Thursday, August 30, 2007

Babel,the movie that defeats globalization



Guillermo Arriaga is the scenarist of Babel,the movie.He has been successful to depict an innocence lost into an aliented world and trapped into violence and terrorism especially the world of the children .The story tells us stories of 4 countries ,Morocco,U S A , Japan and Mexico but well linked to an extarordinary climax .Guillermo Arriaga was briliant to move us with poetic images and rythm especically of highly professional actors and actresses either from Morocco U SA ,Japan or Mexico. (Allal el Alaoui)



Wednesday, August 29, 2007

The rebirth of Studios in casablanca called Ain-Sock



















Filmed bY Essafi «L’Etat garde l’œil sur la télévision» L’ancien directeur de la télévision marocaine, Abdellah Chakroun, vient de publier un nouvel ouvrage. A travers «Réflexions sur l’audiovisuel et le théâtre », l’auteur parle de l’évolution de la télévision au Maroc et de la mission éducative de ce média de masse. ALM : Dans l’ouvrage «réflexions sur l’audiovisuel au Maroc» vous avez consacré un chapitre important à la création de la télévision au Maroc. Pensez- vous que durant les années cinquante, le climat était propice au développement de ce média ? Abdellah Chakroun : La télévision a été créée au Maroc pendant la présence française. C’est suite à une idée du colonisateur et de quelques particuliers marocains que la Société de radiodiffusion et de télévision Telma est née et a commencé, en février 1954, à émettre ses programmes à partir des studios d’Ain Chock. Pourquoi la télévision a-t-elle été installée à Casablanca ? Cela est dû à une raison simple. Casablanca a toujours été la capitale économique du Maroc. Les Français considéraient que c’était une ville adéquate pour nouer des relations sur le plan financier et pour attirer davantage de bailleurs de fonds. Une télévision a besoin d’argent et les responsables de cette chaîne en étaient conscients. La Telma était une société privée, quels étaient ses principaux actionnaires ? L’actionnariat de la Telma était composé en majorité de fonds français et hollandais. Une compagnie d’électricité de France faisait partie des bailleurs de fonds. Mais les Français n’étaient pas les seuls à financer cette entreprise. Comme je l’ai déjà cité, des Marocains étaient également de la partie. Cependant, leur implication n’était pas rendue publique. Ils ne voulaient pas qu’on les connaisse pour ne pas avoir des ennuis. Ils allaient être considérés comme des collaborateurs de la France ou des traîtres. Comment se profilaient les programmes diffusés sur la Telma à l’époque ? Le cahier de charge de la Telma était clair. La chaîne capitalisait sur des têtes d’affiches françaises. Elle faisait appel à des artistes et à des animateurs qu’elle payait le double du prix qu’ils pouvaient avoir chez eux. L’offre était alléchante. Les techniciens venaient directement de France et étaient bien choyés. Ils avaient des avantages et la Telma mettait même des logements à leur disposition. La Telma a été achetée par l’Etat en 1960, comment s’est déroulé ce passage d’une télévision privée vers une télévision publique ? Après un an d’existence et après avoir couvert le retour du Roi Mohammed V de l’exil en 1955, la Telma s’est éteinte à cause de problèmes financiers. Les promoteurs de cette télévision espéraient encore pouvoir reprendre leurs activités, mais sans résultats. Durant les premières années de l’indépendance, le gouvernement marocain voulait disposer d’une télévision nationale. C’est ainsi que l’Etat a racheté la Telma au prix symbolique de 100 millions de francs. Il a également signé un contrat avec la radio-télévision italienne RAI. Les Italiens ont ainsi assuré la formation des cadres et mis à notre disposition une expertise technique ainsi que du matériel. Pourquoi la télévision s’est-elle déplacée de Casablanca vers Rabat ? C’est simple, l’Etat voulait avoir le contrôle de l’information. Il fallait avoir l’œil sur tout ce qui se passait à la télévision. Au début, le siège de la radio et télévision a été installé au quatrième étage du théâtre Mohammed V, là où se trouve actuellement l’Institut des arts dramatiques. C’était une période difficile, il n’y avait pas d’ascenseurs, il fallait escalader les 93 marches du bâtiment. Ce n’est que quelques années plus tard qu’il y a eu la création de Dar Brihi. Le personnel de la radio-télévision travaillait en direct. Il n’enregistrait rien. Les comédiens apprenaient leurs textes par cœur,… Dans cet ouvrage, vous traitez du rôle éducatif de la télévision marocaine. Pensez-vous que cette mission a été bien assurée ? En 1964, une chaîne éducative a été créée au sein même de la télévision. Elle a été fondée sous l’initiative d’un groupe d’instituteurs et de cadres éducatifs. Les gens qui y travaillaient assuraient cette mission avec doigté. On avait confectionné une salle pour une troupe d’enfants. Dans ce local, certains fabriquaient des marionnettes destinées à être filmées et à faire l’objet d’une émission TV. Un jour, le directeur général a vu ce qui se faisait. Résultat : il a mis fin aux activités de cette cellule éducative. (Aujourd'hui le Maroc) Le 17-10-2006 Par : Qods Chabâa Filmed by Essafi Khammar Ain Ckock is a common name of south east of Casablanca in Morocco where there lies shaby and very old regional studios meant to be only for Tv diffusions . Ain-Shock studio has known a long death until this year of 2007 when Rabat Head of Office, SNRT decided to beautify the place by building up new studios . Historically speaking, Ain Shock survived well and was able to record sit-coms,programs and talk shows of late sixtees and seventeens inviting well-known artists such as Taeb Essadiki, Hassan Skalli, Omar Ben shrif ,Edasoukin and Zeari …. Now , the new coming of technology and digital manifestations, Ain shock is now in the state of a rebirth . ( Allal El Alaoui )
video

Sunday, August 26, 2007

Cinema of poetry or cinema of imagery and image


Dante ALIGHIERI




من عشق فعف وكتم سره فقد مات شهيدا

Such sweet decorum and such gentle grace
attend my lady's greeting as she moves
that lips can only tremble into silence,
and eyes dare not attempt to gaze at her.
Moving benignly,clothed in humility,
untouched by all the praise along her way,
she seems to be a creature come from heaven
to earth,to manifest a miracle.
Miraculously gracious to behold ,
her sweetness reaches ,through the eyes ,the heart
(who has not felt this can not understand) ,
and from her lips it seems there moves a gracious
spirit,so deeply loving that it glides
into the souls of men ,whispering " Sigh".


