** Italana in favor of the age group (blades of flame) in a new form of composition. It offers two types in the group of writing together, the first type of hair, and the second kind of criticism. It - At the level of cash -Waging a relentless campaign on the poem of modernity, and calls it (modern black). We are not here in regard to the question: Is modernity a black or white? But come what writer aims of modernity in other words without explanation this is something odd, and in particular that the criticism has put the fungal / Impressionist centuries. We do not know of any modern talking about, and who are the poets who Modernists Who exactly? Modernity Modernities, and poets of modernity differ significantly from each other, and many of them may be the antithesis of the other.
** I want to point out that the writer got himself on the subject does not concern him, and he signed in contradiction. For example, he launched an attack on the poet Nizar Qabbani, because - as seen - a modern poet, but the death that more critics and poets Nizar Qabbani promising poets of the most tradition, he stuck to his weight and rhyme in all Writing poetry, In addition, as modern poets themselves taken out of their circle. Moreover, the advocates of tradition in poetry preparing him of them. So how can we reconcile between what the writer for the age of modernity, such as the poet Nizar Qabbani? Maod say here that the writer sign the same in Achkalin: the first gathering of sayings cash in the collection of poems, although its not in this place, and secondly, that he inserted himself in the subject when it seems ignorance more than knowledge, issuing provisions to say the least It is contradictory, incomplete, and lacks the evidence, then the big things - such as he dealt with - I discuss the urgency of this, and this Alslob. They are outstanding problems could not exchange for fifty years to settle the matter in which, besides releasing such provisions hasty confiscate their views on others.
** One of the problems that resulted - through the pursuit of the writer to the practice of cash to the hair - he opened his introduction of nine pages of prose filled with provisions ready that does not mean the scientific thing, along with that he started some of the texts to broadcast his views in cash or explain the reasons for writing text . This weakening his position as a poet.
** The writer refused to modernity and claimed that it will come new. Does he do that?
** The texts of the group came to the pattern of cash interventions. We note below some of our observations by:
** All text suffers from anxiety to belong to a specific aesthetic form.
** There is roughness in the building (affective attitudes). All texts suffer from Algelafah and cruelty, as if the writer Aaketb poetry, but a war waged with arms white and aircraft. Including phrases such as: (feathers of flame, a group title, and threw longing, and the winds sweep the offline, and between the ribs educated). It reflects the harshness of this saying, which is in the position of spinning:
I will mention that I forgot my girl And drown in Bhora The Knight
And you sow the Word of rhymes Riad offline even if you insist
I threw in the heart Brought the dream of From the balconies of the eyelash fatal
Hanank days if the winds offline What came to invade Dvavk Gfet
For I have pot in the immemorial And scream Whenever me disappear (54)
** Models and cruelty to him, as if fighting a war not love:
Snow in the tops of the cheeks and the fire Hurricane Fire and Ice The Hurricane
The flames in the white snow Burning Its horrors mercy and love secrets
Glow in the cheek and burning in the liver Luck and shares And fringe Uttar
Hassan storms blowing from Uahzaa Charm Areej And rain and flowers
Mabeltan eyes, Hassan Home If embodying ago that the universe is collapsing (14)
** It also notes the occurrence of the text under the dominance of (single-level semantic and aesthetic), ie, that level is almost the same, the overall level of substantive Aamiz between the embodied nature of the cases with different contents. Therefore, language was a single-level, and the same is technical, and construction. Not in the writer's style is different yarn for pity or ride a horse, or death, or intimacy, or the opposition, as well as on any other subject touched the texts. The origin of the spinning, for example, imposes a form of expression is different from the war, as well as death and lamentation intimacy and rhythm, image, and then the structure of language and aesthetic.
** We want to point out here that we are not against any form chosen by the poet to express himself through it, it is the right of a nightingale that sings the way that comforting. But what happened to the author for the benefit of age he refused to bird song and the other wanted to singing in his own way, came Ngradh screaming and banging noises and discordant ; Not because he adopted a vertical architecture, but because it was not awarded Improves the tradition.
** Nsgelha and observations here - in addition to foregoing - that many of the texts written for specific occasions, and it suffers from the direct sound and high rhetoric and single-method.
** The signs of the simplest prose writing poetry based on the sequence of time coordinates and submission of causal logic. And Nord - The following - a text which features are available (Prose) with distinction, and perhaps the most prominent model between the texts of the group:
Dunn, Dunn, Dunn
Here to London
The bells rang for the curse
Chnguena our hands
And the name of God
Drink
Amaaaon
Professional
Including night Nkhtna
News has created
Surgeon
Htkha us
Not denounce the votes
And we denounce the news
Mouths of hot coals
Tamadgna
And Thrguena
And Tnfetna
Ashes of evil by
Fly by Gayana
Tbosrh Zwayana
To be crucified in our territory
To buried in our territory (87)
I think that the text manifests itself, and does not require any comment.
** My advice to the writer for his age be directed to one style of writing: poetry or criticism. What seemed to us that it did not work Monday. We did not fall on the awareness of the poet, critic, or surprising.
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