Divan poetry imagery garden flowers

Divan poetry imagery garden flowers

We are searching data for your request:

Forums and discussions:
Manuals and reference books:
Data from registers:
Wait the end of the search in all databases.
Upon completion, a link will appear to access the found materials.

Parween Pazkhwak, born in Kabul, is a writer and poet. She is the granddaughter of Afghan diplomate and writer Abdul Rahman Pazhwak. Noorzar Elias was a friend and contemporary of Qahar AsiThe date of this poem corresponds to the brief period that both poets were in exile in Iran. Asi was deported and soon after was killed in the fall of the same year by a rocket attack in Kabul.

  • WMA Shorter Papers Archive, 2007
  • Chapter 1 Al-Maʾmūn of Toledo: A Warrior in the Palace Garden
  • The Social and Intellectual World of a Fifteenth-Century Poem.
  • Persia’s Mystic: Rumi’s Divan
  • Tulip: The flower lending its name to an Ottoman period
  • Publish your poetry online
  • Garden Imagery and Connection of Three Worlds in Hafez’s Poetry
  • William Chittick, "77 whole ghazals from Rumi's Divan, translated in English". Part 2/2

WMA Shorter Papers Archive, 2007

He has translated into German, besides the "Divan" of Hafiz, specimens of two hundred poets, who wrote during a period of five and a half centuries, from A. That for which mainly books exist is communicated in these rich extracts. Many qualities go to make a good telescope, --as the largeness of the field, facility of sweeping the meridian, achromatic purity of lenses, and so forth, --but the one eminent value is the space-penetrating power; and there are many virtues in books, but the essential value is the adding of knowledge to our stock, by the record of new facts, and, better, by the record of intuitions, which distribute facts, and are the formulas which supersede all histories.

Oriental life and society, especially in the Southern nations, stand in violent contrast with the multitudinous detail, the secular stability, and the vast average of comfort of the Western nations. Life in the East is fierce, short, hazardous, and in extremes. Its elements are few and simple, not exhibiting the long range and undulation of European existence, but rapidly reaching the best and the worst.

The rich feed on fruits and game, --the poor, on a watermelon's peel. All or nothing is the genius of Oriental life. Favor of the Sultan, or his displeasure, is a question of Fate. A war is undertaken for an epigram or a distich, as in Europe for a duchy. The prolific sun, and the sudden and rank plenty which his heat engenders, make subsistence easy. On the other side, the desert, the simoom, the mirage, the lion, and the plague endanger it, and life hangs on the contingency of a skin of water more or less.

The very geography of old Persia showed these contrasts. Religion and poetry are all their civilization. The religion teaches an inexorable Destiny. It distinguishes only two days in each man's history: his birthday, called the Day of the Lot , and the Day of Judgment. Courage and absolute submission to what is appointed him are his virtues.

The favor of the climate, making subsistence easy, and encouraging an outdoor life, allows to the Eastern nations a highly intellectual organization, --leaving out of view, at present, the genius of the Hindoos, more Oriental in every sense, whom no people have surpassed in the grandeur of their ethical statement.

The Persians and the Arabs, with great leisure and few books, are exquisitely sensible to the pleasures of poetry. Layard has given some details of the effect which the improvvisatori produced on the children of the desert. The other Bedouins were scarcely less moved by these rude measures, which have the same kind of effect on the wild tribes of the Persian mountains. Such verses, chanted by their self-taught poets, or by the girls of their encampment, will drive warriors to the combat, fearless of death, or prove an ample reward, on their return from the dangers of the ghazon , or the fight.

The excitement they produce exceeds that of the grape. He who would understand the influence of the Homeric ballads in the heroic ages should witness the effect which similar compositions have upon the wild nomads of the East.

The principal figure in the allusions of Eastern poetry is Solomon. Solomon had three talismans: first, the signet ring, by which he commanded the spirits, on the stone of which was engraven the name of God; second, the glass, in which he saw the secrets of his enemies, and the causes of all things, figured; the third, the east wind, which was his horse.

His counsellor was Simorg, king of birds, the all-wise fowl, who had lived ever since the beginning of the world, and now lives alone on the highest summit of Mount Kaf.

