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Journal articles on the topic 'Arabic Sufi poetry'
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1
Ogunnaike, Oludamini. "The Presence of Poetry, the Poetry of Presence." Journal of Sufi Studies 5, no. 1 (May 23, 2016): 58–97. http://dx.doi.org/10.1163/22105956-12341283.
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The composition and performance of Arabic Sufi poetry is the most characteristic artistic tradition of West African Sufi communities, and yet this tradition has yet to receive the scholarly attention it deserves. In this article, I sketch an outline of a theory of Sufi poetics, and then apply this theory to interpret a performance of a popular Arabic poem of the Senegalese Shaykh Ibrahim Niasse (d. 1975), founder of the most popular branch of the Tijāniyya in West Africa.
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Brigaglia, Andrea. "Sufi Poetry in Twentieth-Century Nigeria." Journal of Sufi Studies 6, no. 2 (January 30, 2017): 190–232. http://dx.doi.org/10.1163/22105956-12341302.
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Abstract This article presents the translation and analysis of two poems (the first in Arabic, the second in Hausa) authored by one of the most famous twentieth-century Islamic scholars and Tijānī Sufis of Kano (Nigeria), Abū Bakr al-ʿAtīq b. Khiḍr (1909–74). As examples of two genres of Sufi poetry that are rather unusual in West Africa (the khamriyya or wine ode and the ghazal or love ode), these poems are important literary and religious documents. From the literary point of view, they are vivid testimonies of the vibrancy of the Sufi qaṣīda tradition in West Africa, and of the capacity of local authors to move across its various genres. From the religious point of view, they show the degree to which the West African Sufis mastered the Sufi tradition, both as a set of spiritual practices and techniques and as a set of linguistic tools to speak of the inner.
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Orwin, Martin. "Arabic influence on metre in Somali Sufi religious poetry." Brill’s Journal of Afroasiatic Languages and Linguistics 11, no. 2 (December 5, 2019): 340–74. http://dx.doi.org/10.1163/18776930-01102007.
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Abstract It has generally been assumed that there has not been any direct influence on Somali poetic metre from the metrical forms of Arabic. For the most part, this certainly seems to hold, but this article presents a poem which is of a type on which, it is argued, Arabic influence can be seen. The poem, ‘Taaj Awliyo’ by Sheekh Caaqib Cabdullaahi Jaamac (ca. 1922-?) is presented in detail and, although it has been described as being in the jiifto metre, it is demonstrated that this description of the metre is incorrect. It actually follows a previously undocumented metrical pattern which is the equivalent of four maqalaay warlaay lines. The article also shows how the metrical pattern can be seen as a Somalized analogue of the Arabic kāmil metre in its majzūʾ or dimetric form. Evidence is given both from comparison of the line structure itself and from brief comments on reports of what the poet himself had said. The poem considered in detail is part of the Qaadiriya Sufi tradition in which poetry composed in Arabic plays an important role including poems in the kāmil metre.
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Homerin, Th Emil. "Arabic takhalluṣ, Persian Style in Muḥammad al-Ṣūfī’s Poems to Muḥammad the Prophet." Journal of Arabic Literature 51, no. 3-4 (August 20, 2020): 325–50. http://dx.doi.org/10.1163/1570064x-12341409.
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Abstract Though a signature verse (takhalluṣ) is often found in medieval Persian and Ottoman Turkish poetry, this is less frequently the case in Arabic poetry at this time. However, Muḥammad Ibn al-Shihābī al-Ṣūfī included such a signature verse in 38 Arabic poems, many inspired by recitations of Ibn al-Fāriḍ’s poetry. This article offers a critical Arabic edition and English translation of two of these poems, followed by an extensive discussion of linguistic and stylistic aspects of Ibn al-Shihābī’s Arabic and poetic style. Both poems also highlight trends in Arabic poetry at the end of the 9th/15th century, including the incorporation of elements from regional varieties of Arabic, and Ibn al-Shihābī’s innovative use of the signature verse, which may reflect the influence of Sufi chanting practices.
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Ali, As’adi. "Ulama Perintis Syair Melayu." JURNAL ISLAM NUSANTARA 1, no. 1 (January 7, 2018): 53. http://dx.doi.org/10.33852/jurnalin.v1i1.12.
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Poetry is an old Malay literary work that rhymes after pantun, seloka, and gurindam. Appeared at the end of the 17th century AD. Pioneered by an Indonesian Sufi cleric. He is from Barus City (present: Singkil, Aceh), living in the late 17th and early 18th centuries. In his lifetime he is a mufti Kesuthanan Islam Aceh Darussalam. The most important element that distinguishes poetry with other old Malay literature is the final sound of his poetry. If the pantun uses the A-B-A-B, and the A-A-B-B cultivation, the verse is A-A-A-A. Another thing that distinguishes it from its predecessor on the content format. Where, pantun or gurindam on the first and second lines in a stanza contains a sentence (introductory) sentence, and the third and fourth lines are the content or message content. While the verse, the four lines in one stanza are all contents, or the content of the message the poet wishes to convey. In addition, in poetry, in a single line can be composed of three words, while in pantun never got a model like this. The inspired verse of the Arabic literary form, syi'ir, the structure and style can not be separated from the influence of the Arab syi'ir. Some of the direct influences of Arabic syi'ir include the ending sounds of poetry, containing the da'wah and teachings of Islam, writing at the beginning of its emergence using Arabic letters in Malay, many using Arabic terms and quotations, and decorated by natural symbolic words which is often used by Arabic Sufi poets.
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Al-Dabbagh, Abdulla. "The Oriental Sources of Courtly Love." International Journal of Arabic-English Studies 3, no. 1 (January 1, 2002): 21–32. http://dx.doi.org/10.33806/ijaes2000.3.1.2.
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This paper singles out three key theoretical, oriental perspectives on love that have been, to a greater or lesser degree, recognized by scholars as sources for western courtly love notions: Ibn Hazm's Tawq al-Hamama (The Dove's Neck Ring), Ibn Sina's Risala fi 'I- 'lshq (Treatise on Love), and the general Sufi outlook, particularly in the works of Ibn Al-Arabi and Rumi. While chivalry, the forms and features of Arabic music and Arabic poetry, Arabic poetic themes and specifically the expressions and concepts of love in poetry have long been studied as the. main Arab/Islamic contributions to courtly love, no detailed study of this relationship at the theoretical level has so far been done. Such a study, particularly of the ideas of thinkers like Ibn Sina , Ibn Al-Arabi, and Rumi will serve to illuminate not only western works explicitly devoted to the topic, but also a key trend in the western conception of love generally, as well as the whole genre of tragic romance in modern western literature. .
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Elhariry, Yasser. "Abdelwahab Meddeb, Sufi Poets, and the New Francophone Lyric." Publications of the Modern Language Association of America 131, no. 2 (March 2016): 255–68. http://dx.doi.org/10.1632/pmla.2016.131.2.255.
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This is the first work of criticism to read Abdelwahab Meddeb as a poet. Selfconsciously indeterminate from philosophical and poetic perspectives, Meddeb's poetry is indebted to European, especially French, high poetic modernism; to the French literary turn to the United States; and to the author's desire to be read in the lineage of the major Sufi poets of classical Arabic literature. Turning his back on the hegemony of postcolonial literary prose with the 1987 chapbook Tombeau d'Ibn Arabi, Meddeb generates a new francophone lyric infused with the Sufi traditions of al-Andalus, North Africa, and the Near and Middle Easts. His new lyric rewrites itself as a Sufi consciousness in search of what lies beyond its knowledge of its current state, and his tonguing of the new francophone lyric leads us to a long overdue analytical paradigm.
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Hafeez, Muhammad, and Dr Muhammad Rizwan Yunus. "An Analytical Study of Qualities of Sufism; In Light of Si Harfi of Peer Naik Alam Shah." Al Khadim Research journal of Islamic culture and Civilization 3, no. 1 (March 31, 2022): 94–109. http://dx.doi.org/10.53575/arjicc.v3.01(22)u8.94-109.
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Sufism has put great impact on human nature. By educating the masses and deepening the spiritual concerns of the Muslims, Sufism has played an important role in the formation of Muslim society. Sufism shares some important spirit and has a great impact of its internal spirit on human. Peer Naik Alam Shah is one of the greatest Sufi poets of Azad Jammu and Kashmir. He lived a life of saint and served humanity through his teachings and poetry. In his poetry, Peer Naik Alam Shah discussed different qualities of Sufism. He discussed different terms related to love of Allah, love of Holy Prophet, Devotion, Respect and other similar terms. He discussed all these in light of Sharia. His book “Si Harfi” ( in light of 30 letters of alphabets of Arabic Language) is replete with sufi related terms.
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Sarabyev, Aleksei V. "Extract from the “Diwan” of Al-Makzoun Al-Sinjari (Beginning of the 13th Century)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 6 (2021): 262. http://dx.doi.org/10.31857/s086919080017591-7.
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The presenting appeal to the poetic heritage of the medieval mystic poet, emir, sheikh al- Makzoun al-Sinjari (c. 1188–1240) is undertaken for the first time in Russian oriental studies. The proposed translation from the Arabic fragment of his poetic work “Divan” is supplied with an introductory article giving an idea of the degree of study in world science of the literary and theological work of this Nusayri figure. Based on the analysis of the specific terms, a conclusion is made about the deep Sufi roots of the poetry of Makzoun. In the poem, the central concept is loving intimacy to God - a connection or coupling (wasl, wisal) with a clear erotic connotation. This meaning approach it to the biblical book “Song of Songs”, where the deep love relationship of the human soul and God is also clothed in an erotic form rich in metaphors. Makzoun relied in his poetry on samples of Arabic love lyrics transferring them to the realm of God-seeking. As a representative of Sufism, Makzoun uses words in special meanings, for example, the designation of the “parts” of the heart or soul – qalb, fu’ad. Some concepts (sabr, hizn, wajd, qabd, bast), in addition to the basic meanings, can denote “stations” (makamat) on the spiritual path of a Sufi. The religious meaning of the love qasida is revealed for one practicing in a mystical Muslim way, acquiring a special religious content. Fragments from Makzoun 's “Divan” may have been performed at Sufi musical festive gatherings or may have been part of a Nusayri religious practice.
