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Añadido: 2026-06-04

[00:00:00]This video summarizes the phenomenon of modern poetry in a simplified, practical, and easy-to-understand way, avoiding rote learning, with Professor Hamza Badan, may God reward him. Wishing everyone success!

[00:00:15]So, let's begin, with God's blessings. Chapter One: Okay, let's move on to Chapter One. What's it called? It's called "Evolution."

[00:00:30]But is it the evolution of poetry? No, it's gradual. What does " gradual" mean? It means step by step, stage by stage, in modern Arabic poetry. Okay, in modern Arabic poetry. Now, please pay attention: why did he say " gradual evolution"? Because we have the stage of reviving the model, the question of the self, acquisition, and renewing the vision. And so you know, the author of "Modern Poetry" isn't just Ahmed Al-Jatiya; he's explaining how we moved from reviving the model to renewing the vision. He'll explain this to us here. Okay, now in Chapter One, "Gradual Evolution in Modern Arabic Poetry," we know that we have Section One, right? And Section Two, right? The first section is about subjective content, where we'll learn about the scope of the question, meaning the Apollo Diwan, the Pen League. Here, we're moving towards a new form, meaning at the level of characteristics, meaning here at the level of content, here at the level of the characteristics, towards content, excuse me, towards a new form.

[00:01:31]Okay, but please, Ahmed Al-Majati Al-Madawi, that's it, Ahmed Al-Majati, my brother, the sound is n't from me, the sound is from you. Wait, please excuse me so I don't have to look there again. I'll go in and watch the live stream to make sure if it's okay. Tell me if it's okay. If the sound isn't there, tell me it's okay, that's all.

[00:02:07]Brothers, here, listen, the sound is good, please. Okay, the sound is good. As for the private group, if the sound cuts out for us, one of you, please call me on my private number, please.

[00:02:18]That's if it happens, so I can concentrate because I have a slightly long session today. Now that we've reached this point, please let's study the first chapter, which is the gradual development over the month, meaning pressure and precision.

[00:02:27]What did Ahmed Al-Majati Al-Madawi tell us? He told us before, how can development be pure and the poet be restricted? You tell me, how is the poet restricted, Professor? Okay, focus with me, please. In the revival of the model, the revival of the model, poetry was already present in it.

[00:02:43]Why did it emerge? The revival of poetry emerged again. Why? Because it was in a stage of decline. Okay, did the revival of the model bring about any development? No, it brought imitation. It imitated the ancients, if you remember. You explained this in the introductions, the first lesson. Imitating the ancients on the level of language, on the level of the form of the poem, on the level of, let's say, the entire rhythm, meaning everything, then on the level of, please, the poetic image, and on the level of content, meaning the themes. What did it do? What did it do? It did n't imitate. It was like, for example, free. Then Ahmed Al-Majati Al-Madawi came and told you that development cannot be pure and that the poet is restricted. It's impossible.

[00:03:21]How is it now, for example, if you have a sheep or a person, and you want it to develop while you're inside, where is it controlled? Of course, it's impossible if you want For poetry to develop, what did Ahmed Al-Majati Al-Madawi tell us? Two essential factors must be achieved.

[00:03:34]First, he said, "It means having freedom." The poet must have a certain degree of freedom. Freedom is the first thing for the poet to have. For gradual development in poetry, we must ensure that poetry has freedom. Then, what? Then, contact with Western culture.

[00:03:59]Cultural contact, may God be pleased with you, cultural contact with the West means intellectual contact with foreign cultures and literatures.

[00:04:07]Remember this well.

[00:04:10]Ahmed Al-Majati Al-Madawi told them that poetry cannot develop if poets are restricted. They must get rid of that tradition, get rid of those imposed themes, imposed characteristics, and imposed language. We must take a certain degree of freedom.

[00:04:26]Then, contact with Western culture—to what extent do we have contact with the West? It is through this contact that we learned about storytelling, methods, plays, novels, and so on. It is because of cultural contact with the West. Okay, now we've moved on to cultural exchange with the West. A necessary element is freedom. There are two reasons, please. It's essential now to move on to the first section, "Towards Self-Content." This is "Towards Self-Content." What is "Self- Content"? It's the question of self. Now, what is the focus here, please? Ahmed Al-Majdati Al-Madawi, what did he focus on?

[00:05:09]This section of grammar, "Self-Content," he focused solely on studying the role of the experience of self-questioning in restoring the self of poetry and the development of poetry. Listen, here poetry is focused. This section is specifically for studying the experience of self-questioning and its most important schools. So here we need to read briefly because, as I told you, we have three review sections. We have the Diwan Group; we need to know who the Diwan Group is because they are asking you about it. Then, please, we have the Pen League Group, meaning the Pen League. These are the self-questioning group. Then there's the Abounou Group, or the Abounou School. Now... These are three, these are the questions related to the subjective content. If you have an exam, let me show you a sample. Here it is, good. Now look at this: in the exam, these three are always there. This one will be like this, the only difference is this second one. What did it say? "Identifying the characteristics of the subjective content in the poetry of Apollo," meaning the Apollo group. Focus with me. It said "in the Apollo group." So now, if you put what I told you, the first section, what will it ask you? I mean, the schools of the subjective content. Here it is, put the first chapter here, specifically the first section. What did it say? " Identifying the characteristics of the subjective content in the poetry of the Apollo group." This year, it might not say "the Apollo group," it might say "the Pen League," meaning the Pen League, or it might say "Identifying the characteristics of the subjective content in the poetry of the Diwan group," or the Diwan school. So now, what is required of us, may God be pleased with you, is to know what the Diwan group, the Pen League, and the Apollo group are. Okay, what are we going to study in them? We'll study two main things. Focus with me, two main things. What are these three?

[00:06:50]Each group has a set of poets.

[00:06:53]Listen to me, each group has a set of poets.

[00:06:56]Like now, in the Diwan, we'll study three poets. Of course, they all belong to the genre of questioning the self, poets of questioning, like Mikhail Naimy, for example.

[00:07:03]Okay, for example, Al-Aqqad, for example, we'll find, as an example, Gibran Khalil Gibran, and so on. In the Diwan, for example, we'll find three. In the Pen League, three, for example, Apollo, three. Okay, but teacher, why are we going to study them? Listen to me now, what did they say? These are the schools of questioning the self: the Diwan group, the Pen League, and Apollo. Where is it? In the chapter on the gradual development of poetry. What did this group of questioning say? They said, how is it possible that we want to develop poetry, meaning the transition, for example, from decline, that is, reviving the model, to renewal, that is, to renewal?

