Wednesday, September 30, 2009

مجنون ليلى -المشهد الثالث

قيس مستلقياً على الأرض في الصحراء وهو يضم صدره، وفي وجهه مظاهر الحزن، فالدموع تسيل من عينيه بانتظام، فيراه سفيان

سفيان: قيس؟ يا مجنون ليلى، مابك؟ هل أنت مريض؟

قيس: لا، إنني لست مريض، بل متيم. لا أستطيع تحمل الألم في فؤادي آخ، يا قلبي، أتأسف إليك، فإنني لم أرد أن اضعك في كل هذا الألم (سامحني يا قلبي! سامحني! أرجوك سامحني! ( ينفجر في البكاء

سفيان: مابك تتحدث مثل المجنون؟ هل جرحك أحد؟

قيس: نعم، جرحني الحب، جرحتني ليلى

سفيان: يا قيس، عليك أن تنساها، فإنها متزوجة. هل سمعتني. متزوجة


قيس ( يصرخ): أعلم أنها متزوجة! أستيقظ كل يوم وهذه المعلومة بذهني، ولكن أحبها، ولا أستطيع أن أنساها. كيف أنسى واحدة أثرت على قلبي هكذا!؟

سفيان: احكِ لي ما حصل

قيس: حلمت عن ليلى، فكانت بين ذراعي ورد، فكان يداعبها بالكلام الحلو ( يقبض على صدره)... لا أستطيع العيش هكذا إنها لا تحبني آخ خ على الألم

سفيان: يا قيس، هذا مجرد حلم ولكن أنصحك أن تنساها

(قيس: لا، لن أنسى... ( يموت فجأة

سفيان: يا قيس! قيس! مجنون ليلى؟ ( يركض لجانبه، ويراه ميتاً). الله يرحمك يا قيس! الله يرحمك ويعوضك على الألم الذي مررت به. فإنك أول رجل أعرفه يموت من الحسرة والغم. إنك مت ولكن حبك لم يمت... حبك دائم... لأنك مجنون ليلى
( يدفنه سفيان تحت الرمال ويدعي على روح مجنون ليلى)

سمر الأنصاري
11.3الصف

Monday, September 28, 2009

مجنون ليلى -المشهد الثاني

يبدأ المشهد الثاني في خيمة البدوي سفيان، فسفيان ومجنون ليلى جالسين وأمامهما مائدة تحتوي على اللحم الطري والخبز الساخن الرقيق
سفيان: تفضل... تفضل يا مجنون ليلى
قيس: وأنت؟ لماذا لا تأكل؟
سفيان: سأنتظرك لما تنتهي، فهذه هي الأصول
قيس: دعك من هذا، فأنا لا أرتاح عندما أملئ بطني وأنت جالساً أمامي وظواهر الجوع مبرزة في وجهك
سفيان: لا، لا، أرجوك يا أخ
قيس: على راحتك
سفيان: قيس، لو تزوجت امرأة، هل ستحبها لآخر الزمن أو تخونها؟
قيس: أكيد سأحبها لآخر الزمن، فالزواج شيء مقدس
سفيان: نعم، فهمت. يا لك من رجل شريف. أستأذن لبضع الدقائق يا ابن العم، فسأحضر لك الحلوى( يخرج البدوي سفيان ليتحدث مع أخته (زينب
سفيان: يا زينب؟
زينب: لبيك؟
سفيان: زينب! وجدت لك عريساً! فهو رجلاً سيحبك حباً عظيماً لأنه رجل يفهم معنى الزواج. فاذهبي وقدّمي له الحلوى، فسأحضر والدنا لكي يتمم الخطوبة
( زينب تدخل على قيس حاملة الحلوى وهي تنظر إلى الأرض)
زينب: تفضل يا سيدي
قيس: شكراً، من تكونين أنت؟ زوجة سفيان؟
زينب: نعم؟ لا، لا! أنا أخته
قيس: تشرفنا، لماذا تنزلين رأسك هكذا؟
زينب ( وهي بغاية الخجل): لأن لا يجب عليك أن ترى وجهي قبل زواجنا الرسمي
(قيس: زواج؟ أي زواج؟ لا، أظن أنك أسأت الفهم، استأذنك! اشكري أخاك سفيان على كل شيء. فأمان الله. ( يخرج قيس فاراً من الخيمة

