Abdullah Refer.. prestige and merit

Abdullah Refer.. prestige and merit

Wednesday 3 August 2022 – 01:07

Abdullah wrote to review his name as a poet who enters strongly into the public cultural scene, and private poetry, from his first collection of poems (Migration to the Lower Cities). In that group, the language shone and died to represent the essence of poetry and the fires of the stage; This means that she was deeply aware of how vibrant art can be combined with bitter reality, and therefore she realized the meaning of transcending language into poetry. Literary criticism close to contemporary Moroccan poetry, then, has gone on to speak of a different quality of poetry insofar as it is tributary of its fertile soil for this Moroccan poetry, which has begun to dedicate its voice, consolidate its intimacy and defend technically the legitimacy of the Moroccan poetic characteristics and epithets, the soil, the composite identity and privacy that are poured into a sea The general characteristics, preserving its characteristics and characteristics, and what makes its difference.

With Abdullah Raji’, as well as a group of his contemporaries and sympathizers, the modern and contemporary Moroccan poem was written, which has always been neglected by the pioneering poet Ahmed Al-Majati. To be a sound linguistically, stylistically and aesthetically relevant and linked to the ground and history of its origin and cradle, not a hollow echo, and a resounding return that vanishes in the midst of public poetry. From here, Abdullah Raga’ is a modern, contemporary and renewed poet with all the sense of the qualities of the need to talk about Moroccan poetry worthy of the name, and a Moroccan poet who knew how to immerse himself in the fires of stage, and how to put his hand / his poetry with strength and tenderness at the same time, on issues of society and man The oppressed, the oppressed, and their strengths / their elite members are honorable politicians and enlightened intellectuals who have become risen, each from his position, to oppression, injustice and tyranny. Perhaps Moroccan poetry, like its Arab and African counterparts, was involved in the battle for reason. Some of them rode direct, declarative and sung on the basis that literature is a social message at the beginning and at the end, and that it was a system, not poetry, or a mix between this and that. And some of them cunningly and delicately equated between saying injustice and tyranny, taking on a meaning and an aesthetic connotation, and imprinting on it an exquisite style and a fine, intense language that alternates between connection and imagination, supported by popular legend and proverbs. proposals, and the dissemination of committed songs as some poets of the seventies did, led by the poet Abdullah Raja’. From his first poems to the intermissions of his collection (Hands that steal the moon) passing through his visual collection (Peace and let the seas drink), he has begun to sign his poetry in a language that leads to a fluid, fluid narration. even as if it were a winged and immersive narration, and in a melodramatic lyrical language cast as if they were compacted gold chains with jeweled rings and circles.

And Abdullah Raj’, and if he was one of the three (the other two are: Muhammad Bennis and Ahmed Belbadawi), he distinguished himself from them without this meaning that he transcended them poetically, but rather that he projected a poetic approach that celebrated language, metaphor and storytelling, whatever the celebration, and the themes of your country in a special expressive creative way.

It was based on a realistic black and white reference, and it was based on a rich and diverse cultural heritage, and it was based on itself, of course, which means: on its guiding talent, and its endless vigil in improving his trade, which is what he leads to saying, and what he leads to saying the artistic, aesthetic, linguistic and anthropological value of his poetry. What he brought the three together was experimentation and exploration. creative inquiry; the Mystic; the “metaphysical”; and general culture. They were extracted from the Andalusian poetic corpus at the level of their forms and geometry. Between the buildings of Andalusia and the aesthetic conquests of its poets: calligraphic decoration; modular interlock; And the formation of vegetal, resinous and dendritic ink, which is what is called calligraphy. Thus, the three of them practiced their arabesque poetic madness and their paradoxical creative experiment, for which they wrote a visual text in their search for excellence, exclusivity and poetic construction independent of its oriental genre, and in an ardor and longing to write a Moroccan poetic text in color, taste and smell. His experimentation was accompanied by the ornamental text of the foliated, revolving, curved, or swirling and enveloping and “theological” script. صاحَبَ ذلك تصورٌ نظري قصدوا من ورائه ، التوضيح والتفصيح ، والدفاع عن الشعري الجمالي ، وعن خصوصيته أيضا وإنْ كان لهم سلف نائمٌ وثاوٍ في طوايا وثنايا الشعر الأندلسي ، ، وشعر الشاعرين الفرنسيين الكبيرين: ستيفان مالاَرْمِه ، أبولينيرْ ، وشعر وشعر الألماني for instance.

This is Abdullah coming back, very briefly. He dedicated himself to a poet who does not discuss his poetry and his poetics, when his qualitative and complementary poetic publications continued, which stopped when his heart stopped, may God have mercy on him. But he continued to write, and his blood, his pulse and his heart were renewed by the receptions he embraced and celebrated. The right hair of him, beautiful and tall of him does not die. The penetrating poet seer continues the life of him, soaring in the world, and in the greatest and most amazing realm.