Wednesday, January 27, 2016

MY POETRY IN FRENCH

En regardant le port

Comme cela me dérange
Chaque fois que je regarde les lumières du port
Ce sont les lumières de nos limites
Qui nous rappellent que personne ne peut vivre sans nom
Ni sans loyauté à un pays.

Mais personne ne peut choisir son propre nom
Ou le pays où l’on va naître.

Le message de la Princesse du Mont Ledang au Sultan Mahmoud

Tun Mamat
Fait part du message suivant au sultan
Qu’il fournisse ceci pour ma dot
S’il souhaite m’épouser.

Qu’il me construise un pont en or et un autre en argent
Qu’il m’apporte sept plateaux de coeurs de moustiques et de germes
Des coupes pleines de larmes et de jus de jeunes noix de bétel
Et du roi et du prince un bol de leur sang chacun.

Franchement
Je savais dès le départ
Qu’il était prêt à construire ce pont de misère
À laisser le peuple porter les plateaux de l’agonie
Et supporter le fardeau des lourdes coupes de larmes
À brûler leur vie avec la flamme de son désir charnel
À condition qu’il pût échapper à l’incendie.

Tun Mamat,
Ces conditions ne montrent que mon refus
Je refuse d’être sa reine
Voyant ma vie comme un trouble reflet
Je ne suis pas Tun Fatimah
Capable de pardonner la cruauté
Je ne suis pas Tun Kudu
Que l’on put forcer de consentir
Hang Li Po suffit
Enveloppée comme un présent, un héritage
Ou Tun Teja qui trébucha et tomba
L’amant qu’elle suivit n’étant qu’une ombre.
Laissons le Mont Ledang se dresser fièrement, comme un rappel à
tous
D’une fleur qui survécut et resta libre
Ayant échappé au caprice royal
Même une femme peut choisir de ne pas être d’accord
Même un roi doit à son tour
Admettre qu’il est battu.

Note: le Sultan Mahmoud, le dernier empereur de Malacca, tomba amoureux de la princesse
du Mont Ledang qui lui était apparue en rêve. Il envoya ses hommes sur la montagne pour

la demander en mariage, causant beaucoup de détresse et des morts inutiles. La princesse fit parvenir son célèbre et éloquent message au sultan par l’intermédiaire de Tun Mamat, le seul homme qui parvint au sommet de la montagne.

Friday, January 22, 2016

POETRY BOOK BY ZURINAH HASSAN PUBLISHED IN PARIS

https://www.facebook.com/photo.php?fbid=10203841734683791&set=a.1657374974236.65294.1832983771&type=3&theater






Menghadap ke Pelabuhan  -  Poèmes bilingues : malaisien, français  -  Hassan Zurinah
L'Harmattan  Sold by Librairie Obliques      
Les questions posées par la poétesse sont celles qui sont proches de son âme. Les émotions sont celles d'une femme douce, mais pas naïve. Femme de réflexion et excellente observatrice, elle distille et exprime ce qu'elle voit, pense, ressent et n'exprimerait jamais une impression négative qui se révèlerait amère pour son public. Baha Zain
ISBN : 978-2-343-03704-2 • octobre 2015 • 128 pages

POETRY BOOK BY ZURINAH HASSAN PUBLISHED BY L'HARMATTAN PARIS






Menghadap ke Pelabuhan  -  Poèmes bilingues : malaisien, français  -  Hassan Zurinah
L'Harmattan  Sold by Librairie Obliques      


Les questions posées par la poétesse sont celles qui sont proches de son âme. Les émotions sont celles d'une femme douce, mais pas naïve. Femme de réflexion et excellente observatrice, elle distille et exprime ce qu'elle voit, pense, ressent et n'exprimerait jamais une impression négative qui se révèlerait amère pour son public. Baha Zain

ISBN : 978-2-343-03704-2 • octobre 2015 • 128 pages
Prix éditeur : 14 € 13,30 €

NATIONAL LAUREATE (SASTERAWAN NEGARA)





ON THE COVER OF MALAYSIA TOP LITERARY MAGAZINE, DEWAN SASTERA, DISEMBER 2015. UPON BEING ANNOUNCED AS SASTERAWAN NEGARA, NATIONAL LITERARY LAUREATE 

THE SIGNIFICATION OF FLORA IN THE POEMS OF ZURINAH HASSAN

http://www.myjurnal.my/filebank/published_article/22907/089_123.PDF



THE SIGNIFICATION OF FLORA IN THE POEMS OF ZURINAH HASSAN, ACCORDING TO THE MALAY THEORY OF METHODOLOGY

 Haiah Samsina Abd. Rahman 
 Muhamad Fadzil Yusof  Facuculty of Modern language and Media Communication, Universiti Pulra Malavsia