Dante ALIGHIERI























POETRY IN MOVIES: A PARTIAL LIST
Stacey Harwood

What follows is a listing of the appearance of recognizable, often canonical, poems, or excerpts from poems, in mainly American and British sound films. The catalog is necessarily incomplete; readers are invited to submit new entries to the journal at mqr@umich.edu or to Stacey Harwood at shoshana@mindspring.com. The filmography will be revised and updated regularly.
Ground rules. Movies entirely or mainly in verse, such as Shakespeare's plays and Greek tragedies or Dylan Thomas's Under Milk Wood (1972) and T. S. Eliot's Murder in the Cathedral (1952), cannot be accommodated in this format. The same is true of movies set in modern times that feature a Shakespearean actor, such as To Be or Not To Be (1942, 1983), A Double Life (1947), The Goodbye Girl (1977), The Dresser (1983), and Looking for Richard (1996). Movies about poets are another special category: Glenda Jackson recites many poems by Stevie Smith in the film Stevie (1978), just as bits and pieces of Francois Villon's poems appear in If I Were King (1938), Sylvia Plath's poems appear in Sylvia (2003), Langston Hughes's in Looking for Langston (1989), T. S. Eliot's in Tom & Viv (1994), Dorothy Parker's in Mrs. Parker and the Vicious Circle (1994), Arthur Rimbaud's in Total Eclipse (1995), and Shakespeare's in Shakespeare in Love (1998). Numerous poems by Maya Angelou are spoken in Poetic Justice (1993) and Sherman Alexie inserts several of his own poems into the soundtrack of Smoke Signals (1998). Films featuring slam, hip-hop, and spoken-word performance pieces seem to belong to a separate category as well.
The Bible, too, is a special case. Occasionally a few lines will be embedded artfully in a film, as when the younger self of Elizabeth McGovern reads a few verses of "The Song of Songs" to her unworthy "beloved" in Once upon a Time in America (1984), or when the terrified rape/murder victim in Frenzy (1972) whispers out Psalm 91. But biblical texts are so frequent in films that the subject requires a filmography of its own. Likewise, films with abundant quotations of a line or two from different poets are better noted in a separate space like this one than parsed out in a listing. Examples include Gene Wilder's manic recital in Willy Wonka and the Chocolate Factory (1971) of quotations from Shakespeare (Merchant of Venice, As You Like It, and Romeo and Juliet), as well as from William Blake, John Keats, John Masefield, and Ogden Nash, and Dead Poets Society (1989), in which lines by Abraham Cowley, Robert Frost, Robert Herrick, Vachel Lindsay, William Shakespeare, Walt Whitman, Lord Tennyson, and Lord Byron fly through the air.
Addison, Joseph

"The Campaign"
My Darling Clementine, 1946

Apollinaire, Guillaume

"L'amour"
Peau d'ane, 1970

Arnold, Matthew

"Dover Beach"
Without Love, 1945
The Anniversary Party, 2001

Auden, W. H.

"Night Mail"
Night Mail, 1936

"Funeral Blues"
Four Weddings and a Funeral, 1994

"As I Walked Out One Evening"
Before Sunrise, 1995

Baudelaire, Charles

"The Albatross"
A Very Long Engagement, 2004

"The Jewels"
La Letrice [The Reader], 1988

Biermann, Wolf

"The Girl from Stuttgart"
Germany in Autumn, 1978

Bishop, Elizabeth

"One Art"
In Your Shoes, 2005

Blake, William

"The Tyger"
The End of the Affair, 1955
The Horse's Mouth, 1958
Blade Runner, 1982
The Dangerous Lives of Altar Boys, 2002

"America: A Prophecy"
"The Fly"
Blade Runner, 1982

"Jerusalem" ["And did those feet in ancient time"]
The Loneliness of the Long-Distance Runner, 1962
Privilege, 1967
Chariots of Fire, 1981
Calendar Girls, 2003

"The Sick Rose"
Educating Rita, 1983

"The Marriage of Heaven and Hell"
Bull Durham, 1988

"The Everlasting Gospel" ["The vision of Christ that thou dost see..."]
"The Marriage of Heaven and Hell"
Dead Man, 1995

"Auguries of Innocence"
Dead Man, 1995
In the Bedroom, 2001
Lara Croft: Tomb Raider, 2001

"The Little Black Boy"
The Horse's Mouth, 1958

Bradstreet, Anne

"To My Dear and Loving Husband"
Le Divorce, 2003

Brecht, Bertolt

"Germany Pale Mother"
Germany Pale Mother, 1980

Browning, Elizabeth Barrett

"Aurora Leigh," ii
Take the High Ground, 1953

"A Child's Grave at Florence"
Tea with Mussolini, 1999

Browning, Robert

"Sordello"
The Barretts of Wimpole Street, 1934

"The Pied Piper of Hamelin"
The Sweet Hereafter, 1997

Bukowski, Charles

"2 p.m. Beer"
"Old Man, Dead in a Room"
Barfly, 1987

Burns, Robert

"My Love Is like a Red Red Rose"
Side Street, 1950

"Upon Afton Water" ["Flow gently, sweet Afton..."]
Pride and Prejudice, 1940

Byron, [George Gordon] Lord

"She Walks in Beauty"
Blockade, 1938
Jamaica Inn, 1939

"Childe Harold's Pilgrimage," IV.178 ["There is a pleasure in the pathless woods"]
The Bridges of Madison County, 1995

