ترجمة أغنية عراقية " الريل وحمد "

21-06-2021, 13:46

A famous Iraqi song and a story of love translated by
Ali Farhan

ملاحظة لم أترجم كل الأغنية

مرينا بيكم حمد وأحنا بقطار الليل
وأسمعنا دك أكهوة وشمينا ريحة هيل

We passed by you Hammad
while we were travelling on a night train
we heard the sound of grinding coffee
and we smelled a scent of cardamom
O, train shout angrily
Eagerly shout, please once more
Their loving passion comes up and down
Under ribs and over the bosom
As a sand grouse perched under ears of corn
Hammad is the ever lover, I should confess
The cold breeze of dawn makes me startled
As well as the Golden Lira becomes excited
O, the train, you remind me our childhood's joy
We passed by you Hammad
while we were travelling on a night train,
we heard a sound of grinding coffee
and we smelled a scent of cardamom

The story
Once upon a time, a traveler went from Baghdad to Basra riding on a nightly train and on the set next to him a woman at her 30-year-old sat there. As the journey was boring, they began chatting each another telling their stories and when the train passed by a certain village near the railway, the woman sighed a deep breath and looked worried. The fellow traveler asked her " why" wanting to know the reason!
The woman in a passionate speech said
Here in this village and pointed out , I have loved my cousin whose name is Hammad since our childhood and he shared with me the same love
My lover dwelled in this village as well, but as our love became popular to all the region; the rural tradition at that time cruelly prevented our love, so I left the area from that time and went to Baghdad to live in. Now I know nothing what happened to my cousin and she bitterly cried
The man who accompanied her the journey was a poet and at once imagined the situation and wrote the verses which lastly became a famous song in Iraq
Here is the video I upload ( the origin song)

الأغنية التي غناها المطرب العراقي ياس خضر كتب كلماتها الشاعر العراقي المعروف

مظفر النواب ويبدو أنه وكما شرحتها في الإنجليزية قد تأثر الشاعر من ذلك الموقف

تشاركه إمرأة عراقية في عمر الثلاثين رحلة قطار ليلية من بغداد إلى البصرة

وفي الطريق يتسامرون الحديث لأنه رحلة القطار مملة

وعندما يمر القطار بجوار قرية عراقية هناك

تنهمر عيناها بالدموع

فتفضحها دمعاتها لتكمل رواية القصة

على اية حال أكانت القصة واقعية أم من نسج خيال الشاعر مظفر النواب

تبقى قصة عراقية تحمل نكهة الريف العراقي

وقع آلاف مثلها في الريف العراقي

ومن طرفي أنا الكاتب أو المترجم

أنقل صدق الحروف

فأنا الأخر مسقط رأسي وطفولتي في الريف العراقي

Fewer Roses (1986) Mahmoud Darwish

 From Fewer Roses (1986) Mahmoud Darwish the Palestinian poet

I will slog over this Road

Another Road in the Road

Were It Up to Me to Begin Again

On This Earth

I Belong There

Addresses for the Soul, outside This Place

Earth Presses against us

We Journey towards a Home

We Travel Like All People

Athens Airport

I Talk Too Much

We Have the Right to Love Autumn

The Last Train Has Stopped

On the Slope, Higher Than the Sea, They Slept

He Embraces His Murderer

Winds Shift against us

Neighing on the slope

Other Barbarians will come

They would love to see me Dead

when the martyrs go to sleep

The night there

We went to Aden

Another Damascus in Damascus

The Flute Cried

القصيدة كاملة سأضع خطا أحمرا

حيث تنتهي الترجمة

سأقطع هذا الطريق.

ومازال في الدرب درب

إذا كان لي أن أعيد البداية

على هذه الأرض

أنا من هناك

عناوين للروح خارج هذا المكان

تضيق بنا الأرض

نسير إلى بلد

نسافر كالناس

مطار أثينا

أقول كلاماً كثيرا

يحق لنا أن نحب الخريف

القطار الأخير توقف

على السفح, أعلى من البحر, ناموا

يعانق قاتله

صهيل على السفح

سيأتي برابرة آخرون

يحبونني ميتاً

عندما يذهب الشهداء إلى النوم

هنالك ليل..

ذهبنا إلى عدن

وفي الشام شام

بكى الناي

أفي مثل هذا النشيد

نخاف على حلم

هنا تنتهي رحلة الطير

رأيت الوداع الأخير

وداعاً لما سوف يأتي

لديني ... لديني لأعرف

لصوص المدافن

قريباً من السور

هنا نحن قرب هناك

لأول مرة يرى البحر

يمثل دوري الأخير

بقاياك للصقر

آنا يوسف يا أبي

يطول العشاء الأخير

الهي لماذا تخليت عني ؟

أريد مزيداً من العمر

آلا تستطيعين أن تطفئي قمراً

خريف جديد لامرأة النار

سيأتي الشتاء الذي كان

يعلمني الحب ألا أحب

خسرنا ولم يربح الحب

سأمدح هذا الصباح

سماءٌ لبحر

أستطيع الكلام عن الحب

ونحن نحب الحياة

تؤرخ أيامنا بالفراش

اغنية عراقية قديمة وترجمة

 

اغنية عراقية قديمة وترجمة

09-10-2020, 09:36

O, cameleer please hold on translated lyric

Hello everyone
I have just translated this lovely Iraqi lyric
It is a piece of gold
It is a very affecting lyric carrying much passion and torture toward a lover departed and no occasion to say goodbye to him\ her
These stories of love which we called ( platonic love ) now are not familiar
One still crying a year or all life sad and tortured, is not a part of our tradition nowadays
However, the lyric poem gives me additional world , the world of peace and the time when people were good-hearted and could see every face smiling, pleasing, , welcoming, and spreading friendly feeling
This is what I dedicated in my translation . it maybe a man is known by a word or a letter he says or writes. On the other hand , it maybe he or she dies and no one would mention

************
O, cameleer please hold on
I have just a gentle reproof with them
Be kind, I did not say them goodbye
My soul kept following though my body is me
What shall I do with life if they depart?
My eyelids and my heart feel pain
a lover you drove away I love too much
not seeing him , I forgot my path
Patience for my rubbing, O Lord
He dissolved my body, and my tears flowed
Turning around , I saw nobody,
but the march was veiled by dust
I cried as if I were on fire
I followed their way and walked on tracks
Even their tracks are covered with sand
O, cameleer please hold on!

