The first ghazal of the Divan of Ghalib

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.

Decoding the Impact of the Srirama Panchali on Baranagar Temples Facades: The Driving Force behind Terracotta Artisans’ Narrativization of Ramayana Events

Valmiki Ramayana is one of the most popular, universally read, and widely circulated literary works. The poets of different languages in India ornamented Valmiki’s Sanskrit Ramayana with the vibrancy of their own indigenous languages and cultures. A significant number of such versions trace their roots to Bengal. The epic was first translated into the Bengali language by the great poet Krittibas Ojha. Its influences and popularity have been such as to justify it being called the Bible of the people of Bengal. Its intense undiminished popularity among the populace has also left an indelible impression on the artisans of Bengal and their creations in different eras. The study primarily aims to investigate the Ramayana narratives that have been found on the facades of the temples of Baranagar in Murshidabad, West Bengal, India. The intention is to trace the impact of Krittibas’s Srirama Panchali on the portrayals of the Ramayana episodes. The formal method of Art History has been employed to provide an in-depth description of the formal elements that have been incorporated by the artisans. Besides, a detailed critical inspection of the concerned portrayals has been complemented with literary references to get a lucid understanding of the intended issues.

Hanuman’s Characteristics among the characters of Kambar

Kambar was a star of Tamil Literature Ramayanam Written by Valmiki was translated from Sanskrit Languages to Tamil by the great Poet Kambar. Eventhough is was a translated one, it seems to be a new epic written on his own with some added flavours that is why Ramayana was called to the Kambaramayanam along with the name of the poet which has been a fame till to day. Hanuman the son of Vayu is one of the unparalled fables created by kamber in the Kambaramayanam. In the Myth stories characters plays a vital role the characters are being seen as the one who give life to the story. According to S. Balachandran, “Each and every word spoken by the character has to show the special characteristics of the character”. This article Hanuman is shown as a connectivity bridge between the character, the one who has good characteristics, the one who with good speaking skills and the one who gave life and emotions to the story.

A. Blok in the Poetic World of V. Shalamov

Shalamov repeatedly noted the significant role of A. Blok in the formation of his own poetic system. The work of the outstanding artist of the Silver Age is discussed in Shalamov’s essays (in more than twenty works), as well as in “Kolyma Tales” and unpublished notes about Blok (The Russian State Archive of Literature and Arts). Shalamov emphasizes that Blok is a great poet, at the same time very little studied. It is precisely taken poetic lines of Blok that serve as the epigraph for “Kolyma notebooks”. The article analyzes parallels in the worldview of the two poets (a feeling of the closest relationship of personal fate with the turning points in Russian history); in the imagery (in particular, various levels of interpretation of the snowstorm motif, which has special significance in the work of both poets, are discussed in detail. Shalamov’s succession in relation to Blok in comprehension of this image is shown, as well as cardinal differences in its explication in the lyrics of the two poets). The unanimity in understanding the challenges of art is analyzed (Blok’s idea of combining “beauty and benefit” in artistic work is close to Shalamov’s thinking); in verse technique (special significance of phonetic component). Not only published texts are involved in the study, but also materials stored in Shalamov’s archive at the Russian State Archive of Literature and Arts.

In Tribute to the Kuwaiti Poet Ali Al-Sabti

This is a eulogy of the Kuwaiti poet and writer Ali Hussein Al-Sabti, who died at the age of 86. He was a prominent poet of Kuwait who contributed to the beginnings of the modern poetic movement in Kuwait, writing literary and social stories and articles subsequently published in Kuwaiti and Arab newspapers. He served as a member of the Writers Association and the Journalists Association and wrote for many Kuwaiti newspapers. He also won many awards and honors from authorities and institutions sponsoring poetry and literature, including the Abdulaziz Saud Al-Babtain Prize for Poetic Creativity. The National Council for Culture, Arts and Letters mourns this man who enjoyed a busy journey in literary and cultural work marked by elaborate poems and distinguished writings. The death of Al-Sabti, a great poet and writer, marks a loss for the cultural and literary movement in Kuwait.

The extraction of beautiful sound patterns from Sunthorn Phu’s poem using machine learning technique and internal rhyme rule

The melodious poems have been written from the distinctive features of poetry or based on each country's typical style. Especially, Thai poems which composed by the use of specific forming, such as Internal Rhyme to develop melodiousness. The most attractive and well-known poems were composed by a genius Thai poet named Sunthorn Phu. He is a role model for Thai poets. UNESCO honored him as the world’s great poet and the best role model in poetry works. In this article, we proposed extracting 15,796 sentences (Waks) of the beautiful sound patterns of Phra Aphai Mani’s tales by machine learning technology in conjunction with the rules of internal Rhyme Klon-Suphap by using the Apriori Algorithm. The extraction of vowel rhymes separated by a group of Waks including 1) Poem Wak No. 1; 2) Poem Wak No. 2; 3) Poem Wak No. 3; and 4) Poem Wak No. 4. In this article, “Wak” means sentence. The created tool can extract the internal rhyme patterns and the 25 popular pattern vowels. The popular pattern illustrates the melodiousness of the Poem and sets up a standard of how to melodiously compose a poem. Then, the evaluation of the experiments was done by using 144 Waks selected from the extraction of the beautiful patterns and evaluated by the consistency score from 3 experts. The average accuracy score resulted in 95.30%.

