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出版者:Univ of Washington Pr

作者:Kalpakl, Mehmet (EDT)/ Black, Najaat (EDT)/ Kalpakli, Mehmen (EDT)

出品人:

页数:392

译者:

出版时间:2006-1

价格:$ 33.90

装帧:Pap

isbn号码:9780295985954

丛书系列:

图书标签:

• 诗歌
• 文学
• 奥斯曼诗歌
• 土耳其文学
• 抒情诗
• 古典文学
• 迪万诗歌
• 中世纪文学
• 诗歌
• 文学
• 历史
• 文化

ottoman lyric poetry: A Rich Tapestry of Love, Longing, and the Divine Ottoman lyric poetry, a vibrant and enduring tradition spanning centuries, offers a profound glimpse into the hearts and minds of a bygone era. Far from being a monolithic entity, this poetic landscape is a rich tapestry woven with threads of passionate love, melancholic longing, philosophical contemplation, and spiritual yearning. To fully appreciate its depth and complexity, one must delve beyond mere translation and engage with the cultural, historical, and linguistic nuances that shaped its formation and evolution. At its core, Ottoman lyric poetry is deeply rooted in the classical Persian tradition, particularly the works of masters like Rumi, Hafez, and Saadi. The ghazal, a popular poetic form, emerged from Persian soil and was enthusiastically embraced and adapted by Ottoman poets. This form, characterized by its rhyming couplets and a recurring refrain, provided a flexible yet structured vehicle for expressing a wide range of emotions and ideas. The "radif" (refrain) and "qafia" (rhyme) became intricate dances of sound and meaning, creating a mesmerizing musicality that resonated with audiences. Love, in its myriad forms, stands as a central pillar of Ottoman lyric poetry. It is not a simplistic, idealized affection, but rather a complex interplay of earthly desire and divine aspiration. The beloved, often depicted as a youth with rosy cheeks and captivating eyes, serves as a conduit to a higher, more profound love. The poet, in their yearning for this beloved, mirrors the soul's longing for God. This metaphorical conflation of human and divine love is a hallmark of the tradition, blurring the lines between the sensual and the spiritual. The imagery used to describe the beloved is often exquisite and evocative: wine, gardens, the scent of roses, the murmur of streams – these elements are not merely decorative but carry layers of symbolic meaning, hinting at paradise, divine beauty, and the intoxicating nature of love itself. The theme of separation and longing is equally prevalent. The poet often finds themselves estranged from the beloved, living in a state of perpetual yearning. This torment, however, is not presented as mere suffering but as a crucible that refines the soul and deepens the poet's understanding of love's true essence. The tears shed by the lovelorn poet are not simply saline drops but potent symbols of their intense emotion and unwavering devotion. The nightingale, lamenting its separation from the rose, becomes a poignant metaphor for the poet's own solitary vigil. This elegiac tone, while seemingly sorrowful, ultimately speaks to the resilience of the human spirit and the enduring power of love even in the face of adversity. Beyond romantic and divine love, Ottoman lyric poetry also engages with themes of wine and intoxication. However, this is rarely a celebration of mere physical indulgence. The wine in these poems often represents spiritual ecstasy, a surrender to a higher power that liberates the soul from the constraints of ego and worldly concerns. The tavern becomes a metaphor for the spiritual sanctuary, a place where the seeker can shed their earthly attachments and achieve a state of sublime intoxication with the divine. The cupbearer, a recurring figure, is not simply a dispenser of alcohol but a guide who offers the elixir of divine knowledge. The philosophical underpinnings of Ottoman lyric poetry are also significant. Poets often grappled with existential questions, the fleeting nature of life, the inevitability of death, and the search for meaning in a transient world. The concept of "fana" (annihilation of the self) and "baqa" (subsistence in God) from Sufi philosophy finds frequent expression. The poet recognizes the illusory nature of the