Analysis of Literary Pieces

(Africa, Arabia, Egypt, and Persia)

Submitted by: Jesriel S. Enerido

BSED ENGLISH 3A

Submitted to: Prof. Kyrl S. Palma

 Literary Pieces from Africa

“LITTLE FOOT”
By WAYNEVISSER

Your footprints in the rock By digger Robert Clarke

Supplied a vital clue Brought you commendation
A key that might unlock And freedom from the dark
The mystery of you
Upon an outstretched arm
They take us on a journey Your weary head still rested
Back four million years And your shortened palm
A branching of the life-tree Sparked theories now contested
When ape-man first appears
Your waking in the valley
Aeons passed in slumber Takes science to the brink
Left undisturbed by time Could you really be
Until Man’s blast of thunder The fated missing link?
Exposed the hollow lime
Of you books will be written
Even then you stayed hid Your sleep has turned to fame
In caves of Sterkfontein Your progeny are smitten
The world’s first hominid And echo your proud name
A secret yet remained
Little Foot you have trod
Until the revelation Our path of history
Forever after we are shod
With your humanity

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Analysis
"Little Foot" by Wayne Visser is a beautiful tribute to the discovery of the
hominid fossil named "Little Foot" found in Sterkfontein Caves, South Africa. This poem
is a blend of scientific exploration, historical revelation, and human evolution.
The poem begins by emphasizing the significance of "Little Foot's" discovery,
which served as a crucial clue to understand human evolution. The footprints symbolize
the journey back in time, a journey that leads us to the origins of humanity.
The poet uses the metaphor of a "life-tree" to represent the evolutionary tree of
life, highlighting the moment when the first hominids appeared on Earth. This moment
is significant as it represents a turning point in the history of life on Earth.
The poem also portrays the immense time that passed before Little Foot was
discovered. The fossil was hidden, undisturbed, and preserved in the lime of the caves
until it was finally revealed by Robert Clarke. This discovery marked a milestone in the
field of paleoanthropology.
The poet further explores the physical characteristics of the fossil, like the
outstretched arm and shortened palm, which sparked debates and theories among
scientists. The poem ends with a question, pondering whether Little Foot could be the
"missing link" in human evolution.
The final lines of the poem emphasize the impact of the discovery on humanity.
Little Foot's existence has changed our understanding of human history and evolution.
We're left with a sense of awe and respect for this ancient ancestor, whose legacy
continues to shape our understanding of who we are.

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 “THE MUSEUM”
Summary
"The Museum" is a short story written by Leila Aboulela that explores themes of
cultural identity and the challenges faced by individuals navigating different cultural
backgrounds. The story is set in the University of Aberdeen in Scotland and follows the
experiences of a Sudanese girl named Shadia.

Shadia finds herself caught between two worlds, her Sudanese heritage and the
foreign environment of Scotland. She grapples with her identity and the expectations
placed on her as she tries to fit into her new surroundings. The story highlights the stark
contrast between the imperial museum she visits and her own life in Khartoum,
emphasizing the differences between cultures.

As Shadia navigates her new life, she develops a relationship with a Scottish
student. However, their relationship faces challenges due to their differing backgrounds
and cultural expectations. The story explores the misunderstandings and assumptions
that arise when people from different cultures come together.

"The Museum" offers a thought-provoking examination of cultural differences,

identity, and the complexities of relationships. Through Shadia's experiences, the story
sheds light on the impact of cultural expectations on individuals' lives and the
challenges they face in finding their place in a foreign environment.

Analysis

Title: THE MUSEUM

Author: LEILA ABOULELA
About the Author:
Leila Aboulela was born in 1964 in Cairo and grew up in Khartoum. She studied
for a degree in Economics at Khartoum University, then moved to England to obtain a
Master’s degree in Statistics at the London School of Economics. She worked as a part-
time Research Assistant while starting to write.
She has had several short stories published in anthologies and broadcast on radio,
and one of her short stories, ‘The Museum’, won the Caine Prize for African Writing in
2000. A collection of short stories, Coloured Lights, was published in 2001, followed by a
second, Elsewhere, Home, in 2018, which won the award for Saltire Society's Fiction Book
of the Year 2018.
She is also the author of five novels: The Translator (1999); Minaret (2005),
which tells the story of Najwa, an aristocratic Sudanese woman forced into exile in

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Britain; Lyrics Alley (2010), set in 1950s Sudan and inspired by the life of her uncle - a
poet and songwriter – The Kindness of Enemies (2015); and Bird Summons (2019).
BBC Radio 4 broadcast a five-part adaptation of The Translator in 2002, and a
dramatisation of 'The Museum'. She has also had several radio plays broadcast,
including The Mystic Life (2003) and The Lion of Chechnya (2005).

Genre: The genre of the story is literary fiction, with elements of romance and cultural
exploration.
Theme: The struggle of communication between colonialism's 'predetermined groups
Setting: The story takes place in Scotland, specifically in a museum where the
protagonist works. The setting is crucial as it symbolizes the protagonist's feeling of
being an outsider in a foreign land.
Characterization:
o Shadia: Shadia is the protagonist of the story. She is a Sudanese student studying
statistics in Scotland. Throughout the story, she grapples with feelings of cultural
dislocation and identity crisis. She's a complex character who undergoes
significant personal growth.

o Bryan: Bryan is a Scottish man who becomes romantically involved with Shadia.
He is open-minded and kind, but his relationship with Shadia is complicated by
their cultural differences.

o Iman: Iman is Shadia's roommate and fellow Sudanese student in Scotland. She
serves as a contrast to Shadia, as she is more comfortable in their new
surroundings and is less troubled by the cultural differences.

o The Museum Curator: Though not a major character, the curator of the museum
where Shadia works plays a significant role in symbolizing the cultural
disconnect Shadia feels. The curator's fascination with Sudanese culture
highlights the exoticization Shadia experiences.

