“Exercise on Certainty”, Tahmazi’s heirloom of Matar al-Sayyab’s hymn |

Amman – Iraqi critic Nadia Hanawi singled out her latest book to study the poem “Training on Certainty” by her compatriot, poet Abdul Rahman Tahmazi. The poem, as Hanawi describes it in the introduction to her book, which came under the title “The Struggled Bird in Search of Lost Certainty,” is a “poetic slip” and an example of the “miracle poem” after all. Sayyab’s famous poem, “The Rain Song”.

Hanawi explains that this poem is characterized by the liveliness of its artistic form, the abundance of its connotations, its sexual crossover and its intellectual divergence, which “changed imagination in an antagonistic direction that required special treatment.” She adds that the poem “Exercise on Certainty” “represents tenth poetry in prose, and Janis’ prose as poetry”, and it is a prose poem that is “in itself alone, and traverses all genres of poetry.

Hanawi, in her book published by Ghida Publishing House, justified the uniqueness of this poem by what Tahmazazi knew of his interest in thinking about imagination and noting that his practice of critique contributed to this connection between thought and to confirm poetry. She emphasized that whoever returns to his critical writings and approaches them with his poetic visions, he will find that he has a clear tendency and a deep self-propensity towards “phenomenological or phenomenological philosophy”.

The struggling bird in search of lost security

Among the indications of Tahmazi’s tendency towards phenomenological philosophy, according to the critic, is the celebration of his poem “Exercise on certainty” of the phenomena of nature and the respect of his actions or concerns about it according to the necessities of these phenomena, which means to ‘pretend to intuition and intuition in his love, which is another facet of the love of philosophy and the love of knowledge.

The critic explains that Tahmazi’s poetry is characterized by structure and duality that requires the reader to practice and reflect on his thoughts in order to understand the relationships of symbols and the patterns of imagery. This is what you see as “the reason for the reluctance of critics to address Tahmazi’s poetic experience.” The book’s thesis, which spans five chapters, is that “Exercise on Certainty” is a transient prose poem, as it includes the processes of inclusion, organization, and the mechanics of expression and interdependence.

According to Hanawi, gender transit (which is her own theory in the matter of literary genres) is not a formality, but rather an intellectual process aimed at confronting opposites. In this poem he is “a suspicion of the nature of the organization, awareness of the importance of the template, and then he reinforces this template with the beauty of integrating the whole into its parts and penetrating the inside of the text. while he also the outliers. “

Consequently, the chapters of the book are divided between research on the sexual characteristics of the poem, its aesthetic structures, and its intellectual and intertextual paths. The chapters were preceded by a theoretical preface that discussed the relationship of poetry with philosophy, and how poetry is the equivalent of contemplation in existence, and with the existential analogy between poetry and life, the foundations of poetry are one.

The critic explains that this poem is transient on the creative, poetic and intellectual levels, and that the interplay of these two levels “is a requirement of the organization that makes the poem more like a post-creative laboratory to uncover the secrets of the gender template and the role that the organization plays in strengthening the dimensions of this template and giving it more opportunities for passage and its capabilities.

Hanawi says in this context: “The poem ‘Exercise on Certainty’ has dominated the other races in it, and frames it with its template, which is so wide that the measured, the rhyming and the unweighted can meet each other without disharmony in the poetic discourse. ., cast in a form that does not unravel its complexity, no matter how many generations are crossed. ” The narrative is an important factor in intersection by using the techniques of dialogue, intertextuality and sequence that focused on the semantic element and discarded the sound element.

The poem is characterized by the liveliness of its artistic form, the abundance of its connotations, its gender cross-cutting and its intellectual divergence that distracted imagination in an antagonistic direction that required special treatment.

And from the passages of the poem studied we read: “Who are these inactive people who stagger in / themselves? / From what material did the weaver weave? / Why not / do they reveal their invaluable vigilance? They wait / like them and do not go away, oh past, go to your past / you. Why not prune? Or does lukewarm blood not fill / heal your wound? ”

It is noteworthy that the book begins with an additional introduction entitled “A Poem from the Iceberg of Our Past .. A Poem from the Flash We Came”, and then an introduction entitled “Prose Poem and Sexual Part “, so that the course of the first chapter is” an exercise on certainty and the sexuality of the passing prose poem “, and includes three sections, in which it is studied. The second chapter is “An Exercise on Security and the Mechanics of Expression.” The third chapter discusses “An Exercise on Security that is not an open text.” In it, the author tackled three issues: Imagination and dreams / rejection and mutation / intertextuality.

In the fourth chapter of her book, Hanawi is interested in following the paths of phenomenological thinking in the poem “Exercise on Certainty”, which addresses the topic of experimental introductions in Tahmazi’s poetry, in addition to the phenomenological leaks in his particular poem.

The book concludes with a fifth chapter on the forms of the rhythmic crossing of the poem, either from the aspect of visual and mental crossing over the lips, or the crossing of the connotations of the regularity of sounds. It is noteworthy that the internal pages of the book contain schematic paintings inspired by the atmosphere of the poem by Iraqi artist Yahya Al-Sheikh.

Leave a Comment