By Annemarie Schimmel
Annemarie Schimmel, one of many world's top-rated professionals on Persian literature, offers a entire advent to the advanced and hugely refined process of rhetoric and imagery utilized by the poets of Iran, Ottoman Turkey, and Muslim India. She indicates that those pictures were used and subtle over the centuries and replicate the altering stipulations within the Muslim world.
According to Schimmel, Persian poetry doesn't goal to be spontaneous in spirit or hugely own in shape. as a substitute it truly is rooted in conventions and ideas of prosody, rhymes, and verbal instrumentation. preferably, each verse will be like a important stone--perfectly shaped and multifaceted--and express the dynamic dating among daily truth and the transcendental.
Persian poetry, Schimmel explains, is extra just like medieval eu verse than Western poetry because it has been written because the Romantic interval. The attribute verse shape is the ghazal--a set of rhyming couplets--which serves as a automobile for shrouding in traditional tropes the poet's genuine intentions.
Because Persian poetry is neither narrative nor dramatic in its total shape, its power lies in an "architectonic" layout; every one accurately expressed picture is thoroughly geared up right into a development of associated figures of speech. Schimmel exhibits that at its middle Persian poetry transforms the realm right into a net of symbols embedded in Islamic culture.
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Extra info for A Two-Colored Brocade: The Imagery of Persian Poetry
The authors, however, take for speakings many compositions which others interpret as writings. 3 Only eight Old English MSS with much vernacular poetry in them have survived. These are the Corpus MS, more precisely MS CCCC 201, at Corpus Christi College, Cambridge (whence the abbreviation CCCC); the so-called Paris Psalter, or MS Fonds Latin 8824 of the Bibliothèque National in Paris; the Vercelli Book, or Codex CXVII of the cathedral chapter library at Vercelli in northern Italy; the Exeter Book, preserved in the library of Exeter Cathedral; MS Junius II (often called the Cædmon MS) at the Bodleian Library, Oxford; and three MSS in the Cotton collection at the British Museum: Vitellius A XV (2nd MS, the Nowell or Beowulf codex), Otho A VI (the Boethius MS), and Tiberius B I.
Our uncertainties are the greater since in most cases we do not know so much as the name of the author of a given work, and even if we happen to know the author’s name we may be little the wiser; thus, our knowledge of the poet Cynewulf is limited to what we can glean from his poems. This want of biographical information, however, need not disturb us overmuch. Literary art in Old English times was highly traditional, and the personal history of the author did not come out in his compositions so markedly as it does in times when originality rather than mastery of a conventional mode wins the prizes.
And many names in all three presumably brought to mind in the hearer things that we miss, or know little of. The artistic worth of a list has always lain in the associations which its names evoke. Every name is an allusion for those who know it, and a series of names makes a series of 6 Compare the Chadwicks, op. , p. 271, note 2. 34 Runic Poem THE OLD ENGLISH PERIOD allusions. The names gathered in the thulas of Widsith stand for a world now long forgotten, the Germanic world of the migration period.
A Two-Colored Brocade: The Imagery of Persian Poetry by Annemarie Schimmel
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