Arab Poets Quotes

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The Day is Done The day is done, and the darkness Falls from the wings of Night, As a feather is wafted downward From an eagle in his flight. I see the lights of the village Gleam through the rain and the mist, And a feeling of sadness comes o'er me That my soul cannot resist: A feeling of sadness and longing, That is not akin to pain, And resembles sorrow only As the mist resembles the rain. Come, read to me some poem, Some simple and heartfelt lay, That shall soothe this restless feeling, And banish the thoughts of day. Not from the grand old masters, Not from the bards sublime, Whose distant footsteps echo Through the corridors of Time. For, like strains of martial music, Their mighty thoughts suggest Life's endless toil and endeavor; And to-night I long for rest. Read from some humbler poet, Whose songs gushed from his heart, As showers from the clouds of summer, Or tears from the eyelids start; Who, through long days of labor, And nights devoid of ease, Still heard in his soul the music Of wonderful melodies. Such songs have power to quiet The restless pulse of care, And come like the benediction That follows after prayer. Then read from the treasured volume The poem of thy choice, And lend to the rhyme of the poet The beauty of thy voice. And the night shall be filled with music, And the cares, that infest the day, Shall fold their tents, like the Arabs, And as silently steal away.
Henry Wadsworth Longfellow (The Belfry of Bruges and Other Poems)
A Persian, a Turk, an Arab, and a Greek were traveling to a distant land when they began arguing over how to spend the single coin they possessed among themselves. All four craved food, but the Persian wanted to spend the coin on angur; the Turk, on uzum; the Arab, on inab; and the Greek, on stafil. The argument became heated as each man insisted on having what he desired. A linguist passing by overheard their quarrel. “Give the coin to me,” he said. “I undertake to satisfy the desires of all of you.” Taking the coin, the linguist went to a nearby shop and bought four small bunches of grapes. He then returned to the men and gave them each a bunch. “This is my angur!” cried the Persian. “But this is what I call uzum,” replied the Turk. “You have brought me my inab,” the Arab said. “No! This in my language is stafil,” said the Greek. All of a sudden, the men realized that what each of them had desired was in fact the same thing, only they did not know how to express themselves to each other. The four travelers represent humanity in its search for an inner spiritual need it cannot define and which it expresses in different ways. The linguist is the Sufi, who enlightens humanity to the fact that what it seeks (its religions), though called by different names, are in reality one identical thing. However—and this is the most important aspect of the parable—the linguist can offer the travelers only the grapes and nothing more. He cannot offer them wine, which is the essence of the fruit. In other words, human beings cannot be given the secret of ultimate reality, for such knowledge cannot be shared, but must be experienced through an arduous inner journey toward self-annihilation. As the transcendent Iranian poet, Saadi of Shiraz, wrote, I am a dreamer who is mute, And the people are deaf. I am unable to say, And they are unable to hear.
Reza Aslan (No God But God: The Origins, Evolution and Future of Islam)
I actually chafe at describing myself as masculine. For one thing, masculinity itself is such an expansive territory, encompassing boundaries of nationality, race, and class. Most importantly, individuals blaze their own trails across this landscape. And it’s hard for me to label the intricate matrix of my gender as simply masculine. To me, branding individual self-expression as simply feminine or masculine is like asking poets: Do you write in English or Spanish? The question leaves out the possibilities that the poetry is woven in Cantonese or Ladino, Swahili or Arabic. The question deals only with the system of language that the poet has been taught. It ignores the words each writer hauls up, hand over hand, from a common well. The music words make when finding themselves next to each other for the first time. The silences echoing in the space between ideas. The powerful winds of passion and belief that move the poet to write.
Leslie Feinberg
Within the history of lesbianism from the archaic Greek poet Sappho from the Isle of Lesbos, who is the symbol of lust, passion and sensuality between women, to Sister Benedetta Carlini’s deeply erotic love affair with another nun, to the 10th century Arab erotic work, Encyclopedia of Pleasure, which gives the account of a love affair between a Christian and an Arab woman, to modern day same-sex marriages and Pride parades, there is certainly place for Anne Bonny and Mary Read.
Karl Wiggins (Wrong Planet - Searching for your Tribe)
A great poet must have the ear of a wild Arab listening in the silent desert, the eye of a North American Indian tracing the footsteps of an enemy upon the leaves that strew the forest, the touch of a blind man feeling the face of a darling child.
Samuel Taylor Coleridge
The word qur’an means “recitation.” It was not designed for private perusal, but like most scriptures, it was meant to be read aloud, and the sound was an essential part of the sense. Poetry was important in Arabia. The poet was the spokesman, social historian, and cultural authority of his tribe, and over the years the Arabs had learned how to listen to a recitation and had developed a highly sophisticated critical ear.
Karen Armstrong (Muhammad: A Prophet for Our Time)
if an arab girl caves into the forest of her body is she the tree or the ax or is she the space between?
Jess Rizkallah (the magic my body becomes: Poems)
People differ to such a degree they agree on nothing, Except death that is, and even on that they disagree. Some say the soul goes on after the death of the body While others claim the soul, with the body, dies too.
The Loneliness of the Military Historian Confess: it's my profession that alarms you. This is why few people ask me to dinner, though Lord knows I don't go out of my way to be scary. I wear dresses of sensible cut and unalarming shades of beige, I smell of lavender and go to the hairdresser's: no prophetess mane of mine, complete with snakes, will frighten the youngsters. If I roll my eyes and mutter, if I clutch at my heart and scream in horror like a third-rate actress chewing up a mad scene, I do it in private and nobody sees but the bathroom mirror. In general I might agree with you: women should not contemplate war, should not weigh tactics impartially, or evade the word enemy, or view both sides and denounce nothing. Women should march for peace, or hand out white feathers to arouse bravery, spit themselves on bayonets to protect their babies, whose skulls will be split anyway, or,having been raped repeatedly, hang themselves with their own hair. There are the functions that inspire general comfort. That, and the knitting of socks for the troops and a sort of moral cheerleading. Also: mourning the dead. Sons,lovers and so forth. All the killed children. Instead of this, I tell what I hope will pass as truth. A blunt thing, not lovely. The truth is seldom welcome, especially at dinner, though I am good at what I do. My trade is courage and atrocities. I look at them and do not condemn. I write things down the way they happened, as near as can be remembered. I don't ask why, because it is mostly the same. Wars happen because the ones who start them think they can win. In my dreams there is glamour. The Vikings leave their fields each year for a few months of killing and plunder, much as the boys go hunting. In real life they were farmers. The come back loaded with splendour. The Arabs ride against Crusaders with scimitars that could sever silk in the air. A swift cut to the horse's neck and a hunk of armour crashes down like a tower. Fire against metal. A poet might say: romance against banality. When awake, I know better. Despite the propaganda, there are no monsters, or none that could be finally buried. Finish one off, and circumstances and the radio create another. Believe me: whole armies have prayed fervently to God all night and meant it, and been slaughtered anyway. Brutality wins frequently, and large outcomes have turned on the invention of a mechanical device, viz. radar. True, valour sometimes counts for something, as at Thermopylae. Sometimes being right - though ultimate virtue, by agreed tradition, is decided by the winner. Sometimes men throw themselves on grenades and burst like paper bags of guts to save their comrades. I can admire that. But rats and cholera have won many wars. Those, and potatoes, or the absence of them. It's no use pinning all those medals across the chests of the dead. Impressive, but I know too much. Grand exploits merely depress me. In the interests of research I have walked on many battlefields that once were liquid with pulped men's bodies and spangled with exploded shells and splayed bone. All of them have been green again by the time I got there. Each has inspired a few good quotes in its day. Sad marble angels brood like hens over the grassy nests where nothing hatches. (The angels could just as well be described as vulgar or pitiless, depending on camera angle.) The word glory figures a lot on gateways. Of course I pick a flower or two from each, and press it in the hotel Bible for a souvenir. I'm just as human as you. But it's no use asking me for a final statement. As I say, I deal in tactics. Also statistics: for every year of peace there have been four hundred years of war.
