yuèdòumù hǎn mò dé · dá wéi shí Mahmoud Darwishzài诗海dezuòpǐn!!! | |||
穆罕默德·达维什zuò wéi dāng jīn 'ā lā bó shì jiè zuì wěi dà de shī rén zhī yī， jǐ shí nián lái shī rén yòng qí shī jù xiàng shì jiè miáo huì bā lè sī tǎn rén de kǔ nán hé wéi qiú dú lì zuò chū de xī shēng， bìng xiàng shì jiè chuán dá liǎo bā lè sī tǎn rén de hū shēng。 dá wéi shí hái shì bā lè sī tǎn guó gē de cí zuò zhě， ( “ zài zuì hòu de guó jìng zhī hòu， wǒ men yīngdāng qù wǎng nǎ lǐ？ zài zuì hòu de tiān kōng zhī hòu， niǎo 'ér yīngdāng fēi xiàng hé fāng？ ” ) yě shì bā jiě zǔ zhì 1960 nián dài tōng guò de《 bā lè sī tǎn guó mín xiàn zhāng》 de zhù yào qǐ cǎo rén zhī yī。
duì yú bā yǐ chōng tū， dá wéi shí jiāng qí jiě dú wéi“ liǎng zhǒng jì yì zhī jiān de dǒu zhēng”， duì yú shī gē， dá wéi shí céng zài yī fèn yǎn jiǎng zhōng shuō dào，“ shī gē zhēn zhèng de shēn fèn， nǎi shì tā de rén dào jīng shén， tā de dú tè zhī měi， tā zài duō wén huà、 duō yǔ yán jiān de zì yóu lǚ xíng。 wǒ men bù néng bǎ shī gē xiàn zhì zài yī gè xiá zhǎi de wéi qiáng zhī nèi， tā bì dìng huì cānyù sù zào yī gè mín zú de wén huà shēn fèn， dǐ yù duì zhè yī shēn fèn de gōng jī， kàng jù bō duó mín zú biǎo dá zì wǒ tè xìng de yī qiē。” zài tā kàn lái， shī rén yīnggāi jiān xìn，“ dāng yě mán、 chóu hèn hé zhàn zhēng de yǔ yán xuān 'áo yú 'ěr shí， wǒ men gèng xū yào lìng yī zhǒng yǔ yán héng héng shī de yǔ yán， yǐ biàn jiā shēn wǒ men duì rén xìng de gǎn jué hé yì shí， bìng ràng wǒ men jì xù mèng xiǎng zì yóu yǔ hé píng， xìn yǎng rén lèi de gòng shí。”
dá wéi shí 1941 nián 3 yuè 13 rì chū shēng yú bā lè sī tǎn míng chéng jiā lì lì fù jìn de yī gè cūn zhuāng， 1948 nián dì yī cì zhōng dōng zhàn zhēng bào fā hòu， zài dì yī cì zhōng dōng zhàn zhēng zhōng， dá wéi shí de jiā yuán bèi yǐ jūn cuī huǐ。 chéng nián hòu， dá wéi shí chéng wéi yī míng fǎn yǐ fènzǐ， zài jiā zhōng bèi ruǎn jìn liǎng nián hòu yú 70 nián dài jiā rù bā jiě zhí wěi huì。 cǐ hòu， zài cháng dá 20 nián de liú wáng shēng huó zhōng， tā niǎn zhuǎn yú mò sī kē、 āi jí、 bèi lǔ tè、 bā lí děng dì。 yóu yú duì bā yǐ hé tán chí bù tóng zhèng jiàn， dá wéi shí yú 1993 nián tuì chū liǎo mǎ jiě zǔ zhì。 dá wéi shí de shī gē“ biǎo dá liǎo qiáng liè de 'ā lā bó yì shí hé bā lè sī tǎn shēn fèn”， yǐ zhì yú shī rén zài cháng dá 26 nián de shí jiān bèi jìn zhǐ jìn rù yǐ sè liè。 zài 'ā lā bó guó jiā jí 'ōu zhōu liú wáng jìn bàn gè shì jì zhī hòu， dá wéi shí yú 1996 nián fǎn huí bā lè sī tǎn。 shī rén céng sān dù bèi yǐ sè liè zhàn lǐng dāng jú qiú jìn， zài tiě chuāng xiě xià xǔ duō yōu měi gǎn rén de 'ài guó shī piān。 2000 nián， yǐ sè liè jiào yù bù cháng jué dìng jiāng dá wéi shí de wǔ bù zhù zuò yòng zuò xué xiào de xuǎn dú kè běn， hòu yīn jī qǐ yīng pài de fǎn duì， bèi zǒng lǐ bā lā kè fǒu jué。 tā de shī gē zǎo qī tōng sú xiǎo chàng， dà dū miáo xiě bā lè sī tǎn rén mín bùwèi dí rén suǒ qū de zūn yán hé fǎn kàng zhàn lǐng de yǒng qì， qí míng piān《 shēn fèn zhèng》、《 bā lè sī tǎn de qíng rén》 děng shī zuò zài 'ā lā bó gè guó jiā yù hù xiǎo， guǎng wéi liú chuán。 zì 1964 nián chū bǎn dì yī bù shī jí《 gǎn lǎn》 yǐ lái， shī rén zhì jīn gòng chū bǎn liǎo 30 yú bù shī jí jí sǎnwén jí， qí zuò pǐn bèi yì wéi 35 zhǒng yǔ yán。 2007 nián， dá wéi shí hái huò dé liǎo zhù míng shī gē jiǎng“ jīn guì guān jiǎng”。 tā yě shì 2007 nián nuò bèi 'ěr wén xué jiǎng de rè mén rén xuǎn。
