scholarly journals Seerat-ul-Nabi ﷺ in the light of “Buqqa-e-Anwaar”

2021 ◽  
Vol 5 (3) ◽  
Author(s):  
Rubina Yasmin ◽  
Zamurrad Kausar
Keyword(s):  
Long Poem ◽  
Religious Poetry ◽  
The World ◽  
Long Poems

“Buqqa e Anwaar” is a long Poem written by Shamim Yazdani. This Poem is a Long Poem consisiting a complete book. So it is called one book poem. There is an ancient tradition of writing long poems consisting complete book. It’s a religious poetry about the life and seerah of our beloved Prophet Muhammad ﷺ. In this poem the poet talks about the Holy prophet PBUH Seerat and sunnat. Before Islam, the Arabs were plunged into the darkness of ignorance. They worshiped idols. After the arrival of our prophet enlightened the world. This poem shows Shamim Yazdani’s love, affection and respect for the Prophet Muhammad ﷺ.

The Long Poem

2018 ◽  
Author(s):  
Paul Jaussen
Keyword(s):  
World War I ◽  
Long Poem ◽  
American Modernism ◽  
The Waste Land ◽  
Waste Land ◽  
Anglo American ◽  
Long Poems ◽  
Historical Rhetoric ◽  
Organizational Principles ◽  
Poetic Work

In its most basic sense, the ‘long poem’ refers to any extended poetic work, from the long lyric to the epic. Within the context of modernism, the long poem emerged as a significant genre, channeling the authority and scope of the epic yet rejecting many traditional epic devices. Most notably, many modernist long poems abandoned narrative, replacing it with other organizational principles, ranging from symbolism to collage. The practice became particularly significant within the context of Anglo-American modernism, largely due to the influence of T.S. Eliot and Ezra Pound, although the long poem can also be considered a transnational genre, with examples in French, such as Saint-John Perse’s Anabase (1924), and Spanish, like Federico García Lorca’s sequence Poeta en Nueva York (1940). One of the most famous and influential examples of the genre is Eliot’s The Waste Land, published in 1922. Adapting mythological themes, literary allusions, and a symbolic framework, Eliot’s work combined the traditional historical rhetoric of earlier long poetics, from Chaucer to the Arthurian legends, with the language and concerns of World War I England.

HISTORY AND ITS ENDS IN CHARTIST EPIC

2009 ◽  
Vol 37 (1) ◽  
pp. 27-42 ◽  
Author(s):  
Pamela K. Gilbert
Keyword(s):  
New World ◽  
Religious Tradition ◽  
The Political ◽  
National Narratives ◽  
End Of History ◽  
The Past ◽  
The World ◽  
History Of ◽  
The End Of History ◽  
Long Poems

In the mid-1800s, two significant and widelyread Chartist poems appeared, both written in prison by Chartist organizers, and both using the epic form to interrogate the present, body forth a utopian future, and rewrite a history conceived both as broadly human and specifically national. These long poems, Thomas Cooper'sPurgatory of Suicides(1845) and Ernest Jones'sThe New World, first published in 1851 and then republished after 1857 as theRevolt of Hindostan, have much to tell us about how radicals envisioned the history of Britain, its relationship with empire, and the fulfillment of the ends of history. Cooper's poem proceeds in ten books, written in Spenserian stanzas, in which he dreams of visiting a purgatory of suicides: mythical and historical personages who have committed suicide debate the reasons for their condition and the condition of the world. Jones's poem was written in couplets, supposedly on the torn pages of a prayer book, in his own blood. The poem surveys the rise and fall of multiple empires, and also surveys recent political history closer to home. The two poems look to the past and the future, to universal history and its end. They thus participate in utopian political discourse, with its emphasis on the end of history, as well as the epic tradition. Both utopian and epic discourse in this period were affiliated with specifically national narratives, and the internationalist and universal elements of the poems sometimes inhabit these genres uneasily. Additionally, both poets attend to the religious tradition of eschatological discourse that underlies the secular notion of the end of history, and work to reconcile it with the political vision they are promoting. These writers use unique combinations of spatial and temporal frames to achieve the reconciliation of their diverse goals with the genres and discourses that they claim and transform.

scholarly journals INTELLECTUAL RELIGIOSITY OF ISLAMIC BOARDING SCHOOL IN A. MUSTOFA BISRI’S POETRY

2018 ◽  
Vol 15 (2) ◽  
pp. 325-345
Author(s):  
Abdul Wahid Bambang Suharto
Keyword(s):  
Religious Experience ◽  
Boarding School ◽  
Language Usage ◽  
Cultural Backgrounds ◽  
Religious Poetry ◽  
Language And Culture ◽  
The World ◽  
The Mean ◽  
The Universe ◽  
Islamic Values

