A few months ago, the poet Sameh Mahgoub took charge of managing the activity of the "House of Poetry" in Egypt - under the leadership of the pioneering poet Ahmed Abdel Muti Hegazy - an entity interested in poetry and subject to the "Cultural Development" Fund based in the archaeological house "House of the Six Means" behind the Al-Azhar Mosque in Cairo, and was held by "Hassan Talab", a poet classified within the generation of the seventies poetry and works as a professor at Helwan State University, and has collections and cultural history confirms his keenness on the heritage language, and was an assistant to the poet Ahmed Abdel Muti Hegazy in Ibdaa magazine, which he has been editor-in-chief for years.

We are facing a battle, although it seems local in nature, it has national connotations and Arab repercussions, poets in all Arab countries live the tragedy of the conflict between generations, and the conflict between the new and the old

The national significance of the battle

The important thing here is that "Sameh Mahgoub" was subjected to smear campaigns by Mr. "Hassan Talab" and his associates that occupied the community of poets in Egypt and those interested in creative affairs, because it made the "House of Poetry" present in the cultural scene, as seminars are held in it for all prominent and important poets and those with creative excellence, and represent all experiences and all generations, which was witnessed by poets, observers, and those interested in poetry and its issues.

This battle, which seems local in nature, also has national connotations, and has Arab repercussions, as poets in all Arab countries are living the tragedy of the conflict between generations, and the conflict between the new and the old. The conflict between the generation of the seventies and other generations extends from the ocean to the Gulf by virtue of its birth in the era of the Cold War, the conflict between East and West, and the Arab-Israeli conflict, and this generation is hostile to the poetic color represented by Amal Dunqul and Mahmoud Darwish and considers them pre-Islamic poets, who say poetry according to tribal logic, and address the masses, and address daily issues and public concerns that people love.

The core idea on which the experience of this generation was based is to isolate from the masses and make poetry preoccupied with the individual and his concerns and crises and to cut the relationship between the poem and the masses, and this has already been achieved and made everything they wrote and published a dialogue Tarshan is only interested in Tarshan participants.

Amal Dunqul, on the other hand, was alive and concerned with the individual, the group, the people and the nationalism, loved and understood by people, and the generation of the seventies attacked him and considered him a spoiler of poetry, because he allowed people to communicate with him. And the illusion in which these lived is the explosion of the language, and I do not know succeeded in blowing it up or failed, but what I am sure of happening is that they blew themselves up, and people abandoned their closed words referred to by the director "Ali Badrakhan" in the film "Karnak" taken from the novel Naguib Mahfouz, in the café scene where the artist Farouk Youssef appeared reading an absurd poem meanings confused construction need psychiatric dictionaries to understand its purposes, and stamped with a sentence, did you go crazy?.

I believe that Naguib Mahfouz and Ali Badrakhan meant by this scene the generation of the seventies, who filled the universe with screams and fights, and exported fights and screams to the creative and cultural elites in Arab capitals. It is ironic that "Sameh Mahjoub," editor-in-chief of the program "Al-Sira" on the Nile Cultural Channel, prepared an episode in memory of the departure of "Amal Dunqul", and broadcast recorded interviews with young poets from Arab countries, including Syria and Jordan, they stated that they love the poet who passed away 40 years ago (in May 1983), and they still read his poems and enjoy the images, language, deep culture and bias for freedom.

Perhaps this episode is the reason for the agitation against what he is doing in the "House of Poetry", as he presents the image of poetry at the present moment, an image that has no impact on the experience of the seventies generation who spent more than 30 years in the heart of cultural life, and then went without anyone remembering its symbols. The poet "Helmy Salem" is the exception in this generation by virtue of the existence of a poetry award bearing his name, and the only critic who was interested in their experience, is Dr. "Muhammad Abdul Muttalib", but he could not give them the love of the masses, because they exclude the other, any other.

As if we were in a mental health hospital, where unreasonable speech is allowed, and the experience of the "House of Poetry" is the best proof that this generation was a reflection of abnormal circumstances, and wanted to make that "unnatural" a rule that people adhere to, using linguistic terrorism and critical intimidation, and that speech that says nothing, they are the generation that was born in the fifties of the last century, and they were enrolled in free university education and joined the "Youth Organization" (the youth wing of the ruling Socialist Union), and thus transmitted to them the diseases of secret parties and organizations Communism flourished in the time of the Soviet Union and the Eastern Bloc, and then their rejection of the political system was represented in the demonstrations of February 1968 after the meagre verdicts of the military court against the leaders accused of responsibility for the defeat of June 5, 1967, and their anger continued, in 1972 and 1973 in demonstrations entitled to pressure President Anwar Sadat to declare war on Israel to liberate the occupied Sinai.

Although the revolutionary voice "poetic and musical" in that period was represented by Sheikh Imam and poet Ahmed Fouad Najm and a number of colloquial poets such as Najib Sorour, Fouad Qaoud, and Zine El Abidine Fouad, the classical poets were in isolation from what was happening around them, and lived a state of "schizophrenia", some of them were organized in a secret communist party, but at the same time they adopt an elitist concept of isolationism for poetry. Although "Marxism" is mainly aimed at defending the working classes of workers and peasants, and raising their awareness. And that the Communist Party to which they belonged aimed to empower those toilers with wealth and power, the septuagenarian poet was divided into two halves, half in Marxism and communism, and half in the swollen ego not concerned with society, politics or social conflict.

The theorizing that came out of the apartments, bars and cafes where they gathered, justified this anomaly, and considered violating it a kind of ignorance. Ideas were mixed, attitudes were mixed, and people abandoned eloquent poetry, and were satisfied with what Al-Abnudi and Sayed Hijab and Salah Jahin and Ahmed Fouad Najm and other colloquial poets say.

The laws stipulate crimes that do not fall within the statute of limitations, such as torture, war crimes and genocide, but the poets of the seventies generation, who meet the conditions of these crimes in addition to wasting public money to promote a corrupt poetic taste, have not been prosecuted, and many of them expect honor and veneration.

The old people of joy and digging up the past

What is surprising is that these "arrogant" people were looking at the poem written in colloquial condescension and contempt, so the magic turned on the magician, and the poem "prose" came to sweep away everything they wrote and wasted their lives.

It is the cunning of history to them, that extended their ages they saw "a world other than the world" that they imagined, so they refused to accept what happened and ignored the year of life and its law and Tcharcoon around themselves and themselves and considered that everything new is disbelief in particular and that those who discuss or object to their poem "closed and isolated" deserves to be killed, like the "old women of joy" who attend weddings out of curiosity, so they enjoy criticizing the bride and groom, the dining tables, the colors of the clothes of those present, ruminating on memories, crying over the lost age, and accusing the "new generation" of lack Awareness and lack of taste.

The laws stipulate crimes that do not fall under the statute of limitations, such as torture, war crimes and genocide, but the poets of the seventies generation, who meet the conditions of genocide, torture and waste of public money, for exploiting the potential of the Ministry of Culture - funded by the people's money - to promote a corrupt poetic taste, were not tried for what they did, but many of them live waiting for honor and veneration, until they applied to the eloquent popular Egyptian saying, "Those who were afraid, died."