Posts from March 2009

 خمس رسائل إلى أميFive Letters To My Mother” is a beautiful poem from Nizar Qabbani.

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Five Letters To My Mother

خمس رسائل إلى أمي

Good morning sweetheart.
Good morning

My beautiful Saint
It has been two years, mother
since the boy has sailed
on his legendary journey.
Since hid within his luggage
the green morning of his homeland
and her stars, and her streams,
and all of her red poppies.
Since he hid in his cloths
bunches of mint and thyme,
and a Damascene Lilac.

صباحُ الخيرِ يا حلوه..

صباحُ الخيرِ

يا قدّيستي الحلوه

مضى عامانِ يا أمّي

على الولدِ الذي أبحر

برحلتهِ الخرافيّه

وخبّأَ في حقائبهِ

صباحَ بلادهِ الأخضر

وأنجمَها، وأنهُرها،

وكلَّ شقيقها الأحمر

وخبّأ في ملابسهِ

طرابيناً منَ النعناعِ والزعتر

وليلكةً دمشقية..

 

I am alone.
The smoke of my cigarette is bored,
and even my seat of me is bored
My sorrows are like sparrows

Still looking for a grain field
I knew the women of Europe,

I knew feelings of concrete and wood
I knew the civilization of toil
I toured India, and I toured China,
I toured the entire oriental world,

And nowhere I found,

A Lady to comb my fair hair.

And hides in her purse

A sugar candy for me
A lady that dresses me if I am naked,
and lifts me up when I trip.
Oh Mother

Oh Mother

I am that boy who sailed,
and still on his mind

Remains the sugar candy.
So how come or how have I, Mother,
become a father

And never grow up?

أنا وحدي..

دخانُ سجائري يضجر

ومنّي مقعدي يضجر

وأحزاني عصافيرٌ..

تفتّشُ –بعدُ- عن بيدر

عرفتُ نساءَ أوروبا..

عرفتُ عواطفَ الإسمنتِ والخشبِ

عرفتُ حضارةَ التعبِ..

وطفتُ الهندَ، طفتُ السندَ،

طفتُ العالمَ الأصفر

ولم أعثر..

على امرأةٍ تمشّطُ شعريَ الأشقر

وتحملُ في حقيبتها..

إليَّ عرائسَ السكّر

وتكسوني إذا أعرى

وتنشُلني إذا أعثَر

أيا أمي..

أيا أمي..

أنا الولدُ الذي أبحر

ولا زالت بخاطرهِ

تعيشُ عروسةُ السكّر

فكيفَ.. فكيفَ يا أمي

غدوتُ أباً..

ولم أكبر؟

 

Good morning from Madrid.
How is the ‘Fullah’?
I beg you to take care of her,
That baby of a baby.
She was the dearest love to Father.
He spoiled her like his daughter.
He used to invite her to coffee.
And water her

And feed her,
and cover her with his mercy.

And he died,
She still dreams of his return.
She still looks for him in his room.
She asks about his cloak,
and asks about his newspaper,
and asks, when the summer comes,
about the blue colour of his eyes,
so that she can throw within his palms,
her golden coins.

صباحُ الخيرِ من مدريدَ

ما أخبارها الفلّة؟

بها أوصيكِ يا أمّاهُ..

تلكَ الطفلةُ الطفله

فقد كانت أحبَّ حبيبةٍ لأبي..

يدلّلها كطفلتهِ

ويدعوها إلى فنجانِ قهوتهِ

ويسقيها..

ويطعمها..

ويغمرها برحمتهِ..

.. وماتَ أبي

ولا زالت تعيشُ بحلمِ عودتهِ

وتبحثُ عنهُ في أرجاءِ غرفتهِ

وتسألُ عن عباءتهِ..

وتسألُ عن جريدتهِ..

وتسألُ –حينَ يأتي الصيفُ-

عن فيروزِ عينيه..

لتنثرَ فوقَ كفّيهِ..

دنانيراً منَ الذهبِ..

 

I send my best regards

I send my best regards
to a house that gave us love and mercy.
To your white flowers,
the joy in the neighbourhood.
To my desk,

To my books,
to all of the kids in our alley.
To the walls we covered
with our messy writings.
To the lazy cats

Sleeping on the balcony.
To the lilac climbing bush the neighbour’s window.

