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Journal articles on the topic 'Persian Love poetry'
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1
Armani, David, and Louise Gormley. "Persian Love Poetry." American Journal of Islam and Society 25, no. 1 (January 1, 2008): 136–38. http://dx.doi.org/10.35632/ajis.v25i1.1503.
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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 ...
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Karshenas Najafabadi, Hosna, and Juana Isabel Marín Arrese. "The conceptualization of love in Persian creative and communicative language." Cognitive Linguistic Studies 2, no. 2 (December 31, 2015): 289–302. http://dx.doi.org/10.1075/cogls.2.2.04kar.
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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.
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Mahmoud, Pakhshan Muhammad. "A Study of the Themes of Love in Ghased Persian Lyric Poems." Journal of University of Raparin 9, no. 4 (September 29, 2022): 188–99. http://dx.doi.org/10.26750/vol(9).no(4).paper9.
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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.
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Vali-Zadeh, Mahdieh. "Agency of the Self and the Uncertain Nature of the Beloved in Persian Love Mysticism: Earthly, Ethereal, Masculine, or Feminine?" Teosofi: Jurnal Tasawuf dan Pemikiran Islam 12, no. 1 (May 11, 2022): 22–42. http://dx.doi.org/10.15642/teosofi.2022.12.1.22-42.
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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.
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Sykes, Patrick. "Love Letters: Letter Symbolism in Ḥāfiẓ’s Poetry." International Journal of Persian Literature 5, no. 1 (September 2020): 2–20. http://dx.doi.org/10.5325/intejperslite.5.1.0002.
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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.
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Saddam, Widad Allawi, and Zainab Ibrahim Abbas. "Love that Binds." Al-Adab Journal 1, no. 132 (March 15, 2020): 105–12. http://dx.doi.org/10.31973/aj.v1i132.608.
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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.
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Saadia Irshad. "Commemoration of Prophet (SAWW) in Ghalib's Poetry." Tasdiqتصدیق۔ 2, no. 1 (January 20, 2021): 82–90. http://dx.doi.org/10.56276/tasdiq.v2i1.30.
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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.
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Bangha, Imre. "Lover and Saint The Early Development of Ānandghan's Reputation." Journal of the Royal Asiatic Society of Great Britain & Ireland 11, no. 2 (July 2001): 175–90. http://dx.doi.org/10.1017/s1356186301000220.
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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.
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Dr. Aamar Iqbal and Dr. Mazhar Iqbal Kalyar. "Academic And Literary Services Of Daim Iqbal Daim "A Research Review"." Dareecha-e-Tahqeeq 3, no. 3 (January 16, 2023): 104–13. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.55.
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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.
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Taher-Kermani, Reza. "The Rubáiyát: A Labour of Love." Victoriographies 7, no. 1 (March 2017): 76–80. http://dx.doi.org/10.3366/vic.2017.0261.
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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.
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Fortier, Corinne. "Introduction." Anthropology of the Middle East 16, no. 2 (December 1, 2021): 1–32. http://dx.doi.org/10.3167/ame.2021.160201.
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Abstract While love passes for being a feeling born in the West in the twelfth century, love poetry, in its declamatory or sung form, appeared in the sixth century among the Bedouin of the Arabian desert before flourishing in the Arabic cities, then Persian and finally in Europe. Love passion, excessive in essence, can be said only in excess with its joys and its distress. The man who experiences this state of passion is feminized, finding in the medium of poetry a socially legitimate space to express his emotions, including jealousy, nostalgia or blasphemy. Singing the beauty of the beloved and the disorder she or he inspires is a way of acknowledging his emotional vulnerability and also a mode of love conquest. But if the language of predation can be found in heterosexual and homosexual Arabic or Persian masculine poetry, such language is absent from feminine poetry, this difference revealing the asymmetrical polarity of desire according to gender. Résumé Alors que l'amour passe pour être un sentiment né en Occident au douzième siècle, la poésie amoureuse, sous sa forme déclamatoire ou chantée, est apparue dès le sixième siècle chez les Bédouins du désert d'Arabie avant de fleurir dans le monde arabe citadin, puis persan et enfin occidental. L'amour passion, excessif par essence, ne pouvant se dire que dans la démesure, le discours amoureux est l'expression toujours hyperbolique du pathos avec ses joies et ses détresses. L'homme qui éprouve cet état de passion est féminisé, trouvant dans le médium de la poésie un espace d'expression socialement autorisé pour exprimer ses émotions, y compris celles relatives à la jalousie, à la nostalgie ou au blasphème. Chanter la beauté de l'objet aimé et le trouble qu'il inspire est autant une manière d'avouer sa vulnérabilité affective qu'un mode de conquête amoureuse. Mais si le langage de la prédation est patent dans la poésie hétérosexuelle ou homosexuelle, un tel langage est absent de la poésie féminine, différence révélatrice de la polarité asymétrique du désir selon qu'on est homme ou femme.
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Mozaffari, Nasrin, Faranak Siyanat, Mina Khubanian, and Ali Akbar Khansir. "The Effects of Kindness in Saadi's Bustan." Theory and Practice in Language Studies 8, no. 9 (September 1, 2018): 1208. http://dx.doi.org/10.17507/tpls.0809.15.
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This study intends to highlight the effects of kindness in one of the best literature and poetry books called "Bustan" in the world. Every poetry is a model of culture and civilization to the human world. Persian literature is one of the richest literatures over the world. Persian poetry is one of the most fruitful branches of the world literature in the area of aphorism. One of the main topics of aphorism is about kindness which is typified in its greatest mood in Saadi's Bustan. Kindness and love are good ethos which has been recommended to man in all of the moral Scriptures. Understanding the effects of kindness is the least thing a man can do to foster a spirit of love in him and others. Therefore, choosing this book, ''Bustan'', which is full of the effects of kindness, is one of the best choices. The main aim of this article is to investigate the effects of kindness from Saadi's viewpoint in "Bustan,".
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Saitbattalov, Iskander R. "Divine Love in Persian Mystical Poetry of Šams al-Dīn Zākī." Ishraq. Islamic Philosophy Journal 2, no. 1 (2024): 23–37. http://dx.doi.org/10.21146/2949-1126-2024-2-1-23-37.
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The paper deals with the ideas of divine love contained in two previously unpublished and unexplored poems by the Bashkir poet and scholar Šams al-Dīn Zākī (1822–1865) in Persian. By comparing his text with the works that were part of his reading outlook, as well as the key texts of the Naqshbandiyya-Mujaddidiyya order, a connection is established between the ideas of the Sufi poet and the idea of “essential love” formulated by the Indian mystic of the 17th century Aḥmad Sirhindī. This love is not an ecstatic state, but a path of constant self-improvement with the goal of displacing from the mystic’s soul any aspirations and desires other than complete acceptance of the divine will. In Zākī’s poem, love takes on an ethical dimension. The result of its manifestation is the truthfulness of the mystic — the correspondence of external and internal in his behavior and motivation. The verbal expression of these ideas is based on a vast corpus of classical works of Persian literature from the 11th to 13th centuries, with Farīd al-Dīn ‘Aṭṭār and Jalāl al-Dīn Rūmī being the two most frequently cited authors.
