Secrets of revelation… springs of childhood Reflections on the poetic experience of artist Jamal Hassan Saeed

By: Mujtaba

Preamble
As you are on your way towards new beginnings and difference, you must have a wild imagination and a memory that is pregnant with paradoxes and illogicality. Rather, you must have an innocence that carries your wings like a butterfly falling to its fire in extreme love and gentleness, without thinking about the consequences. This is what increases access to the worlds of writing, and the beginnings of the poem of the poet Jamal Hassan Saeed, who “suckled from the breast of revealing secrets,” in a language that comes from the worlds of childhood, who was injected by a source full of mature visions, culture, knowledge, gratitude, and philosophy. Let us continue the reflections on the experience of the artist, the poet Jamal Hassan Saeed, in this fourth and final part:

* Text climates according to Jamal Hassan Saeed:

The world of poetic text is full of different climates. For him, the text hardly remains in one state. Despite the unity of the topic, you find yourself in emotional slopes, then cognitive philosophical slides, then violent confrontations with questions extending into all areas of human experience. For example, we find his famous poem (Zula), which is full of different atmospheres that begin with a description of a lover, a woman, or her legend. It continues to move throughout the text between worlds in which it plays the role of the key to it.
The fact that this text may require careful reading, as it is a world that includes all the worlds of the poet and can stand as testimony to the generality of the poetic experience.
Conclusion: From the generality of these general features of the poetic discourse of our poet, the subject of this writing, we notice that he is an adventurous poet who is not afraid to enter the worlds of poetry and only comes to them through the widest doors, without opening or titles, and these are the thresholds through which writers beg to enter the thorny worlds of writing, especially if tt was poetry. It is clear that he is not begging for poetry and writing as much as you find that he is wading through it naked, without life jackets, which this is clearly evident by looking at these shocking revelations:
– Azunik Erifti
– Fateh Shababeek A Noom
– Ta’arfi Ya Mafi Wu Malia Alfija
– Ahdatni Eyoonik Katha Halma
– Zula
In doing so, it is as if he extracts these insights from internal monologues that find their way into the text’s premises wherever he experiences some pleasure or a moment of temptation that pushes him to the worlds of paper and blogging, so he grasps the text at its peak and then returns after that to his artistic and aesthetic debates.
From all of this, we discover that Gamal Hassan Saeed, that beloved and educated dramatist, director, actor, and comedian, is the same poet, philosopher, and thinker, and at the same time he is that frivolous like a child who does not hesitate to engage in all these adventures. For him, the text is a large amusement park filled with the swings of ideas and the waters of language, and the clay from which he forms dolls and pictures of his world, which is full of childhood features.
We also notice that his worlds of writing are open to each other. Just as drama has a clear impact on his poetry writing, poetry has a great impact on his drama writing. You will find that his poetic texts are packed with high spectacle, as is the case in the previously mentioned poem Zula, which includes a large number of dramatic scenes.
In conclusion, the person contemplating this experience must expect that he is entering into an explosive experience crowded with captured and parallel experiences. I hope that these reflections have opened doors for questions and kindled the embers of curiosity to work on further study and investigation into the worlds of writing by the comprehensive artist Jamal Hassan Saeed.
Thank you for following this long, arduous yet enjoyable journey.