Yesterday, the 90th anniversary of the birth of the late Egyptian poet Mohammed Afifi Mutar, and once the name of Afifi Mutar was mentioned in any forum, it took place on the Sunshine as his famous Arab sentence. Is a man and I beat him coming back? Even my waist at the poet became a stark sign of clarity in anger and satisfaction, but our Arab sign that we only know our own culture if they do their idea, as with my elfia, who injected the detainee and his bones!

He lived in an active ingredient, driven by the formal institution ' s ceremony, the prophet -- without a declaration -- from the cultural community ' s bastards, on the back of his elusive glue -- they claimed -- and on the ground that he had an importation of his own ideology -- which he had on his own.

They were killing him, and he knew, and he was honored in his opponents; no pilgrimage is his thing, no reproaching, his passion, his delusion of the old Arabian poet, no depravity, no foul play at the singer.

I'm told by an Egyptian novelist who moved him, that one evening in Paris, she brought me a hearing with a famous Arab poet and three French educators, and the Arab poet mocked the character of Omar Ben Al-Sabah, who was no savage but sprinkled him with the glass before him!

The stalker could easily accus me of violence, but in fact his behaviour was not aggressive against the man or defender of the son of a speech, as much as he was saving the water of the Arab face as he was lying on the Paris tables, glowing to its brightness, not a serious and genuine knowledge debate!

In his group. "People face features.""He writes in 1966:

"The right may be said twice:

Once the Wizard says it.

And once the sword says it!

My uncle, an old prophecy, has been saying it since his group.From the starters.And the sword also has his venomous word, influenced her on the nose of my devastated bloody nose, and Lazagley is a witness to the signatory!

In his book. Tales of good people. The dictator, Said Al-Kafraoi, writes a testament to crying in time of laughter, tells me about his visit to a raincoat in prison, says:

«The sheriff pulled a bell in, and a soldier came in, and the sheriff asked him to bring a rain, and I got caught up in front of me like smoke strings.»I'm sorry.

It was an Arab forebear, and its foresights, even the richness of it, pure Arab, at the level of grain, horses and poetry, a stretch of hairy ancestors, unforgivable to them and untouchable to them, despite his encycloped culture and his ribs on the part of Arab civilization.

The poet paid for every word he said with a comfortable conscience, because his word belongs to him, and the imported words don't need to pay bills, from the uterus bears and even his uncle's stick, a mosquito in the toy, all his words were pure to him, and these are: his poems and paid price, his presence.

By reviewing the Arabic poetry blogger, the use of poets with the prophet does not come out of a pattern of three, either for the elderly and for the young, or for the taunting of the prophecy by the poet, on a bipolar/prophet basis, the poet ' s experiences of the prophet will be shared with the popularity, oppression and speculation:

And the third pattern is confusing the prophet's experience by giving her a new reading, trying to erode visions and produce new expressions of the ancient spiritual experience, consistent with our contemporary concepts without empirical dictations, which we have clearly demonstrated in the delusion of his faith. "You're one of them and your organs are broken."That came like this:

"Pulse of calm."

To a baptism...

Master of the Lungs.

And the vision of divorces of every sex.

All tears.

It's open to the hungry.

And the rhythm of life in the body of the world."

The critic, Dr. Salah, sees in his study, that my forgiveness was going to implicate the reader in the confusion between the poet and the prophet, but I see this as the inclusion of my sanctuary in the second pattern of poetry - wearing masks!

A clear and unambiguous gift, referring to a particular belief nature, is that when the poet believes in the messenger, it is carried out into the essence of the message, and it is translated into the true meaning of the prophecy, meaning that the prophecy came only to get people out of the narrow category to the capacity of mankind, to heal the hungry, and to impress life in the body of the world.

So he took them in schizophrenia and pride, and when they were held to the shadows of the prophet, he reads and lives the experiment, throws them in the sylphilis, doesn't heel, and reads his poem. "Woman not now."Don't come in front of me without cheeks, although there's no direct mention of her, but giving the bold voodoo to Muhammad, the fever of my mind is up to its utmost, especially with words such as:

• Believe what you're dreaming, time's wider.
• Forty of the ages were born.
• They pulled you out of the ground. Their conversations were a language you're not.
• Don't promise them if they enter the dream or come out.
• Are your exits from your plans or the Earth?
• Summer and wool came to me under heaven's space.
• The family ring is lit, and that's my woman.
• You're not alone.
• Are you leaving?
• What are they and time not us?

Throughout the poem, the evidence is referred to as a veteran role in the experience of the prophecy, without mention of cheeks or prophets.

In his ingenious sword. Book of appeals.As part of his petty work, he speaks in the chapter of "The Greatest Call" of five who made a change in history; they are two men, women, children and slaves, and he says:

"They were five who never met in a place or time before or after, and five like them did not speak a cosmic coup that changed the geography of souls, minds, hearts and history of the earth as they did; a man and a woman, the parents, the thousands of sons in history, their brotherhood, the creativity of the temple, the heart of the souls, the hearts of history.

Did you know the five?

Prophets, Khadijah, Abubakar, Ali and Balal/Abdul Al-Raq al-Ahd al-Ahmar, believed in a cradle of religion, defended against fundamental kidnapping and anti-Anzeki in front of the incoming/emergency idea, and lived a true vigilante, eating out of his hand, and not fighting over the royalty. He has peace!

Yemen is present on the first page of the Arab Culture Code through all its historical fields, even to be sure that it is the one who is the one who is the one who is the one who is the one who is absent from that code so that one may think that it has fallen from it in the face of delusion or intentionality, or that Yemen - for its own geographical, cultural and historical reasons - has made another one of its own.

Yemen ' s mountains and difficult terrain have always stopped a barrier to the sound of their human beings and to prevent them from being heard quickly by others. At the same time, these mountains have echoed their owners with a clear distinction not made by the world ' s ramps and no noises from behind sand and sea.

Long mountains. What's wrong with her?

She hid our time and wore an untiring time.

Long mountains.

Are you going now?

About a step in a big day.

How far to fight.

Long mountains.

You go in every wind.

And she blooms in the question.

Mountains.

Mountains.

Mountains.

