A glimpse of modern poetry evolving in Iraq
Modern Iraqi poetry, since the forties of the past century, has witnessed critical alterations that accompanied poetic experiments ; they penetrated human movement along the tides of time. those kinds of experiments were diagnosed from the appearance of the evolving forms of modern poetry in Iraq. this change covered the aspects of the ( visual distribution ) of the text and its way of addressing sufferings and how to conduct a fruitful dialogue with one's self.
The first tributary emerged at the pre- pioneer stage during the early twenties of the last century, and was known as the (blank verse) see https://en.wikipedia.org/wiki/Blank_verse ) ,this stage was before Alsayyab era and was represented by the Iraqi poets Jamil Sidqi Alzahawi , Shukri Alfadhly and Abdulrahman Shukri. the blank verse is characterized by perserving its regular metrics but with unrhymed lines. variations had been made concerning the poetic form ; you might find a certain alignment with rhyme, resembling the European poetic tradition, whereas in other approaches the musical structure and rhyme exist but meters are not a restriction. as we reach the forties, Badr Shaker Assayyab emerges with his smash hammer that simply crushed the strict form of the two part verse, or the two hemistich form; preserving its metrical aspects ( trochee verse). the era of Alsayyab was known as that of the pioneers along with Abdulwahab Albayyati and Nazik Almalaika.
During the fifties, we mark the period of the post pioneers; the era that strongly interlaces with the one preceding it. the aspect that dominated poetry of this era was the commitment to (trochee verse) at most. this marked the work of the poets of this era like Saadi Yousif, Rushdi Alamil, Hasab Alsheikh Jaafar, Yousif Alsaegh, and Husein Merdan. with Hasab, poetry marked the birth of the circular poem. as it depends the cycle of the visual distribution of the elements composing it. Husein Merdan, triggered ( concentrated prose ) or ( prose poetry) ; a kind that totally ignored the limitations of any rhyme or meters. As we approach the sixties a new group emerged joining a number of profound names to be known as ( Kirkuk Literature Group). the latter swinged between the last two forms that have been recently formulated in our brief display; Fadhil Alazzawi, Jan Dammu, Muayyad Alrawi, Father Yousif Saiid, Anwar Alghassani and Salah Faiq...reaching the seventies, poets stood on a rich foundation of styles and experiments in both form and content. controversy continued till the eighties where the concept of the ( open text) was always on the table. this generation deeply rooted the project of modernizing Iraqi poetry conveying it to the next stage. in the nineties poets wrote prose, but one must highlight though, that during all these stages, traditional poetry was still composed.
Forward by Maitham Alharbi and translated by Amal Ibrahim
The first tributary emerged at the pre- pioneer stage during the early twenties of the last century, and was known as the (blank verse) see https://en.wikipedia.org/wiki/Blank_verse ) ,this stage was before Alsayyab era and was represented by the Iraqi poets Jamil Sidqi Alzahawi , Shukri Alfadhly and Abdulrahman Shukri. the blank verse is characterized by perserving its regular metrics but with unrhymed lines. variations had been made concerning the poetic form ; you might find a certain alignment with rhyme, resembling the European poetic tradition, whereas in other approaches the musical structure and rhyme exist but meters are not a restriction. as we reach the forties, Badr Shaker Assayyab emerges with his smash hammer that simply crushed the strict form of the two part verse, or the two hemistich form; preserving its metrical aspects ( trochee verse). the era of Alsayyab was known as that of the pioneers along with Abdulwahab Albayyati and Nazik Almalaika.
During the fifties, we mark the period of the post pioneers; the era that strongly interlaces with the one preceding it. the aspect that dominated poetry of this era was the commitment to (trochee verse) at most. this marked the work of the poets of this era like Saadi Yousif, Rushdi Alamil, Hasab Alsheikh Jaafar, Yousif Alsaegh, and Husein Merdan. with Hasab, poetry marked the birth of the circular poem. as it depends the cycle of the visual distribution of the elements composing it. Husein Merdan, triggered ( concentrated prose ) or ( prose poetry) ; a kind that totally ignored the limitations of any rhyme or meters. As we approach the sixties a new group emerged joining a number of profound names to be known as ( Kirkuk Literature Group). the latter swinged between the last two forms that have been recently formulated in our brief display; Fadhil Alazzawi, Jan Dammu, Muayyad Alrawi, Father Yousif Saiid, Anwar Alghassani and Salah Faiq...reaching the seventies, poets stood on a rich foundation of styles and experiments in both form and content. controversy continued till the eighties where the concept of the ( open text) was always on the table. this generation deeply rooted the project of modernizing Iraqi poetry conveying it to the next stage. in the nineties poets wrote prose, but one must highlight though, that during all these stages, traditional poetry was still composed.
Forward by Maitham Alharbi and translated by Amal Ibrahim
pioneers and postin process
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Kirkuk groupin process
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Pauper Poets
in process
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