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 and Turkish worlds, and South Asia, and the term was sometimes used in Europe, not always in the same way.
The English usage of the phrase "diwan poetry" comes from the Arabic word diwan (دیوان), which is loaned from Persian, and designated a list or register.[3] The Persian word derived from the Persian dibir meaning writer or scribe. Diwan was also borrowed into Armenian, Georgian, Arabic, Urdu, Turkish.[2] 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,[3] 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.
Symbolism
Rose and nightingale on the binding of a Divan of Hafiz (Iran, 1842)
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:
the world (جهان cihan; عالم‘âlem) – the rosegarden (ﮔﻠﺴﺘﺎن golistan; ﮔﻠﺸﻦ golshen)
the ascetic (زاهد zâhid) – the dervish (درويش darvish)
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:
the relationship between the fervent lover ("the nightingale") and the inconstant beloved ("the rose")
the relationship between the individual Sufi practitioner (who is often characterized in Sufism as a lover) and God (who is considered the ultimate source and object of love)
Similarly, "the world" refers simultaneously to the physical world and to this physical world considered as the abode of sorrow and impermanence, while "the rosegarden" refers simultaneously to a literal garden and to the garden of Paradise. "The nightingale", or suffering lover, is often seen as situated—both literally and figuratively—in "the world", while "the rose", or beloved, is seen as being in "the rosegarden".[4]
Divan poetry was composed through the constant juxtaposition of many such images within a strict metrical framework, thus allowing numerous potential meanings to emerge. A brief example is the following line of verse, or mısra (مصراع), by the 18th-century judge and poet Hayatî Efendi:
("Does any rose, in this rosegarden world, lack thorns?")
Here, the nightingale is only implied (as being the poet/lover), while the rose, or beloved, is shown to be capable of inflicting pain with its thorns (خار hâr). The world, as a result, is seen as having both positive aspects (it is a rosegarden, and thus analogous to the garden of Paradise) and negative aspects (it is a rosegarden full of thorns, and thus different from the garden of Paradise).
Development
Ottoman garden party, with poet, guest, and winebearer; from the 16th-century Dîvân-ı Bâkî
As for the development of Divan poetry over the more than 500 years of its existence, that is—as the Ottomanist Walter G. Andrews points out—a study still in its infancy;[6] clearly defined movements and periods have not yet been decided upon. Early in the history of the tradition, the Persian influence was very strong, but this was mitigated somewhat through the influence of poets such as the Azerbaijani Imadaddin Nasimi (?–1417?) and the UyghurAli-Shir Nava'i (1441–1501), both of whom offered strong arguments for the poetic status of the Turkic languages as against the much-venerated Persian. Partly as a result of such arguments, Divan poetry in its strongest period—from the 16th to the 18th centuries—came to display a unique balance of Persian and Turkish elements, until the Persian influence began to predominate again in the early 19th century.
Despite the lack of certainty regarding the stylistic movements and periods of Divan poetry, however, certain highly different styles are clear enough, and can perhaps be seen as exemplified by certain poets:
Fuzûlî (1483?–1556); a unique poet who wrote with equal skill in Azeri Turkish,[7] Persian, and Arabic, and who came to be as influential in Persian as in Divan poetry
Bâkî (1526–1600); a poet of great rhetorical power and linguistic subtlety whose skill in using the pre-established tropes of the Divan tradition is quite representative of the poetry in the time of Süleyman the Magnificent
Nef‘î (1570?–1635); a poet considered the master of the kasîde (a kind of panegyric), as well as being known for his harshly satirical poems, which led to his execution
Nâbî (1642–1712); a poet who wrote a number of socially oriented poems critical of the stagnation period of Ottoman history
Nedîm (1681?–1730); a revolutionary poet of the Tulip Era of Ottoman history, who infused the rather élite and abstruse language of Divan poetry with numerous simpler, populist elements
Şeyh Gâlib (1757–1799); a poet of the MevlevîSufi order whose work is considered the culmination of the highly complex so-called "Indian style" (سبك هندى sebk-i hindî)
Urdu variation
In Urdu poetry diwan are also a collection of poems, but here they are mainly ghazals.[8]
^ abAlain Rey et al., Dictionnaire historique de la langue française, new ed. (Robert, 1995), vol. 1, p. 617.
