The dream and the place warm and beautiful, and childhood memories in my heart to switch off the lantern Mohammad Habibi

N h l m, dream, n h l m, to dream of
We hold our dreams in the morning to Najafvha
In order to Attir away
Be proven with pins
Thus begins Mohammad Habibi   Group (switch off the lantern of my heart). It reminds me of the words (Ahmad) protagonist (Grief ash) loyalty to the newborn in response to the protest Zainab (We dream than live). The group begins and ends with a beautiful dream Bmnam involuntary perhaps comes another beautiful dream:
Here applies equally to arrange a draft text and sleep
Will leave only words
To sleep
First - texts dealing with the dream group, and avoid talking about it today. The poet travels to the Children's ego dreams, memories and converts to the artistic images evoke the world of childhood, and the old house, the walls are warm, and the smell of grass after the rain, and clarity of human relations:
Last night
The volatility of the wooden seat
Insh yawning waiter for a dull day
With Vaudhak sleeping surfaces
Heres your feet on the white worms
With dust
Evacuate the place
Zga and reeling under the shoe
Abqa left by cats
Decussate above the tiles
Second - the place is essential in the group, a center for all the constituent elements of the experience.Whenever said part of it provokes a poet many connotations. It takes place through the role play the following roles: raising memories, give a professional image sensory dimensions, namely its contribution to the perception of building space, giving emotional dimension is through its association with a tremendous amount of memories, view all the details within the limits of the information. He - along with it - contributes to the revitalization of the molecules and to show, and put into the picture. The importance of the place also through its contribution in the formation of autism between the objects and events that move it, there is always a warm human spatial relationship between the molecules of the things that make up the experience:
Then we carry that nostalgia is worth
Olanbesr nudity anniversary and signed by the left
Indifferent to many things, tired of pasting papers
Leather walls Ndbgha
Gasps, holes Screws
Waiting to leave
Thirdly - three elements constitute the experience and aesthetic values ​​in the group are: the place and childhood memories, through the interaction between these three elements consist climates texts.  
IV - showing the group unified Sofia between the poet and I childhood, sometimes we can not distinguish between the poet and the child. And we wonder: Is that reflects the child's mother is a poet. It seems that by simulating the poet of the act childish and Asthoudarh approach and even seemed to texts in general a set of consequences of childhood.
V - the poet presents texts across a range of morphological paintings full of the smell of childhood, place and family. It contributed to the power of the image forming voice, which has taken a course in harmony and tranquil childhood memories, and highly skilled in building
This apartment is very narrow
Not imagine that accommodate every ten years
All the angles that the carpeted corridors of luxury for love
Years, a monitor, did not intrude
Until we received the first two birds
I realized corners of the apartment became
Expanding / more than
Has been linked to childhood memories of joy and bitterness together.
VI - provided the technical configuration of the poet's position in the scene or image that depend on the intensity and irony, and the element of time in which the depth of Vdhaeha and gave additional dimensions:
Days did not dare to swallow seeds
We were afraid that the tree grows within us
And which support the effectiveness is also short addresses that were not more than one word. The Community Cafe is the narrow limits of space perception, sometimes expanding Vdhaaha often come out of the confined space to floor space:
Pelican Dam
Resisted the lake, and resolve
Indifferent, just before sunset still migrate
Houses on the sky
Dried and the silence of the fields of singing young
Pelican Lake fails to confusion
Scatters Recath
Zgba not muddy Tdekh words
What technical support is also open to the method of storytelling, and the poet often - in this case - Mikabl between two times. This gives considerable space to tell and express pent-up and come out beautiful, perhaps the broken ego balance:
I always pay it for Hqaoh
To Nntcef slaps
Accompany me to the shops where her half Omt
Abdul Hameed Al Mistake of gum
And teach her ​​how vacated
Remains of the wall corner
Time keeps dust villages
Such as China, our views Thrown
Loans to overlook
Asamehha to bite when Msmta Vicks
With her ​​children turns to
Kgrayben Safanha
VII - the poet sought to humanize the place. And place in the group is not just a silent blocks, it is children and the love of Ledra GATT and greenery and the walls went out (side of the apartment / was broken 16).The poet sought to diagnose things and Oincentha: walls, closets, Khcbat Fund, tea, and the bed:
Office of darkness read it
Sibilant breath quickly
Landing landing
Cloth hair Atafrh half bed
Riots Ahdja childhood Kingdom Nast
Ideas, baby wet
Now recite
Subway is safe from leaks
Office with sliding drawers
Children rank bed sponge
