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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GOETHE, JOHANN WOLFGANG von – Encyclopaedia Iranica

In these lines, as hoethe 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. This thesis demonstrates that it was through the means of the lyrical form of the ghazal that the Persian poet Hafez captured the attention of his contemporary audience and beyond for centuries.

Goethe and False Subjectivity. Julian Roby and Delia Gaze. Fifty Poems of Hafiz. O Du, ferne von mir! I am honored to have gotten this opportunity to work with him. His essay is goetye of some of the problems Hammer coped with.

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My wetlicher go to the memory of my father. Khorramshahi defines three faces for this character in the Persian Divan: Behind the mask of these characters and their use of Hafezian terminology, Hatem and Suleika gave their extreme emotions free expression, which Richter relates rightly to the quality of works of the Sturm and Drang era.

Find it on Scholar. A look at studies on Hafez since the very first translation of some of his ghazals into Latin by Thomas Hyde in the late seventeenth century shows that the West has generally preferred to ignore the mystical aspect of the ghazals, whereas the East has tended to explore and enjoy aspects of mysticism in them.


This contrast underlines the polar difference between two characters, a constellation that one faces 33 The first draft of this Iranian national epic was written over twenty-five years by Ferdawsi.

In this regard, some of them believed in the unique musicality of the ghazals and even today the poems continue to be set to traditional Persian music. Den Glauben hab ich wieder! Articles containing German-language text All articles with unsourced statements Articles with unsourced statements from December Commons category link is on Wikidata Wikipedia articles with BNF identifiers Wikipedia articles with GND identifiers.

In addition to Persian literature, he also learned the Arabic language and script and studied the teachings of Zoroaster as well as those of Islam. O steinern Herz, was macht die Fluth und Flamme! Nafahat al-Uns [Zephyrs of Tranquility].

Encyclopædia Iranica

During the course of his studies, Hammer founded and published eight volumes of the first European oriental periodical, Fundgruben des Orients, the first four volumes of which were read enthusiastically by Goethe. Interkontinentalen Kolloquiums Zur Philosophischen in-Sistenzanthropologie, 1. Diwan des Grossen Lyrischen Dichters Hafis.

Dies ist nicht tadelnswerth, denn Keinem hat’s geschadet, Und ist es tadelnswerth, wo ist der Tadelfreye?

Remember me on this computer. Most Persian nouns have more than one meaning while retaining their pronunciation and spelling.

West-östlicher Divan by Johann Wolfgang von Goethe

Mina 20 In the three separate forewords to his translation, Hammer identified his first goal as familiarizing his readers with the Persian poet and the nature of his poems by associating them with recognized Latin and Greek paradigms, calling Hafez a lyrical sibling of Horace.

He hated and was sot by the hypocrites, who criticized others for sinful deeds without paying attention to their false and deceptive deeds. The next distich reads: Divan-e Hafez [Divan of Hafez].


There is no equivalence for the paronomasia in the words didan [to see] and dide [eye] in the rendering. As mentioned, Hafez never did collate his body of work, which has sparked disagreement on the exact number of wedtlicher he composed. Introduction Fifty years of poetic work by the fourteenth-century Persian classical poet Hafez resulted in the compilation of his Divan, a term used to designate the collected poems of a poet in eastern literature.

Michael Hillmann, in his Unity in the Ghazals of Hafez, conveys a common understanding of them.

West–östlicher Divan – Wikipedia

This holds true for the majority of his translations, wherein he instead substituted the repetitive mono-rhymes with a radif or refrain. The influence of the lordship of the different rulers on the social circumstances, such as their hard policies on performing religious rituals and consequently closing the taverns, displays itself in his poems. Das wollen sie dir nicht zugestehn. To comprehend the one- dimensional characters, the reader must think beyond the usual connotative values of each of them.

Joseph von Hammer-Purgstall, 2 vols. Thus the poems, despite their inability to produce ghazal form rhyming patterns throughout, proved themselves capable nevertheless of representing a novel form of rhyming pattern to their audience besides their novel content.

As Rypka mentions, the different readings of a poetic work by western and eastern receivers must be taken into consideration in the examination of a poem by Hafez as much as any other author of international readership.

The following is one of his widely quoted statements in this regard: