By Oscar Wilde
Grande fut ma shock, un matin en me réveillant, d'entendre les chevaux piaffer sous mes fenêtres ; j'allais m'enquérir de l. a. reason de ces préparatifs inusités, quand ma porte s'ouvrit et livra passage à mon ami Robert, équipé pour l. a. chasse.
– Allons, paresseux ! me dit-il en riant ; dépêchons, il est temps de partir.
– Partir ?… où allons-nous donc ?
– Faire une tournée de chasse dans l'ouest.
Cinq mins plus tard, j'étais dans los angeles cour. Deux bushmen tenaient en major quatre chevaux sellés : de rudes hommes, ces serviteurs de Robert ; des gaillards à determine rébarbative, ornée de longues barbes incultes, coiffés de vieux feutres déformés, vêtus d'une grosse chemise de laine rouge, de culottes de toile et de grandes bottes de cuir fauve.
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Extra info for La chasse à l’opossum
Andrew McCord’s translation of Ghalib’s “Ghazal” demonstrates some of the form’s many prescriptions. The poem begins: Should you not look after me another day? Why did you go alone? I leave in only another day. If your gravestone is not erased ﬁrst my head will be. Genuﬂecting at your door, in any case, it’s me another day. As this passage illustrates, the ghazal’s endstopped couplets share a strict monorhyme. Its ﬁrst couplet uses only one endword or end phrase (in this case, “day”). ” Finally, the writer mentions his or her name or pseudonym in the ﬁnal couplet.
This page intentionally left blank two “In That Thicket of Bitter Roots”: The Ghazal in America in 1968 the ghazal entered american poetry. the year 1969 marked the centennial anniversary of the death of Mirza Ghalib, a Persian and Urdu poet and one of the form’s masters. In anticipation of the anniversary, Aijaz Ahmad, a Pakistani literary and cultural critic living in New York, solicited several well-known American poets to work on a pamphlet of translations for the centennial. Because none of the poets knew Urdu, the text’s original language, Ahmad supplied them with literal translations from which they crafted their collaborative versions.
24 Fulﬁlling this ideal, the opening stanzas ﬂaunt the ease with which the poet navigates the sestina’s daunting parameters. The poem takes a dramatic turn in the third stanza. The mind does carelessly “wander” but ﬁnds itself driven to a particularly horriﬁc memory. The speaker remains haunted by the luck that saved his life and by his friend who did not share his good fortune: The ﬁfth of August, 1942. It was morning and very hot. It was the day They came at dawn with riﬂes to The Home For Jewish Children, cutting short the meal Of bread and soup, lining them up to walk In close formation off to a special camp.