هذه الأغنية العراقية القديمة غناها عدد من المطربين العراقيين منهم ( أمل خضير , عبد الجبار الدراجي , سعدي توفيق الخ ) وكان الأروع في ادائها ومن وجهة نظري سعدي توفيق الكفيف النظر والذي أعتقد لا يزال حيا .
أقدم هذا العمل المتواضع في الترجمة نقل الحروف ورسمها وفق منظور أدبي تقبله اللغة المترجم لها عسى ولعل يرتقي وينال السمعة الطيبة في نقل وإثراء التراث العراقي الجميل
تانيني صحت عمي يا جمّال
عندي عتاب وياهم يا جمّال
يا جمّال اصطبر ما ودعتهم
ظل بس الجسم والروح عدهم
شلي بدنياي يا عمي بعدهم؟!
جفوني وبالجفا تعذب الدلال
إلي بضعنك حبيب يحبه كَلبي
وعكَب عينه أهيم وانسى دربي
صبرني على فراكَه يا ربي
نحل جسمي برحيله والدمع سال
أصد لني الضعن محجوب بغبار
بجيت وشبت بدلالي النار
تبعت ضعونهم وامشي ع الاثار
حتى اثارهم غطتها لرمال

Neoclassical Arab poetry\ Al-Barudi\ translated poems all rights reserved Ali Farhan التجديد في الشعر العربي لماذا يعد البارودي رائد التجديد في الشعر العربي؟ أمثلة وشواهد من شعره تراجم ست قصائد مهمة