Don Juan
Don Juan de Marco, 1995

Carroll, Lewis

"The Walrus and the Carpenter"
Today We Live, 1933
The Clairvoyant, 1934
The Lives of a Bengal Lancer, 1935

Chaucer, Geoffrey

"Prologue"
"Wife of Bath's Tale" ["the woe that is in marriage"]
Sylvia, 2003

Clough, Arthur Hugh

"Dipsychus"
The Quiet American, 2002

Cocteau, Jean

"Les Muses"
Peau d'ane, 1970

Coleridge, Hartley

"Sonnet VII" ["Is love a fancy or a feeling"]
Sense and Sensibility, 1995

Coleridge, Samuel Taylor

"Kubla Khan"
Citizen Kane, 1941
Pandaemonium, 2000

Congreve, William

from The Mourning Bride ["Heaven has no rage like love to hatred turned..."]
Adam's Rib, 1949

Corso, Gregory

"Marriage"
Reality Bites, 1994

Cowper, William

"The Castaway"
Sense and Sensibility, 1995

cummings, e. e.

"i carry your heart with me"
In Your Shoes, 2005

"somewhere i have never travelled gladly beyond"
Hannah and Her Sisters, 1986

Dante Alighieri

"Vita Nuova, III"
Hannibal, 2001

Dickinson, Emily

"Ample make this Bed"
Sophie's Choice, 1982

"Because I could not stop for Death"
Crimes and Misdemeanors, 1989

"'Hope' is the thing with feathers"
Quiz Show, 1994
Autumn in New York, 2000

"Two butterflies went out at noon"
Autumn in New York, 2000

"We never know how high we are"
Seabiscuit, 2003

Donne, John

Holy Sonnet X ["Death Be Not Proud"]
The Exorcist III, 1990

Douglas, Lord Alfred

"In Summer"
"Two Loves"
Wilde, 1997

Dowson, Ernest

"Vitae Summa Brevis Spem Nos Vetat Incohare Longam"
Days of Wine and Roses, 1962

Dryden, John

translation from Horace, Book 3, Ode 29 ["Happy the man, and happy he alone..."]
Tom Jones, 1963

Eliot, T. S.

"East Coker"
Butley, 1974

"The Hollow Men"
Apocalypse Now, 1979

"The Love Song of J. Alfred Prufrock"
Love and Death, 1975
Apocalypse Now, 1979
Till Human Voices Wake Us, 2002
The Fog of War, 2003

"Little Gidding" ["We shall not cease from exploration"]
The Fog of War, 2003

"Old Possum's Book of Practical Cats"
Logan's Run, 1976

"The Waste Land" ["April is the cruelest month..."]
Without Love, 1945

Frost, Robert

"Death of the Hired Man"
Frenzy, 1972

"Stopping by Woods on a Snowy Evening"
Telefon, 1977
Dreamcatcher, 2003

"Nothing Gold Can Stay"
The Outsiders, 1983

"The Road Not Taken" [in Italian]
Down by Law, 1986

Garcia Lorca, Federico

"Ballad of a Sleepwalker"
Revenge, 1990

"Backwaters"
In the Cut, 2003

Ginsberg, Allen

"Howl"
Hairspray, 1988

Goethe, Johann Wolfgang von

"Erlkonig"
Burning Secret, 1988

Gray, Thomas

"Elegy Written in a Country Churchyard"
Bull Durham, 1988

Gresham, Joy

"Snow in Madrid"
Shadowlands, 1993

Hayes, J. Milton

"The Green Eye of the Little Yellow God"
St. Martin's Lane, 1938

Heber, Reginald

"Hymns" ("Where every prospect pleases / And only man is vile")
Born to Kill, 1947

Henley, W. E.

"England, My England"
The Lives of a Bengal Lancer, 1935

"Invictus"
King's Row, 1942

Herrick, Robert

"Gather ye Rose-buds while ye may"
A Prairie Home Companion, 2006

"Upon Julia's Clothes"
Julia, 1977

Hood, Thomas

"Silence"
The Piano, 1993

Hopkins, Gerard Manley

"Spring and Fall"
Vision Quest, 1985

Housman, A. E.

"A Shropshire Lad" (part 40) ["Into my heart an air that kills"]
Walkabout, 1971

"To an Athlete Dying Young"
Out of Africa, 1985

"When I Was One and Twenty"
Stage Struck, 1958

Hughes, Langston

"Montage of a Dream Deferred"
A Raisin in the Sun, 1961

Jonson, Ben

"To Celia" ["Drink to me only with thine eyes"]
Ghosts on the Loose,1943

Keats, John

from Endymion ["A thing of beauty is a joy forever"]
Portrait of Jenny, 1948
White Men Can't Jump, 1992

"To Autumn"
The Prime of Miss Jean Brodie, 1969
Bridget Jones's Diary, 2001

"La Belle Dame Sans Merci"
In the Cut, 2003

"When I Have Fears that I May Cease to Be"
Brief Encounter, 1945
The Track of the Cat, 1954

Kenyon, Jane

"Let Evening Come"
In Her Shoes, 2005

Key, Francis Scott

"The Star-Spangled Banner"
Since You Went Away, 1944

Khayyam, Omar

The Rubaiyat, 7 ["The Bird of Time has but a little way..."]
Morning Glory, 1933
Unfaithful, 2002

The Rubaiyat, 46 ["O threats of hell and hopes of Paradise..."]
Duel in the Sun, 1946

Kipling, Rudyard

"Gunga Din"
Gunga Din, 1939
Two-Way Stretch, 1959
Sylvia, 2003

"The Conundrum of the Workshops"
F for Fake, 1974

"Tomlinson" ["the sin they do by two and two they must pay for one by one"]
Lifeboat, 1944

"If"
St. Martin's Lane, 1938

Larkin, Philip

"Ignorance"
Holy Smoke, 1999

Lawrence, D. H.