No fowler has taken him, and none now living has seen him. By him Solomon was taught the language of birds, so that he heard secrets whenever he went into his gardens.

When Solomon travelled, his throne was placed on a carpet of green silk, of a length and breadth sufficient for all his army to stand upon, --men placing themselves on his right hand, and the spirits on his left.

When all were in order, the east wind, at his command, took up the carpet, and transported it, with all that were upon it, whither he pleased, --the army of birds at the same time flying overhead, and forming a canopy to shade them from the sun. It is related, that, when the Queen of Sheba came to visit Solomon, he had built, against her arrival, a palace, of which the floor or pavement was of glass, laid over running water, in which fish were swimming.

The Queen of Sheba was deceived thereby, and raised her robes, thinking she was to pass through the water. On the occasion of Solomon's marriage, all the beasts, laden with presents, appeared before his throne.

Behind them all came the ant with a blade of grass: Solomon did not despise the gift of the ant. Asaph, the vizier, at a certain time, lost the seal of Solomon, which one of the Dews, or evil spirits, found, and, governing in the name of Solomon, deceived the people.

Firdousi, the Persian Homer, has written in the Shah Nameh the annals of the fabulous and heroic kings of the country: of Karun, the Persian Croesus. The crocodile in the rolling stream had no safety from Afrasiyab. Yet when he came to fight against the generals of Kaus, he was but an insect in the grasp of Rustem, who seized him by the girdle, and dragged him from his horse.

Rustem felt such anger at the arrogance of the King of Mazinderan, that every hair on his body started up like a spear. The gripe of his hand cracked the sinews of an enemy. These legends, --with Chiser, the fountain of life, Tuba, the tree of life, --the romances of the loves of Leila and Medschun, of Chosru and Schirin, and those of the nightingale for the rose, --pearl-diving, and the virtues of gems, --the cohol, a cosmetic by which pearls and eyebrows are indelibly stained black, --the bladder in which musk is brought, --the down of the lip, the mole on the cheek, the eyelash, --lilies, roses, tulips, and jasmines, --make the staple imagery of Persian odes.

The Persians have epics and tales, but, for the most part, they affect short poems and epigrams. Gnomic verses, rules of life, conveyed in a lively image, especially in an image addressed to the eye, and contained in a single stanza, were always current in the East; and if the poem is long, it is only a string of unconnected verses. They use an inconsecutiveness quite alarming to Western logic, and the connection between the stanzas of their longer odes is much like that between the refrain of our old English ballads, "The sun shines fair on Carlisle wall," or "The rain it raineth every day," and the main story.

Take, as specimens of these gnomic verses, the following "The secret that should not be blown Not one of thy nation must know; You may padlock the gate of a town, But never the mouth of a foe. He accosts all topics with an easy audacity. Our father Adam sold Paradise for two kernels of wheat; then blame me not, if I hold it dear at one grapestone. Bring wine to quench the fire! On the straight way the traveller never misses. His was the fluent mind in which every thought and feeling came readily to the lips.

We absorb elements enough, but have not leaves and lungs for healthy perspiration and growth. An air of sterility, of incompetence to their proper aims, belongs to many who have both experience and wisdom. But a large utterance, a river, that makes its own shores, quick perception and corresponding expression, a constitution to which every morrow is a new day, which is equal to the needs of life, at once tender and bold, with great arteries, --this generosity of ebb and flow satisfies, and we should be willing to die when our time comes, having had our swing and gratification.

The difference is not so much in the quality of men's thoughts as in the power of uttering them. What is pent and smouldered in the dumb actor is not pent in the poet, but passes over into new form, at once relief and creation. The other merit of Hafiz is his intellectual liberty, which is a certificate of profound thought.

We accept the religions and politics into which we fall; and it is only a few delicate spirits who are sufficient to see that the whole web of convention is the imbecility of those whom it entangles, --that the mind suffers no religion and no empire but its own.

It indicates this respect to absolute truth by the use it makes of the symbols that are most stable and reverend, and therefore is always provoking the accusation of irreligion. Hypocrisy is the perpetual butt of his arrows. Wrong shall not be wrong to Hafiz, for the name's sake.