^Andrews, Walter G.; Kalpaklı, Mehmet (2005). The age of beloveds : love and the beloved in early-modern Ottoman and European culture and society (2nd ed.). Durham: Duke University Press. ISBN0-8223-3424-0.
^Pala, İskender (1995) Divân Şiiri Antolojisi: Dîvânü'd-Devâvîn Akçağ Yayınları, Kızılay, Ankara, p. 425, ISBN975-338-081-X
^Andrews, Walter G.; Black, Najaat; Kalpaklı, Mehmet (2011). Ottoman Lyric Poetry: An Anthology. University of Washington Press. pp. 22–23. ISBN9780295800936.
^Rollberg, Peter (1987). Harry Butler Weber (ed.). The Modern Encyclopedia of Russian and Soviet Literature (including Non-Russian and Emigre literatures). Vol. 8. Academic International Press. p. 76. In Mesopotamia Fuzuli was in intimate contact with three cultures – Turkic, Arabic, and Persian. Besides his native Azeri, he learned Arabic and Persian at an early age and acquired a through command of the literatures in all three languages, an accomplishment in which the cosmopolitan literary and scholarly circles of Hilla played an important role.
^A History of Urdu literature by T. Grahame Bailey; Introduction
Further reading
Clinton, Jerome W. (1989). "Bolbol "nightingale" – In Persian Literature". Encyclopædia Iranica.
Divan – Full Text – Republic of Turkey Ministry of Culture and Tourism, in Turkish
April 15, 2023
diwan, poetry, other, uses, diwan, this, article, needs, additional, citations, verification, please, help, improve, this, article, adding, citations, reliable, sources, unsourced, material, challenged, removed, find, sources, diwan, poetry, news, newspapers, . For other uses see Diwan This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Diwan poetry news newspapers books scholar JSTOR February 2014 Learn how and when to remove this template message In Islamic cultures of the Middle East North Africa Sicily 1 and South Asia a Diwan Persian دیوان divan Arabic ديوان diwan is a collection of poems by one author usually excluding his or her long poems mathnawi 2 A Mughal scribe and Daulat his illustrator from a MS of the Khamsa of Nizami one of the most famous Persian diwan collections 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 kasides There were however other common genres most particularly the mesnevi 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 Fuzuli and the Husn u Ask حسن و عشق Beauty and Love of Seyh Galib Originating in Persian literature the idea spread to the Arab and Turkish worlds and South Asia and the term was sometimes used in Europe not always in the same way Contents 1 Etymology 2 Symbolism 3 Development 4 Urdu variation 5 See also 6 References 7 Further reading 8 External linksEtymology EditThe English usage of the phrase diwan poetry comes from the Arabic word diwan دیوان which is loaned from Persian and designated a list or register 3 The Persian word derived from the Persian dibir meaning writer or scribe Diwan was also borrowed into Armenian Georgian Arabic Urdu Turkish 2 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 3 but was a rare and didactic usage though one that was revived by its famous appearance in Goethe s West ostlicher 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 Symbolism Edit Rose and nightingale on the binding of a Divan of Hafiz Iran 1842 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 at i nazir تناسب tenasub and opposition تضاد tezad were more or less prescribed Examples of prevalent symbols that to some extent oppose one another include among others the nightingale بلبل bolbol the rose ﮔل gol the world جهان cihan عالم alem the rosegarden ﮔﻠﺴﺘﺎن golistan ﮔﻠﺸﻦ golshen the ascetic زاهد zahid the dervish درويش darvish 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 the relationship between the fervent lover the nightingale and the inconstant beloved the rose the relationship between the individual Sufi practitioner who is often characterized in Sufism as a lover and God who is considered the ultimate source and object of love Similarly the world refers simultaneously to the physical world and to this physical world considered as the abode of sorrow and impermanence while the rosegarden refers simultaneously to a literal garden and to the garden of Paradise The nightingale or suffering lover is often seen as situated both literally and figuratively in the world while the rose or beloved is seen as being in the rosegarden 4 Divan poetry was composed through the constant juxtaposition of many such images within a strict metrical framework thus allowing numerous potential meanings to emerge A brief example is the following line of verse or misra مصراع by the 18th century judge and poet Hayati Efendi بر گل مى وار بو گلشن ﻋالمدﻪ خارسز Bir gul mu var