阅读穆罕默德·达维什 Mahmoud Darwish在诗海的作品!!! | |||
穆罕默德·达维什作为当今阿拉伯世界最伟大的诗人之一，几十年来诗人用其诗句向世界描绘巴勒斯坦人的苦难和为求独立做出的牺牲，并向世界传达了巴勒斯坦人的呼声。达维什还是巴勒斯坦国歌的词作者，(“在最后的国境之后，我们应当去往哪里？在最后的天空之后，鸟儿应当飞向何方？”)也是巴解组织1960年代通过的《巴勒斯坦国民宪章》的主要起草人之一。
对于巴以冲突，达维什将其解读为“两种记忆之间的斗争”，对于诗歌，达维什曾在一份演讲中说道，“诗歌真正的身份，乃是它的人道精神，它的独特之美，它在多文化、多语言间的自由旅行。我们不能把诗歌限制在一个狭窄的围墙之内，它必定会参与塑造一个民族的文化身份，抵御对这一身份的攻击，抗拒剥夺民族表达自我特性的一切。”在他看来，诗人应该坚信，“当野蛮、仇恨和战争的语言喧嚣于耳时，我们更需要另一种语言——诗的语言，以便加深我们对人性的感觉和意识，并让我们继续梦想自由与和平，信仰人类的共识。”
达维什 1941年3月13日出生于巴勒斯坦名城加利利附近的一个村庄，1948年第一次中东战争爆发后，在第一次中东战争中，达维什的家园被以军摧毁。成年后，达维什成为一名反以分子，在家中被软禁两年后于70年代加入巴解执委会。此后，在长达20年的流亡生活中，他辗转于莫斯科、埃及、贝鲁特、巴黎等地。由于对巴以和谈持不同政见，达维什于1993年退出了马解组织。达维什的诗歌“表达了强烈的阿拉伯意识和巴勒斯坦身份”，以至于诗人在长达26年的时间被禁止进入以色列。在阿拉伯国家及欧洲流亡近半个世纪之后，达维什于1996年返回巴勒斯坦。诗人曾三度被以色列占领当局囚禁，在铁窗写下许多优美感人的爱国诗篇。2000年，以色列教育部长决定将达维什的五部著作用作学校的选读课本，后因激起鹰派的反对，被总理巴拉克否决。他的诗歌早期通俗晓畅，大都描写巴勒斯坦人民不为敌人所屈的尊严和反抗占领的勇气，其名篇《身份证》、《巴勒斯坦的情人》等诗作在阿拉伯各国家喻户晓，广为流传。自1964年出版第一部诗集《橄榄》以来，诗人至今共出版了30余部诗集及散文集，其作品被译为35种语言。2007年，达维什还获得了著名诗歌奖“金桂冠奖”。他也是2007年诺贝尔文学奖的热门人选。
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)