The poem took on the responsibility of redefining the
dimensions of Sudanese poetic text by reconsidering the self within the
framework of postmodern concepts. These concepts allowed for a re-examination
of identity and the capacity to shape a new world—one born from fresh
perspectives that embrace the future, contrasting sharply with the realistic
schools of pre-modern liberation in Sudanese poetry.
Singing solitude became both a poem and a vivid artistic
expression that Alsaddiq Alraddi used to explore new dimensions and values in
constructing contemporary poetic text. His methodology draws from spatial
awareness, similar to the approach of the "Forest and Desert" school
represented by Muhammad Abd al-Hay, Al-Nur Othman Abkar, and Muhammad al-Makki
Ibrahim.
However, this attempt did not arise in isolation from the
accumulated levels of Sudanese poetry. Contrary to the views of some critics
who attempt to separate the "poetry of solitude" from the broader
modern poetic legacy, it represents a new formation based on distinct
vocabulary and a synthetic structure that contrasts with prevailing norms.
The "poetics of solitude" did not emerge solely
with Alsaddiq Alraddi or Atef Khairi as a novel aspect of Sudanese culture that
seeks to detach from the past, as suggested by texts that simplify the concept.
Instead, familiar contrasts persist, and attempts have been made to explore new
poetic issues through lived experiences, drawing upon the mystical poetic
heritage established by poets like Aalim Abbas and Muhammad Abd al-Hay.
Mysticism remains a poetic doctrine that has not been
sufficiently studied or critically examined to this day. This oversight stems
from critical readings that have engaged with this poetics without fully
embracing its mystical dimensions. The direct scholarly nomenclature, grounded
in spatial and geographical contexts, has created ambiguity. Critics have often
fallen into controversies that distract from a reading grounded in the mystical
framework of the texts.
Dr. Gaesar Musa Al-Zein, a Sudanese professor , argues that
the new poetic construction is merely a trend that the younger generation will
eventually outgrow. Yet, Al-Zein offers a more profound and Eastern perspective
regarding the invisible mystical dimension in Sudanese poetics, elucidating
Abbas's world experience. He emphasizes the significance of religious symbols
within Sudanese texts—be they poetry, stories, or novels. The model of “Wadi
Azum” by Aalim Abbas serves as a prime example, where the poet envisions life
originating from the Azum Valley, transforming it into a source of creative
inspiration. While these visions may seem mythological and detached from a
realistic historical perspective, they play a crucial role in shaping a new
kind of myth that strives to redefine reality through mystical poetics.
I am increasingly convinced that the "Poetics of
solitude" emerged as a logical evolution of Sudanese mystical poetry.
Consequently, these experiences have continued to support one another across
time, reinforcing the notion that the past is inextricably linked to the
present and future. The past and future are two sides of the same coin,
separated only by a mirror, akin to the "grandfather and grandson"
theory depicted in Tayeb Salih's novel Dau al-Beit: Bandarshah.
Contemporary poetry, particularly the poetry of solitude,
has drawn from the lexicon of mystical poetry, giving rise to new patterns
previously unrecognized by earlier generations. This new text facilitates
potential reconciliations between diverse experiences.
It can be asserted that the late Muhammad Abd al-Hay
possessed an early awareness of the importance of reconciliation and the
necessary extensions required to propel the cultural wheel forward. However, he
passed away before establishing his comprehensive monetary project in this
context. The signs of this pioneering endeavor are evident in his profound
published studies on the poetry of Al-Tijani Yusuf Bashir, where he
articulated, albeit indirectly, that mysticism and solitude are foundational to
Sudanese poetry. Al-Tijani sang of solitude long before Alsaddiq Alraddi did so
in the nineties of the twentieth century—more than sixty years apart. Yet, the
unity of the inner emotions expressed in the texts enables a claim of
coexistence between old and new works, suggesting that the perspective of
solitude can be meaningfully examined through serious literary attempts.
The late Al-Hadi Al-Siddiq sought to establish the roots of
Sudanese poetry, but his efforts were superficial and inadvertently overlooked
crucial historical origins in the construction of poetic texts—from the time of
the Funj and the Blue Sultanate to the modern era of isolation and solitude in
different meanings. Similarly, Muhammad Al-Makki Ibrahim's research on Sudanese
cultural issues did not deeply engage with the complexities of cultural
history, which extends beyond a mere mixture of "Afro-Arab" identities
or the dichotomy of "forest and desert." The historical narrative
cannot be linearly traced from the Funj era through the Ottoman influence to
the Mahdist movement and the Anglo-Egyptian period.
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