"Self-Pity"
G.I. Jane, 1997

Lazarus, Emma

"The New Colossus"
Saboteur, 1942
Since You Went Away, 1944

Levertov, Denise

"At David's Grave"
Any Mother's Son, 1997

Longfellow, Henry Wadsworth

"The Song of Hiawatha"
Here We Go Again, 1942
Desk Set, 1957
Spider Man 2, 2004

"My Lost Youth"
In the Bedroom, 2001

Lowell, James Russell

"Once to Every Man and Nation"
Kid Glove Killer, 1942

Marlowe, Christopher

"The Passionate Shepherd to His Love"
The Private Lives of Elizabeth and Essex, 1939
Come Live with Me, 1941
Richard III, 1995

"Hero and Leander" ["Whoever loved that loved not at first sight"]
Intolerable Cruelty, 2003

The Tragical History of the Life and Death of Doctor Faustus, V, 100 ["... make me immortal with a kiss"]
The Ruling Class, 1972

Marvell, Andrew

"To His Coy Mistress"
A Farewell to Arms, 1932
A Matter of Life and Death, 1946
The 25th Hour, 2002

"The Definition of Love"
The Daytrippers, 1996

Merriam, Eve

"Coward"
Home of the Brave, 1949

Millay, Edna St. Vincent

"Sonnet: Love Is Not All"
Take the High Ground, 1953

"First Fig"
A River Runs through It, 1992

"God's World"
"To a Young Poet"
Autumn in New York, 2000

"Elaine"
Without Love, 1945

Miller, Alice Duer

"The White Cliffs"
The White Cliffs of Dover, 1944

Milton, John

"Lycidas" ["Tomorrow to fresh woods, and pastures new"]
The Horse's Mouth, 1958

from Paradise Lost IV.846 ["Abashed the devil stood and felt how awful
goodness is"]
The Crow, 1994

from "Comus" [Sabrina fair..."]
Sabrina, 1995

Montejo, Eugenio

"The Earth Turned to Bring Us Closer"
21 Grams, 2003

Neruda, Pablo

"The Dead Woman"
Truly Madly Deeply, 1991

"The Enigmas"
Mindwalk, 1991

Various poems
Il Postino, 1994

Owen, Wilfred

"The Parable of the Old Man and the Young"
"Dulce et Decorum Est"
"Greater Love"
Regeneration, 1997

Parker, Dorothy

"Resume"
Girl, Interrupted, 1999

"Midnight"
Autumn in New York, 2000

Poe, Edgar Allan

"The Raven"
The Raven, 1935
Young Guns, 1988
The Crow, 1994

"Ulalume"
Lolita, 1962
The Ladykillers, 2004

"El Dorado"
El Dorado, 1967

"Alone"
The Krays, 1990

"Annabel Lee"
Stage Struck, 1958
Play Misty for Me, 1971
Holes, 2003

"To Helen"
The Ladykillers, 2004

Pope, Alexander

"Eloisa to Abelard"
Eternal Sunshine of the Spotless Mind, 2004

Pudney, John

"For Johnny"
"Missing"
Way to the Stars, 1945

Raleigh, Walter

"His Pilgrimage"
A Matter of Life and Death, 1946

"The Nymph's Reply to the Shepherd"
The Private Lives of Elizabeth and Essex, 1939
Richard III, 1995

Rilke, Rainer Maria

"The Panther,"
Another Woman, 1988
Awakenings, 1990

"Archaic Torso of Apollo"
Another Woman, 1988

Rossetti, Christina

"Remember"
Kiss Me Deadly, 1955

Sassoon, Siegfried

"Base Details"
Regeneration, 1997

Scott, Walter

Marmion VI.30 ["O woman! in our hours of ease"]
The Prisoner of Zenda, 1937

Marmion VI.532-3 ["O what a tangled web we weave"]
The Perfect Man, 2005

"Love as a Theme of Poets"
A Matter of Life and Death, 1946

"Patriotism"
Groundhog Day, 1993

Seeger, Alan

"I Have a Rendezvous with Death"
Cast a Giant Shadow, 1966

Shakespeare, William

Hamlet, Act 1, Scene 2 ["How weary, stale, flat, and unprofitable..."]
Lola Montes, 1955

Hamlet, Act 2, Scene 1 ["To be or not to be"]
Morning Glory, 1933
My Darling Clementine, 1946
Star Trek VI: The Undiscovered Country, 1991

Henry IV, Part 1
My Own Private Idaho, 1991

Henry V, Act 3, Scene 1
Too Much, Too Soon, 1958

Henry V [St. Crispin's Day speech]
Too Much, Too Soon, 1958
Tombstone, 1991
Renaissance Man, 1994

Julius Caesar, Act I, Scene 2 ["The fault, dear Brutus, is not in our stars"]
Intolerable Cruelty, 2003
Good Night and Good Luck, 2005

Julius Caesar, Act 2, Scene 2 ["Cowards die many times before their deaths"]
The Human Stain, 2003

Julius Caesar, Act 3, Scene 2
Pinero, 2001

Macbeth, Act 5, Scene 5 ["Tomorrow and tomorrow...]
Smoke, 1995

A Midsummer Night's Dream, Act III, Scene 2 ["Jack shall have Jill"]
The Anniversary Party, 2001