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Carmeli, Orit. "An Unknown Illuminated Judeo-Persian Manuscript of Nizāmī’s Khosrow and Shīrīn." Ars Judaica The Bar Ilan Journal of Jewish Art: Volume 17, Issue 1 17, no. 1 (January 1, 2021): 131–40. http://dx.doi.org/10.3828/aj.2021.17.7.
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This is a brief presentation of the mid-seventeenth-century illuminated Judeo-Persian copy of Nizāmī’s Khosrow and Shīrīn from the collection of the Museum for Islamic Art in Jerusalem. The Khamsa of Nizāmī Ganjavi (d. 1209) is one of the most famous medieval Persian love stories and one of the most admired poetical works ever written in the Persian language. Khosrow and Shīrīn (composed 1175/6-1191) is the second book in the Quinary and recounts the tragic love story of the Sasanian king Khosrow II Parviz and the Armenian princess Shīrīn. Nizāmī’s poetry, in addition to other works of Persian classical masters, was regarded by the Jews of Iran as an integral part of their literary and cultural heritage. Over the years these renowned poetical works were largely transliterated into Judeo-Persian and copies of the texts can be found in various public and private collections. The manuscript in question and other illuminated Judeo-Persian manuscripts clearly testify to their owners and patrons’ awareness of long-established Persian artistic tradition and cultural conventions, representing Jewish-Persian encounter in text and image.
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Brookshaw, Dominic Parviz. "Love and Desire in Pre-modern Persian Poetry and Prose." Iranian Studies 42, no. 5 (December 2009): 673–75. http://dx.doi.org/10.1080/00210860903305988.
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Hinckley, Michael R. "Persian Love Poetry: Vesta Sarkhosh Curtis and Sheila R. Canby." Digest of Middle East Studies 15, no. 2 (October 2006): 100–101. http://dx.doi.org/10.1111/j.1949-3606.2006.tb00029.x.
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Hopkins, Philip. "Hafiz and the Religion of Love in Classical Persian Poetry." Iran and the Caucasus 14, no. 2 (2010): 452–54. http://dx.doi.org/10.1163/157338410x12743419190629.
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Meisami, Julie Scott. "Allegorical Gardens in the Persian Poetic Tradition: Nezami, Rumi, Hafez." International Journal of Middle East Studies 17, no. 2 (May 1985): 229–60. http://dx.doi.org/10.1017/s0020743800029019.
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A striking feature of medieval Persian poetry is the abundance of nature imagery that permeates every poetic genre, and especially imagery relating to gardens. The royal gardens and parks evoked in the descriptive exordia of the qasīda, the luxuriant gardens of romance that provide settings for tales of love, the spiritual gardens of mystical writings, the flowery haunts of rose and nightingale in the courtly ghazal—all provide eloquent testimony to the importance of the garden in Persian culture.
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Mahdavi, Batoul, Shahla Khalilollahi, and Fatemeh Elhami. "Romanticism Reflections in the Poetry of Mahsati Ganjavi." International Journal of Multicultural and Multireligious Understanding 10, no. 7 (July 26, 2023): 511. http://dx.doi.org/10.18415/ijmmu.v10i7.5037.
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The poetry of Mahsati Ganjavi, a Persian poet of the 6th century, has unique features based on the principles of Romanticism. Therefore, the ground is prepared to investigate his collected poems based on the components of Romanticism. This study aims to analyze and describe the collected poems of Mahsati Ganjavi using documentary and descriptive methods, and to answer the question of how much the components of Romanticism are reflected in his poetry. The results of this analysis show that many characteristics of Romanticism, such as the return to nature, attention to human nature, escape and travel, individuality and uniqueness, freedom, non-conformity to ethics, emotion and sentiment, romantic melancholy, love, illness, imagination, romantic imagery, the pole of figurative language, and the magic of words are present in the poetry of Mahsati Ganjavi, making it one of the romantic works of Persian literature.
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Lewisohn, Leonard. "Metaphysical Time in Rūmī’s Mathnawī: Sufi Terminology of Metaphysical Time." Mawlana Rumi Review 9, no. 1-2 (January 3, 2020): 19–51. http://dx.doi.org/10.1163/25898566-00901004.
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AbstractThis article explores the idea of Metaphysical Time in the poetry of Jalāl al-Dīn Rūmī against more general understandings of time and temporality in Sufi thought and Persian poetry. Various attitudes toward serial time and the subjective experience of past, present, and future are reflected in the poetry of not only Rūmī, but also ʽUmar Khayyām and Ḥāfiẓ. The philosophical approaches toward human temporality discussed here include sentient carpe diem, spiritual carpe diem, and pursuit of the Metaphysical Moment, or Time’s Currency (naqd-i waqt). To understand this, we must examine Rūmī’s understanding of the notion of the Sufi as ‘the son of time’ (Ibn al-waqt), along with the concomitant or related ideas in Rūmī’s poetry of ‘the Father of Time’ (abū ‘l-waqt) and ‘the Brethren of Time’ (ikhwān al-waqt), and the Prophet’s Hadith, ‘I have a time with God….’. The article elaborates on some remarkable homologies between the concepts of time and the ‘Industrious Man’ in the poetry of Mawlānā Rūmī and William Blake, and how the attraction of divine love pulls the lover out of Time into the realm of Eternity, and how love subverts rational categories of time and space, which become illusory and vanish in the mystical experience of unity. Aldous Huxley’s distinction between the Philosophers of Time and the Philosophers of Eternity is also explored in relation to Rūmī’s thinking.
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Al-Obeid, Abdul-Salam Hazim Mohammad Ali. "Rebellion and Innovation in Abi- Nawas' Poetry." JOURNAL OF LANGUAGE STUDIES 3, no. 2 (September 4, 2023): 299–316. http://dx.doi.org/10.25130/jls.3.2.20.
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Abu Nawas is an Abbasid poet whose life and poetry were differentfrom those of his contemporaries. As a child, he lived a hard life, beingborn for an Iraqi father and Persian mother. His poetry was like hislife, being a reflection and internal and psychological rebellion. Hewas known as "the poet of wine" because he devoted much of hispoetry to drink. However, he wrote on many other poetic topics suchas satire, love, elegies, and hunting. Abu Nawas rebelled against thetraditional love-opening in classical poems and rejected the tribalpride. He also innovated the use of poetic image depending mainly onmetaphor. He also employed new poetic techniques, unfamiliar themesand succeeded in his rebellion to be followed by numerous poets. Thepaper concludes that Abu Nawas was a true rebellious poet who putdown new bases for poetic innovation in the first Abbasid Age.