It has been two long years, Mother,
with the face of Damascus

A sparrow digging within our  conscience,
biting at my curtains,
and picking gently at our fingers.
It has been two years Mother,
since the nights of Damascus,
the Jasmine of Damascus,
the houses of Damascus,
living in our imagination.

The pillars of mosques guiding our sails.
As if the pillars of the Amawi,
have been planted in our hearts.
As if the apple orchards

perfuming our conscience.
As if the lights and the rocks,
have all traveled with us.

سلاماتٌ..

سلاماتٌ..

إلى بيتٍ سقانا الحبَّ والرحمة

إلى أزهاركِ البيضاءِ..

فرحةِ “ساحةِ النجمة”

إلى تختي..

إلى كتبي..

إلى أطفالِ حارتنا..

وحيطانٍ ملأناها..

بفوضى من كتابتنا..

إلى قططٍ كسولاتٍ

تنامُ على مشارقنا

وليلكةٍ معرشةٍ

على شبّاكِ جارتنا

 

مضى عامانِ.. يا أمي

ووجهُ دمشقَ،

عصفورٌ يخربشُ في جوانحنا

يعضُّ على ستائرنا..

وينقرنا..

برفقٍ من أصابعنا..

مضى عامانِ يا أمي

وليلُ دمشقَ

فلُّ دمشقَ

دورُ دمشقَ

تسكنُ في خواطرنا

مآذنها.. تضيءُ على مراكبنا

كأنَّ مآذنَ الأمويِّ..

قد زُرعت بداخلنا..

كأنَّ مشاتلَ التفاحِ..

تعبقُ في ضمائرنا

كأنَّ الضوءَ، والأحجارَ

جاءت كلّها معنا..

 

This is September, Mother,
and here is sorrow bringing me its gifts.
Leaving at my window

tears and concerns.
This is September, where is Damascus?
Where is my father and his eyes.
Where is the silk of his glances,
and where is the aroma of his coffee.
May God bless his grave!
And where is the space of our house,
and where is its comfort.
And where is the stairwell laughing at the tickles of blooms,
and where is my childhood.
Dragging the tail of the cat,
and eating from the grape vine,
and snipping from the lilac.

أتى أيلولُ يا أماهُ..

وجاء الحزنُ يحملُ لي هداياهُ

ويتركُ عندَ نافذتي

مدامعهُ وشكواهُ

أتى أيلولُ.. أينَ دمشقُ؟

أينَ أبي وعيناهُ

وأينَ حريرُ نظرتهِ؟

وأينَ عبيرُ قهوتهِ؟

سقى الرحمنُ مثواهُ..

وأينَ رحابُ منزلنا الكبيرِ..

وأين نُعماه؟

وأينَ مدارجُ الشمشيرِ..

تضحكُ في زواياهُ

وأينَ طفولتي فيهِ؟

أجرجرُ ذيلَ قطّتهِ

وآكلُ من عريشتهِ

وأقطفُ من بنفشاهُ

 

 

Damascus, Damascus,
What a poem

We wrote within our eyes.
What a pretty child that we crucified.
We kneeled at her feet,
and we melted in her passion,
until, we killed her with our love.

دمشقُ، دمشقُ..

يا شعراً

على حدقاتِ أعيننا كتبناهُ

ويا طفلاً جميلاً..

من ضفائرنا صلبناهُ

جثونا عند ركبتهِ..

وذبنا في محبّتهِ

إلى أن في محبتنا قتلناهُ…

 

 

 

 

 

Nizar Qabbani (نزار قباني) is a famous Arab poet, who is very well known for his romantic and feminist poetry. He was born in Damascus on 21 March 1923. Nizar was born to a middle class family, and his father owned a sweets shop. He liked arts, particularly drawing and music in his childhood, but later on he focused on poetry. He graduated from the Faculty of Law at Damascus University n 1942. After his graduation, he worked as a diplomat in various countries, including Lebanon, Egypt, Turkey, Spain, the UK, among others. During his work at the Syrian Foreign Ministry, he published many collections of poems, critical studies, etc. In 1966, he decided to quit his diplomatic work and to dedicate all his time to writing; he also established a publishing house in Beirut.