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Anikeeva, T. A. "The Sali Bauatdinov's manuscript sub-collection within the manuscript collection from the Karakalpak institute of humanities of the Academy of sciences of the Republic of Uzbekistan / Nukus." Orientalistica 6, no. 2 (September 6, 2023): 239–48. http://dx.doi.org/10.31696/2618-7043-2023-6-2-239-248.
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This article is a continuation within a research series, which deals with hand written and early printed books, which constitute a Manuscript Collection housed at the Karakalpak Institute of Humanities of the Karakalpak Branch of the Academy of Sciences of Uzbekistan (City of Nukus, Karakalpakstan). The Collection contains several hundred manuscripts, early printed books and lithographs in Arabic, Turkic and Persian languages from 18th to the middle of the 20th cent. This diverse Collection itself is a clear evidence of the development of the book culture in Karalpakistan. An important part of the whole Collection is a recently acquired subcollection of ca 150 items (handwritten, early printed and lithograph books) mostly from the 19th–20th cent., which did belong to Sali Bauatdinov. The sub-collection comprises tafsirs, works on fiqh, Turkic Sufi literature (Sufi Allah Yar) and Persian poetry, Arabic fiction of the 20th century, etc.Work in progress on this collection, which includes description and attribution of various items was started last year.
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Ogunnaike, Oludamini. "All Muhammad, All the Time: Shaykh Ibrahim Niasse’s Prophetic Poetics of Praise in Three Treatises and Poems." Üsküdar Üniversitesi Tasavvuf Araştırmaları Enstitüsü Dergisi 1, no. 2 (November 2022): 66–111. http://dx.doi.org/10.32739/ustad.2022.2.30.
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Contemporary poet and scholar Joshua Bennett recently wrote, “If black studies is indeed the rewriting of knowledge itself, an ongoing critique of so-called Western civilization—as Wynter and Robinson and others remind us—then poetry will be absolutely essential. Like the field of black studies more broadly, the teaching of black poetry is not simply additive nor is it a niche concern. Historically poetry is at the center of black social and intellectual life.” Of no literary or intellectual tradition is this more true than that of the Fayḍa Tijāniyya, inaugurated by the Senegalese Sufi Shaykh and scholar, Shaykh Ibrahim Niasse (d. 1975). Described by its initiates as a “flood” of ma'rifa (divine knowledge) and wilāya (sanctity), the Fayḍa has also produced a veritable outpouring of Sufi literature in Arabic (as well as African and European languages) among its adherents, particularly Arabic poetry in praise of the prophet that both expresses and facilitates access to ma'rifa in a particularly effective manner. Through close readings of three short treatises and poems of Ibrahim Niasse, this paper attempts to outline Niasse’s prophetic poetics of spiritual realization: the closely-linked cosmology, epistemology, and anthropology converging on the Muhammadan Reality (al-ḥaqīqa al-Muḥammadiya) that animates and structures his literary oeuvre and shapes the spiritual, social, and intellectual lives of the members of the Fayḍa Tijāniyya. Building on earlier studies of the Tijānī tradition and Maghrebi/West African Sufism, this article concludes with an examination of the implications of this prophetic poetics for the conception of the “human,” and the intervention literature such as Niasse's has made and can make in contemporary debates surrounding the ethics of knowledge and the re-evaluation of the modern, “Western” category of the “human”.
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Harahap, Khoirul Amru. "Hamzah Al-Fansuri: A Figure of Malay-Indonesian Philosophical Mysticism and Sufi Literature." International Conference of Moslem Society 2 (April 23, 2018): 33–42. http://dx.doi.org/10.24090/icms.2018.1847.
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This paper discusses Hamzah al-Fansuri and his mysticsm philosophical thought and his sufi literature. His mysticism philosopical thought was very controversial that it raises debates in in his era. One of the hardest figure that attack his mysticism philosophical thought was Nuruddin ar-Raniri. This sunni’s mysticism figure considered al-Fansuri a deviate mysticism, zindiq and mulhid (heathen). Mysticism concept he practiced was the concept of wahdah al-wujud or known as wujudiyah concept, which is mostly affected by Ibnu ‘Arabi. Al-Fansuri’s Wujudiyah concept is a concept stating that wujud (existency) is essentially one, even though it seems a lot. All things that are seen a lot by the sense organ, actually just appearance of a form of existency, Allah. However, al-Fansuri separated it between intrinsic form and inherent form. Inherent form is actually nothing, it can be fana’ at every time, and it does not exist without an essential being. Even though he practiced wujudiyah concept, he is strongly refused ittihad concept (the united of the sufi with God) and hulul concept (God put a place from the body of someone). Meanwhile, his sufi literature has 6 characteristics: 1. He used authorship markers. 2. He quoted a lot of verses of Quran, hadith, and Arabic words. 3. He put his name and nick name in the end of his poetry ties. 4. He used imageries and metaphorical symbolic. 5. He was clever in joining diction with rhythm in a balanced way. 6. He was clever in joining metaphysics sense, logical and sufi aesthetic in his poems.
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Shakry, Omnia El. "Psychoanalysis and the Imaginary: Translating Freud in Postcolonial Egypt." Psychoanalysis and History 20, no. 3 (December 2018): 313–35. http://dx.doi.org/10.3366/pah.2018.0271.
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This article imagines psychoanalysis geopolitically by way of an exploratory foray into the oeuvre of Sami-Ali, the Arabic translator of Sigmund Freud's Three Essays on the Theory of Sexuality, author of a large body of original psychoanalytic writings, and translator of the poetry of Sufi masters. Taken together, his writings enable a critical rethinking of the role of the imaginary, the mechanisms of projection, and the epistemology of non-knowledge in the workings of the unconscious. Significantly, such a rethinking of key psychoanalytic concepts drew upon the Sufi metaphysics of the imagination of Ibn ʿArabi. Yet such theoretical work cannot be understood outside of its wider clinical context and the conditions of (im)possibility that structure psychoanalysis within the postcolony. Reconstituting Sami-Ali's early theoretical writings alongside his work with the long-forgotten figures he observed, incarcerated female prostitutes in 1950s Cairo, I argue that his clinical encounters constituted the ground of his theorization of the imaginary within the embodied subject. Attending to the work of translation inherent within psychoanalytic practice – whether from Sigmund Freud's own German writings into French or Arabic, or from clinical practice into theoretical discourse – helps us conceptualize psychoanalysis as taking place otherwise at the intersection of multiple epistemological and ethical traditions.
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Brigaglia, Andrea. "Tarbiya and Gnosis in Hausa Islamic Verse: Al-Ṣābūn al-Muṭahhir by Muḥammad Balarabe of Shellen (Adamawa, Nigeria)." Die Welt des Islams 58, no. 3 (August 28, 2018): 272–325. http://dx.doi.org/10.1163/15700607-00583p02.
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Abstract This paper contains a transliteration in Latin script, an English translation and an analysis of Al-Ṣābūn al-Muṭahhir (“The Cleansing Soap”), a poem on tarbiya (spiritual training) and ma‘rifa (gnosis) originally written in the Hausa language using Arabic script by Muḥammad Balarabe (d. 1967) of Shellen, in Adamawa, Nigeria. Balarabe was a Sufi of the Tijāniyya order affiliated to the Jamā‘at al-fayḍa of the Senegalese Ibrāhīm Niasse (d. 1975). In style and content, Balarabe’s poem serves as a corrective to some of the observations on Hausa Sufi poetry made by Mervyn Hiskett in his classic 1975 monograph. Drawing attention to the philosophical background of the poem (a dense web of doctrines that integrates Akbarī Sufism and Aš‘arī theology), the paper also suggests that some of the generalizations made by Hiskett in a 1980 article on the Hausa literature produced by the Jamā‘at al-fayḍa are in need of revision.1
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McAuley, Denis E. "“I Am No Foundling”: Al-Makzūn al-Sinǧārī Responds to Ibn al-Fāriḍ’s Poem of the Way." Arabica 70, no. 6 (December 5, 2023): 603–60. http://dx.doi.org/10.1163/15700585-20231674.
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Abstract This article is a translation and analysis of a poem by the Nuṣayrī (ʿAlawī) poet al-Makzūn al-Sinǧārī (d. 638/1240) responding to a masterpiece of Arabic Sufi poetry, the Poem of the Way by his contemporary ʿUmar b. al-Fāriḍ (d. 632/1235). Al-Makzūn uses Ibn al-Fāriḍ’s own words to paint him as a false claimant outside the genealogy of true lovers. As against Ibn al-Fāriḍ’s mysticism of identification with an immanent beloved and his focus on the holy sites, al-Makzūn posits a transcendent beloved that reflects a human image without taking human form, and a Mecca built purely on semantic associations. The poem shows that Ibn al-Fāriḍ’s alleged belief in incarnation (ḥulūl) was being debated from an early stage, and that Nuṣayrīs in this period engaged more closely with Sunni Sufi literature than often assumed. Al-Makzūn emerges as a subtle thinker and accomplished poet whose work has long been neglected.
