heir Persian Character-Imitatio

rtheless, take up Platen first, we do so because the γazals of this poet were really the first professedly original poems of this form to appear in Germany (Rückert's claiming to be versions only), and also because they constitute almost the only portion of his poet

gement and instruction from that scholarly poet. Above all, the appearance of the latter's versions from Rūmī gave him a powerful stimulus, and in 1821 the first series of his Ghaselen appeared at Erlangen. Others followed in rapid succession. The same year a second series

s that date from the years 1821 and 1822, the

achgefühlt und nachgedichtet."137 They follow as closely as possible the Persian metrical rules, and make use throughout of Persian images and metaphors, so much so that w

?? ??? ???

ine." In 75 the words "Weil ihren goldnen Busen doch vo

????? ???

so H. 23. 3). And again in 85 "Und nun ... entrinnet dem Herzen das Blut

???? ?? ??

through separation from thee is full

chen Trugnetz der H

de Sklavin gewahr

t line compa

??????? ??

nared by that doubled tress," and f

???? ???

In 86 the idea of the young men slain like game by the b

? ?? ??

????? ???

d slain ones fallen like me," and the

e strahlt zu m

ein Schild von d

us of H

?? ?? ???

w (lit. poplar) to pass th

the love of the nightingale for the rose (35, 75, etc.) so com

? ?? ???? ?? ?? ??????

loved; the rose has in her thought how she may show grace in her act

???? ????? (73, H. 33. 4); the garden of the face (73, H. 33. 4); the pearl of Aden ??? ??? (77, H. 197. 10 and 651); wine as a ruby in a golden cup (82, H. 204. 8 ??? ?? ??? ???? ??? ????? "O thou, the golden cup is made full of ruby"); the eye-brows like the crescent-

?????? ??

multiply such parallels, but those given bear out our statement in rega

s which, though very prominent in Eastern poetry, will never become congenial to the West. Thus the utter abjectness of the Oriental lover, who puts his face in

aub und setze deine

den letzten deiner let

l. It was the introduction of this repulsive trait (e.g. 82) that gave to Heine the opportunit

timent of the revelling Persian poet, who begs the sūfī not to forbid wine, since from eternity it has been mingled with men's dust (H. 61. 4); who claims to have been predestined to the tavern (H. 20. 4); who asks indulgence if he turns aside from the mosque to the wine-house (H. 213. 4); who drinks his wine to the sound of the harp, feeling sure that God will forgive him (H. 292. 5); who is abov

familiar to readers of Hāfi?, he reproduces with complete success, as may be seen, for instance, in 8, where the words "du liebst mich nicht" are repeated at the end of each couplet, preceded successively by zerrissen, wissen, beflissen, gewissen, vermissen, Narzissen,

rke, ii. pp. 62-64), and the qasīdah. Of this there is only one specimen, a panegyric (for such in most cas

inal mutaqārib-metre. The first eight couplets of the invocation are thus rendered, and in spite of the great difficulty attending the use of this metre in a European la

?? ?????

??????

, Godhead is Thine. The Protection of high and low Thou a

possible that the Parsi Nameh of that work suggested to Platen the composition of his poem.143 His best known ballad, "Harmosan," written

TNO

form were made by Jones, who translated a ghazal of Jāmī (Works, vol. ii. p. 501) into English, and by a c

ishing Rückert's priority over Platen. See C. Beyer, Neue Mittheilungen über F

ed in Lyris

rmischte

e p. 7, note, where information is giv

el des Hafis to Otto vo

by the number in vol. ii.

Oriental feature. See Noten u. Abh

Goethe in his comments on his Saki Nameh (op. cit. p. 307) emphasi

ted February 3,

d., Shīrāz,

ugust, 1819. Platen's po

lladen, Herm. Stockhausen, Ber