Shawki Bazig: It is not a schism to be chaotic in writing


The Lebanese poet Shawqi Bazig presented nineteen poetry collections during a long journey from the early seventies to the present, the uniqueness of his vision and the brilliance of his poetic voice. He finally won the Sultan bin Ali Al Owais Cultural Award in Poetry in its 15th edition. The experience of poetry is original, which includes three central issues (homeland, women and time), which have benefited from different forms of inheritance; and opens up its experience on the modern aesthetic patterns that highlight the depth of humanity and creative imagination. The poet and we shared with him this dialogue about his experience over four decades of writing and its developments and the features of its stages, in addition to what he experienced during these decades within the Lebanese and Arab poetry and cultural scene. “The most important and important element of my experience is childhood, like every writer of course, but the added value I can talk about here is the vast space of childhood,” said Shawki Bazig. I could see the Mediterranean Sea on the one hand and I see Mount Hermon on the other, and I see the northern border of Palestine and the north of Sidon to the south, the fan from the sides, and this vast space, full of countless colors, smells, sounds , Places covered with cinderella, mulberry and thyme trees T. Km and a multitude of trees, mostly trees, wild, and there are also water tributaries come from the top of the mountain from the point of Palestine, and surrounded the villages and then go towards the sea, all this has provided me the imagination of a broad-based nature and the elements of sensory poet needs her to write. I say this in order to conclude that there are several stages that I have passed through, but I have always been supported by the vocabulary, language and images coming from the birthplace. Of course, at first because I grew up in the 1970s, my experience was a continuous struggle between victory for the ideology of the 1970s The new left and the parties that were in the national and Marxist, and so on, and then joined the Marxist leftist organization, where I was always required to write “popular” to reach the public, and another call comes from the modernity where she studied at the Faculty of Education of the Lebanese University on Adonis, And Khalil Hawi And the poets and critics, they took me to the opposite side related to modernizing the language and listening to my inner voice. “On the other hand, I was trying to go to different areas that appear in my first du’aa ‘such as the poem” Tawaaf “(” The Tawaaf “). The second stage of my poetry began in the early nineties, and has been subjected to a deep silence lasted for five consecutive years, because I felt that I was in front of major joints and turns in my experience, means either that I repeat myself or renew my language or become silent, and because I was not ready yet to renew my experience and my world and five years of silence is complete without any poem between 1985 and 1990. When I came out of the “Dust Relay” poem that was published in a group with the same name, there seemed to be a shift in themes, in approaches to diluting lyrical melodies, rhetorical fluency and so on, and towards other approaches to things, meditation, Not big issues, and maybe that’s a funny thing. Perhaps the third stop started with marriage, meaning after the words “Mirage Mirage” and after “T-shirts of Joseph” and “Like Gribek among the women,” and “Fradis the cruelty” and others, also suffered the second stroke of poetry, because I always believe that marriage corrupts writing, because It is based on a completely different ground, which has to do with tranquility and tranquility. Going to the details of petty life that is not like hair in a thing, this stuff that is related to passion and nerves going to extremes is ruined by marriage. I stayed for more than 3 years without writing anything, and suddenly I had other areas and areas of writing. For example, women were an essential element of my poetry and perhaps a third of what I wrote belonged to the poem of love. , And marriage becomes familiarity, friendship and sedition. This is beautiful, but it can not be a motivation for poetry, at least in my opinion. So, from the time of Ameer al-Qais to the last born poet in the remote Arab countries, one rarely wrote to his wife until he married her or after she died. Entitled “Screaming Trees”. I mean, I started to enter different areas and then “butterflies in the smile of Buddha” means gratitude, inner meditation and self-revelations, and there are documents such as “the cities of others” as if I say in this court that everything that is owned is unreliable. , Then to “Where do you take me, poet?”, And finally “life as never happened.” Even from the titles of the groups, I see that I have turned to philosophical or existential wisdom or contemplation. This is what Socrates said, “You have to marry. Either you live happily if the woman is good and you are good. If she is not good, you become a philosopher. As the corrupt theater allows for marriage, because I consider that the corruption of marriage comes not only from its ends .. It comes from the theater, because everything needs a theater, the crime needs a theater, the writing you need, love needs a suitable ground, The most prominent