For a broad sampling of Darwish's poetry we have Akash and Forché's Unfortunately, It Was Paradise. Unfortunately, it does not contain the original Arabic, but it does present an interesting approach for transforming one literature into another. Three translators fluent in Arabic who know Darwish's work well created their own versions; the American poet Carolyn Forché then "recreated the poems translated with a different sensibility and made them harmonious in a single voice." Forché seems to have been an ideal choice to harmonize the translations; these are a pleasure to read, and she would not necessarily be expected to imitate the form of the text in Arabic. Nevertheless I miss the direct correspondence to Darwish's lineation that we get in Jeffrey Sacks's and Fady Joudah's more recent en face translations. Comparing Forché's shaping of the lines in "Sonnet II," for example, with the Arabic in The Butterfly's Burden, I see her version divides the poem into two seven-line stanzas, whereas the Arabic original follows the Shakespearean stanzaic convention. Elsewhere, three short lines in the original become one long line in the translation; anaphora gets buried in paraphrase. I confess I am uneasy at the loss. Nonetheless, this volume is valuable for samples of earlier work and for an accessible translation in English of the important and profoundly moving Mural (2000), written after an illness so life-threatening that the poem might well have become Darwish's last.
Yunus Emre (1238-1320) wrote the poem Knowledge is to Understand, this version is translated by Tanner Baybars along with Esrefoglu’s O my God.
Site includes poetry from medieval Turks, as well as a brief history of the Turkish people, and the poets who lived during this period, from Ashiq to Baqi.
Buddhism as practiced in Japan and China also granted women some areas of empowerment. Women went on pilgrimages to Buddhist temples, retreated to nunneries, sometimes gave public lectures, and led temple groups. Chinese Buddhism was at its height during the reign of Wu Zetian who promoted the religion and even justified her rule by claiming she was a reincarnation of a previous female Buddhist saint. During Wus reign, and throughout the early to mid Tang period, women enjoyed relatively high status and freedom. Lovely Tang era paintings and statues depict women on horseback, and as administrators, dancers and musicians. Stories and poems, like those from the pen of the infamous female poet Yu Xuanji, also attest to the almost modern openness of the period.
Though to my knowledge not himself a poet, Jeffrey Sacks in Why Did You Leave the Horse Alone? reinforces my sense of Darwish's poems as a lyric score, as in these lines from his translation of ''The Tatar's Swallows":
The plight of a writer who has an established reputation in his own country, and none at all here in his adopted country is a plight shared, of course, with immigrants of other professions, including, for instance, the Puerto Rican lawyer who leaves a thriving practice in his native country to manage a grocery store in Massachusetts; or the Jewish scholar or physician who flees Nazi Germany to work in a textile factory in New York. It involves a profoundly disturbing change of identity in his new world, and often in his own eyes. His identity in his new community is, in a sense, a necessary disguise; and he faces the challenge of holding his two identities in balance, adjusting himself to the new, keeping the old alive. Alomar left a culture in which his prize-winning fiction and poetry had been published in four collections to date, appeared regularly in literary journals, was shared out loud with appreciative others in convivial living-room gatherings. By contrast, his writing is known here only to a few. How fortunate, then, that with this first collection of stories in English he will begin to find an audience both in the U.S. and in the larger Anglophone culture.
Don't write history as poetry, because the weapon is
the historian. And the historian doesn't get fever
chills when he names his victims, and doesn't listen
to the guitar's rendition. And history is the dailiness
of weapons prescribed upon our bodies.
By writing this the poet makes it impossible to read even a love lyric without hearing the bass line of his poet's identity in his own time and place. But were he not so powerful a poet, I would not be reading him at all. I engage these poems therefore first as music and as a guide through language to the human spirit, yet hearing always the burden (in the sense both of weight and of musical undertone) of their context.
Navigating the MLA Handbook can be pretty overwhelming; there are so many rules that regulate the way we can quote and cite poetry in MLA format in our own writing. Improper quoting and citing can even be considered a form of plagiarism. Here is a comprehensive look at the most important things you need to know to make your English teacher happy with how you quote from and cite poetry in your papers.
Returning a year later, the family found that al-Birwah, their village in the Galilee, had become Kibbutz Yasur, and that they themselves had been branded "present absentees" who had forfeited their property rights by having fled. For the next eighteen years the young Darwish was barred from leaving Israel. Some of that time he spent in jails, where he learned Hebrew. From 1972 until the Israeli siege of Beirut (1982) he lived in Lebanon and then, like many exiles, moved about the Arab and European world, saturating himself in Arabic and world literatures, including the Bible, the Koran, and Shakespeare. Like Doris Lessing, Pablo Neruda, and Gabriel García Márquez he was denied entrance to the United States as an "inadmissible alien." After twenty-some years in exile, having read his poetry to tens of thousands from Cairo to Paris, Darwish returned in 1996 to Ramallah, a city under siege. He authored the Palestine Declaration of Independence and served for a while on the executive committee of the PLO. The books I have before me date largely from that return.
An essay written by Elizabeth G. Lease that examines the question “why Rumi” as being the most universally influential poet in the east and the west.
Offered in over ten languages, by five different translators, this site includes some of Rumi’s most popular poetry as well as poetry for different occasions.
Check out the family tree of the ancient Persian poet Rumi. This site traces the Mevlana family all the way from the thirteenth century up to the twenty first.
This Society consists of an English family and friends, who have inherited important value from ancient tradition based on the poems of Rumi.
An A to Z guide for contemporary and traditional Iranian poets and their poetry. Also includes a guide for the arts, news events, entertainment, community, music and much more for the Iranian American.
Provides a list of Turkish poets and their poetry dating back to the thirteenth century. Also included are “Turkish originals and English translations stand side by side” in a new addition to the site."