#persianpoetry

[persianatpenn]

Sa'di and the Persian Poetic Tradition

The Persian and Arabic poetic traditions meet at various, fruitful intersections. Though separate languages with distinct linguistic trajectories, among their most prominent commonalities may be the classical qasideh form. Sa'di, otherwise known as Abū Muhammad Musleh-od-Dīn Ibn Abdallāh Shīrāzī ( ابومحمد مصلح‌الدین بن عبدالله شیرازی‎), occupies a particularly curious position in the qasideh’s development in Persian. He is, apparently, known for his vacillation between lettered genres: at once, he was a poet and an author of prose; one known to celebrate the Prophet Muhammad, and simultaneously, speak to the merits of wine consumption; and a writer uniquely capable of shifting between laudatory, humorous, and satirical tones. This weekend, I read Sa’di’s thirteenth century poem, Bedahad būse bar na’āl-e Mohammad, in hopes of understanding his contributions to the Persian language’s development and his relationship with Islam. Further, I hoped to understand the extent to which his qasideh appeared familiar, as I currently study the Arabic rendition thereof.

In Arabic poetics, the coming of the Prophet Muhammad seemed to all but cease previously celebrated written production. It was said that, if Arabia’s famous writers now had access to the Qu’ran, there was no need to write poetry, for it could not compare in its beauty to scripture. The story goes that the venerated Kaaba once sat adorned with the Mu’allaqat (in Arabic, the hanging odes); after the arrival of Islam, it became a monotheistic religious structure. I was thus interested in understanding how Persian poets wrote after the pre-Islamic age: I figured such an exploration might extend my understanding of our shared literary histories and linguistic customs. Somewhat to my surprise, Sa’di’s poetry appeared meaningfully different. His poem in translation seemed to shift the qasideh’s quintessentially celebratory tone toward praise for the Prophet. 

Sa’di opens his poem, “The vastness and perfection of the skies are incomparable / next to the perfected vastness of Mohammad.” This line struck me, as it quite openly disavows previous qasideh aesthetics. Sa’di appears to agree with the Arabic language’s development in this regard: we no longer must (exclusively) praise the natural landscapes around us, he says — rather, the arrival of Islam via its messenger discounts that which we once thought uniquely beautiful. He recognizes, still, that the skies are “vast” and “perfect”. Nonetheless, they do not stand in comparison to the Prophet. Curiously, Sa’di also invokes the names of previous prophets: “Adam, Noah, Abraham, Moses, and Jesus / Appear together within the shade of Mohammad”. 

Although Arabic poetry tended away from praising the Prophet at all, and instead focused more strongly on the veneration of God, it would have been particularly uncommon to reference other prophets after Mohammad’s revelations. Sa’di seems intentional in his connection between Islam and the figures that predated its consolidation. The poet, then, figures his own, Persian customs in brief departure from the qasideh's manifestations in Arabic. Sa’di goes further, referencing my namesake, Bilal: “Out of the abundance of beauties found within the Garden of Paradise / Chosen from the all is Bilal of Muhammad”. Bilal, to Sa’di, belongs to Muhammad, and thus is worth mentioning. Such a subordination of other figures and forms to Muhammad's guise — whether previous poetic praise, earlier prophets, or the Prophet’s companion — appears natural and welcomed from Sa’di’s perspective. He closes the poem, “Sa’di, if you are seeking love and youth / Love of Muhammad and his family shall suffice you”, likewise placing himself within the shadow of the Prophet’s inevitable blessings. Particularly notable is his direct invocation of his name in the poem, a feature unfamiliar to early Arabic poetry.

Sa’di’s poetry greatly interested me for its intersections and contradictions with the Arabic usage of the qasideh form. His words echo the development of Arabic poetry, in that he shifts his focus of praise to the Prophet and Islam rather than nature per se. Simultaneously, he grows somewhat distant from the Arabic tradition. This exploration contributed to my Arabic literary studies, while also enhancing my grasp on Islam's role in its various cultural and written manifestations. Although only an initial delve, I feel increasingly familiarized with one of Persian poetry's approaches to the qasideh and religion. In the future, I hope to better understand how poetry can reveal the commonalities and differences between the Arabic and Persian languages. One departure point might be a close, comparative reading of pre- and “post-” Islamic Arabic and Persian poems. Nonetheless, I am delighted by the opportunity to engage Persian poetry in its own rite, allowing it to rightfully exist on its own accord, too. I have attached a manifestation of this poem in Iranian music, as I found it helpful to hear the words read and adapted as well.

