#Qasida

[iy0v]

Hymn for the Ultimate Reality ﷻ

The moment has come to,

the bells are ringing,

Long was the while as life was longing,

For that far distant home

Yet sight, scent, sound

Nor touch, but all

Into the ethereal void, vividly fading,

Who would have thought,

that thought could too

Vanish into a light of naught,

One of pure happening,

The sound spectrum and its canceling,

The yin and yang, no longer battling,

Beyond light and dark, good or evil,

Is the Ultimate Reality, one of non-duality,

The Beholder of worlds,

The Happening of happenings,

The Master of dependent agents,

As it was, as it will be

Praise be the The Preceder of contingents,

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To venture this close

By the borders of the unseen,

I, or lack thereof, glared at the lucidity of the scene,

On an isthmus of mere substance,

A fine line separating the mundane from madness,

A silent hill of sorts, a waiting room for humanity,

Yet the meeting place of unearthly entities,

Not of the extraterrestrial, but of other dimensionalities

A station of many trains of thought,

For the seemingly sane,

Leading to the depths of insanity,

Onboarding in humility, purified is the soul from pride and vanity,

Fallen were the invisible walls,

to higher dimensions, opened were the doors verily

Galaxies upon galaxies,

Pulsating of endless possibilities,

Like the endless neural pathways,

Reveling in electrified neuroplasticity,

Yet still the mind couldn’t fully grasp thy majesty,

Thus my soul chose to testify whole-heartedly.

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I bear witness,

In the ocean of oneness:

the good of the seen and unseen beings,

Vanishing in everlasting ecstasy

Glorifying, shouting, praising,

In vibrations, waves, and frequencies,

The Force of it all,

The propelling of hidden energies,

the Unified One,

Whose Light if unveiled,

would set all realms ablaze,

Whom Truth is supreme,

none could hold Thy to a firm gaze,

Like the first ones in Sinai,

When the lightning struck,

Enfeebled they fell to their knees,

Souls left the bodies amidst the stormy haze,

Brought back, such is the surprise,

May there be redemption and a change of ways,

Matter decomposes as the mind dissolves,

To pure presence, beyond time and space,

When all is said and done,

Where there is no where to run,

Thy kingdom of Heaven eternally prevails.

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In the heat of the moment,

Perfection flows in a mindful state,

I glorify you night and day,

In Thy Name alone,

The heavens and the earth

Unfathomable is the extent of your Throne,

Holy is Thy eternal place,

By Thy will, only

Here I reiterate my love across the planes,

The salvation of your light is the only way

In devotion,

The recording of a fleeting legacy,

A loving memory,

As I once engulfed in the transcendence of thy mercy,

For those who know, know

That not all legacies, but all of all, shall fall and perish

Yet verily, the righteous who led life authentically,

Loving the Almighty with honesty,

Beyond core values and their hierarchies,

Embodying the love in action and liberated agency

I send you, oh free folk, glad tidings,

Those who rose in thought and action,

From the infrareds to the ultraviolets,

Who witnessed the signs within their selves, and as they were written in the heavens,

Glad tidings to the friends, the allies,

By the One’s will, in their Lord’s memory,

Will find their eternal remembrance,

Fulfilling the human aspiration of meaningful legacy

In eternity, unfathomable sincerity,

Glory singing in praise endlessly,

Witnessing Perfect’s perfection of beauty,

All elaborations are false, all adoration is true,

In Thy Perfected name, I write,

To the ground my face falls,

Like Moses and Jesus,

Abraham and Muhammad,

The greatest of creation, peace and blessings upon them all,

The kings of hearts, upon all contingent realities.