سمر الأنصاري
11.3الصف

Saturday, September 26, 2009

مجنون ليلى-المشهد الأول


يبدأ المشهد وقيس بن معاذ ( قيس ابن الملوح) جالساً على الرمال في صحاري نجد باكياً، ويراه شاب بدوي غريب

البدوي: مابك يا ابن العم؟ لماذا تبكي كالطفل الضائع المشتاق لأمه؟

(قيس:أبكي على الحالة التي أنا فيها. أبكي على الحب الضائع... أبكي على الماضي، والحاضر، والمستقبل ( ينفجر في البكاء
البدوي: أيها المسكين، ما اسمك؟

قيس: أنا قيس بن معاذ، من بني عامر. فمن تكون أنت؟

البدوي: أهلاً بك يا قيس من بني عامر. ولكن ماذا تفعل هنا بعيداً عن قبيلتك؟ أنا سفيان بن راشد، أعيش في مخيم قريب من هنا

قيس: يا سفيان، قبيلتي لا تعترف بي... لا تعترف بقيس بن معاذ ( يمسح الدموع من عينيه). فوالي قبيلتي أهدر دمي، فها أنا ذا أتقلب من مكان لمكان أحاول مداواة قلبي

سفيان: يا إلهي! فلماذا أهدر دمك الوالي؟

قيس: هل تريدني أن أقص عليك القصة بأكملها؟

سفيان: نعم، تفضل يا أخي العزيز، ربما أستطيع أن أساعدك

قيس: لن تستطيع أن تساعدني، ولكنني سأقص عليك القصة. منذ صغري أحببت نفس المرأة، ليلى، ابنة عمي... وليلى بادلتني هذا الحب. في كل يوم زاد الحب الذي في قلبي، وعزمت على الزواج منها

سفيان: يا ابن معاذ، إنني لا أرى مشكلتك! فانك تحب ابنة عمك، فهذا الحب سيرجع بشكل ايجابي إلى قبيلتك

قيس: أرجوك، لا تقاطعني! دعني أنهي لك حكايتي. أين كنت؟ نعم، تذكرت. زاد الحب بيننا، فإنني لم أستطع أن أخبئ هذا الحب، فالحب ليس عيباً! احتجت أن أعبر عن حبي بأي طريقة، فنظمت قصائد كثيرة وتغزلت بحبيبتي الغالية ليلى. مما أزعج عائلة ليلى، فزوجوها لحقير اسمه ورد. آخ، يا سفيان، لا أستطيع أن أشرح لك مدى حزني عندما سمعت بالخبر، فلم أستطع أن أنام، أو آكل، أو أعمل. حاولت أن أتوقف عن كتابة الشعر، لكن الرباط بين القلم في يدي والحب في قلبي لم يسمح لي بالتوقف. فأهل ليلى رفعوا أمري للوالي. فأهدر دمي ، وها أنا ذا جالسٌ أمامك أحكي لك مأساتي والدموع تملأ عيناي

سفيان: لا أعرف ماذا أقول لك. أنا أعلم أن لا شيء يستطيع أن يهون الجرح الأليم في صدرك، فأنت متيم بحبها! ولكن عندي لك سؤال، ما كان موقف ليلى؟ ها بادلتك هذا الحب؟

