Colophon portrait from the Khamsa of Nizami - BL Or

In Islamic cultures of the

Middle East The Middle East ( ar, الشرق الأوسط, ISO 233: ) is a geopolitical region commonly encompassing Arabia (including the Arabian Peninsula and Bahrain), Asia Minor (Asian part of Turkey except Hatay Province), East Thrace (Europ ...

North Africa North Africa, or Northern Africa is a region encompassing the northern portion of the African continent. There is no singularly accepted scope for the region, and it is sometimes defined as stretching from the Atlantic shores of Mauritania in ...

Sicily (man) it, Siciliana (woman) , population_note = , population_blank1_title = , population_blank1 = , demographics_type1 = Ethnicity , demographics1_footnotes = , demographi ...

and

South Asia South Asia is the southern subregion of Asia, which is defined in both geographical Geography (from Greek: , ''geographia''. Combination of Greek words ‘Geo’ (The Earth) and ‘Graphien’ (to describe), literally "earth descr ...

, a Diwan ( fa, دیوان, ''divân'', ar, ديوان, ''dīwān'') is a collection of

poems Poetry (derived from the Greek ''poiesis'', "making"), also called verse, is a form of literature that uses aesthetic and often rhythmic qualities of language − such as phonaesthetics, sound symbolism, and metre − to evoke meanings in ...

by one author, usually excluding his or her long poems ( mathnawī). The vast majority of Diwan poetry was lyric in nature: either ghazals or ''gazel''s (which make up the greatest part of the repertoire of the tradition), or ''kasîde''s. There were, however, other common genres, most particularly the ''mesnevî'', a kind of verse romance and thus a variety of

narrative poetry Narrative poetry is a form of poetry that tells a story, often using the voices of both a narrator and characters; the entire story is usually written in metered verse. Narrative poems do not need rhyme. The poems that make up this genre may be ...

; the two most notable examples of this form are the ''

Layla and Majnun ''Layla & Majnun'' ( ar, مجنون ليلى ; Layla's Mad Lover) is an old story of Arab origin, about the 7th-century Bedouin poet Qays ibn al-Mulawwah and his ladylove Layla bint Mahdi (later known as Layla al-Aamiriya). "The Layla ...

'' (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

, and the term was sometimes used in Europe, not always in the same way.

Etymology

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.Alain Rey et al., ''Dictionnaire historique de la langue française'', new ed. (Robert, 1995), vol. 1, p. 617. The Persian word derived from the Persian ''dibir'' meaning ''writer'' or ''scribe''. ''Diwan'' was also borrowed into

Armenian Armenian may refer to: * Something of, from, or related to Armenia, a country in the South Caucasus region of Eurasia * Armenians, the national people of Armenia, or people of Armenian descent ** Armenian Diaspora, Armenian communities across the ...

Georgian Georgian may refer to: Common meanings * Anything related to, or originating from Georgia (country) ** Georgians, an indigenous Caucasian ethnic group ** Georgian language, a Kartvelian language spoken by Georgians **Georgian scripts, three scrip ...

Arabic Arabic (, ' ; , ' or ) is a Semitic language spoken primarily across the Arab world.Semitic languages: an international handbook / edited by Stefan Weninger; in collaboration with Geoffrey Khan, Michael P. Streck, Janet C. E.Watson; Walter ...

Urdu Urdu (;"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 Rudaki (also spelled Rodaki; fa, رودکی; 858 – 940/41) was a Persian poet, singer and musician, who served as a court poet under the Samanids. He is regarded as the first major poet to write in New Persian. Said to have composed more tha ...

. 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 Johann Wolfgang von Goethe (28 August 1749 – 22 March 1832) was a German poet, playwright, novelist, scientist, statesman, theatre director, and critic. His works include plays, poetry, literature, and aesthetic criticism, as well as tr ...

's ''

West–östlicher Divan ' (; ''West–Eastern Diwan'') is a diwan, or collection of lyrical poems, by the German poet Johann Wolfgang von Goethe. It was inspired by the Persian poet Hafez. Composition ''West–Eastern Diwan'' was written between 1814 and 1819, the ...

'' (Poems of West and East), a work published in 1819 that reflected the poet's abiding interest in Middle Eastern and specifically

Persian literature Persian literature ( fa, ادبیات فارسی, Adabiyâte fârsi, ) comprises oral compositions and written texts in the Persian language and is one of the world's oldest literatures. It spans over two-and-a-half millennia. Its sources h ...

. This word has also been applied in a similar way to collections of Hebrew poetry and to poetry of

al-Andalus Al-Andalus translit. ; an, al-Andalus; ast, al-Ándalus; eu, al-Andalus; ber, ⴰⵏⴷⴰⵍⵓⵙ, label= Berber, translit=Andalus; ca, al-Àndalus; gl, al-Andalus; oc, Al Andalús; pt, al-Ândalus; es, al-Ándalus () was the M ...