This paper seeks to uncover A. Mustofa Bisri as a literary writer who “departs from Islamic boarding school” which conveys intellectual religiosity through poetry. The concept of thinking used in this paper by exposing poetry as text, the world of Islamic boarding school as a con- text, and the interrelations both in poetry and religious Islamic intellectu- als as contextualization. First, the intensity of the written poetry is based on the intellectualreligiosity in theIslamicboarding school, so it is reli- giously timeless, and beyond the limitations of language usage. Aspects of events, aspects of experience, and aspects of the view of life (weltan- schauung) unite in the particular language and culture. Secondly, the prin- ciple that the idiocencracy of religious poetry based on Islamic values in the form of a poetical language is important to mark one’s poet as the context of the poetical of A. Mustofa Bisri. It should be interpreted not only as a symptom of poetical language that breaks away from the mean- ing of poetry (the religious experience expressed and simultaneously dis- played in poetry), but also the dynamics interrelated between poets, po- ems, and cultural backgrounds that surround them. Third, the religious experience manifested in the language of poetry is the deepestform of religious intellectual abstraction, i.e., divined and cherished love. This condition is shaped by the crystallization of knowledge as an action in the deepest dimension of one’s humanity to voice inner perceptions. By loving God, people will love God’s creation, man and the universe, as he loves himself. By loving each other and the universe as God’s creation, a lover will treat himself as a person of faith and do good deeds, and remind each other to hold fast to the truth, and remind each other to be patient. The concept cannot be separated from the perspective of al-Qur’an and al-Hadith.

scholarly journals A Comparative Perspective on Kabir and George Herbert's Poetry

2021 ◽  
pp. 39-46
Author(s):  
Sucheta Chaturvedi
Keyword(s):  
Comparative Study ◽  
Catholic Church ◽  
English Language ◽  
World View ◽  
Comparative Perspective ◽  
George Herbert ◽  
Religious Poetry ◽  
Mixed Form ◽  
The World ◽  
Close Study

The Bhakti movement in India attempted reforms by fighting caste rigidities and superstitions. Almost around the same time the Cambridge reformers were attempting to reform the Catholic Church and propagating Protestant ideas. This paper attempts a comparative perspective on George Herbert’s poetry in relation to some aspects of Bhakti poetry in India, especially with reference to Kabir. George Herbert who was a Metaphysical poet is classified as a devotional poet for the corpus of religious poetry he wrote. The approach of this Metaphysical poet and poets like Kabir from the Bhakti movement has certain points of comparison. Certain similarities in the discourse of the disciple as slave to his Lord; as the lover in search of a union etc. finds place in this discussion. This paper engages in a close study of the religious poetry of George Herbert and that of Kabir in relation to the trends of the Bhakti movement. The language used by most Bhakti poets is simple and words from the vernacular languages of India find a presence in pure or mixed form. Kabir uses the ‘sadhukkadi’ or ‘khichdi’ language. Though Herbert wrote in the English language the world-view of both the poets is quite similar. Some of the images and the philosophy that manifests itself in the two poets are examined through this comparative study.

scholarly journals Wojciecha Kudyby Gorce Pana

2019 ◽  
Vol 12 ◽  
pp. 351-360
Author(s):  
Dorota Heck
Keyword(s):  
20Th Century ◽  
Religious Poetry ◽  
The World ◽  
Literary Geography ◽  
Poetic Imagination ◽  
Poetic Diction ◽  
The Universe

Wojciech Kudyba’s Gorce Pana Gorce of the LordIn the 20th century religious poetry was mainly the domain of famous poet priests; today better known are secular authors from various generations, for example Zbigniew Jankowski, Wojciech Bonowicz, Krzysztof Koehler, Wojciech Wencel and Mirosław Dzień. Standing out with his avoidance of pathos and clarity of poetic diction, Wojciech Kudyba published his first book of poetry appreciated by literary critics, Tyszowce i inne miasta Tyszowce and other towns, thirteen years ago. It was followed in 2008 by Gorce Pana Gorce of the Lord — of key importance to the understanding of the role of the mountains in Kurdyba’s poetic imagination — and Ojciec się zmienia The Father is changing in 2011. The summa of the poet’s oeuvre so far, a selection entitled W końcu świat Finally the world, is divided into three parts: “Inne miasta” Other towns, “Inne góry” Other mountains and “Kogo brak” Who’s missing. They correspond to his earlier volumes of poetry. The poet’s own descriptions point to the considerable signifi cance of a coherent composition of the collection. Repetitions of the various motifs resemble a rosary or a sequence of mirror reflections. Hermeneutic analyses of the various poems lead to a conclusion that harmony, questioned by the possibility of self-irony, results in the eff ect of moved form, sought after by the poet, while literary geography, fascination with the mountains and respect for epiphany balance out the irony, stabilising the emphasis on the eternal harmony of the universe present in the beauty of Gorce.

