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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Divбn del Tamarit
The third strophe continues ‘de-incarnating’ the image of the beloved thus making her more and civan ideal and spiritual. Gacela del amor que no se deja ver. Meanwhile, measures taken to divide ghazals into different genre subtypes such as love, Sufic, parodistic, sermonic, landscape, publicistic, etc. The ghazal technique of parallel contrapositions and contrasts was perfectly mastered by Lorca.
You see vividly the fundamental flaws, the imperfections. Gacela del recuerdo del amor.
Sat on the carpet in front of the stage, the place where the devotees sit, where Riantee liked to sit for her beloved concerts of Indian music and dance. Casida de las palomas oscuras. What do change are the conditions of coming:. Only after Hafiz, it has been kept strictly to specific strophic, composition, and semantic attributes, namely: It was the afternoon I slipped away from the lodging minutes after we arrived back from an extensive and hot exploration of the metal smithing areas of the ee.
Thus, in terms of formal characteristics of the ghazalin this poem redif is emphasized, yet it is variable. Yo quiero que el agua se quede sin cauce, yo quiero que el viento se quede sin valles. After all, each of the steps of love carries in itself, according to Lorca, its death An attitude of the beloved seems to be more important for him, than an attitude towards the beloved, as is in Navoi’s works.
No, with the heart of experienced, disciplined, and utterly impressionable fifty-four years. This can be proved by the above cited oppositions, out of which the main one, as anything which synthesizes in itself all the previous, is not only an opposition but also a unity. As is known, ghazalas a poetic form, began forming in the ninth and tenth centuries in the Arab poetry; however, it reached perfection and, in some sense, canonization in the creative works of Hafiz.
These are Love and Death, the typological features of Lorca’s works.
The fourth, final, strophe concludes the composition. And on the other hand, the initially built space of thought and imagination, where the lyric hero and his beloved co-exist separately, gradually materializes through the universal kimsa someone se, whose existence is hypothetic, conditional, and abstract.
Indeed, if the dead boy is replaced with the beloved, then all semantic and forming elements will correspond with the traditional ghazal morphology. Here, for the first time the beloved acquires integrity, and this integrity, composed of all the preceding parts, is equal to tsmarit culminating ‘forever’, and vice versa, her image starts to tamarut de-incarnated, first by mentioning the breast, and further, in the fourth strophe, lips and death of the lyric hero.
Lorca’s utterance is addressed to the beloved. Vino el alba sin mancha con mil caras de vaca, yerta y amortajada con heladas guirnaldas. What concerns Navoi, he first builds up the space of thought, where the poet and his beloved coexist separated, and only after that, in the fourth baytexactly in the middle of the ghazal, ‘someone’ appears whose existence, just like in Lorca’s case, is diban, and therefore abstract and universal.
The ghazal doomed to impossibility to overcome the distance between ‘I’ and ‘you’ by any hamarit means but memory in the past, imagination in the future, and death in the present, makes this ‘forever’, embracing all the times, sweet and ominous, desirable and poignant.
First of all, in terms of the author or the lyric hero, Navoi’s utterance is addressed to two addressees; to the external multitude and to himself.
Por el arco de Elvira voy a verte pasar, para sentir difan muslos y tamariy a llorar. The third ghazal ‘About Hopeless Love’ continues this compositional movement. Along with the mentioned contraposition, it is an inner paradox here: In other words, this ghazal is a perfectly balanced composition.
In other words, these “acting forces” of a ghazal are brought together in a list; however, the universal feature of the dynamics of this system, as a thinking construct, as a figure of thought, has remained outside the field of speculation. Lorca seems to be speaking about perfection of his beloved, the beloved herself, while Navoi tortures himself with this beloved.
What was amazing about witnessing her performance, her presentation, was not that it was perfect, as if rehearsed and replicated. Actually, this temptation underlines the boundary that allows us to discriminate between “tradition” duvan “innovation,” although tradition is not a sheer repetition, as innovation is not mere renewal.
Yet, reading it in a meta-logical way, while wittingly allowing the false character of this ‘sarvi gulru’with the same gullibility we are shocked by her deception: Thus, a face of the beloved is the world, the beauty of the Absolute, a lock fallen on this face is the accidental world with its accidents, wine is the mystical intoxication in the unity with the Absolute, a cupbearer or a bay giving a cup is that who took the road, and tamqrit on and so forth.
Most of the audience behind us in folding chairs fanning out under shade awnings that barely held back the heat. I dropped my studies of biology and chemistry and my xe 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.
Basing on these theses, it is possible to create a certain model of the classical type ghazalthat ‘ground zero’ relative to which we tamqrit to examine Garcia Lorca’s ghazal structure. Original text, in Russian, at transoxiana. Having killed a living feeling and translated it into signs, it is possible to find this ‘forever’ in the chest. Dw Tamarit tiene un atmarit con una manzana de sollozos.
There is no traditional ghazal distribution of powers, but the ghazal spirit does exist here, which grew into a reed out dian a bitter root.
Show their build two cavaliers, ah, ah. Generally speaking, the theme of meta-logical substitution of one thing for another which, in diivan ghazal poetics for the purpose of its own comprehension, has been particularly well developed in divsn form of the theories of poetic figures and Sufi symbolism is a separate major topic, but we will briefly elaborate on it a little later.
Thus, in the third and fifth bayts the main words are body parts face, eyescorrelating in both cases with the nature moonlight, water ; in the second baytas in the eighth one, the main word is “a road”, where the lyric hero comes to, and at last, matla’ and maqta’as a framework, determine and conclude the ghazal divwn theme itself: Yet, the tendency to synthesize can be even seen in keeping the construction of both interrogative and exclamatory sentences of the same type.
One can see that here the same syllable ‘-za-‘in the same word ‘ lahza ‘ is made equal to sometimes a short and sometimes a long syllable.
Divan del Tamarit
There are no traditional poles here, no traditionally presented colorful images, and no other attributes of the ghazal technique. Moreover, a living love seems to be out of the ‘Divan’ limits, but rather in its pre-existing, in those ‘four preceding nights’ the memory tamart which ‘Divan’ itself represents. Ul parvarish hajridankim yig’ladim devonvor, Kimsa bormukin anga kurganda kulgu kelmadi.