تويت
كتابها : Trends and movements in modern Arabic poetry وغيره من الكتب فقد قرأت لها أكثر من كتاب
رحمها الله وأثابها الجنة الأستاذة الفلسطينية المعروفة على نطاق واسع - صاحبة الكتب والمؤلفات ولها أيضا دواوين كاملة في الشعر منها ديوان النبع الحالم dreaming spring
لكن وبشكل عام ملاحظتي الأهم عن تراجمها وجدتها تستطيل في تراجمها ( تمد في الترجمة ) , وهذه النقطة أحيانا نعالجها جميعا بوضع footnote لجعل المقصود أكثر وضوحا للقاريء الأجنبي
ونضعها في مكان آخر ولا ندرجها في نفس السطر ... للأسف في كل تراجمها تعمد إلى الأسلوب ذاته مما يكره المتلقي
=== == === هنا جزء محدود من تراجمها
قصائد : الياس أبو شبكة
- ----- ...... ............
قمت بنفسي بتنسيق بعض السطور كما في المقطع الأول
رحمها الله وأثابها الجنة الأستاذة الفلسطينية المعروفة على نطاق واسع - صاحبة الكتب والمؤلفات ولها أيضا دواوين كاملة في الشعر منها ديوان النبع الحالم dreaming spring
لكن وبشكل عام ملاحظتي الأهم عن تراجمها وجدتها تستطيل في تراجمها ( تمد في الترجمة ) , وهذه النقطة أحيانا نعالجها جميعا بوضع footnote لجعل المقصود أكثر وضوحا للقاريء الأجنبي
ونضعها في مكان آخر ولا ندرجها في نفس السطر ... للأسف في كل تراجمها تعمد إلى الأسلوب ذاته مما يكره المتلقي
=== == === هنا جزء محدود من تراجمها
قصائد : الياس أبو شبكة
- ----- ...... ............
قمت بنفسي بتنسيق بعض السطور كما في المقطع الأول
شعر الياس ابو شبكة
اودك جاحظة المقلتين وطيف الحمام على كل خد
اودك غائبة في ضريح تنامين في تربة للابد
ولا تعذليني على ما وددت ففي ذمة الحب ما قد اود
I would like [to see] your eyes standing out
and the phantom of death on each cheek.
I would like you to be buried in a tomb,
sleeping eternally in the earth.
Do not blame me for what I wish;
I wish it in the name of love.
The poetry of Al-Qaithara is a good source for a close study of the many influences which were now working on Abu Shabaka. Razzuq discusses them but does not explore them fully. There is a marked influence of the French Romantics; the influence of Baudelaire particularly appears in his horrifying visions of death which were to obsess him for some time. The influence of both Classical and Mahjar poetry also appears clearly. The volume represents an experiment which had not yet established itself or discovered its true channels. Although it shows a strong poetic gift which is trying "to emerge from the potential to the actual", 278 and reveals the poet's individuality and independence, it does not fully prepare the way for the surprising achievement of Afa'i.
Al-Marid al-Samit is a narrative and is therefore Abu Shabaka's first attempt at objective poetry. Later on, in 1941, he attempted some pastoral poetry of an objective nature, but the rest of his poetry remains highly subjective. Al-Marid al-Samit is the true story of a young Lebanese, in love with an Egyptian girl, who falls victim to tuberculosis which kills him. The poem delineates the tragedy: the mother's grief, the sister's anguish, and then the inevitable Romantic end with the hero's death and his beloved's sorrow. In this long poem the poet's style shows greater strength and terseness than in Al- Qaithara:
واذا ما مررت تحت نخیل النهر يوما حيث ابتسمنا مليا
حيث كنا نبني قصور الاماني حيث كنا نجني الشباب النديا
حيث كنا نلقن القلب درسا فيعيه النخيل من شفتيا
فاحذري وقفة هناك لئلا تسمعي من فم النخيل نعيا
If, one day, you should pass beneath the palms beside the river where we often smiled,
where we built the palaces of our wishes and plucked [the fruits of] tender youth,
where we taught our hearts to love and the palm trees listened [literally: "where we taught our hearts a lesson and the palm-trees heard it from my lips"]; then beware of tarrying there, lest you should hear the palms give tidings of [my] death.
