A Woman Moving Within Me by Nizar Qabbani

Transference, Aug 2018

Translated from Arabic by Houssem Ben Lazreg

A PDF file should load here. If you do not see its contents the file may be temporarily unavailable at the journal website or you do not have a PDF plug-in installed and enabled in your browser.

Alternatively, you can download the file locally and open with any standalone PDF reader:


A Woman Moving Within Me by Nizar Qabbani

A Woman Moving Within Me by Nizar Qabbani Houssem Ben Lazreg 0 0 University of Alberta Part of the Near Eastern Languages and Societies Commons, Poetry Commons, and the Translation Studies Commons - Article 7 Anybody who has read my coffee cup realizes you are my love Anybody who has read the lines of my palm discerns the four letters of your name, everything can be denied but the scent of a woman we love, everything can be concealed but the footsteps of a woman moving within us, everything can be debated except your femininity. Where shall I hide you, my love ? We are like two burning forests and all the television cameras are on us Where shall I hide you, my love and all these journalists want to place you on the cover page, and make me a Greek hero, a public scandal. Where shall I take you? Where shall you take me when all the cafés have memorized our faces and all the hotels registered our names and all the sidewalks recollected the rhythms of our feet? We are exposed to the world like a seaward balcony, visible like two golden fish in a crystal container. Anybody who has read my poems about you perceives the sources of my inspiration, anybody who has travelled in my books arrives safe to the harbor of your eyes, anybody who has got my home address heads for your lips, anybody who has opened my drawers finds you sleeping there like a butterfly, anybody who has dug up my papers, knows the history of your life. Teach me how to confine you in the Taa Marbuta and prevent you from coming out, teach me how to trace around your breasts a circle in purple crayon and prevent it from flying, teach me how to detain you like a full stop at the end of a sentence, teach me how to walk under the rain of your eyes without getting wet, to smell your body seasoned with Indian spices without fainting and to roll from the imposing heights of your breasts without crumbling. Keep your hands off my small habits my tiny things the pen that