[00:07:34]The vision, and we don't even know the definition of poetry, meaning the concept of poetry. It's impossible now. Here we are, you said the gradual development of poetry. Who are we going to start with? We started with the question of the self. Okay, now the question of the self—it's the question of the self—but to name the self, it has three groups. So, it comes first. So, we brought the question of the self from three groups.

[00:07:53]Okay, these three groups, we came to them and said we wanted to do the development of poetry. What did this group say to us? This group, the question of the self, said to us, how is it possible to tell you how poetry develops without what is meant by poetry? So, all three of them, the first thing that will give us is the concept of poetry, meaning they have to know it. Like now, let me give you an example. Yes, I gave you a story to analyze. I told you, "Okay, give me its artistic characteristics, for example, time and place." You will say to me, "Okay, Mr. Hamza, how am I supposed to analyze the story for you without even knowing what is meant by the story?" Which is the first thing they ask me for, for example, "to fly." The text explained to me what the story is, and then I'll answer you. It's the same thing as now. The question of self-discovery, before they talk about the gradual development of poetry, they told them we first need to give a definition of this poetry. So in this chapter, what will we read? We'll read how the Diwan group defined poetry, and we'll read how the Pen League defined poetry, and we'll read how the Apollo group defined poetry. This is the most important thing for us in the subjective content grammar. May God bless you, so we can save time. I've brought you a summary. Focus with me. Okay, agree on poetry as emotion or something like that. I'll go with you. Look, I'll simplify things.

[00:09:00]The summaries are all in the folder, and at the end, I'll photocopy them and post them for you. So focus with me now, may God bless you. Focus. We have the Diwan group, here it is, meaning subjective content grammar. But what did we say at the beginning? Poetry cannot develop without having a degree of freedom. For barley, then celebrating Western culture, then we came to the question of self. What did we tell her? How will poetry develop for us? What did she say? She told you, wait, I can't say how it will develop before we understand what is meant by "what" in poetry.

[00:09:29]Good, now here, the Diwan group, let's start with it. What did she tell you? It was formed in the end. I'll tell you what it was based on.

[00:09:35]This group was formed from three prominent figures, meaning three poets, three pioneers, men, etc. We have Abbas Mahmoud Al-Aqqad, meaning Al-Aqqad's mentality. We have Ibrahim Al-Mazini, and we have Abdul Rahman Shukri. Because, as I told you a little while ago, every group has its poets. Even the Pen League has poets, and the Apollo also has poets.

[00:09:55]What did we say? Look, wait, let me see what that exam showed. I'll get there and then I'll show you how. I want to show you, you have to bring up the poets too. Anyway, the Diwan group was formed from three poets: Al-Aqqad, Al-Mazini, and Abdul Rahman Shukri. Good, and they had a unified vision about the concept of poetry. Listen, may God be pleased with you, all of them. I mean, we said this one gave a definition of poetry, and this one gives a definition of poetry, and this one gives a definition of poetry. Now, the Diwan group, instead of saying it was formed, what do you say? It consists of three poets: we have Al-Aqqad, we have Al-Muzayni, and we have Shukri.

[00:10:29]Good, they had a unified vision about the concept of poetry. I mean, they all agreed on the definition of poetry as being emotion. Poetry is emotion. Good, listen, the Diwan group knew that poetry is emotion. I mean, they defined it as emotion. Excellent.

[00:10:48]Who defined it as emotion? Al-Aqqad, Al-Muzayni, then Shukri. Good, did they all agree that poetry is emotion? Yes, that's a unified vision. Good, but we heard, but the concept of emotion differed from one poet to another. Al-Aqqad said poetry is emotion, Al-Lazni said poetry is emotion, Shukri said poetry is emotion, but they differed in what they said. I mean, look, in general, we agree that, for example, Hamza Badr knows how to explain. We all agree on that. Good, but one says to you, another says What I do n't like about him, for example, is that he gets angry, but he only knows how to be right. I mean, that look at the body, there is a difference. They all agreed that poetry is emotion, but that definition of emotion differed from one poet to another. Here is a complex one. What did he tell you? What is emotion for him? He sees it as a mixture, meaning a pure blend, a mixture, meaning a blend of thought and feeling. What is meant? I mean, now this punishment, whose poems we read in the question of self, what will we find in it? I mean, that poetic verse that he wrote, everything he thinks in it and everything he feels, he records in what? In his poem, he said, "Yes, sir, before we explain the gradual development of modern poetry, we need to understand that poetry, even Al-Aqqad, is about emotion. What is emotion to him?

[00:12:08]He said, 'Sir, any poet who wants to write must write down every idea that comes to him and everything he feels.

[00:12:15]This is the mixing and blending of thought and feeling.' Where we find—meaning, where we find emotion—we find emotion according to Al-Mazini.

[00:12:27]For Al-Mazini, it's everything that overflows from the soul in terms of feelings, emotions, and pure sensations. These feelings also stem from a personal experience.

[00:12:37]Because, don't forget, it's called the question of the self. It's the question of the self. They all return to the self, but each one expresses it differently. This one says, ' Everything the self thinks and feels, that is emotion.' I will write in my poems—if we read Al-Mazini's poems again— he told us that poetry is emotion. And what is emotion in it? He said, 'Everything that overflows By the soul, I mean all the sensations the soul feels. Here it is, feelings, emotions, and pure sensations. I mean thought, feeling.

[00:13:02]This is everything the soul expresses, feelings, emotions, and sensations. As for Shukri, I mean the third. As for Shukri, what is he saying here? He tells you, "He sees in it," meaning in the conscience, contemplating the depths of the self. So it is also returning to the depths of the self. You say to me, "Professor, what is the difference?" It is just that each one changes his term.

[00:13:20]Why? Because they are all called poets of the question of the self. They will all speak. That is why I tell you, even the poem you found, the question of the self, look at the content. It is always the expression of the poet's suffering.

[00:13:32]This is always the content. Secondly, the field of the self on the poet, then the suffering, then you read and find nature.

[00:13:37]These are the points I gave you when you put the question.

[00:13:39]For people of literature, here it was given to you, a poem. I tell you, either you win, or a vision, or the question of the self. I gave you many marks because it was given to you, the living, literature, or the humanities. Okay, good.

[00:13:52]I say, a candidate for a question. That's a lot, I could put it here, for example, let's say 70%. I can come back to this live stream later. So, please, our group, the Diwan, is simple, consisting of Al-Aqd and Al-Muzayni Shukri. They had one vision about the concept of poetry, which is emotion, but it differed from one poem to another. Al-Aqd: thought and feeling. Al-Muzayni: feelings, emotions, and sensations. Shukri: contemplation of the depths of the self. So, they all share an experience stemming from the poet's self. Why? Because the question of self is good. We have another current, the second Pen League. Because, as we said, we have three. The Pen League also has, please, philosophers. Excuse me, philosophers. We have poets in it, and they will define poetry for us now. This one defined poetry as emotion. This is what they will define. Wait, the poets of the Pen League see emotion as meaning what?