Sacred Persian Verse - Sa’di - The Sandals of Muhammad, n.d. https://www.sacredpersianverse.com/poems-poets/sadi-the-sandals-of-muhammad.

~Bilal

---

Persian text:

ماه فروماند از جمال محمد

سرو نباشد به اعتدال محمد

قدر فلک را کمال و منزلتی نیست

در نظر قدر با کمال محمد

وعدهٔ دیدار هر کسی به قیامت

لیلهٔ اسری شب وصال محمد

آدم و نوح و خلیل و موسی و عیسی

آمده مجموع در ظلال محمد

عرصهٔ گیتی مجال همت او نیست

روز قیامت نگر مجال محمد

وآنهمه پیرایه بسته جنت فردوس

بو که قبولش کند بلال محمد

همچو زمین خواهد آسمان که بیفتد

تا بدهد بوسه بر نعال محمد

شمس و قمر در زمین حشر نتابد

نور نتابد مگر جمال محمد

شاید اگر آفتاب و ماه نتابند

پیش دو ابروی چون هلال محمد

چشم مرا تا به خواب دید جمالش

خواب نمی‌گیرد از خیال محمد

سعدی اگر عاشقی کنی و جوانی

عشق محمد بس است و آل محمد

English translation:

The moon remained hidden from the beauty of Mohammad / No cypress exists with the modesty of Mohammad The vastness and perfection of the skies are incomparable / Next to the perfected vastness of Mohammad A promised meeting for all on the Last Day / Laylat-ul-'israa, the Night of Union for Mohammad Adam, Noah, Abraham, Moses and Jesus / Appear together within the shade of Mohammad It is not the courtyard of this world in which he intends to parade / On the Last Day, watch and see his procession Out of the abundance of beauties found within the Garden of Paradise / Chosen from the all is Bilal of Muhammad Like the ground, the sky desires to fall / In order for it to kiss the sandals of Muhammad The Sun and the Moon do not shine disparately on earth / No light shines except the beauty of Muhammad Perhaps if the sun and the moon seize their light / With the two brows of Muhammad you'll find a shining crescent My eyes have seen his beauty in a dream / No sleep shall overtake these eyes now upon a vision of Muhammad Sa'di, if you are seeking love and youth / Love of Muhammad and his family shall suffice you.

[safdarrizvi]

Az chashmat nuri be del oftad, Shabam roshan shod be mah-e-chashmat.

The light of your eyes fell upon my heart, And my dark night was illuminated by your moon-like eyes.

[shopipersia]

📚"Divan & Fal-E Hafez Shirazi"📚

📚✨ Exciting News! The beloved "Divan & Fal-E Hafez Shirazi" is now available in a convenient pocket edition in Farsi on our website! Perfect for carrying with you, this collection of Hafez's timeless poetry and fortune-telling quatrains is a must-have for any poetry lover.

Discover this compact treasure and more at Shopipersia.com.

[safeerray]

ग़ज़ल और नज़्म क्या हैं? उर्दू कविता की आत्मा का परिचय

ग़ज़ल क्या है?

ग़ज़ल एक काव्य रूप है, जिसे उसकी रोमांटिक और रहस्यमयी गहराई के लिए सराहा जाता है। इसमें तुकांत मक्तियाँ और दोहराई जाने वाली पंक्तियाँ होती हैं, जो भावनात्मक रूप से जटिल विषयों को पेश करती हैं। ग़ज़ल की उत्पत्ति फारसी और अरबी साहित्य में हुई, और यह उर्दू साहित्य का अहम हिस्सा बन गई, जिसे भारत और पाकिस्तान में बेहद पसंद किया जाता है। प्रेम और विरह की मार्मिक अभिव्यक्ति के लिए जानी जाने वाली ग़ज़ल, रूपक भाषा और प्रतीकात्मक छवियों का उपयोग करने का अनोखा ढंग रखती है। नज़्म क्या है?

