Showing posts with label poetry. Show all posts
Showing posts with label poetry. Show all posts

Tuesday, June 27, 2023

Wise Old Words

Old words from ancient times tell us you could not see your own faults. The faults of others, no matter how minor, were as big as a mountain.

In the forest full of wild beasts, you implored others to join you. Had sugar and honey, you hid in your home, and ate alone.

You kept wanting and scheming for this and scheming for that without consideration. It was all about you, with no regard for others.

You ate simply to eat but were too indolent to chew properly. You thought of a neam (two-man fishing net) for a moun (fishing net); you took a Joung for a Kuoy (minority hill groups).

You confused grandpas for grandmas and a son for a nephew. You misread two for one and misery for joy.

You assumed offense for gratitude; you thought merit for vice. You mistook goodness for wickedness, and you assumed excrement for flowers.

You donned the monk's robe but refused to shave your head. You looked into a mirror with your eyes closed. You mistook a horse for a donkey. You confused an elephant for a mouse.

These are old words that everyone should consider and understand. Do not confuse a pond for a road, lest you get bogged down in the mud.

The wise kept these timeless words without straying from those of olden times. Do not take a treacherous path, as the ancients cautioned.

These are words from the past that you ought to contemplate. Do not gloat, boast, or be arrogant about your own knowledge.

Do not sleep in at night, lest misfortune come your way. Avoid overeating and remember to take everyone into account.

Only carry what you can. Avoid pulling with a jerk to avoid injuring your shoulders. Treat others like you would your own sons. Do not nag incessantly, and always act with kindness.

Take your time; do not rush. Think things through before acting to avoid criticism and disgrace.

Never confuse raw food with cooked food. Be circumspect about your family’s internal and external affairs. Don’t be so arrogant as to dismiss the past.

Speak softly and choose your words with care. Avoid looking for an easy way out. Consider the long term, delve deep, and consider numerous options.

"Do not attempt to raise a tiger," the ancients cautioned. They advised drawing an analogy: If you decide on a course of action, make sure you follow through on it. Grip a snake's neck tightly, should it turn around and bite you. Likewise, drag your boat along without leaving a trace, much like you catch fish without muddying the water.

Leaves don’t just move on their own; they are shaken by the wind. If clear water turns cloudy, it could have been churned by waves.

Don’t get so worked up if something seems unfavorable. Even if things seem promising, avoid making arrangements in advance. Don't strive to get more once you've received a lot. Be cautious and tread lightly.

The wealthy, like a piece of cloth wrapped around your body, should care for the poor. Like a ship to a skiff, the knowledgeable should protect the ignorant.

As dictated by ancient codes, the highborn safeguard the lowborn. The full nourish the hungry, just as the strong protect the helpless.

Take care of each other without expecting anything in return. Do not carry debt over people into the future, which is akin to a fence laced with thorns.

Do not aim to satisfy your stomach without considering others who are hungry. Feed them until they are satisfied.

Don’t be so foolish as to cross the water on the back of a crocodile. Do not break down your own fence just to cook a pot of rice.

With a boat, you'll need both fixed and loose oars. You'll need poles and anchors. You will need to have everything ready to go.

In the event of a storm, be careful when facing the wind. Note each and every detail. This is being well prepared.

You should keep these old words in mind. Words passed down from the ancients are worth considering.

These words should obviously be kept as a guideline, a principle to which you should adhere. As we conclude this poem, its meaning will live on.

Chbab Peak Chasa (Old Words)

Author Unknown (16th Century or earlier)

Cpap, pronounced chbab, is a genre of Khmer poetry. Chbab is the Khmer term meaning law, but in poetry, it refers to a series of didactic poems largely composed by Buddhist monks to teach reading, writing, and morals in monastic schools from the 15th to the 19th centuries. However, the origins of chbab may be traced back to long before the introduction of Buddhism in Cambodia in the 3rd century CE. These poems were passed down orally for generations. They were only put on paper, or rather palm leaves, by Buddhist monks near the end of the Angkor Era in the 15th century, when Hinduism was declining and Khmer started to replace Sanskrit as the language of literature proper.

Most chbab poems are brief, with the shortest being only 27 stanzas long. They cover a wide range of topics, from how to raise children to how to safe-keep cultural heritage to how to take pride and be enthusiastic about one's own work. And their subjects range from etiquette to finance, education to marital issues to religion. As previously noted, the majority of these poems were transcripted/composed by Buddhist monks, and as such, elements of Buddhism featured heavily in them, including the oldest ones.

The preceding poem is possibly the oldest in the genre. 

 

Sunday, October 3, 2021

Untitled Poem

Walking along the stream

I hear the birds chirping

Hiking in the mountains

I hear the bees buzzing among the flowers.

Sunshine from morning to evening 

Gray and wild oxen grazing along the foot of the mountain

Small ones, large ones, separated by size 

Grazing along the foot of the mountain

Drinking from the creek.

I love a tan girl

A Khmer girl full of virtues and beauty

With good lineage, from a noble family 

Waiting for her coming-of-age.

Santhor Mok (19th Century)

Footnotes: 

I used birds in the second line as I could not find the scientific/western name for khveak, a kind of bird in Khmer

Gray ox is kouprey in Khmer

Wild ox is banteng or thounsoung in Khmer 

I could not find the title of this piece, though most people refer to it as Surya Lngeach Thngai


 

 

Saturday, September 19, 2020

A Perfect Woman

As a woman

Be mindful of your speech.

