Search results
Results from the WOW.Com Content Network
Nasīb (Arabic: النسيب) is an Arabic literary form, 'usually defined as an erotic or amatory prelude to the type of long poem called a qaṣīdah.' [1] However, although at the beginning of the form's development nasīb meant 'love-song', it came to cover much wider kinds of content: [2] 'The nasīb usually is understood as the first part ...
It was used as a bridge language for Tamil Muslims to learn Arabic. [1] The patrons of Arwi do not seem to have been highly associated with any political powers of Southern Indian history, including Muslim-ruled states (such as the Deccan sultanates ), which were rather influenced by Central Asia, preferring the use of Persian , Dakhni and ...
Alā yā ayyoha-s-sāqī is a ghazal (love poem) by the 14th-century poet Hafez of Shiraz. It is the opening poem in the collection of Hafez's 530 poems. In this poem, Hafez calls for wine to soothe his difficulties in love. In a series of varied images he describes his feelings.
Fiction originally written in Vietnamese, Polish and French and poetry in German and Arabic are among this year's finalists for National Translation Awards. On Wednesday, the American Literary ...
Iraiyanar Akapporul is concerned with setting out the literary conventions that govern Tamil love poetry of the akam tradition. The conventions, as such, are taken from the poetics of the Sangam period. Thus a poem is a poetical snapshot of one instant in a relationship. This snapshot provides a glimpse into the lives of the couple which is in ...
The notion of the "ennobling power" of love was developed in the early 11th century by the Persian psychologist and philosopher, Ibn Sina (known as "Avicenna" in English), in his Arabic treatise Risala fi'l-Ishq (Treatise on Love). The final element of courtly love, the concept of "love as desire never to be fulfilled," was also at times ...
The poems of Ainthinai Aimpathu are categories into ten poems for each of the five thinai, or landscape of Sangam poetry and describe in detail the situation and emotions specific to each landscape. The five landscapes of Sangam poetry are mullai – forest, kurinji – mountains, marutham – farmland, paalai – arid land and neithal ...
Raymond K. Farrin identifies a ring composition in the poem and divides the poem into five discrete sections: A – B – C – B¹ – A¹. [2] According to Farrin: Section A introduces the idea of the poet's separation from his beloved, Wallāda, and culminates in a mood of hopelessness and resignation. Morning is associated with this somber ...