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Diwan (poetry)
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Diwan (poetry)
A diwan (from Persian دیوان divân [d̪iːˈvɒːn]; Arabic pronunciation: [diːˈwaːn]) is a collection of poems by a single author – usually excluding the poet's long poems – in Islamic cultures of West Asia, Central Asia, North Africa, Sicily and South Asia.
The vast majority of Diwan poetry was lyric in nature: either ghazals (or gazels, which make up the greatest part of the repertoire of the tradition) or kasîdes. There were, however, other common genres, most particularly the mesnevî—a kind of verse romance and thus a variety of narrative poetry; the two most notable examples of this form are the Layla and Majnun (ليلى و مجنون) of Fuzûlî and the Hüsn ü Aşk (حسن و عشق – 'Beauty and Love') of Şeyh Gâlib.
Originating in Persian literature, the idea spread to the Arab, Turkic and Indic worlds, and the term was sometimes used in Europe, albeit not always in the same way. [citation needed]
The English usage of the phrase "diwan poetry" comes from the Persian word diwān (دیوان) via Ottoman Turkish, and designated a list or register. The Persian word derived from the Persian dibir meaning writer or scribe. Diwan was also borrowed into Armenian, Georgian, Arabic, Urdu, Turkish. In Persian, Turkish and other languages the term diwan came to mean a collection of poems by a single author, as in selected works, or the whole body of work of a poet. Thus Diwan-e Mir would be the Collected works of Mir Taqi Mir and so on. The first use of the term in this sense is attributed to Rudaki.
The term divan was used in titles of poetic works in French, beginning in 1697, but was a rare and didactic usage, though one that was revived by its famous appearance in Goethe's West–östlicher Divan (Poems of West and East), a work published in 1819 that reflected the poet's abiding interest in Middle Eastern and specifically Persian literature.
This word has also been applied in a similar way to collections of Hebrew poetry and to poetry of al-Andalus.
Ottoman Divan poetry was a highly ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير mura'ât-i nazîr / تناسب tenâsüb) and opposition (تضاد tezâd)—were more or less prescribed. Examples of prevalent symbols that, to some extent, oppose one another include, among others:
As the opposition of "the ascetic" and "the darvish" suggests, Divan poetry—much like Turkish folk poetry—was heavily influenced by Sufi thought. One of the primary characteristics of Divan poetry, however—as of the Persian poetry before it—was its mingling of the mystical Sufi element with a profane and even erotic element. Thus, the pairing of "the nightingale" and "the rose" simultaneously suggests two different relationships:
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Diwan (poetry)
A diwan (from Persian دیوان divân [d̪iːˈvɒːn]; Arabic pronunciation: [diːˈwaːn]) is a collection of poems by a single author – usually excluding the poet's long poems – in Islamic cultures of West Asia, Central Asia, North Africa, Sicily and South Asia.
The vast majority of Diwan poetry was lyric in nature: either ghazals (or gazels, which make up the greatest part of the repertoire of the tradition) or kasîdes. There were, however, other common genres, most particularly the mesnevî—a kind of verse romance and thus a variety of narrative poetry; the two most notable examples of this form are the Layla and Majnun (ليلى و مجنون) of Fuzûlî and the Hüsn ü Aşk (حسن و عشق – 'Beauty and Love') of Şeyh Gâlib.
Originating in Persian literature, the idea spread to the Arab, Turkic and Indic worlds, and the term was sometimes used in Europe, albeit not always in the same way. [citation needed]
The English usage of the phrase "diwan poetry" comes from the Persian word diwān (دیوان) via Ottoman Turkish, and designated a list or register. The Persian word derived from the Persian dibir meaning writer or scribe. Diwan was also borrowed into Armenian, Georgian, Arabic, Urdu, Turkish. In Persian, Turkish and other languages the term diwan came to mean a collection of poems by a single author, as in selected works, or the whole body of work of a poet. Thus Diwan-e Mir would be the Collected works of Mir Taqi Mir and so on. The first use of the term in this sense is attributed to Rudaki.
The term divan was used in titles of poetic works in French, beginning in 1697, but was a rare and didactic usage, though one that was revived by its famous appearance in Goethe's West–östlicher Divan (Poems of West and East), a work published in 1819 that reflected the poet's abiding interest in Middle Eastern and specifically Persian literature.
This word has also been applied in a similar way to collections of Hebrew poetry and to poetry of al-Andalus.
Ottoman Divan poetry was a highly ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير mura'ât-i nazîr / تناسب tenâsüb) and opposition (تضاد tezâd)—were more or less prescribed. Examples of prevalent symbols that, to some extent, oppose one another include, among others:
As the opposition of "the ascetic" and "the darvish" suggests, Divan poetry—much like Turkish folk poetry—was heavily influenced by Sufi thought. One of the primary characteristics of Divan poetry, however—as of the Persian poetry before it—was its mingling of the mystical Sufi element with a profane and even erotic element. Thus, the pairing of "the nightingale" and "the rose" simultaneously suggests two different relationships:
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