[00:14:42]Poetry is emotion, as if to continue, but they added what includes the soul, life, and the universe: the self, then life, then the universe in which man lives. So, what did they do for it? They expanded it, meaning it expanded. The concept of emotion means, well, now, what did they say? Only the depths of the self. Here's the emotion, here it is, it told you the punishment, thought and feeling, certainly the self of feeling, emotions, sensations, certainly the self of gratitude, contemplation of the self, well, here the Pen League said emotion includes the soul, meaning the self of poetry, then the life in which one lives, then the universe, clear, meaning the whole universe. So what did they do? They just broadened their understanding of emotion, they added the word "includes" between life and the universe, well, and that man can discover the truths of existence by contemplating himself. But their poetry reveals the absence of harmony between the soul and the universe, and what concerns you directly is that they turned to escape from reality, meaning in different ways. I'll explain to you, regarding the Pen League, they said poetry is emotion, as the Diwan said, but they said it includes life and the universe, well, and what did they tell you, may God be pleased with you? All the poets of the Pen League turned to escape from reality. What is escaping from reality? They will resort to the world of imagination, meaning they will resort to the world of nature.

[00:16:03]Why do you hear You both consider the artistic characteristics of the question of self to be reliance on nature. I'll tell you why: because reviving the model, as we said, meant destroying the poet, and the question of self came as a response to the poet's self. We were in agreement on this, very agreed on it, Professor. You live in a society that has experienced wars, colonialism, and transformations—political, economic, and social—class disparities, and so on. If a poet is going to talk about his suffering, who will he tell it to? For example, another poet—a fellow citizen who lives with him in the same neighborhood, in the same society. We are emptying our ovens, like now, for example. I'm already fed up, and you'll come and tell me, "I'm fed up with you."

[00:16:42]But in order to escape reality and escape the noise of life and the noise of society, what did they do? They retreated to nature, just like Khalil Gibran escaped to nature and the West. So, my friend, poetry is indeed emotion, meaning it stems from the poet's self.

[00:17:00]Life and the universe encompass everything, not just introspection, but also in returning to the self and contemplating it. Even the life he lives in, and this universe in which the poet Khalil Gibran lives—if we read all his poems, we will find suffering in them, yes, and a strong connection to nature. Why? Because he used elements of nature.

[00:17:17]For example, he says darkness, he says night, he says the road, the leaves, the seas, the sand, the mountains, the birds, the sky, winter. He employs terms or a lexicon that clearly indicates the mind's connection to nature. Then Mikhail Naimy—not Naimy, may God be pleased with you, Mikhail Naimy—resorted to mystical contemplation of the self. This, too, means introspection, meaning contemplation of the self and everything the self feels. Then Ilya Abu Madi—what did he say, may God be pleased with you? He fled from society. What was it? Society? Because it's noisy, may God be pleased with you. We don't say it means it's full of noise. He's like Khalil Gibran, so Ilya Abu Madi also fled from what? He fled from the society he lived in.

[00:18:01]The noise, the pressure, and so on, and the inequality between social classes, from society to the forest after its failures, meaning in achieving hope. So again, we have the common denominator among them, which is sunset and surrender to reality. I mean, let's see, may God be pleased with you, what concerns you? You can do it simply. I mean, tell me, the poets of the Pen League see poetry as the emotion that bridges the soul, life, and the universe. Then tell me, how did this definition differ from one poet to another? And tell me, how did Gibran Khalil Gibran escape in his poetry and rely on nature and the forest, while Mikhail Naimy resorted to mystical contemplation of the self, while Ilya Abu Madi fled from society to the West after failing to achieve his hope? And tell me, what is the common denominator between them?

[00:18:48]Escaping reality and surrendering. Good, meaning instead of confronting it, even their poems are lamenting. Then we have the Toulon group, and this is what they asked for here.

[00:19:00]This is what they asked for here. I mean, the characteristics of the subjective content in the Toulon group. Good. Now, here is the Toulon group, formed by the doctor. The poet, I mean Ahmed Zaki Abu Shad, in 1932, this work is n't a problem. So, Safi, who is from the Apollo group?

[00:19:17]From the poet's own experience and poetry, what is the source of poetry?

[00:19:22]How did you take the poet's own self? I mean, when we say the poet's self, we mean the poet's psyche. This is called a question of self. May God be pleased with you all, all their poetry is from personal experience, that is, then their experiences, meaning what they lived through, whether they were sad, whether they were happy, whether they were psychological or otherwise, etc., all of it is a source of poetry. What is a source of poetry? Which Apollo group includes Ibrahim Naji, Al-Sirafi, Abu Al-Qasim Al-Shab, Abu Shadi? All of these, may God be pleased with you, their poetry, what would they write, may God be pleased with you, stems from personal experience, meaning the poet's self and his experiences became a source of poetry. That is, everything the poet feels, he writes. So, what did Ibrahim Naji say? The one who is inclined towards love dedicated his poems to talking about women. This is Ibrahim Naji, may God be pleased with you, we have many, even the money changer, about this Ibrahim Naji. He was searching for the woman of his dreams, for example, like now, if Hamza were to change, he would search for a woman and tell you, "I want her to be strong, I want such and such qualities," for example, you won't find her. And he always writes to us in his poems about what? About the woman? As if he is searching, meaning thirsty for love, searching for the woman of his dream. All the women that exist in this universe did not satisfy him. He is searching for a woman. I don't know what qualities he wants. So, thirsty for love, he dedicated himself, meaning he wrote and left, meaning all his poems to talk about the woman, while the one who failed in love spent his time singing about psychological pain and its wounds. So, what was this poet again? May God be pleased with you, he was a failure in love. Every love relationship he failed and fell into. So, what is the point of his poetry? We say to him, "He was talking about pain, and certainly about his fall in love, and then the wounds, meaning the pain and revealing his psychological suffering that was His poems are a result of his failure in love.

[00:21:15]Then, may God be pleased with you, we have Abu, meaning Abu Shadi, who also spoke about himself. Even he, you think, his experience is a result of the poet's own self. And then Abu al- Qasim al-Shabbi, this Abu al-Qasim al-Shabbi, was ill, and when he went to the doctor, he discovered that he wouldn't live much longer, that he was close to death. So he returned to paper and pen and everything he felt and began to express his psychological and emotional suffering in his poetry.