bu gulsen i alemde harsiz 5 Does any rose in this rosegarden world lack thorns Here the nightingale is only implied as being the poet lover while the rose or beloved is shown to be capable of inflicting pain with its thorns خار har The world as a result is seen as having both positive aspects it is a rosegarden and thus analogous to the garden of Paradise and negative aspects it is a rosegarden full of thorns and thus different from the garden of Paradise Development Edit Ottoman garden party with poet guest and winebearer from the 16th century Divan i Baki As for the development of Divan poetry over the more than 500 years of its existence that is as the Ottomanist Walter G Andrews points out a study still in its infancy 6 clearly defined movements and periods have not yet been decided upon Early in the history of the tradition the Persian influence was very strong but this was mitigated somewhat through the influence of poets such as the Azerbaijani Imadaddin Nasimi 1417 and the Uyghur Ali Shir Nava i 1441 1501 both of whom offered strong arguments for the poetic status of the Turkic languages as against the much venerated Persian Partly as a result of such arguments Divan poetry in its strongest period from the 16th to the 18th centuries came to display a unique balance of Persian and Turkish elements until the Persian influence began to predominate again in the early 19th century Despite the lack of certainty regarding the stylistic movements and periods of Divan poetry however certain highly different styles are clear enough and can perhaps be seen as exemplified by certain poets Fuzuli 1483 1556 Divan poet of Azeri origin Fuzuli 1483 1556 a unique poet who wrote with equal skill in Azeri Turkish 7 Persian and Arabic and who came to be as influential in Persian as in Divan poetry Baki 1526 1600 a poet of great rhetorical power and linguistic subtlety whose skill in using the pre established tropes of the Divan tradition is quite representative of the poetry in the time of Suleyman the Magnificent Nef i 1570 1635 a poet considered the master of the kaside a kind of panegyric as well as being known for his harshly satirical poems which led to his execution Nabi 1642 1712 a poet who wrote a number of socially oriented poems critical of the stagnation period of Ottoman history Nedim 1681 1730 a revolutionary poet of the Tulip Era of Ottoman history who infused the rather elite and abstruse language of Divan poetry with numerous simpler populist elements Seyh Galib 1757 1799 a poet of the Mevlevi Sufi order whose work is considered the culmination of the highly complex so called Indian style سبك هندى sebk i hindi Urdu variation EditIn Urdu poetry diwan are also a collection of poems but here they are mainly ghazals 8 See also EditAnthology Arabic literature Early Modern literature Poetic meter of Ottoman Turkish Ottoman divan poets Category Mathnawi poetic form Divan i AlbisaReferences Edit Meri Josef W Bacharach Jere L 2006 01 01 Medieval Islamic Civilization A K index Taylor amp Francis ISBN 9780415966917 a b Blois Francois de 2011 DiVAN Encyclopaedia Iranica a b Alain Rey et al Dictionnaire historique de la langue francaise new ed Robert 1995 vol 1 p 617 Andrews Walter G Kalpakli Mehmet 2005 The age of beloveds love and the beloved in early modern Ottoman and European culture and society 2nd ed Durham Duke University Press ISBN 0 8223 3424 0 Pala Iskender 1995 Divan Siiri Antolojisi Divanu d Devavin Akcag Yayinlari Kizilay Ankara p 425 ISBN 975 338 081 X Andrews Walter G Black Najaat Kalpakli Mehmet 2011 Ottoman Lyric Poetry An Anthology University of Washington Press pp 22 23 ISBN 9780295800936 Rollberg Peter 1987 Harry Butler Weber ed The Modern Encyclopedia of Russian and Soviet Literature including Non Russian and Emigre literatures Vol 8 Academic International Press p 76 In Mesopotamia Fuzuli was in intimate contact with three cultures Turkic Arabic and Persian Besides his native Azeri he learned Arabic and Persian at an early age and acquired a through command of the literatures in all three languages an accomplishment in which the cosmopolitan literary and scholarly circles of Hilla played an important role A History of Urdu literature by T Grahame Bailey IntroductionFurther reading EditClinton Jerome W 1989 Bolbol nightingale In Persian Literature Encyclopaedia Iranica Diba Layla S 2001 Gol O Bolbol Encyclopaedia Iranica External links EditMany examples of Ottoman Divan poetry in Turkish from Internet Archive Divan Full Text Republic of Turkey Ministry of Culture and Tourism in Turkish Retrieved from https en wikipedia org w index php title Diwan poetry amp oldid 1129754906, wikipedia, wiki, book, books, library,
