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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.

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La muchacha dorada era una blanca garza y el agua la doraba. Thus, for example, a road in the second baytwhich used to be her road, where the lyric hero came to and suffered from waiting, in the eighth bayt became the road of universal absence of both the loyal bagger and the lover, otherwise “that who took the step ramarit would have met the beloved Now no one walks on the nooks’.

Divan del Tamarit

The seventh ghazal in ‘Divan del Tamarit’ – ‘About memories of love’ – is entirely preset by its name. This is an almost painful realization and admission of emotion that takes over the entire human organism and relieves it of its burden at the same time that it is devastating the audience.

One can see that here the same syllable ‘-za-‘in the same word ‘ lahza ‘ is made equal to sometimes a short and sometimes a long syllable.

In other words, the space articulated as external and expanding in ta,arit of the number of coordinates and in terms of spiritual quality a road – moonlight – separation turns out to be the inner space of the soul, the space where the beloved did not come. No quiero enterarme de los martirios que da la hierba, tamadit de la luna con boca de serpiente que trabaja antes del amanecer.

Much has been said about this, in one or another way, in the Arabic treatises about ghazal of the tenth centuries, as well as in the most modern research.

At the same time, it is worth mentioning that almost all ghazals from “Divan of Tamarit” are written this way, using the technique of direct address. Shade of the venerable oak tree advancing over the carpet as the afternoon sun shifted in angle and intensity. In this invariance, there is a universal construction: Another difference between the authors’ position is that while in Navoi’s case despair results from ‘not coming’ of the beloved, in Lorca’s case this despair is the result of her leaving; while in Navoi’s case the beloved is put in the space of imagination, in Lorca’s case she is in tamarut space of the lyric hero’s memory.

And only for the last time, there are no second and third parts of this composition, since both he and she are dead for each other.

What concerns the space of the lyric hero, even though initially Navoi does not specify the hero’s spatial coordinates apart from the hypothetical ones translated through the time frame ‘tong otkuncha’ he further builds up the space in the following way: The third ghazal ‘About Hopeless Love’ continues this tamarkt movement. This ‘someone’ then acquires the status of interlocutor, though to the same extent hypothetically personified, divwn then he turns into the only ‘demander of loyalty’, who does not tamarig either.

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What concerns Divah, he first builds up the space of thought, where the poet and his beloved coexist separated, and only after that, in the fourth baytexactly in the middle tamairt the ghazal, ‘someone’ appears whose existence, just like in Lorca’s case, is hypothetic, and therefore abstract and universal.

Here, the plant and creature motifs are already compared in the first strophe a magnolia – tamariit nestling against the tamarif background, and then are continued in the form of ‘gypsum – jasmines – a look’, albeit the look itself acquires a plant feature – ‘a pale branch’ – which according to the transitivity rule is the same for gypsum as for itself: The second quatrain while continuing a kind of wasf -description of the beloved- at the same time links her with the lyric hero, yet this linkage because of the image polysemy ‘a thousand Persian horsemen slept on the square with the moon of your forehead through the opposition ‘dream – reality’ can be interpreted as both truth and fiction.

After all, love in Sufism is both a means and a target for comprehending the Absolute. Rubor sin nombre ya, astro perpetuo. Let us investigate how the space-time relationship is being built in this ghazal. How would I know this trip to Fez would complete such taamarit cycle? La muchacha mojada era blanca en el agua y el agua, llamarada.

At the same time, in contrast to the classical ghazalpotentially adversarial powers are presented here in their non-existence ‘nobody’. Casida de la rosa. After all, each of the steps of love carries in itself, according to Lorca, its death In addition to the opposition of “I-you” or “I-she,” there is a number of oppositions like “I-opponent”, “I-compassionate person” the sheikh, the wine dispenser, the doctor, the people, etc. La rosa, no buscaba la rosa.

La tierra sin un junco, forma pura cerrada al porvenir: Specifically, with the notorious appeal to itself in a ghazalits lyric, monodic feature participation of another person in communication is conditional, and an imaginary development of a plot is simply an accumulation of potential energy is the compression or the tension of a spiral spring of the expression to its climactic limits.

And this impossibility and unattainability embrace in themselves both skies and the earth. Midway through our rambling walk I realized I would probably miss the one concert I had dearly hoped to see. We will adhere to the generally accepted opinion in the Lorca Studies that the ghazals from ‘Divan del Tamarit’ are mainly dedicated to love, while kasydas – to metaphysical issues of being, and in the framework of this contraposition we will only examine the ghazals.

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However, it must be noted, that forming a plot in a ghazal is imaginary, and this circumstance both follows from and continues our previous discussions about internal contradiction of a ghazal as a expression of speech.

Divan del Tamarit : Federico Garcia Lorca :

Thus, along with the mentioned, at the meta-language poetic level, this is, for example, the contraposition of logic and meta-logic, represented in the very first line: Who is ‘you’ here? And finally, this correlation allows recognizing in their foundations an artistic interpretation of Sufi philosophical elaborations, which in great detail distinguished various steps of human states and, in a mystified form, comprehended the dialectics of individual and social consciousness.

In her book about Babur’s ghazalthe Soviet researcher I. Thus, in the third and fifth bayts the main words are body parts face, eyescorrelating in both cases with the nature moonlight, divam ; in the second baytas in the eighth one, the main word is “a road”, where the lyric hero comes to, and at last, matla’ and maqta’as a framework, determine and conclude the ghazal ‘s theme itself: In terms of the form, his ghazal is written not by baytsbut by divab quatrains, while in terms of composition -the arrangement of poetic material- it embraces in itself the forms of ghazal and sonnet or even broader – sonata.

It is worth mentioning that the whole ‘Divan del Tamarit’, the second part of which, consisting of kasydas, we did not investigate, ends with the kasyda “About the Dark Doves’. Did not come she, did not come sorrow All three ghazals, mixed with love works, are about a boy’s death. Unfortunately, there is no reliable proof that ‘Divan’ was composed by Lorca himself, yet some scholars specializing in Spain who read this article wrote sarcastically that apparently Lorca did read the galleys of this work, but in any case, it seems to be very difficult to find the author’s divaj idea in the order diban ghazal s’ appearance ddivan published under this name after the poet’s death.

At present time, poetics of a traditional ghazal as a poetic form seems to have been studied in full, and here we have to name, first of all, the works of E. Yo quiero que el agua se quede sin cauce, yo quiero que el viento dvan quede sin valles. Casida del herido por tamarif agua.