This difficult, diverse and ambiguous nature has, in turn, adapted to a human being who resembles it; it has challenged the ambitions of invading the Arab; it has made Yemen an ambiguous geography or enclave that is difficult to occupy or annex to any political status, whether from successive Islamic States or European invasions, and, as a consequence, the waves of vulnerability, influence and development in Yemen.

The structural situation of Yemen as a place, a climate and a human being has made it somewhat isolated from the foot, inventing its own and different solutions, developing different ways of civilization, such as bond writing, irrigation tools, agriculture such as dams, stairs, building tools, instruments of war, defence, clothing, food and medicine, all of which are characterized by the development of the human being of this nature, and by the very grey nature of the right.

We'll keep digging in the wall.

Either we find a hole in the light or die on the wall.

And that undoubtedly left its effect on the entire arts of singing, poetry, dance and old and modern folklore.

In modern times, this ecological and demographic terrain of Yemen created a different political reality for the rest of the Arab countries, because of its geography between the mountain, the sea and the plain, the people of Yemen knew at the beginning of the nineteenth century that the revolution of Britain had taken the southern part of the country, which was occupied and exploited until the 1963 revolution of independence, and that of the Romans, the northern part was struck.

A lifetime in a rebound minute.

And flowers are in seconds.

The country chased me down.

Who makes sense and who found me.

The more I get, the more you warn me.

I was scared of my time.

And if I throw a name in my sight,

My country has provoked me and congratulated me.

And this urbanist says he's on the execution yard and his buddies were killed in front of him:

And for God's sake, I didn't hide the pain and this.

She looked at me with vision and hearing.

But really on my conscience for my mother.

I fear if he dies with me.

That's how Yemeni poetry is born as a life or as a death, just as it is.

That's why I'm jealous. I look weird.

On the custom like the improvised generator.

And I know I'm in it.

I'm going through my blood, the worm and the mud.

The Yamani live his life and improvised poem (e.g., squeezed by the blade from the waist, or as a machete, as Ahmad al-Awahid said:

The poem surprised me this morning.

She got up from the legendary mood.

She did it whenever she approached as long as the wind.

And I'm tired.

Like a lot of people.

It's called harm.

And they suffocated in the porn.

The right poet is born more important, wise and old than ever.

What do I like about my boy?

I was born old. How do you like it?

And today's hurt and the art army plays me.

On my cheek, I'm tired.

So if he blacked out the curve on life,

And the literary lights and literature.

1960s and 1970s (revolution adjacent to poetic forms):

An Arab revolution may not have been defined through its poetry and the Yemeni revolution in the 1960s and 1970s has been defined through its great poets, Abdelaziz Al-Maidah and Abdullah Al-Burdoni. After a great and legendary struggle by the free Yemeni people, the northern and southern parts have been liberated and two republican national systems have been established.

The Bardoni ' s youths in the poem of the poem and the gust of the guitar -- the two rebel friends -- represented the concept of school circuits and the friendship of early poetry forms in Sana ' a, meaning that the events in Yemen were born in connection with the revolution and societal change, i.e., with content rather than form.

In addition, another poetic voice is the voice of the poem that was held by their great poet, Abdul Latif al-Sabah, who, because of his young friends, has not become a legendary poet of his own true passion, of his own right, and of the masculinity, of the poetry that he has suffered as a poetry that has not yet been used in the Arab world.

Spring issued its only two deputies in the same year. A pair of them between the poem and the activation.

Spring writing is profound and intensive and the economy of its phrase, reflecting the character of the Yemeni man in intensifying the operative part, consistent with his wiseness and verbal habits:

Because I didn't fight.

I took prisoner of war coming.

On another level, the poetry of the spring reflects his village whining, coming from Cairo and Budapest, as if Yemen always sees the world by its own moon, quotes from the world what can be culturally settled and planted in its fields:

Take it off.

Sit down now.

Listen to her silence.

When you raided, you tried it.

It was the dam.

Extended her terrain.

Then she was poisoned with her sorrows.

Mountain.

We're fortified as bees.

With irrational poetry, it is more than you say that the spring hair clashes with its political and social moment and its acute awareness of the changes in its time, critical of the oil boom that has emerged in Yemen and one of the reasons for the warming of its political components:

The first was the river.

Deplete the river, dig wells.

Light the well and find out the oil.

The oil flowed, digging mass graves.

You flowed cemeteries.

Deplete the country.

This poetry is based on a developmental awareness that monitors daily and private and is modeled for public and total contempt of bureaucracy and human servitude in the public office routine, reminding us of the awareness of the new story at Kafka in the story of the mutant, and Nikolai Google in the coat story, which we touch in the text of Abdellatif (at 7:00):

Whenever you last at 7:00.

Sleeping up from his sleep.

He washes his guts in the morning.

And his dreams razor.

And he'd like me to get out of my ass like a penny.

You wear my tie.

I'm being humiliated by the brightest part.

I'm rolling a street that doesn't lead to...

And Le doesn't lead to...

Now I'm looking for a basket like a job.

Looking for an empty basket!

1980s: Dominance of activism and poem.

At the end of the 1970s, civilization and well-being are small and people are grasping the first fruits of the tribes. Unfortunately, the conflict between the Yemeni fragrances, which is the resonance of the conflicts of the eastern and western camps, with the enlargement and excision of a constellation of the poets of the Al-Shuwayda al-Isim al-Isim al-Ahmah, is the sole and al-Ahmah al-Ahmah al-Ahmah al-Ahmah al-Ahmah al-Sah al-Ahmah al-Ahmah al-Ahmah al-Sah al-Ahwadun al-Ahmah al-Ahmah al-Ahmah al-Ahmah al-Ahmah al-Ahmah al-Ahmah al-Ahmah al-Ahmah al-Ahmah al-Ahmah al-Ahmah al-Ahmah al-A

Here, we can refer to some prominent features in this stage ' s poetry speech, the most important of which is the symbolic and the mask that was carefully guarded by the ideological conflict between the strata of society and the security apparatus of the authorities, as well as the spectacles of certain party leaders, as we speak in this section of the script of Muhammad Hussein Hitham:

That's the head.

A fruit.

Or a bird.

Or a metal plate.

Or a poem.

That's the head.

I don't know how to use it.

Except that every day

I develop ways to keep it.

That's the head.

My head.

And I earned it hard.

Nobody told me why.

But I really deserve it.

Because it's my head.

And I have to cut it as far as I can.

