"Part of me is in close contact with the crowd of the universe from its insect up its stars and swarms of men around the world, I am with them ... in them ... As for the other part of myself is only " Nazim wrote.
The beauty of a poem is often its ability to integrate its other. The tension is a fundamental element of poetry. The circumstances make writing more or less strong this tension and poets do not always find a way of inhabiting the world which combines the poetic and the political. In the case of Hikmet, a notable change is felt between his lyrical poems and Human Landscapes . It is clear that the texts of about Landscapes carry a political and social, are seeking to build a clean speech by talking about all the voices of all, the lyric poems are constantly being stretched between intimate story. Edition Gallimard It snows in the night and present the poet's work into two parts, the "lyric" and "epic poems. It is important to stress that the poems are lyrical traversed by the story of activist he was imprisoned, but also by the history of his country. The crossing points between the ego or "we" of the couple and the "we" of the Turkish people, indeed the world, they are consistent and give the writing Hikmet great force. The lyrics in
Hikmet is inseparable from the hope that through each poem: even in the darkest situations, the poet sings a bright future:
"Like your eyes, my beloved,
my century will be full of sunshine .... " (" The Twentieth Century, 1948) [1]
Hope is a feeling qu'Hikmet particularly valued, especially during his stays in prison. It is remarkable that he even wrote some of the most beautiful texts of love or praise when it was enclosed within four walls, deprived of his wife and hugs from wind and sun. One can only note that ability to evoke the beauty of things that could have the feeling faint in him. But he insists on loving a woman and to love life despite all "the prison of Istanbul"
"I thought about the universe,
to my country,
I thought of you. " (February 1939) [2]
Several texts have to track the dates. Yet, just anecdotal in there instead. This is to show the value of each day, give them a thickness, to get them out of the long past days that follow in a small cell. Write a poem "November 20, 1945" or "September 26, 1945" is to remain master of his time, so free.
be a poet is the highest form of freedom:
"And now, my love, and now, being captive, there is not
question,
the question is not to go. "(" Here, "1948) [3]
Love to Hikmet is not only that he has for his beloved, but for all men. In "September 26, 1945," he said :
"Most men are there,
men honest, hardworking and good,
worthy of being loved as I t love it. " [4]
and the thirtieth poem in 1947:
"I am among men, like men.
I like the action. Like thought.
Like my battle.
You're a human being in the spring.
I love you. " [5]
I love you. " [5]
This principle of mixing history with romance that has prevailed for writing Letters to Taranta-Babu (1935). The form of this correspondence is first intimate since young Ethiopian living in Rome sends letters to his wife and he evokes Mussolini's Italy. In these letters, the evocation of the historical situation is through a powerful lyrical language. The violence of war is considered in terms of loss of the beloved:
"they arrive Taranta-Babu,
they come for you kill
cut you open [...] " [6]
The love letter turns into an epic poem from the pen of Hikmet. Write to a woman is an address that allows both the lyrical word to deploy and political and historical speech to take another color: the world as it goes past the filter's unique vision of the poet, the world as that it is embedded in the situation of two singular beings.
In the year 1941 includes a very nice letter from a character - Halil - his wife Aiché (Book II, Part V). This letter was probably common with qu'Hikmet letters written to his wife from his cell. Halil described the prison as his wife, he relates the words of the prisoners, it evokes the sound of the train he heard regularly pass. A single letter of the man allows the poet to give to see the condition of prisoners, the humble locked throughout the country. The view of a forgotten man becomes testimony. When he receives a letter Aichi, content that contrasts with the reality of prison, while testifying in another way the status of Turkish peasants: Aichi refers to her husband and the crows, the campaign The work of the earth ... And when Halil replied, it binds to the history of the Turkish people that the world
"My love,
we nevertheless decided
not speak for us in this year 1941.
There is the world
and our country
, and hunger and death
; and separation
, and the hope and victory,
and the world and with our country
and mingled with them
there's two of us at this moment
with our separation
; ; and our love. " [7]
The" I "and" we "are never really separate from each other there is only one step that the poet passes. History transforms couples, people, stories.
In the poem "angina pectoris" (1948), he talks about his sick condition. But the disease that eats is not associated with precarious conditions in which he lives but rather to the plight of its people who eats. The world affects the poet. The poet's heart by being wherever man suffers is reached. Being a poet Nazim is therefore be affected by things and affect things in return.
He said that a poet can not be free, ever. The poet is not he the least intact of all artists?
balance difficult to master, writing poetry is always on the wire. It's about being hit and bleeding - but not too much - to be himself and his people.
"And every morning, Doctor,
My heart was shot in Greece [...]
My heart beats with the distant star. " [8] This game
scale between "I" and "them", "you" and "they" is a constant in lyric poetry of Nazim Hikmet. Because the "I" is a poetic major crossing point between individuals and history, a point which can cover, by its poetic construction, the wide spectrum of space and time:
"You are all naked in my arms
the city at night and you
[... ]
Where does the city, where do you begin you
where is my end, where is my beginning ? " [9]
(" The city, the evening and you ", July 1959)
In the poems of Nazim Hikmet, lyricism in conditions not conducive to the celebration. The story of a people is inseparable from the song for the poet. And the weight of the world hangs in the poet's heart as it weighs on the world. Hope has become a political and lyrical gesture of resistance.
Notes: All excerpts are from It snows in the night , Nazim Hikmet, preface by Claude Roy, Gallimard, 1999.
[1] in "Lyric Poetry," p. 92
[2] in "Lyrical Poems," p. 37
[3] in "Lyric Poetry," p. 84
[4] in "Lyrical Poems," p. 67
[5] in "Lyrical Poems," p. 82
[6] in Letters to Taranta-Babu , "Twelfth letter to Taranta-Babu, P. 379
[7] in In this year ten to nine hundred and forty-one , Book II, Part V, pp. 322-323
[8] in "Lyrical Poems," p. 89
[9] in "Lyrical Poems," p. 179
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