 Abstract Flora is God's unique creation. According to the Our'an, its life processes and beauty maintain the right balance and prove the power of Allah SWT. However, for a poet, observing and studying nature becomes more interesting when viewed through analogy or metaphor and through interpretation and meaning. In this study, the Signification of flora in five collections of poems by Zurinah Hasan, Sesayup Ja/an (1974), Oi Sini Tiada Perhentian (1977), Keberangkatan (1985), Pujangga Tidak Bernama (1994), and Kumpu/an Puisi Sa/asilah (2005), will be examined. Signification and thought are found in all aspects of life. Flora can be classified as jungle or rice plants, and as trees and branches, flowers and fruits. These explain phenomena that represent human life such as poverty, character, behaviour, love, femininity, national identity, politics, leadership, and the strength and resilience of the will to live, centred around life in the past and present, as well as historical remains. The analysis in this paper is done using the Malay Theory of Methodology, which places importance on goodness and usefulness, justice in society, beauty in art, symbols (signs) and their meaning, and, most importantly, increasing one's love for and belief in Allah. Keywords: Flora, Malay Methodology, Premonition, Functional, Animism, Connotation, Figurative, Analogy, Introspection, Ideology.

 Introduction 

Flora or plants are often referred to in literary works, especially Malay 89 MALAY LITERATURE 90 poetry. This is based on the observation and examination of flora which starts out as a seed, and, further, its stem, shoots, leaves, branches, flowers, fruits, and strong roots which stabilize the plant and support its life processes, and are necessary for it to proliferate. All these become more interesting when seen as analogies or similes through the eyes of a poet whose perception is heightened. Detailed observation of the flora that surrounds us, coupled with a poet's sensitivity, will bring out ideas and a philosophy of thought that are manifest in the form of poetry. The Kamus Dewan (2007:413) defines the meaning of "flora" as "all the plant life in one region or one time period" whereas the Kamus Besar Bahasa Indonesia Edisi Ketiga (2003:318) defines "flora" as "all plant life within one habitat, region, or in a certain geological strata; plant life" as well as "the works and manifestation of plant life of one habitat, region or geological strata". The Ensiklopedia Dunia Jilid 7 (2005:178) explains that "flora" is the name given to the plant life of certain regions of the world or certain time periods. The term "flora" is taken from the name of the Roman goddess of flowers and springtime. The meaning of "plants", according to Baharuddin Salleh (1987: 1) is "living things, most of which are capable of producing their own food with the aid of sunlight that is absorbed by photosynthetic pigments; they do not move actively, or at least, minimally so. They neither have a nervous system, nor an excretory system". In short, from the definitions given above, "flora" refers to all living plants, including epiphytes and parasites, whether short, tall, leafy or flowery, whether on land, in the sea, or in rivers. The signification of "flora" will be analysed using the Malay Theory of Methodology first made known by Hashim Awang of the Malay Studies Department at University Malaya at the Second International Seminar on Malay Literature (Seminar Antarabangsa Kesusasteraan Melayu II) held at Universiti Kebangsaan Malaysia from 29 October to 1 November 1989. This theory is based on the reality of life and the environment of the nation in which the writer produces his work. Almost all aspects of Malay life are looked at and taken into consideration. Apart from this, all aspects of the work itself, both internal and external, can be studied, critiqued and evaluated. According to Mana Sikana (1991 :58), this theory is a literary approach to studying Malay literature that is rooted in the creativity and richness of Malay literature that is produced as a result of the close proximity with nature and refinement of Malay character. This theory is also strongly based on the attitude towards life, beliefs and religion of the Malay people, which is rooted in Islam. Two approaches are suggested in this theory, the Natural Approach (Pengkaedahan Alamiah) and the Religious Approach (Pengkaedahan Keagamaan). The Natural Approach is divided into three, that is, the Functional Approach (Pendekatan Gunaan), the Moral Approach (Pendekatan Moral) and the Premonitional Approach (Pendekatan Firasat). The Religious Approach is further divided into the HAJAH SAMSINA ABD. RAHMAN & MUHAMAD FADZIL YUSOFF Missionary Approach (Pendekatan Dakwah), the Societal Approach (Pendekatan Kemasyarakatan) and the Artistic Approach (Pendekatan Seni) (Hashim Awang, 2002: 15 - 27). This means that there are six different approaches that are based on this theory, as elucidated by the following diagram: 1. Natural Approach Hashim Awang Theory of Malay Methodology (a) Functional Approach \ (c) Premonitional Approach (b) Moral Approach 2. Religious Approach a. Missionary Approach b. Societal Approach c. Artistic Approach From the above diagram, the relationship between the approaches contained within the Theory of Malay Methodology (Natural and Religious), clarifies that the life of the Malays is closely connected to nature (Natural Approach) as nature is a part of their lives. Malay society also makes nature its source of income (Functional Approach), experience (Functional Approach), learning (Moral Approach) and welfare (Societal Approach). This is because Malay society is extremely sensitive to the environment and events and happenings around them, and will immediately react to whatever signs and symbols that they can observe in nature (Premonitional Approach). He also emphasises on Islam (Religious Approach) as the root or the guiding principle in life, which is to be based on the belief in the Oneness of God; as well as the fact that spreading Islam, which can increase their faith in Allah (Missionary Approach), is obligatory. All the beautiful things in Islam which can be seen through creative works (Artistic Approach), such as poetry, will bring about prosperity and justice in society (Societal 91 MALAY LITERATURE 92 Approach). Hashim Awang's conception of Malay Methodolog From the above diagram, the relationship between the approaches contained within the Theory of Malay Methodology (Natural and Religious), clarifies that the life of the Malays is closely connected to nature (Natural Approach) as nature is a part of their lives. Malay society also makes nature its source of income (Functional Approach), experience (Functional Approach), learning (Moral Approach) and welfare (Societal Approach). This is because Malay society is extremely sensitive to the environment and events and happenings around them, and will immediately react to whatever signs and symbols that they can observe in nature (Premonitional Approach). He also emphasises on Islam (Religious Approach) as the root or the guiding principle in life, which is to be based on the belief in the Oneness of God; as well as the fact that spreading Islam, which can increase their faith in Allah (Missionary Approach), is obligatory. All the beautiful things in Islam which can be seen through creative works (Artistic Approach), such as poetry, will bring about prosperity and justice in society (Societal 91 MALAY LITERATURE 92 Approach). Hashim Awang's conception of Malay Methodology suggests specific, complete and solid values that suit the life of Malay society, which is very sensitive to its surroundings and capable of expressing a highly-sophisticated creativity in the form of crafts and literary works, both in prose and poetry. He also links elements of nature with religious elements such as missionary efforts (dakwah), morals, and glorification of Allah and faith in Him, in order to complete the analysis of the external and internal aspects of literary and other works produced by Malays.

