The Book Cover of "University of Basrah: Studies in English"

Peter Lang AG Issues "Studies in English"

The Staff of the Department of English/ College of Education has been honoured by Peter Lang AG's publication of the first born book for the Department Members who agreed to contribute with their papers. These papers represent a cross-section of the research work conducted in the Department. The publication of the book signifies a lot to us. It would not only propel future studies on relevant topics but also it would open new vistas for Iraqi academics and place them in an international perspective for the first time in decades. The Papers represent work in various fields of study including phonetics and phonology, linguistics, ELT, pragmatics, discourse analysis, and literary stylistics. The Book printed in Germany and coming in 306 pages is entitled "University of Basrah: Studies in English" edited by Jinan Fedhil Al-Hajaj and Dr Graeme Davis. Al-Hajaj is a lecturer in the Department, University of Basrah, whose interests are in literature, literary stylistics and discourse analysis while Dr Davis is a lecturer in English Linguistics at the Open University, UK, and a researcher in English historical linguistics and the study of the North Atlantic region in the Middle Ages.

Thanks to Miss Jinan and Dr. Davis for offering this chance as we are looking forward for further cooperation in future.

Here are the Contents:


Contents
Preface 9
Acknowledgements 15
MAJEED HAMEED JASIM and JINAN FEDHIL AL-HAJAJ
Introduction 17

JINAN FEDHIL AL-HAJAJ
Intertextuality and the Linguistic Perspective: A Stylistic
Study of Thomas Hardy’s ‘The Going’ and ‘The Haunter’ 23

FATIMA H. AZIZ and AMIN U. GHAILAN
Dramatic Monologue in Robert Browning’s ‘My Last
Duchess’: A Pragma-Stylistic Study 45

MAJEED HAMEED JASIM and AMIN U. GHAILAN
Paul Morel, Son and Man: A Stylistic Study 69

MAJEED HAMEED JASIM and IBTISAM HUSSEIN NAIMA
Free Indirect Discourse in Virginia Woolf’s
To the Lighthouse: A Stylistic Narrative Study 111

ABDUL-SETTAR ABDUL-LATIF
The Invisible Perfidy in Waiting for Godot 133

ALA’ HUSSEIN ODA and NAGHAM JAAFAR HUSSEIN
Presupposition as a Linguistic Theory in Samuel Beckett’s
Waiting for Godot in Terms of Karttunen’s Approach 181

ALA’ HUSSEIN ODA and MEHDI M. MOHAMMAD
The Impact of Linguistic Context on Metaphoric
Proverb Comprehension by Iraqi EFL Learners 209

BALQIS I.G. RASHID
Further Evidence for the Separation Hypothesis:
The Case of Advanced Iraqi Learners 243

ISRA’ MAHMOOD SALMAN and BALQIS I.G. RASHID
Difficulties in the Pronunciation of English Proper
Nouns Encountered by Advanced Iraqi Learners 259

RANA ABDUL SETTAR ABID and NADA SALIH ABDUL RIDHA
A Study of Coherence in the Writings of EFL Advanced
Iraqi Learners 281

هونج كونج تعيش مع درويش في أمسية غير مسبوقة

هونج كونج تعيش مع درويش في أمسية غير مسبوقة!
حضر الصينيون فملأوا أماكن الجلوس والوقوف ، وغاب العرب!!
الندوة العربية - هونج كونج - 5 أكتوبر 2008
كتب: سيد جودة - هونج كونج

لم تكن أمسية عادية تلك التي نظمها الشاعر الصيني الكبير "بي داو" ، الذي التقى بمحمود درويش عدة مرات كان آخرها في برلين منذ ثلاث سنوات. كانت أمسية تليق بمحمود درويش ، أكبر شاعر عربي ، وتليق بـ "بي داو" ، أكبر شاعر صيني في وقتنا الراهن. لا أذكر أمسية شعرية في هونج كونج ، التي أقطنها منذ ستة عشر عاماً ، امتلأت فيها القاعة هكذا ، حتى أماكن الوقوف امتلأت

الشاعر سيد جودة مع شاعر صيني

الامسية الرائعة

بدأت الأمسية في تمام الرابعة عصراً بكلمة للشاعر الصيني "بي داو" عن محمود درويش قال فيها إن يوم الخامس من أكتوبر 2008 ليس يوماً عادياً ، فهناك أكثر من مائة مدينة في أنحاء العالم تحيي ذكرى درويش بقراءة أشعاره بلغات مختلفة ، وقال "بي داو" بأنها ربما تكون أول مرة يحدث هذا في التاريخ. ثم قرأ "بي داو" قصيدة كتبها عام 2002 بعد زيارته لرام الله والتقائه بمحمود درويش ، وتحدث عن مقال كتبه في ذلك الوقت وأثار غضب واعتراض الحكومة الإسرائيلية آنذاك. كانت الفقرة التالية قراءة لقصيدة "أنا من هناك" و أجزاء من قصيدة "لاعب النرد" بإلقاء الشاعرة الأمريكية مادلين ماري سلافيك للنسخة الإنجليزية ، والشاعر الصيني زن داني للنسخة الصينية ، والشاعر المصري سيد جودة للأصل العربي. أعرب الحاضرون عن دهشتهم حين ألقى جودة القصيدتين من الذاكرة دون القراءة من ورقة ، وسألوا الشاعر كيف تسنى له حفظ كل هذا. أجاب جودة بأنه كان يستطيع أن يقرأ من الورقة ولكنه أراد أن يرسل رسالة للحاضرين بأن كلمات محمود درويش ستظل في قلوبنا وسنظل نرددها حتى بعد رحيله!

توالت قراءات الشعراء الصينيين المقيمين في هونج كونج و الزائرين لها من ماكاو و الصين الشعبية خصيصاً لحضور الأمسية. كما شارك في القراءة الشاعر الإنجليزي مارتن ألكسندر بقراءته الترجمة الإنجليزية لقصيدة "إلى أمي". جديرٌ بالذكر أنه تم طباعة كتيب من خمس وثلاثين صفحة قطع متوسط يحتوي على عدد اثنتين وعشرين قصيدة لمحمود درويش مترجمة للغة الصينية وأربع قصائد مترجمة للغة الإنجليزية.
تخلل القراءات عزف على الجيتار من الموسيقار الصيني وانج وانكواي صاحبه غناء وقراءة للفنانة الصينية بريسيلا لونج. كما تحدثت الصحفية الصينية تشيو يونج عن زيارتها لفلسطين عام 2002 ولقائها بمحمود درويش أكثر من مرة وذكرياتها وانطباعها عن الشاعر الكبير. ذكرت تشيويونج أنه سألها ذات مرة عن عبارة "أنا أحبك" باللغة الصينية ، وحين سألته عن السبب قالها لها بكل جدية: "لأننا افتقدنا الحب بيننا ، ويبدو أنه انتهى في لغتنا ، ولهذا فإنه من الجميل أن نسمع هذه العبارة بلغات أخرى لعلها تلهمنا الحب الذي نفتقده"

بعد الأمسية وأثناء حوارهم مع الشاعر جودة أعرب مدراء تحرير المجلات الأدبية الصينية في الصين الشعبية وماكاو وهونج كونج عن عميق إعجابهم بشعر محمود درويش وطلبوا منه أن يتعاون معهم في إعداد ملفات خاصة عن محمود درويش يتضمن ترجمات صينية لأشعاره. هذا وستصدر هذه الملفات الخاصة بكل مجلة على حدة خلال شهري نوفمبر وديسمبر من هذا العام. الشيء الوحيد المخجل في الأمسية هو أنه لم يحضرها عربي واحد من العرب المقيمين في هونج كونج ! ولكن لا عليك يا درويش! فهم إن حضروا فالشرف لهم وليس لك! حتى وإن حضروا فلم يكن هناك مكان لهم ، فالصينيون قد ملأوا الأماكن ، فكان غيابهم جديراً بهم ، أما أنت فكنت حاضراً برغم الغياب وهذا يكفينا! شكراً لهذا الجمهور
.