Go away before she falls on her own!

The poet of the 1980s may resort to the occasional use of the Sofi compound, repeating the word of khat as an objective equation for trying to forget and search for sophilis, as an attempt to convict the inter-fraternal war, as in the texts of Ahmad al-Awaiyat:

I said, buddy.

I'm not a sea.

But this new time.

Salt in my mouth.

Every day on the khat paper, I bow.

In the east of my grief.

This time takes my blood!

The 1990s/time of Yemeni unity: (The Anthrax: Great Hair Bang).

In the 1990s, as Yemen has been proposing its solutions and improvisation, the socialist political systems of the South and the hybrid liberal regime of the forces of the left and the right-wing forces have once decided to enter into a merging unit and to begin a new and paradoxical phase of multipartyism, in the moment of history, not only one of the biggest fanatics of the historical inevitable.

Despite the reversal of the two regimes and the beginning of the 1994 separation war, everything in the waters of culture had changed and replaced, at the time, the wave of the nine-year-old hair had flowed in a way that Yemen had never seen before, either in its number or in which its high talent, vast culture and excessively poetic sensitivity, Muhammad al-Ambani, Ahmad al-Harrahimi, Abd al-Hasourhid al-Sabi, Abd al-Ahiyad al-Ahiyad al-Sawi, Abd al-Ahiyad al-Ahiyad al-Ah.

What happened to the dreams and aspirations of the poets to the great homeland and the national project after the separation war and the defeat of the left was like what happened after the June setback at the Arab level.

I saw my house in range dust.

A story written from my blood.

My mountain was bowing down.

My voice was dead in my mouth.

The Yemeni poetry at this moment has been characterized by intensity and redefinition of things, as in the poetry of Muhiddin, a crime:

Hands don't pick the rose garden.

Hands don't clap.

But the hall is empty only from applause!

Some of its experiments have been marked by sarcasm, hamish codification and friends as a continuation of unfinished conversations in the union cafe, tea cafes, or encrypting of comrades, or a speech of others known to all and concomitantly not to mention as in the soldier's cook experience:

Put me on a path leading to the rich.

My children see me capable of their demands.

And jump them into heaven.

They won't regret it.

I'm good and poor.

We are all bad enough.

Don't make us right.

We're friends of vice sometimes.

You and her spoiled kids!

Some experiments appeared to be a philosophical speech in a language closer to class and custom, distilling the entire human civilization, inheriting the planet and feeling it, as in the experience of Ahmed Agrarian:

With shining veins at the height of a shining mountain.

And a poet pulling the mountain into his eyes.

Leave his papers white.

An air rolls into it.

Leave his only pen.

In the void of the world.

Some of them are the experiments of Ventazian, which reflect the concern of the civilized organism that we have become, as in the experience of Ahmad al-Salami:

No bed for my suspended soul, no matter what I need.

Grams are dying and our skin is raging.

Like a farmland.

Parents neglected her.

They let her drive cabs.

On a way to sell wine to the regretts.

And without paying attention, we ate half the city's chicken.

And we're foxed in glasses!

The 1990s were the moment of great and accelerated events, political, intellectual and social in Yemen, and the poem was a technical and objective expression of what happened in Yemen. Their battle was not as deep as in other countries.

My orbit of grief on the horizons is open.

About a planet that embezzles me looking for the soul.

I'm meant in space order for who.

She missed her nets in the heart open.

This ninety-nine column, which is very vocal and highly enriched, and the sophibian mine, along with the Faisal Brihei columns, the Pan-Shimri, Jamil Farah and others, together with other factors, will be established to prosper the new column in the post-alphan generation of Yemen, which we will dedicate with a special pause reflecting its technical and substantive characteristics, names and factors.

In the night, deep, in the woods, hypocritical.

If it's time, I'll swallow it.

If the thunder tears up, hear me out.

In that deep, why did he hear it?

If the rat with the sides is released,

Minimal than he has.

Stay in his chest as his cup.

My drowning, the mother of the stars is frustrated.

Life diminishes her world.

As the stranger misplaces him.

The Sudanese poet only mentions the presence of Tajis Yusuf Bashir (1912-1937m) in its entirety, at a young age of 25 years.

If Mohamed Saeed Al-Abbassi (1880m-1963) is the renaissance of the Sudanese hair, and he is moved away from the blind tradition, scattering and sewing the hair into a live hair and its ignorant identity, with Sudanese richness, culture, environment and civilization, the characters of the Sudan are made to refresh the hair.

General overview of the Diwan and its impact:

Starting from this angle, with the biggest influence on the Yusuf Bashir Tajian project, where the offer did not have an external framework of hair, it was his spirit and his face, it was the one that controlled the meanings, imagination and language. When the tyre was broadened, the tyre would erode hair and wax, and when the poet was lost to engage with his meanings. It surrounds the poet ' s idea to brief the fence with the wrist, if the swordsman were torn up and lost their value.

If the Arab poet is the most self-sufficient, it drives the poet to choose the fine weights that are clear to the tune, and is reserved for the lakes: (flue, simple, complete, empty, sand, converging). They are more circumcised in Arab hair than others, if we add them light, which at the same time consecrates and discrepancies, only collects two weeks of the sex of these weights (reactors and excision), not as in the arrogant.

In its late editions, the Shadows and the Shadows, together with the Smurfs, will add two strings, one of the smelters, and one of them will be caught in the open.

The suspect ' s circle has accounted for a large number of natural hairs, through four seafarers: light (three poems), speed (five poems), massage (five poems) and brothels (four poems), which is more than half the number of poems, with 62% of the total poems in the circuit.

Tajini language and mineral wealth:

When we look at Efraqa, we find the language of the trade accurate and concise, if we we weigh it with the nature of the lake, it is the oxygen with the light tone, which explains the smallest poems with the bell, which appear through the sea of the simpler, the whole, the blooms, the closest, the longest, and the lighter, and the brush. This leads us to say: offers are intellectually linguistically significant, not just weight, rhythm and an external framework, which is the example of nude meanings before they scatter.

Language and mine:

And the brightest glance of the past, is the craving of knowledge, through many of the vocal vocabularys of its time, so that you feel that it belonged to this very recent era, and that his vocabulary, my father, my father, and my own father, were more modern than his adorable glory.

