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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Yet, within this framework, time is constructed in the following way: What concerns this ghazal ‘s architectonics it has an extremely vivid, skillfully and consistently built composition symmetry which also bears a semantic and general taarit load. More than anything, it has been the music of Spain that has haunted me, raised questions, some of which are now answered, beautifully, with further musical compositions and the variations and strategies of slack key guitar, bouzouki, Portuguese viola.
Indeed, if the dead boy is replaced with the beloved, then all semantic and forming elements will correspond with the traditional ghazal morphology. The ghazal technique of parallel contrapositions and contrasts was perfectly mastered by Lorca.
Divбn del Tamarit
Thus, a face of the beloved is the world, the beauty of the Absolute, a lock fallen on this face is the accidental world with its accidents, wine is the mystical intoxication in the unity with the Absolute, a cupbearer or a bay giving a cup is that who took the road, and so on and so forth. But then the space starts diminishing through ‘kuzlaringdan necha suv kelgay’which represents a conditional path to the emptiness, where there is no beloved, ‘yuksa kim kuidi qadam’and, at last, the final bayt encloses and embraces all the preceding coordinates by the “house of heart”, “the house of soul” – ‘kungul uyi’.
After all, love in Sufism is both a means and a target for comprehending the Absolute. If to compare this ghaza l with that of Navoi, then it is obvious that Lorca deprives time of all its ways out, but the negative current: 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.
If one adheres to the assumption that ‘Divan’ is compositionally integral, then the twice repeated bayt in this ghazal – ‘I am separated from the dead by the wall of bad dreams’ – transfers that love, where both died, from the sensual corporeality into the space of memories, like into ‘the tremble of white cherry in the throes of January’ or like into ‘a gypsum heart with the lily’s complaints in it’.
This pair by pair correlation of bayts already shows that along with the semantic and compositional symmetry relative to the central baytconstructed in an extremely contrasting way:. Basing on these theses, it is possible to create a certain model of the classical type ghazalthat ‘ground zero’ relative to which we intend to examine Garcia Lorca’s ghazal structure. This can be proved by the above cited oppositions, out of which the main one, as anything which synthesizes in itself all the previous, is not only an opposition but also a unity.
The strophe pattern of the ghazal is as follows: There is another reason why it is an antithesis: Here is the line of contrapositions from the second strophe: Gacela del amor que no se deja ver.
Stebleva revealed that a ghazaland Babur’s ghazal in particular, has also a linear composition: And change, being a frightening thing at any time, and change being an exciting thing at every time—I have woken up. We realize that we shall have to check “harmony with algebra” pedantically, even when any words may be superfluous -that is how self-sufficient a ghazal is- we shall analyze it meticulously, and yet, let a number of impending paradoxes begin with this: During the entire festival, though my travel companions and I did not do any touring outside Fez, and indeed spent most of the time in the medina, the old walled city, I felt periodic washes of emotion—joy equally with grief—that something was turning over in my soul, in my being.
We will explain this with a little example from the ghazal in question, written in the ramali-musanmani-mahzuf meter o o o o.
El Diván del Tamarit, poems by Lorca, translated into English
And this very kasyda, which is quite closely related to the ghazal cycle of ‘Divan’, tells apart love in the understandings of Ibn-Hazm and his compatriot Garcia Lorca.
And the steps, such as anxiety, affection, patience, confidence, ecstasy, and dilution in the Absolute, all correlate with Lorca’s series of steps. Lorca’s utterance is addressed to the beloved. When the death takes away love and the beloved leaving under the arc of meeting a cup of water hemlock, is not the love to that, even though deadly, which remained a memory of the beloved, less powerful than the fear of death?
Gacela de la huida. Actually, this temptation underlines the boundary that allows us to discriminate between “tradition” and “innovation,” although tradition is not a sheer repetition, as innovation is not mere renewal. There is the bitterest root here, the statement of existence of which is mixed with the parallel existence of the world of thousand terraces and the sky of thousand windows. What was amazing about witnessing her performance, her presentation, was not that it was perfect, as if rehearsed and replicated.
The ninth ghazal of the cycle – ‘The G hazal about the Miraculous Love’ – in terms of its form represents an example of Dvian passion for a music-like strict compositional technique with the use of parallelisms both direct and charismatic ones. A reading machine would interpret this in the following way: Thus love to death wins over the horror of death. Since this theme – Aruz in the Uzbek, or broader, in Turkic poetry – is the divam of another research both already conducted and still to be conducted, we are going to mention only several aspects which are of interest to us.
The traced trends even though having different techniques in terms of versification and setting, are nevertheless rather similar than different, and in peculiar way use the richness of the ghazal poetics, divn, as was mentioned earlier, these differences can be investigated in terms of evolution-and-typology.
On the poetics of Lorca’s “Divan of Tamarit”
Thus, the first strophe presets the theme of the unknowable perfection of the beloved and love torments relating to this. Will remind briefly that in this tractate Ibn-Hazm tries, in his own words, to investigate the roots of love remember Lorca’s ghazal about the bitter root ; it is about accidents of love, which accidentias in the author’s words would be more correctly to translate as manifestations of love and its qualities, both praiseworthy and blameworthy, about miseries of love, out of which the highest one is separation, oblivion, and death.
Thus, before we start analyzing Lorca’s ghazals, let us summarize again what the oriental ghazal is. On the one hand, the ghazal is all rhymed, and on the other – it is not a monorhyme; on the one hand, the rhyme is of an assonance type, even though according to the Spanish versification rules, ‘Elvira’ and ‘crystal’, for example, are considered a rhyme, and on the other – it is a rhyme of a consonance yamarit. In this journey, at this particular concert, I experienced the completion of an enormous arc that took me back to when I was nineteen years old and went to Granada and diva back to California a poet instead of a forest ranger.
In this invariance, there is a universal construction: By falling back into place everything in this ghazal discovers its bitter root – a bitter love. Such a shift of the stress, when an initially stressed syllable turns out to be pre-stressed, then pre-pre-stressed, and so forth, ve extremely broad opportunities for variation in a poem metric organization. Lorca seems to be speaking about perfection of his beloved, the divam herself, while Navoi tortures himself with this beloved.
Speaking of that base, one can not help mentioning another great poet of Andalusia – Arabic-speaking Ibn-Hazm and, first of all, his main work ‘The Ring of the Dove’, a medieval love tractate.
This contradiction is also continued in the ‘aruz meter of a ghazal. And from this point of view, the sentence seems to be true. I was watching her reach for it, pull it out of the air. All three ghazals, mixed with love works, are about a boy’s death. Granada era una luna ahogada entre las yedras.