ग़ज़ल से अलग, नज़्म किसी विशेष थीम या कहानी पर आधारित होती है। इसकी जड़ें फारसी में हैं, लेकिन यह उर्दू कविता में अपनी अलग पहचान बनाने में सफल रही। नज़्म के माध्यम से कवि सामाजिक, दार्शनिक और भावनात्मक मुद्दों पर अभिव्यक्ति देते हैं। नज़्म का लचीला ढांचा इसे रोमांटिक विचारों, राजनीतिक कथाओं और दार्शनिक चिंतन के लिए एक आदर्श माध्यम बनाता है। मुक्त छंद की शैली में नज़्म आधुनिक अभिव्यक्ति और सामाजिक आलोचना का एक महत्वपूर्ण साधन बन चुकी है। ग़ज़ल और नज़्म के प्रमुख अंतर संरचना: ग़ज़ल स्वतंत्र मक्तियों से बनी होती है, जिनमें हर एक अलग भावनात्मक परत को उजागर करती है, जबकि नज़्म एक सुसंगत कथा के माध्यम से बहती है।

विषय और भावनाएँ: ग़ज़ल में अक्सर अनंत भावनाएँ जैसे प्रेम, सुंदरता, और रहस्यवाद होते हैं, जबकि नज़्म आध्यात्मिकता से लेकर राजनीति तक क��� विषयों को पेश करती है।

तुकांत और ल���: ग़ज़ल में एक सख्त तुकांत योजना और रदीफ़ होती है, जबकि नज़्म अधिक लचील�� संरचना का पालन करती है, अक्सर मुक्त छंद में होती है।

उत्पत्ति और सांस्कृतिक महत्त्व ग़ज़ल की शुरुआत 7वीं शताब्दी के अरब से हुई, जो फ़ारसी साहित्य के माध्यम से उर्दू में पहुँची, जहाँ यह एक सांस्कृतिक धरोहर बन गई। इसके विपरीत, नज़्म का विकास उर्दू में हुआ और यह दक्षिण एशियाई विरासत को दर्शाती है, जिसमें व्यक्तिगत से लेकर दार्शनिक विषयों का समावेश होता है। आज भी, ग़ज़ल और नज़्म उर्दू-भाषी क्षेत्रों की कलात्मक पहचान का एक महत्वपूर्ण हिस्सा बने हुए हैं, जो दक्षिण एशियाई संस्कृति की भावनात्मक और बौद्धिक गहराई का प्रतीक हैं।

[blueheartbookclub]

RUBAIYAT OF OMAR KHAYYAM By Omar Khayyam Rendered into English Verse By Edward Fitzgerald, Illustrated By Edmund J. Sullivan

"Rubaiyat of Omar Khayyam," elegantly translated into English verse by the talented Edward Fitzgerald and accompanied by the exquisite illustrations of Edmund J. Sullivan, stands as a testament to the timeless beauty of Persian poetry and the visual arts.

Edward Fitzgerald's translation of Omar Khayyam's quatrains has long been celebrated for its poetic brilliance. In this rendition, Fitzgerald skillfully captures the essence of Khayyam's philosophical musings, his contemplation of life's transience, and his celebration of the present moment. Each quatrain, rich with profound wisdom and poignant imagery, resonates with readers across cultures and generations. Fitzgerald's language flows with a lyrical cadence, bringing to life the mystique and depth of Khayyam's verses.

What truly elevates this edition of the "Rubaiyat" is the addition of Edmund J. Sullivan's illustrations. Sullivan's artwork, intricate and evocative, complements Khayyam's poetry with visual splendor. His illustrations, reminiscent of Persian miniatures, intricately weave together the themes of love, nature, and the human condition. Each illustration is a masterpiece in itself, capturing the essence of Khayyam's verses and adding a visual dimension to the profound emotions conveyed in the poetry.

The synergy between Fitzgerald's words and Sullivan's illustrations creates a harmonious reading experience. As readers delve into the quatrains, Sullivan's artwork enhances the emotional depth of the verses, allowing readers to immerse themselves fully in Khayyam's world. The illustrations serve as a visual interpretation of the poet's thoughts, enriching the reader's understanding of the nuances embedded in each stanza.

(Edmund J. Sullivan's Beautiful illustration for Khayyam's 11th poem in the book

"Here with a Loaf of Bread beneath the Bough,

A Flask of Wine, a Book of Verse—and Thou

⁠Beside me singing in the Wilderness—

And Wilderness is Paradise now." )

Furthermore, the edition's meticulous attention to detail, from the choice of paper to the quality of printing, enhances the overall aesthetic appeal. The book itself becomes a work of art, inviting readers to engage not only with the poetry and illustrations but also with the physical beauty of the volume.

