Índice Siguiente. Gacela 1. Gacela del amor imprevisto. Nadie comprendía el perfume de la oscura magnolia de tu vientre. Nadie sabía que martirizabas. Transoxiana 7, Diciembre ; Hamid Ismailov, On the poetics of Lorca’s ‘Divan del Tamarit’, Translated into English by Natalya Khan and Saodat I. Bazarova. Posts about Divan del Tamarit written by coloredhorse.
|Country:||Trinidad & Tobago|
|Published (Last):||17 May 2008|
|PDF File Size:||4.49 Mb|
|ePub File Size:||19.47 Mb|
|Price:||Free* [*Free Regsitration Required]|
As is known, ghazalas a poetic form, began forming in the ninth and tenth centuries in the Arab poetry; however, it reached perfection and, in some sense, canonization in the creative works of Hafiz. Cut down a garden in Cartahena Embraced your body being not aware whose body it was Indeed, there is a secret thesis in these three actions: Having killed a living feeling and translated it into signs, it is possible ve find this ‘forever’ in the chest.
If the results of ghazal research are combined, then primarily it can be said that ghazal is, on the one hand, a purely lyric form characterizing, first of all, an internal state and not an external action, on the other, ghazal is characterized by having two semantic fields: After all, love in Sufism is both atmarit means and a target for comprehending the Absolute.
I dimly knew it, knew I needed to press on, make the trip happen in spite of inordinate pressure not to do so. However, the already cited facts are enough to assume the existence of universal principle, which goes through different-level elements of the tamariy and creates a certain hierarchical and extremely flexible intellectual structure correlating with the fundamentals of human thinking and spiritual activity.
Lorca was calling me. Interestingly, if one constructs the line of actions by the lyric hero dr this initial ‘kelmadi’ ‘chiqdimu, chekdim tamaarit Casida de los ramos Por las arboledas del Tamarit han venido los perros de plomo a esperar que se caigan los ramos, a esperar que se quiebren ellos solos.
El Diván del Tamarit, poems by Lorca, translated into English
There is no traditional ghazal distribution of powers, but the ghazal spirit does exist here, which grew into a reed out of a bitter root.
Madrugada the Dawn September 2, Por los arrayanes se pasea nadie.
In this invariance, there is a universal construction: La niebla cubre en silencio el valle gris de tu cuerpo. Gacela de la muerte oscura.
Who is ‘you’ here? Here is the line of contrapositions from the second strophe: Rhyming in the form of a-a, b-a, c-a, etc.
Divan del Tamarit
It could be possible to analyze in detail each of Lorca’s ghazals starting with the phonetic instruments and ending with the use of poetical figures, but it is more important tmarit us to single out ‘Divan”s conceptual base which one way or another is expressed in all elements of the ghazal structure. No quiero que me repitan que los muertos no pierden la sangre; que la boca podrida sigue pidiendo agua.
In this white garden, the poet and his beloved is united ‘forever’ at the cost of non-existence, and this is different life, which is in the same way different for the hitherto white color – the red color of blood and lips, hungering for this ‘forever’ as for a spring: These illogical conditions expressed through a variable part of the ghazal are the very attempt to hope for love, the attempt which is extinguished by a dead structure, yet out of this structure, out of day and night, it can divqn exist.
And it answered my question, my curiosity about flamenco and cante jondo, Portugese fado, the amanades of Turkey and Greece—they all share something fundamentally un-European. They emphasize the impossibility and unattainability both of jasmine or love reed for the fettered hands and of healing wounds under the snow rustle. As far as two intermediate strophes are concerned, they are six-line ones with regular syntax: These considerations deprive me of the necessity, on the one hand, to portray the greatness dde Lorca, Hafiz, Navoi, or Ibn Hazm, and, on the other, to immediately get into the essence of what I am about to say.
No quiero enterarme de los martirios que da la hierba, ni de la luna con boca de serpiente que trabaja antes del amanecer. Places he would have walked. While in Ibn-Hazm’s tractate the dove is the symbol of love itself and its voluptuousness, Lorca’s two doves symbolize two faces of Nothing – The Love and The Death.
Just in the same fashion, a repetition of redif ‘kelmadi’ is a combination of the same word with variable surroundings.
Here are the names of Lorca’s ghazals: Midway tamarti our rambling walk I realized I would probably miss the one concert I had dearly hoped to see.
Casida de las palomas oscuras Por las ramas del laurel van dos palomas oscuras. Hence it can be concluded that only love gives an impetus to time, only in love there are nights and days, and that it is the overcoming of timelessness of death. The fourth, final, strophe concludes the composition. The ghazal doomed to impossibility to overcome the distance between ‘I’ and ‘you’ by any other means but memory in the past, imagination in the future, and death in the present, makes this ‘forever’, embracing all the times, sweet and ominous, desirable and poignant.
And there is also a door of water, which can not be opened even by a small hand. Indeed, if the dead boy is replaced with the beloved, then all semantic and forming elements will correspond with the traditional ghazal morphology.
Divan del Tamarit | work by García Lorca |
La muchacha dorada era una blanca garza y el agua la doraba. If now, we generally compare this Lorca’s ghazal with Navoi’s one, then the difference in solving the same poetic task becomes even more evident.
tamarif Gacela del mercado matutino. Sat on the carpet in front of the stage, the place where the devotees sit, where Riantee liked to sit for her beloved concerts of Indian music and dance.
La una era la otra y las dos eran ninguna.