Othello, Act 3, Scene 3 ["Oh, curse of marriage..."]
The Unfaithful, 1947

Richard II, Act 2, Scene 1
The Scarlet Pimpernel, 1934

Romeo and Juliet, Act 2, Scene 2 ["O Romeo, Romeo..."]
Morning Glory, 1933
This Land is Mine, 1943
Tea with Mussolini, 1999

Romeo and Juliet, various passages
Stage Struck, 1958
Tumbleweeds, 1999

The Tempest, Act 3, Scene 2 ["The isle is full of noises..."]
The Four Feathers, 1939

Twelfth Night, Act 2, Scene 5 ["Some are born great..."]
The Miracle of Morgan's Creek, 1944

Sonnet #29 ["When, in disgrace with Fortune and men's eyes"]
In a Lonely Place, 1950

Sonnet #94 ["They that have power to hurt and will do none"]
A Map of the World, 1999

Sonnet #116 ["Let me not to the marriage of true minds"]
The Trouble with Harry, 1955
Sense and Sensibility, 1995

"Venus and Adonis" ["Dismiss your vows, your feigned tears"]
Intolerable Cruelty, 2003

Shelley, Percy Bysshe

"Adonais" 40 ["He has outsoared the shadow of our night"]
The Thin Man Goes Home, 1944

"Love's Philosophy"
In & Out, 1997

Siegel, Eli

"Hot Afternoons Have Been in Montana"
Hot Afternoons Have Been in Montana, 2005

Smith, Charlie

"The Meaning of Birds"
Blue Car, 2002

Spenser, Edmund

The Faerie Queene V, ii, 39 ["For whatsoever from one place doth fall..."]
Sense and Sensibility, 1995

Stevenson, Robert Louis

"Requiem"
They Were Expendable, 1945
The Horse's Mouth, 1958

"My House, I Say"
Undercurrent, 1946

"My Wife"
Tender Comrade, 1943

Tennyson, [Alfred] Lord

"The Charge of the Light Brigade"
The Charge of the Light Brigade, 1936
The Bridge on the River Kwai, 1957
The Falcon and the Snowman, 1985

"Maud" III.23-5
The Thin Man Goes Home, 1944

"Crossing the Bar"
Finding Graceland, 1998

"The Lady of Shalott"
The Mirror Crack'd, 1980

"Tithonus"
Shadow of the Vampire, 2000

Thomas, Dylan

"Do Not Go Gentle into That Good Night"
Back to School, 1986
Dangerous Minds, 1995

"And Death Shall Have No Dominion"
The Weight of Water, 2000
Solaris, 2002

Valery, Paul

"Le Cimetiere Marin"
The Victors, 1963

Verlaine, Paul

"Song of Autumn"
The Longest Day

Whitman, Walt

"The Untold Want"
Now, Voyager, 1942
Love and Death on Long Island, 1997

"I Sing the Body Electric"
Bull Durham, 1988

"Song of Myself"
Beautiful Dreamers, 1990

"Out of the Cradle, Endlessly Rocking"
L.I.E., 2001

"Spontaneous Me"
The Notebook, 2004

"So Long"
The Notebook, 2004

"A Passage to India" ["Sail forth, steer for the deep waters only"]
Street Scene, 1931

"Goodbye, My Fancy"
Goodbye, My Fancy, 1951

Wilde, Oscar

"The Sphinx"
The Picture of Dorian Gray, 1945

"The Ballad of Reading Gaol"
Wilde, 1997

Williamson, Marianne

"A Return to Love"
Coach Carter, 2005

Wordsworth, William

"Ode: Intimations of Immortality"
Splendor in the Grass, 1961
Alice in Wonderland, 1966
A River Runs Through It, 1992

"Tintern Abbey"
Pandaemonium, 2000

Wylie, Elinor

"The Eagle and the Mole"
American Splendor, 2003

Yeats, W. B.

"Brown Penny"
Must Love Dogs, 2005

"When You are Old"
Peggy Sue Got Married, 1986

"He Wishes for the Cloths of Heaven"
84 Charing Cross Road, 1987
Equilibrium, 2002

"An Irish Airman Foresees His Death"
Memphis Belle, 1990

"The Stolen Child"
A. I.: Artificial Intelligence, 2001
Blue Car, 2002

"The Sorrow of Love"
Sylvia, 2003

"The Lake Isle of Innisfree"
Million Dollar Baby, 2004

Michigan Quarterly Review
3574 Rackham Bldg.
915 E. Washington Street
Ann Arbor, MI 48109-1070



William Shakespeare

Weary with toil, I haste me to my bed,
The dear repose for limbs with travel tired;
But then begins a journey in my head,
To work my mind, when body's work's expired:
For then my thoughts, from far where I abide,
Intend a zealous pilgrimage to thee,
And keep my drooping eyelids open wide,
Looking on darkness which the blind do see
Save that my soul's imaginary sight
Presents thy shadow to my sightless view,
Which, like a jewel hung in ghastly night,
Makes black night beauteous and her old face new.
Lo! thus, by day my limbs, by night my mind,
For thee and for myself no quiet find.