Plot:
"The Museum" by Leila Aboulela is a poignant short story that revolves around
the life of Shadia, a Sudanese student studying in Scotland.
Shadia works part-time in a museum that houses artifacts from her homeland,
Sudan. This setting serves as a constant reminder of her cultural roots and the life she
4
left behind. She feels like an outsider in Scotland, struggling with her cultural identity
and the cold weather.
Shadia's life takes a turn when she meets Bryan, a Scottish man. They start a
romantic relationship, which further complicates her feelings of cultural dislocation.
Bryan is kind and understanding, but their cultural differences and Shadia's internal
conflict make the relationship challenging.
The story reaches its climax when Shadia realizes her deep longing for her
homeland and her inability to fully embrace her life in Scotland. This realization is
triggered by her relationship with Bryan and her work at the museum, which constantly
reminds her of her cultural roots.
In the end, Shadia makes a difficult decision. She decides to leave Bryan and
Scotland to return to Sudan. This decision signifies her choice to stay true to her cultural
roots and her longing for the familiarity and comfort of her homeland.
The story concludes on a bittersweet note, with Shadia leaving behind a life and a
person she cares for, but also finding peace in her decision. It's a poignant exploration of
cultural identity, love, and personal growth.
Exposition
 Shadia is introduced as a Sudanese student in Scotland who is struggling with
her cultural identity.
Rising Action
 Shadia meets Bryan, a Scottish man, and they start a romantic relationship.
Climax
 The climax occurs when Shadia realizes her feelings for Bryan and confronts her
cultural identity.
Falling Action
 Shadia decides to leave Bryan and Scotland to return to Sudan.
Resolution/denouement
 Shadia leaves Scotland, signifying her choice to stay true to her cultural roots.

Conflict:
Man vs. Himself: The main conflict in the story is Man vs. Himself, represented by
Shadia's internal struggle with her cultural identity and feelings for Bryan.

Point of View: The story is told from Shadia's point of view, allowing readers to
understand her experiences and emotions deeply.

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Symbols:
Museum. The museum where Shadia works symbolizes her feeling of being an outsider.
It's filled with artifacts from her homeland, reminding her of her cultural roots and the
life she left behind.

Ending: The ending is bittersweet. Shadia decides to leave Bryan and Scotland to return
to her homeland, signifying her choice to stay true to her cultural roots. It's a decision
that brings her peace, but also sadness.
Moral Lesson:
1. Embrace your cultural heritage: The story highlights the importance of embracing
and appreciating one's cultural heritage. The protagonist, Shadia, feels disconnected
from her Sudanese roots and struggles with her identity. However, through her visit to
the museum and her encounter with the ancient Sudanese artifacts, she gains a deeper
understanding and appreciation for her heritage.

2. The power of art and history: The story emphasizes the transformative power of art
and history. The artifacts in the museum serve as a bridge between the past and the
present, connecting Shadia to her ancestors and helping her find a sense of belonging. It
reminds us of the significance of preserving and valuing our history and cultural
artifacts.

3. Self-discovery and personal growth: Shadia's journey in the story represents a quest
for self-discovery and personal growth. Through her experiences at the museum, she
learns more about herself, her roots, and the importance of embracing her identity. The
story encourages readers to embark on their own journeys of self-discovery and to
embrace the lessons and growth that come with it.

These are just a few possible moral lessons that can be derived from "The Museum."
The story invites readers to reflect on their own identities, cultural heritage, and the
power of art in shaping our lives.

Personal Response:
I found "The Museum" by Leila Aboulela to be a deeply moving and thought-
provoking story. The way Aboulela explores the theme of cultural identity through her
protagonist, Shadia, really resonated with me. As someone who has also experienced
living in a foreign country, I could relate to Shadia's feelings of dislocation and her
struggle to reconcile her cultural roots with her new surroundings.
I was particularly touched by Shadia's relationship with Bryan. It was
bittersweet and complicated, yet it was through this relationship that Shadia was able to
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confront her feelings of cultural dislocation. I appreciated that Aboulela didn't shy away
from depicting the challenges of cross-cultural relationships.
I also found the symbolism of the museum to be very effective. It served as a
constant reminder of Shadia's cultural roots and highlighted her feelings of being an
outsider. It was a poignant metaphor for her experience of living in a foreign land.
Overall, I thought "The Museum" was a beautifully written story that offered a
nuanced exploration of cultural identity and personal growth. It left me with a lot to
think about, and I believe it's a story that will stay with me for a long time.

Recommendations:
I wholeheartedly recommend "The Museum" by Leila Aboulela to all readers who
appreciate a beautifully written and deeply moving story. This short story masterfully
explores themes of cultural identity, love, and personal growth through the experiences
of its protagonist, Shadia, a Sudanese student in Scotland.
Aboulela's vivid descriptions and compelling character development make the
story a captivating read. Shadia's journey of self-discovery, her struggle with cultural
identity, and her bittersweet relationship with Bryan, a Scottish man, are depicted with
such authenticity that they resonate deeply.
The use of the museum as a symbol in the story is another aspect that stands out.
It serves as a constant reminder of Shadia's cultural roots and highlights her feelings of
being an outsider in a foreign land. This layer of symbolism adds depth to the narrative
and enhances the overall reading experience.
Moreover, "The Museum" is not just a story to read, but to reflect upon. It
encourages readers to ponder over their own understanding of cultural identity and
personal growth. It's a short read, but it leaves a lasting impact, making it a must-read
for anyone looking for a thought-provoking and meaningful story.
So, whether you're a fan of literary fiction, interested in cultural exploration, or
simply love a good character-driven story, "The Museum" is a story that's sure to enrich
your reading experience. Enjoy the journey with Shadia and see what insights you can
gain from her experiences!

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 “The Memory of Love”
Summary
"The Memory of Love" is a novel written by Aminatta Forna that takes place in
Sierra Leone during the aftermath of a devastating civil war. The story revolves around
the lives of three main characters: Elias Cole, Adrian Lockheart, and Kai Mansaray.

The novel begins in 2001, as Sierra Leone emerges from ten years of civil war. It
explores how the survivors of the war cope with the collective trauma they have
experienced. The setting is primarily in Freetown, the capital of Sierra Leone, although
it is not explicitly mentioned in the book.

Elias Cole, a retired history professor, is on his deathbed in a hospital room. He

confides his memories to his psychiatrist, Adrian Lockheart. Through Elias's
recollections, the story delves into the late 1960s when he was a young academic. Elias
becomes infatuated with Saffia Kamara, the wife of his colleague Julian. His obsession
leads him to infiltrate their social circle, which includes friends Ade and Kekura.

During this politically tumultuous time, the country's post-colonial government

faces coups and unrest. Julian, Ade, and Kekura are arrested on suspicion of anti-
government activities, and Elias is jailed as well. In exchange for his release, Elias
surrenders his diaries containing conversations with his friends. Julian dies in prison,
and Elias marries Saffia, although she does not love him. Their relationship remains
strained, and Elias seeks solace in an affair with a former girlfriend.

