Basil Bunting's Versions of Manuchehri Damghani

2016 ◽  
Vol 25 (3) ◽  
pp. 339-362
Author(s):  
Simon Patton ◽  
Omid Azadibougar
Keyword(s):  
Persian Poetry ◽  
Basil Bunting

Basil Bunting extolled the work of Manuchehri and made versions of four of Manuchehri's poems in five of his own, 1939–49. Little is known about what motivated these translations or how they relate to the Persian source texts because no detailed appraisals of them have appeared to date. A close commentary is provided here on how the content of Bunting's versions compares with that of their sources. Since it has been claimed that Bunting learned techniques from Persian poetry that helped him to refine his own style, the question is also asked what he might have learned from Manuchehri.

Allegorical Gardens in the Persian Poetic Tradition: Nezami, Rumi, Hafez

1985 ◽  
Vol 17 (2) ◽  
pp. 229-260 ◽  
Author(s):  
Julie Scott Meisami
Keyword(s):  
Striking Feature ◽  
Poetic Tradition ◽  
Persian Poetry ◽  
Nature Imagery

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.

Reorientations/Arabic and Persian Poetry

1996 ◽  
pp. 164
Author(s):  
Aboubakr Chraibi ◽  
Suzanne Pinckney Stetkevych
Keyword(s):  
Persian Poetry

ՀԱՖԵԶԻ ԲԱՆԱՍՏԵՂԾԱԿԱՆ ԱՇԽԱՐՀԻ ԱՐՏԱՑՈԼՈՒՄՆ ԱՅԴԻՆ ԱՂԴԱՇԼՈՒԻ ՆԿԱՐՆԵՐՈՒՄ

2021 ◽  
pp. 216-225
Author(s):  
Zahra Мaleqi (IRI, Shiraz)
Keyword(s):  
Visual Arts ◽  
Persian Poetry ◽  
Contemporary Artists

Classical Persian poetry, when embodied in the oeuvre of the contemporary artists of Iran, was becoming for some a major source of artistic inspiration. The article analyzes the inner creative bond between classical Persian poets and present-day artists, exemplified by Hafez and the modern Iranian painter Aydin Aghdashloo, whose all canvases stem from poetry, and the best of them are considered among the most valued achievements of visual arts. Hafez’s verses were conducive to introducing surrealist style to Iranian portrait and miniature by the painter Aydin Aghdashloo, who has created thereby a new style of "crumpled miniature".

scholarly journals The first ghazal of the Divan of Ghalib

2021 ◽  
Vol 4 (5) ◽  
pp. 1323-1351
Author(s):  
Natalia I. Prigarina ◽  
Ludmila A. Vasilyeva
Keyword(s):  
Dimensional Analysis ◽  
Poetic Form ◽  
Persian Poetry ◽  
Great Poet ◽  
History Of ◽  
The Creation

The article offers a multi-dimensional analysis of the first ghazal from the Urdu Divan by the Indian classic poet Mirza Ghalib (1797–1869). Ghalib wrote in two languages – Urdu and Persian, but it was the completion of the Urdu Divan that made him a great poet. The article presents the history of the creation and publication of the Divan, as well as discusses its sources. The authors focus on the complexity of the style and the richness of poetic themes, images and writing techniques. They also discuss the Sufi component of the first ghazal of the Divan, thus highlighting the poetics of the ghazal. The “opening” ghazal, which is placed at the beginning of a divan usually takes over the function of the hamd, i.e. the eulogy to the Creator, which is typical for a traditional introduction to a large poetic form. However, in Ghalib’s ghazal, this praise comes in a paradoxical form, which is caused by Ghalib`s high criteria of humanism and dignity. The analysis of the first ghazal helps in many ways to understand the creative credo typical for all of Ghalib's poetry, as well as the difficult path the poet had taken, while continuously improving his art of “hunting” for a poetic word. The ghazal is discussed in the context of Ghalib’s other Urdu and Persian poetry, as well as of Sufism that prevailed in India of Ghalib’s time.

scholarly journals Persian Poetry and Wine in its Place

2017 ◽  
Vol 6 (7) ◽  
pp. 35
Author(s):  
Ali Mamkhezri ◽  
Kamran Pashaee-Fakhri ◽  
Parvaneh Aadelzadeh
Keyword(s):  
Persian Literature ◽  
Persian Poetry

In the Persian literature “wine” is divided in to three sub-categories:  mystic, true and literary. The true wine is used in texts, where the intention is to show the pleasures of life, whereas in some philosophical and mystic texts such as the story of Zartosht and Goshtasb, drinking wine and Haoma juice. results in achieving knowledge and cognition and being prepared for making important decisions .Sometimes it was only used ritually and not drunk and this made them to discover the unseen and unknown secrets. Therefore, on can classify the true wine- which is also called natural win - in to two groups: natural festive and natural Hikmah/philosophical wines. Basically, they differ in their usages. The first one drunk for joy and pleasure and the second one to reach knowledge and cognition.

HOW MĪR CALĪ-ŠĪR NAVĀYĪ’S PERSIAN POETRY INFLUENCED THE POET-WARRIOR OTTOMAN SULTAN SELIM I (1512–1520)

2021 ◽  
Vol 1 (2) ◽  
pp. 32-38
Author(s):  
Benedek Péri ◽  
Keyword(s):  
Ottoman Empire ◽  
Literary Critic ◽  
Xvith Century ◽  
Persian Poetry ◽  
Historical Fact ◽  
The Creation

This article discusses the importance of Persian poetry in the work of Alisher Navoi and how much they were valued in the Ottoman Empire. In particular, it is noted that Sultan Boyazid I (1481-1512), under the influence of Navoi ghazals, ordered the creation of works in the style of poetic poetry. It is unclear whether these assumptions are based on explicit historical fact, but the author bases this assumption on the proximity of Ottoman poetry to Navoi's ghazals. The author analyzes the work of Navoi, studying the work of the Ottoman ruler Sultan Selim I. The reason for this is that he was a contemporary of Navoi, better known for his Persian poems in poetry, and, most importantly, in the first half of the XVIth century, the Ottoman literary critic Latīfī, a close a contemporary of the Sultan, admitted that Selim was inspired by the poetry of Navoi. Clarifies the issue under consideration. The author also interprets ideas in terms of couplets. Speaking about the activities of Sultan Selim I, it is said that most of his work was composed of poems, and most of them were answer poems. The author also notes new discoveries in science using Selim's Per-sian ghazals, edited by Paul Horn. The author's research confirms the similarity of couplets in the desired weight, as well as the fact that the size of seven-couplet verses in Navoi is five couplets in Selim's work, which gives the reader another novelty

Sign in / Sign up

Export Citation Format

Share Document