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Imran, Tazeem. ""Master Disciple Relationship in the Hindi Poetry of Amir Khusrow: An Analysis" by Tazeem Imran." Global Language Review VIII, no. I (March 30, 2023): 418–28. http://dx.doi.org/10.31703/glr.2023(viii-i).39.
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The Indo-Persian Sufi tradition emphasizes incommunicable, unbound, and unconditioned Divine love, evoking a bridal metaphor as a symbol of divinity. The spiritual path evolves through esoteric contemplation of Fana Fil Shaykh, characterized by complete trust and willingness to discover the miraculous powers of the Holy Guide. The Master emerges as the prime model for the seeker of divine love, and the relationship between the Master and Disciple is characterized by self-subjugation and meditation. Amir Khusrow, a distinguished Sufi poet, transcribed the intimacy and mutual love between Master and Disciple in his Hindi poeticarticulations and musical compositions, contributing significantly to Indian art and literature.
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Drozdov, V., and A. Šela. "Problem of the Authorship of the ‘Ishq-name (“The Book of Love”) Poem Attributed to Sana’i from the Regard of Academic Oriental Studies and Modern Computer Technologies." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 27, no. 2 (December 2021): 53–62. http://dx.doi.org/10.31250/1238-5018-2021-27-2-53-62.
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One of the greatest Persian Sufi poets of the 12th century Sana’i (d. 535/1140 or 545/1150) is founder of the Sufi didactical mathnawi poem in Iran. His works exerted enormous influence upon many posterior authors in the Persian Sufi and secular poetry. But the problem of the authorship of Sana’i in regard to the short poems has been debated among the scientists during 20th century and right up to the nowadays. The paper covers the history of studying of the short poems attributed to Sana’i , special attention is devoted to ‘Ishq name (“The Book of Love”), one of the main Sufi writing in the Persian literature on the subject of Mystical Love. For the definition of the authorship of this poem the paper proposes the using of the latest computational methods in particular digital stylometry. The paper tries to answer the question, who is the author of ‘Ishq name poem: Sana’i or the Sufi shaykh and author of the 14th century ‘Izz al Din Mahmud Kashani (d. 735/1334–35).
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Nadeem Akhtar, Nadeem Akhtar. "Iqbal in the Eyes of Poets of Jhang." Tasdiqتصدیق۔ 1, no. 1 (December 30, 2019): 42–57. http://dx.doi.org/10.56276/tasdiq.v1i1.13.
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Jhang is a land of two rivers. It is a favorite place of Sufis and poets. It is known for the shrine of Sultan Bahoo and Heer Ranjha. Majeed Amjad, Sher Afzal Jaffery, Jaffer Tahir, and Abdul Aziz Khalid are the famous poets of Jhang known worldwide for their great literary work. Allama Iqbal is the poet of the East. His poetry is an asset in the tradition of Urdu and Persian poetry. He gave the lesson of "self" to the people of the sub-continent, especially to the Muslims. The poets of Jhang paid tribute to the great scholar and poet by their poetry. This tribute carries the deep emotions and love of these poets.
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Noie, Saber. "Comparison of Emerson and Hafiz Based on Claudio Guillen's Comparative Literary Theory of Influence." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 2, no. 1 (February 26, 2019): 12–23. http://dx.doi.org/10.33258/birle.v2i1.182.
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The poetry of Khajeh Mohammad Hafiz Shirazi has vastly influenced the poetry of Ralph Waldo Emerson, as many critics have noted but have not demonstrated. Emerson is an American poet whose work reflects the influences of Persian poets, among which that of Hafiz is remarkable. The influence of Hafiz on Emerson includes memorable images, themes and motifs. While one can argue that this influence was indirect, it is obvious from the closeness of certain similarities, from Emerson’s intimate knowledge of Hafiz’s poetry, and from his love for Persian poetry, that the influence was more direct than otherwise. Although Emerson knew German and read Hafiz in German translations yet, he embarked on translating the poems of Hafiz in English in order to master Hafiz’s poetry and to introduce him to American readers. These translations themselves are another proof of the claim of influence of Hafiz on Emerson. The methodology of this article is to set the poems of the two poets over against one another and study them watchfully in order to demonstrate the influence of the precursor poet on the belated poet. Therefore the sources of familiarity of Emerson with Hafiz must not be forgotten and should be brought to the surface.
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Shahar, Galili. "Goethe’s Song of Songs : Reorientation, World Literature." Prooftexts 40, no. 1 (2023): 110–39. http://dx.doi.org/10.2979/ptx.2023.a899251.
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Abstract: The engagement of the German poet Johann Wolfgang von Goethe (1749–1832) with biblical Hebrew poetry already during the early stages of his career in the 1770s and later during the Divan period (1814–27) was associated with his study of Oriental literatures. Under the influence of his mentor and friend, Johann Gottfried Herder, Goethe devoted himself to studying and translating Hebrew and Arabic sources (mostly from the Latin), among them the Song of Songs, alongside chapters from the Qurʿan. In his late work his reflections on the Hebrew biblical poem were associated with his interpretation of Persian classical poetry, first and foremost the ghazals, the love poems by Hâfiz, while composing his work Der westöstlicher Divan . This article offers a comparative study of Goethe’s translation and interpretation of Song of Songs, discussing its major motives, the dialectic of profane love and the sacred, confusion and disorientation, drunkenness, erotic desire, and gender ambiguities. It refers to Goethe’s translation of the Hebrew poem also in conjunction with a critical, decolonial review of Weltliteratur (world literature). Goethe’s Song of Songs serves us as a map of literary interactions, in which the German, the Hebrew and the Persian are brought into conversation.
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Soleymanzadeh, Alireza. "Arabic-Persian Motifs of ʿUd̲h̲rī Love in the Georgian Romantic Poem of "The Man in the Panther's Skin"." International Journal of Linguistics, Literature and Translation 3, no. 5 (May 31, 2020): 113–20. http://dx.doi.org/10.32996/ijllt.2020.3.5.13.
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"The Man in the Panther's Skin" is the masterpiece of Shota Rustaveli (c. 1160—after c. 1220), the greatest Georgian Christian poet, who has been translated into nearly 45 languages in the world so far. In this article we are going to study the Motifs of ʿUd̲h̲rī Love (AR: al-ḥubb al-ʿud̲h̲rī) in Rustaveli's book. The Ghazal (ode) of Ud̲h̲rī is a literary product of the Islamic-Arab community in which love derives its principles from religion of Islam and the like. In fact, during the era of the Umayyad caliphate (661-750 BCE) was born ʿUd̲h̲rī as a new kind of ode in the Arabic poetry in the Arabian Peninsula and has made its way into other lands, including Iran, and this kind of love poem penetrated through Iran into Rustavli's poetry.ʿUd̲h̲rī poem was narration of true, intense and chaste love between lover and a beloved far from sensuality, debauchery and lechery. Therefore, their lifestyles were very similar to mystic. The main purpose of this study is to find out the extent to which Rustaveli was influenced by ʿUd̲h̲rī poem. The research method in this article is to compare the specific and objective features which inferred from the Arabic-PersianʿUd̲h̲rī literature with the narrative in the Rustaveli's work. This does not mean, of course, that we will examine all the ʿUd̲h̲rī poetry works written before Rustaveli's book in the world; rather, we mean matching the specific Motifs of Arabic-Farsi works with the Rustaveli's poem. The results of this study show that there is a complete similarity between the motifs in the poems of Rustaveli's work and the motifs of the ʿUd̲h̲rī poets in all its components. This study also confirms that if we omit some details of the story in Rustaveli's book, we will find that Rustaveli was thoroughly familiar with Islamic ʿUd̲h̲rī literature and implemented it in his book "The Man in the Panther's Skin".
