شعرية نمر سعدي المنثالة في نثريتها..

"In the water, there is music, and in my head, there are seas that never cease to roar.

And in the poem, there is the whim of a playful woman who never stops singing."

.........

“The poem is a woman waving from the summer balcony

to the bewildered strangers and the drunken poets,

counting cardamom with ginger in the morning

and a soft embrace for you to rest

from the running in the vastness of wandering meanings...”

(1)

Thus, since I began my critical reading of the experience of the Palestinian poet Nimer Saadi, I find myself arriving at a first "critical hypothesis," and not the last, to say: the poet seems to write his entire poem in his two collections: (Double Shadows in Embraces) and (Women Arranging the Chaos of Day), with a single aesthetic concern that varies in his overall poem, and with a meaning that I found does not multiply but diversifies and expands in its imaginative and linguistic horizons, meaning it is a variation on a single aesthetic unity, and with the same long and burning love that does not end but rather increases in its burning. He writes his poem with a thirsty spirit for the woman/dream or the woman/illusion, or the impossible love. He leans towards the poem/woman, or the woman/poem in her existential embodiments and representations and aesthetic formations.

His poem plunges into poetic chemistries that are effervescent and growing in its language and feelings in an exceptional and clear merging with the woman, spirit and body and vision, this merging flows and necessarily ends at the core of the elusive meaning of the burning presence of the woman in her multiple images within the poet's self, thought, and intuitions...

And I may note here that the two collections do not, of course, fully represent our poet's experience, yet they are similar in language, theme (subject), and poetic thinking. The poet, as I know, has more than 10 collections, yet these are all I obtained from the poet himself; I found them fully expressing the main theme/woman for him in her spectra, flows, fluctuations, undulations, seductions, symbols, and suggestions that I consider the absolute essence that the poet's poems approach and burn in its furnace!

“And what is the poem and the stirrings of the day

but the distance between a window and a bird on a string?

I am tired because I walk and above me are all the sorrows of the centuries,

as if I have a heart that dries,

as if I have a moon that reveals the glimmers of the eyes...”

Nimer's love poems seem to me to distance themselves from the present reality and its mythologies, and to establish a completely new ontological reality just as Mallarmé, the French poet and one of the pillars of symbolist poets, wrote, who dedicated himself to the aesthetics of symbolism and suggestion and immersed himself in the ambiguity of absolute meaning!

So, what recurs in the poems of the poet Nimer in terms of vocabulary and metaphors?

How do we enter his aesthetic world?

How is the aesthetic structure of the poem formed?

What is the effect of poetic imagination and imagination on the entire aesthetic structure?

These are all pressing questions that arise forcefully when reading the distinguished poetic experience of poet Nimer Saadi...

The poem, as it is with our poet, often radiates in its language suggestive beams that captivate the recipient, with its immense ability in linguistic formation; indeed, poetry for him is nothing but successive waves of words at their root and source, coming engraved with the magic of language with its sensory or passionate energies like a multi-faceted melodic piece of rhythm, melody, and sound.

“Such poetry that relies on the magic of language and its suggestions increases the authority of the word and makes it the origin of poetic action and its first causes,” as the writer and philosopher Abdel Ghafar Makawi put it...

When we look at the nature of poetic action in Nimer Saadi, we find it thus; we see in many of his poems that passionate sense and the image of that woman-poem in the absolute of words, not in the lived experience of events or reality or experience. The poet Edgar Allan Poe sees in the poet whose poetry approaches the concept of pure poetry that he designs his poem starting from the power of linguistic melody or the sound energy that precedes meaning; when the poem becomes fully formed, he then seeks to impart meaning before he rephrases it.

So, does Nimer Saadi add this meaning later or earlier to his formulations?

Does the poem write him or does he write it?

And as I said, this poetry that Nimer Saadi writes springs from an intense sensory and melodic energy before anything else, where meaning or significance comes from the extremes of formation, not from its core, and may not come at all!

