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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 ...
The metre is known as hazaj and is the same as that of Shirazi Turk.Each bayt or verse is made of four sections of eight syllables each. In Elwell-Sutton's system, this metre is classified as 2.1.16, and it is used in 25 (4.7%) of Hafez's 530 poems.
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]
Khājeh Shams-od-Dīn Moḥammad Ḥāfeẓ-e Shīrāzī (Persian: خواجه شمسالدین محمد حافظ شیرازی), known by his pen name Hafez (حافظ, Ḥāfeẓ, 'the memorizer; the (safe) keeper'; 1325–1390) or Hafiz, [1] was a Persian lyric poet [2] [3] whose collected works are regarded by many Iranians as one of the highest pinnacles of Persian literature.
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 ...
Torkān "Turks", in the language of Persian love poetry, is a metaphor frequently used for the beautiful youths who ravage the hearts of their lovers. (See Shirazi Turk.) Arberry quotes a verse of Saadi: "You carry off the heart of a city with a coquettish glance in just the same way as the slaves of the Banu Sa'd carried off the 'banquet of ...
Many of the unusual attributes of the 'beloved' can be understood by recalling that in the classical lyric poetry the image of the poet's sweetheart refers more often than not to a male figure, normally a youth". [5] Verses 1, 2 and 7 have echoes of the opening verses of a well-known poem of the 13th-century mystic poet Iraqi which begins: [6] [7]