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Lukashev, Andrey A. "«Средневековый BLM»: образ чернолицего в персидской суфийской поэзии." Oriental studies 16, no. 1 (April 14, 2023): 222–31. http://dx.doi.org/10.22162/2619-0990-2023-65-1-222-231.
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Introduction. The black-faced are mentioned in different Muslim texts — from the Quran to Sufi poems. One can trace not just diverse but rather opposite interpretations, and researchers have to face certain problems when it comes to analyze some related images. Goals. The study attempts an insight into functioning and semantic features inherent to images of the black-faced in Sufi poetry. Materials and methods. The work analyzes a number of classical Persian and Arabic writings, such as The Walled Garden of Truth by Sanai, and others. The employed research methods include those of textual reconstruction, contextual analysis, and descriptive poetics. Results. The paper shows in medieval Islamic culture the black-skinned were often treated not just as second-class individuals, they were sometimes not even viewed as humans. In the Quran, a black face symbolizes disgrace and infidelity. The blacks in Islamic culture were discriminated twice: by skin color and on religious grounds, since most of them were pagans that actively resisted Islamization. This circumstance served a legal rationale for their enslavement. Thus, for many Arab writers a black was a slave, an uncivilized ungodly pagan. These characteristics one can find both in Arabic and Persian literatures. But in Persian Sufism the image of the black-skinned gets revisited. Their outward blackness is the trace of the black light of the divine selfness rather than just an ugly imperfection. The Divine selfness is dark for it cannot be conceived, and is above all human ideas about it. However, the Divine selfness is the being itself, so every existent thing had received being from this Divine source. In this context, Sanai writes that a black-faced is singed by the black light (or fire) of the Divine selfness, and is thus involved with this being. Besides, Sufis tended to view the low social status of the black as a means of liberation from worldly attachments and social connections, each black-skinned individual be thus believed to have united with the One Divine selfness to annihilate his own self (fana). Conclusions. So, the image of the black-faced performs functions similar to those characteristic of a wide layer of characters from other religions in Sufi literature: just like images of infidels, pagans, Zoroastrians, and Christians — this was reinterpreted by Sufi authors in a positive manner.
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Baig, Sohaib. "Printing a Transregional Ṭarīqa: Haji Imdadullah Makki (d. 1899) and Sufi Contestations from Thana Bhavan to Istanbul." International Journal of Islam in Asia 3, no. 1-2 (September 14, 2023): 21–42. http://dx.doi.org/10.1163/25899996-20230011.
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Abstract This article analyzes the prominence of print in the Sufi ṭarīqa of Haji Imdadullah Muhajir Makki (d. 1899), a pre-eminent Indian Chishti-Sabri shaykh who settled in the Ottoman Hijaz after escaping North India in the aftermath of the 1857 mutiny. It explores the transregional contexts of the publication of Haji Imdadullah’s works, in the long journey of his manuscripts from Mecca to their lithographic printing in North India and their distribution through Ottoman disciples as far as Istanbul. In this study two main lines of inquiry are followed. First, how did Imdadullah participate intimately from Mecca in the editing and publication of Arabic, Urdu, and Persian books in British India, including his famed commentary and critical edition of the Masnavi-yi Maʿnavi of Jalal al-Din Rumi (d. 1273)? Second, the article follows the emergence of broader scholarly exchanges as a series of Istanbul-based Mevlevi shaykhs became invested in Imdadullah’s publications and even translated some from Persian to Ottoman Turkish. Ultimately, this article sheds light on how such Indian – Ottoman encounters in the Hijaz were catalyzed by a common investment in the Persianate disciplines of Sufi theology and classical Persian poetry in the late nineteenth and early twentieth centuries, a period typically seen as marking the shrinking and disintegration of the Persianate world. In so doing, the article highlights how modern Sufi discourse in Persian continued to facilitate intellectual exchange between Indian and Ottoman Sufi shaykhs through the Hijaz and formed an integral pillar of transregional Persianate print culture.
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Abdul Majeed, Hafiz, and Irshad Ullah. "Impacts of Arabic Language and Literature on Khawaja Farid's Saraiki Poetic Work." Journal of Islamic and Religious Studies 7, no. 1 (June 20, 2022): 37–60. http://dx.doi.org/10.36476/jirs.7:1.06.2022.10.
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Khawaja Ghulam Farid (1845-1901) was a famous Saraiki Sufi poet of Indian subcontinent. He was born in chachran, a famous town in Khanpur. He memorized Quran in his early age. Then he got religious education. He always kept on promoting Islamic Law. His mother died when he was four years old, and he was Orphanad around the age of 8 when his father died. He was then brought up by his elder brother, Khawaja Fakhar Jahan. His elder brother was his teacher as well as his spiritual guide. He took the charge of spiritual guidance in 1871, Soon after the death of his brother Khawaja Fakhar Jahan. So he was Sajjada Nasheen (Patron Saint) of the Punjab region of Indian subcontinent. He was a great scholar and writer of his time who knew several different languages. He was famous for his work which helped him to popularize the Saraiki language. As he belonged to religious family, so he kept on rendering numerous services for Islamic preaching. He had a poetic contribution in various languages but his Saraiki poetic work got popularity all over the region. His poetry was in special term known as Kafi. Arabic language and literature has great impact on his all poetic works. Arabic vocabulary has also been used in his poetry. He has extracted the precious pearls of wisdom from the depth of an imposing ocean of Quran-O-Hadith. The impacts of Arabic language and literature on his poetic work has been tried to discuss in this article.
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Ihsanudin, Ihsanudin, and Aimmatul Muslimah. "INTERFERENSI MORFOLOGIS PUISI RUBA‘I HAMZAH FANSURI." Analisis: Jurnal Studi Keislaman 17, no. 1 (November 28, 2017): 91. http://dx.doi.org/10.24042/ajsk.v17i1.924.
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Interferensi dapat terjadi ketika seseorang menggunakan dua bahasa atau lebih, dan terjadi kontak bahasa. Lazimnya terjadi di bahasa lisan dan tulisan. Salah satu penggunaan bahasa tulis adalah puisi Rubā‘i karya Hamzah Fansuri. Ia dapat dikatakan seorang individu yang dapat memakai dua bahasa atau lebih di tengah masyarakat dan terjadi kontak bahasa sehingga terjadi interferensi bahasa. Lebih tepatnya terjadi permasalahan interferensi morfologis. Objek penelitian ini adalah kata-kata yang mengalami interferensi secara morfologis, tipe penelitian ini, kajian pustaka dan deskriptif-kualitatif. Teknik padan translasional digunakan untuk menganalisis data. Permasalahan yang ingin dijawab (1) bentuk-bentuk interferensi morfologis, dan (2) sebab-sebab terjadinya interferensi bahasa. Hasil yang diperoleh dari penelitian ini. Pertama, terdapat 241 kata yang mengalami interferensi secara morfologis. Bentuk-bentuk interferensi berupa afiksasi dan bentuk kata gandaan (majemuk). Afiksasi yang terjadi berupa imbuhan prefik (awalan), sufik (akhiran), dan konfik (awalan dan akhiran). Kedua, terdapat dua sebab utama terjadinya interferensi, yaitu faktor linguistik (kebahasaan) dan faktor non linguistik (non kebahasaan). Faktor linguistik, diantaranya: tidak ada padanan kata dalam bahasa Melayu, terbawanya bahasa ibu, kosakata Arab ringkas kata luas makna. Faktor nonlinguistik, diantaranya: Hamzah Fansuri seorang multilingual, Hamzah Fansuri seorang sufi, pengaruh Islamisasi di Nusantara, puisi sebagai budaya kesusastraan awal Islam di Nusantara, berkembangnya tulisan Jawi (Melayu-Arab).Interference is used to two languages or more by person and happened language contact, usually in speaking and writing. Rubā‘i of Hamzah Fansuri it is example interference in writing. Hamzah Fansuri is individual in his community whom used to two language or more and impact this phenomena it's call by interference language. Thats exactly, problem morphological interference. This objec research is interference words in Rubā‘i, type research is library research and descriptive-qualitative. Translational tecniques used for analysis data. The purpose study to describe (1) forms morphological interference in Rubā‘i poems, (2) interference factors in Rubā‘i poems. Results this research. The first, 241 words has morphological interference. Interference forms of affixation and the form of multiple word. Affixation is form of prefixs, suffixs, and confixs. The secondly, language interference has two factors: linguistic and non linguistic. In linguistic factors, Malay doesnt have synonim word in arabic, his poems also affected by his first language, Arabic word has little forms but more means. As for non linguistic factors are: Hamzah Fansuri is multilingual, he is a sufi, factor influence of Islamization in Nusantara, poetry as an early literary culture of Islam in Nusantara, the development of Jawi (Malay-Arabic).
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Aituganova, S., and K. Sarekenova. "ARTISTIC FUNCTION OF THE FIGURES IN YASAWI'S HIKMETS." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 1 (March 15, 2024): 92–103. http://dx.doi.org/10.55808/1999-4214.2024-1.07.
