He recounts the perilous journey of the world’s birds to the faraway peaks of Mount Qaf in search of the mysterious Simorgh, their king. Attar’s beguiling anecdotes and humor intermingle the sublime with the mundane, the spiritual with the worldly, while his poem models the soul’s escape from the mind’s rational embrace.Sholeh Wolpé re-creates for modern readers the beauty and timeless wisdom of the original Persian, in contemporary English verse and poetic prose.

    This revised and expanded edition of The Essential Rumi includes a new introduction by Coleman Barks and more than 80 never-before-published poems.Through his lyrical translations, Coleman Barks has been instrumental in bringing this exquisite literature to a remarkably wide range of readers, making the ecstatic, spiritual poetry of thirteenth-century Sufi Mystic Rumi more popular than ever.The Essential Rumi continues to be the bestselling of all Rumi books, and the definitive selection of his beautiful, mystical poetry.

    This prodigious narrative, composed by the poet Ferdowsi between the years 980 and 1010, tells the story of pre- Islamic Iran, beginning in the mythic time of Creation and continuing forward to the Arab invasion in the seventh century. As a window on the world, "Shahnameh" belongs in the company of such literary masterpieces as Dante's "Divine Comedy," the plays of Shakespeare, the epics of Homer- classics whose reach and range bring whole cultures into view. In its pages are unforgettable moments of national triumph and failure, human courage and cruelty, blissful love and bitter grief.In tracing the roots of Iran, "Shahnameh" initially draws on the depths of legend and then carries its story into historical times, when ancient Persia was swept into an expanding Islamic empire. Now Dick Davis, the greatest modern translator of Persian poetry, has revisited that poem, turning the finest stories of Ferdowsi's original into an elegant combination of prose and verse. For the first time in English, in the most complete form possible, readers can experience "Shahnameh" in the same way that Iranian storytellers have lovingly conveyed it in Persian for the past thousand years.

    A ruba'i is a two-line stanza with two parts (or hemistichs) per line, hence the word rubáiyát (derived from the Arabic language root for "four"), meaning "quatrains". (Courtesy: Wikipedia)(less)

    The state of God-Realisation is symbolised through union with a Beloved, and drinking the wine of spiritual love.This compact version of the Divan of Hafez is a facsimile illuminated manuscript, complete with beautiful Persian calligraphy and miniature illustrations. There are 43 ghazals, translated into English by classical scholar Gertrude Bell. It is a truly beautiful introduction not only to the works of this beloved Sufi mystic, but also to the artistry of Mahmoud Farshchian. It is like getting two books in one: poetry and art."Hafiz has no peer." — GoethePoetry is the greatest literary form of ancient Persia and modern Iran, and the fourteenth-century poet known as Hafiz is its preeminent master. Little is known about the poet's life, and there are more legends than facts relating to the particulars of his existence. This mythic quality is entirely appropriate for the man known as "The Interpreter of Mysteries" and "The Tongue of the Hidden," whose verse is regarded as oracular by those seeking guidance and attempting to realize wishes.A mere fraction of what is presumed to have been an extensive body of work survives. This collection is derived from Hafiz's Divan (collected poems), a classic of Sufism. The short poems, called ghazals, are sonnet-like arrangements of varied numbers of couplets. In the tradition of Persian poetry and Sufi philosophy, each poem corresponds to two interpretations, sensual and mystic.This outstanding translation of Hafiz's poetry was created by historian and Arabic scholar Gertrude Bell, who observed, "These are the utterances of a great poet, the imaginative interpreter of the heart of man; they are not of one age, or of another, but for all time."

    

    A book of aphorisms, poems, and parables by the author of "The Prophet" - a philosopher at his window commenting on the scene passing below.

    As Emperor Go-Daigo fended off a challenge from the usurping Hojo family, and Japan stood at the brink of a dark political era, Kenkō held fast to his Buddhist beliefs and took refuge in the pleasures of solitude. Written between 1330 and 1332, Essays in Idleness reflects the congenial priest's thoughts on a variety of subjects. His brief writings, some no more than a few sentences long and ranging in focus from politics and ethics to nature and mythology, mark the crystallization of a distinct Japanese principle: that beauty is to be celebrated, though it will ultimately perish. Through his appreciation of the world around him and his keen understanding of historical events, Kenkō conveys the essence of Buddhist philosophy and its subtle teachings for all readers. Insisting on the uncertainty of this world, Kenkō asks that we waste no time in following the way of Buddha.In this fresh edition, Donald Keene's critically acclaimed translation is joined by a new preface, in which Keene himself looks back at the ripples created by Kenkō's musings, especially for modern readers.

    His work ranges from the deceptively simple and lyrical Songs of Innocence and their counterpoint Experience - which juxtapose poems such as 'The Lamb' and 'The Tyger', and 'The Blossom' and 'The Sick Rose' - to highly elaborate, apocalyptic works, such as The Four Zoas, Milton and Jerusalem. Throughout his life Blake drew on a rich heritage of philosophy, religion and myth, to create a poetic worlds illuminated by his spiritual and revolutionary beliefs that have fascinated, intrigued and enchanted readers for generations.

    Yoel Hoffmann explores the attitudes and customs surrounding death in historical and present-day Japan and gives examples of how these have been reflected in the nation's literature in general. The development of writing jisei is then examined—from the poems of longing of the early nobility and the more "masculine" verses of the samurai to the satirical death poems of later centuries. Zen Buddhist ideas about death are also described as a preface to the collection of Chinese death poems by Zen monks that are also included. Finally, the last section contains three hundred twenty haiku, some of which have never been assembled before, in English translation and romanized in Japanese.