محمود درويش

كتاب جديد :منير مزيد و عبد الستار الاسدي

عبدالستار الاسدي و منير مزيد في حكايا مدينتين

حكايا مدينتين
د. بشار القيشاوي
راديو رومانيا / القسم العربي

صدرت في العاصمة الرومانية بوخارست مجموعة شعرية للشاعر والمترجم والروائي العربي" منير مزيد " بعنوان " حكايا مدينتين " بثلاث لغات العربية والإنجليزية والرومانية ، والمجموعة عبارة عن قصيدتين : دمشق معلقة الحب ، بوخارست مدينة الشعر الأبدية وقد قامت الشاعرة والناقدة السورية بهيجة مصري إدلبي بكتابة المقدمة للنسخة العربية ، اما البرفسور العراقي عبد الستار الأسدي بكتابة المقدمة للنسخة الإنجليزية والتي جاءت كدراسة نقدية وتحليلية للقصيدتين اما النسخة الرومانية فقد وضع لها مقدمتين ، الأولى للدكتوارة دونا ثيودور ، شاعرة وإعلامية ، والثانية ماريوس كيلارو ، شاعر وباحث ومترجم ، وبنفس الوقت قام بترجمة القصيدتين إلى اللغة الرومانية ..
هناك إستعدادت وتجهيزات كبيرة لإقامة حفل توقيع الكتاب والذي سيكون في قاعة وزارة الثقافة أو قاعة وزارة الخارجية في 21 نوفمبر وفي أول تصريح لـ منير مزيد للإعلام قال : بمثل هذه الاعمال يتم الترجمة الفعلية الحقيقية والتنفيذ العملي للانفتاح على الآخرين وليس مجرد كلام وأحاديث صحفية وإعلامية ومؤتمرات ولقاءات لا تغني ولا تسمن من جوع .
أنا من أوائل المثقفين العرب الذي نادى بضرورة الانفتاح على الآخرين وبضرورة إيجاد وسيلة لفتح باب الحوار وجمع الثقافات المختلفة من أجل التوصل لتفاهم مشترك وبناء صداقات أوثق وأشمل بين الشعوب ، وقد حاولت ترجمة ذلك على أرض الواقع من خلال إقامة مهرجان أوديسا للإبداع الشعري والالتقاء الحضاري إلا أن قوى الظلام والتخلف والعنصرية المتمثلة بعصابة رابطة الكتاب الاردنيين ومن على شاكلتهم سعوا بكل حقدهم الأعمى بالتخطيط بعقلية إجرامية وبالعمل بحملة منظمة لتدمير المهرجان وبعد تلك الجريمة البشعة كان علي البحث عن مكان آخر لأجل مواصلة الحلم والبعد عن تلك الذئاب ..
وفي سؤال آخر حول ما بعد حكايا مدينتين ، قال مزيد : مباشرة وبعد حفل توقيع كتاب حكايا مدينتين ، سوف يتم الاعداد لحفل توقيع ديوان الشاعر الباكستاني سونا الله والذي يشغل منصب سفير الباكستان ، والآن الكتاب تحت الطبع ، وكان لي شرف ترجمة هذا الديوان إلى العربية وسيصدر بثلاث لغات العربية والانجليزية والرومانية اما فيما يتعلق بتاريخ الحفل والاستعدادت فتلك الأمور يمكن مناقشتها مع سعادة السفير..
حين سئل عن أنطولوجيا الشعر الروماني قال : لقد انتهيت منها تماما وهي الآن بين يدي الدكتور العراقي حمد محمود الدُّوخي للمراجعة والتدقيق وكتابة مقدمة لها وبهذه المناسبة أتوجه له بالشكر وبعد عطلة العيد سأقوم بتسليمها للناشر لأجل الطباعة .
اما المفاجئة الكبرى التي بدأ يعد لها شاعرنا الكبير البحث عن ناشر عربي ليتولى نشر انطولوجيا الشعر الصيني وحسب تصريح منير مزيد بأنه اختار 200 قصيدة لترجمتها للعربية وأضاف خلال اسبوعين تكون جاهزة وأنطولوجيا آخرى وهي 1000 قصيدة هايكو من الشعر الياباني..

The Matter of Arab in Chaucer: Arabic Loan Words in Chaucer's Comlpete Works

This book

is a comprehensive study exploring ‘the Matter of Arab in Chaucer’; the ‘Matter’ which is totally neglected by Chaucerian scholars who acknowledged three ‘Matters’ only: that of France, of Rome and of Britain. By ‘the Matter’, it is meant all materials (vocabulary- nouns, verbs…etc, plots, characters, settings, motifs, themes, narrative links and structure and frame-stories) that were directly or indirectly ‘borrowed’ by Chaucer from a main big ‘storehouse’ of a related domain. The study asseverates the unfathomed role of the Medieval Arabs’ advanced learning and life as well as their literary works in making Chaucer; the role that worthes to be handled as a ‘Matter of Arab’. Here lies the significance of this study.

The research in hand traces the Arabic lexicons (or loans) in Chaucer as the first aspect of ‘the Matter of Arab’. Through statistically surveying Chaucer’s Complete Works (55 in number), the research finds out that these loans not only are more than nine hundreds -not 24 as it was believed- and refer to subjects related to Arabs (their religion, celebrities, sciences, life and philosophy) or even unrelated to them, but also extend to include all Chaucer’s oeuvre : the early juvenilia as well as the late works and to be indispensably used as Chaucer’s language treasures. It suggests that these loans could have infiltrated the works via (1) His visit to Spain, (2) his readings in Arabic references in rendition, (3) the spread of the Arabian culture into Europe through the agencies of (a) the medieval furor of Translation, (b) the spread of manuscripts, (c) the influence of Dante, Boccaccio, Aquinas …etc, (d) the role of the Jews in Andalusia as translators, (e) the Arabs’ religious tolerance and (f) the impacts of universities, commerce, pilgrimages and crusades. Hence, Chaucer took a lot of things and above all loans from Arabian sources in rendition that were within his reach as he developed in art and experience. This is why the ‘the Matter of Arab’, as opposed to the three ‘Matters’ is an overall phenomenon in Chaucer’s life and extends to & within other ‘Matters’.

This research is divided into: (I) Preliminaries, (II) The Direct Contact with Arabs, (III) The Indirect Contact with Arabs, (IV) Arabian Culture in the Air and (V) Findings and Conclusions. Also, there are four appendices to enrich the related items.

In order to download the book, please Press CHAUCER

كتاب جديد: الشاعر الانكليزي جفري جوسر واللغة العربية_ المادة العربية عند جوسر

`قامت دار النشر العالمية كلوبيز باصدار كتاب المادة العربية في الاعمال الكاملة للشاعر الانكليزي جيفري جوسر

المادة العربية عند جوسر

هذ`ا الكتاب مشروع بحث مسهب هدفه استغوار ما يسمى ب"المـادة الـعربيـــة" في أعمال جفري جوسر (ت. 1400) , المادة التي أغفلها أو استهان بها جل من تصدى لجوسر من الأوربيين الذين اقروا ثلاث مناهل غرف منها الشاعر , كوّن المنهل الأول "مادة فرنسية" و الثاني "مادة ايطا لية" , و الثالث "مادة انكليزية" .
يقصد ب "المــادة" كل أمر نهله الشاعر من خزانة التراث أو اللغة أو الحيــاة لمجتمع بعينه متخذة بشكل عام مظاهر, منها مظهر (مفردات) وافدة من لغة أخرى جرت على لسان الشاعر جري لغته الأم أو مظهر (حبكا ت) أو (شخصيات) أو (أماكن) أو (أزمان) أو (موتيفات) أو (أفكار) أو (روابط) أو (بنى سرديــــة) من آداب شعوب أخرى يضمنها قـصا ئد ه أو حكاياتــه أو مقالاتـــــه فسعى الفصــل لتطبيق هذا المفهوم مركّزا على المظهر الأول" للمادة العربية" المتجسد في "المفردات المستعارة" منها التي أحصيت في كل أعمال الشاعر و قوبلت معانيها وصرفها وجرسها كما وردت سواء في جوســـــر او في اللغات الأوربية التي استقى الشاعر عبرها المفردة العربية ثم رتبت ترتيبا أبجديا تارة , و زمنيا بحسب ورودها في الأعمال الكاملة تارة , و بحسب المناهل الثلاث تارة أخرى .
لقد خرج الكتاب بنتائج مفادها , أولا: أن عدد المفردات فاق التسعمائة مفردة عربية لموضوعات منه ما له صلـــة بالعرب المسلمين (و دينهم و رجالاتهم و علومهم و فلسفتهم و ثقافتهم و حياتهم و المصطلحات المستخدمة في هذا الشأن أو ذاك) و منه ما ليس له صلة بالعرب , و ثانيا إن المفردات امتدت , بمنحى تصاعدي , من الأعمال المبكرة التي كتبت أيام الصبا و حتى المتأخرة , الشعريــــة و النثريــــة , المطولات و القصار , الأصيلة و المترجمة مما يعني أن "المادة العربية" بمظهرها الأول كمفردات ظاهرة شاملة في جوسر بدأت بمحاولاته الأولى و حتى أروع كتاباته , و تطرق الكتاب في أبوابه الخمس لأسباب هذا الاستخدام بالشرح و التحليل كما تضمن أربعة ملاحق ذات صلة