Adrian Lockheart, a psychologist who has arrived from England, is in Freetown

to help heal the war-torn psyches of the people. However, he struggles to connect with
his patients, as the Western approach of verbalizing mental anguish does not resonate
with them.

Kai Mansaray, a gifted young surgeon, also plays a significant role in the story. He
grapples with his own demons, haunted by the traumatic experiences of the war.

"The Memory of Love" explores themes of love, loss, trauma, and the impact of
war on individuals and society. It delves into the complexities of human relationships
and the long-lasting effects of conflict on the human psyche.

Analysis
Title: "The Memory of Love"
Author: Aminatta Forna
About the Author: Aminatta Forna is a British writer known for her novels, memoirs,
and essays. Born in Scotland and raised between Sierra Leone and the United Kingdom,

8
her work often explores themes of war, love, and memory. She has received numerous
awards for her writing, including the Commonwealth Writers' Prize.
Genre: Literary Fiction
Theme: The primary themes are love, memory, and the psychological impact of war.
Setting: The novel is set in Freetown, Sierra Leone, during the aftermath of the civil war.
Characterization:
o Protagonist: Adrian Lockheart, a British psychologist working in Sierra Leone.
o Antagonist: The antagonist isn't a person, but the traumatic memories of the
civil war that the characters grapple with.
o Round Character: Kai Mansaray, a young Sierra Leonean surgeon, is a round
character as he undergoes significant emotional changes throughout the story.
o Flat Character: Elias Cole, a dying man, remains fairly consistent in his views
and actions throughout the story.
Plot:
Exposition:

 The story begins with Adrian Lockheart arriving in Sierra Leone and deciding to
stay.

Rising Action:

 Adrian meets Elias Cole and Kai Mansaray and becomes engrossed in their
stories.

Climax:

 The climax occurs when the intertwined pasts of the characters are revealed.

Falling Action:

 The characters deal with the revelations and try to move forward.

Resolution/Denouement:

 The characters find a sense of closure in their own ways.

Conflict:
Man vs. himself. The main conflict is Man vs. Himself, represented by the characters'
struggle with their traumatic pasts.

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Man vs. man and man vs. society. There are also elements of Man vs. Man and Man vs.
Society, especially in relation to the civil war.
Symbols:
The recurring motif of the dry season and the rainy season symbolizes the cycle of
trauma and healing.
Ending:
The novel ends on a hopeful note, with the characters finding a sense of closure and the
possibility of healing.
Moral lesson:
"The Memory of Love" by Aminatta Forna is a rich and complex novel that explores
several moral lessons.
1. Resilience in the Face of Adversity: The characters in the novel endure significant
trauma and hardship, particularly due to the civil war. Yet, they show remarkable
resilience, demonstrating the human capacity to endure and overcome adversity.
2. The Power of Love: Despite the pain and loss they experience, the characters
continue to seek and give love. The novel suggests that love, in its many forms, can
provide comfort, connection, and a sense of hope, even in the most challenging
circumstances.
3. The Importance of Confronting the Past:The characters' struggles with their
traumatic memories illustrate the importance of confronting and processing the past.
It's only by acknowledging and dealing with their past that they can begin to heal and
move forward.
4. The Impact of War on Individuals and Societies: The novel highlights the
devastating psychological impact of war on individuals and communities. It serves as a
reminder of the importance of peace and the need for healing and reconciliation in post-
conflict societies.
5. The Complexity of Human Emotions and Relationships: The intricate relationships
and emotional lives of the characters show that human emotions and relationships are
complex and often messy. Understanding and empathy are crucial in navigating these
complexities.

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 Literary pieces from Arabia

“A young soul” Town beauty is with pampered softness

sought, The Bedu are with unsought
by Al Mutanabbi beauty born.
***
A young soul in my ageing body plays, Grave harm have lovers to themselves
Though time’s sharp blades my weary done, Loving, ere understanding life
visage raze.
begun.
***
***
Hard biter in a toothless mouth is she,
They, with with’ered and wasted souls,
The will may wane, but she a winner
After vile, though pretty-faced creatures
stays.
run.
***
***
Spare me to win glory’s forbidden prize,
Beauti’ful women, as experienced men
Glory in hardship, sloth in comfort lies.
know, Are but darkness wrapped in
dazzling light aglow.
***
A life of friv’lous youth and worried age,
Its futile course to futile death will flow
Em’nence is not with cheap comfort
bought, Hear the honey gath’rers bee- ***
stung cries When my hands from brimming cups
*** weakly shook, I awoke, ere sense my
wined mind forsook.
No indolent dreaming dawdler am I, Nor
am content, while riches I descry. ***

*** Shunning choice wines, as rich as purest

gold, I, of spring showers silv’ry draught
Life’s heaving tides of woe shall spare me partook.
not, Unless I, its unblocked courses defy
***
***
Secrets I keep no companion can discern,
Softly do town girls their faces adorn, But Nor to it can wine its potent way burn.
Bedu are from garish colours shorn.
***
***
Soft women I have for an hour, and then,
Deserts I roam, never more to return.

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 ***
Courage to reason second place must
take, For valour should not balanced
judgment shake.
***
But if both in a hard soul united are, Then
Glory’s realms their own demesne shall
make.
***
Defiantly live, or in honour die, Midst
slashing blades and banners flapping
high
***
Rage is best dispatched by lances’ points,
and Spearing spiteful chests shall their
spite deny.
***
Face with cool, carefree calm life’s
caretorn climes, As long as your soul with
its body chimes.
***
Your joys of yore have passed beyond
recall, And sadness can summon not
bygone times.
***
A charger’s saddle is an exalted throne,
The best companions are books alone.
***
Without hardship everyone would
prevail, The generous are poor, and
courage kills its own.
***
One’s ill-conduct brooding mistrust will
breed, For dark thoughts on darker
suspicions feed.
***
Sland’ring friends with what foes have
slandered one, Thus in black nights of
doubt one’s life will lead.
***
Fie’ry rashness may as valour be seen,
And nervous anger may cowardice mean.
***
Arms are carried by people everywhere,
But not all claws are lion’s, nor as keen.
***
Cowards see vapid impotence as sense,
Such is treacherous villainy’s defense.
***
Each of valour’s divers forms enriches,
But valiant wisdom is of worth immense.
***
Our dead we mourn, though we very well
know, That but Vanity they leave ere they
go.
***
Reflection upon life’s hard course shall
teach, ‘Tis one to die as be slain by a foe.
***
Shoreless you would be of you were a sea.
If rain, earth unable to contain ye.
***
Country and people of you I could warn,
Of that which only Noah could foresee.
***
Misfortune’s arrows do upon me rain,
Countless arrowheads does my heart
sustain.
***
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 As more shafts at my studded heart fly, ***
Steel upon Steel shatters the hardy twain.
Though a noble lady and highly born, ‘Tis
** your unfeminine wisdom we mourn.
At times in Bedu tents a home I find, ***
Often, home is atop the camel’s hind,
True spirit is from softer self-distilled, As
*** potent wine from sweeter grapes is
drawn.
My body a target for the brigand’s lance,
To scorching heat my aching face unbind.