material world and seeks to transcend it through spiritual discipline and artistic expression. This philosophical depth lends a gravitas to the emotional outpourings, transforming personal lament into universal truths. The language of Ottoman lyric poetry is itself a subject of fascination. It is a rich and complex blend of Turkish, Arabic, and Persian, reflecting the vast cultural influences that shaped the Ottoman Empire. Mastering this linguistic tapestry requires a keen understanding of etymology, grammar, and the subtle nuances of each contributing language. The intricate wordplay, puns, and allusions are not simply decorative but are integral to the meaning and aesthetic impact of the verses. The use of "tashbih" (simile) and "istiare" (metaphor) is particularly sophisticated, creating layers of meaning and allowing for multiple interpretations. The rhythmic and metrical structures, borrowed from Arabic and Persian prosody, contribute to the musicality and memorability of the poems, making them ideal for recitation and performance. The biographical context of the poets also enriches our understanding. Many Ottoman lyric poets were also scholars, Sufis, or courtiers, their lives intertwined with the political and intellectual currents of their time. Their poems often offer glimpses into their personal experiences, their struggles with power, their patronage by rulers, and their interactions with other intellectuals. Figures like Bâkî, the "Sultan of Poets," who masterfully captured the grandeur of the Ottoman court and its anxieties, or Fuzûlî, whose passionate and often melancholic verses continue to resonate with readers, exemplify the diverse voices and perspectives within this tradition. The lives of these poets, their triumphs and their tribulations, lend a human dimension to their lyrical expressions, making their words all the more poignant and relatable. Furthermore, the evolution of Ottoman lyric poetry across different periods reveals its dynamism and adaptability. From the early humanist influences to the flourishing of the classical age and the later reformist movements, the tradition constantly absorbed new ideas and aesthetic sensibilities while retaining its core principles. The classical period, in particular, witnessed a peak in technical mastery and thematic exploration, with poets pushing the boundaries of form and expression. Even as the empire faced political and social changes, the lyrical tradition continued to serve as a vital outlet for artistic expression and a repository of cultural memory. The legacy of Ottoman lyric poetry extends far beyond the historical confines of the empire. Its themes of love, longing, spirituality, and the human condition are universal, transcending time and cultural barriers. The intricate beauty of its language and the depth of its philosophical insights continue to inspire poets, scholars, and readers alike. To engage with Ottoman lyric poetry is to embark on a journey into a world of profound emotion, exquisite artistry, and timeless wisdom, a world that continues to speak to us across the centuries with a voice that is both ancient and remarkably modern. The poems serve as enduring testaments to the human capacity for deep feeling, intellectual curiosity, and the relentless pursuit of beauty and truth. They are not merely historical artifacts but vibrant expressions of the human spirit, offering solace, inspiration, and a deeper understanding of ourselves and our place in the vast cosmic dance. The intricate weaving of personal experience with universal truths, the skillful manipulation of language to evoke powerful emotions, and the profound engagement with spiritual and philosophical questions all contribute to the enduring appeal of this rich and multifaceted poetic tradition.

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奥斯曼文学中三大神鸟，斯摩奇、卡克努斯（天鹅）与胡玛。德里苏丹有用胡玛造型装饰华盖顶部的传统。

评分☆☆☆☆☆

奥斯曼文学中三大神鸟，斯摩奇、卡克努斯（天鹅）与胡玛。德里苏丹有用胡玛造型装饰华盖顶部的传统。

评分☆☆☆☆☆

奥斯曼文学中三大神鸟，斯摩奇、卡克努斯（天鹅）与胡玛。德里苏丹有用胡玛造型装饰华盖顶部的传统。

评分☆☆☆☆☆

奥斯曼文学中三大神鸟，斯摩奇、卡克努斯（天鹅）与胡玛。德里苏丹有用胡玛造型装饰华盖顶部的传统。

评分☆☆☆☆☆

奥斯曼文学中三大神鸟，斯摩奇、卡克努斯（天鹅）与胡玛。德里苏丹有用胡玛造型装饰华盖顶部的传统。