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Bezig met laden... The Rebel's Silhouette: Selected Poemsdoor Faiz Ahmed Faiz
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Born in India and considered the leading poet on the South Asian subcontinent, Faiz Ahmed Faiz (1911-1984) was a two-time Nobel nominee and winner of the 1962 Lenin Peace Prize. His evening readings in Hindi/Urdu-speaking regions drew thousands of listeners. Associated with the Communist party in his youth, Faiz became an outspoken poet in opposition to the Pakistani government. This volume offers a selection of Faiz's poetry in a bilingual Urdu/English edition with a new introduction by poet and translator Agha Shahid Ali. Geen bibliotheekbeschrijvingen gevonden. |
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Google Books — Bezig met laden... GenresDewey Decimale Classificatie (DDC)891.43917Literature Literature of other languages Literature of east Indo-European and Celtic languages Modern Indic languages Hindi, Urdu Urdu Urdu poetry 1940–LC-classificatieWaarderingGemiddelde:
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About the author: Faiz was born in 1910 (or 1911 depending on which reference you are reading) in Punjab, he earned degrees in both English and Arabic literature and in WWII served in the Indian Army, achieving the rank of Lieutenant Colonel. In 1947 after the partitioning of the Indian subcontinent, Faiz chose to live in Pakistan where, in 1951 he was jailed on a charge of planning a Soviet sponsored coup. He spent four years in prison under a sentence of death, mostly in solitary confinement. After his release he held various positions on newspapers, in the Pakistan government—depending who was in power—, won the Lenin Peace Prize in 1962 when his poetry was translated into Russian and became a world renowned figure especially in Pakistan, India, the Soviet Union, and the Middle East. He died in 1984 in Lahore.
Reading Faiz’s poems would give one no clue to his political views. He is a romantic poet writes of love, but usually as memory, especially in his “prison” poems. The feelings that resonated with me were his passion for life and his deep feelings about the suffering of his country and its people and his despair about not being able to “make things right.” There was also the feeling of finding strength to keep on trying, as well in the delight with so many of the “little things” in life. Many of his poems would put side by side images of love and peace with images of war and terror. Roses and blood were often used together, for example. In some ways my reading of his poetry this afternoon became entwined with the feeling I have been having about the novel I’ve been reading—life often means having to bear great pain and great responsibility to try to a greater good. One of his most poignant poems concerns a death by torture of a prisoner he knew.
I’m not expressing myself very coherently because in many ways I’m still trying to sort out all these feelings myself. It just seem strange—and somehow fitting for a passionate reader—how a fantasy novel written by a Canadian and a group of poems originally written in Urdu have made me think deeply about the world we live in—with is beauty and pain all mixed together. Also the importance of memory--remembering good times helps us endure the bad.
On another note—this poet introduced me to a new form of poetry, which I try, rather inadequately, to describe below.
GHAZAL, a traditional Urdu poetic form, is the most popular poem in India/Pakistan/Bangladesh/Iran. Many of Faiz’s poems use this form, of which he was a master, although the form must necessarily be lost in translation.
In Ghazal:
(1) Minimum 5 Stanzas, which is called share. (The introduction to the book said a minimum of 4 stanzas or couplets.) Mostly Ghazal comprises a 7 Stanza/share, but there is no limit; you can write thousands stanzas/shares as you like.
(2)Every stanza/share comprises 2 lines
(3) In first stanza/share last word in both lines is repeated.
(4) Thereafter, last word of 2nd line of all the subsequent share/stanza is repeated as last word of first stanza.
(5) MOST IMPORTANT is that every Stanza/share has separate subject or meaning
From the introduction here is an example– created by John Hollander-- to illustrate the form:
For couplets ghazal is prime; at the end
Of each one’s a refrain like a chime: “at the end.”
But in subsequent couplets throughout the whole poem,
It’s the second line only will rhyme at the end.
You gathered all manner of flowers all day,
But your hands were most fragrant of thyme, at the end.
Unfortunately, because Faiz’s poems were translated from Urdu, the form was lost in the translation, although you could see it visually on the Urdu page. ( )