Whenever he came to go, the bloomed blossom in his hands, his apartment.

It is a great deal of rhythm in curiosity, repetitively and shamefully in the face of beauty.

He says in a poem entitled (God):

I fell out of my hands, and I opened up a start for the first things.

He combined two descriptions of the desert by saying:

I empty it, and despite me, it slipped as white as the soul in a black trap.

And how I've been sleeping with him, and I've changed the shadow of a trap.

The description of Niles follows:

Filling your valleys is fun with the flooding walls of yours.

In the description of Nile speed, he says:

Maybe life slides on the valley, and it's in the canal.

It's like he introduced sound effects like the the theater, when he wanted to describe the Mahdi of the Revolution, by keeping the letters and repeating them in the vocabulary, so you could hear the wind in the Shatty nights, when he said at the beginning of the poem:

In an applicable tidy day and a round-up night.

You may have noticed that the most recent evidence came from poems of the light sea, and the recycling was all colonizing them, one of the most important features of the way that the poet was able to think.

Exchange and derivative boldness:

The poet ' s language is complete only on a purely spontaneous basis, and most particularly its image comes from derivatives. It is on its soil, and it is free from its contemporary circles, but it is true, it comes to meanings that may not be performed by other formulas. We often change the suspicious character to the name of the perpetrator, finding in his hair derivatives such as:

And agree, Neil, of you, to sing a tea from your goddess.

He said:

I'd like to be in childhood, like, 200 if I'd ever heard of young people.

So you hear him say:

They said, "burn him, crucify him, but slide to the wind with his bone obsessiveness and flame."

And we conclude all by saying:

Do your monsters in the row between a dean and a sacrament.

From his wounds in this direction to God, Alhi says, to make the exact difference between the ratios to one God, the multiple gods, especially when the Romantic curriculum overwhelmed his hair, and every Alhey in his hair is of beauty, and for so much he came in his hair, to think he'd say, "This is so sweet!"

Intellectualism: between philosophy and characterization

Tajini Yusuf Bashir took part in philosophy and description, the two most important intellectual features of the religion, both of which confirmed their minds of meditation and reluctance, far from rushing and speeding, which, in addition, coincides with the nature of the spinal tranquillity in his hair, and makes him obliviously oblivious to the sorms.

The most common sense of humiliation in the secret of this existence, between pure faith and the doubt that enthusiasses the sense of the bird from the water of the ash! To further this aspect, we are referred to his poems (God, I bid my yesterday, my complaint hurts, Hair, the tortured Sophie).

It says:

And he's going to collect port ruins.

A stripper from whom his kindness is.

Until the Stone Mountain came in with him.

I'm sorry.

And between the twins, the egg rolled.

Screaming in the ground from the depths of his debt:

In the secret place of my debts, I'm glad.

For real, I'm looking out for him.

Here's the truth on my side, here's a quote.

From heaven in my heart, here is God.

What makes a poem more singable than others?

We don't need my father's courtesy or my poem-rapist to say that it's from the eyes of the love poems in the Arab heritage, and it adds the ostracism to the family with the same fierce poet in the rum jails to make us a beautiful, beautiful, poetry in which his feelings are so admirable.

For similar reasons, some heritage poems had the same status as singing, which certainly did not have the mix and mood of the Araqi wands, but they enjoyed a similar blend in some elements, the most important of which was the strength of her presence in the door of the Occidental and the uniqueness of her expression, as a slogan (fine night). The divine lover ' s hair has entered this field strongly, such as paternity attributed to the fourth infection and the son of a bitch, so that it can be read on both sides, and because the state of the Soviet court has given the horizon of the lover an unlimited eternal breadth of loss or pain.

Araqi ' s wand of tears was one of the most famous heritage poems she had ever sang, and was first recorded in 1926 by the patriarchal tune attributed to his bereaved slave, and it seems that the synagogue of the poem has been forced to submit it again during subsequent decades, in which the shape of the song and the shape of the written poetry has evolved.

But Arak Etzel did not stop pushing on the silence, for the third time at the end of 1964, she lost it with this time, and despite the Sunbae genius in representing the feelings of the poem and the embodiment of the left Prince, she came from the least successful or mass action during the 1960s.

It seemed obvious that the whole long sea on which Arkham had been written was strange to singing patterns in the 1960s, and heavy to its rhythms, so that from among ten sisters chosen by Om Clthum to sing, only three had been forced to rhythm, seven had come unrealized and seven had also come unrealized.

In the following season, the Sunbatai and Umm Kalthum al-Atlane came to Ibrahim Naji, the most successful or famous songs and eyes on the throne of immortality.

The regular structure of the Ramal Sea, which consists of the recurrence of two reactors three times, seems to have given him a greater ability to fit in with the beard rhythms, from those complex sailors, with different spectacles, and the stunt of his activation, which intersects between the two causes that made him the luck of his brother-in-law, the three-century.

Besides, the dysfunctions have had another advantage, namely, the diversification of flats, where they were built on the four blocks of different patriots, this structure has made it easier for the Sinbatai to convert each piece into Koblé, distinct from before and after, and the diversification of the particles is a phenomenon that has been commonly felt in different forms in romantic poetry, and the enriching of a great number of horses.

When we highlighted my father ' s vision of Faras and Naji ' s parents, we were about the reasons why a poem should be singing and a candidate for success on the voices of singers, a research that would require a broad survey of a large number of old and modern poems, documenting their successes and failures, so that we can reach a reassurance of their health and inclusiveness, but we consider them to be close to the other 20s.

In the light of the reasons for poetry, the power to attend the poems is on its own door (the purpose and meaning), the eyes of the poems of love and mystery have always been a candidate for singing, invited to the ancient and modern savages of singers, so many texts of the voices that have been enriched and founded on by the writing of songs that are irreversible.

The second reason for poetry is the occasion of the poem ' s weight and culture for the prevailing patterns of salinity and singing, so the long sea has been embedded with the weights of poetry in the prey because of its suitability to the puppet, with the prosperous and fragrances of the illusion and the evolution of its patterns on the gallants, which began with the end of the era.

In the modern era, the Ramal Sea has had greater luck than other lakes, because of its regular rhythm based on the replication of one activism, which is intermediated and mutually reinforcing, and the poems with diversified rhetoric have been much happier with the choices of accelers and dissidents, because their partition in the tender structure is easier.