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Humbled now I am, before your presence,

Most compassionate Thy are,

Purifying the repentant,

Ego is dead, soul is proclaiming,

Essence prior to appearance,

Truthful Veritas,

Slayer of misguided ignorance

Trustful steadfastdness,

Vanquisher of grandiose arrogance,

Declared I am a submitter,

To the One, eternal,

Preceder of existence,

To whom the seen and unseen, men and djinn,

Glorify, bowing in loving prostration,

As the angels sang in praise and joy,

As the lovers of the Singular rejoice,

I enter the gate,

the writings on the walls,

As those who walk it after me read,

For the sake of God’s blessing,

of a future progeny or another

As they discover the hidden treasure

Perhaps they’ll grasp their father

In spirit, or in blood, in truthful measure

Walk this path, beyond the veil

Truth lies beyond

Whose Name praise the smallest ions and the largest stars,

Lord of the stars, Lord of the hearts,

Hear my eternal praise,

Cutting through the deceitful whispers,

And the deceivers that confuse,

For your guiding mercy, I ask

In your marvelous glory, I gratefully bask,

As I walk this purifying valley, I bath

Serene is the journey on this straight path,

To reach the light, in endless praise,

To grow the life tree within, and to learn,

The seeds spreading, exponential is their turn

As I let go, I no longer mourn,

But in serenity I proclaim,

to Allah we belong, and to Allah we shall return.

— Courtesy of a servant of the Lord

[garadinervi]

Rachid Koraïchi, La Qasida de Beyrouth, (etching; from an artist book comprising twenty engravings), Calligraphy by Kamel Ibrahim, Poetry by Mahmoud Darwish, [1991] [Khalil Sakakini Cultural Center مركز خليل السكاكيني الثقافي, Ramallah. © Rachid Koraïchi, Kamel Ibrahim, Mahmoud Darwish]

[lovrsleft]

I think that Ramiz Rafi Mirza (Ramy) having a name similar to the Urdu poet Mirza Muhammad Rafi Sauda, him talking about Ghazals which are precisely Sauda's area of expertise (including Qasidas) and him having been to Lucknow the death place of Sauda might not have been unintentional. I wish I could hold R.F. Kuang's hand and kiss it.

If it was unintentional, what an accidental genius.

[lesewut]

‘The covenant of love was granted to me on the day when there was no day, in my primal time, before she appeared to conclude the contract. And I obtained my love not by hearing or seeing, not by acquisition and not by an inclination of nature, but I loved her already in the world of divine command, when nothing had appeared, before creation I was drunk.’

Ibn al-Farid was born in 1181 in Cairo, Egypt, during the Ayyubid period. He was a member of a prominent family and received a classical education in Islamic sciences, literature, and poetry. Ibn al-Farid is regarded as one of the greatest mystical poets in Arabic literature. His work has profoundly influenced subsequent generations of poets and Sufis.

The Diwan of Ibn al-Farid is a collection of his poetry, encompassing his famous qasidas (odes) and other forms of Arabic poetry. This compilation showcases his mastery in both poetic form and spiritual depth and reflects themes of divine love, union with God, and the spiritual journey.

Through translations, his mystical odes were known in the European region, first by Viennese court interpreter and friend of Goethe Josef von Hammer-Purgstall (1774 - 1856): The Arabic Song of Love (1854). 1917 the didactic poem ‘Al-Ta'iyyah al-Kubra’ was translated into Italian by Ignazio Di Matteo, critically analysed by Carlo Alfonso Nallino ‘Poema mistico’ and Alleyne Nicholson's work of 1940 'The Odes of Ibnu 'l-Farid' bulding the basis for this edition by Prof. Renate Jacobi.

Love poetry - Ideal of love

Individual relationship of lovers above the norms and demands of society

Frequent motif:

Conflict, experienced as tragic in a world of social change, as a hopeless relationship in which the lovers who cling to it perish; Typical of ‘udhritic poetry (Bedouin tribe of the ’Udhra): By no means platonic, but sexual fulfilment only in marriage, which, however, is denied

‘The poet and his beloved have known each other since childhood, fall in love and want to marry, but the woman is married off to a richer man by her parents. The lovers remain faithful to each other. They meet, but without offending decency, and in the end the poet, and sometimes the lover, die of grief.’

