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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 ...
Love Is Not All: It Is Not Meat nor Drink is a 1931 poem by Edna St. Vincent Millay, written during the Great Depression. [1]The poem was included in her collection Fatal Interview, a sequence of 52 sonnets, appearing alongside other sonnets such as "I dreamed I moved among the Elysian fields," and "Love me no more, now let the god depart," rejoicing in romantic language and vulnerability. [2]
The love may be directed to either a man or a woman. The ghazal is always written from the point of view of the unrequited lover whose beloved is portrayed as unattainable. Most often, either the beloved has not returned the poet's love or returns it without sincerity or else the societal circumstances do not allow it.
Lyric poems, in which, apart from the first line, the two halves of each verse do not rhyme, but the same rhyme is used at the end of every verse throughout the poem, thus AA BA CA. Among lyric poems with a single rhyme throughout, the two most common forms are the ghazal (a short poem usually about love) and the qasida (which is longer, and ...
"Abou Ben Adhem" [1] is a poem written in 1834 [2] by the English critic, essayist and poet Leigh Hunt. It concerns a pious Middle Eastern sheikh who finds the 'love of God' to have blessed him. The poem has been praised for its non-stereotypical depiction of an Arab. Hunt claims through this poem that true worship manifests itself through the ...
According to Banglapedia, Chandidas was the first Bengali-language poet to be a humanist. He asserted "Shobar upor manush shotto tahar upore nai" ("Above all is humanity, none else"). [5] Later literature has also often eulogized Chandidas' love for a Rajakini (a female cloth washer), whether this has any historical basis is not known.
A common genre in much of the neoclassical poetry was the use of the qasida, [43] as well as ghazal or love poem in praise of the poet's homeland. This was manifested either as a nationalism for the newly emerging nation states of the region or in a wider sense as an Arab nationalism emphasising the unity of all Arab people.
There are several versions, including ones from South India which had a happy ending; the Kashmiri version does not specify what the outcome was. In one version, the poet recites these verses on the way to the scaffold, and the king, moved by the beauty of the work, pardons him and allows the couple to get married. [5]