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In the article, the collection of Yasawi's hikmets is taken as the object of analysis from an artistic and figurative point of view. The significance of hikmets as a genre of poetry will be examined and its patterns of figures will be identified. The important function of poetic repetition, as a rhetorical device for introducing concepts such as moral properties, human duty, morality, and spiritual purity, will be explored. Khoja Ahmed Yasawi, the great representative of Sufi teaching, skillfully harmonized ancient Turkic poetry with Eastern Arabic and Persian poetry and created the best poetic pattern in the Turkic world. Mixing several genres of oriental poetry with the long-established tradition of Turkic poetry and the formation of the hikmet genre is in itself a great achievement, and the desire to deepen the substantive weight of this genre shows a new spiritual height. Poetic repetition plays an im- portant role as an artistic approach to revealing content. The meaning and content of Yasawi's hikmets and their spiritual and cogni- tive significance have become the subject of a number of studies. It was comprehen- sively examined from the point of view of language, literature and ethnography. The repetition patterns used by the author of hikmet and their ideological and artistic function also require special study. Since Yasawi is not only a great exponent of spir- itual teachings, but also a poet immersed in traditional poetry, his hikmets are also distinguished by their artistry. The article identifies the types of poetic repetition used by the poet, such as initial (anaphora) and final (epiphora) repetition, and draws conclusions based on this.
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Kościelniak, Krzysztof. "The Neoplatonic Roots of Apophatic Theology in Medieval Islam on the Example of Maqāmāt aṭ-ṭuyūr/Manṭiq aṭ-ṭayr (The Conference of the Birds) by ʿAṭṭār Nīšāpūrī (ca. 1145–1221)." Verbum Vitae 41, no. 3 (October 3, 2023): 647–72. http://dx.doi.org/10.31743/vv.16185.
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This study will focus on the metaphysical and theological thought of Farīd ad-dīn ʿAṭṭār Nīšāpūrī, i.e. Abū Hamīd bin Abū Bakr Ibrāhīm (ca. 1145/6–1221). ʿAṭṭār’s best known masterpiece, Maqāmāt aṭ-ṭuyūr (Arabic Manṭiq aṭ-ṭayr), The Conference of the Birds, is seen as the finest example of Sufi love poetry in the Persian language after Rūmī. His thought is distinguished by its provocative and radical theology of love, as well as elements of apophaticism. ʿAṭṭār Nīšāpūrī’s vision of God should be analyzed in the context of Neoplatonism, which in a special way contributed to the development of apophatic Muslim thought. This approach challenged classical Islamic theism, whose representatives were convinced that they had sufficient knowledge of God from the Quran and Sunna. Aṭṭār’s doctrine focused on God who is a part of the universe. In other words, this author believed that whatever exists is part of God.
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Yusupov, Airat Faikovich. "THE FUNCTIONING OF THE ARABIC VERBAL FORMS IN THE LANGUAGE OF THE TATAR SUFI POETRY OF THE XIX CENTURY." Philological Sciences. Issues of Theory and Practice, no. 3-2 (March 2018): 398–401. http://dx.doi.org/10.30853/filnauki.2018-3-2.45.
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Amirbekian, Raisa. "Les Sujets Soufis Dans la Miniature Medievale Orientale (Collection du Maténadaran, Erevan)." Iran and the Caucasus 11, no. 1 (2007): 61–87. http://dx.doi.org/10.1163/157338407x224914.
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AbstractThe Matenadaran, Mashtots Institute of Ancient Manuscripts, is a unique repository of Armenian and Oriental manuscripts. The Oriental Collection of the Matenadaran (known usually as Arabo-Persian Collection), including manuscripts in Persian, Arabic, Turkish, Hebrew, Indian and other languages (total ca. 2,500), is formed over a long time and is regularly augmented by purchases and gifts. This collection covers nearly all subjects of human and natural sciences and culture, including theology, jurisprudence, Qur'ānic sciences, Tafsīrs, Hadīthes, lexicography, literature, poetry, history, politics, philosophy, logic, astronomy, magic, mathematics, medicine, veterinary, and agriculture. Among them there are some Sufi codices from the period of the 15th to the 19th century, illustrated and illuminated in the various ateliers in Iran and the region. The article presents the analysis of some Oriental medieval miniatures from the Matenadaran Collection connected with the Sufi motifs in their compositions. The most important are illustrative cycles of a copy dating back to 1848-1849 of the Commentaries of the Seven Qasidas by Husayn Ibn Ahmad al-Zuzani (Ms. no. 1610); of the Afghan manuscript of the 18th century Gulshan-i Afghan by 'Ali Akbar Oraqzay (Ms. no. 538); of a manuscript (no. 599) dated from 1841-1842 and containing the poem Yusuf va Zuleykha by 'Abd ul-Rahman Djami; and of a manuscript of 1629 (no.1036), the travel diary of the Iranian diplomat Muhammad 'Ali Bek Isfahani; as well a number of single miniature compositions from the collection of Louise Aslanian (Paris) (no.1999).
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HOFFMAN, VALERIE J. "VINCENT J. CORNELL, Realm of the Saint: Power and Authority in Moroccan Sufism (Austin: University of Texas Press, 1998). Pp. 442." International Journal of Middle East Studies 33, no. 2 (May 2001): 309–11. http://dx.doi.org/10.1017/s0020743801302064.
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Vincent Cornell's Realm of the Saint is a masterly work, indisputably authoritative, the result of more than twenty years of research on Sufism in Morocco and Al-Andalus. Drawing on a critical reading of a vast array of textual sources, including hagiographies, histories, didactic treatises, devotional works, and poetry, this book brings to light material that has been virtually untouched in academic studies on Moroccan Sufism. As Cornell points out, Morocco has become a paradigm for the anthropological analysis of Sufism, but the vast archival resources of Morocco had been hitherto largely untouched by academicians. Through detailed analysis of the lives of many Sufi saints as presented in hagiographical literature, exploring both the ideological and sociological dimensions of sainthood in the Moroccan context, he convincingly argues that the “doctor” versus “saint” topos that prevails in the anthropological literature does not do justice to the reality of pre-modern Moroccan Sufism. He also deconstructs the centrality of “maraboutism” and rurality in Moroccan Sufism. Cornell compares his findings with studies of saints in Europe by scholars such as Peter Brown and Thomas Heffernan, as well as with the Weberian theories of charismatic leadership that have prevailed among social scientists, displaying an extraordinary range of competence in the literature of several academic disciplines. It is a rarity to find a scholar of Cornell's deep understanding of Arabic and Islamic tradition who also places his research within the broader context of the study of religion. Nevertheless, scholars outside Islamic studies are unlikely to read this book because of its length, excessive detail, and frequent use of Arabic terms, despite the presence of a glossary of technical terms at the end of the book.
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Tarik ABDULJABBAR, Ziyad. "LOVE OF HUMAN BEING IN THE DIVAN OF AZIZ MAHMUD HUDAI." International Journal of Humanities and Educational Research 05, no. 03 (June 1, 2023): 512–24. http://dx.doi.org/10.47832/2757-5403.20.31.
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Aziz Mahmud Hudai is one of Sufi poets who grew in the Anadolu land in Turkey in the 16th century. He was born in 1541 in ġereflikoçhisar town to the south of Ankara. Aziz Mahmud Hudai founded of the branch of the method of going from outside to the hermitage. He died in Istanbul in 1628 about 87 years old. He wrote about 30 books in Arabic and Turkish to educate Muslims and guiding them according to Sunni’s doctrine. In addition to be a Sufi, He is also considered a Divan Poet. His grave is in a graveyard in Istanbul. The poetic work of Aziz Mahmud Hudai is known by the Collection of Divine Poetry. It consists of 255 hymns and several poems written in stanzas and quatrains. It is an important work that all Turkish and Islamic worlds respect. The diction of the Divan or the collection is simple, fluent, and sometimes didactic. The subjects that the collection of poems or Divan deals with are the Sufi’s causes and focuses generally on aspects like acknowledging God and Monism. Tasawwuf is a branch of the basic Islamic Sciences in the Islamic tradition. Sufism, which emphasizes the moral education and upbringing like chastisement and purification, pays a great deal of importance on the love of human being. Causes like the origin of mankind comes from Prophet Adam and the fact that every human being has the ability to be a Muslim and that this human being if the most precious among all the creatures created by God, these causes, or subjects represent the basis of the Human love in Sufism. Aziz Mahmud Hudai spent his life in tasawwuf and led a group of people whom he founded himself. In this context, we find in his Divan or collection of poems, how to deal with the human love in different and creative perspectives. This study introduces information about the life of Aziz Mahmud Hudai and his religious and Sufi personality in addition to his literary works. After introducing a detailed analysis of the Divan of Aziz Mahmud Hudai, the research paper focuses on the main subject of the paper which love of human being. The last section of this study deals with human love in the Divan of Aziz Mahmud Hudai which represents the end of the study
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Zakaria, Muhammad Zulfadhli, and Md Nor Abdullah. "Unsur al-Badī ͨ dalam Puisi al-Munfarijah Karya Ibn al-Naḥwī (Al-Badī ͨ Elements in the Poetry of al-Munfarijah by Ibn al-Naḥwī)." UMRAN - International Journal of Islamic and Civilizational Studies 6, no. 2 (June 25, 2019): 1–19. http://dx.doi.org/10.11113/umran2019.6n2.242.
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The poetry of al-Munfarijah by Ibn al-Naḥwī is an Islamic poem-themed; sufism. This medieval poem received an encouraging response from the sufis and litterateurs. Besides quality content, the benefits of an Arabic poem are judged based on the usage of good language, high imagination, unique phonetics and alphabetical sound, and aesthetics. This values are based on the Arabic rhetoric. Hence, this article aims to examine the application of al-Badī elements which is a part of the Arabic rhetoric in al-Munfarijah poetry. This is a qualitative study that involves content analysis. General meaning was given to the selected verse. Thematic and deductive approaches are applied in data analysis. The study found that the application of al-Badī elements involved both al-Muḥassināt al-Ma ͨnawiyyah and al-Muḥassināt al-Lafẓiyyah. This article focuses only on three elements from each parts. The application of six elements is sufficient to illustrate the holistic semantics and aesthetics of poetry. This research reveals that the writer has an excellent level of al-Tharwah al-Lughawiyyah in his poetry. Despite the language aspect mentioned, a significant influence of tasawuf is also deployed. This proves the privilege and uniqueness that adds value to al-Munfarijah poetry
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Khoiro, Della Amaliya, Tantan Hermansyah, and Kiky Rizky. "Emha Ainun Nadjib and Sufism Communication: Congregation of Maiyah Kenduri Cinta as Case Study." Jurnal Ilmiah Syi'ar 22, no. 1 (July 8, 2022): 56. http://dx.doi.org/10.29300/syr.v22i1.6383.