Do not giggle like a simple girl.

Nor flirt without a care.

Like a loose girl 

Who prefers the company of young men. 

Chbab Srey (Codes of Conduct: Females) by Dr. Mern Mai 

Saturday, October 19, 2019

Khmer Versification

I want to talk about Khmer versification today. But first, a brief lesson on the language. Khmer is part of the Mon-Khmer family. Khmer, unlike our surrounding neighbors’, is a non-tonal language. Since the language has no inflections, conjunctions or case endings, it is rich in particles and auxiliary words. It is a language that does not need to repeat the subject, object or indication of time, once they have been established. But in most cases, especially in songs and lyrics, subjected are dropped altogether. 
Khmer is heavily influenced by Sanskrit, which reached Cambodia along with Hinduism via Indian traders around 5th century BC. The Sanskrit influence is found mostly in the religious, law, science, literature and royal registers. Having said that, the majority of Sanskrit borrowings are more of a style rather than a necessity. This also applied to Pali, the language of Theravada Buddhism, which came into contact with Khmer in the late 14th century. After the mid-19th century, the French influence on the language emerged as well.
Khmers have always liked verse and there is a lot to like, at least to the Khmer ear. Native Khmer is very ornate. Its lexicon offers a great wealth of rhyming, chiming and alliterative words. The alliteration sometimes involves more than one syllable and in poetry, they are used to the full. For examples: can cap (capture), srapan srapon (wilted).
Khmer versification is divided into four categories, pre-Angkorian, Angkorian period (802-1432), Middle period (1432-1863) and French Protectorate (1863-1953). There are about fifty metres in total. But some of them are referred to as artificial metres, which are variations of various syllable metres. Excessive uses of alliteration and rhyme are two of the many characteristics of these metres. 
The following eight metres are some of the oldest ones. But first, the basic: each metre (pad) has a name. Next are the stanzas (lbah/vagg), and each stanza is broken into lines/sentences (klear). Each metre specifies a number of lines that can exist in a stanza. Next are the syllables (byang), and the rule of each metre dictates how many syllables are in a line. A short, unstressed open syllable in a word of Sanskrit origin many sometimes count with an adjacent syllable as one, not two syllables. Rhymes occur at predetermined places. Two syllables that have the same vowel sound and consonant sound are considered rhymed, as you would expect. But there are two more that are acceptable in Khmer verse. The first comprised of rhymes which are across register. These are rhymes where the writing supports but the pronunciation denies (due to the differences between first and second vowel series). The second one comprises of rhymes that are near perfect. These imperfect rhymes are the result of development in pronunciation. These near-rhymes, though considered sloppy, can be used as a last option when you can’t come up with any rhyme. And lastly, an important rule which applies to all metres is that the last syllable of a stanza rhymes with the end syllable of a particular line of the next stanza. Metres are used according to moods, though not always strictly. 
Pad Baky Buon (Four-syllable Metre)
This is the oldest of the Khmer metres. It predated the arrival of Sanskit/Hinduism in Cambodia. It is the only metre in which the rhyme link between the last syllable of a stanza and the last syllable of a line of the next stanza is not mandatory (but only when used in songs). 
There are 4 lines in a stanza, and each line has 4 syllables. This metre is used for daily life.
_ _ _ _
_ _ _ _A
_ _ _ _A
_ _ _ _B.
_ _ _ _ 
_ _ _ _B
_ _ _ _B
_ _ _ _C.
Pad Pathyavat (Viaticum Metre)
This metre originated in the early Chenla period (550-802). There are 4 lines in a stanza. And each line has 8 syllables. This metre is used for vengeance, wrath, and irascibility.
_ _ _ _ _ _ _ _A
_ _ _ _A _ _ _ _B
_ _ _ _ _ _ _ _B
_ _ _ _B _ _ _ _C.
_ _ _ _ _ _ _ _C
_ _ _ _C _ _ _ _E
_ _ _ _ _ _ _ _E
_ _ _ _E _ _ _ _F.
Pad Brahmagiti (Brahma’s Song Metre)
There are 4 lines in a stanza. The 1st line has 5 syllables. The 2nd line has 6 syllables. The 3rd line has 5 syllables. The 4th line has 6 syllables. This metre is used for lamentation and grieving.
_ _ _ _ _A
_ _ _A _ _ _B
_ _ _ _ _B
_ _ _B _ _ _C.
_ _ _ _ _D
_ _ _D _ _ _C
_ _ _ _ _C
_ _ _C _ _ _E.
Pad Bhujunlila (Serpent’s Movement Metre)
There are three lines in a stanza. The 1st line has 6 syllables. The 2nd line has 4 syllables. The 3rd line has 4 syllables. This metre is for descriptions of pleasant scenes, boating, and activities in the countryside. 
_ _x _ _x _ _A
_ _ _ _A
_ _A _ _B.
_ _y _ _y _ _B
_ _ _ _B
_ _B _ _C.
Next time we’ll go over the next four metres. 
Sources: 
  • Khmer Poetry by Ly Somony
  • The Traditional Literature of Cambodia: A Preliminary Guide by Judith M. Jacob
If you understand Khmer, see if you can identify the metres in the following clips.