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The gender of the beloved is ambiguous in Persian. It could be a woman, as in the Arabic poetry which Hafez is apparently imitating, or a boy or young man, as often in Persian love poetry; or it could refer to God, if the poem is given a Sufic interpretation. [33] The final half-verse, like the first, is in Arabic.
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]
Typical themes for a muwashshah include love, panegyric, and wine. 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 ...
Nasīb (Arabic: النسيب) is an Arabic literary form, 'usually defined as an erotic or amatory prelude to the type of long poem called a qaṣīdah.' [1] However, although at the beginning of the form's development nasīb meant 'love-song', it came to cover much wider kinds of content: [2] 'The nasīb usually is understood as the first part ...
Al-Khalīl ibn ʿAḥmad al-Farāhīdī (711–786 CE) was the first Arab scholar to subject the prosody of Arabic poetry to a detailed phonological study. He failed to produce a coherent, integrated theory which satisfies the requirements of generality, adequacy, and simplicity; instead, he merely listed and categorized the primary data, thus ...
At the end of C, the poet switches to an intimate form of address, having implied that, her nobility notwithstanding, he is an equal by the agency of sensual love. B¹ and A¹ correspond thematically to sections B and A, yet the tone becomes increasingly personal at the end of the poem, consonant with private subject matter and an appeal for a ...
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Imru' al-Qais was a poet of the first half of the sixth century AD. Today, he is one of the most famous and celebrated Arabic poets, with some viewing him as the very best (though this was a matter of debate). He was widely known by the title "the prince of the poets in the Era of Ignorance" (amīru l-shuʿarāʾ fi-l-jāhiliyya). [23]