قيس: في البداية بادلتني الحب، ولكن بعد أن أغضبت أهلها لم أرها، فلا أعرف إن كانت لا تزال تحبني. أحياناً، أفكر أنها تبادلني هذا الحب، ولكن أتساءل، كيف رضت أن تتزوج ورد؟! ثم أتذكر أن أهلها غصبوا ورد عليها، فعجزت ليلى عن الدفاع عن الحب الذي بيننا. الأمل الصغير في قلبي أنها لا تزال تحبني يعطيني الدافع للعيش، فلو تأكدت أنها لا تحبني لانتحرت

سفيان: لم تفكر بامرأة سواها طول هذه المدة؟

قيس: لا! بالطبع لا! أحبها حباً صادقاً، وسأحبها لآخر الزمن
"فشاب بنو ليلى وشاب ابن بنتها وحرقة ليلى في الفؤاد كما هي"
سفيان: أنت مجنون بحبها. سأعطيك اللقب "مجنون ليلى" من الآن فصاعداً. مجنون ليلى، تعال معي إلى خيمتي، فسأقدم لك بعض الطعام
وأدعك ترتاح قليلاً
سمر الأنصاري
الصف 11.3

Thursday, September 24, 2009

لزيارتي تهرولين

كنت لهبوط الطائرة يا أمي تتشوقين
لتأتي لزيارتي وعلى قبري تقفين
حضرت مسرعة لا بل كنت تهرولين
وكأنك لم تزوريني أشهرا وسنين
غبت أياما فقط... يا أحب المحبين
أردت أن تزوريني، لتصلي وتدعين
وسلام أهل الرياض إلي توصلين
وعما حدث برحلتك علي تقصين
وكم كان العيد من غيري حزين
وكيف كانت الصلاة وأنت تصلين
بعدما أصبحت من دوني إليها تذهبين

أمي، سلام عليك يا أغلى الغاليين
حفظك الله لأبي وأخوتي ولنا أجمعين
وأدام عليك الصحة لتأتي وتزورين
لتصلي وتدعي، وروحي تخاطبين
للصلاة والدعاء من أجلي توجهين
رنده ربحي حماده
(أم سمر)
جميع الحقوق محفوظة للمؤلفة© 2009

Sunday, September 20, 2009

Nature's Rainbows

We held them in our parent arms

for days or weeks or years.

Now we hold them in our hearts

and cry the darkest tears.



The cord attached to children,

eternally fine and strong.

We never leave the missing;

it holds us all life long.



Our children now inside us-

our souls tattooed with gold.

Their love,their words,caresses,

are hugs that we still hold.



If we open to the knowledge,

that they aren't completely gone,

we will sometimes feel their touching,

sometimes soft and sometimes strong.



When they show us nature's rainbows,

we can feel their proud delight,

sending signs to show they're living,

only far beyond our sight.

By Genesse Bourdeau Gentry
Stars in the Deepest Night

Wednesday, September 16, 2009

Summer Rays Now Available in Bahrain


Now available at The Bookcase, Budaiya Road, Bahrain
Note: The proceeds will go to charity in SAMAR's name

"Hawk Roosting” Commentary

The “Hawk Roosting” revolves around one key idea, control. Control is evident through various aspects of the poem and is a key factor of the theme. The theme of this piece being, although we stem from Creation, we are in control of our lives to a great extent due to our divine right of dominance. This idea is symbolized through the literal theme of the hawk’s control over life; “My feet are locked upon the rough bark. It took the whole of Creation to produce my foot, my each feather: Now I hold Creation in my foot”(lines 10-12). The irony of this stanza alone is sufficient enough to determine theme. The hawk’s foot, that took all of Creation to make, is locked upon a tree bark that is also made by Creation. Thus although both the tree and hawk are made by the same forces, the hawk still has control over the tree’s life by putting its foot on the tree’s bark. This theme can be taken to another level and be applied to man, who is symbolized by the powerful, superior hawk. Man is the dominant creation on land and exerts its power and control over other life forms, much like the hawk. Through various stylistic devices, Hughes successfully manages to create an excellent understanding of the theme.

