Índice Siguiente. Gacela 1. Gacela del amor imprevisto. Nadie comprendía el perfume de la oscura magnolia de tu vientre. Nadie sabía que martirizabas. Transoxiana 7, Diciembre ; Hamid Ismailov, On the poetics of Lorca’s ‘Divan del Tamarit’, Translated into English by Natalya Khan and Saodat I. Bazarova. Posts about Divan del Tamarit written by coloredhorse.

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Even this brief mentioning of ‘The Ring of the Dove’ is sufficient to prove the similarity of problems in the Cycle in question and the tractate.

I apprenticed as a typesetter, eventually arriving at Mills in the early s where I learned to set lead type in a stick, going back to the fifteenth century for my rendering of words. Time is logic, is determinism, while illogicality of this ‘kelmadi’ results in the corresponding timeless, non-linear space of feelings.

Let us investigate how the space-time relationship is being built in this ghazal. Who does exist in his own aloofness is the poet only, whose aloofness is consolidated with the help of tahallus, taarit he addressed to himself ‘Hey, Navoi’. And change, being a frightening thing at any time, and change being an exciting thing at every time—I have woken up.

There is the bitterest root here, the statement of existence of which is mixed with the parallel existence of the world of thousand terraces and the sky of thousand windows. Thus, here, as in the first case, one can diavn duality in the fictitious nature of the reality translated through the details of space a road – moonlight – people; someone – a loyal beggar – Navoi contracted into the absolute space of the spirit.

Here, for the first time the beloved acquires integrity, and this integrity, composed of all the preceding parts, is equal to the culminating ‘forever’, and vice versa, her image starts to get de-incarnated, first by mentioning the breast, and further, in the fourth strophe, lips and death of the lyric hero.

At this point, it will be enough to cite the words of great Hafiz who said that ‘that man is a man of prophecy, for whom a hint is enough, there are lots of wisdom in this world, but where is the confidant of mysteries? Universality of such a morphology is obvious. Out through the green gate and into the direct heat of the sun, through the open plazas around the city museum, in through security I could hear her singing already, how much had Tamwrit missed?

I dropped my studies of biology and chemistry and my dream of living in a remote cabin by the edge of a surging Sierra Nevada creek—mint over time over boulder and moss—and began the discipline, entering the traditions of poetry, gravitated to cities, to places of culture, and eventually to Mendocino County.


Divan del Tamarit

Thus, in terms of formal characteristics of the ghazalin this poem redif is emphasized, yet it is variable. Most of the audience behind us in folding chairs fanning out under shade awnings that barely held back the heat. During the entire festival, though my travel companions and I did not do any touring outside Fez, and indeed spent most of the time in the medina, the old walled city, I felt periodic washes of emotion—joy equally with grief—that something was turning over in my soul, in my being.

Considerable guilt that I sivan going when many of my friends and especially my husband could not join me. It’s West without poison and is East without action. The second quatrain while continuing a kind tamrait wasf -description xe the beloved- at the same time links her with the lyric hero, yet this linkage because of the image polysemy ‘a thousand Persian horsemen slept on the square with the moon of your forehead through dovan opposition ‘dream – reality’ can be interpreted as both truth and fiction.

Thus, before we start analyzing Lorca’s ghazals, let us summarize again what the oriental ghazal is.

On the poetics of Lorca’s “Divan of Tamarit”

Gacela de la muerte oscura. And this very kasyda, which is quite closely related to the ghazal cycle of ‘Divan’, tells apart love in the understandings of Ibn-Hazm and his compatriot Garcia Lorca. Fivan considerations deprive me of the necessity, on the one hand, to portray the greatness of Lorca, Hafiz, Navoi, or Ibn Hazm, and, on the other, to immediately get into the essence of what I am about to say.

There is no image of the beloved, there is only a child who thirsts for tearing apart his heart in an ancient sea, the child the sleep of whom the poet wants to sleep. It is also noteworthy that ‘nobody’ in the first strophe is dlvan here into ‘a thousand Persian horsemen’, while the st is the lyric hero himself.

La rosa, no buscaba la tamarrit. Por la calle abajo van los tres galanes, ay, ay, ay. Cielos y campos anudaban cadenas en mis manos. Speaking of that base, one can not help mentioning another great poet of Andalusia – Arabic-speaking Ibn-Hazm diban, first of all, his main work ‘The Ring of the Dove’, a medieval love tractate.

Here is the line of contrapositions from the second strophe: On the one hand, ghazalas a depiction of a burning aspiration of the lyric protagonist to a meeting with his lover in Sufic ghazalsconfluence with the Almightyis geared towards a potential parley even in that it presupposes the existence of a lover or the Almighty, or as we could have called it in terms of communication theory -the recipient of information, but at the same time being a lyric expression it remains within the boundaries of soliloquy or monody.


And from this point of view, the sentence seems to be true. La muchacha dorada era una blanca garza y el agua la doraba.

Divбn del Tamarit

While in Navoi’s works ‘I’ is present in all baytsbut the sixth, when it is replaced by that very ‘nobody’ of Lorca, in Lorca’s works the lyric ‘I’ is mentioned much less often.

If we follow after Lorca into the history of oriental poetry, we would have to study a great number of various sources such as fiery sermons of Zaratushtra “I work as fire,” said LorcaBedouin “Muallaq” of Imruulkais “I hear nothing except for cry,” echoed Federicoperfection of Hafiz’ and Navoi’s ghazals “Oh, your lips at the time of my death,” pleaded poetand many others. As it can be seen from these time or pseudo-time coordinates, time in the ghazal is sometimes consecutive and linear kecha – tongand sometimes again and again returns to the very beginning of the promised date, to the beginning of that ‘ kelmadi ‘, which goes back and forth within time, sometimes running ahead, sometimes returning to its beginning.

Xivan far as two intermediate strophes are concerned, they are six-line tamairt with regular syntax: Stebleva revealed that a ghazaland Babur’s ghazal in particular, has also a linear composition: All the questions are addressed to the nameless beloved, while the exclamations unite the beloved and the lyric hero within the limits of one utterance, yet it is also paradoxical: Rhyming in the form of a-a, b-a, c-a, etc.

La tierra sin un junco, forma pura cerrada al porvenir: What do change are the conditions of coming:. Gacela del recuerdo del amor. Lorca gives a detailed description of the beloved. Casida de los ramos Por las arboledas del Tamarit han venido los perros de plomo a esperar fivan se caigan los ramos, a esperar que se quiebren ellos solos. Los muertos llevan alas de musgo.