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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Wie du zu lieben und zu trinken Das soll mein Stolz, mein Leben seyn. Dalia Nassar – – Goethe Yearbook 18 1.

West-östlicher Divan

The manifold interpretative possibilities of such homonyms can hardly be reflected in other languages. Admitting the homoerotic implications present in the Divan, Khorramshahi still recognizes such implications by Ferdusi, Saadi and Hafez as virtuous and derivative of the traditions of Persian poetry. Und ich reite froh in alle Ferne So habe ich mich die Zeit her meist im Orient aufgehalten, wo denn freylich eine reiche Erndte zu finden ist Bringt der Ost mir frohe Kunde?

No keywords specified fix it. The transcription of this line for comparison reads: Similarly, they both ignore the factors that caused this divergence, but conclude differently. From a Philosophy of Self to a Philosophy of Nature: Khorramshahi, whose two-volume commentary covers two hundred ghazals, lists about thirty- five words, phrases, metaphors, verbs, and adjectives which refer to wine in the Hafez corpus.

Editions of East-West Divan by Johann Wolfgang von Goethe

Mina 20 In the three separate forewords to his translation, Hammer westlciher his first goal as familiarizing his readers with the Persian westliche and the nature of his poems by associating them with recognized Latin and Greek paradigms, calling Hafez a lyrical sibling of Horace. As discussed in the first chapter, this interpretation of the original ghazals was offered by some commentators to avoid the suggestion of blasphemy.


February 9, This article is available in print. He felt that it could stimulate his national literature. The first distich of the poem reads: A look at studies on Hafez since the very first translation of some of his ghazals into Latin by Thomas Hyde dwan 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.

Hamann, Goethe, and the West-Eastern Divan.

They are arranged in their individual groups in alphabetical order according to the German title or, if untitled, the first German line of the poem. Goethe und die Religionen der Welt. 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.

West–östlicher Divan – Wikipedia

He then led his readers as a friendly outsider through the poems of the Divan via the medium of his renderings. Help Center Find new research papers in: Der Gram verzehrt Hafisen, sag’s, o Wind! As Rypka mentions, the different readings of a poetic work by western and eastern receivers must be taken into consideration in the diwwn of a poem by Hafez as much as any other author of international readership.

Most Persian nouns have more than one meaning while retaining their pronunciation and spelling. This characteristic, which contributes to the acoustic quality as well as the formal structure of ostt original distich, is lost in the translation.

Furthermore, it is one of very few ghazals in which the repetition of the word rend throughout the poem indicates the focal role of this figure for the overall message. In this regard, some of them believed in the duwan musicality of the ghazals and even today the poems continue to be set to traditional Persian music. Based on comparative studies, the lack of parallelism between Persian and either English or German in the case of Hafez is rooted to a great goehe in the linguistic individuality of the source language.

It can be pronounced mey [wine], which would create the device oxt repetition with its other two occurrences. Ich zweifle nicht mehr, ob es eine Karfunkelperle giebt? In the free realm of this book, Goethe and Marianne reflected their love for each other in the classical Persian disguise of their verses.


Encyclopædia Iranica

Arberry, Fifty Poems 18 The English translation of ihaam is oost of the function of such a device: John, whose passion and dedication to the field of the 18th and 19th century German literature inspired me the moment I got to know the department of Germanic and Slavic. Diiwan Glauben hab ich wieder! Hammer too summarized these Hafezian elements in the foreword to his translation. The following is the translation Hammer provided for the first line of ghazal twenty-two of the group Dal.

Schools, Periods, Styles, and Literary Genres. Ich begehre, ja verzweifle! In the second hemistich, he also uses the phono-semantic play of eshteghag, paronomasia, between the third-person plural and first-person plural of the verb goftan [to say].

Hafez combines elemental fragments of these historical works–the mystical writings of Mowlavi and the love poems of Saadi–for innovative effects in his ghazals. 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. Lust und Pein Sey uns den Zwillingen gemein! This ambiguity is interpreted by some critics as a suggestion of homoerotic love, which Goethe addressed and clearly kept at a distance while formulating his own critique in the prose section of his Divan.

Ihaam provides safe textual hiding places for a liberal-hearted poet like Hafez to conceal his real thoughts from the critics. Quellen untersuchungen zu Gedichten der Divan-EpocheBerlin, 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.