#Sala Hafiz

[fabiansteinhauer]

Überwachen und Streamen

1.

Augendienerei oder رياء, das ist das Agieren, als ob man von höherer Warte aus gesehen werde. Zur Not sichert man die Fiktion mit Technik, was schon deswegen möglich ist, weil 'Fingieren' ein anderes Wort für dasjenige ist, was man künstlich tut. Agieren, als ob man von höherer Warte gesehenen werde, das heißt heute: man streamt sich.

Der Begriff der Augendienerei und der Begriff رياء sind teilweise schlecht besetzt. Gott soll zwar alles sehen und wir, seine Geschöpfe, sollen seine Bilder, ihm nach Gen. 1.26 ebenbildlich sein. Zwischen ihm und uns soll es eine eindringlich visuelle, bildliche und blickende Beziehung geben. Aber wenn die Leute sich deswegen entsprechend verhalten, soll es ihm auch wieder nicht recht gemacht sein. Das ist umstritten.

Manche ethische Regel sieht in dem Agieren, als ob man gesehen werden, Gefallsucht, Scheinheiligkeit oder Heuchelei, so muss es aber nicht sein. Augendienerei oder رياء, ist nur die abgewertete Seite dessen, was wiederum aufgewertet als reflexives Zeigen beschrieben werden kann. So assoziiert man die Überwachung nicht nur mit Strafe, man streamt auch Verbrechen, alles freilich vielfach und über Gegensätze hinweg involviert, also auch vom Schlechten ins Gute und vom Guten ins Schlechte gewendet. Der Amoklauf und die sexuellen Verbrechen werden gestreamt, aber auch der Banküberfall ist schon gestreamt worden. In letzter Zeit gab es eine kleine Inflationszeit von gestreamten Bilderstürmen der last generation. Sind mehr Kameraleute als Täter und Opfer dabei, spricht man von Aktivismus.

2.

Bekannt ist auch der oben gezeigte screenshot, wenn so rekursiv darüber zu sprechen einmal gestattet sein soll. Man sieht Sali Hafiz während eines Banküberfalls im Libanon. Sie will ein Guthaben ihrer (mitgebrachten) Schwester abheben, rigendwas zwischen 13.000, 17.000 und 20.000 Euro, um die Chemotherapie der jüngeren Schwester oder einer anderen Verwandten zu bezahlen. Die Situation ist ernst, kein Anlass für Ironie und Zynismus. Darüber hinaus gibt es einen Punkt, der nicht nach Story klingt, das ist (ein) Geschichte. Und doch ist das nicht der einzige Punkt, das ganze klingt also auch nach Story. Und die Welt besteht im Kleinsten aus solchen Punkten, die nicht klingen und klingen, die nicht scheinen und scheinen. Man muss sich keinen Zentimeter bewegen, keinen Milimeter, um von dem Punkt, an dem nichts klingt und nichts scheint zu dem Punkt zu kommen, wo etwas klingt und scheint. Der Unterschied zwischen Innerlichkeit und Äußerlichkeit braucht weder Raum noch Zeit, darum ist dasjenige, was man einerseits Augendienerei oder رياء , anderseits Ebenbildlichkeit oder auch reflexives Zeigen nennt, auf dichte und bewegliche Weise ambivalent besetzt.

Für den Verkauf der Rechte am Drehbuch könnte Sali Hafiz eventuell noch jemanden behandeln lassen, nur wird manchmal das Geld von der Bank gepfändet, deren Anwälte kosten schließlich auch was. Äußerlichkeit ist, wie Innerlichkeit, ein Wagnis, durchaus in Böckenfördes Sinne, also in einem prinzipiell und letztlich vagen Sinne.

3.

Der Bildwissenschaftler Matthias Bruhn hat einmal beschrieben, wie aus einer Vielzahl von Fotos bestimmter Ereignisse durch technische und menschliche Routinen allmählich weniger werden. Nach einiger Zeit verdichten sich die vielen Bilder zu einem einzigen Bild. Nach Bruhn gibt es dafür unter anderem zwei Gründe: Die Datenbanken der Bildagenturen spucken bei der Bildersuche Bilder in einer Reihenfolge, also in Liste aus, durch die man scrollen müsste, wofür es nur begrenzt Zeit und Geduld gibt. Oben stehen die Bilder, die bereits am häufigsten lizensiert wurden. Dazu kommen solche Bildredakteure, die am liebsten die Bilder zeigen, die den höchsten Wiedererkennungseffekt haben.

