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Showing posts with label Poet: Nazim Hikmet. Show all posts
Showing posts with label Poet: Nazim Hikmet. Show all posts

Things I Didn't Know I Loved -- Nazim Hikmet

Guest poem sent in by Sashidhar Dandamudi
(Poem #1350) Things I Didn't Know I Loved
 it's 1962 March 28th
 I'm sitting by the window on the Prague-Berlin train
 night is falling
 I never knew I liked
 night descending like a tired bird on a smoky wet plain
 I don't like
 comparing nightfall to a tired bird

 I didn't know I loved the earth
 can someone who hasn't worked the earth love it
 I've never worked the earth
 it must be my only Platonic love

 and here I've loved rivers all this time
 whether motionless like this they curl skirting the hills
 European hills crowned with chateaus
 or whether stretched out flat as far as the eye can see
 I know you can't wash in the same river even once
 I know the river will bring new lights you'll never see
 I know we live slightly longer than a horse but not nearly as long as a crow
 I know this has troubled people before
 and will trouble those after me
 I know all this has been said a thousand times before
 and will be said after me

 I didn't know I loved the sky
 cloudy or clear
 the blue vault Andrei studied on his back at Borodino
 in prison I translated both volumes of War and Peace into Turkish
 I hear voices
 not from the blue vault but from the yard
 the guards are beating someone again
 I didn't know I loved trees
 bare beeches near Moscow in Peredelkino
 they come upon me in winter noble and modest
 beeches are Russian the way poplars are Turkish
 "the poplars of Izmir
 losing their leaves. . .
 they call me The Knife. . .
 lover like a young tree. . .
 I blow stately mansions sky-high"
 in the Ilgaz woods in 1920 I tied an embroidered linen handkerchief
 to a pine bough for luck

 I never knew I loved roads
 even the asphalt kind
 Vera's behind the wheel we're driving from Moscow to the Crimea
 Koktebele
 formerly "Goktepili" in Turkish
 the two of us inside a closed box
 the world flows past on both sides distant and mute
 I was never so close to anyone in my life
 bandits stopped me on the red road between Bolu and Gered(&
 when I was eighteen
 apart from my life I didn't have anything in the wagon they could take
 and at eighteen our lives are what we value least
 I've written this somewhere before
 wading through a dark muddy street I'm going to the shadow play
 Ramazan night
 a paper lantern leading the way
 maybe nothing like this ever happened
 maybe I read it somewhere an eight-year-old boy
 going to the shadow play
 Ramazan night in Istanbul holding his grandfather's hand
 his grandfather has on a fez and is wearing the fur coat
 with a sable collar over his robe
 and there's a lantern in the servant's hand
 and I can't contain myself for joy
 flowers come to mind for some reason
 poppies cactuses jonquils
 in the jonquil garden in Kadikoy Istanbul I kissed Marika
 fresh almonds on her breath
 I was seventeen
 my heart on a swing touched the sky
 I didn't know I loved flowers
 friends sent me three red carnations in prison

 I just remembered the stars
 I love them too
 whether I'm floored watching them from below
 or whether I'm flying at their side

 I have some questions for the cosmonauts
 were the stars much bigger
 did they look like huge jewels on black velvet
 or apricots on orange
 did you feel proud to get closer to the stars
 I saw color photos of the cosmos in Ogonek magazine now don't
 be upset comrades but nonfigurative shall we say or abstract
 well some of them looked just like such paintings which is to
 say they were terribly figurative and concrete
 my heart was in my mouth looking at them
 they are our endless desire to grasp things
 seeing them I could even think of death and not feel at all sad
 I never knew I loved the cosmos

 snow flashes in front of my eyes
 both heavy wet steady snow and the dry whirling kind
 I didn't know I liked snow

 I never knew I loved the sun
 even when setting cherry-red as now
 in Istanbul too it sometimes sets in postcard colors
 but you aren't about to paint it that way
 I didn't know I loved the sea
 except the Sea of Azov
 or how much

 I didn't know I loved clouds
 whether I'm under or up above them
 whether they look like giants or shaggy white beasts

 moonlight the falsest the most languid the most petit-bourgeois
 strikes me
 I like it

 I didn't know I liked rain
 whether it falls like a fine net or splatters against the glass my
 heart leaves me tangled up in a net or trapped inside a drop
 and takes off for uncharted countries I didn't know I loved
 rain but why did I suddenly discover all these passions sitting
 by the window on the Prague-Berlin train
 is it because I lit my sixth cigarette
 one alone could kill me
 is it because I'm half dead from thinking about someone back in Moscow
 her hair straw-blond eyelashes blue

 the train plunges on through the pitch-black night
 I never knew I liked the night pitch-black
 sparks fly from the engine
 I didn't know I loved sparks
 I didn't know I loved so many things and I had to wait until sixty
 to find it out sitting by the window on the Prague-Berlin train
 watching the world disappear as if on a journey of no return
-- Nazim Hikmet
           19 April 1962, Moscow
           Trans. by Randy Blasing and Mutlu Konuk (1993)

Notes:

Justice's poem [Poem #1343] was triggered by, as William wrote, something on
the periphery; a light at a window. This brings to my mind a whole slew of
poems that triggered by visions and sightings like that. We have Pasternak's
Winter Night [Poem #45] and that super incantaion "and a candle burned on the
table". This is linked to one of the early scenes of the novel, Dr.  Zhivago,
where he watches a candle burning at a window. We also have Seth's Protocols,
where the narrator is walking past a house and writes "May the sun burn these
footprints on the lawn".