‘Poets of the ‘Udhra tribe from the 7th century sang of their passionate love for a single woman who outlasts death. Before that, the concept of ‘udhrite love (al-hubb al-’udhri) was derived, which plays an important role in classical Arabic literature, in poetry and prose, as well as in profane love theory.’

Famous couples:

> Djamil and Buthaina (Djamil ibn Ma'mar, d. 701, is the most important poet of the ‘udhra tribe; his divan is considered relatively reliable) > Kuthaiyir and ‘Azza (Kuthaiyir, d. 723) > Qais and Lubna (Qais ibn al-Dharih, d. 689, like Kuthaiyir belonging to a different tribe, but attributed to the ‘Udhrite school; from the tribe of “Amir, called al-Madjnun ”the madman’ and his lover Laila; Poeticised by many mystical poets in many Islamic literatures + symbol of absolute love of God; doubts about historicity, attributed verses probably do not date from the 7th century either;) Basic structure resembles ‘udhritic poetry, yet deviations:

‘After Madjnun loses Laila, he falls into madness. He turns away from human society and lives among the animals in the desert until his death, focussing entirely on his love for Laila. His renunciation of the outside world is so total that he is unable to turn his attention to the real Laila when she visits him in the desert. His inner image of her holds him completely captive.’ [p. 161]

(The poet's response to his lover's accusation that he does not pay attention to her:)

‘You fill my heart so much that I cannot look at you.’

[Abbas ibn al-Ahnaf, d. 808)

'Udhritic love in two genres: Poetic (ghazal) and narrative form; complement each other and are placed in a historical context in Arabic tradition

+ Narratives initially oral, records were collected in the 8th century

The concept of ‘udhritic love’ reached Heinrich Heine via Henri Stendhal's treatise ‘De l'amour’ (1822):

The wonderful Sultan’s daughter Every day used to rush, Around the evening hour to the fountain, Where the white waters splash. The young slave stood pale At the fountain, around evening,, Where the white waters wail; And his paleness was increasing. One evening the princess approached him With sudden words, like a whip: I want to know your name, Your home and your kinship! And the slave spoke: My name is Mohammed I come from the Yemen that I cherish, And I stem from the tribe of Asra, From those who, when they love, they perish. [Translation by Joseph Masaad]

My (incomplete) notes in German

[belanegara4]

International Symposium on the "History and Legacy of Muslims in the Caribbean"

ircica.org

International Symposium on the "History and Legacy of Muslims in the Caribbean"

OIC IRCICA

6–8 minutes

The International Symposium on the “History and Legacy of Muslims in the Caribbean” organized by IRCICA, OIC General Secretariat, the Government of Guyana and Guyana University was opened by President H.E. Mohamed Irfaan Ali with a Feature Address on 4 September 2023. IRCICA Director General Prof. Mahmud Erol Kılıç gave an address at the opening ceremony. Moderated by Mr. Al Creighton, Dean of the Faculty of Humanities and Education of the University of Guyana, the ceremony started with Quran recitation and translation by Hafiz Salih Rahim, and heard the opening remarks of H.E. Mr. Hugh Hilton Todd, Minister of Foreign Affairs and International Cooperation; Dr. Abdullah Hakim Quick, Special Envoy of IRCICA to the Caribbean; Dr. Alhoucine Rhazoui, Director of Cultural Affairs, OIC General Sceretariat, as well as cultural items, consisting of the Islamic Chant in Urdu recited by Mr. Imran Ali, Deputy President of the Muslim Youth Organization, and the Islamic Chant in Yoruba language presented by Mr. Toyib Hamza. A press conference followed the opening session. The ceremony and the working sessions were held at Arthur Chung Conference Center in Georgetown.

