** Builds poet Abdulaziz Al Ajlan vision in his group (pre-Islamic spark maps) on the basic elements of women, freedom, security, and the wide space. The recipient can not be separated between these elements; it looks integrated unit together constitute the poet's ambition to build a world a beautiful alternative to the corrupt world of his body in the vision. Even the women are beautiful you need to liberty, and freedom to grow and the need to accommodate safety. The three elements you need to clean a wide space to move it.
** And the relationship of women in the texts is not just a casual, but a relationship and the integration of Autism and mysticism. Women are the source of refuge and safety, peace and beauty, which - along with that - the source of fertility and femininity, as if the poet is inspired by all of the
By Inanna, Ishtar and Aphrodite and Venus, and Anath fertility symbols in ancient civilizations. Says:
Ave to the doorstep as the wind returns to winter dens in
Evening
Oloz Bahdanha
Bagaya small Zhou lows
Directed them to enter it, and my heart were to be published in the open banners
When Oana under which to
Loss forks afternoon between us
Got out around us under
I say primarily
Echo bouncing me tired
Painful
Lags between the corners of the sleep
Alight
And tight to her heart surgeon
So after this inferiority haven
Above and beyond this place of
And behind this Alebas marble water (91)
It strengthens the individual's desire to resort to women's sense of security as a source of fear, alienation and unity, which embodied the vision.
** Despite the joy that accompanies the individual and to pay off and discovery in the field of vision there is a hidden voice colored with pain and sorrow expressed by the texts in the field The vision. The body of the poet through the background of the painted panels, the background of this phenomenon is needed who want to see or feel them to be closer to them and stared at the colors like a plastic front panel. Says:
Opposites Aaakhr strangers approached
Is not it getting out of the heart that
And forget the hurt and the horse tired? Shake the soul is over here
Asha and grief may give
Here Stfad clouds allow
Dormitory on the summer
And moving tales Alzuhl downstream (83)
And confirms the poet through the individual's sense of loneliness and emptiness:
Transient Andah in his move
Whipping up the sand
In his unit
Then Ataiwih butter
No one, No one, No one (90)
** The poet expands the tragedy of the individual to circulate on the east as a whole. The image of the Middle looks dry, desertified, meager:
When the watch of the last Leafs of sadness in his heart
East
Thzareth Asaboat Zme
Throws his hands above the sand
Cited in the Middle
This is sadness weighing down his limbs as a recurrence of wounds
Sunrise (55)
He confirms this by saying:
Bring us together by chance, approach the
Become the goal and dreams
Fear grows in us
Preparing trees last dissociate
Tneibna steps summer (81)
** But, despite all the setbacks individual ambition, and reinforcing his desire to transition and passionate construction, launching and confidence patiently. The poet said that in the embodiment of some cases through intertextuality with the myth of Genesis. In the beginning was the alienation, the change in the wound, and the desire to challenge, the first step in the hearing and speech. When the poet and the vision based on determination because it Atmanh or given to, say:
In the beginning was the wound
Thirst and salt
Was tolerant to speak
Engraved Teoffh colored shores of pets
Mrakpa and Sobh (86)
As the myth that women in the source of fertility is the cornerstone in the Composition of a poet:
And a woman, a surge in Hushaym Age
The lush turns to Evgema
The distanced Freih receive routes to smile
Was his sanctuary, attendance and absence and the extent to
The echo in the sky, remained transient spectrum
Over the morning or evening (88)
** We note that the above two votes in the group moving through which all the elements of the texts and aesthetic values, hidden negative votes to pull back, and the last visible and positive. The first is the vision was represented in the form of emigrants sad only strained, and the area that sound small when compared to the second sound. The other voice is the strongest and purest and most clarity of moving forward and has the unjustified: Autism Sufi Women and the conviction that to start the first configuration.
** The technical picture came to embody this approach and supports, sensory Votrafha depends on where the visible, and is characterized by widening the place to be in harmony and the spirit of the myth of Genesis, and the situation of Sufism, and confirmed by the repetition of acts Almdharah which indicates the continuation of the movement, transformation and fertile. Poet and a lot of characters connectivity, and develop the event to be up to the state of the glow that was sought. And (the sea and the morning and light) shift in the Trinity Group, says:
Out the sea from the bustle of the sea
Slipped on sand Albulalh
Meet him in the morning to seek the light curve
Are moving together (79)
** Has contributed to the economy in the language, and composition of the image in symbolic power. And chose the following phrases is to confirm that: (legislators and unity, tree spirit, raining morning, coals bully, trembling crescent, the warmth of the characters, Teoff colored boats vain, beaches pets, clusters of water, butter light, bracelets confused). And even Aneptad Across the masthead of many texts also indicate that, this means that there is a clear line in the group is the line-driven symbolic. Perhaps stated in the address reflected on the relations is also in the texts. It addresses: (inscriptions at the entrance of the winter, clusters of travel, waiting for the words, the passage of Eid, spillovers questions, Achtaalat flower of summer, the silence of the cross sections, Sidra start). There are eight titles out of 24 titles of the texts of the group.
- The form of the poet through the image specifications mentioned the heroic, beautiful model of the individual who comes does not come a moment absent:
How do I see?
Ie, those sinners Astaftha
Any entrances? Agheiemat any luxury in the comfort schedule?
As long as the weight memory
Blossomed as a flower of light, and loosens the evening Dvaúrh
Tzur magic sleep
Loss around transit
Birth of his dreams stressful
When the North Tab
Cast his eyes behind long Almtermd
Towards the north
Ahdl, take him shake
And tossing Ohoagah blown question (4)
Alostrh, the question is, where the breadth, symbolism, sensory intensification, diversity of vocabulary, event, density partial images, are essential components formed a force (capillary) in this text.
** The poet uses specific vocabulary indicates a shift and a desire to change, which is consistent with the ambition of the individual's surging in the transition, and may form the basis of consciousness that embodies the group, that: (storm, woman, sea, rain, wind, the present tense, March). In March Ishtar Adonis out of hell to start the spring, where the fertile and green:
Aaamar, my secret land Sadn purer
Do you remember the morning
Thrown to the floor and Lily and I went Ajfah
Do you remember, March
I dream of the Earth
Atrach Lily Khgely
Enough dropped to the ground with a day (58)
Perhaps some of the vocabulary that addresses the texts are evidenced by the transformation and confirmed, such as: (attendance, inferiority, Nawras, excessiveness, fuels, jet, the alphabet, flying bodies, pulses). And repeated the poet vocabulary other function, such as (start, desire, and long, and the wound, and leave). He says, stressing ritual transformation:
Aab rain beats gently windows
Embrace the sand and thirst seasonal
Entrances and between trembling steps
Seek the punishment drops gently knock the windows
The heart to wake up and Qahen
Goes on to grief naira Alnuar
And echo renege moments (6)
** Bottom line Abdulaziz Ajlan distinguished poet, has been able to unite in their group (pre-Islamic spark maps) between the aesthetic and technical, between the abstract and sensual, between moral and ritual within the visual variety contributed to the composition of elements of mysticism and myth and symbolic configuration. A poet all that different from what is familiar, and his experience worthy of praise and meditation.
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