Throughout various points across decades, the works of Moroccan philosopher Mohamed El-Masbahy have reflected upon the poetry and life of the late poet and academic Mohamed Serghini, who departed from this world at the age of ninety-six just a few days ago in August. Known for his pioneering poetic endeavors, Serghini studied at Al Quaraouiyine University as well as institutions in Baghdad, Rabat, and Paris. He became one of the foundational academics in Moroccan universities following independence, nurturing generations of researchers. He was also a critic and storyteller who enriched the Arabic literary treasury, earning accolades such as the "Global Arkan Award for Poetry" and the "Moroccan Book Award."
Serghini and Poetry
In a paper titled "I Am Poetry: The Giver of Heart and Mind. A Reflection on the Poetry of Serghini," Mohamed El-Masbahy noted that "the meeting of simplicity and depth in Serghini’s character endowed his poetry and life with a flavor of irony and mischief; yet, his irony employed a rich cultural and symbolic arsenal." He continued, stating, “What astonishes you about Serghini as a person is his simplicity that approaches childhood, and he himself acknowledges it: ‘He who grows up is rare.’ He believes that poetry hides its secrets in the smallest of creatures. Yet, once you begin to read his poetry, you are surprised by an unfathomable depth and limitless insight; this is truly the paradox that distinguishes great poets from those who are 'erased by the night.'” El-Masbahy elaborated, emphasizing the connection between simplicity and depth, between the brilliance of expression and the obscurity of meaning, which draws one into Serghini’s poetry.
His simplicity allowed him to embrace long verses, hastening to capture the essence of existence and transformation that contains both irony and beauty. Being among the skilled artisans, Serghini could weave his existential snippets and poetic treasures into a language of high quality, richness, and allusion. Regarding the irony present in Serghini's poetry, the philosopher specializing in Ibn Rushd’s thought and author of “Yes and No: Open Thought in Ibn Arabi” remarked: “One should not expect Serghini to take a definitive, conclusive stance, or to offer a coherent, clear analysis. He preferred to dwell between 'yes and no,' choosing to reside in a liminal space between heaven and earth, between reality and imagination, between reason and madness, between truth and shadow. Therefore, do not be surprised if you find his poetry laden with subtle hints and irony, with reckless judgments and wild thoughts.”
El-Masbahy also highlighted Serghini's critique of reason and its theoretical and epistemological implications. After briefly pointing to the bankruptcy of reason in his collection “Who Did This to Your Skulls,” he openly declared: “I wish to unravel the mystery of the fly without resorting to reason,” and in another instance, he hinted at the constriction of reason by stating, “The maternal womb, softened by soybean oil, leads reason to the neck of the bottle.” The relationship with reason, especially if it is active, according to Serghini, could only be seen as one of servitude. When he declared war on effective reason and its agents, it was because he was weary of the thoughts of essence and nature, of unity and permanence, seeking to open up to the thought of distance and plurality.
Moreover, Serghini’s poetry also challenges knowledge, as per El-Masbahy’s reading, labeling it as either associated with ignorance or subsistence. He preferred to barter it for the warrior's dance: “Be knowledge and its ignorance, but do not be a bent document. O Creator of the bed! The absent tortured me in the present. Take the fruit of gnosis and accept a final dance in the warrior's rest!” He did not wish to sever ties with existence for the sake of self, lamenting, “Alas for statements that are demolished by the power cut!”
Fes and Serghini
In El-Masbahy’s article titled “Fes and Serghini,” he clarified that the poet regarded the city of Fes as the raw material from which he crafted his poetic utterances. In Ibn Rushd's terms, he viewed Fes as poetry in potential, and his role was merely to bring it into action; this means he considered Fes as a poetic existence. Serghini’s expressions were not mere intellectual concepts, nor were they locations or aesthetic residences, but rather metaphors and poetic similes. His statements did not consist of essence, action, reaction, place, time, raw material, or image, nor of states of ecstasy, annihilation, reliance, and acceptance, but of seven fruits, including apricots, plums, and mulberries, along with pathways and alleyways, each imbued with its own poetic and emotional history that resonates within the poet’s being. Those wishing to seek meaning in Serghini’s poetry must venture into the alleys of Fes, savor its fruits, inhale its fragrances, and revel in its women’s charms. However, achieving a connection with Fes requires a guide, and that guide could only be Serghini.
