{"title":"一首关于神圣经济的叙利亚-突厥诗归于Khāmīs","authors":"Anton D. Pritula, P. Zieme","doi":"10.1163/2212943x-00702005","DOIUrl":null,"url":null,"abstract":"\n The text being discussed is found in many manuscripts of the Divan (collection of poems) of an East Syriac poet Khāmīs bar Qardāḥē (late 13th century). The edition demonstrates the discrepancies in rendering glosses in the Turkish stanzas, in contrast to a relative unity of readings in the Syriac ones. To explain these discrepancies, the following pages discuss the lack of consistency in the Turkic Garshuni tradition. In addition, the poem is one of the earliest texts of this group. It should be dated to the period close to the life of Khāmīs, but was not necessarily composed by this poet, since it is absent from the earliest surviving copies. All the Syriac stanzas use quatrains in a 7-7-8-8 meter. Each of them has its own internal rhyme that follows a constant scheme, i.e. in every first, second and and fourth lines of each verse (ааха). In the Turkic stanzas, the verses have an irregular meter that varies from eight to ten syllables. In the Turkic translation of the Syriac original, one finds many syriacisms, such as bar Maryam (the Son of Mary), a stable combination used in the texts. Such a broad use of borrowings, both in vocabulary and syntax, is common for translated religious texts, especially liturgical ones, in which the proximity to the original might have a great importance.","PeriodicalId":92649,"journal":{"name":"Intellectual history of the Islamicate world","volume":"41 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2019-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"A Syro-Turkic Poem on Divine Economy Ascribed to Khāmīs\",\"authors\":\"Anton D. Pritula, P. Zieme\",\"doi\":\"10.1163/2212943x-00702005\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n The text being discussed is found in many manuscripts of the Divan (collection of poems) of an East Syriac poet Khāmīs bar Qardāḥē (late 13th century). The edition demonstrates the discrepancies in rendering glosses in the Turkish stanzas, in contrast to a relative unity of readings in the Syriac ones. To explain these discrepancies, the following pages discuss the lack of consistency in the Turkic Garshuni tradition. In addition, the poem is one of the earliest texts of this group. It should be dated to the period close to the life of Khāmīs, but was not necessarily composed by this poet, since it is absent from the earliest surviving copies. All the Syriac stanzas use quatrains in a 7-7-8-8 meter. Each of them has its own internal rhyme that follows a constant scheme, i.e. in every first, second and and fourth lines of each verse (ааха). In the Turkic stanzas, the verses have an irregular meter that varies from eight to ten syllables. In the Turkic translation of the Syriac original, one finds many syriacisms, such as bar Maryam (the Son of Mary), a stable combination used in the texts. Such a broad use of borrowings, both in vocabulary and syntax, is common for translated religious texts, especially liturgical ones, in which the proximity to the original might have a great importance.\",\"PeriodicalId\":92649,\"journal\":{\"name\":\"Intellectual history of the Islamicate world\",\"volume\":\"41 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-07-10\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Intellectual history of the Islamicate world\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1163/2212943x-00702005\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Intellectual history of the Islamicate world","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1163/2212943x-00702005","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
所讨论的文本可以在东叙利亚诗人Khāmīs bar Qardāḥē(13世纪晚期)的Divan(诗集)的许多手稿中找到。该版本展示了土耳其诗节中渲染注释的差异,与叙利亚诗节中相对统一的阅读形成对比。为了解释这些差异,以下几页讨论了突厥Garshuni传统缺乏一致性。此外,这首诗是这个群体最早的文本之一。这首诗的年代应该接近Khāmīs的生活,但不一定是由这位诗人创作的,因为它在现存的最早的副本中没有出现。所有的叙利亚诗节都用了7-7-8-8米的四行诗。他们每个人都有自己的内部押韵,遵循一个恒定的方案,即在每首诗的第一,第二和第四行(ааха)。在突厥诗节中,诗句有一个不规则的节奏,从8到10个音节不等。在叙利亚原文的突厥语翻译中,人们发现了许多叙利亚语,比如bar Maryam(玛利亚之子),这是文本中使用的一个稳定的组合。如此广泛的借用,无论是在词汇还是句法上,都是翻译宗教文本的常见现象,尤其是礼仪文本,在这些文本中,与原文的接近可能非常重要。
A Syro-Turkic Poem on Divine Economy Ascribed to Khāmīs
The text being discussed is found in many manuscripts of the Divan (collection of poems) of an East Syriac poet Khāmīs bar Qardāḥē (late 13th century). The edition demonstrates the discrepancies in rendering glosses in the Turkish stanzas, in contrast to a relative unity of readings in the Syriac ones. To explain these discrepancies, the following pages discuss the lack of consistency in the Turkic Garshuni tradition. In addition, the poem is one of the earliest texts of this group. It should be dated to the period close to the life of Khāmīs, but was not necessarily composed by this poet, since it is absent from the earliest surviving copies. All the Syriac stanzas use quatrains in a 7-7-8-8 meter. Each of them has its own internal rhyme that follows a constant scheme, i.e. in every first, second and and fourth lines of each verse (ааха). In the Turkic stanzas, the verses have an irregular meter that varies from eight to ten syllables. In the Turkic translation of the Syriac original, one finds many syriacisms, such as bar Maryam (the Son of Mary), a stable combination used in the texts. Such a broad use of borrowings, both in vocabulary and syntax, is common for translated religious texts, especially liturgical ones, in which the proximity to the original might have a great importance.