Nizar enjoyed a very happy childhood in a big warm family. However, at the age of 15, he was traumatized when his elder sister committed suicide, to avoid being forced to marry a man whom she did not love. This incident affected him deeply, and he started to write about feminism and women’s rights. Nizar married twice. His first wife was his Syrian cousin, and he had a son and a daughter by her. His son died at the age of 17, due to a heart condition, and his death was another trauma in Nizar’s life. His second wife was Iraqi, and her name was Balqis. They had two children together. His second wife was killed in a bombing of the Iraqi embassy in Beirut. Her death depressed him deeply, and he spent most of his life in Europe after her death.

Qabbani wrote 35 books of poetry between 1944 and 1991. Nizar is very famous for his romantic poetry, yet his nationalist poetry has been very important and influential as well, especillay poems that criticized Arab societies and that demanded change, e.g. “bread, cannabis and moon” (خبز وحشيش وقمر) published in 1956.

The following link shows a clip from a soap on his life, and recites one of his most famous poems “I Admit” (أشهد).

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In Arabic, the time of the verb is marked by prefixes and suffixes that differ from present (imperfect) and past (perfect). The present or imperfect is used with actions that are still in progress or with repeated actions, e.g. things that you do everyday or usually, etc.

Examples of the imperfect tense:

 

أدرس اللغة العربية.

“I study Arabic.”

 

نسكن في مدينة بغداد.

“We live in Baghdad”

 

يشاهدون التليفزيون في المساء.

“They watch television in the evening.”

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 In Arabic, there are not any distinct forms used to distinguish the present simple, present continuous, or present perfect, as the case in English. There is only one form used for the present, and it is marked with prefixes and suffixes that differ from one pronoun to another. The following table gives the appropriate suffixes used to mark the present or imperfect in Arabic.

 

Example

Present prefixes & suffixes

الفعل المضارع

Pronouns

الضمائر

أدرس

أـ

أنا

1st person sing.

تدرس

تـ

أنتَ

2nd person sing. Masc.

تدرسين

تـ ين

أنتِ

2nd person sing. Fem.

يدرس

يـ

هو

3rd person sing. Masc.

تدرس

تـ

هي

3rd person sing. Fem.

تدرسان

تـ ـان

أنتما

2nd person dual.

يدرسان

يـ ـان

هما (m)

3rd person dual. Masc.

تدرسان

تـ ـان

هما (f)

3rd person dual. Fem.

ندرس

نـ

نحن

1st person pl.

تدرسون

تـ ـون

أنتم

2nd person pl. Masc.

تدرسن

تـ ـن

أنتن

2nd person pl. Fem.

يدرسون

يـ ـون

هم

3rd person pl. Masc.

يدرسن

يـ ـن

هن

3rd person pl. Fem.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The present tense in negated by the particle (لا) which must be used immediately before the verb.

لا أحب هذا المكان.

“I do not like this place.”

 

أنتم لا تعرفون الإسبانية.

“You do not know Spanish.”

 

جدي لا يعيش معنا.

“My grandfather does not live with us.”

 

 

   

Terms used to express family relations in Arabic are more explicit than in English. This may reflect the importance of family and relations in the Arabic society. An example of the more explicit family relations terms in Arabic is that the term ‘uncle’ in English has 2 Arabic terms distinguishing ‘maternal uncle’ (خال) and ‘paternal uncle” (عم). Interestingly, the word ‘cousin’ in English has 8 equivalent terms in Arabic, distinguishing the gender of both the cousin and the uncle and the family link maternal or paternal. The Arabic equivalents of ‘cousin’ are (ابن عم / بنت عم / ابن خال / بنت خال / ابن عمة / بنت عمة / ابن خالة / بنت خالة).

The following table gives some family relations terms and their English equivalents.