[00:21:43]Abu al-Qasim al-Shabbi was beautiful because of his illness and his feeling of its approach, of its unraveling, of death. He was clear, he was the knot of his life. Here, Abu al-Qasim al-Shabbi was writing poetry for us, and frankly, he was successful, and all his collections became so popular that he named his collection after himself. So, Abu al-Qasim al-Shabbi is Abu al-Qasim al- Shabbi, and we call his collection Abu al-Qasim al-Shabbi. I think the poem "Al-Damour" was about his psychological suffering, and so on. It seems that longing ends between ending, and it seems that life is between longing and despair, and the wish is that which he told them. I grew weary of life. I asked life, and it handed me a cup of laughter. That's what it means. I know because he's close to death, and because of his illness, his feelings are reflected in his poems. So, please, this is what you need to review. If they ask you what they'll say, they'll tell you to give them the Diwan group, or they'll tell you to give them the Pen Association, or they'll tell you the Aboun group. If you missed the first chapter, that's fine.

[00:22:38]Now let's look at the second section.

[00:22:41]Before we look at the summary, I'll show you here. We said we have the first paper. We said the comparison between reviving the model and the question of self at the level of language, at the level of the strongest, the level of content. This is better than the level of the paragraph, at the level of the table.

[00:23:07]We have first the content, then the language, then the imagery and the words. Please, try here. See if you understand.

[00:23:16]Understand with me the fourth chapter.

[00:23:19]Something to start with: language, then content, then rhythm, then poetic images.

[00:23:31]Okay, and here May God be pleased with you. Regarding the revival of the model, now in the fourth chapter, what will we do?

[00:23:38]We will compile the revival of the model into a question, as if it were an experiment, and we will compare them with the acquisition of the new vision, meaning traditional poetry, i.e., the old, with the new and modern. Then, the question of the self. Okay, so you are here now, good. Regarding language, if I ask you how the language was in the revival of the model, everyone will tell me that the language in the revival of the model was strong. Yes, it was a strong, inherited language, inherited from the ancients. Yes, we say it was a difficult language. Yes, the language was difficult in the revival of the model because it existed among the ancients during the golden age. But the question of the self, how did the language become here? May God be pleased with you. In the question of the self, I asked myself, does the hand of consideration take into account the expression with poetry? Will it use difficult language?

[00:24:23]No. What did it do, may God be pleased with you? It relied on easy and simple language, easy and simple language close to life, or the language of daily life, i.e., everyday speech.

[00:24:40]Okay. Mizyan means that it was a familiar language, one that everyone heard. This is the first comparison: we moved from a strong, polluted, and difficult language that existed in the Revival of the Model to an easy, simple language, close to everyday speech. It was easy and straightforward, and its purpose was to convey the poet's psychological state to the recipient.

[00:25:01]Regarding the content, please tell me, we had multiple purposes in the Revival of the Model.

[00:25:07]Multiple purposes, for example, we had praise, we had pride, we had lamentation, we had satire, we had longing, we had love poetry, and so on.

[00:25:18]But when we come to the question of the self, do we have multiple purposes? No, we have thematic unity.

[00:25:27]What is thematic unity? It means one subject, one subject. What is this one subject? It is the self of the poet. The question of the self at the level of content is talking about the self of the poet, meaning the expression of the poet's suffering, the poet's psychological suffering. This is why all the poems of The question of self, the original content, I said the themes of this poem revolve around reform, about the poet's psychological suffering, where he began his poem and wrote a model. One guarantee fell upon you in these, and again, may God be pleased with you, regarding the rhythm, for example, what we will see, for example, we have the rhyme, right? And we have the reciter, and we have the meter. Brothers, by God, don't remember this, because here it is the external rhythm.

[00:26:12]From now on, I will give you their rhymes to make it easier for me again. The external rhythm is there, and to come to the poetic image, make it easier for me. Help me with the function, and to tell you the content, so that again we want to do that correctly in the poem I gave you, to make it easier for you to know what their themes are. The meter, regarding reviving the model, how was it in the rhyme, may God be pleased with you, always a unified rhyme and a unified end rhyme. And regarding the meter, they relied on the pure Khalili meter, meaning Is the sea long, light, and so on, clear? The important thing for them is the Khalilite meters of Al-Buhturi. So, let's look at, for example, the question about rhyme and the final consonant.

[00:26:48]Here, please, there's a problem, which is the mistake. We don't say "variation," we only say "the possibility of variety."

[00:26:57]I'll explain to you the possibility of variety in rhyme and final consonant. I'll tell you why. Tell us why.

[00:27:05]If we go and read the poems for the question, surely you who are listening to me now have already seen them. You did n't find a single rhyme in them, you did n't find a single final consonant. In fact, most of the poems have a single rhyme and a single final consonant in the self-question. Therefore, we can't say "variation" because if we write "variation," it means that every poem for the self-question must have a single rhyme and a single final consonant. No, almost all the poems that you memorize for the national exam have a single rhyme and a single final consonant, like The model of revival, if we don't say diversity, we only say the possibility of diversity. What is the possibility of diversity? I mean, this year, you might get a poem, a question of self, that could have a varied rhyme, it could have a single rhyme, it could have a varied narrator, it could have a single narrator. Why? Because, as we said, please provide a degree of freedom. Here's the question: the barley took the freedom to roar.

[00:27:48]Variation in rhyme is allowed, it can be uniform in rhyme. This is a model of revival, not restricted by the ancients. Now, a model of revival question: any poem given to you, without looking for a single rhyme or a single narrator, that's it. Single rhyme, single narrator, without looking for anything else. Please, pay attention. It can be varied, it can be uniform, neither the rhyme nor the narrator. Why? Because the barley took its place in the recitation. So, we say the possibility, because, please, if you say diversity, that's wrong. It automatically tells me diversity. So, any poem of the question of self must have variety. Otherwise, there's nothing that isn't there.

[00:28:18]There's a slight difference in the weight of that poem, "The Madman," may God be pleased with you. Regarding the meters, we still have the Khalilite meter. How do we get rid of these Khalilite meters? It's through a new approach to the vision. We no longer rely on all the meters; we rely only on the number of different feet in the pure meter. As for the poetic images, they're the same, the same, the same. Regarding the poetic image, there's simile, excuse me, simile. We have, for example, metaphor, metonymy, and figurative language. They're the same. Here, we don't have anything different.

[00:28:51]No, we don't have simile, metaphor, metonymy, or figurative language. They all exist. Where does the difference lie? It's in the function. May God be pleased with you. That's why we study at the level of function. Here, at the level of function, the function is what involves change. Reviving the model at the level where they used simile, it used to Simile, metaphor, metonymy, and figurative language— what is their purpose? Purely aesthetic, pure decoration.