و لغرض تحميل الكتاب كاملا اضغط على جوسر

مؤسسةالبابطين وانشاء جائزة جديدة للشعر المترجم

السلام عليكم و رحمة الله و بركاته

هذه الرسالة الثانية ادعو فيها القائمين على مؤسسة البابطين الموقرة استحداث جائزة خاصة بالانطولوجيات الشعرية العربية التي تقدم نماذج مختارة من الشعر العربي لشعراء عرب معاصرين الى القراء الاجانب بمعنى ان هناك جهود تبذل من قبل القائمين على اصدار هذه الانطولوجيات من مترجمين اكفاء وناشرين حريصين على ايصال صوت الشاعر العربي المعاصر خاصة الى كل العالم فهناك انطولوجية باللغة الانكليزية لشعراء عرب من كل الاقطار العربية و هناك انطولوجية باللغة الفرنسية و الالمانية و الروسية والرومانية و حتى الصينية اي ان المترجمين القائمين على ترجمة النصوص الشعرية العربية الى هذه اللغات قد ساهموا في نشر الثقافة العربية بل في نشر عصارة الفكر العربي المعاصر و الشعر يمثل لب هذا الفكر و عليه ارجو استحداث جائزة تكريمية خاصة بالانطولوجيات الشعرية اولا لتشجيع هؤلاء و غيرهم على بذل المزيد من الجهود في ترجمة ما لم يترجم و ثانيا ايجاد مؤسسة مرموقة تعنى بتقويم و تكريم و حتى اصدار مثل هذه المجاميع للقراء الاجانب

ارجو دراسة هذا المقترح من قبلكم واننا على استعداد`لتقديم خبرتنا في هذا المجال

وشكرا


عبدالستار عبداللطيف الاسدي
استاذ `الادب الانكليزي
قسم اللغة الانكليزية/كلية التربية

The Cover of the Book

لغرض تحميل النسخة العربية

لغرض تحميل النسخة العربية من كتاب انطولوجيا الشعر العربي الحديث ، يرجى الضغط على الرابط بوابة الشعر العربي المعاصر

To Download the English and the Romanian Versions

In Order to Download the English Version of 'The Gateway to Modern Arabic Poetry', Please Press on THE GATE

In order to Download the Romanian Version of the Gateway to 'Modern Arabic Poetry', Please Press on Maruis

My Appology to Attend the Party

PLEASE SEE THIS LINK: انظر هذا الرابط
http://www.meo.tv/?id=59698

A VIEW TO AUDIENCES

Mr Munir Mezyed and Mr Maruis Chelaru are seen at the fore. الشاعرمنير مزيد والشاعر ماريوس جيلاريو يشاهدان في مقدمة الصورة

PLEASE SEE THIS LINK: انظر الربط التالي
http://www.middle-east-online.com/culture/?id=59961

My Speech at the Launching Party

His High Excellency the Dean of Arab Ambassadors in Romania
His High Excellency the Ambassador of Jordan
His High Excellency the Ambassador of Romania
The Great Poet Mr Munir Mezyed
The Great Poet Mr Marius Chelaru

It is my pleasure and great honor to participate in making this Anthology possible whether through my contribution in writing the Introduction in both Arabic and English, editing 186 poems, translating 15 poems for some Iraqi and Gulf poets or planning its final layout.

It is a great honor. It is a hoped-for wish that is realized thanks to Mr Munir Mezyed.
To be frank, right away from the beginning, I thought, on the one hand, it would be a hard job and great task especially for one living in a war-torn country like Iraq suffering and lacking all life fundamentals. On the other, I was working under the press of time as the whole work should be finished within no more than 20 days …though later on, I asked Mr Munir for two extensions, each time 5 or 6 days.

I planned my time: a time to search in references, books and old journals amid the smells of ashes of burnt books and papers! Amid scenes of the new Tartars everywhere! Of darkness at day! And of innocent blood coldly shed in Basrah. And there was a time for me to go to what was once regarded as a Central Library amid all dangers and risks, the expected and the unexpected, in the way together with 'Checkpoints', here and there, of unidentified gunmen. All alert and ready!

- a time I allotted for writing and a time I specify to read the poems Mr Munir was sending in order to edit, and a time I should have to translate my own selection of some Iraqi and Gulf poets.

I never felt that working in the Anthology was a burden. On the contrary, I realized how great the responsibility Mr Munir honored me to hold and how great trust he put on my shoulders.

I was immersed with joy for nothing but for the mere thinking that a poet of high credit, a brilliant translator, a well-fledged researcher, a first-rate novelist, a noble man and a true friend like Munir Mezyed picked me to be the Editor of the Anthology. This is my honor and reward.

It is natural Ithink for anyone coming closer to Mr Munir Mezyed to love, think very highly and set him the Paragon of the True Arab Man-of-Letters. Mr Munir Mezyed served not only the Arab causes and culture but also strived to reflect the true image of Islam in the West.

I liked him more as a creative poet having words replete of wonder, magic, novelty and vision. When I read his poetry, I listen to his soul; I soar in his dreams; I fly high to his remote paradise; I flow like a wave with him; I shed a tear when he writes an elegy; I sustain my hope in again. I discovered the nobleness of the man; the love he bears in heart to all humanity regardless to race, religion, class or color; I felt his flamboyant zeal to awaken his fellowmen of the joys of a world devoid of pain and hatred, violence and injustice, ignorance and wickedness. I admired a great deal his belief that poetry could change man, improve life on earth and sustain the hope in the days to come.

The design of the Anthology is based on the following views I set and apply in complete cooperation, consult, support and encouragement by the leader of the whole project, Mr Munir Mezyed:

1.Numbering the Poems:

The book comes into three separate parts, each for a language – English, Arabic and Romanian. Poems in each part are numbered. Each poem carries the same number in the three versions. The Idea behind that is to facilitate the job to readers to check or follow or entertain themselves with other versions that go under one title but into another language; so in stead of refering to the 'Contents Page' to look for names or poem, they just search for the wanted number of the poem, not page .

2.Rosary as Model:

The design of the Anthology is modeled on the design of an Arab rosary or beads used by Muslim Arabs when praying.

The one-hundred beads as a whole denote the one-hundred titles of the Creator.

Also, as each 33rd bead in a rosary is considered as a separation or partition threaded in the rosary, it would remind an Arab Muslim in prayer's mode that only one part of one's duty to God has just finished. He must start new 33 series of religious pleas or duties or supplications or Quranic Verses till he finishes only to start again and again and reaches the Great Name of the Creator, No.100. As he completes the first 100 pleas …etc, he may start new 100 times till he reaches the 200. And he may go in counting to 1000. This is done in Al-Qadre (Fate) Night. This is the philosophy behind the design I bear for the book.

Hence, each poem referring to a certain poet would be only another form of the Absolute Voice and Name of Poetry.

3.The Significance of the Blue Font Colour:

Every 33rd poem is written by Mr Munir, the Voice of Absolute Poetry and the Incarnate Theory. It is colored in blue, the colour of Heaven whether in the book or in the Contents Page.

4. The Concept of the Ladder:

The reader of the Anthology will as if ascend step by step the ladder of Absolute Poetry, Munir's Theory (Poetry for Humanity). This is why the Anthology begins in one of Munir and ends in a number of his poems.
The ladder means Mi'rage ( the Ascension) as we say in Arabic. In this Anthology, the Poet, the Absolute Poet will ascend high to Heaven in trip reminiscent of Dante's journey but with a slight difference - the Modern Arab poet goes to Heaven carrying with him all the congregation of the colleague-poets.

5.The Sacredness of Number Seven:

I follow the concept of the sacred Number 7. Arabs as Muslims also look very highly of Number Seven. Hence, in this Anthology, every 7th poem would be dedicated to those poets who belong to "the first or old generation". This is applied mainly in the first 100 poems at the beginning. Here we have sacred names of both poets and poetesses - they are the disciples of the Voice of the Absolute Poetry.

6.The Messages of Love:

The Anthology also includes short messages I asked Mr Munir to provide. They indicate his belief in love, peace and justice. They are "the Hymns", inserted in every 34th blank page. The page will not be numbered. They are eleven in number.


Once again, I thank you and wishing the best to this event.