Margaret Atwood (Morning In The Burned House)
Love stories abound in all cultures: Romeo and Juliet, Orpheus and Eurydice, Tristan and Isolde, and in the Middle East, we find the stories of Yusuf and Zuleika, and Majnûn and Laylá. The story of Majnûn and Layla- was (and still is) widely known throughout the Islamic world. However, in the hands of Persian Sûfî poets, the story became transformed into a symbol of the love of a human being for Allâh. In Sûfîsm, questing for Allâh is similar to the European Grail quest in which the Knight quests for a Chalice (the cup being a symbol of the female sexual organ). Laylá, in Arabic, comes from the word layl meaning 'night'. The association of the Divine Feminine with Darkness and the Night is ubiquitous.
Laurence Galian (Jesus, Muhammad and the Goddess)
Azita Ghahreman, is an Iranian poet.[1] She was born in Iran in 1962. She has written four books in Persian and one book in Swedish. She has also translated American poetry. She is a member of the Iranian Writers Association and International PEN. She has published four collections of poetry: Eve's Songs (1983), Sculptures of Autumn (1986), Forgetfulness is a Simple Ritual (1992) and The Suburb of Crows (2008), a collection reflecting on he exile in Sweden (she lives in an area called oxie on the outskirts of Malmö) that was published in both Swedish and Persian. Her poems directly address questions of female desire and challenge the accepted position of women. A collection of Azita's work was published in Swedish in 2009 alongside the work of Sohrab Rahimi and Christine Carlson. She has also translated a collection of poems by the American poet and cartoonist, Shel Silverstein, into Persian, The Place Where the Sidewalk Ends (2000). And she has edited three volumes of poems by poets from Khorasan, the eastern province of Iran that borders Afghanistan and which has a rich and distinctive history. Azita's poems have been translated into German, Dutch, Arabic, Chinese, Swedish, Spanish, Macedonian, Turkish, Danish, French and English. A new book of poetry, Under Hypnosis in Dr Caligari's Cabinet was published in Sweden in April 2012. [edit]Books Eva's Songs, (persian)1990 Autumn Sculptures,(persian) 1995 Where the sidewalk ends, Shell Silverstein(Translated to Persian with Morteza Behravan) 2000 The Forgetfulness has a Simple Ceremony,(persian) 2002 Here is the Suburb of Crows,(persian) 2009 four Poetry books ( collected poems 1990-2009 in Swedish), 2009 under hypnosis in Dr kaligaris Cabinet, (Swedish) 2012 Poetry Translation Center London( collected poems in English) 2012
آزیتا قهرمان (شبیه خوانی)
At the end, he said, No metaphors! Nothing is like anything else. Except he said to me before he said that, Make your hands a hammock for me. So there was one. He said, Not even the rain—he quoted the poet—not even the rain has such small hands. So there was another. At the end, I wanted to comfort him. But what I said was, Sing to it. The Arab proverb: When danger approaches, sing to it. Except I said to him before I said that, No metaphors! No one is like anyone else. And he said, Please. So—at the end, I made my hands a hammock for him. My arms the trees.
Amy Hempel (Sing to It: New Stories)
It is rather like arguing with an Irishman,” wrote Michael Hadow of his many conversations with Dayan. “He enjoys knocking down ideas just for the sake of argument and one will find him arguing in completely opposite directions on consecutive days.” Indeed, Dayan was a classic man of contradictions: famed as a warrior, he professed deep respect for the Arabs, including those who attacked his village, Nahalal, in the early 1930s, and who once beat him and left him for dead. A poet, a writer of children’s stories, he admitted publicly that he regretted having children, and was a renowned philanderer as well. A lover of the land who made a hobby of plundering it, he had amassed a huge personal collection of antiquities. A stickler for military discipline, he was prone to show contempt for the law. As one former classmate remembered, “He was a liar, a braggart, a schemer, and a prima donna—and in spite of that, the object of deep admiration.” Equally contrasting were the opinions about him. Devotees such as Meir Amit found him “original, daring, substantive, focused,” a commander who “radiated authority and leadership [with] … outstanding instincts that always hit the mark.” But many others, among them Gideon Rafael, saw another side of him: “Rocking the boat is his favorite tactic, not to overturn it, but to sway it sufficiently for the helmsman to lose his grip or for some of its unwanted passengers to fall overboard.” In private, Eshkol referred to Dayan as Abu Jildi, a scurrilous one-eyed Arab bandit.