I use to write the papers on which I scribble the key chain that I carry the coffee that I sip the ties that I buy, keep your hands off my writings as it is unreasonable that I write with your fingers and breathe with your lungs, it is unreasonable that I laugh with your lips and that you cry with my eyes. Sit with me for a while to reconsider the map of love that you drew with the harshness of a mogul conqueror and the selfishness of a woman telling a man “Be.. and he is” Talk to me democratically, for the tribesmen in my country have mastered the game of political repression I do not want you to play the game of emotional repression with me. Sit with me for a while so that we can agree on a way to love where you are not my servant girl and I am not just a small colony on your list of colonies that is still seeking — since the seventeenth century — emancipation from your breasts, which do not respond do not respond. 2016 entary range fro m passionate and revolutionary verses about love, eroticism, and fe minism to constant criticism of Arab leaders and the conservative traditions of the patriarchal Arab society. Over the course of half a century, Nizar , , rnettruhterhyce,oNcuoriuszearsroeQfohafablhbfaaalnfciaewnctreOuonrtvyteue, r3Ny4ti,hzbNeaorciozQokauarsrbQsobefaa onbpfibo whentarriloyftweainr3coc4t a eleunbdt3ouio4nr kygbs,o Noofikzpsaoore ftQrpyaobienbtcarlynuidi nwincrgloutdein3g4 books of poetr i n g w it h W o r d s N o V i c t o r O t h e r T h a n ( , 1 9 6 6 ) , 3o,d48(DتﺕﺎV)oﻤr,ﻠiafoﻜ b fNh e rw(te1WrﺪTiyﮭﻬﻧ9tr elo ved gﻤﺐ8obﻠ)ﻜﻢﺤ,ﻟﺳﺎﻟDﺑاﺍﺮ oaknsi ﻻﺇإ ﺐﻟﺎ ﻟrاﺍ,aﻢ1ﺳw9ﺮi6nﻟﻏاﺍ ﻻ 6,g)1, , 19 w9N6ito6h )8W, 9 ),or (ﻲﺘﺒﯿﻴ aﻟdOicﻮlhedﻔcطﻁonheo,tnoud1totru9hdoyr4ef,yo8aN,cf),Ba i N ver o OoQa(is bnﺪatﮭﻬﻧ No h, eo ds (تﺕﺎﻤﻠﻜﻟﺎﺑ ﻢﺳ ﺮﻟاﺍ biazl t yi, vf af ua rn bb o w fr optoee 3tr4y bi n o colkusdoinfgpo etry inclu di L o v e 9ﺑﻟr6ﺎpM)ﺑyL1, o, M 9 n aﺔﻟ oee n B(,vdﻟdاﺍl oL vi ﻻL BdﻘDLﯾﻳeool oﺐ vﺤeﻟاﺍ ( , 1N , Othﺐﻔhteطﻁ,hﻟorﺎ1,eﻏTr 9 o1dﻻh49Ta,84hn1f)8a,9a)LnD,8o9Lv o BCDr r)aehore,waial v( eayel ﺮ Ldlﺤ9o ve o evs Dd o(eﻲsﺘﺒﯿﻴﺒ nyiﺤ(g n WﻏﺐdWOoﻻﻟ(ﺎrotﻏ,ﻲhdr1ﺘesdﻻﺒ9ﯿﻴﺒrs,ﺣ(تﺕﺎT1t(9)ﻤ,تﺕﺎ,hﻠ(ﻤﻜ1ﺪDﻠﻟﮭﻬﻧﻜﺎ 8 a ﻔaطﻁ ,B1r9e4a8s Mao nvyde her e ﺣ 1961), ,gﻟﺮاﺍ wso nﺳ s Nﻤ(ﺣﺮoﻷt ﻤ,اﺍ tﻀo ﻟpاﺍ Rwﻘﯾﻳeﻻod Lﺤs iﻟgoاﺍ ﺐim1,gfh 8ﺤﺤ91hp,ptﻟtاﺍ s1r o9(s8 omitsﻟhاﺍaendPy,om11e9t ﺤ , 9a r8ny 8 5()ﺮ, ﻌ y tpscoﻘoﯾﻳorﻻsyme 1 ﺐdwp ﻗ), (ﻷVtﺐ(tاﺍSiﺐoءﺤtpﻮo S c at tﺤﻟاﺍoﻟﻻrاﺍﻟﺇإ ﻻaاﺍ ﻀp di ﻏﻻﻘTLﻻ,ﯾﻳ (ﺮ tﺤ9s8Ltﻟo)اﺍ9o,r)v , ﻒ B8tء ﻰdeaﻠ dﻋt( ﻒs cﻻ )1(eM,,ﺮ)dﺐa,y ﻤ ﺇإ a os16s 5 ). H e a lso co m po M 8 n9c i ﺣﺒﯿﻴﺒ 6 9ﻟ9اﺍ) d n ﻟﺎBﻏ ﺇإ O Oe ﺘLﺒﯿﻴﺒ o ﺣ v,e1 D 9 6o1e)s, hﺐe ﺐ n ﻟLﺎﻏ , e ﺐ9 ,ﻻ y, 9 e l6o1v)e, da n ( d ﻲ a o B L ov ( and O ver the co urse of h alf a ce ntury, Nizar Q ab ba ni w rote 34 books of poetr oo t y sﺼy89isto8ewﻗf5ﻀ).,)pt. h P di 5 eءdﻮ L oaenat drny Wﻒaeﻮ5ynaﻗ,ھﮪﮬﻫﺎ) h n ﻘ)ﯾﻳ k s o f p r o s e , ePﻰﻠRﻋ,oﻠﻋcsHeﻒuhte su ed tﻣ s ﺮS.ﻌ.rﻌtﺸ. t ﺮ yﺸoﻟ(اﺍ ,وﻭ ﺘtﻮﺼhھﮪﮬﻫﺎﺮﻣﻗ)),, ﻌﺸﻟاﺍ r ﻦ ﻋ). ﻲﻟاﺍi o mHWhr HoePhseae o yo (e (NSrﻤﺮkﺣtﻤosﺣﻷr ot oﻷﺍاySءfاﺍtﻮءwopﻀﻮpirﻀtoﻟhاﺍ s aﻰﻟtاﺍ mtsﺸpr ءﺤﻮﻟpاﺍ W hat is Poe hSttso (p iﻟgاﺍ ﻰhﻠtﻋs ﻒ( .ﻻ ﺐe ﺤaﻟlاﺍs o, c1o9 m8 p 5 o).s He de m a las no yc o t ﺮ ﻀ o m p o sed man C hild h o o d of a Bre ast Dra wing with W ords (ﺪﮭﻬﻧ ﺔﻟﻮﻔطﻁ , 1 9 4 8), (تﺕﺎﻤﻠﻜﻟﺎﺑ ﻢﺳﺮﻟاﺍ co urse of h alf a c e ntury, N iz ar Q ab b a ni w r o t e 3 4 b o o ks of p o etr y in clu din g O n P o e tr y, S e x , a n d R e v o l u ti o n ... ( ﺲ ﻨ ﺠﻟاﺍ ﻭو ﺮ ﻌ ﺸ ﻟاﺍ ﻦ ). In txiوﻭ,isrSiyt th sﺮasPPﻌn eoyrrﻋvey) m ti iytﻊ(o.ﺮ(lﻌﺮuPﻲﺸﻌﺘ t hﻣ tl e d ﻲ ﻠ ﺧﺲ)اﺍدﺩ, ﻨaﺠﻲ ﻓ nﻟاﺍ dﻲ ﻭو ﺸ O ﺮ ﻤﻌnﺸ ﺗ ﺓةأﺃﺮPﻟاﺍﻣoﻦاﺍeﻋt()r. “ A, y W o m an M ovi oOolySurnStoiPtorooonyrefy.wt.r.wiyt(oih,ﺲtsShPPeﻨeﺠo,Poxﻟe,اﺍ ks pr wseotﻭو uteoarrctr nyyﺮr Wﺲy ,hﻨSﺠah aeﻟاﺍ dyﻌ(( ﺸﺮR(ﻟﻌﺮاﺍ ouS.Oﻣﻊsttﻣeiﻲnoo,ﻲrﺘnPﺼ ﺘ y s ﺼo.wﻗ.ce)).ﻗh,,it)(trW,ha u dv iﺸﻟﺼoاﺍﻟﻮاﺍ e ntﻗrھﮪﮬﻫﺎﻮ)ﻣ.ھﮪﮬﻫﺎ.ﻣ.W()ﺮ , y (,), wMy WshP ta t ey o M h ﻌ ﺸaﻟtاﺍ iﻊsﻣPﻲoﺘeﺼt rﻗy), (W ﺮ hk sa so ﻌhﺸaﻟاﺍt ﻮisھﮪﮬﻫﺎﻣP)o, etry (ﺮﻌﺸﻟاﺍ o o Victor O t h er T h a n L o ve M y B eloved ( ﺐ ﺤﻟاﺍ ﻻإﺇ ﺐﻟﺎﻏ ﻻ, 1 9 8 9), (ﻲﺘﺒﯿﻴﺒﺣ 1961), d of a B re ast D r a w in g w ith W o r ds N o (ﺪﮭﻬﻧ ﺔﻟﻮﻔطﻁ , 1 9 4 8), (تﺕﺎﻤﻠﻜ ﻟﺎﺑ ﻢ ﺳ ﺮ ﻟاﺍ , 1 9 6 6 ), In this p o e m title d ﻲ ﻠﺧاﺍدﺩ ﻲ ﻓ ﻲ ﺸ ﻤﺗ ﺓةأﺃﺮ ﻣاﺍ ( “ A W o m a n M o v i n g W ith i n M e ” ), th e p oet e x p r e s s e s h i s f e e li n g s o f l o v e a n d p a s si o n to w ards his belo ved RﻠﺧReاﺍدﺩ veovﻲOIloﻓnunlﻲtutiPhtoﺸiinoﻤsﺗn.pةﺓأﺃﺮ.r.oﻣ. S(.اﺍe,eﺲ(mSxﺲ(ﻨ“,ﺠtﻨxAaiﺠﻟtاﺍ, and et y aned oﻌﺮRﻲﺸmﻌﻠeﺸﻟﺧاﺍaveﻟاﺍدﺩﻦnاﺍo dPRo t ﻦﻋﻲl Mu)ﻋﻓ.)tIoﻲ.invoﺸitnﻤnhﺗgi.sةﺓأﺃﺮ..Wﻣp(اﺍ t oiet(hm“i A ntiMWtl eeod” m ) aﻠt ﺧnhاﺍدﺩ e M ) ooﻓveﻲit nﺸ gﻤﺗ Wةﺓأﺃﺮ ﻣiاﺍ t hi(n“ AM We”o),mthaen pMoeotving ﻲ, ﻲp. Within vroyl,u Sieo xn, .a..n (d ﺲRﻨeﺠ vﻟاﺍ oوﻭ l uﺮti ﻌ oﺸ nﻟاﺍ .ﻦ. .