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Zare-Behtash, Esmail. "Images of ‘Love’ and ‘Death’ in the Poetry of Jaláluddin Rumi and John Donne." International Journal of Applied Linguistics and English Literature 6, no. 2 (January 4, 2017): 97. http://dx.doi.org/10.7575/10.7575/aiac.ijalel.v.6n.2p.97.
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The purpose of this study is to compare the lives and literary careers of two great poets from the East and the West to find common grounds in their lives and writings. In comparing the poetic works of these two great poets, the study will focus on love and death as two major images in the poetry of these two great poets. Jaláluddin Moláná Rumi as he is called in the West, was a Persian poet-philosopher, and John Donne was a metaphysical poet-preacher from England. These two poets wrote much about their ideas with lucidity and wit. Love and death were both of supreme concern for these poets and a preoccupation of their hearts. Nothing is possible in “love” without “death”. Life for Donne is love, the love of women in his early life, then of his wife and finally the love of God. Love for Rumi is sweet madness, healing all infirmities and the physician of pride and self-conceit. Death for Donne is nothing but a transitory passage from here to the hereafter and union with God. Death for Rumi is also a wedding; it is a change from one stage to another as a seed planted in the earth dies in one form in order to be born in another. Both believe that we are from Him, and to Him we shall return.Keywords: Rumi, Donne, love, death, metaphysical poetry, Sufism
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Rahmanian, Elaheh, and Reza Ashrafzadeh. "Women in Shahnameh: An Overview on Mythical, Lyrical and Social Aspects." Revista humanidades 10, no. 1 (November 28, 2019): e39816. http://dx.doi.org/10.15517/h.v10i1.39816.
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Shahnameh is the most significant Persian epic masterpiece and it is the world's lengthiest epic poem written by a single poet. Shahnameh mainly describes mythical and historical dimensions of the Persian Empire in series of stories. The manifestation of love in the stories of Shahnameh is a real stimulus to prowess and epic. In this regard, Ferdowsi delicately paid attention in developing women characters of Shahnameh. In this article, it is tried to investigate mythical, lyrical and social aspects of women in different sections of Shahnameh. Mythical aspects of Shahnameh including zoroastrian beliefs are reviewed. The lyrical bases including poetry, playing, loving and marriage are considered in this research. And many women such as Roodabeh, Tahmineh and Jarirehwho contribute to lyrical aspects of Shahnameh are found and their character and other related dimensions are investigated and described. Interestingly it is found that in Shahnameh stories, gallantry alone cannot help a hero reach his goals unless love and affection are combined with it. Also, our research shows that some women in Shahnameh express their love consciously over their beloved man. Further, social roles of women in the romantic stories are categorised in political, martial, and artistic forms and further discussed.
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Kamaladdini, Mohammad Baqere, and Morteza Ghiasi. "Taraz Al Akhbar in Persian Literature and Culture." International Letters of Social and Humanistic Sciences 26 (April 2014): 22–30. http://dx.doi.org/10.18052/www.scipress.com/ilshs.26.22.
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Taraz Al Akhbar, the effect of Abdel Nabi poetry and storytelling (1589-1980); is a collection of poem and prose texts that is valuable from the perspective of storytelling. This anthology has literary value for the sake of diversity of poem and prose texts, and it is an important source for many literary studies. In this article after the introducing the writer, the main framework of the book based on four categories of war, banquet, love, and agility, as well as the literary value was investigated. The prologue was noticed for consideration of invention of stories, story attribute, story teller, predominance of story teller, income and issues of story teller, and customs of appropriate reading. The overview of imagery in this effect, particularly; imageries, metaphors, exaggeration, and incorporation of noticeable description such as musical instruments, elephant, and Hippo, which were less seen in the Persian literature; was included in this article. The salience of epic was shown in the chapter of war.
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Dr. Afshan Nahid. "Sarojini Naidu as a Writer of Love-Lyrics." Creative Launcher 5, no. 4 (October 30, 2020): 56–59. http://dx.doi.org/10.53032/tcl.2020.5.4.10.
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Sarojini Naidu is a writer of lyrics which have beauty and charm, delicate fancy and gossamer imagination, emotional fervour and sensuo-usness. Her poems reveal her sex. Talking of them, Arthur Symons wrote, "It is for this bird-like quality of song that they are to be valued". More than one third of bulk of her poetry is devoted to a lyrical presentation of the bliss of love and pathos of separation. Some of her typical love-lyrics are Ecstasy, Song of Radha, The Milk Maid, A Persian Love-Song, In a Time of Flowers, Humayun to Zobeida, Devotion etc. In the poem Alabaster she gives us a clear description of her heart:
Like this alabaster box whose art is frail as a cassia-flower, is my heart, carven with delicate dreams and wrought with many a subtle and exquisite thought. Therein I treasure the spice and scent of rich and passionate memories blent like odours of cinnamon, sandal and clove, of song and sorrow and life and love,
(Alabaster p. 24)
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Sarvghadi, Fatemeh, and Zohreh Taebi Noghondari. "The Translator-text Interaction Based on Gadamer’s Theory of Fusion of Horizons: A Case Study of Translations of Romantic Poetry into Persian." Hikma 20, no. 1 (April 22, 2021): 45–70. http://dx.doi.org/10.21071/hikma.v20i1.12787.
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Love of poetry has a long history among Iranians, so is the case with translation of poetry in their recent attempts. Thus, the significant number of translations has been made from Western poems. British Romantic poetry, as one type of Western poetry, has been translated since the beginning of poetry translation in Iran. This paper aims to investigate the translations of the British Romantic poems diachronically, the translations published in the 20th century, before the Revolution of 1979, and synchronically, the Romantic poems translated in the 21st century, the post-Revolutionary period. To fulfill the purpose, Schäffner’s theory of translation competences was applied to reveal which century met them more adeptly. For the linguistic competence, besides the text analysis of all translations, the number of the parts of speech of four translations attributed to a poem was counted and compared to the number of the original poem to verify the result. The analysis of the competences, as one of the tools of translation assessment, proves the attainment of Gadamer’s theory on the fusion of horizons for translators. The examination indicates that the translation competences are more developed in the translations of the 21st century. Therefore, in this century, translators achieve the fusion of horizons more effectively, and the translation trend of British Romantic poetry has improved.