[00:29:25]The poem is purely decorative, just ornamental. They are used solely for decoration, to embellish the poem. They have no other function; their only purpose is to decorate the poem. But this question, which we just studied, tells you, "This, sir, is the essence of thought and feeling, all that benefits people from thought and emotions, the depths of the self." I tell you, all our poetry is a product of us, as a group of writers, from our own selves, from life and the universe. This is what we experience. Apollo comes to you and says, "Sir, I am a failure in love, so I will write." I am a failure in love again. I am going to die, so I will write. If you move from aesthetic decoration to expressive expression—expressive, please—purely emotional expression, purely emotional expression, meaning it is a product, purely a product of the poet's experience, like now, for example, here the poet will want to do something for you. A simile, for example, is like a gazelle. If someone is talking about a gazelle, they might say, "Just give it to you," or "I remain a beautiful woman," or "Jamalah." This also shows the embellishment of the poem.

[00:30:30]But if we use a simile or metaphor, for example, if someone says, "I asked life," this is a metaphor. You can't ask life directly. "Life gave me my limit" is a metaphor. You can't say, "Life will release my soul." For example, if someone says, "My thorns," etc., what does this do? It gives us images. So, whether on the level of rhetoric and similarity or on the level of metonymy and metaphor, these are only to express his feelings. So here, the function is purely aesthetic, embellishing the poem. It's purely decorative. And here, please, it's expressive and emotional. These are the ones you remember. This is the second chapter. I'll show you how I do it here.

[00:31:16]We have language, for example, if you want to express your thoughts.

[00:31:19]The language I want to use here is simple and easy, close to everyday language, and avoids complexity and traditional eloquence. By eloquence, I mean a difficult, complex language that requires vocabulary and explanations to understand. For some poets, like Ilya Abu Madi, it became closer to prose and ordinary speech. What is prose, may God be pleased with you? It's like that narrative style, like a story. It became close to everyday speech. As for figurative language, it's the imagery of poetry. What do you have? Poetic imagery is characterized by expressing the poet's feelings and personal experience. Poetry is expression, so it was a means of embodying emotions and feelings, unlike imagery. For the revivalists, images were only for decoration. Then there is the diversity in rhymes and meters. The emotional poets were keen on diversifying rhymes and meters within a single poem, which reflects a change in ideas and emotions, striving to achieve greater freedom of expression and renew the poetic form. But I'm not telling you about the possibilities, the possibilities, saying something other than the possibility of diversifying the caravans will be better and more beautiful, and it will show that you are up to the task.

[00:32:25]This is for you, may God be pleased with you. Chapter One, let's go to the chapter, please. Here you are, Chapter Two is easy compared to Chapter One. Try to summarize what I want. Here you are, each one I didn't explain to you, for example, I'll give you an example. The Diwan group, they asked you about it, they told you to observe, for example, such and such. The Diwan group, tell them, the Diwan group consists of a group of poets, headed by Al-Aqab Aqad, who all focused on Abbas Mahmoud Aqad Al-Muzaini. They had a vision or, for example, a unified definition about poetry as being emotion. Aqad sees it as a mixture of feeling and emotion, while Al-Muzaini sees it as what the soul expresses in terms of feelings and emotions. As for Shakli, he sees it as contemplation of the depths of the self. The same thing, meaning, who are the poets among them? What did they define emotion for? And each one has his own experience. This is what we were saying.

[00:33:09]Now let's go, may God be pleased with you, to the section, Chapter Two. Chapter Two It is the experience of alienation and loss. Now, what will we see here?

[00:33:16]Our experience of alienation and loss. The experience of alienation and loss belongs to the poets, but here we are talking about breaking down the structure. Here we talked about revival. This question of the self. Here we will talk about breaking down the structure. Here too, here we are talking about breaking down the structure and renewing the vision.

[00:33:29]In the third chapter, the second and third, we are building on breaking down the structure and renewing the vision. Why do we tell you that the topics of breaking down the structure are alienation, loss, life, death, brokenness, destruction, reality, etc. Never mind that.

[00:33:42]Now, the second chapter, the experience. What is the experience of the poets? The poets' experience with alienation and loss. That is, the poet is lost, that's it, lost, he has become a stranger. So what should we do? We must know what are the reasons that made the poet speak about the appearance, about the appearance of the rooms, meaning the types of alienation, meaning the motives and factors. Then we will know the types and manifestations of alienation.

[00:34:06]What are the types? These are love, the word, the city, the universe. These are called types. What are they?

[00:34:12]These are the manifestations of love's alienation, where it is revealed. This alienation, the word, where it is revealed. And the city, where it is revealed. Then the universe, where it appears to us. I don't know if I have an exam here about them. I don't think I have one. I'll see.

[00:34:24]Yes, I don't have one until next semester, and I'll show you. Like now, here I told you about the experience of life and death.

[00:34:28]You have Adonis, Khalil Hawi, Badr Shakir al-Sayyab, and Abdul Wahab al-Bayati. Look with me, here he told you to put the introduction. This is the approach that always comes up, and the structure. Look with me, this question that comes from the lesson I told you about. We are now explaining, trying to explain just so that you can answer that question. As for this, and this, and this, they are always given. You must have the answer: introduction, approach, and the focus on highlighting the most important aspects of the poet Badr Shakir al- Sayyab's experience with death and life. Now, you have all of these, and he asked you for just this one: Badr Shakir al-Sayyab. He could ask you for Adonis, he could ask you for both of them, he could ask you for Khalid Hawi. He can ask you for the Bayati, meaning even here he can ask you for two types of alienation or one, with the reasons, etc. No, here it's not a problem. I'll share with you a summary of this special presentation. This isn't a problem because I do n't have a different opinion on it. It's fine for the guys here, it's normal so you do n't say "teacher" and so on. No, it's normal.

[00:35:15]Listen to me. Regarding the second chapter, we will study the experience of alienation and loss. This second chapter, which is the experience of alienation and loss, I told you there are two questions that will be given to you on the national exam. I will put this chapter for you. You have the reasons for the emergence of alienation and loss, then its types and manifestations. Okay, now we need to know what are the reasons that led to the emergence of the experience of alienation and loss. Listen to me. The reason, meaning the factor, is that the experience of alienation and loss emerged as a result of a group of factors. First, the influence of some works by Western poets, such as Thomas in his poem "The Waste Land," and some novelists and philosophers, such as... Albert and philosophers, for example Jean-Paul Sartre, meaning existential philosophy, as well as the reality that the Arab world experienced with defeats that led poetry to feel doubt about its existence, its Creator, and its resurrection. Okay, I'll explain it to you. I won't leave you, may God be pleased with you. Look, I swear I won't let you go and memorize. We'll cooperate, no problem. There's nothing left. We'll continue to work together. I do n't know, may God make things easy for you. We'll meet someday.