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This study answers questions about Sufism as a communication message for Emha Ainun Nadjib in the Ma'iyah Kenduri Cinta discussion group at Taman Ismail Marzuqi, Central Jakarta. This study uses a descriptive qualitative approach using data collection techniques: observation, interviews, and documentation. The theoretical basis uses narrative theory. Then the result is obtained. First, Emha Ainun Najib is a literary figure, more inclined to Sufism using Sufism literature when communicating with the congregation. Second, Emha Ainun Najib is a Sufi poet who is not much different from Sufi poets such as Rabi'ah Al-Adawiyah, Ibn Arabi, Al-Hallaj, and Rumi. However, they are already included in the category of a Sufi, while Emha is still not at that stage. Third, Emha Ainun Najib, during his lecture, conveyed his religious experience through literature: form of Sufistic poetry, without letting go of the pure nature of God, who is One, transcendent, and immanent. Fourth, Emha Ainun Najib is a character or lecturer who can demonstrate coherence in conveying his messages of Sufistic value to the Ma'iyah congregation of love celebrations and Emha when conveying his ideas, and thoughts through the Sinau Together approach (lectures & joint discussions). In addition, through the CakNun.com youtube media, books and poetry.
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Jamal, Muhammad Tanveer, and Abdul Zahoor Khan. "Poetry of Bābā Farīd." ISLAMIC STUDIES 61, no. 1 (March 31, 2022): 85–110. http://dx.doi.org/10.52541/isiri.v61i1.1393.
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Shaikh Farīd al-Dīn Mas‘ūd Ganj-i Shakar (569/1173-664/1265) is one of the celebrated Chishtī Sufis of the Indian subcontinent. Chishtī order is credited with several seminal literary innovations in Medieval Islamic India. Bābā Farīd is considered the father of Punjabi poetry. He also had a great command of other languages including Persian and Arabic. The present study explores the contemporary sources that interacted with Bābā Farīd’s couplets. An effort has also been made to explore the originality of the Ashlōk-i Shaikh Farīd included in the Guru Granth. The study is a unique endeavour to conceptualize and examine the thematic connection of Bābā Farīd’s poetry with his life, teachings, and metaphysical thoughts preserved in biographical compendia.
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Ridha Shaheen, Faeza. "THE FEATURES OF SUFI LITERATURE IN ANDALUSIA IBN ARABIS POETRY (D. 638 AH) AND." Route Educational and Social Science Journal 8, no. 61 (January 1, 2021): 153–82. http://dx.doi.org/10.17121/ressjournal.2972.
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Fuad, Khairul, Lalu Agus Satriawan, Mashuri Mashuri, Syamsul Ma'arif, and Harapandi Harapandi. "IBN ARABI'S CREATIVE IMAGINATION IN ODHY POETRY OF SUFISM FIGURES IN HIS ANTHOLOGY RAHASIA SANG GURU SUFI." Jurnal Ilmiah Islam Futura 23, no. 2 (September 20, 2023): 360. http://dx.doi.org/10.22373/jiif.v23i2.15291.
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This research aims to analyze the Sufism figure in Odhy poetry anthology Rahasia Sang Guru Sufi through Ibn Arabi's creative imagination. The Sufism figure has an important role in the Sufism discourse, and creative imagination is related to literary discourse. Ibn Arabi’s creative imagination combined indicated Ibn Arabi himself and his imagination. Ibn Arabi’s thought is compatible with the literature and applied as a theoretical approach to mystical literature, namely the work of Odhy, the Sufism figure poetry. Those terms denote part and relate to Sufism studies, especially a murshid (guru) to guide the spiritual guidance through stations until the peak. Those path finders indicate the creative imagination that Odhy used in his poetry collection; at the same time, the literature has related to that imagination. This research reveals the mutual connection between literature and Islamic mysticism based on imagination. This figure is a person who wrote down his role in the discourse and history of Sufism. The data on Sufism figures are collected through the descriptive method from the primary source of those anthologies. Besides, the historical approach explains his poetries in those anthologies. This research found the Sufism figures as a thought in Islamic Mysticism in history through Ibn Arabi’s creative imagination and an image resource in literature.
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Nurfaiza, Salma. "Exploring The Meaning of Love and Longing for Poetry in Ibn Arabi's Diwan Tarjuman Al-Ashwaq." ISLLAC : Journal of Intensive Studies on Language, Literature, Art, and Culture 7, no. 2 (December 21, 2023): 187. http://dx.doi.org/10.17977/um006v7i22023p187-204.
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This article aims to analyze the meaning of love and longing for literary works in the form of poems contained in the Diwan Tarjuman Al-Ashwaq by a Sufi named Ibn Arabi. The theory used is Riffaterre’s Semiotic theory. Written ada sources in the form of journals, books, and articles that are relevant to the topic of discussion. Tarjuman Al-Ashwaq contains poems that contain elements of love and longing, which are symbolized by the figure of a girl or woman who sparked controversy in the history of Islamic literary works because his poems were considered to contain the meaning of Ibn Arabi’s Sensual love for women. However, the results of the analysis show that the meaning carried out by the people at that time was wrong, Ibn Arabi only used women as a source of inspiration to represent his love and longing for Allah. Keywords: Ibn Arabi, Poetry, Tarjuman al-Ashwaq
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Rohmana, Jajang A. "Sundanese Sufi and Religious Diversity in the Archipelago: The Pluralistic Vision of Haji Hasan Mustapa (1852-1930)." Kawalu: Journal of Local Culture 5, no. 1 (June 30, 2018): 34. http://dx.doi.org/10.32678/kawalu.v5i1.1873.
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The paper aims to analyze moderate understanding of Haji Hasan Mustapa on religious diversity in the archipelago. He is a greatest Sundanese poet who has studied in Mecca and served as Hoofd Penghulu of Kotaraja Aceh and Bandung in the colonial era. This study is focused on sufism and religious diversity, Mustapa‟s scholarship, and on his pluralistic vision, using intertextual studies and semantic analysis. This research argues that Mustapa has tolerance and moderate understanding similarly with Ibn „Arabi‟s thought. He uses kernel and husk as symbolic images which expressed using natural richness of Sundanese culture for demonstrating his religious conviction that rasa is the kernel of all religions. This study is significant for strengthening the discourse of religious pluralism from sufi perspective in the archipelago which cannot be separated from the chain of Islamic intellectual network. This research has also a significant impact on Chittick‟s assumption about the depth of sufi poetry which mostly reveal their tolerance views on religious diversity living in harmony.
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Marzolph, Ulrich. "Popular Narratives of Ǧalāloddīn Rumi’s Masnavi." Arabist: Budapest Studies in Arabic 13-14 (1995): 275–87. http://dx.doi.org/10.58513/arabist.1995.13-14.22.
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Although Rumi and his Masnavi have been a favourite object of study, any occupation with his poetry has mostly concentrated on matters of style, language, and poetical imagery. Though Rumi’s employment of specific narrative materials to illustrate his ideas had been noted from the beginning, a comparative discussion of the sources and later versions of these tales has not attracted major attention. With some notable exceptions, most authors dealing with Rumi content themselves with a general reference to the method of ‘illustrating mystical ideas by way of tales’ as being a common trait of Sufi literature. However, an application of the methodical inventory of comparative folk narrative research to the narrative materials contained in Rumi’s Masnavi leads to a different appreciation. In order to permit a poignant conclusion, the present study is restricted to the roughly ten percent out of the Masnavi‘s total of more than 300 tales corresponding with international narrative types and motifs as outlined by the indexes of Antti Aarne and Stith Thompson. The selection given supplies the basic stock for a demonstration of the various origins Rumi drew his material from, as well as an evaluation of the Masnavi‘s mediating role in passing on traditional narrative in Iran and the neighbouring countries influenced by Persian literature.
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VAN GELDER, GEERT JAN. "AKIKO MOTOYOSHI SUMI: Description in Classical Arabic Poetry: Wasf, Ekphrasis, and Interarts Theory. (Brill Studies in Middle Eastern Literatures, Supplements to the Journal of Arabic Literature, 25.) xvii, 251 pp. Leiden and Boston: Brill, 2004. €75." Bulletin of the School of Oriental and African Studies 67, no. 3 (October 2004): 393–95. http://dx.doi.org/10.1017/s0041977x04240253.
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Suleymanov, S. S. "Арабские лексические единицы в средневековом литературном азербайджанском языке." Эпосоведение, no. 3(23) (October 27, 2021): 110–23. http://dx.doi.org/10.25587/j2046-8439-9136-r.