In conclusion, "Rubaiyat of Omar Khayyam" in this edition, illustrated by Edmund J. Sullivan and translated by Edward Fitzgerald, is a masterpiece that seamlessly marries poetry and art. It transcends the boundaries of time and culture, inviting readers to embark on a contemplative journey through the verses of one of Persia's greatest poets. This edition is a treasure trove for enthusiasts of both poetry and visual arts, offering a profound and immersive experience that lingers in the heart and mind long after the book is closed. It stands as a testament to the enduring power of artistic collaboration and the ability of literature and art to stir the soul and ignite the imagination.

Omar Khayyam's " Rubaiyat" is available in Amazon in paperback 11.99$ and hardcover 19.99$ editions.

Number of pages: 177

Language: English

Rating: 10/10                                           

Link of the book!

Review By: King's Cat

[blueheartbooks]

RUBAIYAT OF OMAR KHAYYAM By Omar Khayyam Rendered into English Verse By Edward Fitzgerald, Illustrated By Edmund J. Sullivan

"Rubaiyat of Omar Khayyam," elegantly translated into English verse by the talented Edward Fitzgerald and accompanied by the exquisite illustrations of Edmund J. Sullivan, stands as a testament to the timeless beauty of Persian poetry and the visual arts.

Edward Fitzgerald's translation of Omar Khayyam's quatrains has long been celebrated for its poetic brilliance. In this rendition, Fitzgerald skillfully captures the essence of Khayyam's philosophical musings, his contemplation of life's transience, and his celebration of the present moment. Each quatrain, rich with profound wisdom and poignant imagery, resonates with readers across cultures and generations. Fitzgerald's language flows with a lyrical cadence, bringing to life the mystique and depth of Khayyam's verses.

What truly elevates this edition of the "Rubaiyat" is the addition of Edmund J. Sullivan's illustrations. Sullivan's artwork, intricate and evocative, complements Khayyam's poetry with visual splendor. His illustrations, reminiscent of Persian miniatures, intricately weave together the themes of love, nature, and the human condition. Each illustration is a masterpiece in itself, capturing the essence of Khayyam's verses and adding a visual dimension to the profound emotions conveyed in the poetry.

The synergy between Fitzgerald's words and Sullivan's illustrations creates a harmonious reading experience. As readers delve into the quatrains, Sullivan's artwork enhances the emotional depth of the verses, allowing readers to immerse themselves fully in Khayyam's world. The illustrations serve as a visual interpretation of the poet's thoughts, enriching the reader's understanding of the nuances embedded in each stanza.

Furthermore, the edition's meticulous attention to detail, from the choice of paper to the quality of printing, enhances the overall aesthetic appeal. The book itself becomes a work of art, inviting readers to engage not only with the poetry and illustrations but also with the physical beauty of the volume.

In conclusion, "Rubaiyat of Omar Khayyam" in this edition, illustrated by Edmund J. Sullivan and translated by Edward Fitzgerald, is a masterpiece that seamlessly marries poetry and art. It transcends the boundaries of time and culture, inviting readers to embark on a contemplative journey through the verses of one of Persia's greatest poets. This edition is a treasure trove for enthusiasts of both poetry and visual arts, offering a profound and immersive experience that lingers in the heart and mind long after the book is closed. It stands as a testament to the enduring power of artistic collaboration and the ability of literature and art to stir the soul and ignite the imagination.

Omar Khayyam's " Rubaiyat" is available in Amazon in paperback 11.99$ and hardcover 19.99$ editions.

Number of pages: 177

Language: English

Rating: 10/10                                           

Link of the book! (Hardcover); (Paperback)

Review By: King's Cat

[klaus-nether]

Omar Khayyam - Bio Quotes

[hamedobaidy]

Quatrain 130 from Rubaeyat of Omar Khayyam #persian #persianpoetry

Quatrain 130 from Khayyam

[maryamgantois-blog]

If you hope for a moment of peace in love, you don't belong in the ranks of lovers here.