Keywords: Poetry translation, British Romantic poetry, Translation competence, Fusion of horizons, Persian literature, The Revolution of 1979.
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Muhammad Saeed Ahmad and Dr. Saeed Ahmad. "A Comprehensive Review of Abdul Aziz Khalid's Works." Tasdiqتصدیق۔ 3, no. 01 (December 14, 2021): 53–71. http://dx.doi.org/10.56276/tasdiq.v3i01.58.
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Abdul Aziz Khalid is one of the most renowned Pakistani poets of Urdu literature. He adorned his poetry bouquet with multiple languages such as Arabic, Persian, Turkish, Hindi, and Hebrew. He wrote almost forty books on different types of literature, especially on Naat, Ghazal, Poem, quatrains, translation, and criticism. His knowledge & vision about Islamic history and literature of different languages is above board. The names of his books are very unique and earned immense popularity particularly Farquleet, MaazMaaz, TaabTaab, Manhamanna, Lehun-e-sareer, Abu Turab, Sani lasani, Kaf e Darya, Kilk e Mouj, Kharoosh e Khum, etc. The reader can enhance his awareness about religions, love tails, historic sense, idioms, phrases, Quranic Verses, Hadith, traditions of Islamic culture & life of Prophet Muhammad (SAAW)and his companions. His poetry is a beautiful blend of classic and modernism.
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Raoufzadeh, Narges, Sharzad Mohammadhosein, and Shiva Zaheri Birgani. "Analysis of Love, Death, Rebirth and Patriarchy in Two Contemporary Poetess Forough Farrokhzad and Sylvia Plath’s Selected Poems." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 4 (November 6, 2019): 56–64. http://dx.doi.org/10.33258/birci.v2i4.607.
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ForoughFarrokhzad and Sylvia Plath’s poems are closely linked to their personal life and their marriage. Their poems are confessional in style. Farrokhzad criticizes Iranian male dominant society in which women are marginalized and haven’t any voice in the society, so seeking their voice and identity in modern literature, especially in modern Persian poetry. Sylvia Plath attempts to resist patriarchy in her society through her poems too. Two poets highlighting and expressing the lack of interest in life and the sole desire to die in most of their poems. Not only poetic imagery and themes like death, frustration and failure are common points that convey pessimistic views in their poems, but also few of their poems convey optimistic elements of life and hope so this paper is going to explain them too. Farrokhzad and Plath, two contemporary female poets, attempted to gain a voice for women in their country. They are considered as the successful feminist voices in their countries and astonishingly share the same themes and issues in their poetry. The present paper aims to highlight characteristics of confessional poetry and elaborate on concepts of love, death, rebirth and patriarchy in ForoughFarrokhzad and Sylvia Plath’s poems.
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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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Seyed-Gohrab, Asghar. "Rūmī’s Antinomian Poetic Philosophy." Mawlana Rumi Review 9, no. 1-2 (January 3, 2020): 159–99. http://dx.doi.org/10.1163/25898566-00901009.
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AbstractWestern reception of Rūmī in the last few decades is intriguing, as he is commonly considered a gentle Muslim, different from other sages that Islamic culture produced. Rūmī’s otherness is often based on his powerful and peerless poetry, deploying rich wine imagery, homoerotic love metaphors, and an emphasis on the superiority of the heart and spiritual growth, and dismissing the outward and orthodox tenets. This paper argues that Rūmī belongs to a millennium-old Persian Sufism, and these poetic tropes derive from a firm antinomian tradition, functioning as strong metaphors to express religious piety by transcending all temporal dualities such as unbelief and belief, the profane and the sacred, purity and impurity, and so forth.
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Habib, Irfan. "Reason vs. Religion in Medieval India: Mainly from Evidence in Persian." Medieval History Journal 26, no. 1 (April 30, 2023): 7–22. http://dx.doi.org/10.1177/09719458231159489.
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The pursuit of reason may be defined as the drawing of logical deductions from a study of actual phenomena, and thus be essentially confined to the results gained from access to the various branches of science. It was in Greece where, from the fifth century BCE onward, rational thought was deemed to have developed most. Greek texts exercised undeniable influence on early thought in the Islamic world, Alberūnī’s Kitabu’l Hind being a remarkable product of that influence. Muslim theologians mounted a tirade against rationality (‘aql), in which the ṣūfīs joined; but since ṣūfic moral thought often tended to override Muslim theology, there could arise figures (even if partly imaginary) like Rābi‘a of Basra, who stood up against theology and its fictions. The conflict between ma‘qūlāt (reason) and manqūlāt (theology) was duly imported into India, along with the arrival of the Arabic–Persian sciences in the 13th and 14th centuries. Here poetry in Persian also became a major vehicle undermining theology. The tendency is partly present in Amīr Khusrau of Delhi (extolling love above theology!), but especially in the Iranian poet Ḥāfiz Shīrāzī, where the sāqī and ale-house constituted the major alternative to the pulpit and the mosque. In Indo-Persian poetry the same role is often ascribed to the but (idol) and the butkhāna (temple). It was under Akbar (r. 1556–1605) that a detailed inquiry (1574 onward) into Islamic beliefs and the doctrines of other religions led to disquiet about their validity. Abū’l Faẓl (d. 1602) became the leading light of a revival of rationality. Akbar’s own critique of Islam was similarly extended to aspects of Hinduism. ‘Urfī represents best the shift to reason, by the boldness of his poetry, rejecting religion for its inadequacy and looking forward to a just world. The seventeenth century did not fulfil the promise of the 16th. There was continuing interest in religion, shown by Jahāngīr’s formula: Tasawwuf = Vedānta; Dārā Shukoh’s translation of the Upanishads; and Mobad’s unique work Dabistān. But there was no corresponding assertion of rationality, whose votaries were reduced to a small band, last described, c. 1655.
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Ecklund Farrell, Dianne. "Rear Cover: Courtly Love in the Caucasus: Rustaveli’s Georgian Epic, The Knight in the Panther Skin." Carl Beck Papers in Russian and East European Studies, no. 2205 (November 13, 2012): A. http://dx.doi.org/10.5195/cbp.2012.193.