Wie eine Gegenbewegung zu dem, was Viktor Shklovsky das Verfahren und die Verfremdung nennt, und was er als Unterbrechung von Automatismen beschreibt, stützen die Routinen der Datenbanken und der Bildredakteure einen Automatismus, der für behagliche Bebilderung, für eine Einichtung von Bildern sorgt, an deren Ende ein Bild, ein einziges steht. Dies ist das Ereignis und das ist sein Bild. Am Ende wird alles irgendwie ikonisch. Am Ende hüpfte nur ein Volkspolizist über den Stacheldraht und am Ende kniete Willy Brandt in Warschau mit einer singulären Geste. Im übrigen war wohl alles still und dunkel, keine Bildgewimmel, nichts mehr stört das Bild, auch kein anderes Bild.

Das nenne ich die Bruhnsche Bewegung: Am Anfang viele Bilder mit heterogenen Eindrücken, am Ende das homogene Bild einer Story, eines Ereignisses oder gar der Geschichte. Zumindest so setzt sich das eine Bild dann durch: Everything was forever, until it was no more. Wäre die Einrichtung auch eine Erledigung, gäbe es keine Archäologie.

In die Bruhnsche Bewegung spielt mehr als das eine Bild hinein. Ikonographie oder Ikonologie, sanfte Paranoia und mild gepflegte Schize, letztlich der Umstand, dass Bilder auch (nur) reproduziert sind, dass sie auch Vorbilder und Nachbilder haben, spielen da auch hinein.

Sali Hafiz mit Standbein und Spielbein nach dem römischen Muster des Apollo von Belvedere (nur spiegelverkehrt), auf einem Tisch oder einer Tafel, in einer Position, die Ende der Achtziger Jahre von Robin Williams als rebellisch-revolutionäre Position popularisiert (und leicht verkitscht) wurde. In einer Hand die Pistole, in der anderen das Mobile, so richtig was für Medienschaffende und Medienwissenschaftler. Die beiden Plastikschalen für die Papiere, leicht und ohne Abbruch der Höflichkeit verschoben, gerade so an die Kante und ohne dass sie vom Tisch fallen. Schwarzes Shirt, schwarze Hose und Schuhe in Neonfarben, die zwischen Gelb und Grün changieren: Hafiz summt chromatisch als zornige Biene, besser gesagt Hornisse, black and yellow and green hornet. Das ist von vielen Stills und Shots das stillste, d.i. dichteste und 'gebildetste', das schlüssigste, treffenste, das schiessenste Bild.

Und doch: Auf atomarer oder individueller, in beiden Fällen unteilbarer Ebene steht soviel Innerlichkeit wie Äußerlichkeit, soviel Bildlichkeit wie Blindheit parat. Am Bild liegt nichts, ins Bild kippt was, und das nur, weil es kippen, auch wieder aus dem Bild kippen kann. Sali Hafiz hatte, so sagt sie es, nichts zu verlieren. Dass man auch dann erschossen werden kann, wenn man mit einer Spielzeugpistole die Bank betritt, das muss ihr keiner erklären. Hafiz hatte einen Haufen von Leuten mitgebracht, das verhältnis zwischen Tätern, Opfern und Kameraleuten ist mir noch nicht ganz klar. Ihren Anwalt hatte sie auch gleich mitgebracht, wann, wenn nicht während eines Banküberfalls, kann man Juristen richtig gut gebrauchen? Nur leider hat der Anwalt zwar seine Wasserflasche dabei, scheint kontrolltechnisch aber selbst eine Flasche zu sein, in den Videos sieht man ihn eher hilflos fuchtelnd im Bild.