scholarly journals POR TRÁS DA DISTOPIA: O ano de 1993, de José Saramago

2016 ◽  
Vol 12 (1) ◽  
Author(s):  
Quênia Regina Santos
Keyword(s):  
Long Poem ◽  
Coup D'etat ◽  
The World ◽  
Poetic Narrative ◽  
Democratic Experience ◽  
Jose Saramago ◽  
Narrative Poem

RESUMO: Este ensaio tem por objetivo analisar a obra O ano de 1993, de José Saramago, que busca na narrativa poética outra maneira de fazer conhecer sua visão do mundo após golpe de estado de abril de 1974. Por trás de um tratamento metafórico marcado pelo ilogismo, o poema narrativo de Saramago mostra o sentimento de submissão de um povo diante do opressor, defendendo o amor e a união na luta como a única forma de garantir a liberdade para qualquer povo, principalmente o português, representado no longo poema, que permanecia errante, preso, longe de uma vivência democrática em seu país, estimulando-o à rebelião a fim de resgatar a possibilidade de um futuro livre. PALAVRAS-CHAVE: Metáfora; Poder; Liberdade; Intelectual; Poesia. ABSTRACT: This essay aims to analyze the work O ano de 1993, by José Saramago, a poetic narrative that seeks another way to make known his view of the world after the coup d’état of April 1974. Thus, behind a metaphoric treatment marked by ilogism, the narrative poem by Saramago shows the feeling of submission of people who face oppressors, advocating love and union in the fight as the only way to guarantee freedom for all peoples, especially the Portuguese one, represented in the long poem, which was still wandering, imprisoned, far from a democratic experience in their country, encouraging them to rebellion in order to rescue the possibility of a free future. KEYWORDS: Metaphor; Power; Freedom; Intellectual; Poetry.

scholarly journals “The Wright Brothers” by Mikhail Zenkevich: Correspondence with Orville Wright and Other Contributors (1932–1933): New Archival Findings

2021 ◽  
Vol 16 (1) ◽  
pp. 48-78
Author(s):  
S. V. Cheloukhina
Keyword(s):  
United States ◽  
The United States ◽  
Direct Influence ◽  
Long Poem ◽  
Short Novel ◽  
Time Period ◽  
Michael Gold ◽  
Long Poems ◽  
First Time ◽  
River Bend

As a result of the latest findings in the archives of Russia and the United States, the correspondence between Mikhail Zenkevich and Orville Wright is published for the first time (the originals in English are supplemented with the Russian translations). This correspondence was conducted between 1932–1933, which correlates to the time period Zenkevich was working on the first biography of the pioneer aviators in Russian, Brat’ia Rait (The Wright Brothers, 1933). Also included are excerpts from the letters of foreign literati and colleagues, such as Michael Gold, Harold Heslop, Maurice Becker, Helen Black, as well as domestic correspondents, K. K. Kuraev among them. The article deliberates upon the direct influence of the materials provided by O. Wright on the book. A review of the holdings on the theme of aviation in Zenkevich’s fund (IRLI Pushkinskii Dom) is provided. The examination of the little- known biographical details, as well as the parts of the poet’s epistolary legacy and his prosaic works, adds to the analysis. Taken together, this all has allowed for substantiation of certain presumptions about other possible sources of the book. The article interprets some literary features of Brat’ia Rait by tracing the development of the theme of aviation in the earlier poems by this former Acmeist, and by drawing parallels with some of his later short and long poems, such as “Al’timetr. Tragorel’ef” (Altimeter. Tragic Relief) and “Torzhestvo aviatsii” (The Triumph of Aviation), and a short novel “Na strezhen’” (On the River Bend) and fictional memoirs Muzhitskii Sfinks (The Peasant Sphinx). Finally, some intertextual parallels between “The Triumph of Aviation” and Edgar Allan Poe’s “The Raven,” translated by Zenkevich, are revealed. The conclusion is made that the materials received from O. Wright have subsequently influenced the long poem “The Triumph of Aviation” and other works by Zenkevich. The publication is equipped with detailed notes, commentaries and illustrations.