Appointing the hawk as the speaker of the poem has a tremendous impact on effectively displaying theme. Hawks are known to be powerful, majestic, dignified, and superior life forms. Man is also known to have these features; therefore it is easy to draw a parallel between the two. There is such a great similarity between the two to the extent that the reader might think the speaker is a man if not for the title of the poem. Thus by creating such a strong parallel, Hughes effectively takes his theme onto a deeper, more metaphorical level. A significant salient feature of this poem is the use of first person point of view. By using first person point of view Hughes emphasizes the control and power of the hawk; “I kill where I please because it is all mine.” (line 14). The use of personal pronouns such as “I” has such a drastic effect on displaying power and control. The repetition of the personal pronouns in this particular line merely reiterates the hawk’s power and control. If Hughes chose to write in third person point of view, the theme would not have been as clearly exhibited as it is while using first person point of view; “My eye has permitted no change. I am going to keep things like this.” (lines 23-24). By starting these two lines with personal pronouns, Hughes is reiterating the control of the hawk over life. First person point of view makes the reader feel as if the hawk is talking directly to him/her, and the frequent use of pronouns merely adds an extensive amount of control and power to the poem.

“Hawk Roosting” has a very specific and clear order to it. It is composed of six four-line stanzas made up of relatively short sentences. The purpose of having an identical number of lines in each of the stanzas is to strengthen the theme; this form is merely a display of control. Since the poem is written in first person point of view in the voice of the hawk, the reader feels as if he is being talked to by the hawk. Thus by having and orderly and repetitive form, the reader feels as if the hawk is even controlling the poem. There is an element of divine right in the poem (5th stanza), and the fact that there is a specific number of lines per stanza soothes the reader and persuades him into accepting the divine right of the hawk to rule. The control and divine right exhibited through the structure of the poem emphasize the last line of the poem, “I am going to keep things like this”; only the hawk has the power and right to change things. Short sentences were used throughout the poem in order to present bold statements; bold statements are a sign of power. Punctuation plays a key role in this poem. Firstly, some of the periods are used to make the sentences bold, ‘The sun is behind me.” (line 21). This line alone will not have the same effect as the line with a period at the end due to the boldness accompanied with the period. Another important function of the punctuation is to indicate caesural pauses. Caesural pauses are used throughout the poem to emphasize the hawk’s control. “I sit in the top of the wood, my eyes closed” (line 1). The comma in this line empathizes the personal pronouns, clearly exhibiting the extent of the hawk’s control. The caesural pauses also give the reader time to digest the thought and the opportunity to recognize the significance of the line; “I kill where I please because it is all mine.” (line 15). The period at the end of the line indicates a caesural pause and enables the reader to digest the thought at hand. Thus the reader comes to a clear understanding of the complete and utter control of the hawk.

There are several ideas and messages hidden in this poem circulating around the theme. Firstly, the idea that the hawk has a divine right to be in control is exhibited in the fifth stanza. Choice of words such as allotment, meaning ration, imply that it is predestined for the hawk to kill. Thus it his divine right to do so. “For the one path of my flight is direct through the bones of the living.” (lines 19-20). The phrase path of my flight adds a spirituality to the poem implying the divine right and specific duty the hawk has to fulfill. Another idea in this poem is that things were meant to suit the hawk; “The convenience of the high trees! The air’s buoyancy and the sun’s ray are of advantage to me:” (lines 5-7). The word convenience strongly suggests that things were made to suit the hawk, implying that Creation went out of its way to make the hawk’s duty within reach. These two ideas further strengthen the parallel between the hawk and man, therefore strengthening understanding of theme. Man has divine right over other creation to rule on land, and Creation did create the world for man.