The third reason is that in many Arab countries, the ease and irreversibility of quality, for that reason, the poems of a piñata have been strongly attended by many singers and singers, as they have achieved an equation that is not easy for all, ensuring that the public receives undiminished language and culturally, making them a culturally and commercially rational choice.

The reasons that are unrelated to poets may be attributed to their rich parents, and the poets who have made strong friends with the sperms and singers have always been more than happy, and it has been natural for his projects to sing dozens of poems of barbecue that he adopted and housed in a time when he adopted his sunglasses and books for his own sake.

These are also the culture of the singer and his acceptance of poems that may not be popular or popular in the public, and the form of singing that he performs. The singers who perform forms of transponder (which is not accompanied by rhythm), whether with promises only, or in the form of money at the beginning or in the middle of the lyrics, are the most capable of slaughter.

Finally, the political and social context that may impose poems on specific occasions comes, and its luck is as good as its manufacturers.

In 2002, when I was decided in Vienna 18 years ago, I received a literary invitation to attend a hair festival called the Struga International Hair Festival.

I will present here some of the features of this festival and two others, the most outstanding, without resorting to comparisons between us in the Arab world and without drawing a compendium of experience; only the story can reflect and think, and perhaps change if we wish.

I knew that Struga was a city located in northern Macedonia, that it had one of the oldest world poetry festivals, and that the original name of the festival was the Orchestra, founded in Struga in 1961, with the participation of only Macedonian poets, would be extended to poets from all over the former Socialist Federal Republic of Yugoslavia, and by 1966 the event would turn into an international cultural festival.

The International Golden Crystal Award was established the same year, and Robert Rosestensky was the first to win it. In 2003, in close cooperation with UNESCO, the Festival created another international award called the Struga Bridges, for the best poetry book of a young author.

The festival hosted approximately 4,000 poets, translators, writers and literary critics from about 95 countries around the world.

The festival has also been honoured by some of the world ' s leading literary figures, including many Nobel Prize laureates, such as Joseph Brodsky, Pablo Nyroda, Shimos Heni, Leopold Sedar Singhor, Weston Huo Oden, Alan Jenspeerj and Thomas Transtromer, who have been with him in a close copy of the festival in Macedonia.

I said I'll try and answer the invitation and see how these poetry festivals are, to also know that this international literary festival stays annually, lasts six days and is one of the oldest or largest festivals in the world if not the oldest.

I arrived at Macedonian airport, and some poets arrived before me, and I had to wait for some of the other poets and poets coming from different countries to pick us up with a little bus with about ten poets heading towards an old hotel on the Dren River, to be greeted by the director of the festival, then by the holy poets of Gomel Gosel, who are familiar with the French, and by the very youngest of poets.

This was my first festival outside Austria to celebrate poetry above fantasy.

On opening day, the main bridge in the city is shut down, so it's got a big fun wood on which the poets stand to read in the evening, and the hair translation reads by representatives and professional representatives in the delivery. People go out hundreds to the river banks to celebrate this beautiful week, fill the lake with coloured boats, and the television goes on the air, and the flags of the participating countries entertain.

In the following days, readings are multiplied in many places and the special ceremonial weather of the poet is created by the guest of honour to grow by himself a tree block to grow in the poetry park in his name. There is a tree in the name of Adonis and another in the name of Mahmoud Darwish.

One of the parties that happened to me in my first visit in 2002, was the discovery of a great science for the Sudan on the edge of the Drin River, asking from the organized poet Bujumel Goselle if the city had a political conference in which the Sudan participated, because I saw a great flag for the Sudan on the bank.

From their annual tradition of this festival, they also publish seven colored doughnuts translated into Macedonian; a poet book from every continent of the seven continents, and I was lucky in 2005 that I had a Dwan carrying the title "Arger Stone of Heaven" from the translation of the great poet "Gosel."

The President of the Republic hosted the seven poets and gave us a celebratory drink to celebrate our celebration in a nice, gentle, unfavourable chat and exaggerations.

* * * * *

Last October 2024, for the second time, I was invited to Costa Rica ' s International Hair Festival, the first invitation in 2014.

I remember one of the most beautiful students in my first invitation ten years ago, that I was received at San José Airport by the director of the festival himself, Norberto Salina, who asked him before travelling to the airport, who wrote to me, "Who would come to you, send a picture of your book to come up."

Funny, too, I didn't realize that the one who lifted the dough at the airport was the director of the festival himself, and I didn't know his picture.

The opening usually begins in the great theatre and in the following days to the university, and then is distributed in small groups to several regions, such as the programme, to visit schools in a large number of governorates in most parts of the country.

In 2014, I was lucky to visit a great high forest area called Monteverde. I was with a lady artist and an English-speaking escort with a professional photographer, and I visited three schools a day, and I met two evenings with the big book in the area, and a literary and artistic woman volunteered to stay there for three days in a separate beautiful house in the middle of forests.

Last year, 2024, the director of the Norberto Salina festival ran competitions in all State schools before the festival, selecting more than 70 poets and poets under the age of 18 and spreading to them large poetry physiology with their images and logo.

The programme includes a three-day visit to the largest areas of Costa Rica in the Great Tortucero region of the Caribbean Sea, at the constant invitation of the producer, to young poets and poets and young people who are winners of the Ancientology with their mothers. Days go through readings, debates, trips and the most beautiful landscape ever.

Also, one of the most beautiful things I saw in my first invitation to Costa Rica ' s World Hair Festival in 2014 is the distribution of book slogans in large posters to the city ' s public bus stations with paintings for artists, and who is waiting for the bus will read some of the slogans to one of us in his name, which is at the same time a smart announcement about the festival in the country.

* * * * *

He's one of the most sweaty and big world festivals, headed by the great poet Fernando Rendon and the coordination of Luis Eduardo Rendon.

In the city of Medeen, Colombia, a living example of the triumph of hair and the tampering of a society that has lived decades of violence and crime until today, 35 years after the founding of the International Hair Festival, the same city has acquired another spirit and its stereotyping has changed in mind.

The international poetry festival in Medeen, the second largest city in Colombia after the capital, Bujuta, was founded in 1991 in that city, which was known for long years of violence and the high crime rate, and the world ' s most dangerous drug cartels were found in 1976 by Pablo Escobar, known as the late-town cartels and politicians.