[aykutiltertr]

Hüseynik (Telgrafçı Akif) - Ahmet Kaya ✩ Ritim Karaoke Orijinal Trafik (...  Ayrıcalıklardan yararlanmak için bu kanala katılın: ( Join this channel to enjoy privileges.) ✩ https://www.youtube.com/channel/UCqm-5vmc2L6oFZ1vo2Fz3JQ/join Şarkının Orijinal Versiyonunu Linkten Dinleyip Ritim Karaokesiyle Çalışabilirsiniz. ✩ https://youtu.be/XlN5Ia54RXY Aykut ilter Ritim Karaoke Kanalıma Abone Olun Beğenip Paylaşın. HÜSEYNİK'TEN ÇIKTIM ŞEHER YOLUNA Yöresi- İli ELAZIĞ   İlçesi- Köyü -   Kaynak Kişi HAFIZ OSMAN ÖGE Derleyen BANTTAN YAZILDI Notaya Alan MEHMET ÖZBEK İcra Eden KAYNAK KİŞİ ENVER DEMİRBAĞ Makamsal Dizi UŞŞAK Konusu - Türü Ağıt Karar Sesi La Bitiş Sesi La Usül 5/8 En Pes Ses La En Tiz Ses Re Ses Genişliği 4 Ses Bm            Em           Bm Hüseynik'ten çıktım seher yoluna Bm            Em           Bm Can ağrısı tesir etti canıma Bm            Em           Bm Yaradanım merhamet et kuluna Bm            Em           Bm Yazık oldu yazık şu genç ömrüme Bm            Am           Bm Bilmem şu feleğin bana kastı ne Bm            Em           Bm Telgrafın direkleri sayılmaz Bm            Em           Bm Ati hanım baygın düşmüş ayılmaz Bm            Em           Bm Böyle canlar teneşire koyulmaz Bm            Em           Bm Lütfü gelsin telgırafın başına Bm            Em           Bm Bir tel versin musul'da kardaşıma Bm            Em           Bm Bu gençlikte neler geldi başıma TÜRKÜNÜN SÖZLERİ HÜSEYNİK'TEN ÇIKTIM ŞEHER YOLUNA CAN AĞRISI TESİR ETTİ KOLUMA YARADANIM MERHAMET ET KULUNA Bağlantı: YAZIK OLDU YAZIK ŞU GENÇ ÖMRÜME BİLMEM ŞU FELEĞİN BANA KASTİ NE TELGIRAFIN DİREKLERİ SAYILMAZ ATİ HANIM BAYGIN DÜŞMÜŞ AYILMAZ BÖYLE CANLAR TENEŞİRE KONULMAZ Bağlantı LÜTFÜ GELSİN TELGIRAFIN BAŞINA BİR TEL VERSİN MUSUL'DA KARDAŞIMA BU GENÇLİKTE NELER GELDİ BAŞIMA Bağlantı ATİ : ATİYE : Bir bayan adı TENEŞİR : Musalla taşı, cenaze namazı kılınmak üzere tabutun yerleştirildiği taş -------------------------- NOT : Hem TRT THM Repertuar Kitabı'nda hem de notada üzerindeki türkü isminde "Hüseynik'ten çıktım SEHER yoluna" yazmasına karşın, nota altında "ŞEHER" yazmakta olup, yöre sanatçıları da "ŞEHER" olarak okumaktadırlar. Bu bilgiler ışığında hem söz hem de türkü ismindeki "Seher" kelimesi "Şeher" olarak düzeltilmiştir. (Repertükül - Türküpedia) "Elazığ türküleri" kategorisindeki sayfalar Bu kategoride yer alan toplam 78 sayfanın 78 adedi aşağıdadır. A Ah Nayim Nayim Ahçiği Yolladım Urum Eline Al Almayı Daldan Al (Elazığ) Al Yanaktan Al Yanaktan Aynam Düştü Belimden Aş Yedim Dilim Yandı B Bahçaya İndim ki Bebeğin Beşiği Çamdan (Elazığ) Ben Ağlarım Zarı Zarı Bir Of Çeksem Karşıki Dağlar Yıkılır Bir Taş Attım Çaya Düştü (Elazığ) Bir Şûh-i Sitemkâr Yine Saldı Beni Derde Bizim Bağın Kıracı Bizim Dağlar Bu Dere Baştan Başa Bülbülüm Bağ Gezerim C Canım Kırat Gözüm Kırat Civan Saçın Örmezler D Dağlar Dağımdır Benim (Elazığ) Dağlarda Meşelerde Demedi Yar Demedi Değirmen Sala Benzer Duman Almış Mezarımın Üstünü E Evimin Önü Evlek Evleri Görünüyor Evleri Uçta Yârim Evlerinin Önü Lale Bağıdır (Elazığ) G Gelin Oldum Gelinliğim Bilmedim Görmedim Alemde Güle Gider Hoğu'ya H Hafo’mun Evi Kaya Başında Havada Bulut Yok Bu Ne Dumandır Havuz Başının Gülleri (Elazığ) Hüseynik'ten Çıktım Şeher Yoluna I Iğiki'nin Dört Etrafı Bahçalar K Kalede Kavun Yerler Kar mı Yağmış Şu Harput'un Başına Kara Erük Karanfil Ekilende Karşı Dağlar Meşeli Kaşları Oydu Beni Kaşların Karesine Kaşların Keman Senin Kevengin Yollarında Koçari Köğengin Ellerinde M Mendilim İşle Yolla Mendilimde Hare Var (Elazığ) Mest-i Nazım Meteristen İneydim Meşelidir Bizim Dağlar N Ne Feryad Edersin Divane Bülbül Necibe'nin Kaşları Kare Niçin Yanıma Gelmezsin O O Yanı Pembe Oy Akşamlar Akşamlar P Pencereden Bir Daş Geldi S Samancılar Saman Çeker Saray Yolu Sinemde Bir Tutuşmuş Yanmış Ocağ Olaydı T Telgrafın Tellerini Arşınlamalı Tevekte Üzüm Kara V Vardım Baktım Demir Kapı Sürgülü Y Yara Benden Yara Benden Yel Eser Kum Savrulur Yeşil Yaprak Arasında Yoğurt Koydum Dolaba Yoğurt Koydum Dolaba (Elazığ) Yüksek Minarede Kandiller Yanar Ç Çatal Kaya Alınmaz Çayda Çıra Yanıyor Çayın Öte Yüzünde Çerkez Hasan Türküsü İ İkide Keklik Bir Derede İmanımda Ötüyor (Elazığ) İndim Yarin Bahçesine Gül Açılmış Gül Güle İndim Yârin Bahçesine Gül Dibinde Gül-i Ter İstanbul'da Bir Kız Sevdim Ermeni Ş Şu Fırat’ın Suyu Akar Serindir