The tone of the speaker is a very proud one. The pride in the hawk’s tone strengthens the idea of him being a superior animal and his power; “The sun is behind me.” (line 21). The reader senses a great deal of pride from the hawk, because he is saying that the sun, one of the most magnificent creations, is behind him. The sun that provides all living organisms with warmth is beneath the hawk. Through lines 21 and 9, the reader recognizes a pattern of the hawk belittling other forms of creation. As for the atmosphere, it is a very peaceful and calming one. The idea of divine right implied through this poem makes the reader believe that everything is as it should be, and that the hawk has a predestined control over life. Even though there is talk about killing and death (line 15), the reader still feels at ease, because of the divine right of the hawk’s control. The last line, “I’m going to keep things like this”, has a significant calming effect on the reader, because of man’s constant fear of change. Hughes decided to take man’s fear of change to his advantage and set a calming tone.

Hughes deliberately chose to not use a lot of description and imagery in this poem. There is barely any imagery whatsoever, and the two main images are very bluntly stated. “I sit in the top of the wood, my eyes closed” exhibits an image of a hawk sitting at a great height. Since height symbolizes control, the image is used to capture the idea of control. Another image, “the sun is behind me”, displays an image of a hawk with creation behind him. This image also strengthens the theme and control of the hawk. These images represent ideas more than they represent actual pictures. Hughes deliberately excluded extensive imagery, because if the images displayed the beauty of nature, or other creation, it would contradict the superiority of the hawk. Nature is work of the Creator, and this poem is told to the reader through the voice of a proud hawk. There are no metaphors or similes either, because that would belittle the hawk and take away from his proud tone.

Hughes carefully chose the words used in the poem in order to assert the control of the hawk. First of all, many words were used to make it seem as if the hawk’s control was matter of fact. Words such as buoyancy and allotment imply that there is a scientific reasoning for his control. ‘Creation’ was used deliberately instead of God, in order for Hughes to exclude religion from the poem and include spirituality. The use of the word ‘foot’ is a clear example of the hawk’s pride. It is very belittling for Creation to be held in a foot; Hughes could have chosen any another body part, but he chose foot because it is belittling.

There is no specific rhyme scheme, or obvious sound devices such as alliteration. Hughes did this in order for the hawk’s control to seem very matter of fact and not fabricate as a result of the hawk’s pride. Since it is through first person point of view, if there was a rhyming scheme, all the reader would picture was a proud hawk.
By creating a proud hawk that believes it is his divine right to be in control Hughes draws the parallel line between the speaker of the poem an man. Through other stylistic approaches such as diction, form, absence of imagery, etc., Hughes manages to create a solid understanding of the theme.


Samar Al Ansari
12 IB

Monday, September 14, 2009

SAMAR

I am glad we named you SAMAR
A short name with so much power
You darling added to it glamour
And the scent of a special flower
With your charisma, charm and color
A name I miss every minute and hour
I miss calling you as I call your brother
And your sister, beloved Qadar
And I yearn for your reply: “Yes mother”
When I hear people talking to each other
Mentioning the word summer
It breaks my heart; I miss you, SAMAR

Summer Rays Copyright© 2009
by Randah Ribhi Hamadeh
Written in loving memory of my daughter
Samar Ahmed Al Ansari (4/4/1988-4/9/2006)

Thursday, September 10, 2009

War Quote

“They wrote in the old days that it is sweet and fitting to die for one’s country. But in modern war, there is nothing sweet or fitting in your dying. You will die like a dog for no good reason.”