Images of Women in Abhijnanashakuntalam as Role Model for Women Empowerment

This paper aims to oversee the forms and image of women in the play Abhijnanashakuntalam written by Kalidasa; a great poet in Sanskrit literature. It is found that most of his works represent two different aspects of woman, one in the form of the poetic and artistic depiction of woman and the other in the form of her status in the prevailing society. The women were able to inspire action and hero’s aspirations with her own nobility and deep human affection which is the typical image for female character and an endless source of inspiration for contemporary art and literature. Hence, the portrayal of women is with the outer and inner beauty in relation to social issues like religion, caste, marriage, sacrifice etc.

Thirugnana Sambandhar - A Mathematician

India has been the Land of notable poets whose exemplary works are world renowned. One such great poet is Thirugnana Sambandhar. He is a saint, poet, philosopher, composer who belongs to 7th Century. He was born in Seerkaazhi of Tamilnadu. He had coined many Special Geometrical poetic structures like Thiru ezhukkootrirukkai (poem with mathematical Triangular Pattern), Maalai Maatru (a poem with palindromic Structure), Mozhi Maatru (a poem in which the meaning of the poem can be observed by a systematic Chane of words), Gomuthri (Flow of the poem in such a way it forms a wave line), Chakramaatru (a poem which is constructed in a circular form ). By the above mentioned amazing structure He has no parallels in the worlds poetry Thirugnana Sambandhar is the epitome of Tamil Literature has penned down many such extraordinary poems. A Mathematician is one who uses an extensive knowledge of Mathematics in their work. Mathematicians are concerned with numbers, data, quantity, structure, space,models and change. Here in this poetic form Thiruezhukkootrirukkai Thirugnana Sambandhar had used numbers in a brilliant way to form a Triangle. This is called “Chitrakavi” in Tamil. By analyzing the whole poem we will get a geometrical structure. In this Thiruezhukkootrirukkai Thirugnana Sambandhar has constructed the words in such a way to form a symmetrical triangle. These triangle is arranged in a perfect mathematical calculation. This can be analysed through the law of binomial co- efficient. This is analysed and proved in this paper. Thirugnana Sambandhar belongs to 7th Century whereas the Scientist and Mathematician Pascal who discovered the law of Bi-nomial co-efficient belongs to 17th century. Other than this Mathematical diagram of triangle this poem has Palindromic numbers which add more beauty to this structure which is also a mathematical calculation. By constructing this amazing poetic structure Thirugnana Sambandhar proves beyond doubt that he is a “Mathematician” of India of the 7th Century itself who had applied the law of triangle earlier.

أشعة وحدانيةﷲ تعاليٰ وذكره في أشعارأبي قيس بن الأسلت

In this article, it has been endeavored to analyze the Oneness of Allah mentioned in the lines of Abu Qais Bin Al-Aslat. His name was Amer Bin Jashm bin Malik, and it was said Al Harith, and as for Al Aslat, it was his father’s title. He was a great poet from the poets of Al-Auos Jahiliyyah, as Ibn Salam Al Jamhi considered him one of the stallions of poetry Al-Madinah Al-Five. He was wise and of good opinion and led his people in the war. He thought that who ran away from Moses, and the Lord of perfect servants, who is like that? So, he said: "The Lord of the servants is the God of Moses. This poetry indicates uniformity in four aspects because the expression Lord, the servants, the god of Moses, and to avoid the difficult, etc.”. Each of them denotes monotheism and its detail. This is because the Lord is the self who grows and raises everything and increases it day by day until he reaches him to his intended home. In short, that monotheism was an ignorant poetic topic. Abu Qais bin Al Aslat Al Auosi was from Al Hanafi. His knowledge of religious issues was wide and wide. The remainder of himself, his qualities, and the belongings of his qualities were transmitted in the Jahili Arabs. That your solution to polytheism on God and his family does not determine the lights of monotheism.

Teaching Nizami Ganjavi's life and creative path in secondary schools

Nizami Ganjavi's life and creative activity are taught in the 8th and 10th grades of secondary schools. A teacher of literature should not only give information about the works of the great artist on the basis of program requirements, but also use the power of educational influence in his powerful poetry to accustom students to take example of the positive heroes of the poet. To do this, the teacher must arrange interesting lessons using modern learning technologies and interactive methods and create interest and love for the artistic heritage of our great poet. Key words: Nizami, creative way, literature, school, lesson