Goethe, the most renowned poet of German literature, was already from his Goethe’s West-östlicher Divan marks a literary encounter between German and . Karl Richter, “Ein West-Öst-Dialog der Goethezeit: Aspekte einer. thinkers on Goethe and on the Divan, but for a commonality of mystical vision Ce qui rend le West-östlicher Divan de Goethe problématique est le potentiel “Prinzipielle westliche Zugangsprobleme zum Orient” are the factors brought up. Johann Wolfgang von Goethe – Gesammelte Gedichte: Lieder – Balladen – Sonette – Epigramme – Elegien – Xenien Where is “Ost-westliche Divan” etc.
|Published (Last):||1 August 2005|
|PDF File Size:||18.97 Mb|
|ePub File Size:||7.64 Mb|
|Price:||Free* [*Free Regsitration Required]|
Given the formal constraints of my thesis, I decided to focus on ten of these to make my case, and geothe the number for intensive consideration as listed belowwith lesser reference to the others: This disharmony, Arjomand-Fathi believes, damages the rhythm and musicality of nouns to be transcribed and translated. Hafez lived long enough to witness seven kings of three Persian dynasties, InjusMuzaffarids and Tamerlaneand his poems reflect the social influence exerted by each. This resulted in a list of approximately ninety names, words, phrases or themes.
Editions of East-West Divan by Johann Wolfgang von Goethe
Der Kleinste von des Sultans Sklaven ist Hafis. The last great collection of poems by the classicist Goethe thus marks a major stage in the development of lyric poetry in general. This page was last edited on 4 Novemberat Denn du kannst ihm Kunde bringen Was ich in der Trennung leide. Click here to sign up.
Ihaam provides safe textual hiding places for a liberal-hearted poet like Hafez to conceal his real thoughts from the critics. Royal Book Company, Denn der Staub auf ihrer Schwelle Ist dem Teppich vorzuziehen, In this regard, the Divan resembles a drama revealing its one-dimensional and multi-dimensional protagonists and antagonists to his reader through the poems.
Nun so legt euch liebe Lieder An den Busen meinem Volke. Gerhart von Graevenitz – Sah ich heute deutlich ein. Den Glauben hab ich wieder!
Thu’s nicht, denn selbstisch sorgt die Rose ihretwegen. Qasida is a mono-rhymed lyric poem, which may run sometimes to over a hundred lines.
Meinen Gram trag’ fort, frohe Nachricht bring’ her! With this critical literary eye, Goethe was commenting on the weaknesses of his contemporary literary scene, and instead of following their lead chose to act according to oriental customs in the footsteps of Hafez, whose ideology he well knew.
Goethe and the Development of Schelling’s Naturphilosophie. Based on this examination, the translation of the poem does convey the main thematics of the original poem as there was no direct mention of rend.
This holds true for the majority of his translations, wherein he instead substituted the repetitive mono-rhymes with a radif or refrain. In the second hemistich, he also uses the phono-semantic play of eshteghag, paronomasia, between the third-person plural and first-person plural of the verb goftan [to say].
Was bedeutet die Bewegung? Both renderings, however, singularize the plural subject of the original, lessening its ambiguous quality. XXXIX does not make the matter clear.
GOETHE, JOHANN WOLFGANG von – Encyclopaedia Iranica
It was completed in AD Divan-e Hafez [Divan of Hafez]. Metamorphosis of Wedtlicher Theory of Colours colour wheel. In addition to Persian literature, he also learned the Arabic language and script and studied the teachings of Zoroaster as well as those of Islam.
The musicality of this distich lies mostly in the use of consonance, i. So they have praised him in westlicehr terms, as a great contributor to world literature.
The Book of Iran: Arberry, Fifty Poems 1; Levy 33 The ghazal became a popular independent lyrical form including up to fifteen distiches during the twelfth century.
Ich begehre, ja verzweifle! Meisami, Medieval Persian Poetry Some of the multi-dimensional characters include: Based on comparative studies, the lack of parallelism between Persian and either English or German in the case of Hafez is rooted to a great extent in the linguistic individuality of the source language.
For instance, one should note the strict two-fold challenge that Hammer faced in reproducing repetitive mono-rhymes: Fifty Poems of Hafiz. Hoffmann und Campe, Oft so ernst wie diese hochfliegende Sprache der Sofis und begeisterter Scheiche, aber oft gerade das Gegentheil, scheint Hafis dieser Lehren zu spotten,