The Egyptian poet Mahmud Sami al- Barudi born 1839 died 1904 Why does al-Barudi consider the pioneer of the renaissance of modern Arabic Poetry This research includes A- Introduction B- Analysis C- Biography D- Sample of chosen poems translated by me A- Introduction Renewal in poetry is not provided just to create the new and the new only but it is either to add or to polish the classic poetry to give a shiny poetry verse keeps pace with the new era and in the same time does not ignore the past The renaissance in modern Arabic poetry started at the beginning of the ninetieth century -the era of knowledge movement- the time of new discoveries and innovations, the era when Arabs for the first time wanted to be librated in their thoughts to escort closely the development of the world. In one word, it did begin at the end stage of the Ottoman Empire's ascendancy on Arab region. The eco factor, no doubt affects on the poet and for instance, the nomadic person does not say poetry as the civilian one; likewise the farmer perhaps his poetry slightly differs from the universal student No doubt, the farmer will talk about the tools of the tillage or about the crops, and the student perhaps talks about the pen and his girl friend, and it maybe the farmer knows for example the different names of the natural herbs that the student never was acquainted with So far from the above examples, of course Arabs before the ninetieth or eighteenth century do not see the car, the computer, or the airplane Before the Islamic initial era and after Islamic era the Abbasids dynasty and the Umayyad dynasty, Arabs have simple life, living in desert and most of them are nomadic people. So normally, poet of that time would explain his surrounding environment and for instance, he would describe elaborately his camel- the poet of nowadays cannot do so- the desert, his sword, his javelin, the battles he fought, the birds he saw in the early morning in his way when he went for hunting and the wild animals he hunted In addition, forever and ever, he might not rebel about his normal tradition and he might explain notably these things through his poems, such as the honour, the honesty, the courage, guarding of a refugee, honoring and offering a good hospitality to the guest and so on. Poets of pre Islam for example normally incited to start their poems by stopping near the ruins of their beloved, to cry honestly upon their beloved remnants, to remember their good times The cause possibly is illustrated as Perhaps those poets are in love with more than one girl, or the traditional customs in that time overcame upon daughters' fathers not to marry their daughter for a man who was in love with her Moreover, perhaps the girl was engaged to her cousin, or her father opposed who asked his daughter's hand, especially if the suitor is a strange man or from another tribe, even so and after the beloved died, the poet possibly kept with his obligation considering this loyalty as a scared thing The traditional feature in the classical poetry as it was familiar that the poem was initiated by crying and weeping near the lovers' ruins, gradually was going to be dated and to be obsolete. Now rarely can we see the modern Arabic poetry is going to imitate the normal pattern of the old poetry of pre Islam in starting poems with crying upon lover ruins. B- Analysis Although many researches and critics discussed lengthily this matter but I want to shorten it in a few details taking example (Al- Barudi) .First ( 1) :To revive the literature this is by no means to neglect or cancel the role and the origin of the classic literature but to transfer or rebirth the classic poetry to be compatible with the modern one Al-Barudi for example used the word train instead of camel as the camel was considered the only device for travel at old time second ( 2) : Al- Barudi as usually is referred to -The master of sword &pen- managed successfully in what we often called (The poetic diction) which it is parallel to Philip Sidney's hexameter Third ( 3) : We can touch a special successful tendency in his poetry in that he harmonized between the archaic words and for instance, the pigeon is the child of the grove, the sea bird is the daughter of the water, and the rooster is the crested one Forth ( 4) Al- Barudi mainly had contrasted in his own poetry with some of the well-known classical poems belonged to the Abbasid era or the Umayyad era, and really he was succeeded in rephrasing the old poetry to be in a new dress This ability of reviving the old to be new is accounted for him Lastly, I would like to translate some of his famous poems in order to give the reader a virtual touchable witness into Al- Barudi poetry C- Biography He is the major general al- Barudi, the poet who is descended from an old Circassian family of influence lived at Damanhur and was responsible to impose and collect tributes from people who inhabited there Al-Barudi grew up among a family of wealth and of a society position whereas his father also was a major general in the Egyptian military, took charge of as a governor of Barber and Dancalah cities in Sudan, and died there when his son Mahmud was in his seventh years old Al-Barudi was one of Ahmad Urabi's revolutionary chefs so was chosen to be a Minster of Defense then to be a Prime Minster according to the revolutionists wishes His study: Al-Barudi got his first education into learning, reading and writing, memorizing the Holy Quran, learning the principles of Arabic grammar, learning some of Sharia rules, history and arithmetic until he completed his primary school at 1851 then the secondary then he entered the military academy when he was at a twelve years age He was graduated from the academy at 1855 as a chef sergeant and served directly in the Sultanic military His soul was yearning to the poetry from the earlier period of his education. His practical life: After a period of graduation as a low officer, the government appointed him at the Foreign Ministry and in 1858 he traveled for Istanbul and there he was acquainted with the Turkish and the Persian languages, moreover, he learned some of the world literature. His familiarity with languages helped him to charge of the responsibility of the secretary of the Foreign Affairs of his country at Turkey and he remained there until 1863. When al- Khedive Ismail ascended the viceroy's throng of Ottoman Empire in Egypt, he assigned al-Barudi into his retinues. Al-Barudi felt that his new duty in the divan of government was an annoying job and when he felt that his soul still long for the military so he did many attempts and lastly was succeeded to return for military at 1863. Al-Barudi took charge of the leadership of tow al- Khedive guardianship detachments and proved a high qualification during the military campaign, which was sent to help the Ottoman army, into subdual the turmoil that broke out at Crete Island in 1865. In the midst of the fierce war there, some of verses slipped out of his tongue describing the battles he fought in, a poem, which is considered one of the poet's wonderful still forever poems, which its opening is أَخَذَ الْكَرَى بِمَعَاقِدِ الأَجْفَانِ وَهَفَا السُّرَى بِأَعِنَّةِ الْفُرْسَانِ وَاللَّيْلُ مَنْشُورُ الذَّوَائِبِ ضَارِبٌ فَوْقَ الْمَتَالِعِ وَالرُّبَى بِجِرَانِ لا تَسْتَبِينُ الْعَيْنُ فِي ظَلمَائِهِ إِلَّا اشْتِعَالَ أَسِنَّةِ الْمُرَّانِ A slumber took over eyelids' margins Marching at night gave vent to horses reins Night would spread its wings boastfully Over small hills and mountainy ground Eye cannot distinguish but to see only— A glimmering of fire raised up and down Al-Barudi transferred from one job to another into the al-Khedive's government then he returned for military, and when the war between the Ottoman Empire and Russia broke out, the Egypt government sent him as one of the leaders of its campaign After al-Barudi showed his bravery in the mentioned battles, he was blessing with a sublime badge of honour and the rank of major general. Al-Barudi was one of the champions of the successful- revolution against al-Khedive Tawfiq that held by Ahmad Urabi and here at this occasion he held over the charge of Prime -Minster until May 1882 when he was excelled with the other revolutionists to Colombo city in Serendib Island- (Sri Lanka), and he stayed banished there until 1899. In his exile place, he said many homesick poems describing his pain, his misery, his indescribable yearning and torture to his family and to his country, moreover his wife was died still he was imprisoned, and he met the edge of torture when his health became worst after his sixty years old. When he was delivered out of exiling place, his glamorous delight was incredible and he chanted the: Chant of Return أبابلُ رَأى َ العينِ أم هذهِ مِصرُ … فإنِّى أرى فيها عيوناً هى َ السِحرُ Is it Babylon or Egypt that I have seen? I see eyes replaced the "charm" had been D- Translating of the significant al-Barudi poems: MMA- Iraqi translator Many of Al-Barudi poems tell concretely us about his misery condition and his homesick to his country after he was exiled to Serendib, and his condition became worst especially when the news came to him informing him the death of his wife and his larger son Ali, while he was still at his exile place. 1- Poem 1: He said it at a prison illustrating his unendurable pain as he was cut off relation with any friend or family, and it explains his dark view complainants, briefly to say, that he was jailed between four closed walls Passion wore me out, yet afflicting with sleepless Delusions overcame, so my life going distress Never the darkness of night giving rout Nor the daybreak comes out No sociable friend hears my compliant Out of any news or a vision, I am being derelict Between walls and closed door, I got racks A door whenever the jailer moves, it cracks A jailer there steady goes ready to hear At any slight movement he comes near When I intended any purpose to be done, Dark would say, Stop! Don’t turn When I looked for anything, I do want Nothing I did find, nor did my soul halt A darkness never it has glimmering star But it has a night breathing the sparks far O, soul, be patient until you secure your case Tolerance, no doubt, is the key of success Our life is just a bit of breaths no long will wait A man wherever he goes is the captive of his fate 2- Poem 2: The poem also was said at a prison disclosing the yearning and the deep passionate soul of the poet when he got tortured and unhealthy conditions. It reveals the complaining of his exiling sufferance. Is not there any physician to heal the passion malady? An ill man still has a deep sorrow living sleeplessly. Yet the yearning bestowed him in one breath to be survived! Alas, the separation extends over until his last breath is faded. A deep pining sorrow eats me from down Woe! I was eaten by grief and homesickness in this town. I bear patiently even if my soul is so far pitiful Tolerance tires out soul even if to love is tolerable No intimate friend is in Serendib to refuge I borrow No sociable thing I have but my deep-savaged sorrow Poem 3: This is in erotic poetry, in some verses of this poem, he imitated the ancient traditional poetry and as I think, he borrowed the dialectic soul of some verses of a certain old poem. You, who overstepped the bounds of blame, take it easy. Are you a humane more to my liver malady? Please, leave me out of your blame, if you are enough witty Within love, blame is considered as a part of a jealousy Besides love has dreadful pain, perhaps I tend to be satisfied. But I don’t satisfy in what speech bouncing from side to side. If anybody has sharp-mind that leads him for right, None will blame others just to be delight. Avoid the passion out of my heart if you had a power My gratitude then is for you forever and ever. If not, do not reproach me and let me going as I shun I am the man who controls neither on himself nor in his passion. The girl whom I in love with, her love veiled my sight As my soul was covered with a thick veil of night To earn her favour I got enmity with all my relatives equally. They turned foes after they were to me close cordial family. They said he fell in love with another one to avoid his painful hurt Never the saddest pain will come out the affectionate heart I replied never I want a lover other than her certainly. Allah doesn’t create at all tow hearts in one body. Poem 4: This poem was also said at his exile place explaining the misery and the sufferance of poet's soul. It dose disclose his visionary profound soul which almost is yearning to catch a ray of hope. A faint sound took away the sleep from my eyes soon. As it was embodied in a vision, visited me at dawn I asked my eyes to know what my ears hared! It said to me, perhaps I can interpret the mystery code! Then it perks up to be as an alert bird! It did captivate sight and hearing once more Once it was perching over a bough, Lively it shook up flutteringly its wings As a flickering heart did remember optimist news Never will it be settled, awake! Day and night Once its breath calms, it turns upset again The bough would move it up or down, as it wants. As a kicking ball, the rod casts it away What curses him while he is sound living at peace! To turn one's eye unless he is fearful and wary! When it went up it slept at a smoothed green place And once went down, it watered or picked up a grain O, bird, indeed, you scared my beloved vision. That gave me a pleasant hour at dawn. Darkened- eyed as a gazelle when she glanced. Likewise a shiny picture of a full moon ascending up Right after her visions left me methinks lonely… Yen comes then until I am mournful and sleepless Does a blessing year come again when in need? Perhaps from her coming back vision we are inhaled! Poem 5: The elegy poem about his wife Death's hand, no triggers excluded, unless it examined All of glowing furnaces in my heart it emplaced It enfeebled my resolution even if it is tolerant It destroyed my figure even if it is a javelin like I didn’t know whether I was taken suddenly— or it was an arrow stabbed me in my chest A matter makes my eyes shedding abundant tears Flowing over my cheeks as a reddish strawberry I didn’t expect that I am a weak against life's destiny To be its victim, then it enfeebled my entire body I am afflicted with sorrow until I was faded For a visitor who visits me I am not identified I do ask the help of the sigh while it is scorching Meanwhile I sipped my tear and it is abundant Never my agony will leave the heart to be calmed Never my hand is capable to return a lover who departed O, time: For what do you torment me taking away my wife? She was my breath and the precious jewel of my life Mayest are not a pitiful with me after her departure! Won't you keep merciful with my sons as a helper? Sleepless because of their pain when turn unaccompanied. Sore-eyed shivering livers, they stayed They cast out their jewels after their mother got dead. By their tears adorned their necks, to be jewels instead Poem 6: This poem was also said for homesickness after al-Barudi departure of his country to be one of the participant leaders who took part with the Ottoman Empire into its battles with the Russian and especially at Bulgaria region. The last verses of the poem, which dealt with the description of nation there, I do not translate them. You are the ever shelter to me when I am in trouble O, my country my yearning to you is indescribable My patience, O, do my sleep I cannot borrow Ah! They were entrapped in my sorrow No arriver delivered news to me since I departed No post was sent perhaps that I got delighted I am alone being far away of my sociable people To be striven for loyalty perhaps going to topple Is not there any returning to who was remotely grieved? Is not there any carrier of swift dispatch to be arrived? Doth the bygone time turn back to be a truth again? Is it possible the tasty days for another time return? I went on satisfying myself into a time was bygone But the old thing perhaps is changed to be a new one To remember the ancient time is just to be devoted It is the gratitude right of joyful youth to be honored It is by no means that was died, is considered lost The lost is who vainly into living distantly does accept