BiographyDarwish was born in the village of al-Birwa in the Western Galilee. He was the second child of Salim and Houreyyah Darwish. His family were landowners. His mother was illiterate, but his grandfather taught him to read. After Israeli forces assaulted his village of al-Birwa in June 1948 the family fled to Lebanon first in Jezzin and then in Damour. The village was then razed and destroyed by the Israeli army to prevent its inhabitants from returning to their homes inside the new Jewish state. A year later, Darwish's family returned to the Acre area, which was now part of Israel, and settled in Deir al-Asad. Darwish attended high school in Kafr Yasif, two kilometers north of Jadeidi. He eventually moved to Haifa.
He published his first book of poetry, Asafir bila ajniha or Wingless Birds, at the age of nineteen. He initially publish his poems in Al Jadid, the literary periodical of the Israeli Communist Party, eventually becoming its editor. Later, he was Assistant Editor of Al Fajar, a literary periodical published by the Israeli Workers Party (Mamam). Darwish was impressed by the Arab poets Abed al-Wahab al Biyati and Bader Shakher al-Siyab.
Darwish left Israel in 1970 to study in the USSR. He attended the University of Moscow for one year, before moving to Egypt and Lebanon. When he joined the PLO in 1973, he was banned from reentering Israel. In 1995, he returned to attend the funeral of his colleague, Emile Habibi and received a permit to remain in Haifa for 4 days. Darwish was allowed to settle in Ramallah in 1995, although he said he felt was living in exile there, and did not consider the West Bank his "private homeland."
Darwish was twice married and divorced. His first wife was the writer Rana Kabbani. In the mid-1980s, he married an Egyptian translator, Hayat Heeni. He had no children. Darwish had a history of heart disease, suffering a heart attack in 1984, followed by two heart operations, in 1984 and 1998.
His final visit to Israel was on July 15, 2007 to attend a poetry recital at Mt. Carmel Auditorium in Haifa, in which he criticized the factional violence between Fatah and Hamas as a "suicide attempt in the streets".
Literary careerDarwish published over thirty volumes of poetry and eight books of prose. He was editor of Al-Jadid, Al-Fajr, Shu'un Filistiniyya and Al-Karmel (1981). On May 1, 1965 when the young Darwish read his poem “Bitaqat huwiyya” [Identity Card] to a crowd in a Nazareth movie house, there was a tumultuous reaction. Within days the poem had spread throughout the country and the Arab world. Published in his second volume "Leaves of Olives" (Haifa 1964), the six stanzas of the poem repeat the cry “Write down: I am an Arab”. The second stanza reads:
Write down
I am an Arab
And I work with comrades in a stone quarry
And my children are eight in number.