This brings us to this lyrical monolouge of Hikmet in which he lists all
those peripheral things that he had experienced (and which I suppose all
of us have or will experience) in his life and brings to each of those
recollections, a sweet ache of finally talking about them and acknowleding
those experiences. While Justice's poem deals with just a single incident
this poem is almost autobiographical in sweep, making it more "sumptous".

I first came upon a snippet of this poem in the New York Times Book Review
and just loved those lines:

"I didn't know I liked rain
whether it falls like a fine net or splatters against the glass "

And since it had been raining off and on, here in Atlanta, these lines
have been on my periphery in the recent days.

Cheers!
Sashi

I Come and Stand at Every Door -- Nazim Hikmet

On seeing yesterday's tull poem, Amit Chakrabarti
chimed in with a guest theme - rock lyrics:
(Poem #742) I Come and Stand at Every Door
 I come and stand at every door
 But no one hears my silent tread
 I knock and yet remain unseen
 For I am dead, for I am dead.

 I'm only seven although I died
 In Hiroshima long ago
 I'm seven now as I was then
 When children die they do not grow.

 My hair was scorched by swirling flame
 My eyes grew dim, my eyes grew blind
 Death came and turned my bones to dust
 And that was scattered by the wind.

 I need no fruit, I need no rice
 I need no sweet, nor even bread
 I ask for nothing for myself
 For I am dead, for I am dead.

 All that I ask is that for peace
 You fight today, you fight today
 So that the children of this world
 May live and grow and laugh and play.
-- Nazim Hikmet
[Comments]

I first learned of this poem listening casually to the album "Fifth
Dimension" by the Byrds. Somewhere in the middle of the poem the lyrics
grabbed my attention and jerked me alert from my state of casual listening.
I remember rewinding and re-listening to the song another couple of times
till I'd got all the lyrics and was seriously impressed.

As it turns out, these words were penned by Nazim Hikmet, one of the
foremost modern Turkish poets. Several artists have turned this poem to song
(the other notable being Pete Seeger), and as far as I could find out all of
them use the same words. It is not clear to me whose English translation the
above is. I would love to know.

Turning to the poem itself: it's the stark imagery in the third stanza that
I find the most moving. The only fellow Byrds enthusiast I know finds the
quote "When children die they do not grow" memorable. I think the conceit of
a little ghost from an alien land wandering around with his desperate plea
is beautiful; contrast this with other conceits seen in antiwar poems.

I'm somewhat puzzled by the choice of the word "fight" in the child's plea
in the final stanza; "work" sounds more right to me. Could any Turkish
reader familiar with the original please comment upon this?

[The Byrds and this song]

It is unfortunate that all but a few ardent classic rock fans know the Byrds
only as "those pleasant 1960's popsters who gave us those feel good tunes
like 'Turn! Turn! Turn!' and did several Bob Dylan covers". Certainly, their
first couple of albums didn't stray too far from this image. The third album
"Fifth Dimension" which was by turns psychedelic, dark, jazzy and sombre
must, therefore, have come as something of a shock in 1966. The Nazim Hikmet
poem is given a slow, dirge-like reading and set to a simple minor key
melody clearly designed to not interfere with the words.

Unfortunately though they were maturing musically by leaps and bounds, the
bandmembers of the Byrds soon broke apart. As a result the Byrds got to
produce only two more albums (after "Fifth Dimension") of superb material
before sinking into relative mediocrity.

Amit.

[Nazim Hikmet]

        b. 1902, Salonika, Ottoman Empire [now ThessalonĂ­ki, Greece]
        d. June 2, 1963, Moscow

...one of the most important and influential figures in 20th-century Turkish
literature.

...Nazim Hikmet grew up in Anatolia; after briefly attending the Turkish
naval academy, he studied economics and political science at the University
of Moscow.  Returning home as a Marxist in 1924 after the advent of the new
Turkish Republic, he began to work for a number of journals and started
Communist propaganda activities. In 1951 he left Turkey forever after
serving a lengthy jail sentence for his radical and subversive activities.
From then on he lived in the Soviet Union and eastern Europe, where he
continued to work for the ideals of world Communism.

His mastery of language and introduction of free verse and a wide range of
poetic themes strongly influenced Turkish literature in the late 1930s.
After early recognition with his patriotic poems in syllabic metre, in
Moscow he came under the influence of the Russian Futurists, and by
abandoning traditional poetic forms, indulging in exaggerated imagery, and
using unexpected associations, he attempted to "depoetize" poetry. Later his
style became quieter...

...Although previously censored, after his death in 1963 all his works were
published and widely read, and he became a poet of the people and a
revolutionary hero of the Turkish left. Many of his works have been
translated into English, including Selected Poems (1967), The Moscow
Symphony (1970), The Day Before Tomorrow (1972), and Things I Didn't Know I
Loved (1975).

...the figure of Nazim Hikmet (died 1963) looms large in Turkish poetry.
Expressing his progressive social attitude in truly poetical form, he used
free rhythmical patterns quite brilliantly to enrapture his readers; his
style, as well as his powerful, unforgettable images, has deeply influenced
not only Turkish but also progressive Urdu and Persian poetry from the 1930s
onward.

        -- EB

[Minstrels Links]

(Anti-)War poems:
Poem #132, "Dulce Et Decorum Est", Wilfred Owen
Poem #232, "Insensibility", Wilfred Owen
Poem #288, "Futility", Wilfred Owen
Poem #321, "Strange Meeting",   Wilfred Owen
Poem #385, "Base Details", Siegfried Sassoon
Poem #535, "The Working Party", Siegfried Sassoon
Poem #395, "Naming of Parts", Henry Reed