Abdullah Al-Samti

The features of the Saudi poetic scene today are formed from several generations and from several poetic directions, and this formation contributes to a large extent in keeping the poem glowing, on the level of the communication of poetic creativity and on the level of the accumulation of the issuance of the poetic groups, not on the level of the cultural media presence necessarily.

Of course there is the generation of pioneers, and what after the pioneers, for Ahmed Al-Saleh still publishes his experiences that vacillate between the two forms the vertical and the metric, as we find this presence for Muhammad Al-Ali, and Saad Al-Humaidin, and Ali Al-Dumaini, , and Fawziyah Abu Khalid, and Thuraya Al-Arrayed and Badiah Kashghari on for example, each according to his poetic direction.

As well the poets from all forms and generations continue issuing their collections, thus- on the way of representation- we find with Abdul Rahman Al-Ashmawi, and Muhammad Al-Mansour, and Hassan Al-Sabaa, and Hassan Al-Zahrani, and Ali Bafaqih, and Latifa Qari, and Ashjan Hindi, and Ali Al-Dumaini and Latifa Qari, and Huda Al-Daghfaq, and Ali Al-Hazmi, and Muhammad Habibi, and Muhammad Al-Herz, while joining to the poetic blog from time to time new poets, or not new.

This presence and these issuances give a space from accumulation and from renewal, as it gives a diversity in the poetic saying in all forms, and the matter remains assigned then to the critics and researchers who investigate what the poetic blog contains of properties and features..

And the vertical poetry or the house poem dominates on a large space of reception in the Saudi poetic scene, and it is by its rhythmic singing melodic nature, and with what it contains of romantic elements and features, and for its historical presence in our Arab poetry it remains the first image for the receiver of the poetry, or the initial hypothetical formula expected for the reader of the poetry or its listener who t used to receiving the simple melodic meaning, and on the enthusiastic contents or even the romantic that reach him from the shortest way possible. and because the relation of this form with the pulpit is a legitimate relation defined by the rules of reciting, and the voice, and the oratory, and defined by the chanting laws and communication with the audience, for its presence still dominant by comparing with the two other forms.

But the question that faces us here: what is the artistic and creative position of this poem in the Saudi poetry scene? and what are the most prominent new aesthetic it provides? and what its properties? and where does this poem fall between the two concepts: the tradition and the novelty? and is it a traditional poem or new or in a position between the two positions?

In the reality. The vertical house poem in the Saudi poetry does not find a big space for renewal and experimenting, for most who write it are content with what they achieved of enthusiastic occasional achievements (Al-Ashmawi for example) or romantic and Nizari achievements (Al-Saleh (Musafir for example) or even from who represent the nature poetry and the beauty of the place in what we see in the poetry of Hassan Al-Zahrani, and Ibrahim Talih, and Ibrahim Shahabi, and Ahmed Al-Tihani and Muhammad Yaqoub for example.

And with a type of conciseness the reading will direct to a group from who write a renewed vertical poem experimental: Muhammad Masir Mubaraky (Manasak lil-Sarira fi Haram Al-Raml) and (Tamahi Manbat), Jassim Al-Saheeh (Raqsa Irfaniya) and (Olympiad Al-Jasad), Hussein Al-Urwi (Lam Al-Safar Nubooat Al-Khuyool), and some poems of Muhammad Ibrahim Yaqoub in (Tarateel Al-Uzlah), and Hassan Al-Zahrani in (Tamathul)) .

In an intensive way I will point to some models: and

- Hussein Al-Urwi from a poem: "Fath"

I budded an age in the scent of an Arara alone on a waste that terrifies me with the drought

Khuzamiya poems dry me in its eyes .. and the night in my language crawls

And the wind rains on me .. the sands sink in me and embrace me with a sorrow its love colors it

I was buried alive, and my burial in my eyes is a hellish poem .. and the fire in our passion is a road

My horse is the extinguishing of the light, and the moon is a kiss that melts me .. and the letter in my lab is a heart

Jassim Al-Saheeh: from : a homeland for my name being homeless:

Take me with your axe the taking of the merciful for I am here an idol of whims

The desires circle around me like the worshipers circle around a prayer

This is my lineage that with its concerns I lit every cell with my blood

The lovers are the fabric of my cloak and the tired are the threads of my robe

And the sun is my tear that fell on the cheek of the sky sad of lights

A body of winds I wore in my exile so the exiles of the earth screamed in my parts