A law or statute is to him what a fence is to a nimble schoolboy, --a temptation for a jump. There is no example of such facility of allusion, such use of all materials. Nothing is too high, nothing too low, for his occasion. He fears nothing, he stops for nothing. Love is a leveller, and Allah becomes a groom, and heaven a closet, in his daring hymns to his mistress or to his cup-bearer.

This boundless charter is the right of genius. Hafiz himself is determined to defy all such hypocritical interpretation, and tears off his turban and throws it at the head of the meddling dervis, and throws his glass after the turban.

But the love or the wine of Hafiz is not to be confounded with vulgar debauch. It is the spirit in which the song is written that imports, and not the topics. Hafiz praises wine, roses, maidens, boys, birds, mornings, and music, to give vent to his immense hilarity and sympathy with every form of beauty and joy; and lays the emphasis on these to mark his scorn of sanctimony and base prudence.

These are the natural topics and language of his wit and perception. But it is the play of wit and the joy of song that he loves; and if you mistake him for a low rioter, he turns short on you with verses which express the poverty of sensual joys, and to ejaculate with equal fire the most unpalatable affirmations of heroic sentiment and contempt for the world. Sometimes it is a glance from the height of thought, as thus: --"Bring wine; for, in the audience-hall of the soul's independence, what is sentinel or Sultan?

In all poetry, Pindar's rule holds, --[Greek: sunetois phonei], it speaks to the intelligent; and Hafiz is a poet for poets, whether he write, as sometimes, with a parrot's, or, as at other times, with an eagle's quill.

Every song of Hafiz affords new proof of the unimportance of your subject to success, provided only the treatment be cordial. In general, what is more tedious than dedications or panegyrics addressed to grandees? Yet in the "Divan" you would not skip them, since his muse seldom supports him better. Poises Arcturus aloft morning and evening his spear. I would give for the mole on thy cheek Samarcand and Buchara!

Timour taxed Hafiz with treating disrespectfully his two cities, to raise and adorn which he had conquered nations. Hafiz replied, "Alas, my lord, if I had not been so prodigal, I had not been so poor! The law of the ghaselle , or shorter ode, requires that the poet insert his name in the last stanza. Almost every one of several hundreds of poems of Hafiz contains his name thus interwoven more or less closely with the subject of the piece.

It is itself a test of skill, as this self-naming is not quite easy. We remember but two or three examples in English poetry: that of Chaucer, in the "House of Fame"; Jonson's epitaph on his son,-- "Ben Jonson his best piece of poetry"; and Cowley's,-- "The melancholy Cowley lay.

It gives him the opportunity of the most playful self-assertion, always gracefully, sometimes almost in the fun of Falstaff, sometimes with feminine delicacy. He tells us, "The angels in heaven were lately learning his last pieces.

This morning heard I how the lyre of the stars resounded, 'Sweeter tones have we heard from Hafiz! Give the gem which dims the moon To the noblest, or to none. Then all the poets are agreed, No man can less repine. To the vizier returning from Mecca he says,-- "Boast not rashly, prince of pilgrims, of thy fortune, Thou hast indeed seen the temple; but I, the Lord of the temple.

Nor has any man inhaled from the musk-bladder of the merchant, or from the musky morning-wind, that sweet air which I am permitted to breathe every hour of the day. I am a kind of parrot; the mirror is holden to me; What the Eternal says, I stammering say again. Give me what you will; I eat thistles as roses, And according to my food I grow and I give.

Scorn me not, but know I have the pearl, And am only seeking one to receive it. The muleteers and camel-drivers, on their way through the desert, sing snatches of his songs, not so much for the thought, as for their joyful temper and tone; and the cultivated Persians know his poems by heart. Yet Hafiz does not appear to have set any great value on his songs, since his scholars collected them for the first time after his death. In the following poem the soul is figured as the Phoenix alighting on the Tree of Life "My phoenix long ago secured His nest in the sky-vault's cope; In the body's cage immured, He is weary of life's hope.