قصائد البارودي الست التي ترجمتها

القصيدة الأولى
شفَّنى وجدى ، وأبلانِى السهَر
وَتَغَشَّتْنِي سَمَادِيرُ الْكَدَرْ
فسوادُ الَّليلِ ما إن ينقضى
وبياضُ الصبحِ ما إن ينتظَر
لا أنيسٌ يَسمعُ الشَّكوى ، ولا
خبَرٌ يأتى ، ولا طيفٌ يَمر
بَيْنَ حِيطَانٍ وَبَابٍ مُوصَدٍ
كلَّما حرّكهُ السَّجانُ صَرْ
يتمشَّى دونَهُ ، حتَّى إذا
لحِقَتهُ نبأة ٌ منِّى استَقَر
كُلَّمَا دُرْتُ لأِقْضِي حَاجَة ً
قالَت الظُلمة ُ : مهلاً ، لا تَدُر
أتقرَّى الشَئَ أبغيهِ ، فلا
أجِدُ الشئَ ، ولا نفسى تقَر
ظُلمة ٌ ما إن بِها من كوكبٍ
غيرُ أنفاسٍ تَرامى بالشَرَرْ
فَاصْبِرِي يَا نَفْسُ حَتَّى تَظْفَرِي
إنَّ حُسنَ الصبرِ مفتاحُ الظَفَر
هِيَ أَنْفَاسٌ تَقَضَّى ، وَالْفَتَى
حيثُما كانَ أسيرٌ للقدَرْ
2- هَل مِن طبيبٍ لِداءِ الحُبِّ ، أوراقِى ؟
القصيدة الثانية - 2
هَل مِن طبيبٍ لِداءِ الحُبِّ ، أوراقِى ؟-
يَشفِى عَليلاً أخا حُزنٍ وإيراقِ
قَدْ كَانَ أَبْقَى الْهَوَى مِنْ مُهْجَتِي رَمَقاً-
حَتَّى جَرَى الْبَيْنُ، فَاسْتَوْلَى عَلَى الْبَاقِي
حُزنٌ بَرانِى ، وأشواقٌ رَعَت كَبِدِى-
يا ويحَ نَفسِى مِن حُزنٍ وأشواقِ
أُكلِّفُ النَفسَ صَبراً وهى جازِعة ٌ-
والصَّبْرُ فِي الْحُبِّ أَعْيَا كُلَّ مُشْتاقِ
لافى "سَرنديبَ" لِى خِلٌّ ألوذُ بِهِ-
ولا أنيسٌ سِوَى هَمِّى وإطراقِى

****

جاوزت في الحد – 3
جاوزتَ فى اللَّومِ حدَّ القصدِ ؛ فاتَّئدِ
فلستَ أشفقَ من نفسى على كبدِى
دَعْنِي مِنَ اللَّوْمِ إِنْ كُنْتَ امْرَأً فَطِناً
فَاللَّوْمُ في الْحُبِّ مَعْدُودٌ مِنَ الْحَسَدِ
إِنِّي لأَرْضَى بِمَا في الْحُبِّ مِنْ أَلَمٍ
ولستُ أرضى بما فى القول من فنَد
لَوْ كَانَ لِلْمَرْءِ عَقْلٌ يَسْتَدِلُّ بِهِ
على الحقيقة ِ لم يعتُب على أحدِ
إِنْ كُنْتَ ذَا إِمْرَة ٍ، فَانْهَ الصَّبَابَة َ عَنْ
قَلْبِي، لِتَغْنَمَ شُكْرِي آخِرَ الأَبَدِ
أَولا فدعنى ، ولا تَعنُف على َّ ؛ فما
أَمْرِي إِلَيَّ، وَلاَ حُكْمُ الْهَوَى بِيَدِي
إنَّ الفتاة َ الَّتى هامَ الفؤادُ بها
أَخْفَتْ عَلَيَّ سَبِيلَ الْحَزْمِ والسَّدَدِ
أغضبتُ فى حبِّها أهلى ، فما برحوا
إلباً على َّ ، وكانوا لى منَ العددِ
قالوا تعلَّق بِأخرى كى تَذودَ بِها
بَرْح الأَسَى عَنْ فُؤَادٍ دائِمِ الْكَمَدِ
فَقُلْتُ: هَيْهَاتَ أَنْ أَبْغِي بِهَا بَدَلاً
لَمْ يَخْلُقِ اللَّهُ مِنْ قَلْبَيْنِ في جَسَدِ