#rumi #persianpoetry #literature #middleasternpoetry #laylaandmajnun

View this post on Instagram

A post shared by Humayratu (@humayratu_riwayat)

[a-nice-egg-offering]

Hey you reblooged a quote that was attributed to Franz Kafka but I wanted to let you know that it was actually written by an independent poet over on TikTok! I figured I'd let you know a. So the original poet gets credit and b. Because the whole piece is very beautiful and I think others should read it Here's a link to it https://www.tiktok.com/t/ZT82hjdTC/

Very cool ty! Here’s the link for anyone who wants to check it out

[persianatpenn]

Rabia Balkhi, 10th century Persia

I spent this past weekend in Washington, D.C., with an old friend from Iran. We discussed my coursework this semester, and I told him that I was studying in both the second sequence of Persian at Penn and a Persian Poetry class. Naturally, this excited him, as our undergraduate institution did not offer Persian language or literature. After a bit of conversation, we dove into the life and literature of the tenth-century Persian language poet, Rabia Balkhi. To my knowledge, she is widely considered the first Persian woman poet. According to her biographical information, very few lines of her work still exist materially today. The story goes that she, a member of the elite at that historical moment, fell in love with her brother’s servant, Bektash. After Rabia’s brother discovered her poetry notebook, in which she wrote about her romance, he ordered the lovers’ execution. It is said that, in the process, he also burned the majority of her written work. Approximately 53 lines of her poetry stand with us today. 

Balkhi’s poetry, as translated into English in Dick Davis’ The Mirror of My Heart, proved quite enjoyable. I spent most time with one of her short lyrical poems, which begins with the line, “His love has caught me once again —”. The piece is a powerful reflection on the trials and tribulations of romance, throughout which Balkhi discursively toys with her agency and selfhood. The poem’s English translation moves into octosyllabic iambic tetrameter, a natural beat that gives her love an instinctive character. The rhyme scheme operates in a series of rhymed couplets; as such, the poem’s rhythm exists in “twos”, as in a monogamous relationship. She and her beloved are felt and heard in form. The poem carries a tired, yet urgent, voice, as Balkhi writes,  “Well, sobersides, explain to me / Just who can swim love’s shoreless sea!” The poet’s natural imagery ensures that her words’ beauty stand strongly at the forefront in a seemingly endless, melancholic blue. Balkhi finishes with three final rhymed lines, breaking the couplet pattern: “I jerked my head to work it loose, / Not knowing all this would produce / Was further tightenings of the noose.” Love, in her experience, was a bittersweet entrapment. It seems that Balkhi knew that the ostensibly endless affection she shared would meet a painful, perhaps inevitable, conclusion. 

I found Balkhi’s poetry particularly exciting, given that she is often considered a “Persianized Arab” due to her recorded ethnic background. Her poetry, at least in its translated rendition, carries a similar lyricism to that which I know from my Arabic literary studies. The form of her poem thus subtly reveals her experience with the Arabic language. As such, engaging with Balkhi appeared an ideal intersection between my own cultural background, that of my friend, and my current academic studies. I likewise was unaware that Balkhi wrote so beautifully in this early historical period. Rarely do literary studies of the “ancient Middle East,” as it is often called, include women poets. Balkhi’s poem brought a refreshing intellectual touch to my weekend in D.C. I look forward to further exploring her work during my time at Penn and beyond.

Full poem:

His love has caught me once again — I’ve struggled fiercely, but in vain. (Well, sobersides, explain to me Just who can swim love’s shoreless sea! To reach love’s goal you must accept All you instinctively reject —

See ugliness as beauty, eat Foul poison up and call it sweet.) I jerked my head to work it loose, Not knowing all this would produce Was further tightenings of the noose.

~Bilal 

"The Mirror of My Heart: A Thousand Years of Persian Poetry." Publishers Weekly, October 21, 2019, 54. Gale Literature Resource Center (accessed January 28, 2025). https://link.gale.com/apps/doc/A605200721/LitRC?u=anon~167ff03a&sid=sitemap&xid=18355fe0.

A bust of Rabia Balkhi, her name written in Persian via the Cyrillic alphabet.

[safdarrizvi]

Ba nigah-e-to giriftar shod delam, Che kard in do chashm-e-mast ba ma?

My heart became captive in your gaze, What have these intoxicating eyes done to me?

[shopipersia]

📜✨ New Release Alert! ✨📜

We’re thrilled to present the "Divan of Hafez Shirazi" now available in both Farsi and English editions on Shopipersia.com! Explore the timeless poetry of one of Persia's greatest poets in both languages and experience the profound beauty and wisdom of Hafez. Whether you’re a longtime admirer of Hafez’s work or new to his poetry, these editions offer a unique opportunity to delve into his enchanting verses in both Persian and English. Perfect for collectors, poetry lovers, and those looking to enrich their literary journey!

