اخبار السعودية – وطن نيوز
عاجل اخبار السعودية – اخبار اليوم السعودية
W6nnews.com ==== وطن === تاريخ النشر – 2026-02-16 00:16:00
Youssef Al-Hamdan, in the Bahraini newspaper Al-Ayyam (6/20/2023), distinguished between the dramatic poem and the lyric poem. He said that drama is a style of thinking different from the thinking that surrounds the lyric poem, adding: “If the lyric poet aims to unleash his voice to the greatest extent, then the dramatic poet is governed by other voices that invite him to enter the arena of conflict. The reason for the reader’s attachment to the lyric poem and the secret of its continuation throughout the ages may be that the recipient feels in it joy, ecstasy and comfort, or excitement and enthusiasm, but in the dramatic poem he may fall into contradiction and confusion and find himself facing a terrible struggle that is tiring and exhausting to think about.” Al-Hamdan goes on to assert that “writing poetry in theater or drama is writing action and event, and it is writing that is undoubtedly difficult and different from self-writing, as in song.” In other words, the writer wants to say that creativity in dramatic song has certain requirements and requires skills and accumulated life experiences, which may only be available to those who have suffered, suffered, experienced, suffered, witnessed, lived through, and been faced with life in its sweet and bitter ways. The above is just a brief introduction to an in-depth conversation about the poet Ali Al-Sharqawi, who is considered a national model full of human feelings and feelings, a Bahraini voice as pure as the purity of his simple citizens, and one of the flags of song. Drama and theatrical writing in Bahrain and the Arabian Gulf. He has a long experience in writing theatrical and poetic texts, and is a storehouse of true, unique creativity derived from the heritage of his society, the vocabulary of his homeland, the fragrant history of his country, and the authenticity of the customs and traditions of his people. Perhaps the best witness and proof of the validity of what we say are the beautiful dramatic songs and the expressive “tetras” with which Al-Sharqawi decorated many Bahraini and Gulf drama series, and the coherent theatrical texts presented on Bahrain’s theatres. Especially Awal Theater, works whose beauty, charm and splendor were completed with lyrical contributions from the artist Khaled Al-Sheikh, directing from the great director Ahmed Yaqoub Al-Muqla, writing from the creative Rashid Al-Jowder, music from Maestro Mubarak Al-Najm, and expressive dancing from the artist Muhammad Jassim bin Harban. His fellow Bahraini writer and film and theater critic Amin Saleh said about him: “Any talk about Ali Al-Sharqawi, for me, is a talk about a long life experience, whose roots extend.” To a childhood with misty features, belonging to one neighborhood, one school, and countless dreams.” He added, “No brush can help the one who takes risks in drawing a picture, and no dictionary is sufficient to reveal the essence of a person.. Ali Al-Sharqawi remains difficult to grasp, not because of his ambiguity, but because of his multiplicity.” Writer Walid Al-Qasimi described him on the “Poetry Side” website as, “the owner of a beautiful vision in his poetry, theater, and story. He loved living in his moments, even loving the world and the universe. He was always proud of his eloquent Arabic language, but his love for his people and loved ones led him to colloquial language and chanting in it, so his poetry became crowned with it without dispute. He created arts that people did not know the meaning of, and critics were confused by them. Hardly any cultural, poetic or singing station is established unless Al-Sharqawi is present in it. Otherwise, how can it be successful? Diploma from the “Human Laboratory Institute” in Baghdad in 1971, and then in 1981 he obtained a training course in Britain and became qualified to practice the profession of laboratory technician. In one of the medical laboratories, he met by chance a girl from his homeland, the poet Fathia Ajlan. Love and the passion for poetry united their hearts, and they began to communicate via paper letters at a time when the telephone was not available, defying all obstacles and the terrain of traditions and strict social customs. Then, together, they defied the repeated rejection from her family regarding their relationship and forced her to accept, so the story ended with their marriage and the birth of their three daughters (Fi, Fayd, and Fawz). We are not exaggerating if we say, that Al-Sharqawi was born with a spoon of poetry in his mouth. When he wrote an overview of his life and career, he said that he had been passionate about poetry and literature since he was in elementary school. At that early age, he wrote everything that came to his mind as a child. Then, during his adolescence, he wrote unbalanced poems, some of which he sang with his childhood companions and demonized him and his constant movement in “Hotat Bu Hamid” by Fareej Al-Fadil. Later, he learned poetic meters from the Jordanian Arabic language teacher, Abdul Hameed Al-Mahadin, but he did not like them and turned away from them. His poetic and writing talent started from his early passion for reading. He would read everything that came to his hands. Rather, according to his confession, he would jump the walls of neighbors’ houses to steal magazines, newspapers, and books from them to read what was hidden in them on the roofs of his house, before returning them to their owners and stealing others, and then to gather at nights. Ramadan under one of the electricity poles with his young peers, telling them the stories and anecdotes he had read, competing with them in making sentences and phrases, and leading his companions to sing and dance in the middle of Ramadan to obtain sweets and tips from the homes of the wealthy. Thus, through what he stole and read, Al-Sharqawi got to know classical and colloquial poems and the icons of poetry and literature in the Gulf and the Arab world, such as Omar bin Abi Rabia Al-Makhzoumi, Ahmed Shawqi, Hafez Ibrahim, and Al-Manfaluti. Akkad, Taha Hussein, Elia Abu Madi, and later the icons of Western poetry such as Lorca, Rimbaud, and Boldir. Al-Sharqawi says, about that era of his life, that he was devouring everything and writing everything, and trying to publish in the local press, but his articles were rejected over and over again, so he knew that he had to hone his talent by further reading and understanding in the fields of novel, story, poetry, theater, and sociology, in addition to mingling with his generation of young poets to benefit from their experiences. He did so with determination and patience until his goal was achieved, and his works began to be published in a number of magazines such as Voice. The students, the march, the Kuwaiti vanguard, the lights, the echo of the week, and Bahrain today. The first metrical poem he wrote (after learning meters and prosody while studying in Baghdad) was the poem “Lover of Dawn,” which was published by “Huna Al-Bahrain” magazine for him in the Readers’ Letters section. In his early youth, he sided with the leftist ideological ideas common in his society at the time, and loved their slogans that tickled dreams, such as equality, justice, socialism, peace, and freedom. He began to highlight them in his early writings and defend them in inflammatory poems expressing a sharp, critical political position. The political system and his bias towards the working class and the international left dreaming of a socialist society, which put him in the forbidden, so he was imprisoned in which he spent four years of his life (from August 1975 to August 1979), in addition to repeated short visits to the prison between the years 1971 and 1974. Those four depressing years of his life were enough to shake his thoughts and visions and correct them, so when he left the prison he was another person who realized that the universe He explained many of the leftist ideas he believed in. In this context, he wrote: “I sat for a long time in prison with my poetic experience, and I saw that what I was writing was nothing but national slogans in an organized form, called the iambic poem. From here, I was more open to poetic currents that were different from the familiar, the ordinary, and the repetitive in the world. I coexisted with the experience of Lorca and Zamelt Rimbaud and regretted Baudelaire. I entered into the revolutionization of the poetic sentence according to Adonis, and played with Salim Barakat’s animals.” In other words, the detainee had a clear impact on Al-Sharqawi in terms of moving away from poems with a inflammatory, declarative spirit that was tinged with intense political mobilization. In fact, the change that occurred in our friend – as he himself said – was “the result of research into many issues, including, for example, that I believed that every human being has a talent that he may or may not discover, and after more