By Ernest Hemingway

Samar Al-Ansari 11.5

Feb 26, ‘05

Tuesday, September 08, 2009

More from Gibran

I shall live beyond death, and I shall sing in your ears
Even after the vast sea- wave carries me back
to the vast sea-depth.
I shall sit at your board though without a body,
and I shall go with you to your fields, a spitit invisible.
I shall come to you at your fireside,a guest unseen.
Death changes nothing but the mask that covers our faces.
The woodsman shall still be a woodsman,
The ploughman,a ploughman,
and he who sang his song to the wind
shall sing it also to the moving spheres.
_Khalil Gibran

Sunday, September 06, 2009

I Love My Sister

I love my sister
My only sister
She’s there for me
When I get a blister

I know she loves me
And I love her
Without her I can’t
Be happier

By Samar Al Ansari

1997-1998

Friday, September 04, 2009

Friends in Grief

Two bereaved mothers
met for an hour
became pals for ever
Friends in grief

I never knew Um Samar
until my son died.
Thousands of miles away she called
to comfort and console
Um Samar lost her daughter 3 years ago today
I lost my son
Almost 23 months ago today

We met only once,
Um Samar and I, for just an hour
She arrived draped in sorrow and aches
I was there drained and in despair.
Our eyes said it all
The enormity of the pain was too great not to behold
We held hands in affection and compassion
And when she looked thru my streaming tears,
my pain eased.

She showed me Samar’s photo,
Samar, glowing with life and beauty
I showed her my Haas’s last pictures,
Haas handsome and fit till the very end

Um Samar and I
Two bereaved mothers
met for an hour
became pals for ever

We sat in stillness and silence
until the sun set down
Until the day said goodbye
We felt safe to shed tears.
We held each other in love and peace.
No more alone,
But walking together into the pathway of grief.
hand in hand following our destinies.

We are two bereaved mothers
Who met for an hour
and became pals for ever

Friends in grief are true friends indeed.

By Najwa- Haas’mom
4 Sept 2009

Three Years

Mother, why do you keep
calling my name?
You know I’m with you
though nothing is the same.

I‘m always there
to relieve your pain
of not seeing nor touching me,
nor hearing my voice again.

Don’t worry I visit you
every single day
Whether you’re awake,
asleep, and when you pray.

As you lie
on the sofa or bed,
I rest my head Mother,
next to your head.

Listen to my voice
when I whisper in your ear
Even from afar,
to you, it’s still near.

When you hug my picture
to give me a kiss,
I return it
Dear Mother, with bliss.

I know how painful it is
for you to go on…
Now three years passed
since I have been gone.

Wipe your tears, Mother
and give me a smile,
I know those three years
weren’t a short while.

But I also know
that you’re very strong
You survived my death
by keeping me, where I belong.

You kept my legacy
all these years alive
Without it, we wouldn’t
have been able to survive.

And Mother, I’m closer
to you now than before,
As we have become One
Not two anymore.

You must know
that I love you so…
I’m always with you
and will never let go...

I hope it lessens
your unbearable pain
For you to know I’m with you
I say it now, and forever again…

Randah R. Hamadeh, 2009, Copyright©
Written in loving memory of my daughter
Samar Ahmed Al Ansari

Wednesday, September 02, 2009

"Wake Me Up When September Ends"

Summer has come and passed

The innocent can never last

wake me up when September ends


like my father's come to pass

even years has gone so fast

wake me up when September ends


here comes the rain again

falling from the stars

drenched in my pain again

becoming who we are


as my memory rests

but never forgets what I lost

wake me up when September ends


summer has come and passed

the innocent can never last

wake me up when September ends


ring out the bells again

like we did when spring began

wake me up when September ends


here comes the rain again

falling from the stars

drenched in my pain again

becoming who we are


as my memory rests

but never forgets what I lost

wake me up when September ends


Summer has come and passed

The innocent can never last

wake me up when September ends


like my father's come to pass

twenty years has gone so fast

wake me up when September ends

wake me up when September ends

wake me up when September ends

Green Day Lyrics

Tuesday, September 01, 2009

September 2009

ولكن اسمك لا يزال يردده الأغراب قبل الخلان
وسيرتك تدوي يا حبيبتي في أرجاء كل مكان
وعبيرك يا أحلى وأعبق زهرة في البستان
عطر الحبيب والغريب فغار منك الريحان
"من قصيدة "عام مضى يا ابنتي الحبيبة سمر