Fantasy of the poetic scene: deserts on the line of conscience: Omani Poet Hissa Albaddi as an Example

Abstract

Expressive words came about in much variety; from calling to missing from singing to pain, from horses to imagination, from reality to fiction. This strong language of the poet reflects how she writes in the style of the olden poets, in other words, the poets of eloquence and rhetoric that are in harmony with words. All this in search of positive change and strong determination that tries to reach an awaited cultural azimuth and brought with expressions, metaphors and charms that exceed surface metaphors to rich a deeper level employing an artistic strategy based on a programmed rhetoric conscience. The poet has succeeded in such an endeavor.

In spite of different interpretations of some poetic pieces, and in spite of the joy of refraction sometimes and the strength of meaning, some poets -including our poet- have trespassed such crisis and let downs by reconstructing the purpose based on thought and feelings.

We, therefore, are at poetic crossroads of a momentum that has logistic parameters; to stimulate the memory in an attractive and new way whereby our poet reveals the hidden aspects of swathes of deserts and their mysteries that are as hidden as the mysteries of the cosmos and the sea. All done so that she can express the inner self to enter new perpetuals without any obstacles no matter how times pass and life develops so that the poetic scene is a fantasy that exposes strange motives penetrating regular constructions and breaking the barriers of terror and fear. This is to find creativity and art covered with self confidence and aspiration only. This is our poet’s style of poetry because she takes into consideration woven techniques that imitate the pulse that beats in our hearts and strengthens the levels in the poem depending on the type of text, its symbolic function and the poetic experience to reach the interaction of the audience. This approach reflects many issues that may deepen the level of what is read to fulfil its metaphysical function so that she attracts an audience that penetrates creativity and trespasses all verbal intersections to leap bravely to deeper levels.

It is the objective equivalence in her poetry that couples meaning with the “meaning of meaning” to reach the best form and understand the unspoken in the new world of the vast deserts without this form being subjected to hierarchical, stereotypical or normative theories because such hierarchy does not conform to aesthetics in the text we see. We are always looking for the creativity icon and with such an icon, we can establish a high-level poetic project which is closely tied to the “self” and the “other” and, we shall succeed so long as we are within the exchange value between reality and displacement.