Subsequently, the same day, IRCICA Director General Prof. Mahmud Erol Kılıç was received by H.E. President Mohamed Irfaan Ali for a welcoming meeting. Professor Kılıç briefed H.E. the President about IRCICA’s objectives and activities. Mr. Hugh Hilton Todd, Minister of Foreign Affairs and International Cooperation, high officials from Guyana, and the IRCICA delegation members, were also present at the meeting. Director General Prof. Kılıç presented H.E. President Irfaan Ali and Foreign Affairs Minister Mr. Hugh Todd with samples of IRCICA’s publications in the series of studies on the Holy Qur’an.

The working sessions of the symposium, spread over three days, were on the following themes:

First day, Session I: Globalization and Localization in the Caribbean: Aliyah Khan, University of Michigan, | The Qasida and Muslim Devotional Music in Guyana and Trinidad; Frank J. Korom, Boston University | The Current State of Hosay (Moharram) Observances in the Caribbean; Abdin Chande, Adelphi University | Migration and Identity of South Asians of the Caribbean and East African Indian Ocean Region: A Comparative Analysis; Maurits S. Hassankhan, Anton de Kom University of Suriname | Localization and Globalization of Religion: The Case of Hindustani Muslims in Suriname.

Session II: Islam in the Greater Caribbean from Early History to Today: Abdullah Hakim Quick, The Islamic Institute of Toronto | Aspects of Muslim History and Legacy in Pre-Columbian America; Juan Thomas Ordóñez, Universidad del Rosario | Caribbean Lebanon: The Muslim Experience on the Colombia/Venezuela Border; Mohamed A. Hakim, Islamic Educator and Social Activist in Haiti | History of Muslims in Haiti; Nuri Muhammad, Imam, Radio Commentator and Social Activist | The Evolution of Muslim Presence in Belize and the Significance of Garifuna Cultural Retrieval;

Session III: Panel on Black Atlantic Muslim Movements – Remapping and Theorizing Global South Migrations:  Youssef Carter, University of North Carolina-Chapel Hill | Western Sunrise in the Global South: The Islamic Party comes to the Caribbean; Tasneem Siddiqui, Drexel University | The Caribbean Is No Island: Rethinking Black Geographies through Muslim Resistance Movements; Nsenga Knight, Artist & Storyteller | Irregular Black Muslims: Diasporic Exchange & The Caribbean Elsewhere.

Second day, Session I: Guyanese Experience: Ateeka Khan, McMaster University | East Indians, Religion, and Politics in 20th Century Guyana; Nazim Baksh, Former Investigative Producer with Canadian Broadcasting Corporation (CBC) | Conflict, Continuity and Change of Religious Narratives and Practices of Muslims in Guyana (1977-1981); Ahmad Hamid, Imam and Researcher | The Challenges and Role of CIOG in the Transformation of the Muslim Community of Guyana from Chaos to Stability; Wazir Baksh, Historian and Community Activist | The Masjid as an Essential Institution to Preserve Faith and Social Cohesion: The Case of Guyana.

Session II: Voices from Trinidad and Tobago: Halima-Sa’adia Kassim, University of the West Indies | An Evaluation of the Resultant Negotiations of Living in an Alien Society: The Indo-Muslims of Trinidad Claiming Their Place; Nasser Mustapha & Mirza Ali Mohammad, University of the West Indies | Race and Ethnic Relations in Trinidad and Tobago; Anand Rampersad, University of the West Indies | Successful Muslim Cricketers in Trinidad and Tobago.

Session III: Economy, Identity and Decolonization in the Caribbean: Ibraheem Musa Tijani, International Islamic University Malaysia | The Economic Development and Commerce of the Muslim Communities in the Caribbean and the Emergence of Islamic Finance in the Region; Stanley L. Soeropawiro, Policy Advisor Religious Affairs, Ministry of Home Affairs (Suriname) | Economic Development among the Javanese Muslims in Suriname; Karimah Rahman, Toronto Metropolitan University | Decolonizing Muslim Indo-Caribbean Mental Health; Suleiman Bulbulia & Sabir Nakhuda, Historians and Authors | The Muslims of Barbados: Sustaining A Muslim Identity.