Michael B. Oren (Six Days of War: June 1967 and the Making of the Modern Middle East)
Derrida says adieu to Ishmael and to democracy. He hears the salvation in the “Latinity” of ‘salut’. Perhaps we should learn enough Arabic for simple greetings, enough to say Ahlan wa sahlan and Marhaba. Marhaba, which is used as English speakers use ‘Hello,’ carries within it the idea that the one greeted is welcome, that there is plenty of room. Arabic words, like words in Hebrew, are formed from roots. Each root leads to a tree of words. The root of the word r-h-b gives us rahb, which means spacious or roomy but also ‘unconfined’ and ‘open-minded, broad-minded, frank, liberal.’ It is also the root of rahaba, the word for the public square. Marhaba is a good greeting for liberals, who at their open-minded, broad-minded best, can find that there is plenty of room in the public square. The Egyptian poet Farouk Mustafa translated Ahlan wa Sahlan as “you are among your people, and your keep is easy.” Like Marhaba, the greeting marks a welcome, a curious one. Ahlan wa sahlan is not saud simply to one’s own, to family and friends and fellow citizens. It is said to foreigners, to travelers, to people who are not, in the ordinary sense, one’s own. Like the American “Come in, make yourself at home”, it is said to people who are not at home, who might be turned away. The greeting recognizes a difference only to set it aside. Ahlan wa sahlan recognizes that there are different nations, and that they might find themselves in a foreign country, among an alien people. This greeting marks the possibility that the other, the alien, the wanderer, and the refugee might be met with welcome rather than with fear.
Anne Norton (On the Muslim Question)
Everything has already been caught, until my death, in an icefloe of being: my trembling when a piece of rough trade asks me to brown him (I discover that his desire is his trembling) during a Carnival night; at twilight, the view from a sand dune of Arab warriors surrendering to French generals; the back of my hand placed on a soldier's basket, but especially the sly way in which the soldier looked at it; suddenly I see the ocean between two houses in Biarritz; I am escaping from the reformatory, taking tiny steps, frightened not at the idea of being caught but of being the prey of freedom; straddling the enormous prick of a blond legionnaire, I am carried twenty yards along the ramparts; not the handsome football player, nor his foot, nor his shoe, but the ball, then ceasing to be the ball and becoming the “kick-off,” and I cease being that to become the idea that goes from the foot to the ball; in a cell, unknown thieves call me Jean; when at night I walk barefoot in my sandals across fields of snow at the Austrian border, I shall not flinch, but then, I say to myself, this painful moment must concur with the beauty of my life, I refuse to let this moment and all the others be waste matter; using their suffering, I project myself to the mind's heaven. Some negroes are giving me food on the Bordeaux docks; a distinguished poet raises my hands to his forehead; a German soldier is killed in the Russian snows and his brother writes to inform me; a boy from Toulouse helps me ransack the rooms of the commissioned and non-commissioned officers of my regiment in Brest: he dies in prison; I am talking of someone–and while doing so, the time to smell roses, to hear one evening in prison the gang bound for the penal colony singing, to fall in love with a white-gloved acrobat–dead since the beginning of time, that is, fixed, for I refuse to live for any other end than the very one which I found to contain the first misfortune: that my life must be a legend, in other words, legible, and the reading of it must give birth to a certain new emotion which I call poetry. I am no longer anything, only a pretext.