🖋️ Book: دیوان حافظ شیرازی (Farsi) & Divan of Hafez Shirazi (English) 🖋️ Author: حافظ شیرازی 🛒 Shop Now: Shopipersia.com

[livesanskrit]

Send from Sansgreet Android App. Sanskrit greetings app from team @livesanskrit .

It's the first Android app for sending @sanskrit greetings. Download app from https://livesanskrit.com/sansgreet

Balram Shukla.

Balram Shukla (19 January 1982) is an academician, poet and author based in New Delhi. He is a self-taught scholar of Sanskrit and Indian literature. He works as a professor of Sanskrit at the University of Delhi. He is a scholar of Sanskrit, Hindi, Urdu, Persian and Prakrit. He writes poetry in both Sanskrit and Persian, and also translates Persian poetry into Sanskrit using the same poetic metres. He has been awarded the Badrayan Vyas Award for Sanskrit in 2013 by the President of India. He has authored eight books.

#sansgreet #sanskritgreetings #greetingsinsanskrit #sanskritquotes #sanskritthoughts #emergingsanskrit #sanskrittrends #trendsinsanskrit #livesanskrit #sanskritlanguage #sanskritlove #sanskritdailyquotes #sanskritdailythoughts #sanskrit #resanskrit #balramshukla #balram #shukla #academician #poet #author #newdelhi #delhi #selfthaught #scholar #delhiuniversity #universityofdelhi #persianpoetry #celebratingsanskrit #professor

[safeerray]

Introduction to Ghazal and Nazm

What is Ghazal? A Ghazal is a poetic form celebrated for its romantic and mystical depth, using rhyming couplets and repeated refrains to weave complex emotional themes. Rooted in Persian and Arabic poetry, the Ghazal became an essential part of Urdu literature and is cherished across India and Pakistan. Known for its poignant expression of love and heartbreak, the Ghazal has a unique structure that allows for metaphorical language and symbolic imagery. What is Nazm?

A Nazm is distinct from a Ghazal in that it doesn’t rely on couplets but follows a continuous theme or storyline. Originating from Persian roots, Nazm flourished in Urdu poetry, offering social, philosophical, and emotional commentary. With its flexible format, a Nazm can address romantic ideals, political narratives, or philosophical reflections. The free verse style of Nazm has made it a popular medium for modern expression and social critique.

Key Differences between Ghazal and Nazm

Structure: A Ghazal consists of couplets that can stand alone, each one exploring a different emotional layer, while a Nazm flows through a continuous narrative.

Themes and Emotions: Ghazals frequently explore timeless emotions like love, beauty, and mysticism, while Nazms address more focused themes, from the spiritual to the political.

Rhyme and Rhythm: A Ghazal has a strict rhyme scheme with a refrain (radeef) and meter, whereas a Nazm is more flexible in form, often adopting free verse. Origins and Cultural Significance The Ghazal traces its beginnings to 7th-century Arabia, journeying through Persian literature before settling in Urdu, where it transformed into a cultural treasure. In contrast, the Nazm developed in Urdu, reflecting South Asian heritage with themes that range from the personal to the philosophical. Today, both Ghazal and Nazm remain integral to the artistic identity of Urdu-speaking regions, representing the emotional and intellectual depths of South Asian culture.

[despertara]

Hey you reblooged a quote that was attributed to Franz Kafka but I wanted to let you know that it was actually written by an independent poet over on TikTok! I figured I'd let you know a. So the original poet gets credit and b. Because the whole piece is very beautiful and I think others should read it Here's a link to it https://www.tiktok.com/t/ZT82hjdTC/

Omg thank you!!! Linked above + transcribed below:

DOOMED FROM THE BEGINNING My father is a good man. Sort of. He is good when I compare him to His own father, and that's enough. I hope. My father and I are more alike than I'd care to admit, and whenever I feel Pure rage, I know I am my father's daughter. My father has gotten ... better. I cannot help but wonder if it is too late. He now asks why I am so Angry, why I raise my voice. He does not understand that I learned it all from him. I know it is my father's first time on this Earth, too. And I know He had it worse when he was little. But I was little too.