ﻋ()ﺲ. ﻨ ﺠ ﻟاﺍ ﻭو ﺮ ﻌ ﺸﻟاﺍ ﻦ ﻋ). N ot Sto p at R e d Lig hts (ﺮ ﻤ ﺣ ﻷاﺍ ءﻮ ﻀ ﻟاﺍ ﻰﻠﻋ ﻒ ﻘﯾﻳ ﻻ ﺐ ﺤﻟاﺍ , 1985). He also co m po heessreTs hhaisnfLe eolvine M w yr a Bselhoivs d ebde cL r eoavteiv D e o es g(sﺐoﺤfﻟاﺍ loﻻvإﺇ eﺐaﻟnﺎﻏd ﻻp,a1ss9i8o 9)t,o n l(oﻲvﺘeﺒﯿﻴﺒdﺣ ,s1in 9g6 1 h)i, anlyd h u g mMdshosuivoiotsﺸostviifn p et eﻓmﻲ ima hiwWniigatiht rhs g dl es onysif A avletonenhﺓةأﺃﺮtvdehe of , ﺗ t epdp h nWmthoi i a g ges a oimwgmthainnn halryd a r sc e rheliaist o ” v nvibn,kviegtnehl e ) i d to th e Arabic c dpeedrﻲeaﻲsﻠnﺧsﻠdeﺧاﺍدﺩﺍادﺩ spﻲhIaﻲﻓnissﻓﻲstiﻲﺸfoeiﺸﻤnesﺗﻤةﺓأﺃﺮﺗti l h ponﻣةﺓأﺃﺮwgاﺍﻣeاﺍ o sa(ro“d(IfA“intlIe sl m t AohWetvi Whxseopiﻲbhsmoareﻠinemﺧpalsdonaosvenpeesa t s poﻲ ﺍادﺩ aoop(( o v e d using highl M W ih Moe g We nd ﻠ(ﺧ“اﺍدﺩ ﻣMاﺍ g Wo MM pitoheitn ﻲ W M e”), th M y Sto ry w ith P o etry W hat is Poe w orks o f pro se, su c h as ( ﺮﻌ ﺸﻟاﺍ ﻊﻣ ﻲﺘ ﺼ ﻗ), aict iRmeadgLe sig. hStosm(ﺮeﻤoﺣfﻷthاﺍءeﻮsﻀe iﻟاﺍ mﻰaﻠﻋg eﻒs ﻘaﯾﻳﻻre ﺐliﺤnkﻟاﺍ d,t1o 9th8e5)A. rHa beiaclcs oultcuorme spuocshe dasmreaandyin e g th e f o r t u n e i n a c u p o f c o f f e e a n d r e a d i n g t h e f a t e li n e on the p al m sefleeotlivic x opmevriemasgnaaedngsdepasapr.siaesSssWilosoieimnnoiektnelxhtei ses h f o odti n p woftwao t n mileepdcolsavcgauerdelsetd.ul lionpevgats i eoixSrsuof s neios eagoafi hgeceesu vo latruer e l s n uk ce hd a t s o r t e h a e d i A nr g a btihceculture i such pnl sewdoa fuds r l o i s nvhgei shaibngedhl olpyvaecsdr seuiaostinvn gres eg highly cre ati O n P o etry, S e x, a n d R ev olutio n ... a n d ( ﺲ ﻨﺠﻟاﺍ ﻭو ﺮ ﻌ ﺸﻟاﺍ ﻦ ﻋ). pnreosine,ascuucph oafs cMofyfeSetoarnyd wreiathdiPng oethtreyf(aﺮteﻌ ﺸliﻟnاﺍ e ﻊ ﻣo n ﻲ ﺘtﺼheﻗ)p, aWl mh aotf ias hPaonedt.r yIn( ﺮthﻌiﺸsﻟاﺍ ﻮھﮪﮬﻫﺎﻣ ), geusiIfe, ry f hdmlhcoetyatohnhaab I cune g erraeArpetdeatiaroviddallneiibignnnipkc g mlig aa ohehoftcttdehehuaetteliotcutrihemesaAugcreha a hcfaeanntdetr.laiIlnp etohoe intsi c i m a g e th at poses s nhttduehnsereesti e po aimdniiimanmgacaegugtsehpesaest.o a eic orafefraSweploa o tcieolniflkif n ne dteeki dotaf ontoodtrethgbthtsrueheeensla.peiodarialnr A hsa mASvoae e e scdeo ggt t h e p al m o f a han mre ihf mit ee sba.iscSroceumaldteuinreg sth u e ch as read ce.n..tr(alI pnﻨﺠotﻟeاﺍhtﻭو iiscﺮpiﻌmﺸﻟاﺍ o n ﺲ e a meﻋtti)ht.laetdpoﻲsﻠﺧesاﺍدﺩ gﻦ sﻲomﻓﻲeﺸcﻤhﺗaةﺓأﺃﺮllﻣeاﺍng(e“sA Whiolem an M oving Within omeetnryta, rSye, xI,barnindg to evlioglhuttiao w R t r a n s l a ti n g i t t o E n g li s t, t h e v e rs e “ T e a ch m e a way to l emtfeoaam