For them I hack out
a loaf of bread
clothing
a school exercise-book
from the rock
rather than begging for alm
at your door
rather than making myself small
at your doorsteps.
Does this bother you?
Palestinian poetry often addresses the Nakba and the resultant tragedies. The mid 1980s saw the Israeli invasion of Lebanon in 1982 and preceded the outbreak of the first Intifada (uprising) on the West Bank and Gaza Strip in December 1987. Mahmoud Darwish addressed these and other issues in Ward aqall [Fewer Roses] (1986), and more specifically in one poem, “Sa-ya’ti barabira akharun” [Other Barbarians Will Come”].
Darwish's work won numerous awards, and has been published in 20 languages. A central theme in Darwish's poetry is the concept of watan or homeland. The poet Naomi Shihab Nye wrote that Darwish "is the essential breath of the Palestinian people, the eloquent witness of exile and belonging...."
Writing styleDarwish's early writings are in the classical Arabic style. He wrote monorhymed poems adhering to the metrics of traditional Arabic poetry. In the 1970s he began to stray from these precepts and adopted a "free-verse" technique that did not abide strictly by classical poetic norms. The quasi-Romantic diction of his early works gave way to a more personal, flexible language, and the slogans and declarative language that characterized his early poetry were replaced by indirect and ostensibly apolitical statements, although politics was never far away.
Literary influencesDarwish was impressed by the Iraqi poets Abd al-Wahhab Al-Bayati and Badr Shakir al-Sayyab. He cited Rimbaud and Ginsberg as literary influences. Darwish admired the Hebrew poet Yehuda Amichai, but described his poetry as a "challenge to me, because we write about the same place. He wants to use the landscape and history for his own benefit, based on my destroyed identity. So we have a competition: who is the owner of the language of this land? Who loves it more? Who writes it better?"
Attitude toward IsraelDarwish is widely perceived as a Palestinian symbol and a spokesman for Arab opposition to Israel. He rejected antisemitism: "The accusation is that I hate Jews. It's not comfortable that they show me as a devil and an enemy of Israel. I am not a lover of Israel, of course. I have no reason to be. But I don't hate Jews." Darwish wrote in Arabic, but spoke English, French and Hebrew. According to Israeli author Haim Gouri, who knew him personally, Darwish's Hebrew was excellent. Four volumes of his poetry were translated into Hebrew by Muhammad Hamza Ghaneim: Bed of a Stranger (2000), Why Did You Leave the Horse Alone? (2000), State of Siege (2003) and Mural (2006). Salman Masalha, a bilingual Arabic-Hebrew writer, translated his book Memory for Forgetfulness into Hebrew. In March 2000, Yossi Sarid, the Israeli education minister, proposed that two of Darwish's poems be included in the Israeli high school curriculum. Prime Minister Ehud Barak rejected the proposal on the grounds that Israel was "not ready." It has been suggested that the incident had more to do with internal Israeli politics in trying to damage Prime Minister Ehud Barak's government than poetry. With the death of Darwish the debate about including his poetry in the Israeli school curriculum has been re-opened.
Political activism
Yasser Arafat, Mahmoud Darwish & George HabashDarwish was a member of Rakah, the Israeli communist party, before joining the Palestine Liberation Organization in Beirut. In 1970 he left for Moscow. Later, he moved to Cairo in 1971 where he worked for al-Ahram daily newspaper. In Beirut, in 1973, he edited the monthly Shu'un Filistiniyya (Palestinian Affairs) and worked as a director in the Palestinian Research Center of the PLO and joined the organisation. In the wake of the Lebanon War, Darwish wrote the political poems Qasidat Bayrut (1982) and Madih al-zill al'ali(1983). Darwish was elected to the PLO Executive Committee in 1987. In 1988 he wrote a manifesto intended as the Palestinian people's declaration of independence. In 1993, after the Oslo accords, Darwish resigned from the PLO Executive Committee.
Views on the peace processDarwish consistently demanded a "tough and fair" stand in negotiations with Israel.