Jean Genet (The Thief's Journal)
Photographs from Distant Places (1) In distant villages, You always see the same scenes: Farms Cattle Worship spaces Small local shops. Just basic the things humans need To endure life. (2) ‘Can you stay with me forever?’ She asked him in the airport, While hugging him tightly in her arms. ‘Sorry, I can’t. My flight leaves in two hours and a half.’ He responded with an artificially caring voice, As he kissed her on her right cheek. (3) I was walking in one of Bucharest’s old streets, In a neighborhood that looked harshly beaten by Time, And severely damaged by development and globalization. I saw a poor homeless man Combing his dirty hair In a side mirror of a modern and expensive car! (4) The shape and the color of the eyes don’t matter. What matters is that, As soon as you gaze into them, You know that they have seen a lot. All eyes that dare to bear witness To what they have seen are beautiful. (5) A stranger asked me how I chose my path in life. I told him: ‘I never chose anything, my friend.’ My path has always been like someone forced to sit In an airplane on a long flight. Forced to sit with the condition Of keeping the seatbelt on at all times, Until the end of the flight. Here I am still sitting with the seatbelt on. I can neither move Nor walk. I can’t even throw myself out of the plane’s emergency exit To end this forced flight! (6) After years of searching and observing, I discovered that despair’s favorite hiding place Is under business suits and tuxedos. Under jewelry and expensive night gowns. Despair dances at the tables where Expensive wines of corruption And delicious dinners of betrayal are served. (7) Oh, my poet friend, Did you know that The bouquet of fresh flowers in that vase On your table is not a source of inspiration or creativity? The vase is just a reminder Of a flower massacre that took place recently In a field Where these poor flowers happened to be. It was their fate to have their already short lives cut shorter, To wither and wilt in your vase, While breathing the not-so-fresh air In your room, As you sit down at your table And write your vain words. (8) Under authoritarian regimes, 99.9% of the population vote for the dictator. Under capitalist ‘democratic’ regimes, 99.9% of people love buying and consuming products Made and sold by the same few corporations. Awe to those societies where both regimes meet to create a united vicious alliance against the people! To create a ‘nation’ Of customers, not citizens! (9) The post-revolution leaders are scavengers not hunters. They master the art of eating up The dead bodies and achievements Of the fools who sacrificed themselves For the ‘revolution’ and its ideals. Is this the paradox and the irony of all revolutions? (10) Every person is ugly if you take a close look at them, And beautiful, if you take a closer look. (11) Just as wheat fields can’t thrive Under the shadow of other trees, Intellectuals, too, can’t thrive under the shadow Of any power or authority. (12) We waste so much time trying to change others. Others waste so much time thinking they are changing. What a waste! October 20, 2015
Louis Yako (أنا زهرة برية [I am a Wildflower])
This would be the great irony of hell—that what you lusted after would mean nothing to you the moment you got there.— an excerpt from The Arab, a novella from The Heart of a Poet
Terrence Hill
I was really happy a week or so ago thinking of myself as a writer enough money in my pocket etc. I was happy. But when I came back from Indian Wells, I was bummed out. But this is the real thing real life the tragic the beautiful the terror the serenity the bliss the unforgettable." an excerpt from The Arab, a novella from The Heart of a Poet
Terrence Hill
Aristotle was the figure who dominated every part of the university curriculum, from Salerno and Toledo to Paris and Oxford and Louvain, from the seven liberal arts to medicine, law, and especially theology. Aristotle was, in the Arab phrase made famous by the poet Dante, “the Master of Those Who Know.” He was also the supreme teacher of all those who wanted to know. The standard way to learn any subject was first to read Aristotle’s own works on it line by line from cover to cover, then pore over the commentaries
Arthur Herman (The Cave and the Light: Plato Versus Aristotle, and the Struggle for the Soul of Western Civilization)
Aristotle was the figure who dominated every part of the university curriculum, from Salerno and Toledo to Paris and Oxford and Louvain, from the seven liberal arts to medicine, law, and especially theology. Aristotle was, in the Arab phrase made famous by the poet Dante, “the Master of Those Who Know.” He was also the supreme teacher of all those who wanted to know. The standard way to learn any subject was first to read Aristotle’s own works on it line by line from cover to cover, then pore over the commentaries on the work by Boethius, Duns Scotus, Peter Lombard, and Thomas Aquinas (whose works were rehabilitated when he was canonized in 1323). Finally, the student would write up his own series of quaestiones, or logical debating points, that seemed to arise from the text, and which were themselves reflections on past scholars’ debates on Aristotle.