لقة امرىء القيس
ملاحظة صممت هذه الصفحة بخط مقاس 40 لذي يرجى تعديل التضبيطات الخاصة بالمتصفح حتى تستطيع عرضها بخط كبير يريح العين | كيف
قِفَا نَبْكِ مِنْ ذِكْرَى حَبِيبٍ ومَنْزِلِ
بِسِقْطِ اللِّوَى بَيْنَ الدَّخُولِ فَحَوْمَلِ
فَتُوْضِحَ فَالمِقْراةِ لَمْ يَعْفُ رَسْمُها
لِمَا نَسَجَتْهَا مِنْ جَنُوبٍ وشَمْألِ
تَرَى بَعَرَ الأرْآمِ فِي عَرَصَاتِهَـا
وَقِيْعَـانِهَا كَأنَّهُ حَبُّ فُلْفُــلِ
كَأنِّي غَدَاةَ البَيْنِ يَوْمَ تَحَمَّلُـوا
لَدَى سَمُرَاتِ الحَيِّ نَاقِفُ حَنْظَلِ
وُقُوْفاً بِهَا صَحْبِي عَلَّي مَطِيَّهُـمُ
يَقُوْلُوْنَ لاَ تَهْلِكْ أَسَىً وَتَجَمَّـلِ
وإِنَّ شِفـَائِي عَبْـرَةٌ مُهْرَاقَـةٌ
فَهَلْ عِنْدَ رَسْمٍ دَارِسٍ مِنْ مُعَوَّلِ
كَدَأْبِكَ مِنْ أُمِّ الحُوَيْرِثِ قَبْلَهَـا
وَجَـارَتِهَا أُمِّ الرَّبَابِ بِمَأْسَـلِ
إِذَا قَامَتَا تَضَوَّعَ المِسْكُ مِنْهُمَـا
نَسِيْمَ الصَّبَا جَاءَتْ بِرَيَّا القَرَنْفُلِ
فَفَاضَتْ دُمُوْعُ العَيْنِ مِنِّي صَبَابَةً
عَلَى النَّحْرِ حَتَّى بَلَّ دَمْعِي مِحْمَلِي
ألاَ رُبَّ يَوْمٍ لَكَ مِنْهُنَّ صَالِـحٍ
وَلاَ سِيَّمَا يَوْمٍ بِدَارَةِ جُلْجُـلِ
ويَوْمَ عَقَرْتُ لِلْعَذَارَي مَطِيَّتِـي
فَيَا عَجَباً مِنْ كُوْرِهَا المُتَحَمَّـلِ
فَظَلَّ العَذَارَى يَرْتَمِيْنَ بِلَحْمِهَـا
وشَحْمٍ كَهُدَّابِ الدِّمَقْسِ المُفَتَّـلِ
ويَوْمَ دَخَلْتُ الخِدْرَ خِدْرَ عُنَيْـزَةٍ
فَقَالَتْ لَكَ الوَيْلاَتُ إنَّكَ مُرْجِلِي
تَقُولُ وقَدْ مَالَ الغَبِيْطُ بِنَا مَعـاً
عَقَرْتَ بَعِيْرِي يَا امْرأَ القَيْسِ فَانْزِلِ
فَقُلْتُ لَهَا سِيْرِي وأَرْخِي زِمَامَـهُ
ولاَ تُبْعـِدِيْنِي مِنْ جَنَاكِ المُعَلَّـلِ
فَمِثْلِكِ حُبْلَى قَدْ طَرَقْتُ ومُرْضِـعٍ
فَأَلْهَيْتُهَـا عَنْ ذِي تَمَائِمَ مُحْـوِلِ
إِذَا مَا بَكَى مِنْ خَلْفِهَا انْصَرَفَتْ لَهُ
بِشَـقٍّ وتَحْتِي شِقُّهَا لَمْ يُحَـوَّلِ
ويَوْماً عَلَى ظَهْرِ الكَثِيْبِ تَعَـذَّرَتْ
عَلَـيَّ وَآلَـتْ حَلْفَةً لم تَحَلَّـلِ
أفاطِـمَ مَهْلاً بَعْضَ هَذَا التَّدَلُّـلِ
وإِنْ كُنْتِ قَدْ أزْمَعْتِ صَرْمِي فَأَجْمِلِي
أغَـرَّكِ مِنِّـي أنَّ حُبَّـكِ قَاتِلِـي
وأنَّـكِ مَهْمَا تَأْمُرِي القَلْبَ يَفْعَـلِ
وإِنْ تَكُ قَدْ سَـاءَتْكِ مِنِّي خَلِيقَـةٌ
فَسُلِّـي ثِيَـابِي مِنْ ثِيَابِكِ تَنْسُـلِ
وَمَا ذَرَفَـتْ عَيْنَاكِ إلاَّ لِتَضْرِبِـي
بِسَهْمَيْكِ فِي أعْشَارِ قَلْبٍ مُقَتَّـلِ
وبَيْضَـةِ خِدْرٍ لاَ يُرَامُ خِبَاؤُهَـا
تَمَتَّعْتُ مِنْ لَهْوٍ بِهَا غَيْرَ مُعْجَـلِ
تَجَاوَزْتُ أحْرَاساً إِلَيْهَا وَمَعْشَـراً
عَلَّي حِرَاصاً لَوْ يُسِرُّوْنَ مَقْتَلِـي
إِذَا مَا الثُّرَيَّا فِي السَّمَاءِ تَعَرَّضَتْ
تَعَـرُّضَ أَثْنَاءَ الوِشَاحِ المُفَصَّـلِ
فَجِئْتُ وَقَدْ نَضَّتْ لِنَوْمٍ ثِيَابَهَـا
لَـدَى السِّتْرِ إلاَّ لِبْسَةَ المُتَفَضِّـلِ
فَقَالـَتْ : يَمِيْنَ اللهِ مَا لَكَ حِيْلَةٌ