[mohibburrahman]

Miracle of Allah (SWT) @Everyone

Algeria Ka 2 Sala Doodh Peeta Bacha Pedaishi Hafiz e Quran Nikla. یہ بچہ...

[yoursofiavillegas]

¿Por qué Razones Debes Leer Poesía?

ÍNDICE

Un Poema da Buen Peso

La Poesía Redime al Mundo en Palabras

La Poesía Cultiva la Maravilla y la Serenidad

Los Lectores de Poesía Sueñan Mejor

La Poesía te Enseña a Escoger la Cerradura

En las sesiones de logopedia, leer poesía no siempre es fácil, hay que saber interpretar entre líneas, entender los dobles sentidos y dominar las metáforas. Para los aprendices de lectura esto no es una tarea sencilla. No obstante debemos acercarlos y acompañarlos a este género dado que son muchos los beneficios que conlleva.

Estamos justo en la cúspide del Mes Nacional de la Poesía y creo firmemente que todos podríamos usar un poco más de poesía en nuestras vidas. Aunque hay cientos motivos para leer poesía puedes ir registrando tu librero moderno y elegir algún libro de poesía. Pero aquí te comento las cinco razones por las que debes agregar un poco de poesía a tu lista de lectura.

Un Poema da Buen Peso

En Nine Gates, Jane Hirshfield señala que la poesía puede ser sobrio y elegante, y aun así: «Como un tendero honesto, tal poema da un buen peso». Ella dice que «Por cuánto queda, podemos medir cuánto es allí”. Ella dice que “para leer bien un poema, debemos viajar a través de sus palabras, pero también pasar a través de sus silencios, al interior del almacén abierto de sí mismo. No todo se dará, una parte del buen peso de un poema se encontrará fuera de él, en nosotros «.

La Poesía Redime al Mundo en Palabras

Esto es de CD Wright, quien dice: “Si quisiera entender una cultura, la mía, por ejemplo, y si pensara que tal entendimiento era la base de una investigación de por vida, primero me referiría a la poesía. Porque es mi tendencia confirmada que los poetas siguen siendo los más «aturdidos por la existencia», los más decididos a redimir al mundo con palabras «.