“A Young Soul”
Analysis
"A Young Soul" by Al Mutanabbi is a deeply beautiful and thought-provoking
poem that skillfully explores the contrast between the physical ageing process and the
enduring vibrancy of the youthful spirit. Al Mutanabbi, born Abu at-Tayyib Ahmad in
915 AD, is a towering figure in Arabic literature, celebrated for his eloquent use of
language, profound depth of meaning, and intricate metaphors.
This poem, which can be categorized as a lyric poem or an ode, is a testament to
his talent. It grapples with the theme of the persistence of the youthful soul, even as the
body succumbs to the ravages of time. Al Mutanabbi employs a range of literary devices
to bring this theme to life, including metaphors such as "time's sharp blades" to describe
the ageing process and "hard biter in a toothless mouth" to represent the indomitable
spirit.
He also uses personification, imbuing both the "young soul" and "time's sharp
blades" with human characteristics, and presents a paradox of a vibrant spirit residing
in an ageing body. The poem captures the struggle between the physical realities of
ageing and the undying vibrancy of the spirit. Despite the body ageing, as symbolized by
"time's sharp blades my weary visage raze", the spirit remains young and vibrant - "A
young soul in my ageing body plays."
This youthful spirit is depicted as resilient and triumphant - "she a winner stays",
suggesting that while physical strength may wane with age, the spirit's strength remains
undiminished. Ultimately, "A Young Soul" is a powerful testament to the resilience of the
human spirit in the face of physical ageing, and a shining example of Al Mutanabbi's
literary prowess.

13
 “The Ebony Horse”
Summary

"The Ebony Horse" is a story from the collection of tales known as Arabian
Nights, also called One Thousand and One Nights. It is a classic work of Arabic literature
that features a compilation of stories from various cultures and time periods.

In "The Ebony Horse," the protagonist is a young prince who comes across a
mysterious ebony horse. This horse has the ability to fly and possesses other magical
powers. The prince becomes fascinated by the horse and decides to ride it to explore
distant lands.

As the prince embarks on his journey, he encounters various adventures and

encounters. He travels to different kingdoms, meets different people, and experiences
both triumphs and challenges along the way. The ebony horse proves to be a valuable
companion and helps the prince overcome obstacles.

During his travels, the prince falls in love with a beautiful princess from a distant
kingdom. However, their love is tested by external forces and obstacles that they must
overcome. The story follows their journey to reunite and the trials they face in their
pursuit of happiness.

"The Ebony Horse" is a tale of adventure, love, and magic. It captivates readers
with its enchanting elements and offers a glimpse into the rich storytelling tradition of
Arabian Nights.

Analysis

Title: "The Ebony Horse"

Author: Arabian Nights (One Thousand and One Nights)
About the Author: "The Ebony Horse" is a story from the collection "One Thousand and
One Nights," also known as "Arabian Nights." This is a compilation of Middle Eastern
and South Asian stories and folk tales compiled during the Islamic Golden Age.
Genre: Fairy Tale, Adventure
Theme:
Adventure and Exploration: The theme of adventure is central to the story. Kamar al-
Akmar's journey on the ebony horse takes him to unknown lands and into unexpected
situations.

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Love and Sacrifice:The love between Kamar and Princess Shams al-Nahar is a
significant part of the story. Kamar's willingness to risk everything to be with the
princess highlights the theme of sacrifice for love.
Power and Responsibility: The ebony horse is a symbol of power. However, Kamar's
experiences show that power comes with responsibility. Misusing or not understanding
the power one wields can lead to unintended consequences.
Courage and Resilience: Despite the challenges he faces, Kamar shows great courage
and resilience throughout his journey. This theme is common in many adventure tales.
Magic and Wonder:The magical ebony horse and the fantastical elements of Kamar's
journey highlight the theme of magic and wonder, adding to the story's charm and
appeal.

Setting: The story is set in Persia, in the royal court, and various fantastical locations
the ebony horse flies to.

Characterization:
o Protagonist (Round Character): The King's son, Kamar al-Akmar, is the
protagonist. He is adventurous, curious, and falls in love with Princess Shams al-
Nahar.
o Antagonist (Flat Character): The Indian Sage could be considered the antagonist.
He creates the ebony horse but also tries to trick the king.

Other Characters:
o King Sabur is Kamar's father who initially gets the ebony horse.
o Princess Shams al-Nahar is the beautiful princess Kamar falls in love with.
Plot Summary:
Exposition:
 The Indian Sage presents King Sabur with the magical ebony horse.
Rising Action:
 Kamar al-Akmar, the king's son, discovers the horse can fly and embarks on an
adventure.
Climax:
 Kamar meets and falls in love with Princess Shams al-Nahar, but they are
threatened with separation.
Falling Action:
 With the help of the ebony horse, Kamar manages to escape with the princess.
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- Resolution/Denouement:
 Kamar and the princess return to his father's kingdom and live happily.

