ABSTRACT
The abundant use of cardinal style-marker in Yehuda Amichai's works also emphasizes their innovative nature as precursors of a new poetic trend. Amichai's poems, in contrast to the traditional modes of poetic expression, sounded so simple, so direct and prosaic, that they could hardly fall into any of the known and accepted poetic categories. The critics of the new poetic mode were seemingly right in correct accusations against the "poverty" of Amichai and Natan Zach, as they bore in mind the poetic norms prominent in the 1930s and 1940s. States of disbelief, immaturity, insecurity, and instability characterize Amichai's poetry–poetry that is constantly illuminated by the vague colours of sunset, never by the bright colours of broad daylight. Amichai's conceits may appear to be less elaborate than the typical Metaphysical conceit, but it must be undersood that they manifest the voluntary asceticism and leanness of an artist who has undertaken the risky task of uttering the most fundamental and substantial truths.