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The article reviews the period of the Literary Azerbaijani language beginning from the epics ofDede Korkut to the 16th century. It indicates that Arabic has infl uenced Azerbaijani since the most ancient times,i. e. beginning from the time when the Arabs occupied Azerbaijan approximately in the second half of the 7thcentury, and since that period, Arabic lexical units have been used in Azerbaijani. This infl uence was fi rst atthe level of oral language, but when the written form of Literary Azerbaijani began to be established in the 13thcentury, Arabic infl uenced our written literary language too, and since that time has manifested itself brightlyin the works of Hasanoghlu, Gazi Burhan Uddin, Nasimi and our other poets. While in Gazi Burhan Uddin’sworks the Arabic lexical units manifested themselves massively for the fi rst time in our literary language, inNasimi’s poetry the Arabic lexical units served somewhat to make Nasimi’s language philosophic and scholarly.However, already in the 16th century in Fuzuli’s works the frequency of the use of the Arabic lexical units inLiterary Azerbaijani reached its peak from both the quantitative and qualitative points of view. In Fuzuli’s worksthe essence and semantic features of the Arabic lexical units were revealed, at the same time, these lexical unitsfacilitated the promotion of Fuzuli’s language which, consequently, was admired not only in the Western group ofthe Turkic languages, but also in their Eastern group.The main purpose of the research was to study Arabic lexical units existing in Literary Azerbaijani. Theresearch had the following objectives: to identify some Arabic lexical units in the works of the 14th–16th-centuryAzerbaijani classical authors; to study the peculiarities of these Arabic lexical units in the Arabic language; to fi ndout what new shades of meaning they acquired in the environment of the Azerbaijani language; to fi nd out whatnew phonetic and morphological features these words acquired in the Azerbaijani language; to study the qualitiesacquired by the Arabic lexical units used in the Classical Literary Azerbaijani when they established syntacticrelations in the environment of the Azerbaijani language; to study what stylistic variations were created by theArabic lexical units used in our classical literary language, in our classical linguistic environment; to study ourclassical authors’ attitude towards the Arabic lexical units.Naturally, the panorama is extremely broad and comprehensive. Not because the theme of the research coversseveral centuries and the creative activities of tens of poets, but also due to the fact that it brings the mutualinterrelations of two thinkers, two cultures, and fi nally, the two languages onto one uniform plane of research.In this sense, the theme is actually essential. It is true that although our scholars have touched upon this themein their works now and then, yet despite its topicality, it has not been the topic of a separate investigation so far.A cursory look at our language is suffi cient to see which language has infl uenced it more, from which languageit has borrowed more lexical units all through its development (naturally, here we consider, fi rst of all, the languageof the written monuments to which we have an access). Certainly, Arabic is the language that has infl uenced ourvernacular most and from which we have borrowed more lexical units. It is true that our mother tongue has hadinterrelations with many languages all through its development, borrowed tens, hundreds of lexical units fromeither Persian, or Russian or some other languages in different periods of history, and have been exposed to theimpact of these languages. However, the Arabic language ranks fi rst among them. Arabic had been the language ofthe state ruling the socio-political state in the East for a long time; consequently, it turned into the state languagein which the scientifi c and cultural works were written, and along with all this, it is also the language of Islam, thelast heavenly religion, which has always upraised the status of this language; and hence, the strong infl uence ofthis language on Azerbaijani Turkish, like its infl uence on other languages of the East. In this sense, in terms of animpact on our vernacular, the fi rst place of the Arabic language is an undeniable fact. And while investigating thepeculiarities of the impact of Arabic on our language, the study of the frequency of the usage of the Arabic lexicalunits in our language as one of the first features of this impact is of utmost importance. Данная статья посвящена проблеме становления азербайджанского литературного язы-ка, начиная со времен эпоса «Деде-Горгуд» вплоть до XV в. Обосновывается мысль о том, что влияниеарабского языка на азербайджанский происходило с древних времен, начиная с того периода, когда арабыво второй половине VII в. захватили Азербайджан, и именно с этого времени азербайджанский язык на-чал пополняться арабскими лексическими единицами. Изначально, влияние было только на уровне уст-ной речи, в дальнейшем, в VIII в. к моменту формирования письменного литературного языка, оно пере-шло и на письменную речь. Ярким примером тому служат произведения Гасаноглу, Гази Бурхан Уддина,Насими и др. Однако, если в произведениях Гази Бурхан Уддина эти лексические единицы впервые былиширокомасштабно продемонстрированы в литературном языке, то на языке Насими они служили чем-товроде философским и научным. Тем не менее, уже в XVI в. частота использования арабских лексическихединиц в литературном азербайджанском достигла своего апогея, как качественно, так и количественно.Произведения Физули раскрыли сущность и семантические особенности арабских лексических единиц,тем самым способствовали развитию языка Физули, который полюбился не только Западной, но и Вос-точной группе тюркских языков.Основная цель исследования состоит в изучении арабских лексических единиц, существующих в ли-тературном азербайджанском языке. Поставлены следующие задачи: выявить некоторые арабские лекси-ческие единицы из произведений азербайджанских классиков XIV–XV вв.; исследовать их особенностив арабском языке; выявить новые оттенки значений, которые они приобрели в азербайджанском языке;выяснить, какие новые фонетические и морфологические особенности проявились у этих слов в азербайд-жанском языке; установить, какие качества приобретают арабские лексические единицы, используемые вклассическом литературном азербайджанском языке, вступая в синтаксическую связь в азербайджанскомязыке; изучить, какие стилистические оттенки приобретают арабские лексические единицы в классиче-ском литературном азербайджанском языке; исследовать отношение наших классиков к арабским лекси-ческим единицам.Действительно, картина достаточно широкая и всеобъемлющая. Не только потому, что тема исследо-вания охватывает несколько веков и творчество десятков поэтов, а также потому, что приводит на однуплоскость исследования два образа мышления, две культуры и, наконец, взаимоотношения двух языков.В этом смысле данная тема действительно очень актуальна. Конечно, наши ученые время от временикасались этой тематики в своих произведениях, однако, несмотря на свою актуальность, она до сих пор небыла темой отдельного самостоятельного исследования.Достаточно просто взглянуть на наш язык, чтобы увидеть, под влиянием какого языка больше на-ходился наш язык на протяжении всей истории своего развития (естественно, здесь в первую очередьимеются в виду дошедшие до нас письменные памятники), из какого языка больше всего заимствован-ных лексических единиц. Конечно, языком, под чьим влиянием больше всего находился и откуда большевсего лексических единиц заимствовал, является арабский язык. Правда, на протяжении своего развитиянаш язык был подвержен взаимодействию со многими языками, в различные исторические периоды за-имствовал сотни лексических единиц из фарси, русского и др. языков. Однако в этом ряду арабский языкзанимает первое место. Таким образом, арабский язык, являясь языком государства, долгое время управ-ляющего общественно-политическим положением на Востоке, в результате чего ставшего государствен-ным языком, на котором писались научные, культурные произведения, а также, будучи языком последнейнебесной религии ислам, что сильнее укрепляло его статус, наряду с воздействием на другие языки, такжеимел сильное влияние на тюркский азербайджанский язык. В этом смысле факт первенства с точки зрениявлияния арабского языка на наш язык неоспорим. При исследовании очень важно изучение частотностииспользования арабских лексических единиц как одного из первых признаков особенностей влияния араб-ского языка на наш родной язык.
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Yücer, Hür Mahmut. "Vahdet-i Vücûd Nazariyesinin İzahında Nokta Sembolizmi ve Muhyiddin-i Rûmî’nin Temsîl-i Nokta Adlı Eseri / The Symbolism of the Point (Noqtah) to Expound the Doctrine of the Unity of Being and Muhyiddin al-Rumi’s Work "Tamthil Noqtah"." Journal of History Culture and Art Research 6, no. 2 (April 6, 2017): 199. http://dx.doi.org/10.7596/taksad.v6i2.852.
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<p><strong>Abstract</strong></p><p>The real being in the Islamic thought is only one and it is Allah, the Almighty. All other beings have come to existence through the gradational manifestation (tajalli), condescension (tanazzul) and effusion (tafayyud) of the Transcendental Being (Zat Muta'al). A variety of symbols has been utilised to describe the transition of the being from oneness to plurality, from subtlety (latafa) to grossness (kasafa) and from truth (haqiqa) to metaphor (majaz), In this regard some symbolisms prevail such as of reality and shadow, of seed and tree, of point and letter,</p><p>The Point (noqtah) is the beginning of the writing (of the word). A book consists of sentences formed by words made up of letters which originate singly from a point. Thus the point constitutes the start and essence of the word and the source of the knowledge. Furthermore, the point is the commencement of the being as well. In other words, it is the initial source and outlet of the universe. It is eventually identical to human being. As essence it is immanent in all beings in addition to forming the beginning.</p><p>The tradition of defining the being through the symbolism of the point which dates back to Ibn Arabi has been maintained by Ottoman sufi thinkers in the subsequent eras. One of them, Muhyî al-din al-Rumi (d. ca. 946 AH), a sheikh of Khalwatiyya sufi order authored several treatises in which he makes use of abovementioned symbolisms. In the treatise titled Tamthil Noqtah he focuses on the symbolism of the point. In his works he explains the matters by drawing some geometrical shapes such as circles which one in the other, besides speaking of them through prose and poetry.</p><p>This study firstly deals with the symbolism of the point and then provides an examination of the said work of Muhyî, Tamthil Noqtah, followed by a Turkish transliteration of it.</p><p><strong>Öz</strong></p><p>İslam düşüncesine göre gerçek varlık birdir, o da Cenâb-ı Allah’ın kendisidir. Vücûd/varlık, Zât-ı Müteâl’in içerden dışarıya doğru aşama aşama tecelli, tenezzül, tefevvüz etmesi ile oluşmuştur. Varlığın birlikten çokluğa, latiften kesife, hakikatten mecaza geçişini anlatılabilmek için farklı semboller kullanılmıştır. Bu sembollerin başında hakikat ve gölge, tohum ve ağaç, nokta ve harf, hakikat ve ayna, iplik ve halı gibi çeşitli benzetmeler gelmektedir.</p><p>Nokta, yazının (kelâmın) başlangıcıdır. Noktadan, harf, harften kelime ve isim, kelime ve isimlerden cümle, cümleden kitap oluşmuştur. Bu haliyle nokta kelâmın başlangıcı ve özü, bilginin kaynağıdır. Diğer yandan nokta, kelâm ile eş zamanlı olarak varlığın başlangıcıdır. Evrenin ilk kaynağıdır, ilk çıkış yeridir. En nihâyet nokta insanın ʻaynıdır, hüviyetidir. Fakat bu haliyle o zübde/öz olarak bütün varlığın hem başlangıcı hem de onu içkindir.</p><p>Varlığı nokta sembolizmi üzerinden tanımlama geleneği İbn Arabî ile başlamış özellikle Osmanlı sûfi düşünürleri tarafından devam etttirilmiştir. Muhyiddin er-Rûmî (946/1539’den sonra) yukarıda bahsedilen sembolleri kullanarak müstakil risâleler kaleme almıştır. <em>Temsîl-i Nokta</em> risâlesi de bunlardan nokta sembolizmine yoğunlaşmıştır. Fakat o eserlerinde sembolün daha iyi anlaşılabilmesi için nesir ve manzum bir yazım tarzı yanında iç içe geçmiş daireler ve şekiller çizerek konuyu anlatma yolunu tutmuştur.</p>
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Talib Hussain Khokar and Karam Ali. "سید انور علی شاہ کی مذہبی و صوفیانہ شاعری:ایک مطالعہ." Al-NASR, December 2, 2023, 69–78. http://dx.doi.org/10.53762/alnasr.02.03.u06.