Thrown on the saddle of the maze I trace my name being homeless outside the names

How much Bilqis mistook the vision of my image in the love and was deceived with the water of my modesty

I did not find in the palace of the femininity a balcony on which my narcissus and my evening sleep

And I who from the excess of what I am a lover thought the women all of them are my women

My lips are a house of the houses of Allah did not cease raising the dialect of Al-Ahsa

The lisps grew with me like my clothes and the words grew with me like my misery

Hassan Al-Zahrani : from the collection (Echo of the Sorrows) from a poem: "od news o my pen" :

Nothing remained in my palm except my pen so what is the use of the reed and I lost my inkwell

So I carried it and went on the road of the sorrow and I saw in its features my features

I watched my self in the glow of its tears in its cheeks my mirror sparkled

And as if my pen felt my sorrow and my tragedy permeated in its soul

So it went on sharing the concerns with me being defiant and wiping the tears from my cheeks

It almost ended its life with thirst and did not complain the hit and it personified my self

So I stuck in the middle of the vein its tongue and I watered it with my blood and the pulse of my life

To return some of its favor and perhaps it recites on the hearing of the passion my sighs

In the poetry of Al-Urwi types of intertextuality and inclusion, and the opposite dualities, or the integration dualities, and there are derivations and linguistic sculpture in the poems of "The Old Places" and "The Elegy of the Rain" and "How the Trees Die" and "The Passions of an Old Child" besides the innovative adjacent images in the single poetic house, and utilizing the mechanism of the cut and the connection as in his saying:

"This is my way" .. scattered mazes on the letters .. and a wave planting the eternity

"My color" symbols .. so do not seek to explore "my language" a duty on "my bitter travel" alone

I believed that my misery .. my story started from the ends .. the diagnosis of the delusion is a guidance

My light is the evening blind .. that my wish is a hand a scent .. and some of the wishes are for nothing

Tomorrow I travel .. they might come after tomorrow they inquire .. so do not receive anyone

And the poetry of Al-Saheeh is characterized by utilizing the relations between the words and the signifiers, he performs generating his poetic images through what I call "the kingdom of the significance" in the poetic house, with the meaning that the generation of the poetic image is performed by just mentioning a word or a signifier or more, and the image is performed from the significances that this word or that one grant, whether it was synonymous significances or opposite, and it is what Al-Saheeh performs in most of his poems which do not escape also from the issue of the traditional accumulation in several houses with him, especially the frequency of the vocabulary through the conjunction, or completing the expected rhymes.

And Muhammad Mubaraky generates his poeticism through employing the heritage elements, and the wild vocabulary in a shape of new poetic relations, and it is what he experiments with perfection in his collection prophecy, and what Mubaraky provides falls in the context of the Arab poetic experiments that play on this technique as we find in the poetry of Hassan Talab, and Muhammad Abu Douma in Egypt, and the product of this technique that it achieves a big share of the verbal and linguistic paradox especially if the adjacent was performed between the old abandoned poetic language and between the vocabulary of the modern poetic language, as well this expanded technique gives a share of the spatio-temporal communication between the old poeticism and the modern poeticism, and the intertextuality acts become the dominant in the structures of the poem until the intertextuality reaches between a word and another, and between a house context and another.

And in the poetry of Hassan Al-Zahrani it relies on the atmospheres of the nature, , and the village, and it is a simple easy poetry, smooth, he shuns from the complex images, and he splits the experimenting with the poetic language, he is content with delivering the direct simple meaning, with that scatter between the folds of his houses what is called in the Arab rhetoric: "the house of the poem", where we find this house or the houses scattered inside his poem might come in the start or in the middle or in the end, and the other houses still in the position of the maid for the kingdom, or in the position of the rivers that run towards its mouth.

From the epic of the love:

My houri in your cheeks my pastures appeared and your heart is my tent and my mat

Your eyes are two pearls from the light of the wishes my staff and my palm tree and my camel were shaped

Or his saying from a poem: "You are still my muse" :

Layla I will not forget your passion so torment my heart for the wounds do not hurt the killed one

O you who opened to my soul the universe of the passion and the cups whispered with your nectar

The vertical or the house Saudi poem achieves its platform, occasional, event spread, but it does not look much at the experimenting and the renewal except through these models, and it is as we see from a quantitative face a simple experimenting, in comparison with the abundant poetic numbers that are written in the horizon of this form..