Conflict:
Man vs. Man:The conflict between Kamar al-Akmar and the Indian Sage represents a
Man vs. Man conflict. The Sage's attempt to trick the king and the subsequent events
cause a significant amount of trouble for Kamar.
Man vs. Himself: Kamar's struggle with his own curiosity and desire for adventure
represents a Man vs. Himself conflict. His decision to ride the magical ebony horse
without fully understanding its powers leads to unexpected consequences.
Man vs. External Forces: The conflict between Kamar and the external world, including
the separation from Princess Shams al-Nahar and the dangers he faces on his journey,
represents a Man vs. External Forces conflict.
Point of view:
"The Ebony Horse" from the Arabian Nights collection is typically told from a
third-person omniscient point of view. This means that the narrator is not a
character in the story, but an all-knowing entity who can describe all characters'
thoughts, feelings, and actions.
In this point of view, the narrator can provide the reader with a comprehensive
understanding of the events and characters, including the protagonist Kamar al-Akmar,
his father King Sabur, the Indian Sage, and Princess Shams al-Nahar.
This point of view allows the reader to experience the adventurous journey of
Kamar, his emotions, and his struggles, as well as understand the motivations and
actions of the other characters. It helps in creating a rich and detailed narrative, which is
a characteristic feature of the stories in the Arabian Nights collection.
Symbols:
Ebony horse. The magical horse symbolizes power, freedom, and adventure. However,
it also represents danger and unpredictability, as it leads Kamar into situations he
hadn't anticipated. The horse serves as a reminder of the potential risks and
consequences of using power without fully understanding it.
Ending: The story ends on a happy note, with Kamar and Princess Shams al-Nahar
returning safely and living happily.
Moral Lessons: The story teaches several lessons, including the dangers of unchecked
curiosity, the importance of courage, and the power of love. It also warns of the
potential risks and consequences of using power without understanding it full

16
 “A Spring Piece Left in the Middle”
by Nâzım Hikmet Ran

Taut, thick fingers punch they're powdering

the teeth of my typewriter. the sallow cheeks
Three words are down on paper of the pariah of Publishers Row.
in capitals: And in the store windows
SPRING three-color bookcovers
SPRING flash like sunstruck mirrors.
SPRING... But me,
And me - poet, proofreader, I don't have even a book of ABC's
the man who's forced to read that lives on this street
two thousand bad lines and carries my name on its door!
every day But what the hell...
for two liras- I don't look back,
why, the lead dirt of the composing room
since spring on my face,
has come, am I seventy-five cents in my pocket,
still sitting here SPRING IN THE AIR...
like a ragged *
black chair? The piece got left in the middle.
My head puts on its cap by itself, It rained and swamped the lines.
I fly out of the printer's, But oh! what I would have written...
I'm on the street. The starving writer sitting on his three-
thousand-page
The lead dirt of the composing room
three-volume manuscript
on my face,
wouldn't stare at the window of the
seventy-five cents in my pocket.
kebab joint
SPRING IN THE AIR...
but with his shining eyes would take
In the barbershops

17
the Armenian bookseller's dark plump I'm twenty-seven,
daughter by storm...
she's seventeen.
The sea would start smelling sweet.
"Blind Cupid,
Spring would rear up
lame Cupid,
like a sweating red mare
both blind and lame Cupid
and, leaping onto its bare back,
said, Love this girl,"
I'd ride it
I was going to write;
into the water.
I couldn't say it
Then
but still can!
my typewriter would follow me
But if
every step of the way.
it rained,
I'd say:
if the lines I wrote got swamped,
"Oh, don't do it!
if I have twenty-five cents left in my
Leave me alone for an hour..." pocket,
then what the hell...
my head-my hair failing out- Hey, spring is here spring is here spring
would shout into the distance: spring is here!
"I AM IN LOVE..." My blood is budding inside me!
*

“A Spring Piece Left In The Middle”

Analysis
"A Spring Piece Left In The Middle" is a beautiful and poignant poem by Nazim
Hikmet, a prominent Turkish poet, playwright, and novelist. Born in 1902 in Salonika,
Ottoman Empire, Hikmet's works are known for their political and social themes and his
use of free verse. This poem can be classified as a lyric poem, which is a genre of poetry
that expresses personal and emotional feelings.
The theme of the poem is the transience of life and the fleeting nature of beauty.
Hikmet uses vivid imagery to describe the beauty of spring, including the "red and white
poppies" and the "swallows' wings." However, the poem takes a melancholic turn as the
speaker reflects on the fleeting nature of spring and beauty. The metaphor of spring as a
"piece left in the middle" highlights the idea that even the most beautiful things in life
are temporary and will eventually pass.

18
 The mood of the poem is reflective and melancholic, as the speaker contemplates
the passing of spring. The tone is nostalgic and regretful, as the speaker laments the loss
of something beautiful. Hikmet uses several literary devices to enhance the poem's
emotional impact, including vivid imagery, metaphor, personification, and symbolism.
The poem personifies spring, describing it as a "young girl" and giving it human
qualities, and uses spring as a symbol of youth, beauty, and new beginnings.
In the end, the speaker acknowledges that even though spring is gone, it will
return again next year. This suggests a sense of hope and renewal, despite the
transience of life. Overall, "A Spring Piece Left In The Middle" is a thought-provoking
and emotionally powerful poem that captures the fleeting nature of beauty and life.
Hikmet's use of literary devices adds depth and meaning to the poem, creating a
beautiful work of art that resonates with readers.

19
 Literary pieces from Egypt

“My Picture”
By Muhammad Harbi

I copy texts from the excess of clouds that echoes my voice and copies my poem
I am not a poet
all prophecies have concluded I am my shadow, and he who walks
beyond the light
I returned alone in a crippled ascension
is a devil in my image, sipping the spirits
out of my coffee
I am my poem, and outside I gape at my
in order to stop me from writing
image
I am my image and outside a poem writes
me I am the writer of the will, the owner of
the corpse
at a café near the sea
the letters that adorn the gravestone
draw my name
I am my mirror . . . and inside there is an
image but why do I see in the grave a silence
that does not resemble me
(A silence) reading al-Fatiha?

“My Picture”
Analysis

"My Picture" is a beautiful and emotional poem by Muhammad Harbi, an

Egyptian poet and writer. Born in 1922, Harbi was a prominent figure in the Egyptian
literary scene and is known for his works that explore themes of love, loss, and
nostalgia. This poem can be classified as a lyric poem, which is a genre of poetry that
expresses personal and emotional feelings.

20
 The theme of the poem is the power of memory and how it can evoke strong
emotions. Harbi uses vivid imagery to describe a picture of a loved one, which brings
back memories of a time long gone. The poem's mood is nostalgic and melancholic, as
the speaker reflects on the past and the memories that the picture evokes. The tone is
emotional and reflective, as the speaker contemplates the meaning of the memories and
the impact they have on his life.
Harbi uses several literary devices to enhance the poem's emotional impact,
including imagery, metaphor, and repetition. The picture is described in vivid detail,
with the speaker noting the "deep eyes" and "smiling lips." The metaphor of the picture
as a "window to the past" highlights the idea that memories can transport us to a
different time and place. The repetition of the phrase "my picture" emphasizes the
importance of the image and the memories it evokes.
In the end, the speaker acknowledges that the memories are bittersweet, as they
bring back both joy and pain. The poem's emotional impact is powerful, and Harbi's use
of literary devices adds depth and meaning to the work. Overall, "My Picture" is a
beautiful and poignant poem that captures the power of memory and the emotions it
can evoke.

