Ahmed Shawqi's Diwan 1/2

The Diwan of Ahmed Shawqi Published by Dar Sadir Two volumes... Forty-four years, that is the span of time Allah granted to Ahmed Shawqi on this earth (1868-1932), but within this limited space, his poetry spread in the world, occupied people, filled all ears, and saddened many hearts. As he occupied people during his life, he continued to occupy them after his death, and still does to this day, inspiring pioneers. It remains an entry point to understanding the characteristics of Arabic poetry in its purity and authenticity, and a prominent landmark indicating the level and eloquence of Arabic poetry during the Renaissance. Allah endowed him with a unique poetic talent and a flowing, obedient wit, so he did not sit in his office to think and strain his mind to compose a poem; rather, thoughts poured upon him abundantly, as if overflowing from all directions... He murmurs poetry while walking or sitting among his friends, present among them in person, absent from them in spirit and thought. His companions do not realize he is composing unless they first hear a mumbling similar to a tone emanating from a distant depth, then his eyes sparkle, and movements of the eyelids follow, then he perceives himself with his forehead raised, and he gently passes his hand over it, moment by moment, as poet Khalil Mutran said. That is the characteristic of inspired poets. The fountain of poetry burst forth from his tongue when he was young, and he perfected his tool before reaching twenty years of age. His diverse cultural background (both Western and Eastern) later influenced his poetry, where Shawqi innovated artistic styles that Arabic poetry had not previously practiced; "because he was created to be a renewer," as Taha Hussein said. However, he did not depart from the classical qasida structure recognized by critics from old times, remaining committed to its Abbasid traditions: unity of meter and rhyme, grandeur of style and clarity, and avoiding the repulsive artifice of embellishments. His imagery relied sometimes on complex, extended images, and at other times on simple images limited to similes, metaphors, and sometimes kinematic expressions. Yet he knew how to draw from the treasure trove of old similes and metaphors, adding his own essence and cultural richness to give them novelty and freshness. Thus, his images drew their spirit from the poet’s broad experience and knowledge of both Eastern and Western cultures, not from instinctive emotional reactions.