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Sufi Syed Anwar Ali Shah, born on 11 Muharamul Haram 1324 H at Village Jahan pur Sharif, Taluka Mirpur Mathelo District Ghotki, His father, s Name is Syed Khuda Bux Shah. The forefathers of Syed Anwar Ali Shah belonged to Arabia, then migrated to Punjab (Uch Sharif) and then to Balochistan and then to Sindh. Syed Anwar Ali Shah received his early religious education from his uncle Hafiz Syed Bahadur Ali shah and then from Molvi Mohammad Essa Noorani. Anwar Ali Shah received a little wordly knowledge in apparent but his spiritual and metaphysical knowledge is very thoughtful. Sufi Anwar Ali Shah composed poetry in many languages i, e Sindhi, Urdu, Siraiki, Balochi, Persian, Arabic, Hindi and Marwari. Syed Anwar Ali Shah, s mystic poetry is full of deep sense, wide message and a great insight and enlightenment. He is on the same path of Mansoori. Poerty of Syed Anwar Shah is message of unity, tolerance and co-existence. Nodoubt, the urdu poetry of Syed Anwar Ali Shah is replete with thought-provoking subjects, and metaphorical terms, which needs a very deep study and insight to understand. Syed Anwar Shah is a great Sufi saint, and his message in poetry is in line with same all sufis of world. This article peeps in deep to his Urdu poetry at wider length.
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Petrone, Michel. "POESIA ARABA E SUFISMO NELL’ETIOPIA CONTEMPORANEA,FRA PRATICA E DOTTRINA." El Azufre Rojo, no. 9 (December 10, 2021). http://dx.doi.org/10.6018/azufre.504421.
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Riassunto: In questo studio si prenderanno in esame alcuni esempi provenienti dall’Etiopia Sud Occidentale, tutt’ora inediti. Composti da Sufi locali fra la fine del XIX secolo e l’inizio del XX, questi testi mostrano un profondo legame con la pratica del mawlid come festività popolare. Allo stesso tempo i versi racchiudono alcuni insegnamenti metafisici di scuola akbariana. Abstract: Sufi poetry is widespread, in Arabic and local languages, throughout the Islamic world. In this study, some examples from Southwestern Ethiopia, still unpublished, will be examined. Composed by local Sufis between the end of the nineteenth century and the be-ginning of the twentieth, these texts show a profound link with the practice of the mawlid as a popular festival. At the same time the verses contain some metaphysical teachings of the Akbarian school.
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Snir, Reuven. "Kafka’s “Frightened Mouse”." Quaderni di Studi Arabi, July 5, 2021, 1–24. http://dx.doi.org/10.1163/2667016x-16010001.
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Abstract Existentialist doctrine and neo-Sufi Arabic poetry share the conviction of the worthlessness of human existence – strangeness, alienation, wondering about the meaning and purpose of life, and deep depression after the tragic nature of human existence are imprinted on the character of man by the very nature of his humanness. Two short literary texts, one by the Austrian novelist Franz Kafka (1883–1924) and the other by the Egyptian poet Ṣalāḥ ʿAbd al-Ṣabūr (1931–1981), deal with such topics of the human existence presenting a new original vision. A mouse is the central figure of both of them. Despite the worthlessness of human existence, both texts offer some kind of hope and spiritual quest, a salvation in which death could be the gate to true life.
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Sher, Mr Ali. "امیر خسرو اور فن موسیقی." University of Chitral, Journal of Urdu Language & Literature, June 15, 2017, 120–35. http://dx.doi.org/10.33195/uochjull-v1ii242017.
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mir Khusru was a sufi, musician, poet and scholar. He was an iconic figure in the cultural history of the Indian subcontinent. He also contributed the Persian, Arabic and Turkish elements to the Indian music. Music has a fundamental role in the spiritual aspects of life. In the Indian sub-continent, Amir Kusro is known as one of the pioneers of Music. He introduced many tunes in music by mixing Persian and Indian tunes together, such as Fraghana, Saazgari, Meanamand Baakhro. Qawali is one of the spiritual types of music in Indo-Pak which was introduced by him for the first time. He also invented Sitar(SehTaar), a musical instrument and Promoted Geet, a genre of Hindi poetry. In this research paper, the researcher has discussed the achievements of Amir Khusru in Indian music.
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Talib Hussain Khokar and Karam Ali. "مولانا بہاؤالدین بہائی اور ان کے افکار." Al-Qamar, November 24, 2023, 33–38. http://dx.doi.org/10.53762/alqamar.06.04.u03.
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People with great imagination can born anywhere in the world. Mawlānā Bahā-ud- Bahā’ī Pitāfī is one such example. He was born in 1238 AH in Ghotki, district of Sindh. He got his education from Syed Ali Akbar Shah in a madarsa. He got married and had 6 children. He learned Arabic and Persian there and began teaching in the same institution. After that, he kept on teaching in far off places, but, ultimately, he settled in a village called Dad Laghari. He was one of the greatest sufi poets of his time. People often confuse him with Persian "Bahai baha ul din". But he is totally a different poet. It is his distinction that he is the first urdu poet of Ghotki. His poetry is full of peculiarities. He adores human beings in various ways and considers them the path to God.
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Ahsanuddin, Mohammad, Irhamni ., and Imam Asrori. "Semantic Domain of Being in Hamzah Fansuri’s “Sidang Fakir Empunya Kata” Poem." KnE Social Sciences, November 11, 2020. http://dx.doi.org/10.18502/kss.v4i14.7898.
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Writing poetry is inseparable from the field of meaning contained in each word used by the author. Among the many types of meaning fields, ‘being’ is one of most often used by Hamzah Fansuri, a poet who is famous for his work in the Sufi field, where he often uses a mixture of Arabic and Indonesian. This study aims to describe the field of meaning of being in Master of the Words by Hamzah Fansuri. The research method used is descriptive qualitative. The results showed that the field of meaning in the category of being was a semantic category related to abstract human concepts or experiences. The distinctive feature of this category is the prediction exists, although it cannot be lived directly by the human senses. In the words of the Fakir Empower, VHamzah Fansuri uses a lot of words that are included in the category of being, where the words are related to abstract human concepts or experiences. As the word faqir,machbub, zahir, da’im, and so forth.
Keywords: being, semantic domain, Hamzah Fansuri, poem.
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ACER, Abdulrahman. "The Life of Muhammad Shirin-i Maghribi and Translation of His Jam-i Jihan-numa by Tahir al-Mawlawi." Sufiyye, June 10, 2022. http://dx.doi.org/10.46231/sufiyye.1110823.
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Muhammad Shirin-i Maghribi is a sufi poet who lived between the last half of the 8/13th beginning of the 9/14th centuries. There are also Arabic and Turkish poems in the divan of Maghribi, who wrote mostly in Persian. He is one of the pen holders who successfully transferred the terms of Ibn al-Arabi to Persian. However, there are very few studies about his life. As far as can be determined, there is no study in our language other than the succinct article written by Necdet Tosun in the Encyclopedia of Islam of the Turkish Religious Foundation, and Mehmet Temelli's work, which is focused on Maghribi’s Jâm-i Jihan-numa and other works, titled “Muhammad Shirin Maghribî and His Jam-i Jihannumâ”. This situation reveals the need for a comprehensive study on the life of the Maghribi in Turkish.
In this study, the life of Maghribi has been tried to be discussed by applying to all the sources that can be accessed both from general and special histories and from the collection of biographies. In addition, contemporary studies were also taken into account, the correct ones were pointed out, and the mistakes were tried to be corrected. Thus, it has been tried to reveal a healthy text about the life of the Maghribi in our language and to form the basis for further studies on the Maghribi. Since Maghribi's works and the content of his Jam-i Jihan-numa were discussed in Temelli's work, it was not necessary to repeat them in this study.