Symbolism

Ottoman Divan poetry was a highly

ritual A ritual is a sequence of activities involving gestures, words, actions, or objects, performed according to a set sequence. Rituals may be prescribed by the traditions of a community, including a religious community. Rituals are characterized ...

ized 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

nightingale The common nightingale, rufous nightingale or simply nightingale (''Luscinia megarhynchos''), is a small passerine bird best known for its powerful and beautiful song. It was formerly classed as a member of the thrush family Turdidae, but is no ...

(بلبل ''bolbol'') – the

rose A rose is either a woody perennial flowering plant of the genus ''Rosa'' (), in the family Rosaceae (), or the flower it bears. There are over three hundred species and tens of thousands of cultivars. They form a group of plants that can be ...

(ﮔل ''gol'') * the world (جهان ''cihan''; عالم ''‘âlem'') – the rosegarden (ﮔﻠﺴﺘﺎن ''golistan''; ﮔﻠﺸﻦ ''golshen'') * the ascetic (زاهد ''zâhid'') – the

dervish Dervish, Darvesh, or Darwīsh (from fa, درویش, ''Darvīsh'') in Islam can refer broadly to members of a Sufi fraternity (''tariqah''), or more narrowly to a religious mendicant, who chose or accepted material poverty. The latter usage i ...

(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 In monotheistic thought, God is usually viewed as the supreme being, creator, and principal object of faith. Swinburne, R.G. "God" in Honderich, Ted. (ed)''The Oxford Companion to Philosophy'', Oxford University Press, 1995. God is typically ...

(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". 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: :بر گل مى وار بو گلشن ﻋالمدﻪ خارسز :''Bir gül mü var bu gülşen-i ‘âlemde hârsız'' :("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

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; 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 Alī Imādud-Dīn Nasīmī ( az, Seyid Əli İmadəddin Nəsimi سئید علی عمادالدّین نسیمی, fa, عمادالدین نسیمی), often known as Nesimi, was a 14th-century Azerbaijani Ḥurūfī poet. Known mostly by his ...

(?–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

* Fuzûlî (1483?–1556); a unique poet who wrote with equal skill in Azeri Turkish, Persian, and Arabic, and who came to be as influential in Persian as in Divan poetry *

Bâkî Bâḳî (باقى) was the pen name ( Ottoman Turkish: مخلص ''mahlas'') of the Ottoman Turkish poet Mahmud Abdülbâkî (محمود عبدالباقى) . Considered one of the greatest contributors to Turkish literature and Azerbaijani l ...

(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 Suleiman I ( ota, سليمان اول, Süleyman-ı Evvel; tr, I. Süleyman; 6 November 14946 September 1566), commonly known as Suleiman the Magnificent in the West and Suleiman the Lawgiver ( ota, قانونى سلطان سليمان, Ḳ� ...

* 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 Capital punishment, also known as the death penalty, is the state-sanctioned practice of deliberately killing a person as a punishment for an actual or supposed crime, usually following an authorized, rule-governed process to conclude that ...

* Nâbî (1642–1712); a poet who wrote a number of socially oriented poems critical of the stagnation period of Ottoman history *

Nedîm Ahmed Nedîm Efendi (نديم) was the pen name (Ottoman Turkish: ﻡﺨﻠﺺ ''mahlas'') of one of the most celebrated Ottoman poets. He achieved his greatest fame during the reign of Ahmed III, the so-called Tulip Era from 1718 to 1730. He wa ...

(1681?–1730); a revolutionary poet of the

Tulip Era The Tulip Period, or Tulip Era (Ottoman Turkish: لاله دورى, tr, Lâle Devri), is a period in Ottoman history from the Treaty of Passarowitz on 21 July 1718 to the Patrona Halil Revolt on 28 September 1730. This was a relatively peacef ...

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 Mevlevî Sufi order whose work is considered the culmination of the highly complex so-called "Indian style" (سبك هندى ''sebk-i hindî'')

Urdu variation

Urdu poetry Urdu poetry ( ur, ) is a tradition of poetry and has many different forms. Today, it is an important part of the cultures of South Asia. According to Naseer Turabi there are five major poets of Urdu which are Mir Taqi Mir (d.1810), Mirza Ghali ...

diwan are also a collection of poems, but here they are mainly ghazals.''A History of Urdu literature''
by T. Grahame Bailey; ''Introduction''

References

External links

Many examples of Ottoman Divan poetry
in Turkish, from

Internet Archive The Internet Archive is an American digital library with the stated mission of "universal access to all knowledge". It provides free public access to collections of digitized materials, including websites, software applications/games, music, ...

Divan – Full Text – Republic of Turkey Ministry of Culture and Tourism
in Turkish {{DEFAULTSORT:Diwan (Poetry) Arabic poetry Arabic anthologies Poetry movements * Ottoman poetry Early Modern literature Urdu-language poetry Azerbaijani poetry