Bright color wheel
Was it like me
On my father grabbed the tea boxes Khcbat
Nailed to the first wheel point
And in this way also says:
Blooms of the house and its stake
Every corner clicking
Where nostalgia
Their breath for reeling
Above the tiles
Noise wall hung
Looming Ghabra
In the mirrors
Eighth - have led the poet childhood attention to focus on what is part and on which, and stay away from big logos and ringing rhetoric that dissension in the traditional poetic discourse:
Gbashh Brahh well
Awaken their nests
Taatlss through the buckets, "the way that dance
Jars of glitter Sabaya Abllnna Dvaúr
Vtantna to ignite Nsakaa Fajarhn
Supply and Jnathen
Ergmanana Bhisham wall "and the well filled-center Brahh
Flashing blue, he saw her painting
IX - (childish), a key feature in the group. The was not - only - to return to the past childhood, but in the expression simple, and irony, and surprise in dealing with things, especially things Location: the wall, and garden, tractor, and lemon, and the bed, and read these things as part of the self. As the child can not distinguish between itself and the things that surround it, as did the poet through the integration of the case almost entirely between him and the particles location. The poet is a creative child, a time to not be the place for this child die a poet and poetry critic to become a poet or philosopher, but to remain a poet:
Were not pure wood
The funeral
Ntharat feathers luxury
Boats afloat
The wisdom of my grandfather
Feel and Daatha
The desolation of Almetin
He also says:
Perfume Goaeadtha
Perfume sheer madness
But the old bottle of jasmine
Bag stolen from your mother
They scent the first letters
The support of all this is that all texts without an exception, which combines expressive and emotional dimensions.
X. - The group embodied the values ​​Jamalitin are beautiful and tragic. As for the value of the things that seemed very beautiful place and the intimate link to the past. And reflected on the sensory level through the old house, which pronounce the poet and the garden walls, and all his things, and through the beautiful innocence of childhood, and family relations, which smells of love, joy, serenity, simplicity and emotional depth. As the poet through his vision for this value, and put an alternative to the ugly reality. The dominant area of the beautiful area of the tragic. The value of the tragic were: the fear of this beautiful fall or death:
The largest
Shutter door caring
The mini-wall
Languished for lazy beam
Gerta dug his fingers, as Antiques Pegrtha
Manipulate her fingers over the heads of
Almatturd straining her dress in the intensity of
Point of the chest, stuffing napkins, shows
How much are you babe and Hqih
Eleventh - did not take the ego position directly from the topic was talking about, but it was through a return to childhood and stick to it and focus on a familiar place and the little things reflect the position of anti-age, and looks (vision) in the fear which had formed the background for all the texts. Fear is what drives the poet to return to the past, and his desire to stick to the past is what makes him afraid to lose. The trend toward partial self and her things, and the trend towards the past is a nice rejection of objective reality and the search for peace of mind. The reflected (vision) through the search for security and a tambourine family and spontaneity, the safe place, love, and the old house, and memories, and calm. And can not isolate the place for building the vision. The dominant vision on the vision:
This house
Lighter noise, with no neighbors
Noise or curiosity Taatlss
The vision begins from the family and the details of the partial:
Take everything
Leave witness
Alqaz bulb
Things the poet has used mirrors to place the demarcation of vision, and to express their vision.
Twelfth: the poetic lexicon, which was derived from the vocabulary of childhood memories, and the ego to sing spaces texts. It is noticeable on the vocabulary of the lexicon of diversity and lack of displacement. But the warmth and humanism that characterized the texts of the group, and linking these words and memories of childhood made ​​it a distinctive character, played down the importance of diversity and who Fqdahma displacement. For example: walls, house, bed, children, grass, garden, nest, branches, moon, mud houses, bird, childhood, dew, teapot, ward, warm, incense burner, tiles, Ghubra, mirrors, Treasury Swimming flowers, sheets, gutters, old bottle of jasmine, bulb Alqaz, Cheeks villages, swans, lake, fields, jars, lemon, buckets, milk, well, palm trees, the surface ....
Thirteenth: end my stand with the group text reflects all have mentioned:
The shutdown of air Aúma
Peered out of the surface
Look Albiotat incubator misery
Thieves recovered their childhood asleep
Unwashed street with its lights yellowish
And a couple Igtbban quieter surprise
Texts resulted Mitatha
Quieter resort
Bottom line: there is privacy in the world of the poet Mohammad Habibi, and agnostic why this time I could not be neutral with the group, but you are biased to it, he was able poet, that model the experiment and circulate, and that makes me share his experience with all the left undisturbed from the beautiful memories we hope to be achieved, or restored.