Islamic CalligraphyIslamic Ornaments

lamma bada yatathanna

By August 10, 2018 No Comments

lamma bada yatathanna :

لما بدا يتثنى Lamma bada yatathanna
Quand elle apparut avec sa démarche si fière

When she appeared with her proud step

حبي جمالو فتنى Hubbi jamalu fatanna
Mon amour m’a a séduit par sa beauté

My love seduced me by its beauty

أوما بلحظـه أسـرنا Awmâ bi LaHzihi asarna
Ah comme son regard m’a asservi!

Oh how his eyes enslaved me!

غصن ثنى حين مال Ghusnun sabâ Hina mal
C’est un rameau qui captive quand elle se penche

It’s a twig that captivates when she leans

وعدي ويا حيرتــي Waadi wa ya Hirati
Ah dans quel trouble elle m’a mis!

Ah, what a trouble it has put me!

مالي رحيم شـكوتي Mâ li rahîma shakwati
Je n’ai pour compatir à ma plainte

I do not have to sympathize with my complaint

في الحب من لوعتـي Fil hubbi min law’ati
à cause de la douleur que me cause cet amour?

because of the pain that this love causes me?

إلا مليك الجمــال Illa maliku l-jamal
Que la reine de la Beauté!

May the Queen of Beauty!

 

 

 

The Moashah was a revolution in the traditional form of the Arabic poem in terms of the systematic and artistic construction and combines the dialect between the classical and the weight and rhyme.

Historians differed in determining the name of the original owner, some of them attributed the text to the Andalusian mantle of Sanheddin ibn al-Khatib (lived between 1313 – 1374 AD) and some of them attributed to the Egyptian singer Mohammed Abdel-Rahim Al-Mutallab (lived between 1793 and 1928) His melody also has it.

لسان الدين بن الخطيب

 

 

To search for these locations of expression, within the tune of this scene.

The textual content says, with an evidence of the phrases by way of repetition:

The primary positionthe primary tune: What seemed to be (Aman) love his magnificence Fatna (Aman)

The second position – a repeated melody of the primary stage melody: Oma Balzah our households (Aman), Ghosn Sana when Mal (Aman)

The track: Wady Wahi Herati (a melody repeated on the tune of what seemed to be at first of the primary spherical) of Lee Rahim Shkuti (a brand new tune carries the precept of interplay with the tune of the primary spherical)

In love of my present, solely Malik magnificence (a brand new melody carries the continuation of the melancholy interplay) security

Cowl: Repetition of the textual content of the final home: In love of my physique (her melody repeats my love of his magnificence Fatna on the finish of the primary spherical) besides Melik magnificence (melody repeated on the tune of the phrase Aman on the finish of the primary spherical)

Evaluation and the significance of audit within the phrase Aman and its position on the trail of melody.

The melody begins with a leap at a distance that covers 4 musical sounds. The phrase “lama” isn’t used within the outdated mashahat. The beloved started to bop and to say,

“What did he appear to be doing?” The composer stops right here to comply with up on the story of what occurred. He repeats the phrase Aman Aman in a glowing melody, Then he goes again to the textual content that claims: “My love for his magnificence is fatna,” and he involves his tune in disguise to determine what occurred with , Remembering what overwhelmed by emotions, and the fantastic thing about the beloved Fitna, provides the composer of a brand new safety password safety to specific the emotional state of the poet.

Thus, when each sentence is uttered by reward, or magnificence, or by the second that’s captured, or by the department that has melted, the composer provides a particular phrase of security to the expression of remembering these moments.

In distinction, the phrasesecurity” disappears fully when it reaches the expression of puzzlement, The criticism, and the road within the field:

And Udi and Iharti, from Lee Rahim Shkuti

In love of my present, solely Malik magnificence

To return to the phrase security when the phrase magnificence, which describes the beloved king of magnificence.

Sure, it was to sing a phrase of security operate, not as in all mashahat, the place this phrase is often employed, or phrases similar to Ya la la la, or yalal to be verbal entanglements fill the hole between textual content and melody,

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