وَمَا إِنْ أَرَى عَنْكَ الغَوَايَةَ تَنْجَلِـي
خَرَجْتُ بِهَا أَمْشِي تَجُرُّ وَرَاءَنَـا
عَلَـى أَثَرَيْنا ذَيْلَ مِرْطٍ مُرَحَّـلِ
فَلَمَّا أجَزْنَا سَاحَةَ الحَيِّ وانْتَحَـى
بِنَا بَطْنُ خَبْتٍ ذِي حِقَافٍ عَقَنْقَلِ
هَصَرْتُ بِفَوْدَي رَأْسِهَا فَتَمَايَلَـتْ
عَليَّ هَضِيْمَ الكَشْحِ رَيَّا المُخَلْخَـلِ
مُهَفْهَفَـةٌ بَيْضَـاءُ غَيْرُ مُفَاضَــةٍ
تَرَائِبُهَـا مَصْقُولَةٌ كَالسَّجَنْجَــلِ
كَبِكْرِ المُقَـانَاةِ البَيَاضَ بِصُفْــرَةٍ
غَـذَاهَا نَمِيْرُ المَاءِ غَيْرُ المُحَلَّــلِ
تَـصُدُّ وتُبْدِي عَنْ أسِيْلٍ وَتَتَّقــِي
بِـنَاظِرَةٍ مِنْ وَحْشِ وَجْرَةَ مُطْفِـلِ
وجِـيْدٍ كَجِيْدِ الرِّئْمِ لَيْسَ بِفَاحِـشٍ
إِذَا هِـيَ نَصَّتْـهُ وَلاَ بِمُعَطَّــلِ
وفَـرْعٍ يَزِيْنُ المَتْنَ أسْوَدَ فَاحِــمٍ
أثِيْـثٍ كَقِـنْوِ النَّخْلَةِ المُتَعَثْكِــلِ
غَـدَائِرُهُ مُسْتَشْزِرَاتٌ إلَى العُــلاَ
تَضِلُّ العِقَاصُ فِي مُثَنَّى وَمُرْسَــلِ
وكَشْحٍ لَطِيفٍ كَالجَدِيْلِ مُخَصَّــرٍ
وسَـاقٍ كَأُنْبُوبِ السَّقِيِّ المُذَلَّــلِ
وتُضْحِي فَتِيْتُ المِسْكِ فَوْقَ فِراشِهَـا
نَئُوْمُ الضَّحَى لَمْ تَنْتَطِقْ عَنْ تَفَضُّـلِ
وتَعْطُـو بِرَخْصٍ غَيْرَ شَثْنٍ كَأَنَّــهُ
أَسَارِيْعُ ظَبْيٍ أَوْ مَسَاويْكُ إِسْحِـلِ
تُضِـيءُ الظَّلامَ بِالعِشَاءِ كَأَنَّهَــا
مَنَـارَةُ مُمْسَى رَاهِـبٍ مُتَبَتِّــلِ
إِلَى مِثْلِهَـا يَرْنُو الحَلِيْمُ صَبَابَــةً
إِذَا مَا اسْبَكَرَّتْ بَيْنَ دِرْعٍ ومِجْـوَلِ
تَسَلَّتْ عَمَايَاتُ الرِّجَالِ عَنْ الصِّبَـا
ولَيْـسَ فُؤَادِي عَنْ هَوَاكِ بِمُنْسَـلِ
ألاَّ رُبَّ خَصْمٍ فِيْكِ أَلْوَى رَدَدْتُـهُ
نَصِيْـحٍ عَلَى تَعْذَالِهِ غَيْرِ مُؤْتَــلِ
ولَيْلٍ كَمَوْجِ البَحْرِ أَرْخَى سُدُوْلَــهُ
عَلَيَّ بِأَنْـوَاعِ الهُـمُوْمِ لِيَبْتَلِــي
فَقُلْـتُ لَهُ لَمَّا تَمَطَّـى بِصُلْبِــهِ
وأَرْدَفَ أَعْجَـازاً وَنَاءَ بِكَلْكَــلِ
ألاَ أَيُّهَا اللَّيْلُ الطَّوِيْلُ ألاَ انْجَلِــي
بِصُبْحٍ وَمَا الإصْبَاحُ منِكَ بِأَمْثَــلِ
فَيَــا لَكَ مَنْ لَيْلٍ كَأنَّ نُجُومَـهُ
بِـأَمْرَاسِ كَتَّانٍ إِلَى صُمِّ جَنْــدَلِ
وقِـرْبَةِ أَقْـوَامٍ جَعَلْتُ عِصَامَهَــا
عَلَى كَاهِـلٍ مِنِّي ذَلُوْلٍ مُرَحَّــلِ
وَوَادٍ كَجَـوْفِ العَيْرِ قَفْرٍ قَطَعْتُــهُ
بِـهِ الذِّئْبُ يَعْوِي كَالخَلِيْعِ المُعَيَّــلِ
فَقُلْـتُ لَهُ لَمَّا عَوَى : إِنَّ شَأْنَنَــا
قَلِيْلُ الغِنَى إِنْ كُنْتَ لَمَّا تَمَــوَّلِ
كِــلاَنَا إِذَا مَا نَالَ شَيْئَـاً أَفَاتَـهُ
ومَنْ يَحْتَرِثْ حَرْثِي وحَرْثَكَ يَهْـزَلِ
وَقَـدْ أغْتَدِي والطَّيْرُ فِي وُكُنَاتِهَـا
بِمُنْجَـرِدٍ قَيْـدِ الأَوَابِدِ هَيْكَــلِ
مِكَـرٍّ مِفَـرٍّ مُقْبِلٍ مُدْبِـرٍ مَعــاً
كَجُلْمُوْدِ صَخْرٍ حَطَّهُ السَّيْلُ مِنْ عَلِ
كَمَيْتٍ يَزِلُّ اللَّبْـدُ عَنْ حَالِ مَتْنِـهِ