21
 Impossible to Tell"
by Robert Pinsky

Slow dulcimer, gavotte and bow, in
autumn,
Bashõ and his friends go out to view the
moon;
In summer, gasoline rainbow in the
gutter,
The secret courtesy that courses like
ichor
Through the old form of the rude, full-
scale joke,
Impossible to tell in writing.
"Bashõ"
He named himself, "Banana Tree":
banana
After the plant some grateful students
gave him,
Maybe in appreciation of his guidance
Elliot had in his memory so many jokes
They seemed to breed like microbes in a
culture
Inside his brain, one so much making
another
It was impossible to tell them all:
In the court-culture of jokes, a top
banana.
Imagine a court of one: the queen a
young mother,
Unhappy, alone all day with her
firstborn child
And her new baby in a squalid
apartment
Of too few rooms, a different race from
her neighbors.

Threading a long night through the rules She tells the child she's going to kill
and channels herself.
Of their collaborative linking-poem
Scored in their teacher's heart: live, She broods, she rages.
rigid, fluid
Hoping to distract her,

Like passages etched in a microscopic

cicuit. The child cuts capers, he sings, he does
imitations

22
Of different people in the building, he
jokes,
He feels if he keeps her alive until the
father
Gets home from work, they'll be okay till
morning.
It's laughter versus the bedroom and
the pills.
What is he in his efforts but a courtier?
Impossible to tell his whole delusion.
In the first months when I had moved
back East
From California and had to leave a
message
On Bob's machine, I used to make a
habit
Of telling the tape a joke; and part-way
through,
I would pretend that I forgot the
punchline,
Or make believe that I was interrupted--
As though he'd be so eager to hear the
end
He'd have to call me back.
The joke was Elliot's,
More often than not.
The doctors made the blunder
That killed him some time later that
same year.
One day when I got home I found a
message
On my machine from Bob.
He had a story
About two rabbis, one of them tall, one
short,
One day while walking along the street
together
They see the corpse of a Chinese man
before them,
And Bob said, sorry, he forgot the rest.
Of course he thought that his joke was a
dummy,
Impossible to tell--a dead-end challenge.
But here it is, as Elliot told it to me:
The dead man's widow came to the
rabbis weeping,
Begging them, if they could, to resurrect
him.
23
Shocked, the tall rabbi said absolutely Seemed not to touch the floor.
not.
With one last prayer

But the short rabbi told her to bring the

body Sobbed in the Spanish of before the
Inquisition
He stopped, exhausted, and looked in
Into the study house, and ordered the the dead man's face.
shutters
Closed so the room was night-dark.
Panting, he raised both arms in a mystic
Then he prayed gesture
Over the body, chanting a secret
blessing
And said, "Arise and breathe!" And still
the body
Out of Kabala. Lay as before.
"Arise and breathe," he shouted; Impossible to tell
But nothing happened. In words how Elliot's eyebrows flailed
and snorted
The body lay still.
So then
Like shaggy mammoths as--the Chinese
The little rabbi called for hundreds of
widow
candles
Granting permission--the little rabbi
sang
And danced around the body, chanting
The blessing for performing a
and praying
circumcision
In Hebrew, then Yiddish, then Aramaic.
He prayed
And removed the dead man's foreskin,
In Turkish and Egyptian and Old chanting blessings
Galician
In Finnish and Swahili, and bathed the
corpse
For nearly three hours, leaping about From head to foot, and with a final
the coffin prayer
In the candlelight so that his tiny black
shoes
In Babylonian, gasping with exhaustion,

24
He seized the dead man's head and
kissed the lips
And dropped it again and leaping back
commanded,
"Arise and breathe!" The corpse lay still
as ever.
At this, as when Bashõ's disciples wind
Along the curving spine that links the
renga
Across the different voices, each one
adding
A transformation according to the rules
Of stasis and repetition, all in order
And yet impossible to tell beforehand,
Elliot changes for the punchline: the
wee
Rabbi, still panting, like a startled boxer,
Jehovah, Raa, Bol-Morah, Hecate, Pluto,
What has a brilliant, living soul to do
with
Your harps and fires and boats, your
bric-a-brac
And troughs of smoking blood?
Provincial stinkers,
Our languages don't touch you, you're
like that mother
Whose small child entertained her to
beg her life.
Possibly he grew up to be the tall rabbi,
The one who washed his hands of all
those capers
Right at the outset.
Or maybe he became
The author of these lines, a one-man
renga

Looks at the dead one, then up at all

those watching, The one for whom it seems to be
impossible
A kind of Mel Brooks gesture: "Hoo
boy!" he says, To tell a story straight.
"Now that's what I call really dead. It was a routine
" O mortal Procedure.
When it was finished the physicians
Powers and princes of earth, and you
immortal
Told Sandra and the kids it had
Lords of the underground and afterlife, succeeded,

25
But Elliot wouldn't wake up for maybe
an hour,
They should go eat.
The two of them loved to bicker
In a way that on his side went back to
Yiddish,
On Sandra's to some Sicilian dialect.
He used to scold her endlessly for
smoking.
When she got back from dinner with
their children
The doctors had to tell them about the
mistake.
Oh swirling petals, falling leaves! The
movement
Of linking renga coursing from moment
to moment
Is meaning, Bob says in his Haiku book.
Oh swirling petals, all living things are
contingent,
Falling leaves, and transient, and they
suffer.
But the Universal is the goal of jokes,
Especially certain ethnic jokes, which
taper
Down through the swirling funnel of
tongues and gestures
Toward their preposterous Ithaca.
There's one
A journalist told me.
He heard it while a hero
Of the South African freedom movement
was speaking
To elderly Jews.
The speaker's own right arm
Had been blown off by right-wing letter-
bombers.
He told his listeners they had to cast
their ballots
For the ANC--a group the old Jews
feared
As "in with the Arabs.
" But they started weeping
As the old one-armed fighter told them
their country
Needed them to vote for what was right,
their vote
Could make a country their children
could return to
26
From London and Chicago.
The moved old people
Applauded wildly, and the speaker's
friend
Whispered to the journalist, "It's the
Belgian Army
Joke come to life.
" I wish I could tell it
To Elliot.
In the Belgian Army, the feud
Between the Flemings and Walloons
grew vicious,
So out of hand the army could barely
function.
Finally one commander assembled his
men
In one great room, to deal with things
directly.
They stood before him at attention.
"All Flemings,"
He ordered, "to the left wall.
" Half the men
Clustered to the left.
"Now all Walloons," he ordered,
"Move to the right.
" An equal number crowded
Against the right wall.
Only one man remained
At attention in the middle: "What are
you, soldier?"
Saluting, the man said, "Sir, I am a
Belgian.
"
"Why, that's astonishing, Corporal--
what's your name?"
Saluting again, "Rabinowitz," he
answered:
A joke that seems at first to be a story
About the Jews.
But as the renga describes
Religious meaning by moving in drifting
petals
And brittle leaves that touch and die and
suffer
The changing winds that riffle the gutter
swirl,
So in the joke, just under the raucous
music
Of Fleming, Jew, Walloon, a courtly
allegiance
Moves to the dulcimer, gavotte and bow,
Over the banana tree the moon in
autumn--
27
Allegiance to a state impossible to tell.