of my experiences. Bazig said that the nature of the poetic vision that he believed in and proved with him was in his conviction that “there can be no real hair outside the heart. I mean here in the heart, not only in the Scout sense, I mean the air, the oxygen, the sweetness, I mean short lyric, but with the difference that these songs were initially a lyrical song, because it was linked to a conviction in the seventies and early eighties, because poetry can incite and change in the direct sense, Political or ideological and so on, but even in those For a while, as I told you to see and have questions inside me, I was trying to alleviate them through the concerns related to knowledge, but then the lyrics became more intense and I turned towards drama, towards polyphonic, towards the composite structure of the poem. Because I believe that within each poem is a narrative thread that organizes the elements of the distant poem, otherwise it turns into a mere pave of images, but acquires a life. It must be transformed into a body, a body with its own system, and of course poetic writing, as Nietzsche says, I mean is not a total mess, is not a schism to be chaotic in writing Because anyone can mess happen and destroy what he wants, but from within the constraint, this constraint is not necessarily the only weight and rhyme, even the prose poem the structure of the poem can do if you’re already talented can create your mess of your own. This contradiction between the system and the chaos, or the ability to create a magical mix between the two, between lyrical and intellectual dimension or knowledge, I do not say thought, because it always brings me, when I say thought, mental dimension and logical writing strict, I do not believe in this type of writing on I am always worried and always obsessed with the fact that I can do better. I am not a poet. I am always worried and always obsessed with being able to do better. What I did. “I think when I was responsible for the cultural page in As-Safir newspaper I had a dialogue with the poet Ahmed Abdel-Mutti Hegazi, and we were talking about the struggle of the generations in poetry,” he said. “I loved it, He said there is a conflict of work, not a conflict of age. I loved this anomaly because it accurately affects the truth. It is not that the generation has gone out and the generation has risen, at all. The poet knows, and your experience in this field is a non-temporal object, not connected to time in its limited meaning, , Otherwise the subsequent necessity would have been better As in fact, that the path of poetry is an irregular serial course in a context, if modernity is connected to generations, it would necessarily be for example Sharif al-Radhi I feel from Mutanabbi because he came after him, but this is not This is a poet and a poet, or Abu Ala is better than al-Mutanabbi, the importance of other poets. The issue is, in my opinion, an issue of sensitivity, and of course, in addition to talent, the poet’s ability to constantly renew himself, to rephrase himself, to create copies of himself .. Sometimes it is heterogeneous, turns on itself. I believe that the struggle of the basic poetry is not with others, but with itself, with its achievements, and that is why it makes itself a bishop and can not overcome it. This has its implications in many experiments. It means poets who wrote poems or groups that they could not overcome. To go beyond yourself, but the question that the poets of the seventies extinguished do not see it, can be amazed this person or that, but we can not say that they were amazed. To give an example of this, I can not say that a poet like Moncef al-Wahhabi in Tunisia or Muhammad al-Luzi, for example, has been ignorant. I can not say that the generation of lighting in Egypt has faded. Many of the generation of this generation is still hair-stricken, and I am saddened by those who left early like my dream. Salem, in Lebanon I think that poetry such as Mohamed Ali Shamseddin, and the presence of Fakhruddin and Elias Lahoud are still writing and present in the scene, and so on, also in the Palestinian and Jordanian scene there are poets of interest, the matter that it is evolving, and who stands in place, Who has suffered a stroke of poetry, this can not be called generations of generations. As for his commitment to activism, unlike many of his contemporaries who have become prose in recent years, Bazig stressed his belief in freedom, “to do whatever he sees fit, and what applies to a poet that does not apply to the other. As it was happening in the totalitarian regimes, and is still happening .. to choose all that suits him, but I must explain here, I did not write prose poem because I do not know it, not because I do not like it, I am with the diversity of the Arab poetic scene, Do not make one kind of roses, and some poets prose poem of the ultra-Orthodox to know that They contradict the essence of the prose, which is freedom, they must be satisfied with the other methods, otherwise, as I said, they contradict themselves, they have become a classic style culture. How do we replace a pattern with another style? , And should not be mutually exclusive, do not copy each other. As for me, I do not find myself except in the tafilah. Once I think about writing, the symptoms come to the rhythm, and this is something I should not apologize to anyone about at all. This