*******

ونبأة- 4
وَنَبْأَة ٍ أَطْلَقَتْ عَيْنَيَّ مِنْ سِنَة ٍ
كَانتْ حِبَالَة َ طَيْفٍ زَارَنِي سَحَرَا
فَقُمْتُ أَسْأَلُ عَيْنِي رَجْعَ مَا سمِعتْ
أُذْنِي، فَقَالَتْ: لَعَلِّي أَبْلُغُ الْخَبَرا
ثُمَّ اشرأبَّت ، فأَلفَت طائراً حَذِراً
عَلَى قَضِيبٍ يُدِيرُ السَّمْعَ والْبَصَرَا
مُستوفِزاً يتنَزَّى فوقَ أيكَتهِ
تنَزَّى القلبَ طالَ العهدُ فادَّكرا
لاَ تَسْتَقِرُّ لَهُ سَاقٌ عَلَى قَدَمٍ
فكُلَّما هدأَت أنفاسهُ نَفرا
يَهفو بهِ الغصنُ أحياناً ، ويرفَعهُ
دَحْوَ الصَّوَالِجِ فِي الدَّيْمُومَة ِ الأُكَرَا
ما بالهُ وهوَ فى أمنٍ وعافية ٍ
لاَ يَبْعَثُ الطَّرْفَ إِلاَّ خَائِفاً حَذِرَا؟
إِذَا عَلاَ بَاتَ فِي خَضْرَاءَ نَاعِمَة ٍ
وَإِنْ هوَى وَرَدَ الْغُدْرَانَ، أَوْ نَقَرَا
يَا طيْرُ نَفَّرْتَ عَنِّي طَيْفَ غَانِيَة ٍ
قَدْ كَانَ أَهْدَى لِيَ السَّرَّاءَ حِينَ سَرَى
حَوْراءُ كَالرِّئْمِ أَلْحَاظاً إِذَا نَظَرَتْ
وصُورة ِ البدرِ إشراقاً إذا سَفرا
زَالَتْ خَيَالَتُهَا عَنِّي، وَأَعْقَبَهَا
شَوقٌ أحالَ على َّ الهَمَّ والسَّهرا
فَهل إلى سنة ٍ إن أعوزَت صِلة ٌ
عَوْدٌ نَنَالُ بِهِ مِنْ طَيْفِهَا الْوَطَرَا؟

*****

أيد المنون - 5 القصيدة الخامسة
أيدَ المنُونِ قدَحتِ أى َّ زِنادِ
وأطرتِ أى َّ شعلة ٍ بفؤادى
أوهَنتِ عزمى وهو حَملة ُ فيلقٍ
وحَطَمتِ عودى وهو رُمحُ طِرادِ
لم أدرِ هَلْ خَطبٌ ألمَّ بِساحتى
فَأَنَاخَ، أَمْ سَهْمٌ أَصابَ سَوَادِي؟
أَقْذَى الْعُيُونَ فَأَسْبَلَتْ بِمَدَامِعٍ
تجرى على الخدَّينِ كالفِرصادِ
ما كُنْتُ أَحْسَبُنِي أُراعُ لِحَادِثٍ
حتَّى مُنيتُ بهِ فأَوهَنَ آدى
أَبلتنى الحسراتُ حتَّى لم يكد
جِسْمِي يَلُوحُ لأَعْيُنِ الْعُوَّادِ
أَسْتَنْجِدُ الزَّفَراتِ وَهْيَ لَوافِحٌ
وَأُسَفِّهُ الْعَبَرَاتِ وَهْيَ بَوَادِي
لا لوعتى تدعُ الفؤادَ ، ولا يدى
تقوَى على ردِّ الحبيبِ الغادى
يا دَهْرُ، فِيمَ فَجَعْتَنِي بِحَلِيْلَة ٍ؟
كانَتْ خَلاصَة َ عُدَّتِي وَعَتَادِي
إِنْ كُنْتَ لَمْ تَرْحَمْ ضَنَايَ لِبُعْدِها
أفلا رحِمتَ منَ الأسى أولادى ؟
أَفْرَدْتَهُنَّ فَلَمْ يَنَمْنَ تَوَجُّعاً
قرحَى العيونِ رواجِفَ الأكباد
أَلْقَيْنَ دُرَّ عُقُودِهِنَّ، وَصُغْنَ مِنْ
دُرِّ الدُّموعِ قلائدَ الأجيادِ

*******

اراك الحمى شوقي- 6 القصيدة رقم ستة

أَرَاكَ الْحِمَى ! شَوْقِي إِلَيْكَ شَدِيدُ
وصبرى ونومى فى هواكَ شريدُ
مضى زمنٌ لم يأتنى عنكَ قادمٌ
ببشرى ، ولم يعطف على َّ بريدُ
وَحِيْدٌ مِنَ الْخُلاَّنِ في أَرْضِ غُرْبَة ٍ
أَلاَ كُلُّ مَنْ يَبْغِي الْوَفَاءَ وَحِيدُ
فهل لغريبٍ طوحتهُ يدُ النَّوى
رجوعٌ ؟ وهل للحائماتِ ورودُ ؟
وهل زمنٌ ولَّى ، وعيشٌ تقيضَت
غَضَارَتُهُ بَعْدَ الذَّهَابِ يَعُودُ؟
أُعَلِّلُ نَفْسِي بالْقَدِيمِ، وَإِنَّمَا
يَلَذُّ اقْتِبالُ الشَّيءِ وَهْوَ جَدِيدُ
وما ذكرِى َ الأيَّامَ إلاَّ لأنَّها
ذِمامٌ لعرفانِ الصِّبا وعهودُ
فليسَ بمفقودٍ فتى ً ضمَّهُ الثَرى
ولكنَّ من غالَ البِعادُ فقيدُ