Third Day, Special Presentation at the University of Guyana by: Abdullah Hakim Quick, Nuri Muhammad, Mohamed A. Hakim and Stanley L. Soeropowero.

The closing ceremony of the symposium was conducted with the remarks of Prof. Dr. Aboubacar Abdullah Senghore, Assistant Director General, IRCICA and Ambassador Elisabeth Harper, Permanent Secretary, Ministry of Foreign Affairs and International Cooperation of Guyana.

On 5 September 2023, IRCICA Director General Prof. Mahmud Erol Kılıç had a meeting with Professor Paloma Mohamed Martin, Vice-Chancellor of the University of Guyana. The meeting was a fruitful occasion to exchange views on research and education in Islamic studies.

During the symposium period, Director General Prof. Mahmud Erol Kılıç held contacts and meetings with Muslim cultural institutions and educational organizations in Guyana including the Central Islamic Organization of Guyana (CIOG), Guyana Islamic Trust and the ISA School.

[planetesoufie]

أهلا بسيدي و سيد الناس

عيدكم مبارك سعيد و كل عام و أنتم بخير

مجموعة الصفاء أوروبا, برئاسة د. مولاي منير القادري بودشيش, تطربنا بقصيدة "شهر الربيع وافانا", فرحا بمولد الهادي الأمين

شهر الربيع وافانا *** أقبل علَينا وهنَّانا

به أتانا رسول الله *** للدين حَقَّا هدانا

شهرٌ به جاء الرسول *** الهاشمي بابُ الوصول

بقدومه نِلْنا القَبول *** سبحان من قد أعطانا

شهر به نِلْنا الهدى *** وبه انجلى عنا الرَّدا

بجماله لما بدا *** سبحان من قد أحيانا

شهر الربيع وافانا *** أقبل علينا وهَنَّانا

به أتانا رسول الله *** للدين حقا هدانا

يا رب صل يا سلام *** على النبي ماحِ الظَّلام

والآل والصحْبِ الكِرام *** سبحان من قد أعطانا

الشاعر المادح عبد الرحمن مدلل

Mawlid Moubarak to all mankind. May you receive many blessings of God on this holy month.

The Ensemble SAFA Europe, chaired by Dr Moulay Mounir El Kadiri Boutchich, are performing the qasida "The month of Rabi' has arrived". English subtitles in the video.

Saveurs-soufies.com

Fondation-AlMoultaqa

[kimiiko-x]

books are cool

I really enjoy reading books, A book is a medium for recording information in the form of writing or images. Modern books are typically in codex format, composed of many pages that are bound together and protected by a cover.A book is a medium for recording information in the form of writing or images. Modern books are typically in codex format, composed of many pages that are bound together and protected by a cover.

The book above was one of the first ever books printed with a printing press. Modern books are usually in codex format, composed of many pages. They are connected together by a cover. One of my favorites was The Great Gatsby, a classic book by American writer F. Scott Fitzgerald. The Great Gatsby is widely considered to be a literary masterpiece and a contender for the title of the Great American Novel. As a conceptual object, a book refers to a written work of substantial length, which may be distributed either physically or in digital forms like eBooks. These can be fiction or non-fiction. A physical book may not contain such a work: for example, it may contain only drawings, engravings, photographs, puzzles, or removable content like paper dolls. It may also be left empty for personal use, as in the case of account books, appointment books, autograph books, notebooks, diaries and sketchbooks.

The picture above is a notebook, not all books contain stories in them, they can be used to write stories. Writing stories such as diary entries are so relaxing. Who knows, your diary might become a famous story in the future. Books are sold at different stores, online for delivery, and can be borrowed from libraries.