Arthur Herman (The Cave and the Light: Plato Versus Aristotle, and the Struggle for the Soul of Western Civilization)
It seems to me that apart from the aptness of the Malay language in the construction of four-lined verses with a AAAA pattern of rhyme, the influence of Ibnu’l-‘Arabi’s and ‘Iraqi’s four-line shi’r and Jami’s ruba’i, the concept of the bayt and the shi’r in Arabic and Persian prosody, the creative genius of the poet, Hamzah’s choice of the four-line shi’r composed of a single bayt could well have been influenced also by the symbolism in the Sufi doctrines.
Syed Muhammad Naquib al-Attas (The Origin of the Malay Sha'ir)
Inside, I'm either a beautiful, sensitive person or a sad, tragic person."— an excerpt from The Arab, a novella from The Heart of a Poet
Terrence Hill
Muslim leaders ordered it cut to pieces to show their contempt for worldly wealth. They destroyed countless treasures, including the entire royal library. In an account of this conquest written by the tenth-century Persian poet Ferdowsi, a general laments: “Curse this world, curse this time, curse this fate / That uncivilized Arabs have come to force me to be Muslim.
Stephen Kinzer
Poetry is practically the only intellectual pursuit which we can be positive was highly developed and much practiced in pre-Islamic Arabia. It seems certain that the Arabic word for poet, shair, meant originally "one who knows," and the word for poetry, shir, "knowledge".
Franz Rosenthal (Knowledge Triumphant: The Concept of Knowledge in Medieval Islam (Brill Classics in Islam))
The Arab poet Silm Al Khaser wrote “He who watches people dies of worry” and his words have never been more potent than in today’s world where all people do is watch others and cater to them in return.
Aysha Taryam
One of Ficino’s influences was a well-known work called Fons Vitae (Fountain of life), one of the first European Neoplatonic texts, by an eleventh-century philosopher from Spain named Avicebron. Little did Ficino know that this was a translation of the Arabic translation of an original Hebrew text written by the great Jewish poet-philosopher Solomon Ibn Gavirol (died c. 1058). The idea of harmonizing monotheism with Platonic thought gripped Ficino and led him to attempt the construction of a universal faith, by which all humanity could achieve individual redemption. Of course, now that Jews had just been
Benjamin Blech (The Sistine Secrets: Michelangelo's Forbidden Messages in the Heart of the Vatican)
The romantic idealization of love and the beloved had no source in Roman or Germanic tradition. It came apparently from Islamic Spain, where women had a good deal of freedom and were often poets in their own right. It was there that a mystical doctrine of love as a holy passion, pure and uplifting, developed. Arabic literature is full of parted and thwarted lovers, totally faithful and devoted. Its poetry is mostly love poetry, foreshadowing the themes and styles of the French troubadours.
Morris Bishop (The Middle Ages)
Then read from the treasured volume The poem of thy choice. And lend to the rhyme of the poet The beauty of thy voice. And the night shall be filled with music, And the cares, that infest the day, Shall fold their tents, like the Arabs, And as silently steal away.
John Kennedy Toole (The Neon Bible: A Novel)
In Arabic ‘the written symbol is considered to be identical with the sound indicated by it’. Letters are not just phonetic; they are phonic, acoustic,’… script that fills the ears of him that sees it’, as poet al-Mutanabbi was to call them.
Tim Mackintosh-Smith (Arabs: A 3,000-Year History of Peoples, Tribes and Empires)
sobs” (sanglots). Some days I enter poetic melancholic states, what the Portuguese call saudade or the Turks hüzün (from the Arabic word for sadness). Other days I am more aggressive, have more energy—and will write less, walk more, do other things, argue with researchers, answer emails, draw graphs on blackboards. Should I be turned into a vegetable or a happy imbecile? Had Prozac been available last century, Baudelaire’s “spleen,” Edgar Allan Poe’s moods, the poetry of Sylvia Plath, the lamentations of so many other poets, everything with a soul would have been silenced. … If large pharmaceutical companies were able to eliminate the seasons, they would probably do so—for a profit, of course. There is another danger: in addition to harming children, we are harming society and our future. Measures that aim at reducing variability and swings in the lives of children are also reducing variability and differences within our said to be Great Culturally Globalized Society.