The death of Pablo Escobar in 1993 was the end of the Medine cartel, which has had side effects for years of displacement, asylum and instability, so the Meddhi Hair Festival has come with an alternative idea of this disturbance, chaos and violence; those features that have abused the reputation of the city for a long time, the founding poet Fernando Reyndon of this festival, which has become one of the most important clowns.

The festival was awarded the " Right to Live " award 15 years after its founding, which is designed to honour and support those who offer practical and perfect solutions to the most pressing challenges facing us today, asserting that through art, poetry and freedom of expression, society can change positively, remove a lot of fear and violence deeply rooted in society, and gradually transform the name of the Mountains, as beautiful as the city of eternity.

At the thirty-third festival, two subsequent festivals came across Zoom during the period of the Korona, and for the second time at an official invitation, 90 poets and poets from 54 States participated.

In these festivals, the world's dye is already applicable to it and the mass presence is already very imaginative, and in addition to reading there on great tracks, poets are distributed across the country to read also in the poetry of the areas they reach.

The Medine poetry festival in Colombia lasts for a week, to which the public comes in thousands to listen to poets in the security park, a place where the opening starts and the closing ends.

The Colombian public loves poetry, nurtured, tasted and interacted with him and with all the voices and languages coming from all over the Earth, sitting for long hours listening and then waiting for poets to sign on the bleak annual physiology printed on some 340 pages of colored stereotyping paper, processed by the festival with self-word and poems in Spanish and English.

There is no privacy for the hair of a State or region in this festival, the hair there is the voice of all the world, but, on the contrary, the hair here solves any boundary, geographical or ethnic differences.

(North Austria, 2025-03-27)

For a while, a poet criticized Adonis's experiment on a culture-wide critical platform, dictating his traditional heritage orientation.

The angry fanaticism of Adonis's poets and intellectuals -- let them be called Indonesians -- when one of the people opposes one of their own opinions or hair -- is a phenomenon that deserves to be meditated, a phenomenon that we can find on the basis of which we can find ourselves unsatisfactory, perhaps the answer in 2021 to a question about the value of his hair in the Arab world: “…This [Arabic] culture remains at its core, as I see it as a religion (indigenous, legitimate, in particular), vision and practice. This [...] makes it against knowledge, against man and against life itself. Thus, I splinter Arabs into two parts, some of them, together with me in this view, the few, from which they see that my hair and diabetes are the culmination of poetry and thought in Arabic, and not the same in the history of Arab creativity, especially modernity.

Thus, according to the vision of Adonis and the Indonesians, we find ourselves in front of the old/new king's clothes:The peak of hair and thought."She's at Adonis's, that peak."Unlikely.One has the right to belong toCreative little. Beginning."and enter into her vows, and whoever craved his taste for that."The peak."So it's the most inspiring of the above, that's, that's the one."Against knowledge, against man, against life itself.“.

We don't need to be alerted to this imperfection, as well as to make any human being admired for his work in person the standard in creative vision.

Certainly, in this short article, I would not try to engage with the whole idea of Adonis, but I would like to refer to a few outstanding examples of his ideas, examples that made me put the book aside and ask: why would I read this? What good would it be?Against knowledge, against man, against life itself."

The first, and perhaps fundamentally, forms of transmission of complex poetic phenomena, all of them to historical cultural diversity, ignoring the fact that part of them is due to the nature of the human being, I hope to say, in the context of diminishing the importance of Hebron weights.Weight/recovery is a later cleaning job to shape my previous hair.“.

In fact, weight/responsibility is not an original hypothetical work, so that it's later for a pre-fecture, but vice versa: the weight obligation is preceded by two different sides, equally important:

The first is historical: strict adherence to the weights and strengths of the lakes has been preceded by all the theoretical efforts that have come after it, the obligations of ignorance in weight and extreme rhetoric, such as their commitment to the integrity of the plaintiff ' s exhibits, and its third activation in each part, from the edges, if you look for the parents in which they have departed if they are at least 1%.

The second is natural: some part of the weight has arisen not only on theory, but on culture as a whole, because the rhythm is so biologically constant, it's so unspeakable.

If we put an end to all the violence and demise that we carry within us towards Arab poets, in order not to be accused of having a religious, horizon-legitimist anti-life and human personality, and to have put aside, as well, the objections that we have just made, we will not at least ask what benefit we have from referring nature and culture to a clean-up action, and what good is it to say?

"The tongue, no reality, is the direct substance of the poet's work, in the tongue and in it, the world sees and shapes, this physical practice of the tongue requires it to be knowledgeable of its superior knowledge, perfected the greater prestige of the history of poetic speech, and how to write poetically.

This piece represents a good representation of what is impeccable in the idea of Adonis, if Adonis imposes on the poet to know the highest knowledge of the tongue he writes, but our Arab world, and the Western world too!Higher knowledgeNo.The greatest mastery of the history of poetic speech."but they say from the hair I torture and his purity.

The misery of this idea is reflected in the recent reporting logic that makes the most knowledgeable of the tongue the most human being, on the pretext that a man is defined as a talking animal.

If I look at this statement in its logical form, I mean, without looking at its meaning, it makes sense, because if wine is alcoholic, the most alcoholic wine is not more "proper" than otherwise, it turns into a craving of hands at best, if it goes beyond the same distortion of reasoning and looks at it.

To say thatThe most common knowledge of the tongue is the most human."It requires, for example, that our people in Syria who have spent a decade in the camps, no schools or any human life phenomenon, are less humane than their most fortunate peers who have looted."Higher knowledge"and perfect."The history of poetic speech.It also requires that African slaves in the states have been less human than their worshippers, how not and how the generations of slaves have quickly lost most of their connection to their native tongue, because their slaves have not left those who speak a single African language to meet in a single business group, for fear of insurgency, and then they have not yet learned from English enough.Higher knowledge"in tongue.

It's obvious that this is all corrupt, and that poet Adonis or otherwise does not humanize a hair on a mother who sings for her son to sleep in the tent, and is more likely to lose it.

This idea and what it's like in Adonis is his contempt for readers who are immortal and popular. «Disgusting Adonis.»!