TYPES OF GENRES, WORDS, ETC. ↓

Literature

Oral literature Folklore-(fable - fairy - tale - folk play - folksong - heroic epic - legend - myth - proverb) Oration - Performance (audiobook - spoken word)- Saying Major written forms Drama- (closet drama) - Poetry-(lyric - narrative) - Prose - Nonsense - (verse) - Ergodic - Electronic Long prose fiction Anthology - Serial - Novel/romance Short prose fiction Novella - Novelette - Short story - Drabble - Sketch - Flash fiction - Parable - Religious - Wisdom Prose genres Fiction Speculative - Realist - Children's - Genre -(adventure - coming-of-age - crime - erotic - fantasy - military - paranormal - romance - science fiction - supernatural - western - horror) - Historical - Encyclopedic Non-fiction Academic - (history - philosophy) - Anecdote - Epistle - Essay - Journalism - Letter - Life - Nature - Persuasive - Travelogue Poetry genres Narrative Children - Epic - Dramatic - Verse novel - National Lyric Ballad - Elegy - Epigram - Ghazal - Haiku - Hymn Limerick - Ode - Qasida - Sonnet - Villanelle Lists Epic - Groups and movements - Poets Dramatic genres Comedy - Libretto - Play - (historical - moral) - Satire - Script - Tragedy - Tragicomedy History Ancient - Classical - Medieval - Modernist - Postmodern Lists and outlines Outline - Glossary - Books - Writers - Movements -Cycles - Literary awards - (poetry) Theory and criticism Sociology - Magazines - Composition - Language - Narrative - Feud - Estate

↓ There are many different genres and type of books, that's why it is cool. ~Information and pictures by Wikipedia and Pinterest~

[arabyplus]

Arabic poetry holds a cherished place in the cultural tapestry, captivating hearts for centuries. It encompasses diverse forms like qasidas, muwashshahs, and ghazals, each offering a unique artistic expression.

Qasidas, known for their celebratory nature, honor individuals and events with eloquent verses. Muwashshahs, with their intricate rhyme schemes and vivid imagery, transport readers to enchanting realms. Ghazals, the beloved love poems originating from the 8th century, evoke profound emotions.

These poetic treasures continue to resonate worldwide, transcending borders and inspiring poets across cultures. Modern poets embrace new styles like free verse and spoken word, blending tradition with contemporary creativity.

Embark on a journey through the magical world of Arabic poetry, where words dance on the page and emotions find solace in the lines. 

[hassanminhasofficial]

Sir De Ky Rab Nu Manaya Ae Hussain Ne |Qasida 2024 | Manqabat Imam Hussa...

[senegalsbrotherhoods]

What Are Xassidas (Qasidas)?

Qasidas are praise songs or poems, like the ones created by grand marabouts (founders and or leaders of the brotherhoods) in praise of the final prophet in Islam, Prophet Mohammed (Dilley, 2011). The practice of creating or reciting Qasidas is seen as essential as the belief is held that the creators of these Qasidas were connected to, and connected them to, the Almighty as the “Prophet Mohammed was so swayed by the praise and devotion contained within the songs” (Dilley, 2011). Those in these brotherhoods believe they are showered with ‘baraka’ or gods blessing whenever they recite these qasidas as they view the founders as the original spiritual guides (Dilley, 2011). 

Dilley, R. (2011). “Daaira”, Devotional Acts, and the Transformation of Space in Senegal, West Africa. Anthropos, 106(1), 185–192. https://doi.org/10.5771/0257-9774-2011-1-185  Órgiva, K. [Kutubía Órgiva]. (2021, March 14). Qasida Diawartou of Sheikh Ahmadou Bamba [Video]. Youtube. https://www.youtube.com/watch?v=26iKgxyntLE&t=64s

[aftaabmagazine]

An Encounter with Poetic Brilliance

An Encounter with Poetic Brilliance

Wasef Bakhtari's Introduction to Qahar Asi's collection of poems "Alone, Yet Everlasting"

Translated from the Farsi by Farhad Azad 

AftaabMag.com | Spring 2024 

This is Wasef Bakhtari's (1943-2023) introduction passage to Qahar Asi's collection of poems "Alone, Yet Everlasting" تنها ولی همیشه. 

