Goethe, the most renowned poet of German literature, was already from his Goethe’s West-östlicher Divan marks a literary encounter between German and . Karl Richter, “Ein West-Öst-Dialog der Goethezeit: Aspekte einer. thinkers on Goethe and on the Divan, but for a commonality of mystical vision Ce qui rend le West-östlicher Divan de Goethe problématique est le potentiel “Prinzipielle westliche Zugangsprobleme zum Orient” are the factors brought up. Johann Wolfgang von Goethe – Gesammelte Gedichte: Lieder – Balladen – Sonette – Epigramme – Elegien – Xenien Where is “Ost-westliche Divan” etc.
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German Philosophy in European Philosophy. Hafezname [Book of Hafez]. Denn du kannst ihm Kunde bringen Was ich in der Trennung leide. For the orchestra, see West—Eastern Divan Orchestra. Thank you for your diwn in letting me develop my thoughts, which you helped me get on track. Translatability of Hafez 29 3. It should be mentioned that Hafez uses different words equivalent to wine and wine-drinking in his poems.
GOETHE, JOHANN WOLFGANG von – Encyclopaedia Iranica
Naghschi az Hafez [An Image of Hafez]. The Windsor Shahnama of This holds true for the majority of his translations, wherein he instead substituted the repetitive mono-rhymes with a radif or refrain. As Persian grammar makes no gender distinction, the gender of the beloved is often linguistically unspecified, which puts to debate whether homosexuality or spirituality is implied. Lange schon hat mein Herz geseh’n des Wunsches Ziel nicht.
Khorramshahi believes that the device of ihaam is crafted in these two expressions.
For instance, one should note the strict two-fold challenge that Hammer faced in reproducing repetitive mono-rhymes: In deinem Locken-Netz hat sich mein Herz verstricket, Durchbohr’s mit einem Blick, es hat es wohl verdienet.
David Lee, Goethe-Jahrbuch, pp.
The specific examples chosen to illustrate this point are the figure of the rend, the theme of love, and the difficulties of love, wine and drinking. Und ich reite froh in alle Goethee O Du, ferne yoethe mir! Similarly, they both ignore the factors that caused this divergence, but conclude differently. Poetry and History in the West-oestlicher Divan. Thus, one needs to familiarize oneself with the literary devices of Persian literature, and in particular with those cherished by Hafez, in order to discover the full meaning of his verses.
Editions of East-West Divan by Johann Wolfgang von Goethe
The twelve books consist of poetry of all different kinds: The longer we read Hafiz [sic] and the better we know him and the literary tradition on which he plays, the more we feel this ambiguity. In part, this shows the political impact his court role had on his creative work, as this connection disallowed the writing of contrarian interests, particularly during the reign of tyrannous courts.
Indeed, semantic features appear more frequently preserved than acoustic qualities as well as rhetorical devices derived from them in translations. In this poem, for instance, depending on the rhythm of the hemistich, he plays with three different forms of wine: He also posits a multiplicity of themes in them and recognizes a lack of continuity among them, as each couplet carries a different theme.
More precisely formulated, my research began with the question: Die Bilderwelt der persischen Poesie. Enter the email address you signed up with and we’ll email you a reset link. By virtue of that couplet verse, Hafez earned burial with the full ritual of a Persian funeral. Notwithstanding the sporadic translations of the ghazals by the turn of the eighteenth century, the most significant translation was completed by the Graz-born orientalist and diplomat Joseph Freiherr von Hammer Purgstall.
His essay is indicative of some of the problems Hammer coped with. It was inspired by Goethe’s correspondence with Marianne von Willemer and the translation of Hafez’ poems by the orientalist Joseph von Hammer. Goethe und die Religionen der Welt.
Diesen Becher bring ich Ihr!
Both books retain their individual functions as different reflections on the subject of love. Unity in the Ghazals of Hafez.
He deviates from the original text by omitting that name at the beginning of the first hemistich. From Wikipedia, the free gethe. In these lines, as in the whole poem, Hammer succeeded in creating two lines for each distich as in the original, while in the majority of his translations he created four lines for the two-line couplet of the original.
He hated and was hated by the hypocrites, who criticized others for sinful deeds without paying attention to their false and deceptive deeds. Comparisons among sources show noticeable goetne in the volume of work the writer produced, and because of this discrepancy, some scholars believe that a number of Hafez poems has been attributed to him mistakenly.
Hafez created an internal rhyme between the rhyming halves goeyhe both of the lines, enhancing their prosodic quality further through the use of consonance examples highlighted: Ernst Gurmach, Berlin, Entesharat-e Zavar, .