Despite his criticism of both Israel and the Palestinian leadership, Darwish believed that peace was attainable. "I do not despair," he told the Israeli newspaper Haaretz. "I am patient and am waiting for a profound revolution in the consciousness of the Israelis. The Arabs are ready to accept a strong Israel with nuclear arms - all it has to do is open the gates of its fortress and make peace."
1988 poem controversyIn 1988, one of his poems, Passers Between the Passing Words, was cited in the Knesset by Yitzhak Shamir. He was accused of demanding that the Jews leave Israel, although he claimed he meant the West Bank and Gaza: "So leave our land/Our shore, our sea/Our wheat, our salt, our wound." A specialist on Darwish's poetry Adel Usta, said the poem was misunderstood and mistranslated, while poet and translator Ammiel Alcalay wrote that "the hysterical overreaction to the poem simply serves as a remarkably accurate litmus test of the Israeli psyche... (the poem) is an adamant refusal to accept the language of the occupation and the terms under which the land is defined".
Views on HamasIn 2005 an outdoor music and dance performances in Qalqiliya were suddenly banned by the Hamas-led municipality, for the reason that such an event would be forbidden by Islam. The municipality also ordered that music no longer be played in the Qalqiliya zoo. In response, Darwish warned that "There are Taliban-type elements in our society, and this is a very dangerous sign".
In July 2007, Darwish returned to Ramallah and visited Haifa for a festive event held in his honor sponsored by Masharaf magazine and the Israeli Hadash party. To a crowd of some 2,000 people who turned out for the event, he voiced his criticism of the Hamas takeover of the Gaza Strip: "We woke up from a coma to see a monocolored flag (of Hamas) do away with the four-color flag (of Palestine)."
Music and filmMany of Darwish's poems were set to music most notably Rita, Birds of Galilee and I Yearn for my Mother's Bread and have become anthems for at least two generations of Arabs, by Arab composers, among them Marcel Khalife,Majida El Roumi and Ahmad Qa'abour. In the 1980s, Sabreen, a Palestinian group in Israel, recorded an album including versions of Darwish's poems "On Man" and "On Wishes". Khalife was accused of blasphemy and insulting religious values because a song entitled I am Yusuf, oh my father based on Darwish's lyrics, cited a verse from the Qur'an. In this poem, Darwish shared the pain of Yusuf (Joseph) who was rejected by his brothers, who fear him because he is too handsome and kind. "Oh my father, I am Yusuf / Oh father, my brothers neither love me nor want me in their midst". The story of Joseph is an allegory for the rejection of the Palestinians.
Tamar Muskal, an Israeli-American composer incorporated Dawish's "I Am From There" into her composition "The Yellow Wind," which combines a full orchestra, Arabic flute, Arab and Israeli poetry, and themes from David Grossman's book The Yellow Wind.
In 2002, Swiss composer Klaus Huber completed a large work entitled Die Seele muss vom Reittier Steigen…, a chamber concerto for cello, baryton and countertenor which incorporates Darwish's ""The Soul Must Descend from its Mount and Walk on its Silken Feet".
In 1997, a documentary entitled Mahmoud Darwish was produced by French TV directed by French-Israeli director Simone Bitton.
Darwish appeared as himself in Jean-Luc Godard's Notre Musique (2004).
In 2008, Mohammed Fairouz set selections from A State of Siege" to music.
In 2008 Darwish starred in the five screen film id - Identity of the Soul from Arts Alliance Productions, where he narrates his poem "A Soldier Dreams of White Lilies" along with Ibsen's poem "Terje Vigen". Id was his final performance and premiered in Palestine in October 2008, with audiences of tens of thousands and currently (2010) continues its worldwide screening tour.
QuotationsWhy are we always told that we cannot solve our problem without solving the existential anxiety of the Israelis and their supporters who have ignored our very existence for decades in our own homeland?
We have triumphed over the plan to expel us from history.
"I thought poetry could change everything, could change history and could humanize, and I think that the illusion is very necessary to push poets to be involved and to believe, but now I think that poetry changes only the poet."
"We should not justify suicide bombers. We are against the suicide bombers, but we must understand what drives these young people to such actions. They want to liberate themselves from such a dark life. It is not ideological, it is despair."