The writer and famous Argentine poet Jorge Luis Burgess wonders:

It's the river that gets away from me, but I'm the river! But I am the tiger! But I'm the fire, the world, unfortunately, is me, the world is Burgess.

After all this long and deep experience Burgess finds his shock, and shocks all of us with him, that the world he tried to monitor and interpret is just Burgess himself, and he states in his book that: "In the last pages of the book, I spoke of a man trying to paint a picture of the universe. But he discovered at the moment of his death that he painted his face!"

This fact, which seemed to him and shocked him after all this trouble; the great Arab poet, Habib al-Saigh, since he began with poetry, when he realized that individual self and understanding were the most valuable way of poetic creation and the formulation of the world to be self-inflicted and embedded out, where the uniqueness of the whole is to find that his own poetic experience is self-made and philosophical.

It was perhaps the most objective reason for his philosophers and critics when they called him obsessive and vague.

It confirms its first view and philosophy of its second religion, published in 1981 with the title of a "final statement of the spokesman himself", and here it confirms that it is not possible for them to express the poetry from the very point of view, where it is unique that it is unique to carry the poetry and descend the human being, leaving the alien behind to express and simulate it. «I'm busy at the height of the wise unit.» I found that this sentence was the beginning of the poem and that what I wrote in the last two years should be thrown in the trash can.[i])

It is my understanding that the culmination of the unit is the real way of understanding the human person, so that all that has been done in the trash can begin the journey of capture of the real understanding of man and poetry.

That philosophy, and the fact that the Sage realizes, has made us look at a leading poet, capable of modernizing in the Arab poetry, and here I don't want to say just the U.S.A., it could be given the pride of the great home, but it could be taken away by the Arab poem that was one of its own glorious and insurgent knights.

For example, he wrote the vertical and operational poem and the poem, stating that he did not reject a particular form and did not win a particular committee, saying: «Game.»So I'm trying to be new, to say what nobody said before me, and no one else can say, and there's a permanent experiment, a new form and a new content, so I write the three vertical poems, an activation poem, a boob poem, and that's important.[ii]).

This understanding made a young lover not tyres, but he seeks to enforce the essence of the hair, which he himself cannot accept to be flawed in swallowing others, he asks himself with her questions, lakes, sorrows, and her own hopes to go from inside to shape his world.

"I base my questions in the void,

I'm falling into love monsters.

I bury my questions in my garden,

My guys got a tree.

There's nothing but the end.

Let me at least.

Once, when I was inspired by death,

I see what's not seen.

Alone.

Lost like evil chapters.

The legacy is the end of civilizations.

Bring me to the grave witness to what I sing!

Alone.

Hand is trying to poison me again.

And running towards the coast.»I'm sorry.

The Sage lover believed that uniqueness was the only way for the universe to be crowned with poetry, when he said, "Not to feel, but to be certain, that I was alone; I would not have published hair and I said I was a poet, in poets, no middle area. Either be a single poet or not.[iii]).

The control of the poetry of the Sage Habib was not like the Narcissist, but it was the mirror that the universe and the hair must look at to find itself; rather, the death of the Sage lover was weaker than human and artistic literacy, he realized, reconciled with, challenged and saw it. Before he takes a boyfriend in his long absence, which says, "writing an exercise on death, I expect to die suddenly one day, and that's an exercise on death, writing is just like love."[iv]).

 “I don't get anything.

I don't win the mystery this evening.

And I don't pretend to be in love.

He knows lovers.

In their names, one.

And I don't fit anything.

And not me, but I waited for your quiet.

Ever since your lightning slipped.

Since my blood was finished.

In my mirrors.

Or in my cells.

I'm far away.

And I don't meet you because you're closer to me.[v]).

There is no evidence of his death-consistency, made clearer than his immortal religion, my name, my son, who, as if he was his father and the one who brought him to the universe, showed that he was his son, because his place was bigger than that of immortality.

He also said nothing.

I've beennd to the immortal. I have to sit in it.

And sleep or reading or regret.

Or by inventing pants.

Or the lion pack in the woods.

Or by confusing a woman who dragged me into the clouds and the air, shouting and spreading.

In the face of eternity.

And by dying...

Even to the immortal, my first.

I wanted to say, "And even to the horse you deserve me, boy?"

The young lover was not far from his nation, civilization and home, but the nation and places are subject to self-laws, attachment, understanding from the inside and self-absorbed; not to monitor and express them as traces and routes before others touch or paint and emulate them; it creates them in the eyes and instils them from their dark spirits.

When the question of Palestine is dealt with, for example, we found how the Assembly and the national were self-sustaining, and how personal sadness and illusion were the engines of each major issue.

"What the recent wars have produced

Say it. !

What have the recent wars produced?

Let's call you my light grasp.

I'll leave it side.

And I fight for all Palestine.

And beautiful signs.

And I love all the tribe girls.

I will fight for all Palestine.[vi]).

Identity is creative -- as the poet and great thinker Adonis sees -- to live, think and express as you yourself and others at the same time, to look like everyone at one moment. In creativity, human beings are an unfinished project, poetry is not a foreigner, and it is a dimension and characteristic dimension, and the other is not necessarily national affiliation, heritage, collective identity or human identity.[vii]

And that's a big meaning that a young lover is quoting:

“In his life, since he was born,

He only sees his death.

Springs. And window glass and trains...

And when he finally died,

He found out what he's been seeing for as long as his life is not.

Death!

Remember and laugh. ..

He gets his hands on his face.

"Word paralysis and laughing."

A young lover refused to diarrhea in poetry, so I must say: there's a fact that might destroy the spread of what we shouldn't publish. If we look at his poetic achievement, he will be found by the spokesperson for himself, the protagonist, the victor of the human being, the so-called patriot, and the demarcator and guide him to form the world. Peace to his soul on the high.

[i](Saig lover: special meeting with Gate News, Cairo, Egypt, Wednesday, 21 August/2019 – 10:00 M

[ii] Same.

[iii] I'm alone.··· Union newspaper, Emirates, 24 July

[iv] Habib, al-Saigh: dialogue with poet in Nzuye magazine, Amman: 1 October 1997

[v] Hair work – Habib al-Saigh – Part I – Union of Books and Literature of the United Arab Emirates – 2012m – 1 – p. 58

[vi] Habib al-Saigh: poetry work, part one, United Arab Emirates Book and Literature Federation – 2012m – 1 – p. 43

[vii] Adonis: Hair Policy, Studies in Contemporary Arab Poetry, Arts House, 1, 1985M, p. 69 and 70

It's immortality when I'm trying to disgrace me.