than 20 years I learned that there is what is known as (multiple intelligence), meaning that every human being possesses a talent, so no person is better than another. Or one language is better than another. From this vision, in addition to my literary relationship with Sufi poetry, I found that class conflicts are not the focus of development in the world, but rather man’s search for the meaning of his existence, and the sublime message that he carries, that is, the message of human brotherhood, which contributes to the development of the world, society, and man. Contrary to what he was presenting in his previous experiences, then came the experience of “New Taqsim Dahi Bin Walid” (in which he combined his life experience with the experience and suffering of the Bahraini popular artist Dahi Bin Walid), then “Memory of Stoves” (about the history of the Bahraini national movement), and “Waarabah” (in which he presented his position on the Iraqi invasion of Kuwait). After that, he decided to move to unexplored poetic territories and create his own world by creating an imaginary character that he embodied in “The Manuscripts of Ghaith bin Al-Baraa,” then the experience of “The Book of Shin,” in which he tried to move away from writing poetry, leading to his new experiences through which he tried to communicate with the absolute and consider man a drop in the ocean of cosmic lights and the total desire for harmony with what exists in the universe. Literary and theatrical leadership. In the early seventies of the twentieth century, he joined the “family of writers and writers.” In Bahrain, he participated in its various literary, cultural, and intellectual activities, and even headed its board of directors for several sessions since 1980. During that time, he also joined the “Awal Theater” as a member in order to satisfy his passion for works and playwriting. As a Bahraini poet and writer, he participated in many literary events and Arab poetry festivals, such as “Al-Mirabad,” “Jerash,” “Al-Janadriyah,” the Cairo International Book Festival, and conferences of the General Union of Writers. And Arab writers. Thus, we see that Al-Sharqawi, who began publishing his poetic work in 1968 through local and Arab newspapers and magazines, has become one of the most famous poets that Bahrain has produced among the dominant and innovative poets in local, classical, popular and Mawal poetry and in the field of poetic theater and lyrical drama in Bahraini television series such as “Malfi Al-Ajaweed,” “Farjan Lawal,” “Hazawi Al-Dar,” “Saadoun,” and others. And also in the field of children’s literature, where he wrote several plays for children, such as “The Trap,” “Ducks,” “The Good Rabbits,” “The Trilogy of My Maidens,” and “The Key to Goodness,” and he published poetry collections for children, including: “Bird Songs,” “The Children’s Tree,” “Spring Poems,” “The Swing,” “Fingers,” “Songs of Wisdom,” and “The Family.” The Journey of a Transnational Poet. Freej’s poor, virtuous boy has grown up. He was troublemaker and passionate about politics and the sea, and he was creative profusely, until he became like a sunflower, “moving to where the light is,” as someone put it. He became celebrated in all forums and on all platforms as an Arab poet and intellectual who was battled by experiences and wrestled with events. He derived his skills from various artistic sources by virtue of his travel and living in Dubai, Saudi Arabia, Iraq, and Britain. His poems were translated into English, German, Bulgarian, Russian, French, Kurdish, and Hindi. However, Al-Sharqawi, despite all this brilliance, is still that simple person in his clothing, food, life, and relationships with others. In the words of Bahraini journalist and MP Zainab Abdul Amir: He is “elegant however he dresses, handsome whatever he does, a gray-haired athlete who wears Adidas shoes, a businessman’s suit jacket, and a Brazilian T-shirt.” We conclude by pointing out that he wrote the most beautiful lyrics that the Bahraini artist Khaled Al-Sheikh sang, as well as the lyrics of beautiful songs by Ibrahim Habib and Abdul Karim. Abdul Qader, Abdullah Al-Ruwaished, Mustafa Ahmed, Ali Abdul Sattar, Hussein Al Jasmi, Samira Saeed and others. He also wrote sequences for many serials, such as: “The Al-Ajaweed File”, “If the Camel Fell”, “Saadoun”, “Hazawi Al-Dar”, “Brayhna”, “Key Key”. Hilal”, “Aouisha”, “Sorour”, “Awlad Boujassim”, “Al-Bayt Al-Oud”, “Ghanawi Bou Meteb”, “Ghanawi Al-Marthahin”, “Ferjan Lawal”, and others.