Thus, Nimer Saadi writes the experience of love or its states not as a personal experience or representation of a realistic or subjective state, but as an imagined hypothetical state, as a cosmic experience where we find ourselves among its spectra and conditions... and transformations.

Perhaps the only feature that confirms Nimer's influence by the French symbolists in his poetry is that his poetic subjects are almost limited and hardly stray from the main theme, which is singing about the female and her corporeality, and the poem and its representations.

In some of Nimer's poems, we find that contrast between the sweetness of language and its innovative vocabulary and its concerns and the idea of content or significations.

Yes, Nimer Saadi has been greatly influenced by the symbolist poets, as he himself declares, influenced in that he writes for pure poetry with the power of imagination, magic, and vision he possesses, meaning in his craft and the form of the poem as a sculptor who cares only about creating his linguistic statue in a way that stimulates visual pleasure and the delight of sight... He is also our poet who "presents the music of words and rhythm over idea, meaning, and content."

(2)

We often notice in the poetry of Nimer Saadi that idealistic subjective perspective that characterizes symbolist poets; however, those who came after them slightly transcended it, paying attention to reality and the external world, and diversifying their subjects through their selves and their idealistic vision.

For the sensory in some of Nimer Saadi's poems "is employed with great effectiveness to embody abstract meaning in a stunning formative way," according to the esteemed critic Salah Fadl.

“I embrace the earth alone... it is a woman

I engraved the blueness of her eyes on the grapes

I embrace the silvery anxiety... I drink it

from the waist of the sea... or from her golden hair”...

In his poetry, this expression of the restless soul's stirrings delights us with the imaginative outpourings interwoven with language, and those astonishing words that we find sometimes as impulsive imaginative leaps and at other times as fleeing imaginative flights from the hell of meaning and its restless burdens, so all his poems in the collection become as if they are a single poem with a single theme, extended in different atmospheres, which the poet fragments into sections and titles that are different and absurd, not pointing to other poetic worlds nor tempting with interpretations that denote the poem itself, meaning they do not necessarily have to be transitions and intervals that transport the recipient to new significations... or different subjects in poetic discourse, a verbal art woven by language, music, and agile rhythm, so all his poems are but a single linguistic edifice for a high imaginative structure that is moving and trembling on uneasy sands of similar meanings, which Nimer conjures in his poetic writing, and plays skillfully on long strings of vocabulary, metaphors, and allegories... and he builds it once with the first-person pronoun/the poet's self and another time with the second-person pronoun/the woman's self, whether she is a lover or her goodly hair in the wind to complete the lamentations of the poem.

“There is no woman

except that she was an echo of a grasp from the wind

or a tent of the mirage of the wave, closed

containing no one on earth or suggesting

the misguided desire of my heart... and she was created

only to complete the deficiency of lamentations”...

Perhaps we can say that the flowing imaginative spirit is what distinguishes the poem in Nimer Saadi, the imaginative spirit that leads him to diversify poetic writing on the same theme in a stunning way and with the logic of the inner emotional associations.

“There is a hidden ink... we call it the autumn

that reminds me of songs that are not sung in haste in the wind of the train

it carries me a rain that is a messenger to the braid of one of the women who fled

from the metaphor in the plays of Aeschylus...”

The poem embodies itself as a woman he searches for everywhere... and he describes how the poem is formed, emerging from everything around him, and he recalls all the songs... so his poem is the whole world, all the earth, all women, all memories, all readings; it does not exist alone but with others.

As if the poet is not satisfied with what he has written, but seeks his other, newer poem within the written poem.

And perhaps it is necessary to say for the sake of pure poetic truth: Nimer Saadi has not approached in his poetic experience the political or ideological concern, neither in immersion nor in hinting, as his compatriots among Palestinian poets who were in exile or within the occupied territories did, but rather he has crafted a poetic language unique to him, and a concept of poetic discourse that is tethered to its aesthetic and imaginative condition and to its human and dreamlike dimensions in what the poetic self aspires to in harmony with its expressive necessities about its vision and perspectives and what the writing consciousness and its poetic belief impose on it within its limits and the horizon of its freedom."