{"title":"达乌德·卡迈勒的孤独历程","authors":"A. Zaidi","doi":"10.15452/ojoep.2022.14.0010","DOIUrl":null,"url":null,"abstract":"Besides discussing such seminal images in the poetry of Daud Kamal as Gandhara art, the bridge, and bird migration, this essay explores solitude as a necessary accompaniment to Kamal’s creativity, as he sought, in “the translunar paradise of art”, “a cure for the cancer of loneliness”. This essay also examines the undiscerning critical reception of Kamal’s poetry, which notwithstanding belongs to the finest tradition of Islamic mystical poetry and is therefore destined to last.","PeriodicalId":426662,"journal":{"name":"Ostrava Journal of English Philology","volume":"25 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Lonely Endeavour of Daud Kamal\",\"authors\":\"A. Zaidi\",\"doi\":\"10.15452/ojoep.2022.14.0010\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Besides discussing such seminal images in the poetry of Daud Kamal as Gandhara art, the bridge, and bird migration, this essay explores solitude as a necessary accompaniment to Kamal’s creativity, as he sought, in “the translunar paradise of art”, “a cure for the cancer of loneliness”. This essay also examines the undiscerning critical reception of Kamal’s poetry, which notwithstanding belongs to the finest tradition of Islamic mystical poetry and is therefore destined to last.\",\"PeriodicalId\":426662,\"journal\":{\"name\":\"Ostrava Journal of English Philology\",\"volume\":\"25 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Ostrava Journal of English Philology\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.15452/ojoep.2022.14.0010\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Ostrava Journal of English Philology","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.15452/ojoep.2022.14.0010","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Besides discussing such seminal images in the poetry of Daud Kamal as Gandhara art, the bridge, and bird migration, this essay explores solitude as a necessary accompaniment to Kamal’s creativity, as he sought, in “the translunar paradise of art”, “a cure for the cancer of loneliness”. This essay also examines the undiscerning critical reception of Kamal’s poetry, which notwithstanding belongs to the finest tradition of Islamic mystical poetry and is therefore destined to last.
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