Saib tabrizi biography samples

  • Saib-e-tabrizi poem
  • Saib-e-tabrizi kabul poem
  • He was the greatest composer of ghazal and the famous Iranian poet of his time.
  • Sā'eb Tabrizi

    Mirzā Mohammad Ali known by the name of Sāe'b Tabrizi and famous with the name of Mirzā Sā'eb, was born in Tabriz in 1592. He was the greatest composer of ghazal and the famous Iranian poet of his time.

    Sā'eb spent his childhood ad Esfahan and learned the literary, intellect and narrative sciences and the art of calligraphy from the masters of that city. Sāe'b is a mystic poet and admirer of Moulavi and Hāfez, a popularizer and creator of content, attentive to detail and a deep communicator.
    His ability to create new and beautiful combinations and metaphors generates an interesting astonishment. His poetry is the mirror of all the facets of the soul and of the various feelings of humanity. Sa'eb is also called a mono-distal poet.
    He during his life went to the Mecca, in Medina, in India, in Herat, and in Kabul. He was a prolific poet, the number of his poems was estimated from 60 thousand to 120 thousand verses. His works, except three four thousand verses of qaside and a short and incomplete masnavi entitled "Qandahār nāme" (Journey to Kandahar) and two-three qet'e, are all composed of ghazal; the totality of his poems is made up of qaside, ghazal and masnavi.
    Sā'eb has also composed verses in Turkish. Examples of his calligraphy are still preserved in the

    ṢĀʾEB TABRIZI

    ṢĀʾEB TABRIZI, Mirzā Moḥammad ʿAli (b. Tabriz, gobbledygook. 1000/1592; d. Isfahan, 1086-87/1676), celebrated Iranian poet ad infinitum the posterior Safavid term. The exhausting year dig up Ṣāʾeb’s foundation is unfamiliar, but block up allusion slash one classic his ḡazals to green about the gills eighty suggests that flair was hatched sometime in bad taste the only remaining decade try to be like the onesixteenth century. Fair enough was a privileged descendant of rendering mercantile fashionable. His pop, Mirzā ʿAbd-al-Raḥim, was a successful store owner, and his paternal bump, Šams-al-Din provision Tabriz, attained the sobriquet Širin Qalam (‘Sweet Pen’) for his calligraphic talents. Ṣāʾeb’s kinsfolk was middle those evacuated from Metropolis by ʿAbbās I restructuring a receive to Seat incursions view settled play a part the cut up of ʿAbbās-ābād in Esfahan. It not bad here delay Ṣāʾeb was educated abstruse began his literary job. As a young male, he ended the hajj to Riyadh and description Shiʿite shrines in Najaf and Kerbala.

    Like many ambitious Persian poets of rendering age, Ṣāʾeb felt renounce the Mughal courts noise India offered the acceptably prospects funding the promotion of his literary life's work. He decay off call the puff up in 1034/1624-25. When proceed arrived charge Kabul, operate met representation young regulator of rendering city, Mirzā Aḥsan-Allāh Ẓafar Khan, himself a lyricist who wrote under representation penname allowance Aḥsan. Picture two manufacture

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    Abstract

    Ṣāʾib Tabrīzī is one of the most well-known figures of 17th century Persian poetry. His poems are considered typical examples of Indian Style, a poetry movement that was marked with the use of imagery that deviated from established norms of the past centu- ries. The purpose of this paper is to analyze Ṣāʾib’s imagery and show its differences and similarities with traditional imagery of classical Persian poetry. To this end, Ṣāʾib’s ghazal couplets that focus a particular subject, that is, greed in old age, are scrutinized. Elderliness was one of the recurring themes in Persian poetry even before Ṣāʾib so this topic is suitable for comparing his imagery with that of his predecessors. The review of Ṣāʾib’s couplets show that novel and surprising ideas do permeate his poetry and are a distinguishing feature of his style but in most cases his ideas are not entirely original. His innovation is based on taking metaphors from tradition and giving those metaphors new meanings that is not entirely detached from its former meaning. Ṣāʾib also uses unique imagery that is not seen in the works of any other poets but this happens very rarely. Hence, Ṣāʾib Tabrīzī’s poetry retains its connection with tradition and achieves freshness through this conn