ترجمة إنجليزية مبتكرة \ جلال الدين الرومي

 

ترجمة إنجليزية مبتكرة \ جلال الدين الرومي

30-08-2021, 12:52

ترجمة إنجليزية مبتكرة \ جلال الدين الرومي
بحث في جميع رباعياته ورسائله فلم أجد أقوالا أو نصوصا تتوافق مع الترجمة الإنجليزية تحت
الترجمة كما يقول المؤلف Farrukh Dhondy الهندي من عائلة ذات أصل فارسي Parsi عن الكتاب الذي ألفه تحت عنوانه :
Rumi a new translation أنها أبيات مختارة مأخوذة عن كتاب المثنوي ( تحت توضيح بالإنجليزية عن المصدر)... بحثت في الكتاب نفسه وقارنت فلم أجد نصوصا مشابهة في كل المؤلفات ويبدو أن المؤلف قد ابتدع الطريقة بتحويل النص النثري إلى أبيات شعرية من خلال المحاورة القرآنية
( الرومي ونظرته لقصة يوسف وزليخا في القرآن الكريم ) ..
أختصرها وربما أقول بهتان لأنه نبي الله يوسف لم يكن عاشقا ولهانا والدليل قوله تعالى عن يوسف (قَالَ رَبِّ السِّجْنُ أَحَبُّ إِلَيَّ مِمَّا يَدْعُونَنِي إِلَيْهِ , وَإِلَّا تَصْرِفْ عَنِّي كَيْدَهُنَّ أَصْبُ إِلَيْهِنَّ وَأَكُن مِّنَ الْجَاهِلِينَ)
وفي رأيي أن جلال الدين الرومي قد نظر للحب من جانب مادي أو فسره وفق نظرته الصوفية فهو فيلسوف بارع دون شك.
أنقلها للقراء والمختصين بالدرجة الأولى في هذا المحفل وليجيشوا بأقلامهم فلست مطلعا بشكل كبير على جميع مؤلفات جلال الدين الرومي وربما هذا اليوم دفعتني الترجمة أن أبحث عن مصادر فوجدتها جميعها لكن وعلى مدى ثلاث ساعات أو أكثر وكما ذكرت في أعلاه لم أجد نصا شعريا في العربية يتفق تماما مع الترجمة ولهذا أقول وأكررها ثانية أراها مسألة ابتداع

The Verses selected from the Mathnawi Diwan -eShams-e, and The Discourses

THE WORD
Zuleika had a secret, every word
Or phrase she spoke in secret ways referred
To her beloved Yusuf. If she said,
“The moon is out tonight,” she meant instead
To say she loved him. When she said, “Aloe”
Or “Spice” or “bread,” her confidantes would know
That it was code for Yusuf; every phrase
A tribute to his beauty and his ways.
You could say, and by now you may have guessed,
That Zuleika lived a life that was obsessed
With Yusuf; she had turned the very gift
Of speech to magic, making meanings drift
And making words say what they never meant.
The blandest phrases turned to sentiment
And thoughts and praise of Yusuf. When she cursed
Aloud she meant she wanted time reversed
To once again the hour they last met
When parting made her words turn to regret.
His was the name that every morning burst
From her lips and quenched her every thirst
His name would warm Zuleika in the cold.
And just so, all believers should be told,
That when you seek salvation for your soul
You merge into the ocean of the whole
So lover and beloved are the same
Your Zuleika is merely Yusuf ’s name
And even though your linguist thinks it odd
All pronouncements are one—the word is “God.”
The syllable that permeates all things
Exploding stars and songs the robin sings
------
Here a biography about the author
Farrukh Dhondy was born in Poona, India in 1944 in a Parsi family. He obtained a Bachelor of Science degree from the Poona University in 1964 and was awarded a scholarship to read English at Cambridge University, after which he moved to Leicester University for his Master's degree.

From 1968 to 1978 Dhondy worked as a further education lecturer and schoolteacher in the Midlands and London, before entering television. From 1984 to 1997, Dhondy worked as Commissioning Editor, Multicultural Programming, for Channel 4 TV, UK. In this capacity, he was responsible for hundreds of hours of TV in all genres: entertainment, situation, comedy, TV drama, film, education and factual, and helped grenlight iconic shiows like Desmond's and The Bandung File

أشعار زمن الحرب

أشعار زمن الحرب

30-08-2021, 17:33

أشعار زمن الحرب بعض الكلمات قد كتبها الجندي باللغة العراقية الدارجة ( transliterated ) القصيدة من الواضح قد كتبها جندي أمريكي , ومن خلال القصيدة نفهم كيف حالتهم النفسية متدهورة القصيدة تكرس نبرة المقاومة العراقية الباسلة بكل وضوح تحية لكل قواتنا الأمنية ورجال الحشد الأبطال ولكل عراقي شريف

If you hear gunfire on a Thursday afternoon it could be for a wedding, or it could be for you Always enter a home with your right foot; the left is for cemeteries and unclean places O-guf! Tera armeek is rarely useful. It means Stop! Or I'll shoot. Sabah el khair is effective. It means Good Morning Inshallah means Allah be willing Listen well when it is spoken You will hear the RPG coming for you Not so the roadside bomb There are bombs under the overpasses, in trashpiles, in bricks, in cars There are shopping carts with clothes soaked in foogas, a sticky gel of homemade napalm Parachute bombs and artillery shells sewn into the carcasses of dead farm animals Graffiti sprayed onto the overpasses I will kell you, American = kill -- لو تسمع صوت إطلاقه في عصر يوم خميس إما أن تكون عرسا أو تكون عليك أدخل الدار بادئا بقدمك اليمين على الدوام أما اليسار فدعها للمقابر أو مكانا لا تشعر فيه بالأمان قف وإلا سأرميك كلمات ضعها في الحساب تعلمها وتعني قف وإلا فالبندقية ستكون الغريم صباح الخير كلمة رائعة على الدوام وتعني كما نقولها نحن بالتمام إن شاء الله تعني إرادة الله إصغي لها جيدا حين تقال ستسمع الأربيجي تقذف بحممها إليك ليست كما عبوة ناسفة وضعت جانب الطريق هنالك عبوات تزرع تحت الطرق العاليات أو بين أكداس القمامة وبين الصخور وحتى في السيارات وهنالك عربات تَسَوق تحتوي ملابس منقوعة مُزجت وألصقت صنعت محليا وخلطوها بالنابالم قنابل تنزلها المظلات أو قصف مدفعية أو قد أخيطت على أجساد المواشي والدواب عبارات تزخرف جدران المعابر والطرقات في أي مكان سنقتلكم يا أمريكان foo gas two words not one a written word ( no hyphen) = a mixture of explosives and napalm, usually set in a fifty-gallon drum يعني عبارة عن خليط محلي تصنع منه مواد متفجرة

