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Persian poetry in english

Persian poetry in english

Persian poetry & lit. introduction

For years, this poem has languished in my queue, beloved and half-understood. Today, all of a sudden, I feel like I’ve gotten a grasp on it well enough to translate it with any semblance of creative fidelity.
(1) While the city preacher will find it difficult to hear these words, he will never be a true Muslim as long as he practices sophistry and hypocrisy. (2) Practice dissolute inebriation while remaining a gentleman to others. Since the beast that does not drink wine or become human is not so artistic. (3) In order to be a vessel for holy grace, there must be a pure-gemmed essence, and without it, stone and clay would not become pearl and coral. (4) He who bears the Greatest Name goes about his business – rejoice, O heart, for no devil can ever become Solomon by trickery or deception. (5) I practice love and hope that, unlike other arts, this noble art will not disappoint me. (6) He said last night, “Tomorrow I will grant you your heart’s desire.” Oh, God, devise a way to prevent him from feeling guilty about it! (7) For my own sake, I pray that God instills a pleasant disposition in your beauty, so that my mind is no longer jumbled and confused. (8) The dustmote is not in search of the source that is the resplendent sun’s own dayspring as long as it lacks lofty aspiration and motivation, Hafiz.

Rumi – ghazal 1393 with english and persian subtitles

“You consider yourself to be a universe resident.

Seasons of rumi – “you are that” – (in persian and english

You believe you are a part of the world of dust and matter.

Contemporary iranian poetry in translation

“Farsi Couplet:Mun tu shudam tu mun shudi,mun tun shudam tu jaan shudi,mun tu shudam tu jaan shudi,mun tu shudam tu jaan shudi,mun tu shudam tu jaan shudi,mun tu shudam tu jaan shudi,mun tu shudam tu ja

Persian poetry with translation – 10 molavi/molana (rumi

Mun deegaram tu deegari, takas na guyad baad azeen, takas na guyad baad azeen, takas na guyad baad a

The beauty of persian poetry | hamid reza mohammadi

I’ve become you, and you’ve become me, I’m the body, you’re the soul;so that no one will tell in the future, “You’re somebody, and I’m someone else.”
“As a lover, it is fitting for me to burn; however, what is the cause of your weeping and burning?
‘Oh my ill-fated lover, a honey-sweet [shirin] friend went away from me,’ the candle responded. Shirin has abandoned me; there is fire on my head, as it was on Farhad’s.’ ‘Pretender, this love is not your game, as you have no patience, no strength to stand,’ the candle continued, while a painful flood gushed down on his yellow cheeks each moment: ‘Pretender, this love is not your game, as you have no patience, no strength to stand.’ You shrink from a single flame unaffected, while I remain motionless until I am consumed. Look at me if the flame of love has scorched your wings: it has burned me from head to toe.”

Seasons of rumi – “without you” – (in persian and english

It has been referred to as one of humanity’s great works of literature,[4] including Goethe’s ranking of it as one of the four major bodies of world literature.

Rumi poetry – persian music and singing – english subtitles

[5] Persian literature is based on surviving Middle Persian and Old Persian works, the latter of which dates from 522 BCE, the year of the earliest surviving Achaemenid inscription, the Behistun Inscription. However, the majority of surviving Persian literature dates from after the Muslim conquest of Persia in c. 650 CE. The Iranians were the Islamic Caliphate’s scribes and bureaucrats, as well as its authors and poets, after the Abbasids came to power (750 CE). Because of political reasons, early post-Islamic Iranian dynasties such as the Tahirids and Samanids were centered in Khorasan, and New Persian language literature emerged and flourished there. [6] Due in part to the destruction of Persepolis’ library, very few literary works from Achaemenid Iran have survived. [9] The royal inscriptions of Achaemenid kings, especially Darius I (522–486 BC) and his son Xerxes, make up the majority of what is left. During the Islamic conquest of Iran in the 7th century, many Zoroastrian writings were lost. The Parsis who fled to India, on the other hand, brought with them some of the Zoroastrian canon’s books, including the Avesta and ancient commentaries (Zend). Some Sassanid works on geography and travel survived, albeit in Arabic translations.

Persian poetry with translation – 07 molavi (rumi) – a true

Initially, there are two types of translations from classical Persian to English. There is a subset of texts whose object is to convey the original’s knowledge in discrete units, which is most useful with prose or narrative poetry but not generally “literary.” Other translations are intended to convey the formal elements of a literary text, such as its nuances, rhythmic peculiarities and rhyme schemes, and the relationships between parts that make up complex meaning structures.
“Go forth boldly, my simple lay,/Thy accents flow with artless ease/Like orient pearls strung at random;/Thy notes are sweet, the damsels say,/But O! much sweeter, if they please/The nymph for whom these notes are sung.”
Although it takes considerable padding to fill the pattern, the choice of a stanza type recognizes that the stanza is generally associated with the lyric in English. Jones’ inclusion is a fictitious audience of nymphs. Arthur J. Arberry’s 1946 article of the same name popularized the term “orient pearls at random strung.” Arberry (like John Hindley in his Persian Lyrics) interpreted it to mean that the bayts’ order is random, and it has been a source of debate ever since (summarized in Pritchett). Arberry overlooked the fact that almost every isolatable feature of the stanza contradicts the original. The expression “artless ease,” which conjures up an esthetic value that is uniquely European, is at odds with the suggestion that piercing a pearl is historically a challenging task. Jones was aware of the changes he was making; the prose version in Poems makes no comparable changes. The distinction between the envoy (which in European poetry sometimes apostrophizes the poem as if it were a character going on a mission) and the maqa (where the poet addresses his own persona) is highlighted in this passage.