nractdneendnrtetraraeriadaylid,npaiIgnocbgeturthti une n o n c eh gefi oenglelfiieglnihctenhtoeoaamtno eifmeiena cmpnteohnetsehnteretpsaa m,ommIeoetbhfoi l ongfkfte hamgolahtdlaetneao an t gdn soci lseseeeencpfualtltemulrioenfesauo strsaol mpoeec tihca lmle i n a g e st hwa h t ipl eo ses so m e challe fp oho aagnecdsu rpae raoedf rl h bttihhc hn c ahtnhades. pIrnaelatmhdiiosnf f t ga hand. In this d facetx, pt hreesvsersshei“sTfeeaeclihn mgse oaf wloavyetoa nlodcpkaysosiuo unptoinwtahredsT ahais beloved using highl slating it to English. I n this p oe m title d ﻲﻠﺧاﺍدﺩ ﻲﻓ ﻲ ﺸ ﻤﺗ ةﺓأﺃﺮ ﻣاﺍ (“ A W o m a n M o vin g W it h i n M e ” ), t h e p o et ً M a” ciomegonetefhugeaclcui l ict fe (shahpmﻮﮫﻪطﻁhc ﺑ e ghafegeahwsecTءwatﺎ,aﺘyﻟاﺍ s trat apt tﻲﻓ lvﺎﮭﻬﺑ hihnoleisieclees o t g ﻚ ﺴ ey “ﺒoﺣTuأﺃ euaﻘpﯾﻳﺮcطﻁ ﺔ ﻲ hﻨﯿﻴﻤeaﻠﻋTwaaa ) e c o ntains a refere ifnlgcaishclmhta,ttamitanhce g o ecnnevitttnerttrarroyslae,Elp g a “n becrteeiitacnmsi Tgl eo i o fo cchi g hm.i Imn gaterfeg i aaerhnt c i hwtst,l t ,ahaI atahyttpient ort se oecrk s hin mt whta y to lock you u o Ip ma o cbcepru n i hcai en mt t uoe nl g a rga lt op f ope di ms h oa e mgfeae tch e halti a lpleons ne g e o sen ss ow t hmheeilec t e y n le it h allen ges w t h r n a p o d r a ً buta” (ﻮﮫﻪطﻁﺑﺮﻤﻟاﺍ ءﺎﺘﻟاﺍ ﻲﻓ ﺎﮭﻬﺑ ﻚpﺴo ﺒﺣetأﺃiﺔcﻘﯾﻳﺮiطﻁm aﻲgﻨeﯿﻴﻤsﻠﻋ. S) c o omnetaoin fsth a erseefeirme nacgee stoaoren elicnhkaerda cttoerthoef Athrea bic culture such his fe elin gs of lo v e an d p a ssi o n to w ar d s his b elo v e d u sin g hig hly cr e ati v e ً ً sً A r a b i c a l p h a b e t t h a t a c t a s a n i n d ic a t o r o f t h e fe m inine gen der hﺮﻮﻪﮫطﻁt ehﺑطﻁﺮevﻤitﻲﻟevاﺍtreﻨosﯿﻴﻤreﻠsﻋEtءer“ﺎ)ﺘﻟاﺍ ng na sﻲoialenﻓca l sa thﺎcaﮭﻬﺑ Mimnﻚamserﺴ beaaﺒ a ﺮcoﻲlﻤeoﻨﻟlﯿﻴﻤs.اﺍcotﻠ isehr eoIkﻋc koy)ء Tfnoyﺎcﺘ aeeuoﻟocاﺍaut, ncﻲuthpﻓaapiﺎirﮭﻬﺑnnaisev u chthme cnﻚtatheﺴtehrﺒeﺣ ofأﺃ T n)eccohnatraa i c n tse r a oefftehre r cTe noﺑt nce to one T “g n nhIgn e swe h t ift h n eg v n“ ea lcohc km y e oau wu ap yi n t t h l oec T k ayaou l r o u p in th e p a l m o f a h a n d . I n t h i s c o m m e n t a r y , I b r i n g t o li g h t a c e n t r al ﺓة bic alp ha bet th at a cts a s a n fo in d rtu i n c at o r o f t u h e fe of m inin offe e e g a e n n d e It din is s p th e lle d fate th is lin w a o y . the e i n a c p c d r e a g e e n palm of a hand. ag es. S o m e of th ese i m a g es are lin k e d to th e A