[00:36:17]We met a doctor, we met an engineer, we met a policeman, and she went to Professor Hamza. By God, this is all that remains. There is no god but God. I started myself, I started to feel constricted. By God, it's like I'm at least like those people with me shouted at him and so on.

[00:36:31]Today, I swear to God, I'm not calm. I swear to God, I didn't see the professors start like that. Those live streams are so long, like someone who's lost it. I swear to God Almighty, I just keep hugging the girls. That's it. May God help you, may God make things easy for you. What's wrong with this woman these last few days? By God, I don't like it. She's raising her liver, my friend.

[00:36:49]Life has reasons for the emergence of alienation and loss. Here you are with us. We said this is the result of being influenced by some works of Western poets, like "Qasiba Al-Ard" and " Al-Kharb." Okay, I'll give you an example. Like now, what we had. Please, you, Arabic, if social studies You read it, for example, why it came about struggle, for example, the struggle or fight for independence. Because we saw, for example, there were liberation movements in the Arab East, meaning at the level of the countries in the Arab East. They were colonized, yes, and they made reactions, right? There were resistances, and what did they achieve? Conferences and so on, they achieved their independence. Then came Morocco, after the armed resistance stopped. We fought for independence. We demanded reform, France refused.

[00:37:28]We joined them, and when we wanted reform, what did we do? We wanted, God bless you, independence. We waged another war with them. Okay, so what did we do here? We keep saying, 'Why did Tunisia, or for example Algeria, or Iraq gain their independence, and we remain ruled?' No, we too will rise up and achieve independence. So, it's the same thing now.

[00:37:44]These poets who will talk about the experience of exile and loss have seen poets before them, and novelists who talked about their demands for freedom, like now, they say, 'The wasteland,' that's it. There's a certain point, and then, may God be pleased with you, what did he tell you? Then there's the reality that the Arab world experienced in terms of defeats. What does he mean by defeats? Here, we mean the Nakba of Palestine, the Nakba of Palestine in 1948. Now, here you just need to understand the story to know. This was the land of Palestine. They had no problems, nothing, fine, with the help of some European countries, etc. And there were motives, and they were colonial powers. They wanted to bring in an occupation, you know, that occupation, Israel, etc. And they wanted to establish a Zionist presence there, meaning the Zionists with Palestine. Now, first, let's remove this line. This was all of Palestine, all of it.

[00:38:34]For example, whose land was it? Palestine.

[00:38:38]Okay. Now, what happened? May God have mercy on your parents. They came and wanted to divide it from my land, and it became Palestine. And they came here, meaning they wanted to give us the occupation, meaning the Zionist occupation. So, this piece of land, whose land was it?

[00:38:52]Palestine. Okay. But now, there are countries occupying it to this day. So, what happened to us? May God be pleased with you. Here, the poet or poets of the Arabs knew that there were defeats that led to a feeling of doubt. Well, what would they start saying? For example, the people living here, if they wanted something, they would be expelled from their lands. Well, they would be expelled.

[00:39:14]They would see that, so you know, the colonizer will enter your land and impose, for example, a new culture, new buildings. The city will become strange to you. Moreover, we know that even women play a role in, for example, calming men. Why? Because it's known that it's not like the body, so don't misunderstand me, may God be pleased with you. But, glory be to God, when our father Adam, peace be upon him, needed something, God gave our mother Eve. So, it's known that the male element is inclined towards the female, and the female element is inclined towards the male.

[00:39:41]Well, now, here's how we know that a woman relieves a man of his worries. Why? Because she is, for example, captivating, she has her femininity, her speech, and so on, but with strength. The devastation that the modern Arab poet will experience is the dismantling of the visionary structure of their poets. For example, what happened when they were expelled from their lands? They realized that even they, the poets, are affected. How can it be that we Arabs are responsible for the Nakba of Palestine? It is the issue of the Arab nation, the world.

[00:40:09]We are talking about the Arab world, the Islamic world, specifically. It is the general issue, the issue of everyone. We don't say it was the direction of prayer (Qibla). If all poets were to speak about the Arab world, then reviving a model that spoke, spoke to you about love, and also about longing, and also about salt, and also about pride, and also about love and so on. A question that no one has ever spoken about themselves in the first person.

[00:40:28]But now the poet is a stranger. People are being expelled from their original lands, from the lands of their ancestors, and we tell them that a man dies for his children and his country, right? And for example, for his honor? Well, these people were expelled, they died for that land. In the end, they were expelled.

[00:40:42]Who is it that... Who will speak to them? Is the model revived? No, they are traitors regarding the division of the structure and the new vision. And the question is, no, they are traitors to them. That's why we called it breaking the structure.

[00:40:51]She told them, "I don't want to do that form that the ancients had. Breaking the hemistiches system. I don't want that anymore. I want the system of poetic lines." So came the breaking of the structure, as I call it, breaking the structure. That is, breaking the structure, a transition from the two-hemistich system to the poetic line system.

[00:41:03]Then she told them, "I don't want a single rhyme or a single narrator. I want diversity, please." Then came the renewal of the vision. He said, "I don't want the traditional topics of praise and pride. I will talk about the issues of the nation. It will gain me a new vision. It is one. It is one introduction.

[00:41:14]Everything is the same. There are those who are the same. In the morning, a question was asked of me. A sister said to me, "Teacher, how do I differentiate between them?" What matters to you is to differentiate between them just so that you can write that introduction. You say, for example, "He conducted an experiment breaking the structure."

[00:41:24]Or You say "renewing the vision," look at question five.

[00:41:26]They told you to divide the structure, and you would name it after your old poem. They told you to renew the vision, and you would name it after your old poem. They didn't name it.

[00:41:29]They told you that you are the one who shows the direction the poem belongs to.

[00:41:33]I named it "dividing it well," and I called it free verse. As for the content, it's something else. We are concerned with the poem; we extract everything there.

[00:41:39]We don't care about anything else, like when we say "one" or "not one," like when we say "cousins." You acquire it, and renewing the vision is one thing. It made the change at the level of form, meaning "you acquire it," and renewing the vision made it at the level of content. So, here, may God be pleased with you, the poets will feel alienated.

[00:41:54]We say 1800-1948, the poets, society, and citizens from their lands. So, they will become strangers in this world, in the city, and so on. So, may God be pleased with you, these are the most important reasons. Remember them: they are influenced by some Western works and poets, then they are influenced by novelists and philosophers, then God. Please be pleased with the current situation in the Arab world, clear and focused on the Nakba of Palestine. These three are enough, making four, unless your question is good.

[00:42:20]Now let's move on to the second thing, which is the types. We have alienation in love, then we have alienation in words, then we have alienation in the city, then we have alienation in the universe. Okay, let me give you the details one by one before we delve deeper. What do we mean by alienation in love? Please read with me. The modern poet has failed. What do we mean by modern poet? I mean gaining a new vision. What do I mean by modern poetry? I'm not talking to you about poets of self-questioning. Look, your automatic understanding has led us to the breaking of the world. The self-questioning has become an old, classical, traditional experience.

