Academic literature on the topic 'Persian Love poetry'

This little book is a beguiling collection of Persian love poems drawn fromboth classical and modern poetry, but united by the theme of love in its myriadinterpretations. Included are poems that explore the spiritual lovebetween humans and God, the magical love between lovers or spouses, theaffectionate love between family members and between friends, and eventhe patriotic love for one’s homeland. Each poem is accompanied with a preciousPersian chef d’oeuvre from the British Museum and, in particular, numerous illustrations of Persian miniatures. The editors come to this subjectwith vast expertise: Vesta Sarkhosh Curtis is curator of Islamic andIranian coins in the British Museum, and Sheila R. Canby is an assistantkeeper in the British Museum specializing in Islamic Iran. Both have publishedon Persian art, art history, archaeology, and myths, among other topics.Their aim is not to produce a well-researched and exhaustive collectionof Persian love poetry, but rather “to encourage readers to delve further intothe wealth of Persian literature” (p. 5). With its modest aim of capturing theinterest of novice western readers, theirs is a delightful book that charms itsway to success.As explained in the “Introduction,” Iranians and other Persian (Farsi)speakers treasure poetry not only because of the beauty of the poetic languageitself, but also because they derive joy and comfort from the poets’ perspectivetoward the world. The most famous Persian poets often have a mystical(Sufi) viewpoint toward life, whereby passion is a path to reach God and thetruth. Interwoven into the people’s social consciousness, poetry holds arevered place in Persian culture. A single verse from the best-known Persianpoems can capture an idea with elegant brevity. Iranians and other Persian(Farsi) speakers still recite poetry as a succinct and powerful way to expressa point, thought, or emotion. To explain how deeply embedded poetry is inthe Persian psyche, many oft-quoted proverbs draw much of their meaningand message from Persian poetry ...

This paper is an attempt to study Kövecses’s (2000a) claim on the stability of emotion metaphors during time with regard to love metaphors in Persian language. In other words, the aim is to see whether love metaphorical expressions in Persian everyday language underlie the same conceptual metaphors in Persian creative language such as poetry. At the same time, we aim to see if similar conceptualization of love exists in English everyday language. Also the paper seeks to find the cognitive grounding of love metaphors in Persian according to Kövecses’s (2012) cognitive experiential basis of metaphors. The results of study indicate that both literary and ordinary love Persian expressions are built upon the same conceptual metaphors that account for love expressions in English everyday language too. Also, it was discovered that among four suggested ways of grounding conceptual metaphors, two of them were more likely to motivate love metaphors in Persian.

Love is one of the main themes of poetry and its earthly and heavenly types are seen in the poems of poets and have created great themes and beautiful interpretations. Ghased is one of the poets who has a great skill in using words, depicting the image of love in various forms. The messenger has tried to express his pure love for his beloved in various images of his sonnets, although sometimes he has made love seem virtual or real. In his opinion, the place of love is undisputed, although in this painful way, you have endured the suffering of Versailles. The characteristics of love and its attributes in poetry are often similar to the themes of the poets before him and the status of love in his poetry is very high. Even its earthly type can be considered as the shadow of heavenly love. This research examines love and its place in the messenger's sonnets.

It seems that the controversies over the nature of the beloved in classical Persian mystic poetry (also known as Sufi poetry) as an earthly or ethereal phenomenon would never end. Those in favor of the celestial reading of it consider their counterparts to be narrow-minded. The adherents of terrestrial love, though, see mystical readings dogmatic and outdated, prevailed by traditionalists. The topic gets even more complicated when one takes into account the attitudes in the medieval Muslim world toward pederasty, shāhid-bāzī, on the one hand, and the Divine Feminine /Masculine Beloved, on the other hand, and, thus, the gender of this beloved. The present article explores the beloved in Persian classical mystical poetry via five different but related approaches: historical, philosophical, translational and comparative, linguistic and poetic, and, ultimately, developmental. The study concludes that an essentialist reading of the beloved in Persian love mystic poetry would create numerous problems, and that the spirit of Persian classical poetry in this regard is the spirit of uncertainty with a certain purpose: it is the manifestation of the self-poet’s agency, choosing one’s object of desire without explicitly revealing it and, thus, living one’s own life of choice without fearing the threads of religious fundamentalism.