    Yet the literary landscape of this dynamic part of the world has been bound together not by borders and nationalities, but by a common experience of Western imperialism. Keenly aware of the collected scars left by a legacy of colonial rule, the acclaimed writer Reza Aslan, with a team of four regional editors and seventy-seven translators, cogently demonstrates with Tablet and Pen how literature can, in fact, be used to form identity and serve as an extraordinary chronicle of the disrupted histories of the region.Acting with Words Without Borders, which fosters international exchange through translation and publication of the world’s finest literature, Aslan has purposefully situated this volume in the twentieth century, beyond the familiar confines of the Ottoman past, believing that the writers who have emerged in the last hundred years have not received their full due. This monumental collection, therefore, of nearly two hundred pieces, including short stories, novels, memoirs, essays and works of drama—many of them presented in English for the first time—features translated works from Arabic, Persian, Urdu, and Turkish. Organized chronologically, the volume spans a century of literature—from the famed Arab poet Khalil Gibran to the Nobel laureates Naguib Mahfouz and Orhan Pamuk, from the great Syrian-Lebanese poet Adonis to the grand dame of Urdu fiction, Ismat Chughtai—connected by the extraordinarily rich tradition of resplendent cultures that have been all too often ignored by the Western canon.By shifting America’s perception of the Middle Eastern world away from religion and politics, Tablet and Pen evokes the splendors of a region through the voices of its writers and poets, whose literature tells an urgent and liberating story. With a wealth of contextual information that places the writing within the historical, political, and cultural breadth of the region, Tablet Pen is transcendent, a book to be devoured as a single sustained narrative, from the first page to the last. Creating a vital bridge between two estranged cultures, "this is that rare anthology: cohesive, affecting, and informing" (Publishers Weekly).

    late 7th and early 6th centuries B.C.E.), whose work is said to have filled nine papyrus rolls in the great library at Alexandria some 500 years after her death. The surviving texts consist of a lamentably small and fragmented body of lyric poetry--among them, poems of invocation, desire, spite, celebration, resignation, and remembrance--that nevertheless enables us to hear the living voice of the poet Plato called the tenth Muse.Stanley Lombardo's translations give us a virtuoso embodiment of Sappho's voice, whose telltale charm, authority, immediacy, directness, intensity, and sudden changes of tone are among the hallmarks of his masterly translation.Pamela Gordon introduces us to the world of Sappho, discusses questions surrounding the transmission of her manuscripts, offers advice on reading these texts, and concludes with an enlightening discussion of same-sex desire in Sappho.

    Among his expansive and impressive body of work, Gitanjali is regarded as one of his greatest achievements, and has been a perennial bestseller since it was first published in 1910.

    The Quran is composed of verses (Ayat) that make up 114 chapters (suras) of unequal length which are classified either as Meccan (المكية) or Medinan (المدنية) depending upon the place and time of their claimed revelation. Muslims believe the Quran to be verbally revealed through the angel Jibrīl (Gabriel) from God to Muhammad gradually over a period of approximately 23 years beginning on 22 December 609 CE, when Muhammad was 40, and concluding in 632 CE, the year of his death.Muslims regard the Quran as the main miracle of Muhammad, the proof of his prophethood and the culmination of a series of divine messages that started with the messages revealed to Adam, regarded in Islam as the first prophet, and continued with Suhuf Ibrahim (Scrolls of Abraham), the Tawrat (Torah or Pentateuch) of Moses, the Zabur (Tehillim or Book of Psalms) of David, and the Injil (Gospel) of Jesus. The Quran assumes familiarity with major narratives recounted in Jewish and Christian scriptures, summarizing some, dwelling at length on others and in some cases presenting alternative accounts and interpretations of events. The Quran describes itself as a book of guidance, sometimes offering detailed accounts of specific historical events, and often emphasizing the moral significance of an event over its narrative sequence.

    His poetry in Persian appealed equally to the Delhi sultans and to his Sufi sheikh, Nizamuddin Auliya. It was appreciated not only in India, where his Hindavi poetry has survived through a lively oral tradition, but also across a cosmopolitan Persianate world that stretched from Turkey to Bengal. Khusrau's poetry has thrived for centuries and continues to be read and recited to this day. But despite his vast literary output, there is a dearth of translations of his work. In the Bazaar of Love offers new translations of Khusrau's poems in Persian and Hindavi, many of which are being translated into English for the first time. Paul Losensky's translations of Khusrau's ghazals, including his mystical and romantic poems, comprise fresh renditions of old favourites while also bringing to light several little- known works. Sunil Sharma brings us many of Khusrau's short poems, including those belonging to the qawwali repertoire, as well as a mixed prose-and-verse narration 'The Romance of Duval Rani and Khizr Khan'.The first comprehensive selection of Amir Khusrau’s poetry, In the Bazaar of Love covers a wide range of genre and forms, evoking the magic of one of the best-loved poets of the Indian subcontinent.About the AuthorPaul Losensky is associate professor at Indiana University, Bloomington, where he teaches translation studies, and Persian language and literature.Sunil Sharma teaches Persian and Indian literatures at Boston University. He is the author of two books on Indo-Persian poetry.