"We have to understand - not justify - what gives rise to this tragedy. It's not because they're looking for beautiful virgins in heaven, as Orientalists portray it. Palestinian people are in love with life. If we give them hope - a political solution - they'll stop killing themselves."
“Sarcasm helps me overcome the harshness of the reality we live, eases the pain of scars and makes people smile. The sarcasm is not only related to today’s reality but also to history. History laughs at both the victim and the aggressor.”
"I will continue to humanise even the enemy... The first teacher who taught me Hebrew was a Jew. The first love affair in my life was with a Jewish girl. The first judge who sent me to prison was a Jewish woman. So from the beginning, I didn't see Jews as devils or angels but as human beings." Several poems are to Jewish lovers. "These poems take the side of love not war,"
"When he thought about hope he felt weary and bored, and constructed a mirage and said:"How shall I evaluate my mirage?" He searched in his desk drawers for the person he was before asking this question, but found no notes containing thoughtless or destructive urges. Nor did he find a document confirming he had stood in the rain for no reason. When he thought about hope, the gap widened between a body that was no longer agile and a heart that acquired wisdom. He did not repeat a question "Who am I?" because he was so upset by the smell of lilies and the neighbours' loud music He opened the window on what remained of a horizon and saw two cats playing with a puppy in the narrow street, and a dove building a nest in a chimney, and he said:" Hope is not the opposite of despair. Perhaps it is the faith that springs from divine indifference which has left us dependent on our own special talents to make sense of the fog surrounding us." He said:"Hope is neither something tangible nor an idea. It's a talent." He took a beta blocker, putting the question of hope aside, and for some obscure reason felt quite happy." Translated from A Talent for Hope
AwardsThe Lotus Prize (1969; from the Union of Afro-Asian Writers)
Lenin Peace Prize (1983; from the USSR)
The Knight of the Order of Arts and Letters (1993; from France)
The Lannan Foundation Prize for Cultural Freedom (2001)
Prince Claus Awards (2004)
"Bosnian stećak" (2007)
Golden Wreath of Struga Poetry Evenings (2007)
DeathMahmoud Darwish died on August 9, 2008 at the age of 67, three days after heart surgery at Memorial Hermann Hospital in Houston, Texas. Before surgery, Darwish had signed a document asking not to be resuscitated in the event of brain death.
Early reports of his death in the Arabic press indicated that Darwish had asked in his will to be buried in Palestine. Three locations were originally suggested; his home village of al-Birwa, the neighboring village Jadeida, where some of Darwish's family still resides or in the West Bank city of Ramallah. Ramallah Mayor Janet Mikhail announced later that Darwish would be buried next to Ramallah's Palace of Culture, at the summit of a hill overlooking Jerusalem on the southwestern outskirts of Ramallah, and a shrine would be erected in his honor. Ahmed Darwish said "Mahmoud doesn't just belong to a family or a town, but to all the Palestinians, and he should be buried in a place where all Palestinians can come and visit him."
Palestinian President Mahmoud Abbas declared three days of mourning to honor Darwish and he was accorded the equivalent of a State funeral. A set of four postage stamps commemorating Darwish was issued in August 2008 by the PA.
Arrangements for flying the body in from Texas delayed the funeral for a day. Darwish's body was then flown from Amman, Jordan for the burial in Ramallah. The first eulogy was delivered by Palestinian President Mahmoud Abbas to an orderly gathering of thousands. Several left-wing Knessets members attended the official ceremony; Mohammed Barakeh (Hadash) and Ahmed Tibi (United Arab List-Ta'al) stood with the family, and Dov Khenin (Hadash) and Jamal Zahalka (Balad) were in the hall at the Mukataa. Also present was the former French prime minister Dominique de Villepin. After the ceremony, Darwish's coffin was taken in a cortege at walking pace from the Mukataa to the Palace of Culture, gathering thousands of followers along the way.
