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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Of course, Lorca did not follow formal characteristics relevant to the rules of formation of canonical type of divans. Lorca was calling me. All three ghazals, mixed with love works, are about a boy’s death. 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 so on and so forth.
And finally, this correlation allows recognizing in their foundations an artistic interpretation of Sufi philosophical elaborations, which in great detail distinguished various steps of human states and, in a mystified form, comprehended the dialectics of individual and social consciousness. I am its creature, not with the heart of the utterly impressionable nineteen-year-old without wordly experience.
Haitmetov, and others, where the formative role of various ghazal elements, peculiarities of its composition, semantics, and so forth has been revealed. More than anything, it has been the music of Spain that has haunted me, raised questions, some of which are now answered, beautifully, with further musical compositions and the variations and strategies of slack key guitar, bouzouki, Portuguese viola. Death lurks in all the mentioned. To find out more, including how to control cookies, see here: At such moments, everything else goes smash.
The third strophe is antithetic and leaves in the air ‘not a bit of the lark when I met you in the caves of wine’. In our turn, we can also generalize and say that it might seem that a guiding line of emotional pressure goes through the ghazal ‘s circular composition and becomes distinctly apparent while comparing pairs of symmetrical bayts. Granada era una luna ahogada entre las yedras.
But here the fog comes in the silence to cover a grey hill of the body of the beloved, and suddenly the wall turns into a yawning emptiness, which the poet asks to leave as a memory in his chest, making a going away road of the beloved easier with the help of at least this emptiness Ul parvarish hajridankim yig’ladim devonvor, Kimsa bormukin anga kurganda kulgu kelmadi.
The second strophe diva develops the theme, while personifying these ‘nobody’ and ‘nestling of love’, as well as transferring the relationship vivan the sphere of the conditional-negative into the magic field of Persian fairytales and fiction, tamadit then – to the reality of four nights with the beloved. I was watching her reach for it, pull it out of the air.
If one adheres to the assumption that ‘Divan’ is compositionally integral, then the twice repeated bayt in this ghazal – ‘I am separated from the dead tmaarit the wall of bad dreams’ – transfers that love, where both died, from the sensual corporeality into the space of memories, like into ‘the tamarig of white cherry in the throes of January’ or like into ‘a gypsum heart with the lily’s complaints in it’.
The tension set by the rupture of these two fields separation, break up, unattainability, etc.
Divan del Tamarit
Por el arco de Elvira voy a verte pasar, para sentir tus muslos y ponerme a llorar. 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, let us note this duality and internal contradictoriness of constructing space and time in the ghazal. Here is the line of contrapositions from the second strophe: Gacela del mercado matutino.
This correlation of the lyric hero looking in the water and the drowned child is like a mirror multiplied by preceding oppositions thus outlining an image of Narcissus who looks at himself in the water and mourns over his own reflection drowned in his tears Is it a flower, a plant, the beloved, or the whole world, like love?
El Tamarit tiene un manzano con una manzana de sollozos.
Divбn del Tamarit
While transforming this length into accentuating, this circumstance represents one of the reasons and prerequisites for the Aruz existence in the Uzbek versification. When the death takes away love and the beloved leaving under the arc of meeting a cup of water hemlock, is not the love to that, even though deadly, which remained a memory of the beloved, less powerful than the fear of death?
And the steps, such as anxiety, affection, patience, confidence, ecstasy, and dilution in the Absolute, all correlate with Lorca’s series of steps. A correlation between ‘Divan del Tamarit’ and ‘The Ring of the Dove’ allows better understanding of the mentioned above idea of a spiral-type composition of the whole ‘Divan’; the composition which expresses on the one hand the steps of love and on the other – underlines self-worthiness and self-adequacy of each of them.
La rosa, no buscaba la rosa. Both of these notions, cyclical and linear, apparently reflect only one of the instances of the ghazal structure, and if it is at the bayt level, we may indeed say about the cyclical characteristic of a poetic expression, then from a standpoint of a ghazal as a compositional unity, it possesses all the elements of forming a plot.
Another aspect, which we could examine separately, is an interpretation of Sufi concepts or archetypes, as it could be put nowadays, in Lorca’s ‘Divan’, since, as we already mentioned while speaking of a classical ghazaleach term in it means not only itself but something deeper and more abstract or symbolic.
At this point, going back to ‘The G hazal about the Dead Child’, it is noteworthy that this ghazal is about love and separation with that who himself should have loved, in other words, this is a love of love, a second order love, if to perceive this ghazal in the composition context outlined by us above.
Such a synthesis of mutually exclusive opposite tendencies, developed in the ghazal s of the cycle, is also a characteristic of the substance level of the last ghazal.
In it, are dead both he and she, both lyric heroes of the ghazal. Thus, here, as in the first case, one can discover duality in the fictitious nature of the reality translated through the details of space a road – moonlight divam people; someone – a loyal beggar – Navoi contracted into the absolute space of the spirit.
El Diván del Tamarit, poems by Lorca, translated into English
They emphasize the impossibility and unattainability both of jasmine or love reed for the fettered hands and of healing wounds under divqn snow rustle. Lorca’s “Divan del Tamarit” consists of 12 ghazals and 9 qasidas. Thus, before we start analyzing Lorca’s ghazals, let us summarize again what the oriental ghazal is.
In this journey, at this particular concert, I experienced the completion of an enormous arc that took me back to when I was nineteen years old and went to Divaj and came back to California a poet instead of a forest ranger.