Chapter 1 Al-Maʾmūn of Toledo: A Warrior in the Palace Garden

Aflaki, Shams al-Din Ahmad. London: Theosophical Publishing House,London: Octagon Press,California,Ali, Mohamed.

Garden for the Sultan Gardens and Flowers in the Ottoman Culture (Istanbul: Mas Since, the imagery of the gazel poetry was an established set of.

The Social and Intellectual World of a Fifteenth-Century Poem.

The studio was filled with the rich odor of roses, and when the light summer wind stirred amidst the trees of the garden there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn. From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as usual, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-colored blossoms of the laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flame-like as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid jade-faced painters who, in an art that is necessarily immobile, seek to convey the sense of swiftness and motion. The sullen murmur of the bees shouldering their way through the long unmown grass, or circling with monotonous insistence round the black-crocketed spires of the early June hollyhocks, seemed to make the stillness more oppressive, and the dim roar of London was like the bourdon note of a distant organ. Students do vocabulary practice. What do you call: 1. Complete the phrases with the words below. Bouquet of orchids — If someone deserves a bouquet of orchids, they have done something worthy of praise. Come up roses — If things come up roses, they produce a positive result, especially when things seemed to be going badly at first. Come up smelling of roses — If someone comes up smelling of roses, they emerge from a situation with their reputation undamaged.

Persia’s Mystic: Rumi’s Divan

THE verses composing this volume have been selected by the author almost entirely from the five-volume edition of his poems published by the Bobbs-Merrill Company inA number have been included from the three or four volumes which have been published since the appearance of the Collected Poems; namely, three poems from the volume entitled "Nature Notes and Impressions," E. Grant Richards in ; and three or four selections from the volume of selections entitled "Kentucky Poems," compiled by Mr. Edmund Gosse and published in London by Mr.

Katouzian, Homa. Tauris,

Tulip: The flower lending its name to an Ottoman period

A certain amount of romantic interest has always attached to Persia. With a continuous history stretching back into those dawn-days of history in which fancy loves to play, the mention of its name brings to our minds the vision of things beautiful and artistic, the memory of great deeds and days of chivalry. We seem almost to smell the fragrance of the rose-gardens of Tus and of Shiraz, and to hear the knight-errants tell of war and of love. There are other Oriental civilizations, whose coming and going have not been in vain for the world; they have done their little bit of apportioned work in the universe, and have done it well. India and Arabia have had their great poets and their great heroes, yet they have remained well-nigh unknown to the men and women of our latter day, even to those whose world is that of letters.

Publish your poetry online

Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book.

With the exception of his dramatic work, as witnessed by one volume only, "The Shadow Garden," a book of plays four in number, published in

Garden Imagery and Connection of Three Worlds in Hafez’s Poetry

Annemarie Schimmel, one of the world's foremost authorities on Persian literature, provides a comprehensive introdu. English Pages [] YearThis volume is a collection of essays on classical Persian literature, focusing on Persian rhetorical devices, especiall.

William Chittick, "77 whole ghazals from Rumi's Divan, translated in English". Part 2/2

Hafez is the most popular of Persian poets. Many of his lines have become proverbial sayings, and there are few who cannot recite some of his lyrics, partially or totally, by heart. No other Persian poet has been the subject of so much analysis, commentary, and interpretation. Nor has any poet influenced the course of post-fourteenth century Persian lyrics as much as he has. In no other Persian poet can be found such a combination of fertile imagination, polished diction, apt choice of words, and silken melodious expressions. These are all wedded to a broad humanity, philosophical musings, moral precepts, and reflections about the unfathomable nature of destiny, the transience of life, and the wisdom of making the most of the moment—all expressed with a lyrical exuberance that lifts his poetry above all other Persian lyrics.

There are many flowers associated with various countries in world history.

Orchestration: T - Hp. NMOProgramme Note:. Sally Beamish bornFour Songs from Hafez.

Ergin had translated selections from the Divan-i Kebir prior to - but it was only that year that he began in earnest to tackle the enormous…. Anonymous comments are disabled in this journal. Your IP address will be recorded.

Watch the video: Ξυπνάει ο Κήπος στις Γλάστρες στη Βεράντα!Μάρτιος