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The Knight in the Panther Skin by Shota Rustaveli is the great medieval (ca. 1200) epic of Georgia, and its most distinctive feature is courtly or romantic love, which is its basic motivating force. This article seeks to establish in which respects The Knight in the Panther Skin resembles Western courtly love, and what the explanation for this resemblance might be. In this endeavor I have had to challenge a common (mis-) conception that Western courtly love was essentially illicit loveOne can easily demonstrate that the literary roots of The Knight in the Panther Skin lie in Persian literature rather than in direct contact with Western courtly love, but the reason for the resemblance to Western courtly love is more problematic. Various possibilities are entertained: namely, (1) that Arab love poetry gave rise to it in Georgia (and possibly also in the West, as has been held); (2) that Neoplatonism produced or constituted a philosophic underpinning for courtly love and that it was transmitted to Georgia and/or Western Europe (a) by Arab Neoplatonists; (b) by Western Christian Neoplatonists or (c) by Byzantine Neoplatonists. A third possibility is (3) that it arose due to social and political conditions. And what were the social and political circumstances in Georgia and in Western Europe which, at the same historical period, produced and elaborated a culture so deferential to the ladies? And which, being absent in the Islamic world, did not produce courtly love there? In Georgia a sovereign queen presided in the era of Georgia’s greatest power, wealth and extent. Feudal servitors crowded the court, eager to gain honors and riches for themselves through preferment by the queen, virtually guaranteeing a cult of adoration of the queen. It is Sovereign Queen Tamar to whom Rustaveli dedicates his poem, and to her that he declares his undying love. In Provence, where there were many feudal heiresses, a similar incentive to “please the ladies” prevailed. No direct influence from the troubadours and minnesaenger of Southwestern Europe can be found. The evidence does not support Arab love poetry as a source of or conduit for courtly love, nor can Arab Neoplatonism have played a role. Byzantine Neoplatonism, however, was prominent in the courtly culture of Rustaveli’s time, and the social and political conditions in Georgia likewise were favorable to the rise of a culture of courtly love. Thus both intellectual and socio-political conditions favored the blooming of courtly love in twelfth-century Georgia.
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Drozdov, V. A. "The authorship of the poem ‘Ushshaq-nama from the prospect of academic orientalist studies and modern computer technologies." Orientalistica 3, no. 5 (December 29, 2020): 1360–78. http://dx.doi.org/10.31696/2618-7043-2020-3-5-1360-1378.
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The poem ‘Ushshaq-nama by Fakhr ad-Din ‘Iraqi (610–688 / 1213–1289) is the first poetical writing on the subject of mystical love in Persian literature. ‘Iraqi’s authorship of this work has never been questioned by researchers. However, the English orientalist J. Baldick 1973 cast a doubt on ‘Iraqi’s authorship of this poem. The article examines in detail the arguments of J. Baldick both from the point of view of the context of the creation of the poem, as well as the methods of the latest computational methods, in particular stylometry. Boldik's arguments concern both the historical and religious context in which ‘Iraqi lived and the peculiarities of his works, primarily the poem‘Ushshaq-name. The paper demonstrates that this computational method may be used for the study of the features of the style of Persian poetry and the confirmation of the authorship of doubtful Persian writings. Further expert decision full-field by Artjoms Šeļa based on stylometric methods for the establishment of the poem ‘Ushshaq- nama is expounded. While the results of the analysis of the historical and religious contexts of the poem may serve as confirmation of the authorship of ‘Iraqi and the refutation of the Baldick hypothesis, the results of the stylometric analysis do not give an unambiguous answer to the question of its authorship.
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Naseri, Mahin Pourmorad, and Parvin Ghasemi. "Mythopoeia in Akhavan’s & Eliot’s Poetry." Journal of KATHA 18, no. 1 (December 31, 2022): 21–38. http://dx.doi.org/10.22452/katha.vol18no1.2.
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T. S. Eliot, the well-known English poet, and Mehdi Akhavan Sales, one of the pioneers of the Modern Persian Poetry, have applied mythologies in their poetry. The present study is an attempt to make a comparison between Eliot’s early poems, i.e. “The Waste Land” and “The Love Song of J. Alfred Prufrock”, and Akhavan’s two poems, “Qese-e Shahriar-e Shahr-e Sangestan” [The Story of the King of the Stoned City] and “Khan-e Hashtom va Adamak” [The Eighth Task and the Puppet] from a Tolkienian perspective of mythopoeia. Laying their arguments in Jost’s fourth category of comparative studies (themes and motifs), the present authors attempt to depict the similarities and differences in the way the poets approach mythopoeia as a literary technic. In doing so, the mythic figures created by the poets are detected and the characteristics attributed to each are reviewed in the socio-political context of the poets’ life. Then, the philosophical viewpoint implied in creating the myth will be discussed. The findings of the study reveal that while there are similarities in the literary devices and techniques (i.e., imagery, pattern of hero’s journey, …) that the poets have applied, there are differences in terms of poetic language and the kind of myths each poet creates or alludes to. Finally, it will be argued that in applying mythmaking, both poets seem to be warning their fellowmen against the evil life they are involved in. Thus, it is claimed that from a Tolkienian perspective, both poets are mythopoeic both in vision and method.
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Mortazavi, Seyedeh Sahar, Zahra Jannessari Ladani, and Hossein Pirnajmuddin. "‘Need’ and ‘Desire’ in Shakespeare's Sonnets and Mawlana's Ghazals." Critical Survey 35, no. 1 (March 1, 2023): 94–105. http://dx.doi.org/10.3167/cs.2023.350106.
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Abstract This article aims at a comparative reading of a selection of Shakespeare's sonnets and Mawlana's ghazals from a Levinasian perspective. We will argue how Shakespeare and Mawlana (Rumi) both represent an ethical relationship with the Other in their poems, where the needs and demands of the Other are prioritised. We will also contend that although Shakespeare's sonnets are not exclusively concerned with secular love or eroticism, they are closer to the Levinasian notion of desire or a-satiable desire in which transcendence becomes possible through need. On the other hand, Mawlana's ghazals in which need and erotic feelings are disparaged also warn about satiable desire and need. This is not to suggest that the results of this comparison can be extended to Shakespeare's sonnets and Mawlana's ghazals in general, but that a similar Levinasian reading is occasionally possible and might shed new light on connections between English and Persian lyric poetry.
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Mohammed HUSSEYIN, Hazim. "THE CONCEPT OF NATURE IN THE POETRY OF YAHYA KEMAL BEYATLI." RIMAK International Journal of Humanities and Social Sciences 3, no. 4 (May 1, 2021): 376–87. http://dx.doi.org/10.47832/2717-8293.4-3.36.
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Yahya Kemal Beyatlı is one of the greatest Turkish poets in the 20th century. He left deep influence in Turkish literature by his powerful style and his famous lyrics in addition to his literary personality that he formed in authentic and natural framework faraway from artificiality. He was a man of culture as well as ideology. Our great poet skillfully made use of Ottoman language in addition to modern Turkish language. He elaborated his concept of poetry throughout his own ideas, style and his use of metrics in poetry. The poet wrote his poems in unique subjects that portray immortality, love, nature, and history adding passion to them so that they become poems of high value. Hence all people in the society read them giving the poet success as well as leaving traces that cannot be deleted from the hearts and minds. His poems were moving from one language to another. Some of them are classics and some are romantic which made them read in councils. He was described as a unique poet in his age because he spoke Arabic and Persian languages fluently which was clear in his poetry. I decided to write about the concept of Nature in my research paper because of its active role in his poetry in addition to what attracted me about his own understanding to it. The poet dealt with the aspects of Nature skillfully and passionately in his poems in addition to his extended imagination to write poems about the sea, the sky, the sun, the mountains, and the horizon. This is what I analyzed and studied in my research paper. It was clear in my conclusion of the research paper that the poet Yahya Kemal Beyatlı is a poet of senses and passions and rarely we can find such talent among poets. He wrote about love and passion. Some of his poems, were written in the moony nights which added romantic atmosphere on the imagination of the poet which showed harmony with nature. He wrote also some of his poems on the beach of Istanbul. It is clear through a deep study of his poems on nature that there are wonderful poems. By the end of my research paper, I hope the readers get benefit from it.