قصص ووقائع تاريخية \ ترجمة إنجليزية

 

قصص ووقائع تاريخية \ ترجمة إنجليزية

31-08-2021, 06:12

قصة نزار بن معد كرب عندما حضرته الوفاة ووصيته لأبنائه
عن كتاب التيجان في ملوك حمير ومصادر أخرى \ ترجمة إنجليزية

Classical Arabic stories
The Sons of Nizar
When Nizar (1 ) felt himself about to die, he called his sons Mudar, Iyad, Rabi'a, and Anmar
“Sons,” he told them, “this red tent” (which was of leather) “is to be Mudar’s; and this black horse and black woolen tent are to be Rabi'a’s; and this gray-haired servant” (she was of middle age) “is to be Iyad’s; and this reception room is to be Anmar’s, in which he will sit. If you find any difficulty in dividing [the inheritance], then go and consult with the Serpent of Jurhum [the High Priest], who lives in Najran.” (2 )
When Nizar died, they found themselves quarreling over the inheritance and so went to visit the Serpent of Jurhum. On their way, Mudar, seeing the remains of grass that had been used for pasture, said:
“The camel that ate this grass was one-eyed.”
“And it was lame,” Rabi'a said.
“And it was short-tailed,” Iyad said.
“It was certainly a stray camel,” Anmar said.
As they walked on, they met a man looking for his camel, and he asked them if they had seen one.
“Was it one-eyed?” Mudar asked him.
“Yes,” he said.
“Was it lame?” Rabi'a asked
Yes, "the man said
“Was it short-tailed?” Iyad asked.
“Yes,” answered the man.
“Was it a stray camel?” Anmar asked finally.
“Yes,” the man answered, “that’s the very camel! Take me to where it is.”
“By God,” they said, “we never saw it.”
“You’re lying!” the man retorted. Then he laid hold of them. “How am I to believe you,” he went on, “when you describe my camel down to the last detail?” He stayed close by them till they reached Najran.
When they alighted, the camel owner cried:
“These men have taken my camel. They’ve just described it to me.”
“We never saw it,” the brothers said.
They went to the Serpent of Najran, who was a wise man and a judge among the Arabs, and laid their case before him.
“How were you able to describe it,” he asked, “when you’d never seen it?”
“I saw,” Mudar answered, “how it had grazed on one side of the pasture and left the other. And so I decided it must be one-eyed.”
“I saw how one of its feet had left clear tracks,” said Rabia, “while the others had left weak ones. And so I decided it must be lame.”
“I knew it had a short tail,” Iyad said, “because its dung was in a single heap. Had it had a long tail, the dung would have been scattered.”
“I knew it was a stray camel,” Anmar said finally, “because it had grazed in one lush place, thick with grass, then left it for another with poorer, ranker grass.”
The Serpent of Najran told the man:
“These men didn’t take your camel. Go and search for it.”
“Who are you?” he asked them then. And, when they told him, he wel¬ comed them, and they told him the reason for their visit.
“How can you be in need of me,” he asked, “when you are as you are?”
Then he gave them his hospitality, killing a goat for them, and he brought in wine, then sat where he could hear them without their seeing him.
“I should never have eaten more delicious meat,” Rabi a said, “had the goat not been fed on the milk of a bitch.”
“I should never have drunk better wine,” Mudar said, “if the vine had not been growing on a grave.”
“I should never, to this day,” said Iyad, “have seen a man more noble than this one, if only he had come from the father he claimed.”
“I have never,” Anmar said finally, “heard words more profitable to us than our words today.”
All this was uttered in the Serpent’s hearing, and he said to himself: “These are devilish men.”
With that he called the server and asked him about the wine and where it had come from.
“It came,” the man told him, “from a shoot I planted on our father’s grave. And what wine was ever more delicious?”
Next he asked the herdsman:
“What was the matter with this goat?”
“It was a small goat,” the herdsman answered, “whose mother had died, and there was no female in milk among the goats we had. And so I had to suckle it on a bitch’s milk.”
Then he approached his mother and asked her who his father was. She had, she told him, been married to a king of great wealth who could not beget children. “I was afraid,” she went on, “he would die childless and all his wealth would be lost.”
The Serpent returned to the young men and explained these matters to them. They in turn told him of their father’s advice.
“Whatever wealth falls under the color red,” he told them, “that belongs to Mudar.” And Mudar took all the dinars and all the red camels, and was called thereafter Mudar the Red.
“As for him,” the Serpent said, “to whom the black horse and the black tent were given, he shall have all that is black.” And Rabia inherited all the black horses and was called thereafter Rabia the Horse.
“And all,” the Serpent continued, “that resembles the gray-haired maid¬ servant belongs to Iyad.” And Iyad inherited all the white and gray sheep, and was called thereafter Iyad the Gray.
As for Anmar, the Serpent assigned him all the dirhams and whatever else remained of the inheritance, and he was called thereafter Anmar the Remnant.
--------------------
1
Nizar ibn Rabi’a is regarded as the founder of the southern Arabs in what is now called Yemen
2
Najran was one of the most important ancient cities of Yemen. The title “Serpent of Najran” was given to this priest on account of his celebrated wisdom, the serpent being a symbol of wisdom for the ancient Arabs