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An Encounter with Poetic Brilliance

The thirteen years that have passed deserve scrutiny from various perspectives, including the viewpoint of poetry, this inseparable fellow of nations. We had thought or perhaps even persuaded ourselves that the era of arbitrary compliance and the reign of tyrants was over. Yet, we saw what happened in our poetry with open eyes but closed memories.

There was a time when Mahmud of Ghazni would urge his court poets to pen odes, for instance, about the conquest of Somnath. Alas, this tradition of panegyric poetry continued into our time, with the difference that the poems of Unsuri, Farrukhi, and Asjadi were masterful, intricate, and radiant like Mahmud's crown. However, the products of the flattering pens of our time's poets are unsightly and decaying, like a beggar's bowl.

But don't think that our poetry was entirely like this. There were also pioneers of liberty in these years who refused to let the unpurified enter the hallowed temple of poetry and wreak havoc in this realm.

And amid these years, Qahar Asi, with his rebellious soul and rural pride, set foot in the arena of our ear's poetry. In my opinion, his advancement in this area was a momentous event.

Asi began his poetic journey by composing two couplets: a song for lovers' souls and one for farmers and shepherds. Then, he adopted the forms of rubaiyat and ghazal, drawing from the ever-abundant harvest of the rebellious drinkers of the bitter draught of pain and burners of the sweet flame of serenity poets of Nishapur and Shiraz.

–Wasef Bakhtari, Kabul, 1991

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Reflections on "An Encounter with Poetic Brilliance" 

By Farhad Azad

Critique of Regime 

The phrases "blind obedience," "reign of oppressors," and the reference to poetry's fate align with the political climate and cultural restrictions imposed by the communist regime that came to power after the coup of April 1978. Here, Bakhtari aims at the regime that promised to dismantle Daoud's one-party system in the name of equality, merely perpetuating the cycle of dogmatic indoctrination.

Striking is the surprising openness of the work, written and published in 1991 by the Ministry of Information and Culture printing press in Kabul. The regime's belated attempts at self-reform after thirteen years of experimentation proved futile; within a year, it would collapse, and the Islamists would ascend to power under UN auspices.

Panegyric Poetry 

Panegyric poetry is a formal style that extravagantly praises its subject, often using exaggerated language and vivid imagery. While potentially seen as overly flattering, it provides valuable historical and cultural insights into the values and aspirations of different societies.

Panegyric Poetry in the Court of Mahmud of Ghazni

The famous scholar and historian al-Biruni (973-1048) documented Mahmud of Ghazni's (r. 998-1030) destruction of the Somnath temple in Gujarat, India, a sacred site for Hindus. Mahmud of Ghazni, known for maintaining a court of poets, commissioned works from them, including verses in his praise, such as panegyric poetry. 

Unsuri, Farrukhi, and Asjadi were prominent Farsi poets who lived during the Ghaznavid era (late 10th to early 11th centuries). They were part of the court of Sultan Mahmud of Ghazni, a powerful ruler who patronized arts and literature.

Unsuri Balkhi: He was considered the poet laureate of Mahmud's court and is known for his panegyric qasidas (odes) praising the sultan and his military exploits. His poetry is characterized by its ornate language, elaborate metaphors, and hyperbolic praise.

Farrukhi Sistani: He was another celebrated poet of the Ghaznavid court, known for his vivid descriptions, elegant style, and mastery of various poetic forms. His qasidas often depict battles, landscapes, and courtly life with a keen eye for detail.