“My Unwritten Novel”: The Long Poems of Gajanan Madhav Muktibodh between Genre and Form

2021 ◽  
Vol 73 (3) ◽  
pp. 320-343
Author(s):  
Gregory Goulding
Keyword(s):  
Formal Structure ◽  
The Novel ◽  
Long Poem ◽  
Free Verse ◽  
Narrative Poetry ◽  
Poetic Structure ◽  
Literary Cultures ◽  
Hindi Literature ◽  
Long Poems

Abstract The long poems of the Hindi poet Gajanan Madhav Muktibodh (1917–64) present a series of fantastic narratives, in which a nameless speaker journeys through a fantastic landscape. These works, often analyzed solely in terms of a supposed mythic, romantic structure, should be considered as a response to formal problems of the novel and the lyric in midcentury Hindi literature. Despite acknowledging these long poems as his most important contribution, literary critics display a marked discomfort with what they see as their excesses. Muktibodh’s writings, however, reflect his substantive consideration of the problems of narrative poetry. In Muktibodh’s most famous work, “Aṁdhere meṁ” (“In the Dark”), the long poem’s distinct formal structure is deployed to produce the disjointed paratactic narratives that typify Muktibodh’s work. Furthermore, this poetic structure is crucially influenced by free verse poetics in Marathi, making clear that any consideration of modern Hindi literature must take into account the complex interrelationships of literary cultures in South Asia. Thus, Muktibodh’s long poem prompts a reconsideration of the role of genre and form in our understanding of South Asian literary cultures and their engagements with the world.

Short Text: Experiment in Quantitative Analysis

2020 ◽  
pp. 116-126
Author(s):  
Vadim Andreyev
Keyword(s):  
Quantitative Analysis ◽  
Text Analysis ◽  
Emily Dickinson ◽  
Long Poem ◽  
Short Text ◽  
Limited Size ◽  
The World ◽  
American Poet ◽  
Quantitative Text Analysis ◽  
Different Levels

The method of quantitative text analysis is usually associated with vast corpora of text utilized to solve problems of attribution, dating, data mining, etc. The article is aimed to demonstrate that quantitative analysis can be used for the study of short pieces a few stanza long. The research deals with the 12 lines long poem «The name – of it – is Autumn» by Emily Dickinson, a famous American poet. The feature set is based on metaphorical models realized in the text, lexical units representing them, morphological classes of words, characteristics of syntax including verse syntax and rhythm. The conducted study has demonstrated that counting elements of text, which belong to different levels and aspects of verse text, makes it possible to reveal text inner structure, as well as the ways and the means used for the presentation of authorial metaphoric and spacial picture of the world. There is a positive correlation between the author’s use of semantic and linguistic means, whose frequency is also interrelated with the alteration of statics vs. dynamics ratio in the poetic world.The obtained data point at the possibility and necessity to apply the methodology of quantitative analysis even in the study of a limited size texts.

Kovner vs. Kovner: “A Parting from the South” vs. “Combat Page”

AJS Review ◽  
1997 ◽  
Vol 22 (2) ◽  
pp. 223-242
Author(s):  
Reuven Shoham
Keyword(s):  
World War Ii ◽  
Long Poem ◽  
World War ◽  
The South ◽  
Hebrew Poetry ◽  
War Of Independence ◽  
The World ◽  
Modern Hebrew ◽  
The Dead ◽  
Freedom Fighter

The poet Abba Kovner was a partisan and freedom fighter during World War II (1942–1945), made aliyah in 1945, and published his first long poem, ‘Ad lo ’or (“Until There Was No Light”), in 1947. At the outbreak of the Israeli War of Independence he fought on the Egyptian front (1947–48), serving as a cultural officer, or politruk in the Giv'ati Brigade. Preda me-ha-darom (“A Parting from the South”), his second long poem and one of the pivotal works by a modern Hebrew poet, was written against the background of the War of Independence. However, critics have not yet been able to find a fitting place for it in the canon of Hebrew poetry and culture, although several serious attempts have been made. The present study does not refer to every aspect of this complex poem but focuses on one particular point. I contend that “A Parting from the South” implies an attempt by the visionary speaker of the poem to compel the young country, soon after the war, to part from the world of death, from cultic memories of the dead and guilt feelings toward them (the dead in the 1948 war in Israel and the dead in the ghettos of Nazi Europe in World War II). Abba Kovner tries to detach himself, and his readers, from death, to liberate them from the old perspectives.

Sign in / Sign up

Export Citation Format

Share Document