 Therefore, the Malay Theory of Methodology has been chosen for this study as it is felt to be suitable for the analysis of the poems of Zurinah Hassan, which are observably natural, creative and artistic in nature, while at the same time emphasising Islam as the core principle in life, as is evident in her poetry. Background of the Study The flora in the poems of Zurinah Hassan - that of jungles and rice plants, including trees and branches, flowers and fruits - are natural creations that are beautiful, complete and meaningful. Each of these natural creations has been created with wisdom, intelligence, value and purpose. The Our'an explains in detail the beauty of plants (flora), how they grow, the miracle of their reproduction, their variety, fruits and grains and the variety of the colours of flowers which always maintain the correct measurements and prove the power of Allah SWT. According to Seyyed Hossein Nasr (1993: 279), plants, with their specific characteristics, such as the texture of their petals and attractive colours, a balance and fragrance - all of this has been created to be admired by a being other than plants and also to be marvelled at by an intellect and emotions that plants themselves do not possess. In Surah al-Ra'd 13:4, Allah says: On Earth there are spaces and on them grape fields, crops and date trees with and without branches that are watered together and We give one a better taste than another. Verily, in these creations there is proof (of the power of Allah) for those who know. (Yusoff Zaky Haji Yacob, 2000, 9:315). Because of this, the creation of plants was an invitation for humans to see, think and evaluate the miracle of Allah's creation in order to understand the meaning behind it and to use these as example and to gain knowledge from them using their minds and intellect. Using this as a guide, this study is aimed at the signification of the variety of flora (plants) in the poems of Zurinah Hassan. The study covers five collections of poems: Sesayup Jalan (1974), Di Sini Tiada Perhentian (1977), Keberangkatan (1985), Pujangga Tidak Bernama (1994), and HAJAH SAMSINAABD. RAHMAN & MUHAMAD FADZIL YUSOFF Kumpulan Puisi Salasilah (2005) and employs the Malay Theory of Methodology. The flora encountered can be divided into that of jungle and rice plants, as well as trees and branches, and flowers and fruits. These are listed in Table 1 below From the above diagram, the relationship between the approaches contained within the Theory of Malay Methodology (Natural and Religious), clarifies that the life of the Malays is closely connected to nature (Natural Approach) as nature is a part of their lives. Malay society also makes nature its source of income (Functional Approach), experience (Functional Approach), learning (Moral Approach) and welfare (Societal Approach). This is because Malay society is extremely sensitive to the environment and events and happenings around them, and will immediately react to whatever signs and symbols that they can observe in nature (Premonitional Approach). He also emphasises on Islam (Religious Approach) as the root or the guiding principle in life, which is to be based on the belief in the Oneness of God; as well as the fact that spreading Islam, which can increase their faith in Allah (Missionary Approach), is obligatory. All the beautiful things in Islam which can be seen through creative works (Artistic Approach), such as poetry, will bring about prosperity and justice in society (Societal 91 MALAY LITERATURE 92 Approach). Hashim Awang's conception of Malay Methodology suggests specific, complete and solid values that suit the life of Malay society, which is very sensitive to its surroundings and capable of expressing a highly-sophisticated creativity in the form of crafts and literary works, both in prose and poetry. He also links elements of nature with religious elements such as missionary efforts (dakwah), morals, and glorification of Allah and faith in Him, in order to complete the analysis of the external and internal aspects of literary and other works produced by Malays. Therefore, the Malay Theory of Methodology has been chosen for this study as it is felt to be suitable for the analysis of the poems of Zurinah Hassan, which are observably natural, creative and artistic in nature, while at the same time emphasising Islam as the core principle in life, as is evident in her poetry. Background of the Study The flora in the poems of Zurinah Hassan - that of jungles and rice plants, including trees and branches, flowers and fruits - are natural creations that are beautiful, complete and meaningful. Each of these natural creations has been created with wisdom, intelligence, value and purpose. The Our'an explains in detail the beauty of plants (flora), how they grow, the miracle of their reproduction, their variety, fruits and grains and the variety of the colours of flowers which always maintain the correct measurements and prove the power of Allah SWT. According to Seyyed Hossein Nasr (1993: 279), plants, with their specific characteristics, such as the texture of their petals and attractive colours, a balance and fragrance - all of this has been created to be admired by a being other than plants and also to be marvelled at by an intellect and emotions that plants themselves do not possess. In Surah al-Ra'd 13:4, Allah says: On Earth there are spaces and on them grape fields, crops and date trees with and without branches that are watered together and We give one a better taste than another. Verily, in these creations there is proof (of the power of Allah) for those who know. (Yusoff Zaky Haji Yacob, 2000, 9:315).