Mr Abdul-Settar Al-Assady

الكلمة الخاصة بحفل الافتتاح في رومانيا

بسم الله الرحمن الرحيم

سعادة عميد السفراء العرب المحترم
سعادة السفير الاردني المحترم
سعادة السفير الروماني المحترم
الشاعر الكبير منير مزيد المحترم
الشاعر الكبير ماريوس جيلارو المحترم
ايها الحفل الكريم و الضيوف الاعزاء

بداية اعرب عن أسفي البالغ و أعتذاري الشديد عن عدم مشاركتي في هذا المحفل المبارك لظروف قاهرة و رغم كافة التسهيلات التي قدّمها لي سعادة السفير العراقي الاستاذ عادل مراد و استعداده لاستضافتي هنا و اتخاذه اجراءات الحصول على التاشيرة و ما الى ذلك و على نفقته لم اتمكن من الحضور .. فله مني كل التقدير و العرفان و المحبة و الشكر
يشرفني و يسعدني ان اسهم في هذا الاصدار الثقافي العربي , الذي لا نضير له , كتابة او تنقيحا او ترجمة ... و هل بعد هذا شرف و هل بعد هذا تكريم و تشريف و امنية

و رغم ما فيه من جهد كبير و مشقة تراني وزّعته بين الاعداد للمقدمة وما يقال و ما لا يقال و الى من يقال فالامر ليس يسيرا و الوقت قصير و انا كنت اطلب التمديد و التمديد فما هي الآ عشرين يوما منحنياها الاخ منير لانجاز العمل فما أصنع بها ...و بين البحث في المصادر و بين المراجع و الطريق طويل و الجامعة مرصودة ونقاط التفتيش هنا وهناك والكهرباء مقطوعة و الزاد قليل و الدم البريء زهيد ...و... و الكتب تشم منها رائحة الحريق والرماد والبارود و التتار الجديد .... وبين التنقيح لمائة و ست ثمانين قصيدة عليّ دراستها بيتا بيتا و في اللغتين العربية و الانكليزية .... كيف وقد اوكلت أليّ هذه المسوؤلية الكبيرة و منحت هذه الثقة كلها .... بل هناك جهد آخر علي انجازه...انصراف لترجمة قصائد جديدة لشعراء من العراق اتفقت مع الاخ الشاعر منير على اضافتهم للانطولوجيا وهم من اجيال مختلفة و تجارب شتى .... اقول ( مع كل العناءالذي لا اتحدث عنه) فقد غمرني هذا شعور بالفرح اولا لان شاعرا مبدعا و شخصا نبيلا مثل الشاعر و المترجم و الباحث و الكاتب و الروائي و الانسان النبيل و الصديق الصدوق .... كل هؤلاء هم الاخ منير مزيد لكتابة المقدمة .... و هل بعد هذا تكريم ؟

ربما ان الكثر من يعرفون الاخ منير عن قرب معذورون لانهم يحبونه و يجّلــونه و يتخذونه امثولة يحتذى للمثقف العربي الجاد في خدمة الثقافة العربية و خدمة تراث الامة و السعي لعكس صورتها الحقيقية و صورة الاسلام الحقيقي بعد ان ناله التشويه ما ناله ....انا احببته اكثر بصفته شاعرا بارعا و ساحر كلمات لا يضاهيه احد .... قد انبهرت به حتى قبل ان ابدا اراسله و دخلت مواقعه على النت و قرات له القصائد و الاخبار و عرفت و عرفت و عرفت ....عرفته من خلال الحروف التي يكتبها ومن خلال جرس ا لكلمات التي اسمع فيها صوت احلامه و اصغي لهمس الروح و ابكي لمرثية كتبها و احلق في الافاق هناك في فردوسه المفقــــــــــــــــــود ... بل اني اكتشفت نبلا ساميا فيه : الانسان , فهو يحترم الرأي الاخر و يصغي له و يحاوره , متواضع على عضمته بل اجمل ما فيه هو هذا الصدق الذي يحمله وقد فقدناه و هذا الوفاء و قد غادرناه و هذا الحب للبشرية , كل البشرية , الذي يملؤ الفؤاد وهذا الحماس المتقد لاستنهاض الهمم و ا ذ كاء شعلة النهضة المرتقبة لامة العرب و تلك الشجاعة في قول الحق , فهو لا يها ب في الحق لومة لائم ..و قد جربتموه و عرفتموه افضل مني ...أ ليس هو صديقي الذي لم اره و لم التقيــــه ....و لكن الى حيــــن و قل اعملوا

و قد اعتمد المخطط النهائي للانطولوجيا على المنطلقات التالية

اولا- ترقيم القصائد
فالقصيدة في لغة المصدر تحمل الرقم ذاته في الترجمتين الانكليزية و الرومانية تسهيلا على القارئ المتابع مهمة البحث

ثانيا- اعتماد بنية خاصة في ترتيب القصائد ، بنية أستمدت من تشكيل المسبحة العربية المعروفة و التي نستخدمها في الصلاة و التسبيح و ما الى ذلك ، و على هذا الاساس اولت الانطولوجيا عناية خاصة بترتيب قصائد الشاعر منير مزيد بصفته رائد المشروع و صاحب فكرته و المترجم الاوفر حظا في الاضطلاع بالترجمة تقريبا و لهذا تبوأت قصائده الارقام (33) و(66) و(99) و(100) ثم تكررت في المئة الثانية و القارئ يسير وكانه يسبّح وصولا لصوت الشعر المطلق الذي يمثله الشاعر الحق و ضميره

ثالثا- استخدام اللون الازرق
حرصت الانطولوجيا على ظهور قصائد الشاعر منير مزيد باللون الازرق الفاتح لما له من دلالة عميقة فهو لون السماء الصافية و لون الرسالة السمحاء التي يبشر الشاعر بها

رابعا- مفهوم السّلم السماوي او العروج نحو السماء

ان القارئ يخطو اولى خطواته في الانطولوجيا بارتقاء الدرجة الاولى في سلّم الشعر ان القراءة ستغدو مشاركة الشاعر و برفقته في عروجه الى رحاب فردوسه الحالم المنشود في رحلة تذكرنا برحلة دانتي ... و لهذا استهلت الانطولوجيا بقصيدة للشاعر منير مزيد و انتهت به و هذا تسجيل للعرفان لهذا الشاعر فلولاه ما بدات الرحلة اساسا

خامسا-قدسية الرقم سبعة
كرّس تصميم الانطولوجيا عناية خاصة لرواد حركة الشعر الحر و احتفت بهم حفاوة هي اقرب للتقديس عندما خصصت القصائد برقم (7) و(14) و (21) و ...الخ من مضاعفات رقم (7) لشعر الروّاد و لولا جهودهم ما وصل هذا الشعر لنا بهذا العنفوان

سادسا- استخدام الترانيم
و هي رسائل نثرية قصيرة مفعمة دلالة و ايحاء و مغزى جرت مجرى المثل باسلوبها السلس الموجز و العميق و هي من نتاج عبقرية الشاعر منير مزيد ، و هي تحمل روحه وضميره و رؤاه و قد بثت بعد كل اختتام ل (33) قصيدة او حبة تسبيح ، و هي تأتي لتذّكرنا بالهم الانساني الذي يحمله الشاعر الحق و بالكلمة الصادقة التي يسعى لنشرها بين البشر ، منير مزيد

و تقبلـــــوا احـبـائي كل تقدير و ود ومحبة

اخوكم

عبد الستارعبد اللطيف الاسدي

My Introduction to "The Gate to Modern Arab Poetry" Published by Artgate Agency, Romania

My Introduction to "The Gate to Modern Arab Poetry" Published by Artgate Agency, Romania in Collaboration with the Great Arab Poet, Novelist and Critic Mr Munir Mezyed and The Great Romanian Poet Mr Marius Chelaru

A Foreword

This book is an anthology of Arabic Free Verse incorporating new selections of Arab poets of different generations and experiences, environments and countries. The poets are more than 180 in number all in all, each with one poem with exception of one or two to make the number of the poem reach 180 only. Some of the poets of the Anthology are of a very high credit whose oeuvre have been in circulation in languages other than Arabic, the Original. Some other poets, whom the readers of the world at large have no access to , for no reason but that of the language barrier, are very well read, appreciated and taken by their homeland readers and audiences. They are represented here regardless to what-not differences and contradictions, irrelevances and inconsistencies among Arabs; such differences and contradictions do extend to nearly many aspects but, fortunately enough not to the significance or the role of poetry. This is because Arabs, all Arabs, while they don't agree on anything else, as they do agree on one fact: they read poetry, they listen to poetry and they love poetry. However, these disagreements have an unlimited number of poets' voices gagged, curbed and neglected for multifarious reasons above which is the 'level line' of free expression that fluctuates, never up , but always down, ebbing and only not to flow once more, here and there! In this Anthology, those unlimited have got a voice, one poem each.

