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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At the same time, looking through the general composition of the ‘Divan del Tamarit’ ghazal part, one can notice that there is no sensual eroticism which the cycle started with.
In other words, the space articulated as external and expanding in terms of the number of coordinates and in terms of spiritual re a road – moonlight – separation turns out to be the inner space of the soul, the space where the beloved did not come.
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 came back to California tamafit poet instead of a forest ranger.
Divan del Tamarit | work by García Lorca |
Rubor sin nombre ya, astro perpetuo. Before interpreting the nature of classical oriental ghazal poetics as the “zero level” for understanding Lorca’s ghazalsit must be said that such an internal incongruity is found in all formal genres of a ghazal. Thus, the first strophe presets the theme of the unknowable perfection of the beloved and love torments relating to this.
There is no this flight anywhere, neither in the sky nor on the earth.
Granada era una luna ahogada entre las yedras. Such a shift of the stress, when an initially stressed syllable turns out to be pre-stressed, then pre-pre-stressed, and sivan forth, creates extremely broad opportunities for variation in a poem metric organization.
On the poetics of Lorca’s “Divan of Tamarit”
Since this theme – Aruz in the Uzbek, or broader, in Turkic poetry – is the subject 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. This contradiction is perhaps the meaning forming contradiction of a ghazal as a poetic form, engendering its emotional charge and tension. This consecution comes to a joint continuity, a plane field of the present, put into the circular eternal continuity or the reality of this ‘kelmadi’ rather than into the framework of the indicated ‘kecha – tong otkuncha’.
Yet, we will elaborate on this later. After all, this body is both the bell of Vela and Granada – the moon, a rose, and the beloved. In this ghazalthe poet thirsts for, and can see all the fantastic, other-worldly that turn into these very conditions of ghazal morphology, and only refuses to look at the nakedness of his beloved, preferring the anguish of dark planets to her.
Resiste un ocaso de verde veneno y los arcos rotos donde sufre el tiempo. And there is also a door of water, which can not be opened even by a small hand. 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: We may call this opposition as dialectic of statics and dynamics, a norm and a deviation, a canon and an improvisation, or, more fundamentally, existence and formation.
Toda la noche en el huerto mis ojos, como dos perros.
All the key images are present, but the beloved, but is not it the escape which gave the name to the ghazal? This contradiction is also continued in the ‘aruz meter of a ghazal.
The third strophe is antithetic and leaves in the air ‘not a bit of the lark when I met you in the caves of wine’. But here the fog comes in the silence to cover a grey hill of the body of the beloved, and suddenly the wall turns into a yawning emptiness, which the djvan asks to leave as a memory in his chest, making a going away tamarlt of the beloved easier with the help of at least this emptiness This last bayt turns inside out elements of the dvan morphology: Por las ramas del laurel tamrit dos palomas desnudas.
And in support of this thorough theme ce, the next ghazal is called ‘The G hazal about the Dark Death’. Such an understanding of the role and importance of tahallus in the ghazal allows assuming that here these very mediating forces are nothing but functions of the lyric ‘I’ of the poet in the dimensions ‘I – not I’, ‘I – single’, ‘I – specific’, and ‘I – universal’.
Casida de los ramos Por las arboledas del Tamarit han venido diavn perros de plomo a esperar que se caigan los ramos, a esperar que se quiebren ellos solos. And this impossibility and unattainability embrace in themselves both skies and the earth.
Cut down a garden in Cartahena Embraced your body atmarit not aware whose body it was Indeed, there is a secret thesis in these three actions: Casida de la muchacha dorada. Vino el alba sin mancha con mil caras de vaca, yerta y amortajada con heladas guirnaldas.
It is both on that end of the street, from where no one returns, and on that end, where one remains more than just lonely, but devastated. The music that goes along with this and follows me home.