ტრადიციული პოეზიის ნიშნები და მათი ფუნქცია მაჰმუდ დარვიშის ლექსში "შეყვარებული პალესტინიდან"

აბსტრაქტი

სტატიიდან აღებული ავტორის ინგლისურენოვანი რეზიუმე:

Key words: Traditional form, Anti-colonial poetry.

The prominent Palestinian poet Mahmoud Darwish (1952-2008) most of his life spent in exile. He worked permanently to improve his poetic techniques. His creations, as an important contribution to the modern Arabic poetry, were changing all the time. In spite of this Darwish mostly is represented as a symbol of Palestinian Resistance, as a fighter for freedom or the “Voice of Palestinians” – national poet, who managed to spread local problem all over the world. “The Lover from Palestine” was published in 1966 – after establishing of the State of Israel and before the occupation of the East Jerusalem (before the Six-Day War of 1967). It was forbidden even to mention Palestine as a country at that time.

For Arabs who had lost their land, the birth of Palestine in the text, and accordingly, in the memory, was very important. If the first poems of the exiled poet contain the direct expressions against Israel (see “Identity Card”), here we cannot see any political call or slogans, even though poetry is still remaining a main weapon in the poet’s struggle. The main thing is to remember Palestine, to keep it on mind.And memory isalmost equal ofretaining the land. The form of the discussed poem is modern ¬– free verse, but Darwish deliberately uses traditional Arabic conception ofUzriLove and the construction of the classicalqasid- ain it. He tries to underline the existence of the tradition on the occupied land using pure Arabic motives in his poem.

According to the Uzri love, the lover must dedicate all his life to one woman,even if they will not be together in the future, and he must be ready to die for her (or for their love). The difference is that in case of “The Lover from Palestine” the object of love is not a woman (as in traditional Arabic Love poem –ghazal) but a land – Palestine. (Personaliza- tion of the land or city one can observe in texts of the other modern Arab writers too). The construction of this modern free verse is taken exactly from the classical qasida. Even the sequence of its basic parts – Nasib, Rahil, Madih, Fakhr and Hija– is not changed. In Nasib(love song) Darwish remembers the beautiful time when he and his be- loved were together.

The poet hopes that he and his land will meet each other again (such hope one can see in classicalNasiband not in pre-Islamic one). Also, he cries, in traditional way, because of the absence of his homeland. Darwish addresses his lover: Your words were a song I sought to sing But agony encircled the lips of spring. Like swallows, your words took wind. Led my love, they deserted the gate of our house, And its autumnal threshold... The Hija (satire about enemies) is naturally addressed towards the occupier. Though there are little changes in part of Madih and Rahil. In the “The Lover from Palestine” Madih (usually praise of ruler) is directed to the lover and Rahil (traditionally journey of the poet) is represented by the sad scenes of exile.

I saw you yesterday at the harbor a voyager without provisions... I saw you on briar-covered mountains a shepherdess without sheep... I saw you in wells of water and in granaries broken... I saw you in nightclubs waiting on tables... Of course, Darwish doesn’t use by accident the construction of the classical Arabic poem, on the one hand, and pure Arabic conception of Uzrilove, on the other. In the Pal- estinian context of the 60’s it means that: 1. Mahmoud Darwish tried not to lose his balance between two extreme tendencies in the 20th century Arabic poetry. If one (the Salafiya) didn’t take historical changes into consideration at all, the other was concentrated only on the modernization of poetry for- getting its historical past.

In “The Lover from Palestine” (as in other poems by Darwish) one can observe the beautiful coexistence of modern and traditional elements. 2. Darwish believed that poetry still was important component of the Arab mental life. He tried to return to the Arabic poetry it’s social function. “The Lover from Pales- tine” is not his first attempt to make poetry a weapon for political struggle. But it is the first poem where we see the birth of Palestine in text. It means that it must continue its existence in the memory of Palestinians. Later memory will become more and more sig- nificant in Darwish’s poetry. As Darwish decided to preserve his Palestine in memory, he began to use tradi- tional qasida in anti-Israeli context.

By this step he becomes a part of the greater tendency which has been spread all over the third world since the 19th century when the writers deliberately used traditional forms to express their anti-imperial or/and anti-colonial ideas. If in the western literature of the 60’s postmodern tendencies were appeared, in the Near East by that time“engaged literature” was still very important. Here, unlike the typical post-modern texts, traditional forms were not used in an ironical context. “The Lover from Palestine” isn’t an exception. It contains elements of the traditional poetry, on the on hand, and clear political massages against the occupier, on the other.

გამოქვეყნებულია ჟურნალში „სჯანი“, ტ. 20/1 (2019), გვ. 117–131. ნაშრომის გახსნა