The Crisis and Its Manifestations in Modern Iraqi Poetry - Abdul Karim Radi Jaafar as a Model

Abstract

Poetry has always been the voice of need or one of the summons of distress, the intensity of emotions pulsates in the poet so that the recipient reads it as a creative work, the most beautiful thing that Al-Mutanabbi organized was his swords, which came from the intensity of his love and attachment to the sword of the state Al-Hamdani and his aspirations for power, prestige and status, and the truest thing that the poetry collections narrated is Al-Khansa's crying for her brother Sakhr because of the intensity of her love and loyalty to him, and the most beautiful thing we heard for Mahmoud Darwish is his poetry about the Palestinian cause, he lived as a stranger and an expatriate away from his homeland, poetry is born from the womb Suffering, no matter how many causes and types it may be, and perhaps one of the greatest adversities and crises is the wars that take place without the will of the people, but the first to be harmed and live the pain is the defeated people, as suffering and damage will apply to most aspects of life, including the psychological, emotional, and economic aspects؛ One of the reasons for choosing such a title is to enable the mind to deal with crises and read the crisis according to a psychological, therapeutic approach by getting rid of painful thoughts and feelings through literary creativity such as poetry, for example, and our central question is how does the truthfulness of the lived experience benefit poetic creativity? In our research, we envisage a set of goals, the most important of which are: Where did the poet's creativity prevail, in his words, in his poetic meanings and images, or in the music of his poetry and rhythm? The research called for an inductive, descriptive-analytical approach, as it relied on a large collection of poet's poems that he organized in the 1980s and later of the twentieth century, where the Iraqi people lived through continuous wars and horrors – and we are not here in the field of going into wars – that colored each of the Iraqi houses in that past era with their dark colors, and we built the research according to a brief introduction to the meaning of the crisis and its types, and then we divided the research into three topics؛ The first was in explaining the impact of the crisis or its manifestations in the poet's words and vocabulary, then in the impact of the crisis in the poetic meanings and images, and finally in the music or rhythm that the poet used to reach the audience's auditory taste, and thus the response, interaction and impression.