La Poesía Cultiva la Maravilla y la Serenidad

Glenn Gould habla de arte en general, pero ciertamente sus palabras se aplican a la poesía. Sí, la poesía también puede ser inquietante, pero la inquietud puede llevar potencialmente a la serenidad.

«El propósito del arte no es la liberación de una expulsión momentánea de adrenalina, sino la construcción gradual de un estado de maravilla y serenidad durante toda la vida».

Los Lectores de Poesía Sueñan Mejor

¿Y por qué desearías soñar mejor? Gaston Bachelard dice: “El hecho siempre será que el ensueño es una paz original. Los poetas lo saben. Los poetas nos lo dicen. Por la hazaña de un poema selecto,  el ensueño va de un nirvana a una paz poética «.

La Poesía te Enseña a Escoger la Cerradura

La poesía te enseña a leer poesía. Si no lo piensa demasiado y si se sienta con algunos volúmenes de poesía en su regazo escritos por varios poetas cada semana, digamos, eventualmente, sabrá cómo entrar en las salas (estrofas) de la poesía. Creo que, cuando has leído un poco de poesía, otro beneficio adicional es que te enseña lo asombroso que eres, como: Hafiz: «Ojalá pudiera mostrarte, cuando te sientas solo o en la oscuridad, la luz asombrosa de tu propio ser «.

Pon una poesía en tu vida. Pon poesía, por supuesto; es decir, pon sensibilidad, militancia, alegría, compromiso. La poesía, en genérico, es una actitud ante el paso de los años. Pero, por si eso fuera poco, pon una poesía concreta, con título y autor. Apréndetela, recítala, repítetela frente al espejo y verás cómo sonríes, compártela entre tus cercanos y comprobarás cuánta gente hay que también tiene una poesía en su vida.

Fuente: ¿Por qué Razones Debes Leer Poesía?

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[fundacionidriesshah]

P: ¿Pueden programas intensivos de estudio e investigación capacitarnos para comprender la enseñanza Sufi?

R: Hafiz dijo: “Enormes edificios y colegios y coloquios, claustros y salas universitarias: ¿cuál es su ventaja si el corazón no es sabio y el vidente ojo está ausente?”

El buscador de la verdad Léelo gratis, aquí: http://idriesshahfoundation.org/es/libros/el-buscador-de-la-verdad/

[programsbos]

Learn about the life of Ahmed Shawki Prince of poets

Learn about the life of Ahmed Shawki Prince of poets

Ahmed Shawky .. Prince poets

Arab poetry was on a date with fate, waiting for the one who takes his hand, and sends a new spirit in which the movement of life and life, and give him blood in the veins, Vtdrh and fresh and beautiful after many centuries remained frail body, idle movement,

And God willing to be "Baroudi" is the soul that brings the Arab poetry, and wearing it in a caustic, bright color, exquisite shape and image, and connect with his past tradition, thanks to his talent and rich culture and rich experience.

God did not want to be Baroudi alone is the knight of the ring and the star of his time - although he has the virtue of the lead and leadership - I received his soul poetic feelings of concern related to it, filled the world poetry with a group of poets such as: Ismail Sabri, Hafiz Ibrahim, Ahmed Muharram, Ahmad Nasim, Ahmad al-Kashif and Abdel-Halim al-Masri. Ahmed Shawki was the star of this constellation and its emir, undisputedly satisfied and chosen, filled the world with his hair, and filled the people, and heartfelt.

Birth and birth

   Ahmed Shawqi was born in Hanafi district of Cairo on 20 Rajab 1287 AH (16 October 1870 AD) to the father of Circassian and mother of Greek origin. His grandmother was his mother in the Khedive Ismail's palace, and on the side of wealth and richness, When he reached the age of four, he enrolled in Sheikh Saleh's book. He memorized some of the Quran and learned the principles of reading and writing. He then enrolled in the elementary school of Mutbidain, where he showed a clear prophecy that he was relieved of the expenses of the school and went to the poets' books to memorize and memorize.

After completing his schooling at the age of 15, he enrolled in the Law School in 1303 AH (1885 AD) and joined the newly created translation department. During this period, his poetry talent began to attract the attention of his teacher, Sheikh Mohammed Al Bassiouni. Sheikh Bassiouni taught rhetoric in the Law School and organized poetry in praise of Khedive Tawfiq on occasions. He was impressed by the talent of his pupil that he offered his poems before he published them in the Egyptian Gazette. He praised him in the presence of Khedive, and I understand that he deserves to be cared for. , Which made Khedive invite him to meet him.