As a result of the study, it has been determined that Maghribi was born and died in Tabriz, he had the Suhrawardiyya, Kubrawiyya and Akbariyye silsilas, and that he was one of the leading sufis and poets of his time, and that he is the heir of Ibn al-Arabi in terms of his thought and Fahr al-din-i Iraki and Mahmud-i Shebisteri in terms of poetry. In addition, the translation of his famous work, Jam-i Jihan-numa, on the spheres of existence, made by Tahir al-Mawlawi, has been transferred to today's letters, thus the said work has been brought into our language.
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Vierke, Clarissa. "Of Patience and Pity: Rewriting and Reciting the Widely Travelled Islamic Poem “The Hawk and the Dove” in East Africa." Islamic Africa, December 19, 2022, 1–37. http://dx.doi.org/10.1163/21540993-20220003.
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Abstract The Swahili poem of “The Hawk and the Dove” (Kozi na Ndiwa) has long been popular along the Swahili coast. In brief, the poem tells the story of the prophet Musa, who is put to the test by the angels Mikaili and Jibrili, disguised as a dove and a hawk. The dove, fleeing the famished hawk, finds refuge in the folds of Musa’s clothes. The bird of prey, approaching Musa, claims its right to the dove, since it is hungry. Musa faces a dilemma: he understands the hawk’s argument but is also full of pity for the dove. When he finally offers to cut off a part of his own right thigh to feed the hawk, the birds reveal themselves as the two angels and praise the prophet. “The Hawk and the Dove” has been a travelling Islamic poem par excellence: like many other popular Swahili Islamic poems dating back to the eighteenth, but mostly the nineteenth century – the heyday of Swahili Islamic poetry, having flourished amid the Sufi movements and their emphasis on poetry in vernacular languages as a means to ignite religious zeal in wider audiences – the poem is also based on sources that have widely travelled the Indian Ocean. Swahili poets creatively adapted them into Swahili verse, just as other Muslim poets in North Africa, West Africa, and, earlier, the Iberian Peninsula did for the discourses relevant to their own contexts. This contribution takes the double optic of providing a first text edition of the most ancient surviving Swahili manuscript of the poem. Secondly, I view the poem amid a longer history of circulation beyond the Swahili coast, as well as compare it with other popular, vernacular versions in the Arabic dialect of Algeria, Hausa in Nigeria, and the earlier adaptations by moriscos from the Iberian Peninsula in Aljamiado. This kaleidoscope of various rewritings of the story allows me to see the Swahili-specific readings more clearly in contrast.
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Todd, Richard. "Classical poetic motifs as alchemical metaphors in the Shudhūr al-dhahab and its commentaries." Asiatische Studien - Études Asiatiques, August 4, 2021. http://dx.doi.org/10.1515/asia-2020-0043.
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Abstract Traditionally prized as much for its poetic artistry as its didactic content, Ibn Arfaʿ Raʾs’s (fl. twelfth century) dīwān of alchemical verse, the Shudhūr al-dhahab (Shards of Gold), is one of the most important and influential works in the literary canon of Arabic alchemy. Drawing on commentaries by both Ibn Arfaʿ Raʾs himself and Aydamir al-Jildakī (d. 743/1342 [?]), the present article explores a core feature of Ibn Arfaʿ Raʾs’s allegorical style – one that appears to have captured the attention of his medieval readership – namely his novel use of stock poetic motifs as metaphors for alchemical processes and substances. As well as focusing on the commentators’ theoretical interpretations, the article situates Ibn Arfaʿ Raʾs’s deliberate appropriation of pre-Islamic and Nuwāsian motifs in its broader literary context, noting the extent to which it foreshadows similar techniques in the poetic allegories of the thirteenth-century Sufi poets, Ibn ʿArabī and Ibn al-Fāriḍ.
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Başçı, Veysel. "SÛFÎ-SİYASET İLİŞKİSİ BAĞLAMINDA MEVLÂNA HALİD ŞİİRLERİNDE BABAN (E)MÎRLERİ." Bingöl Üniversitesi İlahiyat Fakültesi Dergisi, June 3, 2024. http://dx.doi.org/10.34085/buifd.1442374.
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Sûfî-Siyaset İlişkisi Bağlamında Mevlâna Halid Şiirlerinde Baban (E)Mîrleri Baban Emirates In Mawlana Khalid Poems In The Context Of Sufı-Polıtıcs Relatıonshıp Veysel Başçı Dr. Öğr. Üyesi. Batman Üniversitesi İslami İlimler Fakültesi, Temel İslam Bilimleri Bölümü, Tasavvuf Ana Bilim Dalı, Assist. Prof., Batma University Faculty of Islamic Sciences, Basic Islamic Sciences, Department of Sufism, ORCID: 0000-0003-1525-0355 e-posta veysel.basci@batman.edu.tr ÖZ Nakşibendîyye-i Halidîyye tarikat kolunun kurucu pîri Mevlâna Halid-i Şehrezûrî 1779 yılında Süleymaniye’nin Karadağ bölgesinde dünyaya geldiğinde söz konusu bölge Baban Kürt (E)mîrliğinin yerel yönetim ve idaresi altındaydı. Dolaysıyla Mevlâna Halid bu emirlikte yönetici olmuş birçok Baban (E)mîrini yakından tanıma fırsatı bulmuş, kendileriyle siyasî ve dinî ilişkiler geliştirmişti ki bu ilişki biçimi Mevlâna Halid’in 1811’de Şeyh Abdullah Dihlevî’ye intisabından önce ve sonra farklı şekillerde devam etmiştir. Onun Baban (E)mîrleriyle olan ilişkisini gösteren, onlarla ilgili duygu ve düşüncelerini ve bakış açısını ortaya koyan bazı ayrıntılar, kendisinden geriye kalmış üç dilli (Kürtçe, Farsça, Arapça) dağınık haldeki şiirleri ile divanında mevcuttur. Divanında Babanzâde Osman, İbrahim, Abdurrahman ve Selim Paşa’larla ilgili şiirler kaleme aldığı görülmektedir. Söz konusu şiirlerinde, Baban (E)mîrleriyle beraber bunların iktidarı döneminde yaşanmış önemli bazı olay ve havadislere de değinerek şiirsel madde tarihleri düşmüş, yaşanmış hadiseler karşısında kâh hüznünü kâh sevincini paylaşmıştır. Babanzâde Süleyman Paşa’nın oğlu Osman Paşa’nın şehit düşmesini uzun bir mersiyeyle yâd etmiştir. Süleymaniye şehrinin genişletilmesini sağlayarak, bu şehirdeki bölgesel iktidarın sembolü olan sarayının usul ve esaslarını tavizsiz şekilde uygulayan, Kasr-ı Şirin ile Hanekîn gibi bölgeleri Baban (E)mîrliğinin sınırlarına dâhil etmiş olan Babanzâde İbrahim Paşa’yı da “başına taç yaraşan bir sultan” olarak resmetmiştir. Babanzâde Abdurrahman Paşa’nın 1808 yılında Osmanlının Bağdat valisi karşısındaki üstünlüğüne vurgu yapmış, onun 1810 yılındaki Bağdat kuşatmasına da değinerek siyasî rakiplerine karşı galip gelişine de bir hayli sevinmiştir. Mevlâna Halid’in Baban (E)mîrlerini taltif ve methiyeleri sadece bunlarla da sınırlı değildir. Divanı ile dağınık haldeki şiirlerinin birçok yerinde açık ve üstü kapalı Baban (E)mîrlerine işarette bulunmuş ve onlara olan hayranlığını defalarca dile getirmiştir. Bu çalışmada Mevlâna Halid’in şiirlerinde yerel iktidarla olan ilişkileri incelenmiştir. Anahtar Kelimeler: Sûfî, Siyaset, Baban (E)mîrleri, Mevlâna Halid, Şiir ABSTRACT When Mawlana Khalid al-Shahrazūri al-Baghdadī, the founder of the Nakshībandi-Khalīdi order branch, was born in the Qaradag region of Suleymaniyah in 1779, the region in question was under the rule and administration of the Baban Kurdish Emirate. Therefore, Mawlana Khalid had the opportunity to freely get to know many Baban emirs who were rulers of this emirate. He developed political and religious relations with them. So much so that this form of relationship continued in a different way before and after Mawlana Khalid's affiliation with Sheikh Abdullah Dihlavī in 1811. Some details that show his relationship with Baban's orders, reflect his feelings and thoughts about them, and reveal his perspective on them are available in the trilingual (Kurdish, Persian, Arabic) poetry divan he left behind. It is seen that he wrote poems about Babanzāda Othman, Ibrahim, Abdurrahmān and Salim Pasha in this divan. In these poems, he also touched upon some important events and news that took place during the rule of Baban's emirs, and poetic dates were included in these news, and he shared sometimes his sadness and sometimes his joy in the face of what happened. He commemorated the martyrdom of Othman Pasha, the son of Babanzāda Suleiman Pasha, with a long elegy. He portrayed Babanzāda Ibrahim Pasha, who ensured the expansion of the city of Sulaymaniyah, uncompromisingly implemented the procedures and principles of his palace, which was the symbol of regional power in this city, and included regions such as Qasrī Shirin and Xanakīn within the borders of the Baban Emirate, as "a sūltan worthy of a crown." He emphasized the superiority of Babanzāda Abdurrahmān Pasha over the Ottoman governor of Baghdad in 1808, and was very happy about his victory over his political rivals, also referring to the siege of Baghdad in 1810. Mawlana Khalid's praise and praise of Baban's emirs are not limited to these only. In many parts of his divan and scattered poems, he explicitly and implicitly pointed out Baban's emirs and expressed his admiration for them many times. In this study, Mawlana Khalid's relations with the local government in his poems were examined. Key words: Sufi, Politics, Baban Emirates, Mawlana Khalid, Poem