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The gender of the beloved is ambiguous in Persian. It could be a woman, as in the Arabic poetry which Hafez is apparently imitating, or a boy or young man, as often in Persian love poetry; or it could refer to God, if the poem is given a Sufic interpretation. [35] The final half-verse, like the first, is in Arabic.
Qareat El Fengan (Arabic: قارِئةُ الفِنجان; "The Fortune Teller", literally "The Coffee Cup Reader") [1] is a poem written by Nizar Qabbani and performed by Abdel Halim Hafez. He sang it for the first time in April 1976. The song is considered to be one of the classic Arabic songs, and one of the most notable Abdel Halim songs.
Jamīl ibn 'Abd Allāh ibn Ma'mar al-'Udhrī (Arabic: جميل بن عبد الله بن معمر العذري; d.701 CE), also known as Jamil Buthayna, was a classical Arabic love poet. He belonged to the Banu 'Udhra tribe which was renowned for its poetic tradition of chaste love.
Abu al-Fadl Abbas Ibn al-Ahnaf (Arabic: عباس بن الأحنف) (750 in Basra-809), was an Arab Abbasid poet from the tribe of Banu Hanifa. His work consists solely of love poems . It is "primarily concerned with the hopelessness of love, and the personae in his compositions seems resigned to a relationship of deprivation". [1]
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 ...
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 ...
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 ...
Al-Bayati was influenced by the Middle Eastern Sufi figures. One example is a poem by Al-Bayati entitled "A’isha's Mad Lover" in his book, Love Poems on the Seven Gates of the World (1971): "In this context Al-Bayati’s poetry becomes Sufi in default, since he assumes the position as a modernist whose aspirations for an earthy paradise have not materialized."