The idea behind making out the whole Anthology as well as planning for the project and right away from its early stages to the collecting of the material in its source language and contacting Mr Marius Chelaru , the Romanian Translator, and giving me the honour of participating in this honorable feat that serves to boost this dialogue among peoples despite their differences in languages, religions etc…are mainly the responsibility and contribution and initiative of the hard-working man and brilliant poet Mr Munir Mezyed. However, it is left for the other English-Arabic translators mentioned below to choose the poems they like to have here included.

This Anthology does not follow a chronological way in classifying poets into generations, as it is patterned in almost all anthologies of poetry. Neither does it categorize the poets in any form nor are their poems arranged alphabetically or thematically or even according to their related IDs (of countries) although we discussed this matter at the very beginning a lot. The poet Mr Munir Mezyed attempts to keep the poems as they are in the same order he chooses. I felt that he may aim at tracing the way he feels first about them, at documenting and recording his feelings and choices the way he finds these voices, all voices with no exception expressing him via their own. The Anthology, then it seems, follows a psychic method, the psyche of a poet when he loves, when he yearns for his lost paradise, when he rebels and smashes all taboos, when he weeps, sings or when he is religious or irreligious, a man in want of a loving woman's lap, a woman wanting man to share the cup of ecstasy, when feels the world as a tree or a wave or dewdrop or a poem neighing like a horse or words flying like pigeons or flocks of sheep fleeing away once he utters them, when he starts with Iraq and ends in craving for Phalestine. This is an orchestra mastered by a poet with a magic wand in hand. He is the Yanni of the Modern Arab poetry. This is where this Anthology differs from other editions. It is the first of its kind!

This Anthology is issued in a trilingual edition – Arabic, Romanian and English set together under one cover. The Arabic text is, of course, the source language. The Romanian translations of the poems are done via English by the Romanian Poet, Critic and Translator Mr Marius Chelaru, poem by poem , verse by verse, image by image. Here, in this step, in particular and in order to keep the sense and spirit of the poems translated indirectly to another language via not that of the source, Mr Munir works, side by side, with Mr. Marius in the Romanian Version as he reads every poem Mr Maruis translates to make sure the Romanian version gets the exact meaning and keeps the artistic image and soul. The English has been the work, if none referred to otherwise, of the Arab Poet, Novelist, Researcher and Translator, Mr Munir Mezyed. Moreover, there are other contributors as translators via the source language, Arabic into English. They are in an alphabetical order: Mrs. Betoul Ahmed, Eman Ahmed, Mr Hassan Hegazi, Mr Sami Khamu, Mrs Khulud Al-Mutaliby, Mr Samir Al-Shanawy in addition to the Editor, Prof. Al-Assady, who also shared in translating a number of poems. All names are from WATA.

Since the Anthology is trilingual, it is printed though under one cover but in three separate parts; each part for a language. Each part includes the same number of poems the other two parts carry. Poems in each are numbered. Each poem carries the same number in the three versions. The Idea behind that is to facilitate things to readers who want to check or follow or entertain themselves with poems of other versions; so instead of making them go to the index or the contents page to look for names or poems' titles , we may make things easy, i.e, just to look for numbers of the poems , not pages .

The Anthology offers this great number of Verse selections only as specimens of the Arab Free Verse Movement, the Movement which in 1947 radicalized the elements of the Arabic Qasida, smashed the rules of the Classical prosody that enchained poets more than one thousand years ago, and initiated a new track in Arab literature. Hence, it is quite proper to allude to the features of the Arab Ancient poetry, the significance of poetry in a Nomadic society and the status of the Ancient poet among his tribesmen as well as the etymology of the word 'Shi'ir' before we deal with the movement itself. And these items are the mainstreams of Introduction below.



Prof. Abdul-Settar Abdul-Latif Al-Assady
Dept of English/ College of Education
University of Basarah/Iraq
Email:ibnassad2005@yahoo.com





The Introduction
By

Prof. Abdul-Settar Al-Assady


1. Poetry: The Etym of the Word

In English as well as in some European languages, the word 'Poetry ' is taken from the Greek 'Poetica' which is derived from the verb 'poiein' that means 'to make'.

In Arabic, the word 'Shi'ir' means 'to feel' and 'to express feeling' .It dates back to 'Shiru', a word of Akkadian origin. The Akkadian is a very akin language, if not an ancestor, to Arabic in all language levels: syntax, morphology, phonology and semantics as a great number of archaeological researches showed. 'Shiru', as specialists of old languages of Mesopotamia said, has a double meaning. It stands for two verbs, the first is 'surakhu' (to mean 'weep), and now in Arabic 'sarakha', i.e., cry and weep- it bears the same meaning though with a very slight variation in pronunciation. The second is 'zammaru' (to mean 'sing'), now in Arabic 'zammara', i.e, sing using flute.It bears nearly the same sense and a slight variation in pronunciation. Moreover, the Akkadian word 'Shiru' itself had come, with the same pronunciation bearing the sense of ' a song or a sad song', as a loan word into the Akkadian language from the Sumerians, the most ancient people of the world , and the early natives of Mesopotamia, now Iraq. Hence, the word 'Shiru' avails in almost all the languages termed as Semitic languages: Arabic, Hebrew, Aramaic and Phoenician. Now, in Hebrew for instance, 'Shir Hishreem' means the 'the song of songs'.

According to historical evidences based on excavated tablets taken from Ur site at the South of Iraq, it is known that the Sumerians used to sing their lyrics that expressed mirth, suffering or dejection, in all religious rituals ( that of fertility and rebirth), coronation festivals and feasts of the sacred marriage about 3000 B.C.. Archaeologists in Mesopotamia could excavate ancient tablets written in the Cuneiform inscription, the most ancient language of the world, portraying the rituals of the sacred marriage as performed by Shu-Sin (3030-3038 B.C), the Fourth Ancient Sumerian King of the Third Dynasty of Ur as the god of fertility together with a Sacred Temple Woman representing the goddess of fertility. At the Wedding Night, the Woman of the Temple cited and sang a happy 'shiru' as the rituals were in process. Below is one of the ritual poems ever reached us:

Oh, Bridegroom. So dear to my heart
How exciting your making-love is.
Your charm has captured me! I only stand to tremble before you.
Oh bridegroom. I wish you take me to my Boudoir
Oh, Bridegroom. Let me kiss you.
My kiss is sweeter than honey!
In the Boudoir, full of honey
Let me enjoy your nice beauty!

Hence, the word 'Shi'ir' as it is used in Arabic is rendered the most ancient word history of mankind ever recorded. It has kept its sense and form despite the progress mankind witnessed.
It even is more ancient than the word 'poetica' which is related to 'making' while the Arabic word is related to' feeling'. What a difference!

2. Characteristics of the Arab Columnar Poetry

The Classical Arab Poetry is dubbed with two different terms. Either it is called 'the Ancient Poetry' . This is because it dated back to a period of time as ancient as the Jahilayah Epoch, i.e., nearly 200 years before the birth of Prophet Mohammad (PUH) at 570 A.D. Or it may be called 'the Columnar Poetry' after the 16-metre form of prosody it follows in writing: this form Ancient Nomad Arabs who toured the saharas of Arabia carrying their tents, flocks of camels and woman and children, using a figurative language, was considered as the pillar or the column they employed or put into use when setting up the bases of their tents. They started with the Main pillar or Column; hence came the appellation or the title of Arab poetry as Columnar. The concept of the Column signifies the important role both poetry and its columnar form itself played in their desert habitat in Arabia. Sometimes, the columnar form is named 'Al-Khalili Column' after the name of Ahmed Ibn Al-Khalil Al-Farahidy, the first Arab grammarian, lexicographer and inventor of the Prosody Rules in the way they have been in use up to the initiation of the Free Verse Movement, the mainstream of this Anthology, in 1947.
Accordingly, each metre gets a number of feet the stem of which is based on two sounds – a sound with a diacritic and a sound without. The two would form a dual sound pattern that could be joined into different relations from two to six; each a new relation is considered a foot. The Arabic prosody has neither been related to stressed syllables nor to unstressed ones as it is the case for instance in English prosody.
Among other features that complicated the matter a little bit for Arab poets is that a final sound should rhyme the whole poem regardless to how long it might be in terms of the number of its lines. This is called 'Rawy letter'. Moreover, an Arabic verse line contains two sub-lines that are separated by ' caesura ', the first sub-line is 'Shatre'(i.e. division) and the second ' Ajiz' (i.e. Back) . The two subs may or may not form one meaningful unit. The two could be totally independent; hence the impression it leaves that the Arabic Classical poetry is disconnected lacking unity …etc. This is true to a great extent. This is why poets in the various epochs of the history of Arab literature exerted a lot to abide by these rather very strict rules. However, it takes time to jettison them away thanks to the Free Verse Movement in question.




