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Alā yā ayyoha-s-sāqī is a ghazal (love poem) by the 14th-century poet Hafez of Shiraz. It is the opening poem in the collection of Hafez's 530 poems. In this poem, Hafez calls for wine to soothe his difficulties in love. In a series of varied images he describes his feelings.
The "Nuniyya of Ibn Zaydun" (Arabic: نونية ابن زيدون; incipit: أَضْحَى التَنائي بَديلاً مِن تَدانينا) is a 52–verse nūniyya, or poem in nūn, by the 11th century Andalusi poet Ibn Zaydun (d. 1071).
The final element of courtly love, the concept of "love as desire never to be fulfilled," was also at times implicit in Arabic poetry. [ 22 ] The 10th century Encyclopedia of the Brethren of Purity features a fictional anecdote of a "prince who strays from his palace during his wedding feast and, drunk, spends the night in a cemetery, confusing ...
Jamīl ibn 'Abd Allāh ibn Ma'mar al-'Udhrī (Arabic: جميل بن عبد الله بن معمر العذري; d.701 CE), also known as Jamil Buthayna, was a classical Arabic love poet. He belonged to the Banu 'Udhra tribe which was renowned for its poetic tradition of chaste love.
The ghazal [a] is a form of amatory poem or ode, [1] originating in Arabic poetry. [2] Ghazals often deal with topics of spiritual and romantic love and may be understood as a poetic expression of both the pain of loss or separation from the beloved and the beauty of love in spite of that pain. [2] [3]
The Ring of the Dove or Ṭawq al-Ḥamāmah (Arabic: طوق الحمامة) [1] is a treatise on love written in the year 1022 by Ibn Hazm. [1] Normally a writer of theology and law, Ibn Hazm produced his only work of literature with The Ring of the Dove. [2]
Layla and Majnun (Arabic: مجنون ليلى majnūn laylā "Layla's Mad Lover"; Persian: لیلی و مجنون, romanized: laylâ o majnun) [1] is an old story of Arab origin, [2] [3] about the 7th-century Arabic poet Qays ibn al-Mulawwah and his lover Layla bint Mahdi (later known as Layla al-Aamiriya).
Some muwashshah poems are devoted to a single theme while others combine multiple themes. One common thematic structure is love, followed by panegyric, and then love. [2]: 169 The kharja also plays a role in elaborating the poem’s theme. At the end of a love poem, the kharja might be voiced by the beloved.