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But my interest in the poetical language, the symbolism, the rhetorical aspects of Persian and, in a larger context, Islamic poetry has still another reason. 1321) in Turkey, and I share their pleasure. Delighted listeners still hear the songs of Shah "Abdul Latif (1 6 8 9 -1 7 5 2 ) in Sind and the simple songs of the Turkish mystical bard Yunus Emre (d. Beyond the highly sophisticated urban poetry of Iran, Muslim India, and Ottoman Turkey, however, I have enjoyed discovering poetry in the regional languages of Pakistan as well as popular Turkish poetry. Later my fascination with Ghalib (1 7 9 7 -1 8 6 9 ) led me into the history of earlier Urdu and Indo-Persian poetry. My interest in and love for Rumi has continued, and in fact increased, over the years, but other poets too have attracted me, especially Muhammad Iqbal (1 8 7 7 -1 9 3 8 ), the modern. This interplay of form and meaning has always fascinated me ever since I started translating some of Maulana Jalaluddin Rumi’s (1 2 0 7 -7 3 ) poems into German verse as a teenaged student. To me these lines seemed to reflect perfectly the constant interplay of the form (garment) and the spirit as well as the opalescent character of Persian poetry which so often allows the interpretation of a verse on two or even more levels. O star and flower, spirit and garment, Joy, sorrow, time, and eternity. The German title alludes to a line by the Romantic poet Clemens Brentano: O Stern und Blume, Geist und Kleid, Lust, Leid und Zeit und Ewigkeit. My lecture notes crystallized, in 1984, into a German book, Stern und Blume, which constitutes the basis for this enlarged version. As his extremely complicated style can barely be understood by anyone who lacks a thorough grounding not only in the aesthetics of Persian poetry as it developed over nearly a millennium but also in general Islamic culture, I found it necessary to offer at least a condensed introduc tion into this immense field of poetical language. These lectures were meant, in the first place, to introduce students without knowledge of Persian into the colorful world of Persian and Persianate poetry, for the endowment of my chair specified as one of its main goals the study and translation of the poetry of Ghalib, the famous nineteenth-century poet of Delhi, who wrote in Persian and Urdu.
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This book developed out of a lecture series which 1 have been giving at Harvard for more than twenty years. Part 2 Themes from History, Literature, and LegendĤ The Pillars of Islam and Related ConceptsĢ0 Colorful Things from the World around Us Part 1 Formal Requirements of Persian Poetry University of Cologne.Ĭhronological Survey of Poets Mentioned in This Book Shams Anwari-Alhosseyni, Lecturer in Persian. The calligraphic motifs at chapter openings are modern renditions from the pen of Dr. This book is based on the author’s Stern und Blume, published in 1984 by Otto Harrassowitz, Wiesbaden. Manufactured in the United States of America 96 The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library- Resources. The publication of this book has been aided by the generous support of the Columbia Lecture Series on Iranian Studies that is intended to serve as a vehicle for the presentation of original research or synthesis in Iranian history and culture by distinguished scholars. Includes bibliographical references and index. p.Įnlarged translation of: Stern und Blume. English] A two-colored brocade : the imagery of Persian poetry / Annemarie Schimmel. €> 1992 The University of North Carolina Press All rights reserved Library of Congress Cataloging-in-Publication Data Schimmel, Annemarie. A Two-Colored Brocade The Imagery of Persian Poetry Annemarie Schimmel