KUWAIT: The book “Usage of Poetic Structures with Suad Al-Sabah” has seven critical research items, and was released recently in Kuwait. The research specialized in rhythmic structural approach in the “Fatafeet Emraah” poems, which was supervised, prefaced and critiqued by Modern Arab Literature Professor Dr Hamad Doukhi.
Huda Aziz, Ahmad Shaheed, Waad Musaher, Munjid Ramadan, Shaima Iyad, Raheed Ahmad and Saad Sarhat participated in presenting the research. The research focused on the rhythmic aspect in the poetic experience of Suad Al-Sabah. Her “Fatafeet Emraah” anthology includes research on headlining rhythm, repetition and visual rhythm, dialogue rhythm, color rhythm, narrative rhythm and finally rotation and psychological rhythm.
In his foreword for the book, Dr Hamad Doukhi writes about the rhythmic structure in the poems of Suad Al-Sabah. He said preoccupation with the rhythmic paragraphs in the “Fatafeet Emraah” anthology is due to the “Tafeelah” system that represents the poet’s longings.
With this discreet diligence in the rhythmic structure, and confidence in achievement, the poet (Suad Al-Sabah) confirms her constant artistic flair towards modernity and the aspirations of civilized representation of the human expression represented in the most sublime beautiful image – which is poetry – because it is the peak of expression and its goal, Doukhi said. She utilizes all this power that was available to her out of her creative keenness, loyalty to her heritage and humanitarian poetic legacy, he added.
Huda Aziz said the poet was able in her “Kuwaitiya” poem to deliver poetic action to the world that does not know anything about the Kuwaiti woman through the headline rhythm, with the help of a visual rhythm that enabled her to describe and deliver her idea that ended with her choice that she wanted to be congratulated for.
About the title of the “Five o’clock Tea” poem, she focused on the bond between the headline and the text, and the extent of the rhythmic interaction between them, as the headline was repeated more than once within the text, in addition to the poet’s employment of the counterpoint method through mentioning antonyms – “my blessing and my curse” and “my smile and my tear”.
About the dialogue rhythm, Monjed Ramadan believes the dialogue worked to elaborate poetic texts of Suad Al-Sabah with its monologic style, that worked to transfer the internal ideas of the poet and criticize the patriarchal society that deprives a woman of her rights. The poet defended her through this internal voice that comes out into reality, in effect calling for changing the status quo.
Ramadan said Suad Al-Sabah also portrayed some of her life’s stages through her texts that are full of love, and she worked through the internal dialogue to reflect the beauties of love and life through rhythmic tunes that she worked on, which gives the texts deliberate symbolism through suggestive language that used dialogue extensively to pass her ideas.
As for the color rhythm, Shaima Ahmad finds that color is effectively present in Suad Al-Sabah’s poems through the multiplicity of its forma, as she represents the color spectrum in most of her poems. She points out that this is a new study that reveals the variety of the color present in the poet’s anthology. It also reveals the dimension of beauty formed by the color, which enriches the text indicatively and morally.