Search results
Results from the WOW.Com Content Network
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.
The subject is a fortune-teller (practising tasseography, by interpreting coffee grounds) who predicts an unhappy love. Omar Offendum converted the poem into a rap tune called "Finjan", and he mixed the original Arabic text with its translation. [4] Also, in 2021, a series was produced under the name of the poem "Qareat El Fengan". [5]
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.
Some muwashshah poems are devoted to a single theme while others combine multiple themes. One common thematic structure is love, followed by panegyric, and then love. [4]: 169 The kharja also plays a role in elaborating the poem’s theme. At the end of a love poem, the kharja might be voiced by the beloved.
Fuzuli is best known for his works in Azerbaijani, especially his ghazals (a form of love poem) and his mas̱navī Leylī va Macnūn (lit. ' Leylī and Macnūn ' ). [ 45 ] Written in 1535 or 1536, [ h ] the latter is a lyric poem that interprets the Middle Eastern story of the tragic romance between Leylī and Macnūn .
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]
Layla and Majnun (Arabic: مجنون ليلى majnūn laylā "Layla's Mad Lover"; Persian: لیلی و مجنون, romanized: laylâ o majnun) [1] is a Persian poem by the 12th century Iranian poet Nizami Ganjavi, inspired by an old story of Arab origin, [2] [3] about the 7th-century Arabic poet Qays ibn al-Mulawwah and his lover Layla binti ...
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 ...