Travel to France

He went to the University of Montpellier for two years to study law, then moved to the University of Paris to complete his studies until he was granted a license in the year (1311 AH = 1893), and then stayed four months before leaving France in the study of French literature a good study and reading the production of major writers and poetry.

Return to Egypt

Shawki returned to Egypt and found the Khedive Abbas Helmi sitting on the throne of Egypt, appointed him in the translation department in the palace, and then did not broadcast that his relationship with Khedive, who saw his hair helped him in his struggle with the English, Vqrbh to him after the rise of his position, In Shawwa, Shawki worked in the palace until the British deposed Abbas II from Egypt's throne and declared protection in 1941. They turned to Hussein Kamel of Egypt and asked the poet to leave the country. He chose exile to Barcelona in Spain and lived with his family in Dar Beautiful overlooking the Mediterranean Sea.

His poetry in this period

Shawki's poetry in this period preceded his denial about the praise; the Khedive Abbas Helmy immersed in his praise and defense, and the anger of his enemies, and left no occasion except to offer praise and congratulations to him, since he sat on the throne of Egypt until the overthrow of the rule, This purpose.

Shawki, along with Khedive Abbas Helmy in his struggle with the English and with their loyalists, not only condemned the occupiers, but also defended and defended his benefactor. He attacked the head of the school when he delivered a speech praising the English and praised them for Egypt. He said:

The people were overwhelmed with praise and Hamdohm Ghamrok great blessings

I made speeches, not speeches, added to our great calamities

I went to the occupation and I did not leave you if I felt like it

And reached the Shiites of the palace and its association with Khedive that he insulted Ahmed Orabi and Haja painful poem, and did not inherit his friend Mustafa Kamel only after a period, and had cut off his relationship with Khedive after the latter lifted his hand to support the national movement after the policy of conciliation between the English and the Royal Palace; To be careful not to upset the Khedive, and came to Mustafa Mustafa Kamel severe saga Sadik al-Azzun, strong resonance, wonderful systems and systems, although his poem to talk about the leadership of Mustafa Kamel and his struggle against the colonizer, and the beginning of the poem:

The two of you crying in the funeral

O servant of Islam reward Mujahideen God of immortality and Radwan

When we went to the Hejaz, the visitors walked and the horror of deprivation

Shawki was associated with the state of the Ottoman caliphate closely, and Egypt was affiliated with it, and more than praised the Sultan Abdulhamid II; calling on Muslims to pay attention to them; because the link that binds and tightens of their Azarhm, says:

As for the caliphate, it is the wall of your house that shows the insect from its horrors

Do not listen to the Marjufin and their ignorance of Islam because of its ignorance

When the Ottoman Empire won its war with Greece in 1315 AH (1887 AD), he wrote great books entitled "Echo of War," in which he praised the victories of the Ottoman Sultan. He began by saying:

By the sword of the right and the right, most of the victory of the religion of God, Ian hit

It is divided into parts like songs in an epic, part under the title "Paternity of the Commander of the Believers", another on "the happiest sitting" and the third entitled "A great dream and a greater evil". The fall of Abdelhamid II in a coup by the Union and Progression Group is organized by a magnificent Ottoman masterpiece entitled "The Ottoman Coup and the Fall of Sultan Abdul Hamid"

By the sword of the right and the right, most of the victory of the religion of God, Ian hit

It is divided into parts like songs in an epic, part under the title "Paternity of the Commander of the Believers", another on "the happiest sitting" and the third entitled "A great dream and a greater evil". The fall of Abdelhamid II in a coup staged by the Union and Progression Group, organized a wonderful masterpiece of the Ottoman Empire, entitled "The Ottoman coup and the fall of Sultan Abdul Hamid," he began by saying:

Sal Yildzah the shortness of the news came Bdur

Your tears with gazerlo tears can answer

It was not only Shawki's faith, but the faith of many Egyptian leaders.