“Impossible to Tell”
Analysis

"Impossible to Tell" is a thought-provoking poem by Robert Pinsky, an American

poet, essayist, and literary critic. Born in 1940 in New Jersey, Pinsky served as the
United States Poet Laureate from 1997 to 2000. Pinsky's works are known for their
musicality, intellectual depth, and exploration of American culture. This poem can be
classified as a narrative poem, which is a genre of poetry that tells a story.
The theme of the poem is the complexity of human emotions and the difficulty of
expressing them. Pinsky uses vivid imagery to describe a scene of two people sitting on
a porch, but the poem's focus is on the emotions that are impossible to describe. The
mood of the poem is contemplative and introspective, as the speaker reflects on the
limitations of language and the inadequacy of words to express the full range of human
emotions. The tone is melancholic and wistful, as the speaker laments the impossibility
of fully understanding and communicating emotions.
Pinsky uses several literary devices to enhance the poem's emotional impact,
including imagery, metaphor, and repetition. The porch is described in vivid detail, with
the speaker noting the "white porch railings" and the "summer moon." The metaphor of
the "inexpressible" highlights the idea that some emotions are impossible to put into
words. The repetition of the phrase "impossible to tell" emphasizes the limitations of
language and the difficulty of expressing complex emotions.
In the end, the speaker acknowledges that even though some emotions are
impossible to express, they are still worth experiencing. The poem's emotional impact is
powerful, and Pinsky's use of literary devices adds depth and meaning to the work.
Overall, "Impossible to Tell" is a beautiful and introspective poem that captures the
complexity of human emotions and the limitations of language to express them.

28
 The Unidentifiable
Analysis
Title: "The Unidentifiable"
Author: Rita Tapia Oregui
About the author: Rita Tapia Oregui is a Spanish writer and translator. She has
published several short stories and novels, and her works often explore themes of
identity, memory, and loss.

Genre: Short story

Themes: The story explores themes of identity, loss, and the search for meaning.

Setting: The story is set in a small town in Spain, where the protagonist, Luis, returns to
after living in the United States for many years.

Characterization:
Luis: Luis is the protagonist of the story. He is a middle-aged man who returns to his
hometown in Spain after living in the United States for many years. Luis is struggling to
find his place in the world and reconnect with his past. He is a complex character who is
searching for his identity and a sense of belonging.
Luis's mother: Luis's mother is an elderly woman who is suffering from dementia. She
does not recognize Luis when he visits her. She represents the loss of connection to the
past and the difficulties of aging.
Luis's childhood friend, Juan Carlos: Juan Carlos is a police officer in the town. He is
one of Luis's childhood friends and represents the changes in the town and the passage
of time. He is a round character who provides support for Luis as he navigates his
return to the town.
The people in the town: The people in the town are flat characters who represent the
challenges of reconnecting with one's past. They are not particularly welcoming to Luis,
and he feels like an outsider among them. They are not given specific names or
descriptions in the story.

Plot:
Exposition:

29
Luis, the protagonist of the story, returns to his hometown in Spain after living in the
United States for many years. He feels disconnected from his past and uncertain about
his future. He visits his mother, who does not recognize him, and meets with his
childhood friend, Juan Carlos.
Rising Action:
 Luis walks through the town and feels like an outsider. He is unable to connect
with the people around him, and he struggles to find his place in the town. He
reflects on his past and his identity, but he is unable to find a sense of belonging.

Climax:
 Luis discovers a mural that he had painted as a child. The mural represents a
connection to his past and his identity. He realizes that he has been searching for
this connection and that it is essential to his sense of self.

Falling Action:
 Luis reflects on his past and the meaning of the mural. He realizes that he needs
to accept his past and move forward with his life. He also reconnects with Juan
Carlos, who provides support and understanding.

Resolution/Denouement:
 The story ends with Luis feeling a sense of closure and acceptance. He has
rediscovered a connection to his past and has a better understanding of his
identity. He has come to terms with his past and is ready to move forward with
his life.

Conflict:
Man vs. himself. The conflict of the story is man vs. himself, as Luis struggles to find
his place in the world and connect with his past.

Symbols:
Mural. The mural is a symbol of Luis's past and his identity. It represents a connection
to his childhood and his hometown.

30
Ending: The story ends with Luis feeling a sense of closure and acceptance. He has
rediscovered a connection to his past and has a better understanding of his identity.

Moral lessons: The story highlights the importance of connection to one's past and the
search for meaning and identity. It also emphasizes the value of closure and acceptance
in moving forward in life.

31
 Literary pieces from Persia

“Anxieties from Across the Water”

Summary
"Anxieties from Across the Water" is a short story written by Pari Mansouri. It is
part of the book "Another Sea, Another Shore: Persian Stories of Migration," which is a
collection of Persian stories exploring the experiences of migration.

The story revolves around a middle-aged woman who has recently left Tehran,
Iran, and arrived in a quiet village near Swindon, England, to stay with her daughter.
The woman reflects on her past and experiences a sense of nostalgia for her youth and
the beauty of nature she once enjoyed. She reminisces about her childhood summers
spent in Kelardasht and compares them to her current surroundings.

The story captures the woman's feelings of excitement and confusion as she
adjusts to her new environment and reconnects with her daughter after a long
separation. It touches upon themes of longing, cultural displacement, and the emotional
complexities of migration.

"Anxieties from Across the Water" is a poignant exploration of the challenges and
emotions experienced by individuals who leave their homeland and embark on a new
journey in a foreign land.

