Poet Bassam Hammouda..when philosophy sings literary creativity

Tartous-Sana

The poet Bassam Hammouda found himself immersed in the midst of writing and kept chasing the shadows of rhymes, theater and music to drive away the fear of extinction, as he put it.

In an interview with SANA’s reporter, Hammouda indicated that he did not engage in his poetry in the midst of spinning, but was swept away by national, social and humanitarian issues, and this was evident in his poetry collection, songs not like singing, as it included a poem glorifying the heroism of the Mujahid Sheikh Saleh Al-Ali and his region, Sheikh Badr in Tartous, which carried the meanings of pride and pride in the hero and his land. .

Hammouda emphasized that philosophy enriches literary creativity and gives it a dimension that transcends the superficiality of ideas and highlights what is beyond the text and reveals the invisible lessons in it.

Hammouda, who read pre-Islamic poetry all the way to Al-Mutanabbi, passing through Abbasid poetry to modernity, did not stop at a specific name and was tempted at some point by the poets of the occupied land, such as Mahmoud Darwish, Samih Al-Qasim and Tawfiq Ziyad, keeping pace with these and others the movement of modernity.

Hamouda’s first poetic beginnings were in the early seventies and took shape in 1976 by publishing in some periodicals. His participation in poetry festivals increased to more than forty in various governorates. The prizes he won reached twenty-eight prizes in poetry, theater, story and music.

Hammouda stresses the importance of recitation for those who face the audience, as some poets cannot communicate their creativity, but may lose their luster through bad recitation, considering that reading the text to the audience is an art in itself.

The sixty-seven-year-old calls on young writers to own the real provisions that come through comprehensive literary, philosophical and psychological reading, in addition to mastery of language, learning about the experiences of others, and avoiding vanity and deliberation in publishing.

It is noteworthy that the poet Bassam Hammouda, a member of the Arab Writers Union, born in 1955, was published in Poetry in the Door, The Face of the Spike and Leaves for Me. Is it enough for my blood and manifestations in the time of apostasy, and he played the autumn chord while it was in print, in addition to a novel entitled The Cochlea, A Return to Beginning, and two plays for the young generation, the future generation and a trial Ibn Majid.

Rama Dhawa

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