3. The Status of the Poet among his Tribesmen

As Arabs were a nation in the becoming, the 'tribe' as an institution was still the nucleus around which Arabs' life and society pivoted. The tribal relations, norms and visions governed every aspect in Arabia. There were wars, conflicts and raids and forays here and there among all tribes. The reasons and excuses differ but the cruelty of nature and the scarcity of water and other requisites of life in such arid habitat like Arabia together with different tribal idiosyncrasies to control scant numbers of wells of water and main trade routs were among the causes of such belligerent nature of the Nomads. Tribes reared their male children on values of horsemanship and cruelty; revenge, self-pride connected to tribe-pride and honor; on principles of defending the oppressed tribesmen and refusing injustice or harm inflicting the tribe and taking part into the tribe's raids, wars and conquers in right and in wrong, though all the time in the wrong.

Poets were born amid these tribal values and impacts and visions .And their poems were the vehicles for Arabs to spread the tribal doctrines from one generation to another. Poets were considered as the defenders of the tribe at the time of war, preachers at time of peace, verse orators to instill the magic eloquence of their language into the younger breeds, chroniclers who recorded their history though orally and even the sacred temple men as ancient Arab Nomads believed that every poet got one genii or 'a Follower' coming daily to inspire him with verse, adage and wise sayings. Thus, poets were sought for, bestowed with all kinds of hospitality, generosity by their chiefs. They were the symbols of tribe-learning, and -dignity and history as well.

At certain times in Ancient Arabia, there were literary markets and poetry forums held so that poets of different tribes came to initiate flyting. Also, there were big tents set up for big poets (as Al-Thibyanni) to put their poetry to his criticism. The best poems hence were celebrated and inscribed on posters and hung on the walls of the Ka'aba especially at the annual rendezvous of the Arabs. They called these poems 'Mu'allaqat' meaning 'hanging verses'. Such display on the walls of the Ka'aba was the reward for the poets.

When Islam was revealed, it respected poets on new bases – their obeyance of the Islamic doctrines of good faith, of call for virtue, love and peace, of defending woman's rights, of abandoning vendetta, profanity and vice. Prophet Mohammad considered poetry ' the wisdom by instinct…and Arabs can stop saying poetry only if camels stop craving', while 'A'isha, his younger spouse rendered poetry 'the water for children's arid souls'. Omar, the 2nd Caliphate enjoyed himself by reciting Al-Asha's long poems; Ibn Maso'od, the Prophet's Disciple, considered poetry as 'the discharge emitted for one wounded in chest!'. There are so many sayings and examples in this respect, all enhance the role of poetry in the life of Arabs. Poetry, when Arab civilization came to its ascendancy at Abbasid Caliphate, was used in jotting down Arab scientists' discoveries, inventions, theses and books. It is there in books of grammar, chemistry, philosophy, medicine, astronomy …etc. Many verses are put into the warp and weft of the Arabian Nights, the Epistle of Love by Ibn Sinna (Aviccena), of Ibn Hazim's Ring of the Dove…etc. It is through such books that Arab classical poetry moved to Europe when great Arab masterpieces in different fields of learning were translated at medieval ages to Latin, Spanish, French …etc. In addition, direct and indirect contact with Arabs in Al-Andalusia, Sicily, Malta, and Cyprus as there were centres of translation, played a great role in triggering new movements in medieval literature, in general and in poetry in particular. Troubadours for instance were influenced by Muwashahat and Ghazel. And Dante learnt to write his first sonnets via following the Ghazel examples. There are many other European poets who were affected by one way or another by the Arabic Classical poetry.


4. Arabic Free Verse

When the Arabic Free Verse began or who was the pioneering poet of the Free Verse Movement is still a disputable matter. Some said it was initiated by Nazik al-Mala'ika in 1947 when she wrote ' Cholera', as the first poem in free verse: the new way of writing poetry in Arabic literature that changed the course of modern Arabic poetry in years to come and radicalized all the ingredients of the Arabic poem. Some said it was Badr Shakir al-Sayyab when he published 'Was It Love?' the same year. In addition, there were poets who soon followed in track from all over the Arab countries, now considered as the first generation of the Free Verse Poets: from Iraq (Al-Baiyaty, Al-Braikan, Buland Al-Haidery), from Egypt ( Salah Abdul-Saboor, Ahmed Mu'ty Hijazi ), from Lebanon (Khalil Hawy, Yosif Al-Khal), from Syria (Nazar Qabani, Adonees), from Palestine ( Fadwa Toqan, Salma Al-Juwaisy) , from Sudan ) Mohammad Al-Faitoory) and others. The Anthology has included some works of Al-Braikan and Qabani while it focuses on the generations that came later.

It has been taken for granted that the Free Verse Movement was triggered in this part of the world because of multifarious factors – internal and external. The internal ones are related not only to the intrinsic shackles the Columnar poetry impose on poets but also to some objective factors having a lot to do with the vehement upheavals overwhelming the political, social and cultural premises everywhere in the Arab Homeland at the forties of the 20th century. There was prevalent a sense of the necessity for change. Backwardness, illiteracy, poverty and ignorance were rife. Poets, the sensitive minds felt it was their tasks to ignite change in one domain that was rendered a taboo – the Columnar Poetry. The external factors included the contact, direct or indirect, with the poetic experiences in the civilized world. All the pioneering names of the Arab Free Verse Movement were in touch with or influenced by English, American and French poets, the Symbolists Baudelaire, Lafourge, Rimbau, Valery, Mallarme, the Dadist Briton …etc, the Modernists Eliot, Pound, Emy Lowell, W.C.Williams, Edith Sitwell, Ted Hughes…etc; the Confessionist Robert Lowell, Allen Ginsberg , and Walt Whitman and Emily Dickison… etc. The experiences of all these great poets were at hand to Arab Free Verse Poets who were either specialized in English or Arabic or they completed their degree studies in European universities.

The new movement smashed the Columnar Verse though not in all its features. Old prosody was no longer followed as a new one was initiated free from the shackles of the final rhyme sound, the number of feet in the verse line, the unified metre of the whole poem and the division of the lines – no caesura any more ; no longer the line is divided into two sub-lines. The new movement furnitures the Arab Modern poet with new tools to express himself, the tools may extend to incorporate all mankind's mind product within, from the use of myths to philosophy, from the east to the west. The Free Verse poet is free to employ what imagery, style, vocabulary, meter, foot, form, content, rhythm… etc he likes, prefers and goes congruous with the line of his thought, mood, background and mastery of the art itself as craft and devices. Moreover, the movement enables the poet for the first time to utilize what semiotic signs and topology could offer the poet with – silence enters as a device; blank space becomes meaningful; all irregularities, inconsistencies, irrelevances sound regular, consistent and relevant. The Free Verse movement works with a poet who is no longer obstructed to a constricted sense of the tribe, country, race, religion, society, mentality and prejudices the Classical poet was enchained with since the modern Arab poet adopting this movement now comes to belong to a new world; he has become consciously or unconsciously a cosmopolitan citizen even before the advent of this debatable 'globalization'. However, the freedom he cherishes does not mean that he gives no heed to discontents, whatsoever, his kinsmen suffer nor he turns his face to their moments of relaxation. He, as compared to the Ancient Columnar poet, is more well-versed and involved in the matters of the world, the whole world if not the universe, whether at the moment or thousands years before! Still, there is a slight difference between the two, a gap that cannot be abridged, i.e., the Ancient Arab poet was celebrated and sought for whether by his tribesmen or by the chiefs of all Arab tribes in Arabia two thousands years. The contemporary poet suffers a lot. He suffers his loneliness and alienation. He is exiled reluctantly whether he chooses to live within the political borders or out. He is gagged if not silenced and traced though he cherishes absolute freedom in the domain of his rhymes but never outside!

