Damascus-Sana
The poet Saqr Alishi belongs to the second generation of contemporary Arabic poetry after the knights of modernity, where he presented in his nearly ten collections a special experience that he consecrated among the important names in the prose poem, despite his adherence to poetic music.
Alishi distinguishes between two types in poetic music, one of which is external and related to weight and rhyme, and the second is internal, which is a harmony, harmony and harmony that brings life to the soul of poetry.
Alishi believes during an interview with the cultural Sanaa that the internal music is not limited to the prose poem, and when the metric lacks it, it becomes dry systems, pointing out that the nature of the poet and his representation of experiences and his psychological composition affect the existence of transparent music that distinguishes him from others.
Alishi asserts that the Syrians are great pioneers in the prose poem, considering al-Maghout to be the most important of his books, in addition to Adonis, Nazih Abu Afash, Saniya Salih and Muhammad Omran.
Alishi finds that it is not necessary for the poet to master prose in Bahr al-Khalil, and there are poets who excelled in weight, but their prose attempts were of lesser importance such as Abu Afash, Nizar Qabbani and Mahmoud Darwish, while al-Maghout excelled in prose, so why do we ask him to write al-Muzoon as long as he wrote an important and wonderful prose poem.
The modern poem according to Alychi has no fixed rules, and this is due to the poet’s experience, who may vary by weight or rhyme or merge prose with poetry as did Adonis and Salim Barakat, stressing that the poet is not modernist simply because of the choice of tapping or prose, and modernity is from within the poem and in its open horizon, its images, its displacement, and ignoring the weight And rules do not mean modernity at all.
Alychi depends on one of the types of modernization in the form of a vertical poem that the poet divides the house and places stops in it without committing to the chest and impotence and this has to do with visual vision and gives rest to the eye.
Alishi stops at the experience of poets from two different eras with poetry and prose. The first, Muhyiddin Ibn Arabi, was deeper and farther in his prose books than his poetic counterparts, as was evident in his explanation of his book “Tarjuman al-Ashwaq”. The second, Nizar, who rode the wave of modernity and fought the weight of Hebron, returned after a while To the music and weights of poetry, because he saw that the poet can innovate within these templates.
Regarding the tendency of some contemporary poets to blurry, Alishi considers that it is not necessary for poetry to be ambiguous or incomprehensible, but it must be flying and deep, possessing winged visions and carrying aesthetic levers, and this does not contradict the simplicity that Alishi reveals without descending into direct language.
Alishi points out that a talented poet whose poetry is important from the beginning, so there is no poet who started bad, then good, then amazing within an escalating line, but he can start romantically and then move towards deepening the idea and then towards symbolism.
Regarding his printed poetry production, Alishi talks about his first collection “Poems Supervising the Sahl”, which was published in 1984 and consecrated him as one of the poets of the prose poem, in which he moved away from the metered without an absolute break with him.
Among the publications of Alichi is the group "Grapes of Wisdom", whose poems came mostly from satirical poetry, in which a poem mocked the idea of the French poet Rimbaud to change the world. It also contained a lengthy prose in which he laments the maggot with his style. As for his group "A Little Emotion," he wrote it after a lapse of ten years and most of its poems are sentimental and emotional In addition to the elegy of Nizar Qabbani and the poem "I try to talk", which he printed separately in a booklet.
In his pre-war collection entitled "The Gazelle", Alychi celebrated existence, female and nature, and the shadows of which remained present in the poems of his last collection, "Meaning on the Hill," noting that he currently has three collections ready for publication.
Bilal Ahmad