However, despite the fact that in the greater part of the poem Abū Shabaka shows his own individuality, there are still some traces of a traditional nature. The conventional hyperbole is there:
الياس ابو شبكة :
قرأتها فامسكت عبرات لو اريقت في النيل هالت جلاله
لو اريقت في القفر ادمت رساله عبرات من ذوب قلب مدمّى
She read it and held back her tears. Had they been shed in the
Nile they would have put its grandeur to shame [literally: "would have struck awe in its grandeur"].
The tears from her melting,
bleeding heart, had they been shed in the desert,
would have filled its sands with blood.
as well as the Classical fate of the bereaved beloved on the point of death at the grave of the dead lover:
واخيرا مضوا الى القبر حتى يطمئنوا للمشهد العجاب
فرأوا جثة مبعثرة الشعر تناجي وعينها في التراب
لم يبق السقام والحزن منها غير رؤيا بقية من شباب
Finally they went to the grave, to view the curious spectacle with their own eyes.
And they saw [a maiden like] a corpse with wild hair, calling out, her eyes fixed on the earth.
Sickness and sorrow had drained from her all but a shadowy remnant of youth.
وحق روحك يا غلوا، ولو غدرت بي الليالي واصمت قلبي النوب
ان كنت في سكرة او كنت في دعر ومر طيفك مر الطهر والادب
By your soul, Ghalwa, though life has betrayed me,
though disaster has struck at my heart;
yet, if I am immersed in drinking or debauchery, and your phantom passes, then purity and virtue pass.
but addresses the other with these fiery verses:
اميرة الشهوة الحمراء ان دمي من نسلك الهادم المهدوم فاحترمي
خلقت تحترفين الموت فاقتربي مني فاني احترفت الموت من قدم
هاتى من العهر اشكالا ملوّنة نمهر بها بعضنا بعضا وننهدم
Princess of wild desire [literally: "red desire"], destroyer and destroyed, I am the child of your kind [literally: "my blood springs from your kind"], so beware of me! You were born to the profession of death, so come near! I am an old trafficker in death. . . . Give me refinements of lust. Let us exchange dowries and be destroyed.
His provincial upbringing must have confirmed this attitude and extended it. The provincial code of honour in the Arab world of the third and fourth decades, though stricter for a woman, limits what is permissible for a man. The fact that Abu Shabaka was injuring another man's honour filled him with self-contempt:
اقول لها اعراق زوجك لم تزل وفي قلبه عطف الابوة لم يبرى
ولم يبر احساس الرجال بصدره فحبك يجري منه في الجهة اليسرى
مغبرا اقول لها ثوب العفاف تذكري ففي ساعة الاكليل لم يك مغبرا
لبست رداء العرس ابيض ناصعا فمن این جاءت هذه اللطخة الحمرا ؟
I tell her: "Your husband is still full of vigour, and a father's tenderness has not left him. The feelings of manhood are not gone from his breast, for the love of you flows in his heart [literally: 'in his left side']." I tell her: "Remember the robe of chastity; it was not soiled on your wedding day. You wore a bridal dress of pure white. Where did this red stain come from?"
اودك جاحظة المقلتين وطيف الحمام على كل خد
اودك غائبة في ضريح تنامين في تربة للابد
ولا تعذليني على ما وددت ففي ذمة الحب ما قد اود
I would like [to see] your eyes standing out
and the phantom of death on each cheek.
I would like you to be buried in a tomb,
sleeping eternally in the earth.
Do not blame me for what I wish;
I wish it in the name of love.
The poetry of Al-Qaithara is a good source for a close study of the many influences which were now working on Abu Shabaka. Razzuq discusses them but does not explore them fully. There is a marked influence of the French Romantics; the influence of Baudelaire particularly appears in his horrifying visions of death which were to obsess him for some time. The influence of both Classical and Mahjar poetry also appears clearly. The volume represents an experiment which had not yet established itself or discovered its true channels. Although it shows a strong poetic gift which is trying "to emerge from the potential to the actual", 278 and reveals the poet's individuality and independence, it does not fully prepare the way for the surprising achievement of Afa'i.