Ahmed Ayid

A poet and writer from Egypt.

There are many opinions about arts growing up and why humans invented it, and perhaps their months claim that humans invented the arts to protect the yard; artists don't want to die like others, like they're the ones they found.[1]He wants to get his name back, like they all are.

What's so interesting about my poems? * If I say poetry, it's getting hot.[2].

This is due to the artists ' belief that they have a hallmark, as creative and creative, and that they are entitled not to die as other people. Even if they shared the body's death with them.

Since Homeros wrote his mentors, and poets are immortal, they do not want to waste their poems from time and effort, and do not want to pass through the transit world. It's these allegations that T. 246e.

He was born to a poet ' s family. He was found by a poet, his father Ali Shari, his brother, Razzin Bin Ali Shaer, his son Shaer, and his cousin Mohammed bin Abdullah Bin Razin, known as Abu Shayr.

Despite this, one of the great Arab poets may be tampered by a young boy, known as the Gwanni Ridge, who tells me to do the same:

Where are the guys? * No, where does he ask?

When I called him this poem, he said, "Go now, show your hair how you want."[3].

It's his poem that says:

Don't like it, Salem. * He cried his head.

Don't take my shadow. * My heart and my blood broke.[4]

It's the paternity that one of the singers singed between my great successor's hands, one of them, and asked the owner, so I'm told that she's trying to bring him in.[5]Perhaps this great celebration of the first open poem to let him think he's qualified for the immortality of poets.

It seems to us that he has not left him to the inheritance of his poetry family, and to whom Muslims are preaching that he is well aware that poetry is made that needs to be mastered; because such proficiency is one of the secrets of the immortality of the poet, which his following sisters refer to:

We call me, and when it means nothing. * And no enemy has been infected.

They say, if the grey tastes, his hair dies. * And the poet's ages have longed.

If he dies, where is he? * Ronon loaded it, the line is his carrier.

I'm going to spend a house with people baptizing. * And a lot of novels are his carrier.

Bad poet die by his parents. * And his goodness stays and if he dies,[6]

And it was called from the famous celebrities, and his league in the house was from the best hair and the stench.[7]So the Shia cared about his poet, and he was brought together by Sheikh Muhammad al-Samawi.[8]And also the slave of the owner Amran Djili.[9]And the light of Hussein Al-Ari, too.[10].

The above-mentioned poem, as is truely described by Yagot, has been taken care of by Shi ' a, until it has been diagnosed and explained by the Mirza Mohamed Kamaldin bin Mohamed, a State designated by the 12th Higarian flag.[11]And Mohammed Lottzadeh.[12]And Admiral Muhammad Baqer bin Mohammed, my council.[13]It says:

Schools of Ayatt have been replaced. * And the house and neighborhood of the stripper.

God's messengers are afraid of me. * And the compound, the definition, and the corridors.

Home for me and the sorrows and the sanctuary. * And Hamza and the feminine cigar.

These include:

Your contact with the Prophet's parents. * They loved what they lived and gave my trust.

I picked them up for me, because they... * Anyway, the good ones.

As I finish it, Father Ali, son of Moussa Ben, gave him ten thousand dirhams and took him out of his clothes, gave him 30 grand in his mouth, he didn't sell it, he said he had to take it.[14].

It was an act of an immoral spell that no one from the successors, their ministers, their children, no better or no better, and no one gets away with it.[15]He even said that he was the one who gave him his soul, his woman, his professors, and even the sprinklers that he died, that he didn't think he was the first to give him his hair and his fame among the people, and Ahmed Ben Duad, who spent on a glorious tear. People's faults are more than theirs, not everyone you've honored, not everyone you've described as good, glory and courage.[16].

He even told him that he wrote a spell without a particular name, and that Ahmad Bin Abu Kamel said, "I had a great deal of hybrids to say, "What a particular person deserved, and no one had a mate, and if a man found a man, he made that poet and mentioned his name in it."[17].

But the sign is that we don't know the name of a true act for certainty, and some claimed that his name was Muhammad, and he was a father to me, and they disagreed on what he called a "float," and they disagreed on the meaning of his title: the elegantness with which her son was born, the lucky fur, etc.[18]The son of the Ndem has stated that the soli worked the Duane of Dual in about 300 papers.[19]The hairstorm says that his son had six huge volumes of his father's hair, every magazine, three hundred leaf.[20].

And he realized that in his life, Abu Najay told him that he was with him in a month of visitor, that he had been invited by a man to his home, and that he had an improved vial, that she had a haircut:[21].

Which is also worth reading to make a note on Amr bin Naser al-Shaqafi, saying: "The poetic slopes say 60 years, only a home has been known to him."[22].

And then we can ask: did he realize a true act of immortality?

If I said home, he died. * Who says it, and the house isn't dead.[23]

[1] House chess for Ahmad Shaqi, Diwaneh, c-3 p. 63.

[2] Diwan al-Mutibiya, p. 361.

[3] Abu Al-Asafhani, Al-Aghani, Al-Ghani, G20, p. 157.

[4] Diwan Nabel Al-Khazai, Sana ' a, Dr. Mohamed Yusuf Najm, p. 117, 118.

[5] The songs, G20 p. 125.

[6] Diwana, p. 123, 124.

[7] Diet, literary, c11, p. 102, 103.

[8] He's still a manuscript, referred to by Dr. Mohamed Yusuf as a star in his publication at the Dubl Diwan.

[9] Published by the Lebanese-Perot House.

[10] Published by Al-Nour Foundation for Publications - Beirut-Lebanon.

[11] Published by the author.

[12] It was published by the house of the unsub.

[13] Available on YouTube.

[14] Literature mines, c11 p. 103.

[15] The songs, G20 p. 120.

[16] The songs, G20 p. 125.

[17] The songs, the G20 is 129.

[18] Songs, G20 p. 151.

[19] Index, p. 161.

[20] Dr. Mohamed Yusuf Najm, Introduction, Dwan Nabel, p. 6.

[21] For my songs, 20 p. 127.

[22] Mercury, poetry, p. 34.

[23] Diwan Double, p. 48.