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Reysner, Marina L. "Beauty in the Mirror of Poetics [Book review:] N.Yu. Chalisova. Of Persian Beauty. The Lovers’ Companion by Šaraf ad-Dīn Rāmī. Analysis, translation from Persian, commentary, indices, and appendix. Moscow: Higher School of Economics Publishing House; 2021. 430 с." Orientalistica 5, no. 1 (March 30, 2022): 147–56. http://dx.doi.org/10.31696/2618-7043-2022-5-1-147-156.
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The book under review is written by the renowned specialist in Iranian studies, the distinguished Russian scholar Natalia Yurievna Chalisova. She is known as the translator of the most significant and authoritative medieval Iranian treatises on poetics written in Classic Persian. The present book comprises a commented edition and translation of the poetical treatise by Sharaf ad-Din Rami under the title “Interlocutor of Lovers”, compiled in the 14th century. This is a unique work, which combines the features of the ‘ilm al-badi‘ (adornments of poetic speech) with the list of poetical hints and expressions as applied to describe the beauty beloved. The book will obviously not be neglected by a modern lay reader since it comprises a captivating narrative along with a curious list of “motives” used in medieval poetry to describe the object of love and praise ‘de capite ad calcem’. It will also attract a scholar's attention from academics to university teachers and students. Equally, the category of beauty in medieval poetics will earn the attention of medievalists, such as historians of medieval Iran, historians of art, culture and medieval philosophy, etc.
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Prigarina, N. I. "On the Issue of the Concept of Taqlid in the Iqbal’s Poetry: Selfless Following or Shameless Imitation?" Orientalistica 6, no. 2 (September 8, 2023): 290–305. http://dx.doi.org/10.31696/2618-7043-2023-6-2-290-305.
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Muhammad Iqbal (1877–1938) was a notable figure in the Muslim Reformation movement in India of his time. He wrote poetry in Urdu and Persian and philosophical prose in English. The article is devoted to a rare case in the poetic practice of Iqbal when the theological concept of taqlid — “imitation”, “following the tradition”, radically changes its connotation in a poetic text. In Islam, there is a trend opposite to taqlid –ijtihad, the solution of emerging legal problems that had no precedent. The term ijtihad is always mentioned by Iqbal in the same sense, while for taqlid the situation is different. At the beginning of his creative career (1901–1905), the poet believed that “Suicide is better than the path of imitation (taqlid)”; however, in the poems in Persian “The Secrets of the Self” (Asrār-i Xudī, 1915), and then “The Mysteries of Selflessness” (Rumūz-i Bīxudī, 1918) taqlid acquires a positive connotation. Iqbal’s position is reflected in his comments on Nicholson’s English translation: “The idea is that taqlid is also a form of love”. The second poem deals with the formation of the Muslim nation. Chapter 16 of the poem Rumūz-i Bīxudī is titled: “In explaining that in the period of the decline of the nation, taqlid is better than ijtihad.” Nevertheless, examples of the positive use of the motive taqlid make up a smaller part of the statistics. Iqbal-Westerner and modernist comes to the conclusion that the penetration of the Western ideas, as well as the influence of the West on all spheres of life in India of his time, is fraught with terrible danger. At the same time, the poet’s attention is drawn to ijtihad, which contributes to progressive changes in the life of some Muslim countries. A. Schimmel, in her main work “Gabriel’s Wing” (first published in 1963), does not mention the positive connotation of Iqbal’s taqlid. Meanwhile, as one can see, the concept of taqlid, while retaining its meaning of “imitation, following”, changes its connotation depending on the poetic discourse.
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Boni Joshi. "Tracing the Elements of Romanticism and Spirituality in Rumi's Masnavi." International Peer Reviewed E Journal of English Language & Literature Studies - ISSN: 2583-5963 1, no. 1 (June 10, 2019): 07–15. http://dx.doi.org/10.58213/ell.v1i1.2.
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The shining star of the universe, Jalaluddin Mohammad Rumi, has long been acknowledged as the most significant Sufi Mystic Poet. Only the greatest Sufi poetry in the Persian language can be attributed to him. One of the most revered works of Persian Sufi literature, this book is recognised as the most mystifying ever written. It also reveals the many levels of spirituality that can't be defined. His work falls under the category of verse-only compositions without a narrative framework. It provides moral lessons in the form of stories and parables. In order to get his point through, he made a concerted effort to use basic language and communicate it clearly. Knowledge of truth that can't be gained by the senses is an essential principle in spirituality.
This paper's goal is to delve into Masnavi's spiritual side while also exploring its love side. This complex worldly matter can be contained in simple verses that can hold its many intellectual aspects. The beauty of spiritualism is enhanced by the romantic elements that connect the seeker to diversity. It is entirely up to the gardener to make his or her garden stand out in the eyes of the world. An artist who paints on a blank canvas with the magic of their words, much like a poet, is considered a source of eternal life-giving fluid. The planet is a treasure trove of beautiful views and landscapes. It is capable of producing all of the world's beauty.
Rumi has the capacity to create a lasting impression on our minds with a work of actual beauty, whether it takes the form of a tangible thing or a fictional character. You don't just have to experience it once; you have to enjoy it for the rest of your life. As a Persian Quran, Masnavi's unique blend of spiritualism and romanticism has endured in readers' hearts for its essence and entrancing notes.
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Baig, Hassan, and Ghulam Shams-ur Rehman. "U-6 A Stereoscopic Analysis of Afghanistan in Religious, Political and Historical Context: A Research Study." Al-Aijaz Research Journal of Islamic Studies & Humanities 5, no. 1 (March 15, 2020): 69–96. http://dx.doi.org/10.53575/u6.v5.01(21).69-96.
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This paper aims to explore the Cultural Sufism of Khorasan. The overall culture of Afghanistan is very ancient almost two millennia old. It traces it's records to times of Achaemenid Empire of 500BC. The word Afghanistan is translated as "Land of the Afghans" or "Place of Afghans". The official languages of Afghan nation are Pashto and Dari. It is a tribal and rural society with many different regions in the country and each region having distinctive indigenous language. In spite of having some differences almost all Afghans follow a same Islamic tradition and behave accordingly. By following a similar Islamic tradition, they celebrate similar holidays, wear almost same dresses, enjoy same taste of food and music. Sufism has shaped Afghan society and politics for much of the country's history. Today, very few are aware of this legacy. The Sufis are now providing an important contribution to the stability of the state. Some of the greatest Sufi sages of the Muslim world originated from Afghanistan. They refined their insights in the country's lush plains and hidden valleys - and spread their message of peace and love to other parts of the world. The intensely personal poetry of Sufis has been expressed in Dari, Persian and Pashto, the main languages spoken in Afghanistan.