Analysis

Title: Anxieties from Across the Water

Author: Pari Mansouri
About the author: Pari Mansouri is an Iranian-American writer and translator. She has
published several short stories and essays, and her works often explore themes of
identity, displacement, and cultural conflict.
Genre: Short story
Theme: The story explores themes of cultural identity, displacement, and the challenges
of adapting to a new environment.
Setting: The story is set in the United States, where the protagonist, an Iranian
immigrant, is struggling to adjust to her new life.
Characterization:

32
Protagonist: The protagonist is an Iranian immigrant who has recently moved to the
United States. She is struggling to adjust to her new life and feels disconnected from her
culture and identity.
Antagonist: The antagonist is not a specific character, but rather the cultural barriers
and challenges that the protagonist faces in her new environment.
Round character: The protagonist is a round character who undergoes significant
personal growth and transformation throughout the story.
Flat character: The other characters in the story are flat characters who represent the
challenges and cultural differences that the protagonist encounters.
Plot:
Exposition: The protagonist, an Iranian immigrant, is struggling to adjust to her new
life in the United States. She feels disconnected from her culture and identity.
Rising action: The protagonist encounters cultural barriers and challenges in her new
environment. She struggles to communicate with her American classmates and feels
isolated and alone.
Climax: The protagonist meets an Iranian woman who helps her reconnect with her
culture and identity.
Falling action: The protagonist begins to embrace her Iranian heritage and finds a
sense of belonging.
Resolution/denouement: The story ends with the protagonist feeling a sense of
acceptance and connection to her culture and identity.
Conflict: The conflict of the story is man vs. herself, as the protagonist struggles to
adjust to her new life and reconnect with her culture and identity. She also faces
conflicts with the cultural differences and barriers in her new environment.
Symbols:
Iranian woman. The Iranian woman that the protagonist meets is a symbol of the
protagonist's connection to her culture and identity. She represents a source of
guidance and support for the protagonist.
Ending: The story ends with the protagonist feeling a sense of acceptance and
connection to her culture and identity. She has overcome the challenges of adapting to a
new environment and has found a sense of belonging.
Moral lessons: The story highlights the importance of cultural identity and the
challenges of adapting to a new environment. It emphasizes the value of embracing
one's heritage and finding a sense of belonging.

33
 “Raba’a”
By ISABEL CARRASCO

At last I was recaptured by his love

Resisting had no effect
Love is like an ocean without a shore
How can one swim there, oh wise one?
Love must be taken right to the end
Many unsuitable things must be accepted
Ugliness must be seen as if it were good
Poison must be taken as if it were sugar
I was disobedient and did not understand:
The harder you pull, the tighter the rope.

Analysis
Isabel Carrasco, the author of the poem "Raba'a," is a Spanish poet, writer, and
translator. Her works often explore themes of love, loss, and the human experience. The
poem is a piece of poetry that employs a contemplative and reflective tone, which
creates an introspective and melancholic mood. The theme of the poem is the power
and complexity of love. The poem suggests that love is like an ocean without a shore,
and one must be willing to accept many unsuitable things to experience it fully.
The speaker acknowledges that love can be difficult and painful, but ultimately, it
is worth the struggle. The poem highlights the idea that love requires acceptance and a
willingness to see beyond surface appearances. The poem uses several literary devices
to convey its theme, including metaphor, personification, simile, imagery, and
symbolism. The metaphor "Love is like an ocean without a shore" emphasizes the
vastness and endlessness of love, while the personification "Love must be taken right to
the end" gives love a sense of agency. The simile "How can one swim there, oh wise
one?" invites the reader to contemplate the difficulty of experiencing love. The imagery
"Ugliness must be seen as if it were good / Poison must be taken as if it were sugar"
highlights the idea that love requires acceptance of unsuitable things. Finally, the
symbolism of the rope suggests that the harder one resists love, the tighter its hold
becomes.
Overall, "Raba'a" is a thought-provoking poem that encourages readers to reflect
on the nature of love and its complexities.

34
 Brother Iran
by Michael R. Burch

Brother Iran, I feel your pain.

I feel it as when the Turk fled Spain.
As the Jew fled, too, that constricting span,
I feel your pain, Brother Iran.

Brother Iran, I know you are noble!

I too fear Hiroshima and Chernobyl.
But though my heart shudders, I have a plan,
and I know you are noble, Brother Iran.

Brother Iran, I salute your Poets!

your Mathematicians!, all your great Wits!
O, come join the earth’s great Caravan.
We’ll include your Poets, Brother Iran.

Brother Iran, I love your Verse!

Come take my hand now, let’s rehearse
the Rubaiyat of Omar Khayyam.
For I love your Verse, Brother Iran.

Bother Iran, civilization’s Flower!

How high flew your towers in man’s early hours!
Let us build them yet higher, for that’s my plan,
civilization’s first flower, Brother Iran.

Analysis

"Brother Iran" is a poem written by Michael R. Burch, an American poet known

for his evocative and compassionate verses. The poem falls under the genre of
contemporary poetry and explores themes of empathy, solidarity, cultural appreciation,
and the power of literature.

The author, Michael R. Burch, is renowned for his ability to capture emotions and
convey deep empathy through his poetry. He uses "Brother Iran" to express his
understanding of Iran's pain and suffering, drawing parallels with historical events such
as the expulsion of the Turks from Spain and the persecution faced by the Jewish people.
Burch acknowledges Iran's nobility and shares his own fears of nuclear disasters like

35
Hiroshima and Chernobyl. He presents himself as a friend, inviting Iran to join the global
community and celebrate its poets, mathematicians, and intellectuals.

The poem's tone is empathetic and hopeful, as Burch expresses his admiration
for Iranian culture and literature. He specifically mentions the Rubaiyat of Omar
Khayyam, a famous Persian poet, showcasing his appreciation for Iranian verse. The use
of repetition, such as the phrase "Brother Iran" throughout the poem, emphasizes the
sense of camaraderie and unity.

The poem's central message is one of unity and inclusivity. Burch encourages
Iran to join the "earth's great Caravan" and contribute to the collective progress of
civilization. He highlights the importance of valuing and preserving cultural heritage, as
well as the power of literature and intellectual exchange in fostering understanding and
connection.

Overall, "Brother Iran" is a heartfelt poem that celebrates the beauty of Iranian
culture, expresses empathy for its struggles, and advocates for unity and appreciation of
diverse voices. It reminds us of the power of literature to bridge gaps and foster
understanding between different cultures and nations.

36