In this period he organized his great Islamism, and his poems are considered in the praise of the Prophet (peace and blessings of Allaah be upon him) who created his poetry as a force in the systems, true in passion, beautiful in photography and in the renewal of the subject. , And you can admire the Sheikh of the Al-Azhar mosque at the time, modern Sheikh "Salim al-Bishri" and stand up to explain and statement. He says at the beginning of the poem:

Reem on the bottom between Alban and science to shed blood in the holy months

It is in its answer to the claims of orientalists who claim that Islam was spread by the sword:

They said: "The invaders and the messengers of Allah are not sent, nor are they killed, nor have they come to shed blood."

Ignorance and misguidance of dreams and mysteries opened with the sword after the opening of the pen

Burda's approach is followed by other poems, such as: the Prophet's Hamziyah, which is also opposed to al-Boussiri, and the poem commemorating the birth,

Salo my heart in the morning of Sala and Tabbalal on the camel has a penance

Shawki also turned to the story on the tongue of the animal, and began in the systems of this genre since he was a student in France; to take him an artistic means through which the moral, national and social, and awaken the sense among the citizens of the tragedies of colonialism and machinations.

Shawki wrote these tales in an easy and attractive manner, and the number of these stories is 56 stories, the first published in the newspaper "Al-Ahram" (1310 AH = 1892), and was entitled "Indian and chicken," which symbolizes Indian occupation forces and chicken to Egypt.

Exile to Spain

During his time in Spain, Shawky learned his language and spent his time reading history books, especially the history of Andalusia. He read the eyes of Arabic literature carefully and visited the monuments and civilizations of Muslims in Seville, Cordoba and Granada.

These readings have resulted in Shawki 's systems being "Arab states and greats of Islam". It includes 1,400 houses distributed over 24 poems that tell the history of Muslims since the era of prophecy and the adult caliphate that despite their greatness,

And in exile intensified by the nostalgia to the homeland and called for longing and the ownership of his hands and breath. The most famous of which is his poem entitled "The Journey to Andalusia", which is opposed to the poem of Al-Bahtri, in which Iwan Kessri describes it, and its forerunner: "I do not have the right to do anything,

I have set myself apart from what I desecrate myself

Shawqi's poem reached (110) verses in which he talked about Egypt and its milestones, and broadcast nostalgia and longing to see it, also dealt with Andalusia and its immortal effects and the disappearance of Muslim countries, and the verses of the poem that express the peak of nostalgia to Egypt as saying:

I am hanged on his bluff, the bird of every race

If I were busy with the Khaldn Ahnaztni me in the mole myself

God saw that he did not go away from Jafuni for an hour and did not disturb my senses

Return home

Ahmed Shawky and Saad Zaghloul

Shawki returned to the homeland in 1339 AH (1920 AD), and was received by the people a wonderful reception and gathered thousands to greet him, and was the head of his future great poet "Hafez Ibrahim," and came back after the strength of the national movement and intensified after the revolution of 1919, and subjugated the homeland with the blood of the martyrs, Shawqi went to the side of the people, sang in his poetry the emotions of his people and expressed their hopes for freedom, independence, parliamentary system and education, did not leave a national occasion, but recorded the feelings of the homeland and the aspirations in the hearts of their children.

He broke off the relationship with the palace and recovered the roaring bird freedom, and came out of the golden cage, and became the poet of the Egyptian people and translated by the Secretary, when he sees the leaders of the parties and newspapers are fighting among themselves, and the English occupant still perched on the chest of the country,

Why is the successor between you a mother?

And how do some of you get annoyed when you find hostility and rivalry?

Where to win? Egypt is not stable and Sudan is not

He saw in Pharaonic history and glories what stirred the people, pushing them forward and liberating. He wrote poems about the Nile, Pyramids and Sphinx. When the tomb of Tutankhamun was discovered, the world was astonished by its dazzling effects. Shawki saw this as an opportunity to sing with the glories of Egypt, so that he would stir up hope in hope and push it to progress and ambition.