Asjadi was a younger contemporary of Unsuri and Farrukhi, who was also associated with the Ghaznavid court. His poetry is admired for its emotional depth, philosophical reflections, and lyrical beauty. He wrote in various genres, including qasidas, ghazals (lyric poems), and rubaiyat (quatrains).

These poets played a crucial role in establishing the panegyric tradition in Farsi poetry, which became a dominant genre in subsequent centuries. Their works provide valuable insights into the Ghaznavid era's history, culture, and literary landscape.

A panegyric verse by Unsuri: 

شاه حبش است زلفت ای بدر منیر

از عنبر تاج دارد از لاله سریر

تو شسته همی کنی گل سرخ بقیر

من شسته همی کنم بخوناب زریر

Your locks are the king of Abyssinia, oh radiant moon 

With a crown of ambergris and a throne of tulips

You wash the red rose with musk

As I wash my armor with the blood of Zariir

Zariir is a heroic warrior in the Shahnamah. This Unsuri verse, likely praising Sultan Mahmud of Ghazni, contrasts the beloved's opulence with the poet's harsh warrior life, subtly elevating the ruler as a source of beauty and peace while depicting the poet and warriors as loyal, self-sacrificing servants. 

Caption: A 19th-century Qajar-era painting depicts poets Asjadi (seated right) and Unsuri (seated left), alongside the revered Ferdowsi, in the court of Mahmud of Ghazni. Tales of the Ghaznavid court and its illustrious coterie of poets continue to resonate through the ages. Poetry of the "Rend" Creed 

In this brief introduction, Bakhtari offers a wealth of insight, juxtaposing the literary traditions of the past with the realities of the present. Bakhtari highlights two poetic corners steeped in the "rend" philosophy. While these poets might not have explicitly embraced the label "drinkers of pain, burners of comfort," their work often echoed this sentiment, challenging conventional happiness and seeking meaning in life's struggles.

Praise for Asi's Work 

Bakhtari generously homages Asi, who, over the past decade, has evolved into a mature poet and candid voice for the quotidian struggles of his compatriots in Kabul and the countryside. 

Asi's Hopes and End 

Asi eagerly anticipated the war's end and wrote verses championing the opposition against the USSR occupation, only to be bitterly disappointed when the Islamists lay waste to his beloved city. 

In the aftermath of Kabul’s destruction, he wrote his final work, From the Island of Blood: Elegies for Kabul, published in Kabul in January 1993— by the fall of 1994, a rocket fired by an Islamist faction killed Asi in Kabul. 

[garadinervi]

Rachid Koraïchi, La Qasida de Beyrouth, (etching; from an artist book comprising twenty engravings), Calligraphy by Kamel Ibrahim, Poetry by Mahmoud Darwish, [1991] [Khalil Sakakini Cultural Center مركز خليل السكاكيني الثقافي, Ramallah. © Rachid Koraïchi, Kamel Ibrahim, Mahmoud Darwish]

[behaviormodifications]

sotrs

ola de luz

qasida

[fatehummah]

Qasida Burda Sharif | Maola Ya Salli Wa Sallim - A Divine Ode of Love an...

🌟 Immerse yourself in the celestial beauty of Qasida Burda Sharif, a poetic masterpiece dedicated to the praise of Prophet Muhammad (peace be upon him). Join us on a spiritual journey as we present the heartfelt recitation of "Maola Ya Salli Wa Sallim," invoking blessings upon the beloved Messenger.

📜 Qasida Burda Sharif Overview: Qasida Burda Sharif, composed by Imam al-Busiri, is a timeless ode expressing deep love and admiration for the Prophet Muhammad. "Maola Ya Salli Wa Sallim" is a powerful invocation seeking blessings and peace upon the noblest of messengers.

🤲 A Divine Ode of Love and Blessings: Let the soothing recitation and profound meanings of this qasida fill your heart with love and devotion. Experience the tranquility that comes from sending salutations to the chosen one, the mercy to all the worlds.

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