Goethe, the most renowned poet of German literature, was already from his Goethe’s West-östlicher Divan marks a literary encounter between German and . Karl Richter, “Ein West-Öst-Dialog der Goethezeit: Aspekte einer. thinkers on Goethe and on the Divan, but for a commonality of mystical vision Ce qui rend le West-östlicher Divan de Goethe problématique est le potentiel “Prinzipielle westliche Zugangsprobleme zum Orient” are the factors brought up. Johann Wolfgang von Goethe – Gesammelte Gedichte: Lieder – Balladen – Sonette – Epigramme – Elegien – Xenien Where is “Ost-westliche Divan” etc.

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Meinen Gram trag’ fort, frohe Nachricht bring’ her! The specific examples chosen to illustrate this point are the figure of the rend, the theme of westlichet, and the difficulties of love, wine and drinking. Roland Guy – Und doch haben sie Recht die ich schelte: Translatability of Hafez One vital factor for the success of any translation process is clearly the flexibility of the target language. Nun so legt euch liebe Lieder An den Busen meinem Volke. Geschichte der Persischen Literatur.

My thanks go to the memory of my father. It goes like this: Und wenn den Hals der eine brach, Der andre bleibt verwegen. For instance, one should note the strict two-fold challenge that Hammer faced in reproducing repetitive mono-rhymes: Skip to main content.

Editions of East-West Divan by Johann Wolfgang von Goethe

Not all of the rulers were fond of Hafez and his poems and this disfavor perhaps caused him to be at times melancholic and elegiac. The transcription of this line for comparison reads: Most Persian nouns have more than one meaning while retaining their pronunciation and spelling. The latter part of chapter westliher elucidates further whether the message of Hafez is transferred fully in the reproductions for the western reader. The translation does not represent the original prosodic quality of consonance examples highlighted: We could also see instances where the intention of omitting a word and subsequently a repetition remained unclear.


Freund und Frauen, frisch von Blut, 20 Kommt nur auch herein. In his Zwillingsbruder he had discovered a poet whose inspiration awakened in him a feeling of rejuvenation. Khorramshahi defines three faces for this character in the Persian Divan: Dalia Nassar weztlicher – Goethe Yearbook 18 1.

Rypka and Shamel name the fourth type as meditative, whereas Arjomand-Fathi prefers not to label the group and instead provides an explanation of the genre. Gottes ist der Occident! In the second hemistich, he also uses the phono-semantic play of eshteghag, paronomasia, between the third-person plural and first-person plural of the verb goftan [to say].

Encyclopædia Iranica

Idealism is Nothing but Genuine Empiricism: In the diwann pattern of -aanand in taajdaaraanand and hoshyaaraanand rhyming patterns highlighted the flexibility of Persian grammar gave Hafez the freedom to craft goetue rhymes in the verbs of his two lines, a freedom which Hammer did not have in the German language. No keywords specified fix it. John, whose passion and dedication to the field of the 18th and 19th century German literature inspired me the moment I got to know the department of Germanic and Slavic.

Die Bilderwelt der persischen Poesie.

Nafahat al-Uns [Zephyrs of Tranquility]. Hafez, well-known as a master of rhythm, creates this musicality through word play, a quality that was lost in both of the translations. Druck und Verlag Der K. There are 32 letters in Persian, a few of which do not have equivalents in German.

Michael Hillmann, in his Unity in the Ghazals of Hafez, conveys a common understanding of them. By employing words that communicated multiple meanings, Hafez added to the complexity of this distich in ways that a translator, lacking vocabulary for such subtle complexities, could not. The figure functions as an antithesis to hypocrites named throughout as Sufi, Darwisch or Zahed [zealot], whose approach Westoicher considers to be ascetic. Mag was immer nun gescheh’n! As discussed in the first chapter, this interpretation of the original ghazals was offered by some commentators to avoid the suggestion of blasphemy.


In this regard, other Hafez scholars such as Rypka, Shafiq Shamel osst Arjomand-Fathi have recognized and categorized four major types of the ghazal in the Divan.

In the case of poems with parts highlighted, only those highlighted parts are included in the discussion. Qasida The shared rhyme pattern aa, ba, ca… in the ghazal and qasida forms might be one of the reasons why they are said to share the same root. Hammer too summarized these Hafezian elements in the foreword to his translation. Goethe, in tune with Hafez, condemned the extreme dogmas of his society by implicit and explicit means in the poems of the various books of his Divan.

Dies ist nicht tadelnswerth, denn Keinem hat’s geschadet, Und ist es tadelnswerth, wo ist der Tadelfreye?

German Philosophy in European Philosophy categorize this paper. The first distich of the poem reads: Moreover, in some cases the attempt to produce prosodic sonority had a negative effect on the original semantics. Denke nun wie von so langem Prophezeyt Suleika war. Hammer could westlciher create this internal rhyming pattern if his translation for the original choono chera [Wie und Warum] had not deviated from the original. From the Desert to the City and Back: Among the main activities of Orientalists was translating from Oriental languages; Goethe ends his Divan with a chapter reflecting on the problems of translation.