In this Anthology, the themes dealt with are as multifarious as the poets' experiences, backgrounds or IDs are. One may move from chanting to one's Land (as in Maha Al-Khatib's Only to You) to expressing existential loss of man ( as in Al-Braikan's the Manner of Sand); from a manifesto-like declaration of why a poet ever writes (as in Sulaf Abbas's I Write) to declaring death-in-life in a form of an elegy to Father (as in Fatima Al-Hamzawi's The Female{Infant}, Buried Alive); from the Gothic fears of Loneliness (as in Hassan Khashab's A Call for Return) to a metaphysical trepidation of the hurrying time (as in Mohammad Al-Laghafi's Not in Our Capability); from expressing mutiny against ideological Authorities ( as in Mostafa Morad's Allah) to saying farewell to rocks (as Ziad Al-Saudi's All This and More); to craving for the King of Romance (as in Miner Mezyed's Abdel Halim Hafez); to 'Praying to the Sea' ( by Hassan Assi El-Sheikh). However, a casual eye may trace common motifs recurrent in lines, images and stanzas, keeping popping up here and there as one goes on reading, though the manipulations or perspectives differ, of course, in their particularities, from one poet to another. And this is natural. Such motifs could be of Love, of Death, of being forlorn, of being fraught with certain unknown dismays. Yet, Love prevails: the love of man to woman, of woman to man, of man to mankind, of peace and of saying no to shredding more of blood, of saying no to absurdities of War:

I will sort out my dreams
And my only shoe
Once besmirched with war-and –peace Chronicles
…….
As I possess nil from the war
Except dust of fake triumphs
(From I'll Get my Bags Ready to Travel, Mohmood Sulaiman)

Accordingly imagery differs. The differences may reveal the Arab poets' Shamanism of their domains. The Arab Free Verse poets as represented here in this Anthology have shunned off all taboos in setting up undreamt-off relationships among vocabulary in Arabic, found similarities and even absurdities, within dissimilarities or impossible things, blended various vistas in moulding their images. Hence, there are medleys of all sorts of images: the Symbolist and Surrealist, the Gothic and Metaphysical and Realist.

Despite the high mastery of the translators having worked in this Anthology, the translation of the poems has been done not without difficulties. Some of them are related to the source language: in an attribution of, say, a singular 1st speaker pronoun to a vague antecedent; in the absence of diacritic of certain Arabic words that may be problematic and disputable and confusing without, that may have more than one meaning, all possible!; sometimes, the difficulties are in Arabic words that have no English equivalents – things related to cultural context and even if there such equivalents, they wouldn't have nor bear the same connotations in the target language, for instance words such as ( نذ ر , أ مانة , السمك المسكوف , ابو نؤاس ). Sometimes, the difficulties are met in words that convey condensed images – that should be de-condensed into their threads – thread by thread, while translating words such as ( أناخ , هودج ) . Sometimes, the difficulty is deliberately worked upon by the poets themselves as they avail of not only ambiguities of syntax that are easily offered in the source language but also of opacity or obscurity of ideas…Again and again, the structure of a poem in Arabic may dwell upon repetitions of some words that have the same spellings and stems and seemingly look the same ; yet they bear different meanings each time they occur, for instance ( وً رً دً , وً رْ دٌُ , وِ رِ د ُُ , وُ رُ ود , أ ورٍد ة ) . By all means, all the translators have done all their utmost and passed what-not hurdles rather with remarkable success so that they convey a readable text in the target language.

Now to Poems!

The Etymology of the Arabic Word "Shi'ir"

Poetry: The Etym of the Word

In English as well as in some European languages, the word 'Poetry ' is taken from the Greek 'Poetica' which is derived from the verb 'poiein' that means 'to make'.

In Arabic, the word 'Shi'ir' means 'to feel' and 'to express feeling' .It dates back to 'Shiru', a word of Akkadian origin. The Akkadian is a very akin language, if not an ancestor, to Arabic in all language levels: syntax, morphology, phonology and semantics as a great number of archaeological researches showed. 'Shiru', as specialists of old languages of Mesopotamia said, has a double meaning. It stands for two verbs, the first is 'surakhu' (to mean 'weep), and now in Arabic 'sarakha', i.e., cry and weep- it bears the same meaning though with a very slight variation in pronunciation. The second is 'zammaru' (to mean 'sing'), now in Arabic 'zammara', i.e, sing using flute.It bears nearly the same sense and a slight variation in pronunciation. Moreover, the Akkadian word 'Shiru' itself had come, with the same pronunciation bearing the sense of ' a song or a sad song', as a loan word into the Akkadian language from the Sumerians, the most ancient people of the world , and the early natives of Mesopotamia, now Iraq. Hence, the word 'Shiru' avails in almost all the languages termed as Semitic languages: Arabic, Hebrew, Aramaic and Phoenician. Now, in Hebrew for instance, 'Shir Hishreem' means the 'the song of songs'.

According to historical evidences based on excavated tablets taken from Ur site at the South of Iraq, it is known that the Sumerians used to sing their lyrics that expressed mirth, suffering or dejection, in all religious rituals ( that of fertility and rebirth), coronation festivals and feasts of the sacred marriage about 3000 B.C.. Archaeologists in Mesopotamia could excavate ancient tablets written in the Cuneiform inscription, the most ancient language of the world, portraying the rituals of the sacred marriage as performed by Shu-Sin (3030-3038 B.C), the Fourth Ancient Sumerian King of the Third Dynasty of Ur as the god of fertility together with a Sacred Temple Woman representing the goddess of fertility. At the Wedding Night, the Woman of the Temple cited and sang a happy 'shiru' as the rituals were in process. Below is one of the ritual poems ever reached us:

Oh, Bridegroom. So dear to my heart
How exciting your making-love is.
Your charm has captured me! I only stand to tremble before you.
Oh bridegroom. I wish you take me to my Boudoir
Oh, Bridegroom. Let me kiss you.
My kiss is sweeter than honey!
In the Boudoir, full of honey
Let me enjoy your nice beauty!

Hence, the word 'Shi'ir' as it is used in Arabic is rendered the most ancient word history of mankind ever recorded. It has kept its sense and form despite the progress mankind witnessed.
It even is more ancient than the word 'poetica' which is related to 'making' while the Arabic word is related to' feeling'. What a difference!

A New Translation of Basim Furat's Poem "When Basim Furat Draws Baghdad "

Whe Basim Furat Draws Baghdad


By Basim Furat / Iraq / Hiroshima
Translated by Abdul-Settar Abdul-Latif/ Iraq

(I)
Me the Ordain, the Will, the Be
Me spilling the Dawn, feeling for a night sunk in its blindness
Me inscribing the Southern Peoples’ chronicles on my mother’s ’abaa!
Dusting away- no avail, the age palls: her braids that are falling
Cemeteries of years stretching on the asphalt of a memory scarred by wars
Us the lives enwrapped by mourning
Barrenness breathe I
In it to pinch a hole I try
No avail,
I find me but a defeat blazing
All I overlook
Riding on the horizons’ saddle
All beneath me
Beyond words, margins more and more gazing
Banners all about Jawad Seleem enquiring
While Time embroidering an exile for date-palms’ ’abaas
Buttoning it, I read:
Childhood enquiries unceasing – branches of no end
Enquiries parasiting on the days’ lichens
Evening initiating itself whenever the sun slides down
Off the womb of a carbuncle
Waiting
Be it an adage bridging within me certainty
To the amazement of the Cloud, the Virgin!
Age, mine age, writhes on paper
Or
Struts off – how arrogant! – under the planes, the bleeds!
Oh, corpse, mine corpse, an addict on bomb shells
Sips a stash – the Coffee: the Exile!
This me, no mirth,
No glories
Down
Let
Me
Mine dreams!
At the nadir of the abyss, forlorn!
A requiem bereaves mine calamity
Oh Corpse, a wreckage guiding me!
Tracing the Childhood steps
Darning all hopes
Pounded by vehicles armoured!
Dribbling out of mine pockets
The Demonstrations of fear I see
So is the sea
In solitude,
Launching
Assigning his alienation only
On the like of me.
None chants in my throat
I stole the Oblivion memory
Tried I though thousands a time to hide the Euphrates
It I hugged instead
The buzz of canons
Out of mine shirt
Oozed
I drew a clear sky only to pass through
The rockets blotted it out.

(II)

I drew a brook and voiced:
This is Al-Hussainyah River
That was peeped by airports
I drew a minaret and a date-palm
They detained me - though not alone,
With a mirror I carried!
Days handed me slaps
Whenever I cried:
“Father, O Father!
Do you whenever I into your death plunge
Heap dust on my dreams?”