[00:42:47]What is modern poetry? It is the renewal of vision and the interpretation of the world. So, the modern poet has failed to achieve inner peace, meaning tranquility, serenity, and comfort through a love relationship. No, he has failed. Why did the poet fail to achieve, please be pleased with him, tranquility through love? What is the reason?

[00:43:04]He told you it's because of it. His countless worries are due to his composition, meaning his psychological composition, which has become more complex. What is meant is that he does not have one worry, whether he has not paid the water bill, will go to his wife and she will relieve him, or whether he has not paid the electricity bill, or whether the man is only following hatred, the man is destroyed, the man has problems, we have wars, we have transformations, political incompatibility, we have social problems, we have inequalities, plus we have colonialism, plus we have occupation.

[00:43:33]How can this person have a complex psyche? It is impossible that even a woman, meaning a lover's relationship, meaning a love relationship with a woman, will relieve him of his worries. Why? Because worries are countless. For example, someone might be blessed with nothing, and even if a woman doesn't know what to do, she won't be rid of worries. Why is it that worries are 100%, and the woman only represents 10%? So the worries are greater. That's why we call it alienation in love. What is alienation in love? It means the male poet says to himself, "How the woman used to comfort me and relieve me of my worries, now she means nothing to me." So what do we say here? Something of suffering. So the modern poet has failed to achieve his self-fulfillment through a relationship because of his countless worries, because his psychological makeup has become more complex.

[00:44:18]Well, love has turned into bitterness. There is no woman to fulfill the poet and restore his psychological balance. That's what we explained. Why? Because one is... Look, you are among those listening to me. There are free people and educated people. So, your parents or spouses... There are those who are knowledgeable, yet they just come in and start saying things like, "Oh, good people, may God have mercy on your parents, there are problems like this and that."

[00:44:41]Why? Because here, he has countless worries, very big ones, and the woman can't get rid of them. So here, the poet says, "Where is the status of women? Where is the beauty of women? Where is the body of women? Where is the femininity of women that was able to free poetry from its deadly worries?

[00:44:58]Where is it? It's not there, especially after the Arab world became ruined in the time of the 1948 Nakba." So why, may God be pleased with you, did the poet lose his love, or call it alienation in love? What is alienation? It's something like, "I live in alienation, I live lost, I live in alienation in love." Why did women used to relieve me of my worries?

[00:45:15]Now, even if I brought ten women, they would n't relieve me of my worries. Why? Because my worries are countless, very big. My thoughts are consumed by worries, my mind is consumed by worries, my psyche is consumed by worries, my psyche is destroyed.

[00:45:27]How can a woman relieve me of that if there is n't one? With us in this live broadcast is a pilot who says to herself, "Never mind, the modern poet has been paralyzed in achieving inner peace through a love affair that is impossible due to the increasingly complex psychological makeup. Love has turned to bitterness, so there is no woman to fulfill the poet's self and restore his psychological balance. The woman, with her physical form and her femininity, is no longer capable of relieving the poet of his deadly worries, precisely during the time of the Nakba of Palestine in 1948.

[00:45:57]Okay, then, may God be pleased with you, what is alienation in words? What is alienation in words?

[00:46:03]Listen to me carefully.

[00:46:05]We say the word of truth. The word of truth is capable of changing reality. Do I agree or not? Yes, good teacher. When a group of teachers, for example, listen, listen to me, what do they do? They receive, for example, abuse or shocking decisions. What do they do? What do you hear? A coordination committee? Of whom? Of the teachers? Yes, the union. Come on, sir, we will hold a protest, we will hold demonstrations. The right to demonstrate. Okay?" And the right to a trial, and so on. It's good that you go out into the street and start saying, "This is a disgrace! This is a disgrace! This is unacceptable!" And you bring it up like that, and you'll ask for something. So you have hope in your words, that your words will bring about change, but the words will become ineffective. I mean, the voice, I mean the voice of the poet—when we say "word," I mean the voice of the poet— even in his poetry collection, I mean in his poems, the audience was uninterested, and the official was uninterested. What will it become, God bless you? Excuse me, the strange thing is the alienation in the word. What does it tell you?

[00:47:02]Alienation in the word is a form of estrangement felt by the modern poet. The word has transformed from a sword capable of influencing and changing—listen to me, the word—this word was a sword capable of influencing and changing, meaning it influenced social classes, it influenced the audience, it appealed, meaning it spoke the truth and brought about change. But it transformed from a sharp, pure, strong, cutting sword into a wooden sword that is no longer capable of influencing the authorities or societies. So, this is why it will also become what, God bless you? Words that prevailed. We were indeed waiting. So, changes are happening because of what? When we demand our rights, we keep saying, " Our voice has been heard." But during that period, the poet, in his deconstruction of the structure and renewal of the vision of modern poetry, wrote a collection of poems, "Speak Up," calling for change.

[00:47:57]He wanted to influence individuals and societies across all social classes, but he didn't achieve his goal. So, has the word become a voice, or a powerful voice capable of influencing and changing? No, it's as if it has become a wooden sword. What is a wooden sword? It can't even cut a piece of paper. But here, what is the poet's favor, may God be pleased with you? What is the poet's favor? The poet said, "But after a period of silence, the poet discovered that the word, even if it didn't have the role the poet desired, is still better than silence." It is still better than silence.

[00:48:28]So, I will continue to demand what is right rather than remain silent about it. So, what is the reason, may God be pleased with you? The alienation in the word is change. It was a word capable of influencing and changing a class of society, but it became a wooden sword, incapable of influencing or changing society. But did the modern poet remain silent? No, the word is better and more valuable than silence. Then, come here. Please, let's look at the feeling of being a stranger in the city. We'll go to the feeling of being a stranger in the universe because we say the city, then the universe that will encompass everything. Then we have the feeling of being a stranger in the city. What is it, please?

[00:48:59]Here, we ask, what is it, anyway?

[00:49:02]I'll ask you. Look, it's simple. Now, was Eid al-Adha? Was it or not? It was. Good, teacher. Happy Eid Mubarak again, and may you succeed, God willing. May the summer be hot and dry for everyone, God willing. Whoever attended, may God grant you success, may God guide you, may God make you bring joy to your family, and may God grant joy to your relatives and friends, and may you bring joy to yourself, God willing. Amen. If you hear me, we had Eid al-Adha now. Oh, by God, brothers, by God, do we still have any of the Eid atmosphere? The atmosphere where we used to go out, go to the market, and your mother would take you, and your father would be busy, watching over his children and his wife. You're with your pocket, or maybe you want the lamb, and you're like that, going around eating meatballs. What's left? Oh, but what's left of that phenomenon? There's no shortage. Where are the old times?