كان لنزار أربعة أولاد : مضر و ربيعة و إياد و أنمار ( تبدأ الترجمة الإنجليزية من كلمة فلما)
فلما حضرته الوفاة وصاهم فقال : يا بني هذه القبة الحمراء و ما أشبهها لمضر و هذا الخباء الأسود و ما أشبهه لربيعة و هذه الخادمة و ما أشبهها لأياد و هذه الندوة و المجلس و ما أشبهها لأنمار فإن أشكل عليكم و اختلفتم فعليكم بالأفعى الجرهمي بنجران
فاختلفوا في القسمة فتوجهوا إليه فبينما هم يسيرون إذ رأى مضر كلأ قد رعي فقال : إن البعير الذي رعى هذا الكلأ لأعور و قال لربيعة : هو أزور و قال إياد : هو أبتر و قال أنمار : و هو شرود فلم يسيروا قليلا حتى لقيهم رجل يوضع على راحلته فسألهم عن البعير فقال مضر : هو أعور قال نعم قال ربيعة : هو أزور قال : نعم و قال إياد : هو أبتر قال نعم و قال أنمار : هو شرود قال نعم و هذه و الله صفة بعيري فدلوني عليه فقالوا : و الله ما رأيناه قال : قد وصفتموه بصفته فكيف لم تروه
و سار معهم إلى نجران حتى نزلوا بالأفعى الجرهمي فناداه صاحب البعير هؤلاء أصحاب بعيري وصفوه لي بصفته و قالوا : لم نره فقال لهم الأفعى الجرهمي : كيف وصفتموه و لم تروه ؟
فقال مضر : رأيته يرعى جانبا و يترك جانبا فعرفت أنه أعور
و قال ربيعة : رأيت إحدى يديه ثابتة الأثر و الأخرى فاسدة الأثر فعرفت أنه أزور
و قال إياد : رأيت بعره مجتمعا فعرفت أنه أبتر
و قال أنمار : رأيته يرعى المكان الملتف ثم يجوزه إلى غيره فعرفت أنه شرود
فقال الجرهمي لصاحب البعير : ليسوا أصحاب بعيرك فاطلب من غيرهم ثم سألهم من هم فأخبروه أنهم بنو نزار بن معد فقال : أتحتاجون إلي و أنتم كما أرى ؟ فدعا لهم بطعام فأكلوا و بشراب فشربوا و شرب فقال مضر لم أر كاليوم خمرا أجود لولا أنها نبتت على قبر و قال ربيعة : لم أر كاليوم لحما أطيب لولا أنه ربي بلبن كلبة و قال إياد : لم أر كاليوم رجلا أسرى لولا أنه يدعي لغير أبيه و قال أنمار : لم أر كاليوم كلاما أنفع في حاجتنا و سمع الجرهمي الكلام فتعجب لقولهم و أتى أمه فسألها فأخبرته : أنها كانت تحت ملك لا ولد له فكرهت أن يذهب الملك فأمكنت رجلا من نفسها كان نزل بها فوطئها فحملت منه به و سأل القهرمان عن الخمر فقال من كرمة غرستها على قبر أبيك و سأل الراعي عن اللحم فقال : شاة أرضعتها بلبن كلبة لأن الشاة حين ولدت ماتت و لم يكن ولد في الغنم شاة غيرها فقيل لمضر من أين عرفت الخمر و نباتها على قبر ؟ قال : لأنه أصابني عليها عطش شديد
و قيل لربيعة من أين عرفت أن الشاة ارتضعت على لبن كلبة ؟ قال : لأني شممت منه رائحة الكلب
و قال لإياد : من أين عرفت أن الرجل يدعى لغير أبيه ؟ قال لأبي رأيته يتكلف ما يعمله
ثم أتاهم الجرهمي و قال : صفوا لي صفتكم فقصوا عليه ما أوصاهم به أبوهم نزار فقضى لمضر بالقبة الحمراء و الدنانير و الإبل و هي حمر فسمي مضر الحمراء و قضى لربيعة بالخباء الأسود و الخيل الدهم سمي ربيعة الفرس و قضى لأياد بالخادمة الشمطاء و الماشية البلق و قضى لأنمار بالأرض و الدراهم

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ألا أيها الظالم المستبد \ ترجمة إنجليزية

 

ألا أيها الظالم المستبد \ ترجمة إنجليزية

08-09-2021, 19:04

القصيدة للشاعر أبو القاسم الشابي
وجدت الترجمة الإنجليزية في كتاب ما أو في منشور ما ( بدون ذكر للنص العربي ) ,الكتاب جميعه أو المنشور يخلو من أية نصوص عربية
لكنني أدركت أنها هي القصيدة المعنية المنشورة تحت
وكما أرى الترجمة جميلة جدا ترجمها أحدهم ذيلها بهكذا أسم :
Translated by A. J. Arberry1
الشخص لا أعرفه ولم أسمع به
ألا ايها الظالم المستبد حبيب الظلام عدو الحياه
سخرت بأنات شعب ضعيف
و كفك مخضوبة من دماه
و سرت تشوه سحر الوجود
و تبذر شوك الاسى في رباه
رويدك لا يخدعك الربيع

و صحو الفضاء و ضوء الصباح
ففي الافق الرحب هول الظلام و قصف الرعود و عصف الرياح
حذار فتحت الرماد اللهيب

و من يبذر الشوك يجن الجراح
تأمل هنالك انى حصدت رؤوس الورى و زهور الأمل

و رويت بالدم قلب التراب اشربته الدمع حتى ثمل
سيجرفك سيل الدماء
و يأكلك العاصف المشتعل

TO THE TYRANT
Imperious despot, insolent in strife,
Lover of ruin, enemy of life!
You mock the anguish of an impotent land
Whose people’s blood has stained your tyrant hand,
And desecrate the magic of this earth,
Sowing your thorns, to bring despair to birth.
Patience! Let not the Spring delude you now,
The morning light, the skies’ unclouded brow;
Fear gathers in the broad horizon’s murk
Where winds are rising, and deep thunders lurk;
When the weak weeps, receive him not with scum.
Who soweth thorns, shall not his flesh be torn?
Wait! Where you thought to reap the lives of men,
The flowers of hope, never to bloom again,
Where you have soaked the furrows’ heart with blood,
Drenched them with tears, until they overflowed,
A gale of flame shall suddenly consume,
A bloody torrent sweep you to your doom!

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