Abstract Persian poets since Rūdakī have drawn on the letter symbolism of the Perso-Arabic alphabet. Visually, its characters have attracted poets who find the likeness of the beloved in their shapes. Spiritually, it enjoys a special status as the language of the Koran and therefore, in the eyes of some, God. Classical Persian lyric poetry combined these aesthetic and religious connotations, and as one of the foremost voices in that tradition, Ḥāfiẓ was no exception. But a review of the extant literature shows that, as a trope, letter symbolism has been largely overlooked when compared with wine, the moth, or the candle. Through a comprehensive study of the letters’ use in Ḥāfiẓ’s dīvān, this article argues that, by playing with particular letters’ connotations, or punning on their physical shapes and homographs, Ḥāfiẓ invokes disparate meanings, only to then reveal their underlying unity, in the process affirming the affinity between love and language, the beloved and the divine.

Rumi is endorsed for being one of the most famous Persian Sufi poets. He is considered a poet of love for all creation. In his poetry, one finds a close admiration of natural world that comes from love and results in even a greater love for the creator of the natural forces. This study aims to analyze selected poems of Rumi to inspect his views on environment and nature knitted closely with love and spirituality. Ecospirituality, a rather new approach to inspect the relationship of the environment and literary works from a spiritual point of view was employed to comment on Rumi’s dealing with creation and love for God in his poetry.

Mirza Ghalib, a poet of Urdu and Persian, spent most of his life, refining his Persian poetry. In the field of praise and adoration of Mohammad (PBUH), his Persian poetry is the mirror of his creative endeavors. In his Persian Poetry, Ghalib kept on mentioning Prophet (PBUH) at the quatrains, odes, qitas, qasaids, and masnavis in praise of the Holy Prophet (PBUH). A study of Ghalib’s Persian kalam (word) mentions the prophet (PBUH) and shows all of his poems that have been written in the praise of the Holy Prophet (Peace be upon him) are key topics in the articles. There secondary subjects such as the embodiment of Rasool (PBUH), Faraq-e-Madinah, and worldly demands are not mentioned. On the contrary, by describing the greatness of the Holy Prophet (PBUH) everywhere he has entrusted this gift of love to Allah in a very beautiful way.

AbstractThe article examines the material relating to the early reception of the eighteenth century Hindi poet Ānandghan (Ghanānand). Ānandghan's poetic ideas were not far from those expressed in Persian literature, popular at that time in India. Apart from an abundance of idiomatic usage and paradoxes his approach to love reflects his taste for Persian poetry: the beloved can be either a woman or an undefined God, or even Krishna. Ānandghan's ‘openness’ towards Persian poetry earned him disrepute. In this article three early schools of criticism of his quatrains are distinguished: those of his opponents, of his fellow-devotees and of Brajnāth, the secular connoisseur. All three parties expressed their views on Ānandghan through poetry sometimes employing bitter or pungent language.

This study highlighted the literary and poetry efforts of Daim Iqbal Daim. He spotted the love for his fields, hills, and plains in his poetry. He blended the traditions with new culture showing passion for patriotism and nationalism. Daim poetry consisted of Naat verses in all aspects with humbleness. Daim writings are in Urdu, Hindi, Punjabi and Persian on progressiveness with emphasizing on national, religious and ethical values. He also contributed in Naat, Manqabat and Karbala Nama. Daim translated the Persian writings into Punjabi and Urdu. His efforts and also in islamic preaching as well as efforts in Pakistan Movement. Daim Iqbal wrote on multifaceted in poetry including Naat, Poem, Ghazal, Songs, Kafi, C-Harfi, Translation, Elegy and storytelling.

This is an essay on the genesis of the Rubáiyát of Omar Khayyám. The contention is that the Rubáiyát ensued, at least, partly from the affection that Edward FitzGerald had for his friend and mentor in Persian, Edward Byles Cowell. FitzGerald used Omar Khayyám as an excuse to stay in touch with his dear friend Cowell, who left England after introducing him to Khayyám and his poetry. But FitzGerald soon fell in love with ‘Omar’, his new Persian mentor, and replaced the love that he had for Cowell with the one he developed for ‘Omar’. The result of this love was the Rubáiyát of Omar Khayyám.