Nassim Nicholas Taleb (Antifragile: Things that Gain from Disorder)
his strongest desire was to return to farming, but Weizman had insisted that Hod replace him as air force chief early in 1966. Since then, he had concentrated on refining Focus, reducing the turnaround time for refueling and rearming jets to less than eight minutes. The Egyptian turnaround rate, by comparison, was eight hours. “He may not be able to quote [the Hebrew poet] Bialik or Shakespeare,” Weizman said of Hod, “but he will screw the Arabs in plain Hebrew.
Michael B. Oren (Six Days of War: June 1967 and the Making of the Modern Middle East)
Carmichael’s volkish black nationalism and creation of new values required, as the Black Muslims insisted, shedding a false enslaving identity for a true (i.e., authentic) one rooted in black Africa. This included shedding that most obvious sign of identity, one’s name. So just as Malcolm Little dropped his “slave name” for a simple X, representing his lack of identity in a white racist society, the boxer Cassius Clay reemerged as Muhammad Ali, the basketball star Lew Alcindor as Kareem Abdul Jabbar, and the beat poet LeRoi Jones as Imamu Amiri Baraka (ignoring for the moment that Islamic names reflected an identity imposed by an earlier slave-owning elite, the Arabs). Carmichael himself became Kwame Touré, after two African dictators of the sixties, Sekou Touré of Guinea and Du Bois’s failed Pan-African savior, Kwame Nkrumah.
Arthur Herman (The Idea of Decline in Western History)
The Koran, the revealed word of God, was the closest thing to a miracle in Mohammed’s life. He had not been a poet; he had no gift of words. Yet the verses of the Koran, as he received them and recited them to the faithful, were better than any verses which the professional poets of the tribes could produce. This, to the Arabs, was a miracle. To them the gift of words was the greatest gift, the poet was all-powerful.
Napoleon Hill (Think and Grow Rich (Start Motivational Books))
جمعت الطبيعة عبقريتها فكانت الجمال ، وكان أحسنه وأشرفه ما حلّ في الهيكل الآدمي ، وجاور العقل الشريف والنفس اللطيفة والحياة الشاعرة . أحمد شوقي ، أسواق الذهب
أحمد شوقي (أسواق الذهب)
In ancient Arabia, homosexuality was age-structured, involving bearded, mature men in love with beardless teenagers like you and Albert. The beard is a sign of manhood and masculinity. “Many Arabian poets described the object of their love as an adolescent boy, going to great lengths to describe “desirable” physical features. ●       This ideal young man is always brown and slender. ●       His waist is supple and thin like a willow branch or like a lance. ●       His hair, black as scorpions. ●       The hair that falls on his forehead curls like the Arabic alphabets. ●       His eyes are arcs with hurl arrows. ●       His cheeks are roses. ●       His saliva has the sweetness of honey. ●       Last but not least, his buttocks resemble a dune of moving sand. When he walks, you could call him a young faun. When he is motionless, he eclipses the brightness of the moon.” At this juncture, my professor gave me a beguiling smile, before adding, “You, Young are a perfect specimen of this ideal.
