What did Darwish, Bseiso, Al-Qasim and Touqan write about the Palestine Spring?

The days of spring all over the world carry comfort, tranquility, and psychological calm.

And because our ancient Arab poet was a poet of nature, contemplating it and broadcasting his pain, forgetting his sorrows there, wandering about them and being fascinated by the verses of beauty in them, then he portrayed them as his soul represented them. Palestinian poets wrote all kinds of poetry, poems and spinning, due to the sacrifices Palestine made and the injustice and tragic scenes it was exposed to that remain stuck in the minds of many. Among these creative writings, flowers of all kinds were used in their poetic images.

Between the lavender and the violet, the “very red” purple flower, the anemone, the basil, the laurel, the tulip, the rose, the elderberry… The nature of the occupied land inspired many meanings and wonderful literary effects. Poets were fascinated by it and portrayed it in images that often combine the sincerity of performance, the subtlety of description, the manifestation of facts and the heat of feeling.


Whose spring?

“All the angels I love took the spring from the place and left.” This is how Ibrahim Touqan wrote, whose love for Palestine was mixed in his blood and veins. The great poet depicted for us the absence of spring from the Holy Land since its occupation. He also sings about the land, and attacks those who sell it because he will not enjoy the spring without his land, and he says:

March in the vastness of space, the high-ranking ambassador of his country

These are colors that radiate, and those are melodies that spread

To whom is the spring and its goodness? And his whim and the wonderful flower?

The joy of spring is for those who have land, not for those who sell…

Anemones and violets

While Mahmoud Darwish’s pen was drawn in the face of the occupation, his poems were heard by all ears, and his verses that supported the truth were echoed. He dreamed of the end of the occupation from the land, and even from the simplest things like the vase, so he wrote: “We will expel them from the flower pot and the clothesline..we will expel them from the stones of this long road.”

The violet flower appeared again and again in Mahmoud Darwish’s poetry. In an attempt to get out of the symbolism of the sad violet to enter into the symbolism of the spikes promising life, he says:

Do not place violets on my graves, for they

The flower of the frustrated reminds the dead of death

Love prematurely. They put on me

The coffin has seven green spikes, if any.

And some anemones, if any.

While the great poet chose the fig and olive trees; Because they are two trees known for their longevity, their roots have been rooted in the ground for a long time. Thus, he emphasizes in the poetic text the meanings of steadfastness, steadfastness, and adherence to the land..and he says:

O death! Wait for me till I finish

Funeral measures in fragile spring,

Where I was born, where I will ban preachers

Of repeating what they said about the sad country

And about the steadfastness of figs and olives in the face of

Time and his army.

On the other hand, the link between the color of the blood of the martyrs and the redness of the anemones was not in vain. The face of the wilderness turns red with her presence, and when the plains are covered with her, we quickly remember Darwish’s verses:

The beloved bled anemones

The land of purple sparkled with his wounds,

The first of her songs: the blood of love shed by the gods,

And the last is blood…

O people of Canaan, celebrate the spring of your land, and ignite

Like its flowers, O people of Canaan disarmed, and complete!

Tulip City

From Gaza, the voice of Moein Bseiso spread to the Arab countries, and the Palestinians picked it up and chanted it. He was a poet of battle and clash, leading the ranks of the demonstrators and boasting that Gaza had thwarted the project to settle the Palestinians in the Sinai desert. Therefore, he described his city with a flower that represents the Holy Trinity… with the lily, which symbolizes purity and chastity, and says:

My city, her earrings are white lilies

And held by his beads with the buds of the Andes

Ala loves her

My brother who is hungry and the spring in my city is an arm

And his oranges on the trees

Almond flowers and pomegranate

And when we talk about the great poet Samih al-Qasim, we are talking about a literary garden full of fragrant roses:

“Make a necklace more than almond and pomegranate flowers, my mother

I got my overcoat…

My heart ascended, oh my mother and the remnants of my country..»

In light of the experience that Samih al-Qasim lived through – the experience of successive defeats and failures in the Arab world – death formed the main theme in his poetry, and for him it does not mean surrender and defeat, but rather taking responsibility, it is death when it is renewed and revives life. And he said about that, “Turning death into life, turning fire into snaps, turning the battle cry into a birth cry: This is our mission and this is our way of life.”

Flowers for our late poet within the phenomenon of death is an image that contradicts the usual stereotype, as it is associated with death and grief for the departed. He says in the poem (The Journey of the Savage Catacombs):

“In the past, roses were the messenger of the beloved to his beloved (….) In the present times, all of them have become.. All roses are cries of grief over a coffin that engulfs a boy and his thoughts.”

Although the flowers in the poet’s philosophy have a sad, negative connotation, death is fruitful for him, like fruit trees:

“The fruits of death, son of death

Your soul is in the dust of death, the fruits are ripe.

In the death of the martyrs is the life of the living, and this life is a delicious fruit, as is the case with the martyrs. Their fruit is represented by their reward with God, and thus death is fruitful for the living and the dead.

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