is my style of writing and my way of communicating with the language. I write a prose poem, but I am very passionate about literary prose. I am a prolific writer. I write in the press. I am thrilled to write prose, because I feel that the whole lexicon is a test of my talent. Here the poet does not want weights and rhymes and expressions of expression, but the dictionary is available to him, and the real dough appear through the text of the prose. Bazig said that his employment of the Islamic and Christian heritage is related to his environment and his emotional and religious composition in the deep sense of religion, not in the narrow or sectarian sense, because in southern Lebanon it originated in an environment that has been and is still a religious province. , And found that it is related to the civilizations of the ancient East, Babylonian, Assyrian, Sumerian, Canaanite and others, and it turns out that the same ritual was held for Adonis after the wild boar killed according to ancient Eastern legends, the issue of relationship to death and resurrection, because it emanates after Ishtar’s pleas to know To life, so also I found that the idea of ​​Christ associated with the same weather, which is essentially an agricultural principle, the principle of a grain of wheat buried in the soil and then sprout months and then eclipse. This thing became part of my emotional and spiritual formulations, and I liked to reproduce some of the religious, historical and mythological symbols in a different way. It was reread, for example, with the T-shirts of Joseph. I heard about Yusuf’s shirt. And the third shirt that Joseph sent with his brothers to his father in Egypt, and Jacob was the first shirt that his brothers had dyed with false blood and threw it into the well, and the second shirt was torn by Zulikha from behind. He looked blind when he smelled the smell of the shirt The three T-shirts as a case of the beauty industry, as if the poem says that man is not born beautiful, but it becomes beautiful, and beauty is made. In the poem “Mary” I talk about the rupture that Mary experienced between her victory for her femininity on the one hand and her motherhood on the one hand, and she lost the two together .. He asked her to sacrifice her femininity in order to be a mother, and when she became a mother lost her son, regardless of the question of Islamic interpretation or Christian question of steel. “Salomek Dance” in my penultimate diwan, when she made Salomik love John the Baptist or the Prophet Yahya, and because he refused, she killed him and won her wounded femininity. It means a rereading of history. Every poem that works on a shop, the night of the last paradise, works on the issue of jealousy, but in the poem I made the dick of paradise kill himself, because the true lover can not kill the one who loves. Because if you produce historical facts as they are, you do nothing. At the same time, you have turned reality into a cosmic existential question that touches not only the area from which the symbol came out, but it also has a human dimension. Bazig said that against the naming of the novel, it is true that the novel is popular in the world, but that does not mean that the poetry is over, poetry now looks like the father of the diseased art as the Ottoman Empire 150 years ago, but all children want to kill this father because he dominated the time , On the history of thousands of years, but at the same time they are without nothing, not a novel without poetry, painting, music or play .. Perhaps poetry retreats as an independent artist, but the level of poetry does not retreat, it can be a time for poetry and poetry together, and plastic Different expressions, of course I have an explanation for what is happening that the land tired after several world wars, and after a century And from the philosophy and thought and diving deep, and also poetic modernity, which need a lot of effort to explore the modern texts, as if there is a kind of fatigue that made people rely on what is easy, easy language, they saw in the novel that easy. The other thing is that the novel allows people to live outside their original lives, go to parallel lives, and resign from their reality, which is already hopeless and depressing, just as it happens when you come to the cinemas when the curtains fall off the scenes are separated from reality and then reside in the dream, , And the subject of cinema is a novel, as opposed to the hair is exhausting as I mentioned, but to ask ourselves one question, how often can you read the novel, you as a reader, once sure at best if the Marquis or Lusa or one of the adults read twice … You read poetry thousands of times, it is locked up to certain limits, there is the magic of what makes you She reads again and does not tire, something like the voice of a single singer, as Ibn al-Roumi says: “It is something that does not dull the eye of it or its every hour of renewal.” This is an aesthetic manifestation that can not be exhausted, such as the poetic image of the mantle. “I stand and die in the shack of my neck, as if you were in the eyelid of sleep,” as we read it, we feel the pleasure of it, if the hair is made not only for the temporal but also for the eternal. If they were a minority in a period they would accumulate themselves constantly. Mohammed Al-Hamamsi


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