كَمَا زَلَّـتِ الصَّفْـوَاءُ بِالمُتَنَـزَّلِ
عَلَى الذَّبْلِ جَيَّاشٍ كأنَّ اهْتِـزَامَهُ
إِذَا جَاشَ فِيْهِ حَمْيُهُ غَلْيُ مِرْجَـلِ
مَسْحٍ إِذَا مَا السَّابِحَاتُ عَلَى الوَنَى
أَثَرْنَ الغُبَـارَ بِالكَـدِيْدِ المُرَكَّـلِ
يُزِلُّ الغُـلاَمُ الخِفَّ عَنْ صَهَـوَاتِهِ
وَيُلْوِي بِأَثْوَابِ العَنِيْـفِ المُثَقَّـلِ
دَرِيْرٍ كَخُـذْرُوفِ الوَلِيْـدِ أمَرَّهُ
تَتَابُعُ كَفَّيْـهِ بِخَيْـطٍ مُوَصَّـلِ
لَهُ أيْطَـلا ظَبْـيٍ وَسَاقَا نَعَـامَةٍ
وإِرْخَاءُ سَرْحَانٍ وَتَقْرِيْبُ تَتْفُـلِ
ضَلِيْعٍ إِذَا اسْتَـدْبَرْتَهُ سَدَّ فَرْجَـهُ
بِضَافٍ فُوَيْقَ الأَرْضِ لَيْسَ بِأَعْزَلِ
كَأَنَّ عَلَى المَتْنَيْنِ مِنْهُ إِذَا انْتَحَـى
مَدَاكَ عَرُوسٍ أَوْ صَلايَةَ حَنْظَـلِ
كَأَنَّ دِمَاءَ الهَـادِيَاتِ بِنَحْـرِهِ
عُصَارَةُ حِنَّاءٍ بِشَيْـبٍ مُرَجَّـلِ
فَعَـنَّ لَنَا سِـرْبٌ كَأَنَّ نِعَاجَـهُ
عَـذَارَى دَوَارٍ فِي مُلاءٍ مُذَبَّـلِ
فَأَدْبَرْنَ كَالجِزْعِ المُفَصَّـلِ بَيْنَـهُ
بِجِيْدٍ مُعَمٍّ فِي العَشِيْرَةِ مُخْـوَلِ
فَأَلْحَقَنَـا بِالهَـادِيَاتِ ودُوْنَـهُ
جَوَاحِـرُهَا فِي صَرَّةٍ لَمْ تُزَيَّـلِ
فَعَـادَى عِدَاءً بَيْنَ ثَوْرٍ ونَعْجَـةٍ
دِرَاكاً وَلَمْ يَنْضَحْ بِمَاءٍ فَيُغْسَـلِ
فَظَلَّ طُهَاةُ اللَّحْمِ مِن بَيْنِ مُنْضِجٍ
صَفِيـفَ شِوَاءٍ أَوْ قَدِيْرٍ مُعَجَّـلِ
ورُحْنَا يَكَادُ الطَّرْفُ يَقْصُرُ دُوْنَـهُ
مَتَى تَـرَقَّ العَيْـنُ فِيْهِ تَسَفَّـلِ
فَبَـاتَ عَلَيْـهِ سَرْجُهُ ولِجَامُـهُ
وَبَاتَ بِعَيْنِـي قَائِماً غَيْرَ مُرْسَـلِ
أصَاحِ تَرَى بَرْقاً أُرِيْكَ وَمِيْضَـهُ
كَلَمْـعِ اليَدَيْنِ فِي حَبِيٍّ مُكَلَّـلِ
يُضِيءُ سَنَاهُ أَوْ مَصَابِيْحُ رَاهِـبٍ
أَمَالَ السَّلِيْـطَ بِالذُّبَالِ المُفَتَّـلِ
قَعَدْتُ لَهُ وصُحْبَتِي بَيْنَ ضَـارِجٍ
وبَيْنَ العـُذَيْبِ بُعْدَمَا مُتَأَمَّـلِ
عَلَى قَطَنٍ بِالشَّيْمِ أَيْمَنُ صَوْبِـهِ
وَأَيْسَـرُهُ عَلَى السِّتَارِ فَيَذْبُـلِ
فَأَضْحَى يَسُحُّ المَاءَ حَوْلَ كُتَيْفَةٍ
يَكُبُّ عَلَى الأذْقَانِ دَوْحَ الكَنَهْبَلِ
ومَـرَّ عَلَى القَنَـانِ مِنْ نَفَيَانِـهِ
فَأَنْزَلَ مِنْهُ العُصْمَ مِنْ كُلِّ مَنْـزِلِ
وتَيْمَاءَ لَمْ يَتْرُكْ بِهَا جِذْعَ نَخْلَـةٍ
وَلاَ أُطُمـاً إِلاَّ مَشِيْداً بِجِنْـدَلِ
كَأَنَّ ثَبِيْـراً فِي عَرَانِيْـنِ وَبْلِـهِ
كَبِيْـرُ أُنَاسٍ فِي بِجَـادٍ مُزَمَّـلِ
كَأَنَّ ذُرَى رَأْسِ المُجَيْمِرِ غُـدْوَةً
مِنَ السَّيْلِ وَالأَغثَاءِ فَلْكَةُ مِغْـزَلِ
وأَلْقَى بِصَحْـرَاءِ الغَبيْطِ بَعَاعَـهُ
نُزُوْلَ اليَمَانِي ذِي العِيَابِ المُحَمَّلِ
كَأَنَّ مَكَـاكِيَّ الجِـوَاءِ غُدَّبَـةً
صُبِحْنَ سُلافاً مِنْ رَحيقٍ مُفَلْفَـلِ
كَأَنَّ السِّبَـاعَ فِيْهِ غَرْقَى عَشِيَّـةً
بِأَرْجَائِهِ القُصْوَى أَنَابِيْشُ عُنْصُـلِ
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