 The flora encountered can be divided into that of jungle and rice plants, as well as trees and branches, and flowers and fruits. These are listed in Table 1 below: Table 1 Analysis of flora by category. No. Category Title of Poem Type of Flora Total 1. Jungle and 1. Di Pinggir Rimba Jungle 4 poems rice plants 2. Dialog Generasi 5 Rice 3. Kilauan Emas Bukit Siguntang Rice 4. Kenangan Anak Tani Rice 2. Trees and 1. Mencari Pohon Melaka Tree 2 poems branches 2. Ranting Branch 3. Flowers 1. Untuk Hidup Bersama Rose 3 poems 2. Surat Teja Kepada Tuah Rose and ylang-ylang 3. Kereta Api Malam Dari Paloh Rose 4. Fruits 1. Anak-anak Rambutan Putik Rambutan 5 poems 2. Episod Tun Kudu Grape and Cucumber 3. Di Makam Laksamana Jackfruit 4. Pesan Si Luncai Gourd 5. Orang Tua Rambutan Masak Rambutan



Thursday, January 21, 2016

POEMS BY ZURINAH HASSAN, 23.January 2016.

These poems from my book FACING THE HARBOUR (itbm 2010).  The book has been translated into Spanish, Russian, French and Japanese.




AT THE CENTRAL MARKET

(Where the unemployed wait)

I often see him
sitting on the benches of Central Market
watching passers by
or gazing into nowhere
waiting to be inspired
with a few poetic lines.

Singing his lyric
he waits on
will someone come today to rescue him
from boredom
and unemployment.

He waits on at Central Market
overlooking Dayabumi
he heard they are building images
is he suffering the reality?

But as he take refuge
on the cool mosaic
or soothe his forhead
by the fountain side
washing away the thought
of the nagging mother
the noisy squatter area
 he says,

"Thank you Central Market
thank you Dayabumi
for making this wait less unbearable
without you
I could have turned into a rebel".


AFTER WATCHING ALEX HALEY'S ROOTS

He still wanted to be Kunta Kinte
even after he was called Toby
again he was tortured
and pain was too high a price
for him to bear
and don't we all have a price to pay.
in order to really be ourselves.

I cannot bear to face
the truth of your pen
the pain and horror of slavery
the vengeance in your writing
must art and it's beauty
always be born out of loneliness
and misery?