Al-Marid al-Samit is a narrative and is therefore Abu Shabaka's first attempt at objective poetry. Later on, in 1941, he attempted some pastoral poetry of an objective nature, but the rest of his poetry remains highly subjective. Al-Marid al-Samit is the true story of a young Lebanese, in love with an Egyptian girl, who falls victim to tuberculosis which kills him. The poem delineates the tragedy: the mother's grief, the sister's anguish, and then the inevitable Romantic end with the hero's death and his beloved's sorrow. In this long poem the poet's style shows greater strength and terseness than in Al- Qaithara:
واذا ما مررت تحت نخیل النهر يوما حيث ابتسمنا مليا
حيث كنا نبني قصور الاماني حيث كنا نجني الشباب النديا
حيث كنا نلقن القلب درسا فيعيه النخيل من شفتيا
فاحذري وقفة هناك لئلا تسمعي من فم النخيل نعيا
If, one day, you should pass beneath the palms beside the river where we often smiled,
where we built the palaces of our wishes and plucked [the fruits of] tender youth,
where we taught our hearts to love and the palm trees listened [literally: "where we taught our hearts a lesson and the palm-trees heard it from my lips"]; then beware of tarrying there, lest you should hear the palms give tidings of [my] death.
However, despite the fact that in the greater part of the poem Abū Shabaka shows his own individuality, there are still some traces of a traditional nature. The conventional hyperbole is there:
الياس ابو شبكة :
قرأتها فامسكت عبرات لو اريقت في النيل هالت جلاله
لو اريقت في القفر ادمت رساله عبرات من ذوب قلب مدمّى
She read it and held back her tears. Had they been shed in the
Nile they would have put its grandeur to shame [literally: "would have struck awe in its grandeur"].
The tears from her melting,
bleeding heart, had they been shed in the desert,
would have filled its sands with blood.
as well as the Classical fate of the bereaved beloved on the point of death at the grave of the dead lover:
واخيرا مضوا الى القبر حتى يطمئنوا للمشهد العجاب
فرأوا جثة مبعثرة الشعر تناجي وعينها في التراب
لم يبق السقام والحزن منها غير رؤيا بقية من شباب
Finally they went to the grave, to view the curious spectacle with their own eyes.
And they saw [a maiden like] a corpse with wild hair, calling out, her eyes fixed on the earth.
Sickness and sorrow had drained from her all but a shadowy remnant of youth.
وحق روحك يا غلوا، ولو غدرت بي الليالي واصمت قلبي النوب
ان كنت في سكرة او كنت في دعر ومر طيفك مر الطهر والادب
By your soul, Ghalwa, though life has betrayed me,
though disaster has struck at my heart;
yet, if I am immersed in drinking or debauchery, and your phantom passes, then purity and virtue pass.
but addresses the other with these fiery verses:
اميرة الشهوة الحمراء ان دمي من نسلك الهادم المهدوم فاحترمي
خلقت تحترفين الموت فاقتربي مني فاني احترفت الموت من قدم
هاتى من العهر اشكالا ملوّنة نمهر بها بعضنا بعضا وننهدم
Princess of wild desire [literally: "red desire"], destroyer and destroyed, I am the child of your kind [literally: "my blood springs from your kind"], so beware of me! You were born to the profession of death, so come near! I am an old trafficker in death. . . . Give me refinements of lust. Let us exchange dowries and be destroyed.
His provincial upbringing must have confirmed this attitude and extended it. The provincial code of honour in the Arab world of the third and fourth decades, though stricter for a woman, limits what is permissible for a man. The fact that Abu Shabaka was injuring another man's honour filled him with self-contempt:
اقول لها اعراق زوجك لم تزل وفي قلبه عطف الابوة لم يبرى
ولم يبر احساس الرجال بصدره فحبك يجري منه في الجهة اليسرى
مغبرا اقول لها ثوب العفاف تذكري ففي ساعة الاكليل لم يك مغبرا
لبست رداء العرس ابيض ناصعا فمن این جاءت هذه اللطخة الحمرا ؟
I tell her: "Your husband is still full of vigour, and a father's tenderness has not left him. The feelings of manhood are not gone from his breast, for the love of you flows in his heart [literally: 'in his left side']." I tell her: "Remember the robe of chastity; it was not soiled on your wedding day. You wore a bridal dress of pure white. Where did this red stain come from?"