Published work
PoetryAsafir bila ajniha (Wingless birds), 1960
Awraq Al-Zaytun (Leaves of olives), 1964
Ashiq min filastin (A lover from Palestine), 1966
Akhir al-layl (The end of the night), 1967
Yawmiyyat jurh filastini (Diary of a Palestinian wound), 1969
Habibati tanhad min nawmiha (My beloved awakens), 1969
al-Kitabah 'ala dhaw'e al-bonduqiyah (Writing in the light of the gun), 1970
al-'Asafir tamut fi al-jalil (Birds are Dying in Galilee), 1970
Mahmoud Darwish works, 1971. Two volume
Mattar na'em fi kharif ba'eed (Light rain in a distant autumn) 1971
Uhibbuki aw la uhibbuki (I love you, I love you not), 1972
Jondiyyun yahlum bi-al-zanabiq al-baidaa' (A soldier dreaming of white lilies), 1973
Complete Works, 1973. Now al-A'amal al-jadida (2004) and al-A'amal al-oula (2005).
Muhawalah raqm 7 (Attempt number 7), 1974
Tilka suratuha wa-hadha intihar al-ashiq (That's her image, and that's the suicide of her lover), 1975
Ahmad al-za'tar, 1976
A'ras (Weddings), 1977
al-Nasheed al-jasadi (The bodily anthem), 1980. Joint work
The Music of Human Flesh, Heinemann 1980, Poems of the Palestinian struggle selected and translated by Denys Johnson-Davie
Qasidat Bayrut (Ode to Beirut), 1982
Madih al-zill al-'ali (A eulogy for the tall shadow), 1983
Hissar li-mada'eh al-bahr, 1984
Victims of a Map, 1984. Joint work with Samih al-Qasim and Adonis in English.
Sand and Other Poems, 1986
Hiya ughniyah, hiya ughniyah (It's a song, it's a song), 1985
Ward aqal (Fewer roses), 1985
Ma'asat al-narjis, malhat al-fidda (Tragedy of daffodils, comedy of silver), 1989
Ara ma oreed (I see what I want), 1990
Ahad 'asher kaukaban (Eleven planets), 1992
Limaza tarakt al-hissan wahidan (Why Did You Leave the Horse Alone?), 1995. English translation 2006 by Jeffrey Sacks (Archipelago Books) (ISBN 0-9763950-1-0)
Psalms, 1995. A selection from Uhibbuki aw la uhibbuki, translation by Ben Bennani
Sareer El-Ghariba (Bed of a stranger), 1998
Then Palestine, 1999 (with Larry Towell, photographer, and Rene Backmann)
Jidariyya (Mural), 2000
The Adam of Two Edens: Selected Poems, 2000 (Syracuse University Press and Jusoor) (edited by Munir Akash and Carolyn Forche)
Halat Hissar (State of siege), 2002
La ta'tazer 'amma fa'alt (Don't apologize for what you did), 2003
Unfortunately, It Was Paradise: Selected Poems, 2003. Translations by Munir Akash, Caroyln Forché and other
al-A'amal al-jadida (The new works), 2004. A selection of Darwish's recent work
al-A'amal al-oula (The early works), 2005. Three volumes, a selection of Darwish's early work
Ka-zahr el-lawz aw ab'ad (Same as almond flowers or farther), 2005
The Butterfly's Burden, 2007 (Copper Canyon Press) (translation by Fady Joudah)
ProseShai'on 'an al-wattan (Something about the homeland), 1971
Wada'an ayatuha al-harb, wada'an ayuha al-salaam (Farewell, war, farewell, peace), 1974
Yawmiyyat al-hozn al-'aadi (Diary of the usual sadness), 1973 (Turkish translation, 2009 by Hakan Özkan )
Dhakirah li-al-nisyan (Memory for Forgetfulness), 1987. English translation 1995 by Ibrahim Muhawi
Fi wasf halatina (Describing our condition), 1987
al-Rasa'il (The Letters), 1990. Joint work with Samih al-Qasim
Aabiroon fi kalamen 'aaber (Bypassers in bypassing words), 1991
Memory for Forgetfulness, 1995 (University of California Press) (translated by Ibrahim Muhawi)
Fi hadrat al-ghiyab (In the presence of absence), 2006
athar alfarasha (A River Dies of Thirst: journals), 2009 (Archipelago Books) (translated by Catherine Cobham)