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Shirazi Turk is a ghazal (love poem) by the 14th-century Persian poet, Hāfez of Shiraz. It has been described as "the most familiar of Hafez's poems in the English-speaking world". [ 1 ] It was the first poem of Hafez to appear in English , [ 2 ] when William Jones made his paraphrase "A Persian Song" in 1771, based on a Latin version supplied ...
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.
In an article comparing this poem with the better-known Shirazi Turk ode, Iraj Bashiri (1979) argues that both poems describe the five stages in the path of Love, in Sufic tradition: loss of heart (foqdān-e del), regret (ta'assof), ecstasy (wajd), loss of patience (bīsabrī), and the ardour of love (sabābat or loss of consciousness ...
Naqdhā rā bovad āyā is a short ghazal (love poem) by the 14th-century Persian poet Hafez of Shiraz. It is no. 185 in the Qazvini-Ghani edition of Hafez's poems (1941). The poem is famous for a fine Persian miniature painting of 1585 illustrating the scene. In this poem Hafez advises hermits and ascetics to abandon their way of life and take ...
Sālhā del talab-ē jām-e Jam az mā mīkard is a ghazal by the 14th-century Persian poet Hāfez of Shiraz.It is no. 142 [1] (but in the Ganjoor website, no. 143) in The Divān of Hafez by Muhammad Qazvini and Qasem Ghani (1941), and 136 in the edition of Parviz Natel-Khanlari (1983, 2nd ed.).
The poem Mazra'-ē sabz-e falak ("the Green Farmland of the Sky") is a ghazal (love song) by the 14th-century Persian poet Hafez of Shiraz.It has been called "the second most debated ghazal of Hafiz, the first being the Shirazi Turk". [1]
The list is not comprehensive, but is continuously being expanded and includes Persian poets as well as poets who write in Persian from Iran, Azerbaijan, Iraq, Georgia, Dagestan, Turkey, Syria, Afghanistan, Turkmenistan, Tajikistan, Uzbekistan, Lebanon, China, Pakistan, India and elsewhere.
The images in Bustan are delicate in nature and soothing. In the Gulistan, on the other hand, mundane Saadi lowers the spiritual to touch the heart of his fellow wayfarers. Here the images are graphic and, thanks to Saadi's dexterity, remain concrete in the reader's mind. Realistically, too, there is a ring of truth in the division.