Father

أب

Mother

أم

Son

ابن

Daughter

ابنة

Brother

أخ

Sister

أخت

Uncle (paternal)

عم

Aunt (paternal)

عمة

Uncle (maternal)

خال

Aunt (maternal)

خالة

Cousin

ابن عم

Cousin

بنت عم

Cousin

ابن خال

Cousin

بنت خال

Cousin

ابن عمة

Cousin

بنت عمة

Cousin

ابن خالة

Cousin

بنت خالة

Grandfather

جد

Grandmother

جدة

Grandson

حفيد

Granddaughter

حفيدة

Father-in-law

حمو

Mother-in-law

حماة

Husband

زوج

Wife

زوجة

Finance

خطيب

Fiancée

خطيبة

Son-in-law

ابن الزوج

Son-in-law

ابن الزوجة

Sister-in-law

أخت الزوج

Sister-in-law

أخت الزوجة

Brother-in-law

أخو الزوج

Brother-in-law

أخو الزوجة

Widower

أرمل

Widow

أرملة

Divorced man

مطلق

Divorced woman

مطلقة

Separated man

منفصل

Separated woman

منفصلة

Relative pronouns, like ‘who’, ‘which’, ‘whose’, ‘what’, etc. are used at the beginning of relative clauses to describe a definite noun. In Arabic, relative pronouns come after definite nouns to introduce sentences that describe these nouns or provide additional information about them. Relative clauses that follow relative pronouns can be nominal or verbal sentences, e.g.

 

هذه هي البنت التي اسمها ليلى.

“This is the girl, whose name is Laila.”

 

هذا هو الرجل الذي يعمل في المصنع.

“This is the man who works at the factory.”

 

قابلت الطالب الذي يدرس اللغة العربية.

“I met the student who studies Arabic.”

 

Relative pronouns in Arabic have to agree with the nouns they follow in number, gender and case, e.g. after a singular masculine noun, the pronoun (الذي) must be used after a singular feminine noun, the pronoun (التي) must be used, and after a plural masculine noun, the pronoun (الذين) must be used. As for case, this is related to dual nouns in particular. Relative pronouns must have the same case (marked by suffixes in dual) like the noun they modify. For instance, “two students” can either be (الطالبان) or (الطالبين) depending on their position in the sentence. The relative pronoun (اللذان) must be used with (الطالبان), and the other one (اللذين) must be used with (الطالبين), so that they have the same case, e.g.

 

“I met the two students who study Arabic.”

قابلت الطالبين اللذين يدرسان اللغة العربية.

 

“The two students who study Arabic are American.”

الطالبان اللذان يدرسان اللغة العربية أمريكيان.

 

Demonstrative pronouns, like ‘this, and ‘those’, are used in the same way like English demonstratives. However, Arabic has many more demonstratives than English due to the feminine and masculine differentiation and due to the dual case. It is very important to make sure that the demonstrative pronoun agrees with the noun it refers to in number, gender and case, e.g.

 

هذا ولد.

“This is a boy”

هذه بنت.

“This is a girl”

هذان ولدان.

“These are two boys”

قرأت هذين الكتابين.

“I read these two books”

 

 

The following table shows the demonstrative and relative pronouns in Arabic.

 

Demonstratives

أسماء الإشارة

Relative Pronouns

الأسماء الموصولة

Subject Pronouns

ضمائر الفاعل

 

هذا / هذه

الذي / التي

أنا

1st person sing.

هذا

الذي

أنتَ

2nd person sing. Masc.

هذه

التي

أنتِ

2nd person sing. Fem.

هذا

الذي

هو

3rd person sing. Masc.

هذه

التي

هي

3rd person sing.  Fem.

هذان / هذين

هاتان / هاتين

اللذان / اللذين

اللتان / اللتين

أنتما

2nd person dual.

هذان / هذين

اللذان / اللذين

هما (m)

3rd person dual. Masc.

هاتان / هاتين

اللتان / اللتين

هما (f)

3rd person dual.  Fem.

هذان / هذين

هاتان / هاتين

هؤلاء

اللذان / اللذين

اللتان / اللتين

الذين

اللاتي / اللائي

نحن

1st person pl.

هؤلاء

الذين

أنتم

2nd person pl. Masc.

هؤلاء

اللاتي / اللائي

أنتن

2nd person pl. Fem.

هؤلاء

الذين

هم

3rd person pl. Masc.

هؤ لاء

 

اللاتي / اللائي

هن

3rd person pl.  Fem.

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