As every mysticism and philosophy has a target that is unity, connection, and annihilation in the beloved, El-Masbahy suggested that Serghini seemed to yearn for achieving a ‘unity of existence’ with Fes. Thus, he refused to view Fes from a detached, objective perspective, as he could not tolerate a distance between himself and the city. For him, Fes represented his 'greater self,' nourishing his 'smaller self,' or rather, it was his internal mirror reflecting his memories and aspirations, his hopes and disappointments. It served as a magical lens that transformed pathways, fruits, and monasteries into symbols and signs through which the poet reads the fate of his essence.
The Failure of the Encounter between Poetry, Philosophy, and Mysticism
In a paper titled “On the Failure of the Encounter between Poetry, Philosophy, and Mysticism: In Meeting Serghini with Ibn Sab'in,” presented by El-Masbahy at a commemorative symposium for the poet at the Faculty of Arts in Fes, published in the “Thought and Criticism” magazine in 1998, he compared the direct engagement between Ibn Rushd and Ibn Arabi with the veiled encounter between Serghini and Ibn Sab'in. He concluded that despite the differing nature of both encounters, whether in terms of verbal genre or purpose, they both ultimately led to the same outcome: failure. He commented, “It is likely that the resistance of both philosophy and poetry to any temptation to dissolve into the genre of mystical discourse was one of the reasons for this dual failure, even though they did not hide their longing to explore the pathways of mystical experience and savor some of its overwhelming pleasures.” El-Masbahy further added another reason for the failure of the encounter among the three genres—philosophy, poetry, and mysticism—was that they emanate from profound existential experiences that cannot be reduced to one another due to their differing subjects—existence, language, and unity—despite sharing a common feeling of unease towards habit and the prevalent truths, norms, and methods of expression.
In a subsequent section of the paper, El-Masbahy noted that the contemporary Fassi poet Mohamed Serghini sought out Ibn Sab'in, meeting him twice, albeit through the veil of text. It is clear that expressing a desire to engage with mystical discourse indirectly acknowledges the stagnation found in the poetic quest after words had become 'infertile females' and 'signification an old hag.' Serghini sought new poetic openings and spiritual sustenance from the mystics. El-Masbahy noted, “Serghini’s escape from the domain of poetic discourse into the realm of mystical expression was an instinctive flight to protect his poetic identity from falling into the snares of critical ‘cardinals.’ He remained loyal to the nature of poetic expression, which necessitates wandering and journeying far to lofty heights from time to time, lest he be lured into a detestable sectarianism or weak poetic allegiance. His recourse to mysticism represented a candid acknowledgment of the inadequacy of language, the impossibility of signification, and the frailty of the critical institution, thus rendering mysticism a refuge for meaning and a symbol of adventure, rebellion, and vitality.”
However, El-Masbahy pointed out the “paradox” in the “behavior of the Fassi poet,” stating that “in the height of his engagement, that is, amid the turmoil of seeking a radical alternative for humanity as humanity, he resorts to a thought that appears to oppose that humanity existing in society and history. This leads us to assert that his recourse to Ibn Sab'in was an unconscious escape from the realm of the masses, the herd, and comprehensive thought to a subjective thought unbound by adherence to internal rules or laws, even though it is built upon authority and loyalty.” He did not wish to read Ibn Sab'in as a poet or lover but forced himself to consider him as an investigative researcher, further veiling the connection between him and the rebellious mystic. He did not perceive Ibn Sab'in as one who possessed an extraordinary experience but rather as a critical historian of the corpus of Arab-Islamic thought, essentially viewing him merely as a voice or a discursive experience.
Indeed, his lexicon, writing style, and poetic themes were not immune to the influence of mystical discourse, particularly in his later works where he adopted the style of discourses and articles; he began to address his themes as a philosopher of existence might, and as a mystic might approach unity. Thus, for instance, the city of Fes became seven fruits or ten pathways, akin to the expressions of existence or the stations of unity. What mattered to him in the mystical experience was its language and exuberance, not its purpose or aim; what mattered was the journey itself, not the moment of arrival. In this way, Fes became Serghini; it became his memories.
As reported by hespress.com.