Young (Turpitude (A Harem Boy's Saga Book 4))
The Son of a vacuum Among the tall trees he sat lost, broken, alone again, among a number of illegal immigrants, he raised his head to him without fear, as nothing in this world is worth attention. -He said: I am not a hero; I am nothing but a child looking for Eid. The Turkmen of Iraq, are the descendants of Turkish immigrants to Mesopotamia through successive eras of history. Before and after the establishment of the Ottoman Empire, countries crossed from here, and empires that were born and disappeared, and still, preserve their Turkish identity. Although, after the collapse of the Ottoman Empire and the division of the Arab world, they now live in one of its countries. Kirkuk, one of the heavens of God on earth, is one of the northern governorates of Iraq in which they live. The Kurdish race is shared with them, a race out of many in Iraq. Two children of two different ethnicities, playing in a village square in Kirkuk province when the news came from Baghdad, of a new military coup. Without delay, Saddam Hussein took over the reins of power, and faster than that, Iraq was plunged into successive wars that began in 1980 with its neighbor Iran, a war that lasted eight years. Iraq barely rested for two years, and in the third, a new war in Kuwait, which did not end in the best condition as the leader had hoped, as he was expelled from it after the establishment of an international coalition to liberate it, led by the United States of America. Iraq entered a new phase of suffering, a siege that lasted more than ten years, and ended up with the removal of Saddam Hussein from his power followed by the US occupation of it in 2003. As the father goes, he returns from this road, there is no way back but from it. As the date approaches, the son stands on the back of that hill waiting for him to return. From far away he waved a longing, with a bag of dreams in his hands, a bag of candy in his pocket, and a poem of longing by a Turkmen poet who absorb Arabic, whose words danced on his lips, in his heart. -When will you come back, dad? -On the Eid, wait for me on the hill, you will see me coming from the road, waving, carrying your gifts. The father bid his son farewell to the Arab Shiite city of Basra, on the border with Iran, after the outbreak of the Iran-Iraq war, as the homeland is calling its men, or perhaps the leader is calling his subjects. In Iraq, as in many countries of the Arab world, the homeland is the leader, and the leader is the homeland. Months passed, the child eagerly anticipating the coming of the feast, but the father hurried to return without an appointment, loaded on the shoulders, the passion reached its extent in the martyr’s chest, with a sheet of paper in his pocket on which he wrote: Every morning takes me nostalgic for you, to the jasmine flower, oh, melody in the heart, oh balm I sip every while, To you, I extend a hand and a fire that ignites in the soul a buried love, night shakes me with tears in my eyes, my longing for you has shaped me into dreams, stretching footsteps to the left and to the right, gleam, calling out for me, you scream, waking me up to the glimpse of the light of life in your face, a thousand sparkles, in your eyes, a meaning of survival, a smile, and a glace, Eid comes to you as a companion, without, life yet has no trace, for roses, necklaces of love, so that you amaze. -Where is Ruslan? On the morning of the feast day, at the door of his house, the kids asked his mother, -with tears in her eyes: He went to meet his father. A moment of silence fell over the children, -Raman, with a little gut: Aunt, do you mean he went to the cemetery? -Mother: He went to meet him at those hills.
Ahmad I. AlKhalel (Zero Moment: Do not be afraid, this is only a passing novel and will end (Son of Chaos Book 1))
among the Arabs a gifted poet was like a multitude of men, for his verses were repeated from mouth to mouth. If good, he was a power for good; if evil, a power for evil,
Martin Lings (MUHAMMAD: His Life Based on the Earliest Sources)
This, the ’arabiyyah, was not everyday speech but a ‘mystical tongue’ used for ‘oracle giving and recitation of poetry’. Those who could command this special tongue – above all the sha’ir, later on a ‘poet’, but in its oldest sense probably more like a seer or a shaman – could attract followers. In time of raids, the sha’ir also played the role of Whitman’s poet, ‘the most deadly force of the war . . . he can make every word he speaks draw blood’.
Tim Mackintosh-Smith (Arabs: A 3,000-Year History of Peoples, Tribes and Empires)
All through history every culture on earth has produced its distinct literature - American literature, British literature, Latino Literature, Arabic literature, Turkish literature, European literature, Bengali literature and so on. I am none of these, because I am all of these - Naskar is the amalgamation of all of world's cultures. Naskar is the first epitome of integrated Earth literature - where there is no inferior, no superior - no greater, no lesser. Soulfulness of Rumiland, heartfulness of Martíland, correctiveness of MLKland, sweetness of Tagoreland - merge them all in the fire of love, and lo emerges Naskarland - merge them all in the fire of love, and lo emerges lightland.
Abhijit Naskar (Rowdy Scientist: Handbook of Humanitarian Science)
My favorite language in the world is Turkish, Because its culture electrifies my scars. My favorite language in the East is Telugu, Because its music emboldens my nerves. My favorite language in the West is Spanish, Because it teaches me the worth of freedom. Favorite ancient tongues are Arabic 'n Sanskrit, For one embodies peace, another assimilation.
Abhijit Naskar (Insan Himalayanoğlu: It's Time to Defect)