[00:49:48]Unfortunately, they're gone. Where are the times we used to have? Come and see your lambs, come and see ours properly. They're gone.

[00:49:53]Where are those plans and invitations? "Today I'm here, tomorrow you're here, tomorrow this one's here, and that one's doing something." They're gone. We do n't have that old routine anymore. She'd go out while the neighborhood kids were still playing, hear that our brother was sick, and go and come back. May God grant her peace. She'd go and visit him.

[00:50:06]Now what do you see? You only see him sick, you only see him die. Glory be to God! It's been so long since I saw this. We live in a city that seems to have changed completely. Why do you think this is because of two main things? The first reason is foreign culture. Why do we say foreign culture? A long time ago, we only had tin shacks and houses, and we were living well. And the shanties... And the bricks, oh bricks, what have they brought us?

[00:50:37]The abundance of buildings, and you see in the architecture outside, the roads, the roads, and so on.

[00:50:43]The city has become strange, it no longer has its authenticity. In your opinion, is Morocco, for example, the Morocco that was before, as we say now, the new Morocco? Although it's good, yes, we always strive for progress and development, why not?

[00:50:55]But just a question during the lesson: Will Morocco return to what it was before? Of course not, it's no longer the same. I mean, those traditions and cultures that were before, no. This is the reason, I mean the invasion of cultures and the transformations of Europe in the Arab world will make the poet feel like a stranger in his city. And then what? Then we know, unfortunately, the space [clears throat], I mean the forest. You noticed, all the forests have been destroyed. I bring urban development, or I bring that house, I bring the melody, I bring Hadda Zaatout, and there's no building, building investments, investments, houses, houses, houses. Where is the forest?

[00:51:35]Where will the poet go to die? His feelings have become limited. I tightened them a little, the forests told them, "The oak tree is a tree." Oak trees, if you say 30 years in prison, galitose is sold, you have lemons, everything is sold, remove the oak tree. Why? Why?

[00:51:54]The state, if here we have become strangers in our city, it has lost its authenticity, it has lost its identity.

[00:52:03]So what can we say? Alienation in the city.

[00:52:06]The manifestations of alienation in the city are evident in the feeling of the modern Arab poet that the architecture and reality of his city have changed forever, that is, it is no longer. I told you, in Morocco, due to two main reasons [laughs]: the absence of nature, which is the source of life.

[00:52:22]That is, we go, my brother, to seek refuge in nature, and we go and listen to the chirping of birds, the children playing, the eye wanders in the greenery. Now the eye sees a mustache, he built his house there and left, may God make it easy for him. That is, the absence of nature, which is the source of life, this is the first reason. Then the second reason is the absence of human relationships between the people, that is, between its people. What did he tell you? No one cares about the other anymore. That is, may God curse my friend, he no longer asks about him, and what does he say to him?

[00:52:51]With the service, my friend, I say, "Brother, the world is not about service."

[00:52:58]No, my friend, there are those who work among brothers, and when you come to see if they've improved financially or health-wise, you find they're still in the same place. The problem is, like now, people like you, you find they study a lot and are still in the same place. Why? Because there's no organization of priorities. This is a session, God willing, after this baccalaureate thing is over, and I'll give you good guidance, God Almighty willing. I have a trip, God willing, to take a congress like this and come back, and I'll give you one. I'll give you guidance, first of all. That baccalaureate, you got the baccalaureate, you're doing something, now you need to be close to the students.

[00:53:24]We'll see. You don't know this one, he's a guide. He started from the schools. There are those who are late, he tells you, for example, "Here's medicine, what's there?" This one is a guide, this one is actually a call, this one is also included in public education, that's it, he's supervised there and guided.

[00:53:36]Listen to me, may God be pleased with him. You know, we have something here.

[00:53:39]He told you about the change in nature, which is the source of life, and then the change in human relationships. No one cares about anyone anymore. Then he told you that after the European cities' influence on the Arab city, as I told you, that culture became unsuitable for the defeated poet's reality. So poetry came as an expression of this feeling of alienation in the city. Oh, alienation of the soul, I remember it clearly. Take us back again.

[00:54:03]Take us back, train, to the mountains of such and such. Clear and empty of all humanity. This is the reason for alienation in the city. Then we have the final alienation, which is alienation in the universe. This alienation in the universe—look, the poet failed in love, failed in words.

[00:54:18]The city no longer held any appeal for him. So what's left? He'll come and talk about the universe he lives in in general, as if he's gathering all kinds of crows.

[00:54:27]What did he say? The critic, Ahmed Al-Jatt Al-Madani, pointed out that the manifestations of alienation in the universe have been embodied—embodied—an expression of the feeling of humiliation and insult. Why humiliation and insult? Poetry has been expelled. The Arab was expelled from his land and exiled from his glory, leaving him without land or homeland.

[00:54:47]What was the reason for this? We said it was because of colonialism. There's no way to get rid of me, meaning their worries, not to get rid of us materially. Words are no longer capable of change or influence. Exile in the city doesn't suit me. Where else would I go? And what about our lands? Because of the Zionist occupation, we've become colonized. There are wars, there are social classes. So what does exile in the universe embody? It's an expression of the feeling of humiliation and insult. The Arab poet was expelled from his land, that's it, and exiled from his glory, leaving him without land or homeland. What kind of stranger lives in this universe? He has no home, no voice to change, no city. So where does he live? He lives in a universe where justice is absent. A group of poets expressed the bitterness of reality in their poems, like Adonis and Al-Sayyab. Here is the next chapter, which I called the plan I gave you, brothers. It's good. Here is Adonis. Here is me. Adonis said Siabati and Khali Al- Hawi, what will become of life and death now from exile? How do we move from death to life? There are those who will tell you no, we must die to get rid of these worries, then bring them back to life again. They say no, it's a sacrifice, and it's going on.

[00:56:00]Let's see it properly, may God be pleased with you. What else did he tell you? And he reached, meaning the poet, a conviction that pushes him to accept reality and to be content with defeat and to remain silent like a nail.

[00:56:11]What is like a nail? Strange in love, there is no woman to get rid of them. Strange in the word, no, incapable of influencing and changing. It moved from a sword, meaning sharp, to a wooden sword. Strange in his city, and this latter does not suit him. What did he tell you? Like a nail. You see the nail, when we put it in, we hammer it, hammer, hammer, hammer.

[00:56:28]What does it mean? He will keep eating the hammering while he is silent. This is something that will solve for us, that its continuation is the experience of death and life.

[00:56:37]Yes.