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Musayeva, E. "Issues of Physical Perfection and Physical Education of Women in the Poetry by Nizami Ganjevi." Bulletin of Science and Practice 7, no. 9 (September 15, 2021): 650–54. http://dx.doi.org/10.33619/2414-2948/70/67.
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After gaining independence, the Republic of Azerbaijan, one might say, has always honored all our writers and poets from our classical heritage. Our President Ilham Aliyev has declared this year the Year of the classic poet Nizami Ganjavi. The main goal is the desire to lead our nation forward, to protect it, to preserve the legacy left to us by our great leader, world politician Heydar Alirza oglu Aliyev. He also pointed out the importance of preserving our classical poets such as Nizami Ganjavi and passing on their works to the younger generation. Female images play a key role in the works of Nizami Ganjavi. In his works, he highlighted the place of a woman, depicting a woman as a mother, an ornament of life. In Sultan Sanjar and the Old Woman Beit from Treasury of Secrets, the first poem in the five-verse Hamsa, Nizami Ganjavi describes a woman as the leading force of society, defending her rights. In the second poem — Khosrov and Shirin, Nizami Ganjavi always wanted to see women free and made it clear that a society without women would become an orphan. In his third poem, Layli and Majnun, he described in detail the image of Layli as a selfless oriental woman, attached to her family and devoted to her love. In fact, Nizami Ganjavi foresaw the role of women in society thousands of years ago. The fourth poem Seven Beauties shows the customs and traditions of Chinese, Russian, Persian, Indian, Arab and Turkish women. The poem describes in detail the maternal care of a woman, regardless of her nationality. In his works, Nizami Ganjavi called for an end to all forms of violence against women and wanted to see women free.
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Hana, Yafia. "Poets at the Court of Sayf Al-Dawla Al-Hamadani." Oriental Courier, no. 2 (2022): 55. http://dx.doi.org/10.18254/s268684310021470-5.
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The article researches poetry life at the court of Sayf al-Dawla al-Hamadani, who was the Emir of Aleppo. The ruler encouraged the development of literature, and the most opulent court of the Emir of Aleppo in the Middle East attracted poets, writers and scholars from all over the Arab world. The cohort of the most famous poets at the court of Sayf al-Dawla included al-Mutanabbi, Abu Firas al-Hamadani, Abu al-Abbas al-Nami, al-Sanawbari and others. Al-Mutanabbi was the most famous poet of this period. The poet was imbued with a special love for the Bedouin character and improved his knowledge of the Arabic classical language. Abu Firas is well-known by his “Byzantine verses” or “Rumiyat”. Al-Sanawbari was famous for his poems, in which he sang of the cities of Aleppo and Raqqa, where the residences of Sayf al-Dawla were located. A Persian by origin, Kashajim also found himself at the court of Sayf al-Dawla as a court poet. Kashajim wrote traditional panegyrics, laments, hamriyat, he also often turned to descriptions of nature in his work. Sayf al-Dawla surrounded himself not only with talented poets, but also with outstanding intellectuals of his time, among whom was, for example, the most famous philosopher of his time, al-Farabi.
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Fayyaz, Parwana. "Jami’s Rhetoric of Old Age and Aging in Salaman va Absal." Afghanistan 5, no. 1 (April 2022): 30–59. http://dx.doi.org/10.3366/afg.2022.0083.
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Between the years 1480 and 1484 AD, Jami wrote a long and extraordinary narrative poem, the masnavī of Salaman va Absal. At the time of its completion, Jami was about seventy years old. In this article, I discuss the significance of the poet’s age at the time he wrote this poem, while also examining the Sufi–Neoplatonic interpretations of old age embedded in the poem itself. I argue that Jami uses old age as a rhetorical device, and aging as an induction into a new mode of thinking. This allows the poet to emancipate himself from the poem’s aesthetics and its aesthetic constraints, to focus instead on its metaphysical purpose and potential. In so doing, the poet elevates his poetry to the status of a kind of perfection, which involves transforming the poetic form. Only then does Jami complete his treatise on the unity of oneness (as opposed to duality) from the perspective of an elderly poet. The unusual, passionate love between Salaman and Absal is presented as a Sufi–Neoplatonic interpretation of transcendence and sublimation. Using an interdisciplinary research methodology, this article examines these ideas through a close reading and analysis of the three chapters of the poem in which Jami draws particular attention to images of old age and aging. With this article, I hope to demonstrate the importance of old age studies within Persianate Studies more broadly. This shift in focus prompts a re-evaluation of the late works of classical and medieval Persian poets and their discussions of creativity, imagination, and memory in old age.
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Metzger, Laurent. "Comparison Between European Mystics in the 14th Century and Sumatran Sufis in the 16th-17th Centuries." INContext: Studies in Translation and Interculturalism 4, no. 1 (April 30, 2024): 114–32. http://dx.doi.org/10.54754/incontext.v4i1.72.
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This study offers a comparative examination of the mysticism practiced by European spiritual thinkers in the 14th century and Sumatran Sufis in the 16th to 17th centuries, revealing striking inter-cultural similarities in their spiritual quests secluded from the urban tumult. These mystics, though divided by geographic and temporal distances, engaged profoundly with religious metaphysics, passionately expressing their spiritual explorations through sermons, literary compositions, and poetry. Central to their discourse was the relationship between the individual and the divine, with a particular focus on the soul’s crucial role in seeking spiritual fulfillment. The investigation highlights how these mystics from both the East and West tackled similar existential queries and embraced comparable methods of religious contemplation, which reflects a universal quest for understanding the divine essence. Recurring themes include the nature of divine love, the pursuit of spiritual authenticity, and the soul’s transcendental experiences, underscoring a shared narrative across these diverse cultural backdrops. The narrative of Mansûr al-Hallâj, a Persian mystic executed for his beliefs, exemplifies the extreme consequences faced by such profound thinkers, illustrating how deep spiritual commitment could lead to both profound admiration and severe persecution. Moreover, this analysis considers how these mystics were received within their societies—some were hailed as pioneers of thought, while others were condemned and executed as heretics by prevailing religious authorities. This contrast provides deeper insight into the complex dynamics between individual mystics and the broader societal and religious structures that either embraced or rejected their unconventional ideas. By providing a detailed comparative analysis, the study aims to enrich our understanding of mysticism as a bridge linking personal religious experience with the wider theological debates of the times. It contributes to a greater appreciation of the role of mystics in shaping religious thought across different historical and cultural contexts. This enriched narrative not only deepens our historical understanding of mystical traditions but also highlights the enduring dialogue between personal spiritual journeys and established religious doctrines.