ra bic c ultu re su c h as re a din g th e a”aﺔأﺃtboً ﻘ(ﺔﯾﻳ agye nةﺓ.der. ciﻚnbaﻚﺴdulﺴﺒpiﺣcﺒhﺣأﺃ ta t e ﻋ) s m ai sAnn iatnrn anateiabniiﻚignsncedsanai ﺑﺮﻤﺴﻟﺒاﺍ acldr ﺣ ءﻘﺎﯾﻳﺮrreﺘbIﻟeطﻁrاﺍtoenetif f st cnﻲ ﻓ h ecsﻨﺎﯿﻴ ﻤﮭﻬﺑ eapte ﻠ entcanhihscniً t ﺔ aﻘahsﯾﻳﺮaei nطﻁ ranwagrscaieatcedtdreةﺓi nny ﻲa ehiosefstpheellfeed o mthinisin w e It is spell bﺎﺘﻟu)cاﺍ oc o ”ﻓ ﻲ a ﺎ(ﮭﻬﺑﻮﮫﻪطﻁ ﻨrﯿﻴﻤeﻠ no cnetation naer c e fhearreancc tertofotnhee t ﻲ s charact p o e ti c i m a g e t h a t p o s e s s o m e c h a ll e n g e s w h il e tr a n sl a ti n g it t o c o m m e ntar y, I brin g to lig ht a ce ntral p o etic i m age that poses so me challe a cup of coffee and reading the fate line on the pal m of a han this ﺓة y nthd tAsasarasabnainciniadnlipdchiacataobtreotrotfohrftahtehiaecfcetfaslpah me A b minsiainanbineneetignt eg dne h iacntaedatreo.rtrI.stoIatifssitssah d c pseepfleelledmldeicidntahittnihoseisw n in r o gwafe ya .ةﺓ r.f.eImtisnisnpeelglenddtehri.sIwtiasysةﺓp.elled this ee E n glis h . I n f a c t, t h e v e r s e “ T e a c h m e a w a y to l o c k y o u u p in tra n slatin g it to E n glish. In fa ct, the v erse “ T eac h m e a w ay to lock you u ary, I bring to light a central p oetic im age that poses so m e challenges w hile ً the Taa M arb uta” ( ) co n tains a M arb uta” (ﮫﻪطﻁﻮﺑﺮﻤﻟاﺍ ءﺎﺘﻟاﺍ ﻲﻓ ﺎﮭﻬﺑ ﻚﺴﺒﺣأﺃ ﺔﻘﯾﻳﺮطﻁ ﻲﻨﯿﻴﻤﻠﻋ ) contains a reference to one g it to (ﻮﮫﻪطﻁﺑﺮﻤﻟاﺍ ءﺎﺘﻟاﺍ ﻲﻓ ﺎﮭﻬﺑ ﻚﺴﺒﺣأﺃ ﺔﻘﯾﻳﺮطﻁ ﻲﻨﯿﻴﻤﻠﻋ ) co ntains a reference to one character of the an indicator of the fe minine gender. It is spelled this way . The way ةﺓ . phabet that acts as an indicator of the feminine gender. It is spelled this uniqueness of the m eaning of this m the poet wants to lock his beloved in this letter which is not only the indicator of the fe minine gender in Arabic but also has the shape of a closed circle, fro m which escape is difficult. Since finding an equivalent m etaphor in English see ms challenging, I resorted to foreignization as a translation strategy and I kept the expression in Arabic. In addition to that, on the stylistic level, the poet used a whereby he evoked repetitively the beauty of a wo m an though her body or at least so m e parts of it such

This is a preview of a remote PDF: https://scholarworks.wmich.edu/cgi/viewcontent.cgi?article=1155&context=transference

Houssem Ben Lazreg. A Woman Moving Within Me by Nizar Qabbani, Transference, 2018,