(III)

I the shyness of the violet injure not
Despite its hush’s involvement with the dew’s wed
When I place Time glasses on the wishes’ wideness
Silence at once
Sips me out of valediction fragments
Lest I awake Jasmine,
I let my hand march in slow
Over his bulk!
My rags at the planes mock
All mere a mirage
Saving the house threshold
The window again and again
A map weeding Waiting off its wings
Wiping away what Fantasy aligns in mind!
Me in a nod ordained:
“Ward my shadows off
Temerarious steps”
Wilderness tosses blows
With me
The seasons lift up the rims of their dresses
To let the South pass
Sorrow itself unbuttons our collapses
In joy
Any way to rob Mirth out of the debris left?
Would I shot fire at mine female-witness?
Insipid the warmness of your hand!
Insipid when your wrists stripped off the songs!
Shot fire at mine female-witness!
Stars into fish laps yawn
And signal to me.
With one hand,
I amend mine heart
With the other,
Trying hard let not the rose
Rave
Trying hard let not the balconies
Sink
Into mires
Brimful of the Firmament!
The sea
To me clings
As he lags behind my innocence!
Time edge climbed by suspicions
Shores of the Word rimmed by heaps of letters
The Me lets you hearken mine Ode,
You but mine boiling – burning!
The Me to your threshold conducts rain,
Me the rain-leader!
Yet its fingertips just on my forehead
Slip.
The Me lets loose mine sleeplessness
For the gardens
Being in front of a furnace of butterflies
And away from mine ruin
Incarnate to the rose and nightingales
On mine papers such dreams wake up
As I unearthed a ditch amidst lights,
Mine shadows would denude
As the sin neighing no longer
Converted women to mine Inferno
I buried winds over the gods’ graves
I smash Evenings’ wail on windows
Bearing no sign
But of mine
No bowing
To a woman-mourner’s nakedness
To the collapses’ uproaring!

(IV)

Could I ever offer to date,
To host the friends
With no that fanfare, the Wine-mates’?
With no that pomp, the Angels’?
With no dew, the red dew
As moistening the exile’s stink?
Is it quite real?
All these thirty compasses missed Me?
Only
Oh, that one lagged in getting out of mine memory
That Passport Officer, oh!
Suffice it
Only
To empower myself to fission inside the language labyrinths
The sea to mine bed takes refuge,
So does the desert.
And in dreams,
One by one, suspects sink
And the borders,
Due to their vast narrowness,
Becomes thirsty.
Bleeding are mine hands with ice
That stammers
As fog peels mine lungs.
Reeds waken up at the Oblivion boundaries
Feel as burden mashhoofs’ songs.
Should I summon up mine thirty years
Only to shield off
The daffodils’ stature?
More and more to astonishment
In front of the text, the Traps
More and more to astonishment
In front of drunkards’ elegies
As the twilight marks out!
You
Pull my legs
Only to observe the date-palms’ forlornness
Only to sip to the lees
From a cup
Whereby are thronged our mirrors!

أرسمُ بَغْداد



ما شئتُ شئت
أسكب الفجرَ في تلمّس ليلٍ غارقٍ بعماه
أكتب تاريخَ جنوبيين فوق عباءة أمي
وعَبَثاً أمسحُ أكفانَ الأيام المنسدلة من شعرها
مقبرة السنوات تتمدّد فوق إسفلت ذاكرة مليئة بندوب الحروب
حدادٌ يُغلّفُ حيواتنا
لا أتنفّس سوى الخراب
أحاول – دون جدوى – أن أفتحَ كوّة فيه
لا أجدني إلاّ انكساراً يشعُّ
أطلّ على الجميع وأسرجُ الآفاقَ تحتي
خلفَ الكلام هوامشُ كثيرةُ التحديق
ولافتات تسألُ عن جواد سليم
بينما الوقتُ يُطرّز منفى لعباءاتِ النخيل
أفكّ أزرارهُ أقرأ : الطفولة أسئلةٌ لا تنتهي – تتشعّب –
أو أسئلةٌ تنمو فوق طحلب الأيام
يتأسس المساءُ كلّما تنحدرُ الشمس من رحمِ ياقوتةٍ
الأنتظار حكمةٌ تصلُ اليقين بي
أمام اندهاش الغيمة العذراء
يتلوّى العمرُ على الورقة
أو
يتبخترُ – يالرعونته – تحت نزيف الطائرات
جسدي أدمنته الشظايا فلاذَ بقهوةِ المنفى
أنا بلا متعٍ بلا أمجاد
خذلتني أحلامي
منعزلاً في أقصى الضياع
تُرثيني فاجعتي
ويقودني حطامي
أتتبّعُ أثار طفولةٍ وأُرتّقُ أمانٍ دَهَسَتها المجنزرات
أرى مظاهرات الخوف تندلق من جيوبي
ولأنّ البحر منزوٍ هو أيضاً
راحَ يُوَزّعُ غربته على أمثالي فقط
لا أحد يغرّد في حنجرتي
سرقتُ ذاكرة النسيان
رغمَ اني حاولت ألفَ مرة أن أخبئ الفرات
لكنني عانقته
فخرّ أزيزالمدافع من قميصي
رسمتُ سماءً صافيةً لأنفذَ منها
محتها الصواريخ


رسمتُ جدولاً وقلتُ : هذا نهر الحسينية
تلصّصت عليه المطارات
رسمتُ مئذنةً ونخلةً
ووحيداً أوقفوني إلاّ من مرآةٍ أحملها
تصفعني الأيام كلّما صرختُ :
أبي يا أبي أو كلما توغّلتَ في موتك
أهلت التراب على أحلامي.

لا أخدش حياءَ البنفسج
رغمَ تورّط الحفيف بمصاهرة الندى
أضع نظارات الوقت فوق فسحة الأمنيات
فيرتشفني الصمت من بين ثنايا الوداع
خشيةَ أن أوقظ الياسمين أمرّر يدي فوق جسده بتؤدة
أسمالي تهزأ بالطائرات وما دون عتبة الدار رجم بالسراب
النافذة أيضاً خريطة تقتصّ من الانتظار أجنحته
وتمحو ما يسطّره الخيال في البال
أومَأتُ للأشجارِ: أن أحمي ظلي من نزق الخطوات
فتراشقني العراء
ليعبر الجنوب ترفع أثوابها الفصول
الأسى ذاته يفتح أزرار انكساراتنا مبتهجاً
كيف لي أن أسرق الفرح من ركام ما تبقى
هل أطلق الرصاص على شاهدتي؟
باهتٌ دفءُ يديكِ
باهتةٌ انت ِ حين تخلعين عن معصميك الأغاني
أطلق الرصاصَ على شاهدتي
تتثاءبُ في أحضانِ السمك النجوم وتلوّح لي
أرمّم قلبي بيدٍ وبالأخرى أتدارك الوردة من الهذيان
أتدارك الشرفات من السقوط في مستنقع حافلٍ بالسماء
البحرُ يتشبّث بي كلًما يتلكأ أمام براءتي
تتسلّق الشبهات حافة الوقت
أكداس من الحروف تحفّ بشواطئ الكلمة
أسمعتك نشيدي فما أسمعتني غير احتراقي
قدت المطر الى بابك فانزلقت أنامله فوق جبيني
أرخيت تسهيدي للحدائق ، لأني أمام أتون الفراشات
ودون خرابي الماثل للوردة والعصافير
على أوراقي تستيقظ أحلام
وانا أردم حفرة في النور ظلالي تتعرى
لأن صهيل الخطيئة ما عاد يهدي النساء الى جحيمي
واريت الرياح فوق أجداث الآلهة
أكسّر عويل المساءات على نوافذ لا تشير لسواي
ولا تستكين لعري نائحة لهدير الانكسارات


هل لي لأرتّب موعداً أستضيف الأصدقاء
بلا بهرجة الندامى أو زخرف الملائكة
وبلا ندى أحمر يُبلّل رائحة المنفى ؟
هل حقاً : ثلاثون بوصلة أخطأتني ؟
سوى ضابط الجوازات
تلكّأ في الخروج من ذاكرتي
لأقوى على الانشطار داخل ضلالات اللغة
لاذ البحر بسريري ولاذت الصحراء
وفي كل حلمٍ تغرق الشبهات
وتظمأ الحدود من ضيق اتساعها
يدي مدماة بثلج يتلعثم كلما قشّر الضباب رئتيّ
عند تخوم النسيان يستيقظ البرديّ
لينوء بأغنية المشاحيف
هل أستدعي أعوامي الثلاثين لأقي قامة النرجس فحولتي؟
مزيداً من الاندهاش أمام فخاخ النص
مزيداً من الاندهاش أمام مراثي السكارى عندما يطلّ الغسق
إستدرجيني لأراقب غربة النخيل
وأحتسي ثمالة كأسٍ
تتزاحمُ فيهِ مرايانا.