Joshua, the sister of Joshua

And the story of their wrestlers, we dream their countries, what you know

Shawki's hair spread to reflect the hopes, issues and battles of the Arabs against the colonizer. He organized the Nakba of Damascus, the Nakba of Beirut, the anniversary of Syria's independence and the memory of its martyrs, and the poetry of his poem in the Nakba of Damascus. The French occupation, including:

The sons of Syria put down the wishes and gave you the dreams thrown

You have stood between death and life

And to the two nations in the blood of all those who have been left, and a worthy religion

And for the red freedom, the hand of a rolling hand beats

And he did not occupy himself with the issues of his homeland from following the news of the Ottoman Caliphate. He had a love for a sincere feeling and a firm belief in its importance in preserving the Muslim World League and strengthening the ties between its peoples. Even if Mustafa Kemal Ataturk declared the Caliphate abolished in 1924, Lament sincere in a poem crying early:

The songs of the wedding returned to Nawazat among the wedding features

At the night of the wedding, you were given a dress-up of the morning

Thou shalt bring down minarets and minbaroubt upon you kingdoms and loaves

India, God, and Egypt are sad

Emirate of poetry

After his return, Shawki became a poet of the nation, expressing his issues, not missing a national occasion except in which he participated in his poetry, and the nation met him with all appreciation and his high status and his pledge of poetry in the Emirate of poetry in 1346 AH (1927). In a ceremony held at the Opera House on the occasion of his election as a member of the Senate, Re-printed his office "longing." The ceremony was attended by delegations of writers and poets of the Arab world, and Hafez Ibrahim announced their name in the Emirate of poetry, saying:

Blabel Valley of the Nile in the east of the river, feel the prince of the two states and return

I repeat to the listeners what I chirped Shawki's skill in a beginning and a section

Prince Al-Qawafi has come to his allegiance to me, the delegations of the East have promised me

Shawky plays

Ahmed Shawki reached the peak of his glory, and felt that he had achieved all his aspirations after the Arab poets of poetry, he began to go to the art of poetic play, had begun during his stay in France, but changed it to the art of the poem.

Two of them are taken from ancient Egyptian history: "The Death of Cleopatra" and "Qambiz", the first of which is the first of his plays, and one of the Islamic history is "Majnoon Leila", and the same from the ancient Arab history is "Entra", and another from the history of Egyptian Ottoman "Ali Bak the Great", and has two plays, two plays: "six Hedi" and "Bakhilah."

For an unknown reason, the play "Princess of Andalusia" is written as a prose, although its hero or one of its prominent heroes is the adopted poet Ibn Abad.

The dramatic and slow character of the drama has been very slow in many parts of the dialogue. However, these shortcomings do not lose Shawki's poetic value and do not deny that it is the basis of dramatic poetry in modern Arabic literature.

Shawky's position

God gave Shawki an extraordinary poetic gift, and his mind was silenced. He did not find any trouble in the systems of the poem. The meanings were always anathema on him, as if he were the rain of the precipitation, murmuring in poetry by walking or sitting among his companions, present among them in his personality. His poetry produced more than twenty-three thousand houses and five hundred houses, perhaps this figure was not informed by an old or modern Arabic poet.

Shawki was educated in a variety of cultures. He went on reading Arabic poetry during his heyday, accompanied his great poets, and studied literature and literature, and he did not have the trouble to memorize what he read; Dictionaries, and he was fond of history, attests to his poems, which are not without historical references known only by those who are deeply involved in the study of history. His great masterpiece is "The Greatest Accidents in the Nile Valley", which he organized in his youth's vision of ancient history and modernity.

He had a delicate sense of language and a musical skill to choose the words that are composed of each other to make the melody that attracts and attracts the ears. His hair came to a pure melody and a wonderful tone that Arabic knew only a few poets.

In addition to his Arabic culture, he was an expert Frenchman who enabled him to learn about her arts and craftsmanship and to be influenced by her poets, and this is what appeared in some of his productions and what he invented in Arabic writing poetry play for the first time.

The poetry of the Arab in all its purposes of praise and lamentations, and description, and wisdom, and has a wonderful oud to elevate it to the top of Arabic poetry, and has traces of prose written in the beginning of his literary life, such as: "Virgin of India," the novel "Ladias" and "paper Ace, "and" Gold Markets ", has been written the book" Gold hoops "of Zamkshari, and the spread of preaching in bold phrases.

Shawki collected his poetry in a Diwan called "Al-Shawwiyyat". Then Dr. Mohammed Sabri Al-Sarbouni collected the poems that were not included in his Diwan, and made a new du'aa in two volumes entitled "Unexpected Cravings."

His death

Shawqi continued to appreciate the people and their admiration and tongue, so that death surprised him after his absence from the systems of a long poem salutes the project of the shark, which rose by the youth of Egypt, and exceeded the spirit of generosity in (13 Jumada II = 14 October 1932

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