[5]
The songs are the vocabulary of love and good times in front of the misery and the warmth of wars. It is clear that the songs in the poetry are wars and their weapons, and these two are sure to say to the poet Nzieh Abu Afash: "You are so close as wars and far away as songs."[6]To create these vocal vocabulary, such as looting, extermination, wars, tenderness, growth and dynamism ( songs), the singularity of songs has been shown in poems with the meanings of light and hope, and in all its friends it wrestles cruelty and death:
"Are you going to the grass?
Or are you going to war?
We were walking and punctured.
And we were walking around a thousand diapers.
Hands in hand and sing.
Hand to hand and death."[7]
The end scene of going to death is singing; it reflects a picture of resistant images of the sound-gun, defying at this ideal end two forces: the power of death and the power of singing, and the continued alienation of the poet holding the song weapon, the vocal weapon whose ammunition does not possess, and it continues to contemplate such deprivation through its open-minded character:
"Don't I look like a ground rule to launch songs on humans, so why are you looking at me with a spell?"[8]
If we assume that the poet's song is his poem, it's a poem of hope and love that lights up, to be the voice he can't say, but it reaches all mankind, and in this perfect perception of the bright effect of songs; it appears in many scenes as the sedative and therapist, like, "Who will sing me a song in the evening to grow a rock?"[9]Children ' s Judaisms, or the sperm to that vocal phase, are the most likely of the incendiary to take down his inflammation, but they are songs that do not arrive and are impossible to achieve.
"Don't open your hand. Don't open your hand.
All the songs of the world will be released from them.
Don't hang your hand, don't hang your hand.
All the songs of the world will come to them."[10]
As long as the hand is tied to giving and receiving, and in both cases she receives and divorces the songs, they contain them. At the same time, the songs are given by the diva, all these imposses that emanate from the river, its recipe, the river, the river, the river, the river, the river, the river and its flames, to be naturally rewarded.
"Mom's a lot to give.
And behind a lot of cemeteries.
"in front of the river, the smell of morning and songs."[11]
But these songs that have become a symbol of beauty solve the cruelty of obscureness:
I opened the windows
No one in.
No river, no butterfly, no lost song."[12]
Or say:
"We're beginning to know what time means.
When we get home alone,
I've got hearts and fingers.
We're beginning to know what the sleeping rocks mean at sea.
Sleeping sun in the sky.
"and sleeping songs in the cemetery."[13]
In the face of the meaning of the absence of songs, the value of their presence is evident. The sun sleep means the absence of light, the sleeping of songs means the absence of human beings and security, and despite the simplicity of distortions; however, the texts give great meanings in describing the world ' s existential and cognitive state, with songs becoming a tangible material of existence.
At the big silence gap, and the poet's loss of the song tone, his poems come with a twist that generates a musical rhythm, saying:
Travel, travel, travel.
It's what I want.
Freedom, freedom, freedom.
It's what I ask."[14]
Repeat is loaded with its delirious and sound agendas. It demands, and it blasphemes and erupts in different contexts, saying, "between your hands, world / turn around, like, luckily."[15] And he said, "Dance and dance and dance until music gets tired."[16] And repetition comes as a childhood urgency:[17] Or like saying, "Come, kiss me, kiss me, kiss me, kiss me."[18]To create the poet with all these emotional repetitions, his song that he dreams of hearing.
If we re-prospect the songs in the experiment, we will find them as the representative of the impossible dream, whose severity of impossibility holds the same, and their hopes for peace, love, healing and people, as songs or poems - become the wickedest of the wrists.
[1] Inana Al-Saleh, Riyad al-Salih Al-Hussein and Shari ' ad al-Qa ' idah, Arab magazine, Kuwait, A. 699: https://alarabi.nccal.gov.kw/Home/Article/18971
[2] Riyadh Al-Salih Al-Hussein, full works (1954-1982), Middle Publications House, Italy, 2, 2021m, p. 8 (Principal for Action by the Egyptian Monath).
[3] Perspective: Sam ' s and hearing impairment, Jamal al-Hib, Al-Sharq, Jordan, 1, 2021m, p. 81
[4] David Lopurtun, Anthropology: The World with Sociological Extents, Translation: Fred Al-Zahei, Book Cultural Centre, Casablanca, Morocco, T, 2020m, p. 180
[5] Al Hussein, full work, p. 87
[6] Full work, p. 125
[7] Full work, p. 83
[8] Full work, p. 106
[9] Full work, p. 144
[10] Full work, p. 244
[11] Full work, p. 205
[12] Full work, p. 224
[13] Full work, p. 165
[14] Full work, p. 173
[15] Full work, p. 176
[16] Full work, p. 173
[17] Full work, p. 32
[18] Full work, p. 175
