بازخوانی: طاهر قریشی

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رفتم که رفتم - طاهر قریشی

دوبیتی های باباطاهر
نی: محمد موسوی
آواز: علیرضا افتخاری
سه تار: جلال ذوالفنون
دف: سهیل ایوانی

به سر شوق سر کوی تو دیرم
به دل، مهر مه روی تو دیرم
بت من، کعبه من، قبله من
تویی هر سو نظر سوی تو دیرم

کسی که ره به بیدادم بر نی
خبر بر سرو آزادم بر نی
تمام خوبرویان جمع گردند
کسی که یادت از یادم بر نی

نمی دونم دلم دیوونه ی کیست
کجا می گردد و در خونه ی کیست
نمیدونم دل دیوونه ی مو
اسیر نرگس مستونه ی کیست

دلم بي وصل ته شادي مبيناد 
به غير از محـنت آزادي مبيـناد 
خـــراب آباد دل بـي مقــدم تو 
الهـــي هــرگـز آبادي مبـيــنـاد

سه پنج روزه که بوی گل نیومد
صدای چه چه بلبل نیومد
روید از باغبان گل بپرسید 
چرا بلبل به سیر گل نیومد

گلی که خم بدادم پیچ و تابش 
به اب دید گونم دادم ابش
به درگاه الهی کی روابی
گل از مو دیگری گیره گلابش 

ز گلبن چید گلچینی گلی را 
شنید از پی صدای بلبلی را
تو خوشبختی گلی چیدی و رفتی
ندانستی که آزردی دلی را


بی تو گلشن چو زندونه به چشمم / گلستون آذرستونه به چشمم 
بی تو آرام و عمر زندگانی / همه خواب پریشونه به چشمم

غم عشقت بیابون پرورم کرد
هوای بخت بی بال و پرم کرد
به مو گفتی صبوری کن صبوری
صبوری طرفه خاکی بر سرم کرد

سه پنج روزه بوی گل نیومد- افتخاری موسوی ذوالفنون

Chase your dreams, doesn't matter if you're a girl or a boy you can do it!

Ráduly Roland - Mindenkinek van egy álma. 2025-04-11 13_01.m4a

Video- youtu.be/Q7h3TATTn0E

If Wordsworth had had the decency to die at a respectable Romantic age, ie under 30 and before his 1807 poems were published, he would have been the undisputed Hendrix of the group. He was as Radical as Blake and even more engaged (he travelled to France to join in the French Revolution and described it as "Bliss was it in that dawn to be alive/ To be young was very heaven)" as passionate as Byron (he'd had a love affair and a daughter out of wedlock with a French girl while there) as visionary brilliant as Coleridge (they'd co-written the lyrical Ballads and its seismic Romantic manifesto together in 1798) as strange and gothic-beautiful as Keats (Wordsworth's definition of poetry as 'the spontaneous overflow of powerful feelings' is sometimes attributed to Keats) and as anti-establishment as Shelley (while Shelley was sent down from Oxford, Wordsworth simply walked out of Cambridge believing he could learn more from Nature and a walking tour of the continent.) The 1798 poems arranged here - part of 'The Lucy poems' and described as 'experimental' at the time - are perhaps the greatest achievement of this early 'disturbed' Wordsworth.

We reproduce below the original versions as taken from three of these Lucy poems. (Strange Fits of passion; She dwelt among th'untrodden ways - which was titled Song - and A slumber did my spirit seal"). They are a masterpiece of Romanticism: as sharp as a drystone wall; as fluent as a mountain stream; as clear as a March morning ; as wild as a upland wood.

His other definition of poetry "emotion recollected in tranquility" defined his later work but Wordsworth never really lost this visionary wildness. In old age he declared he loathed the Whigs but still "have much of the Chartist in me" and he must be the only Poet Laureate who secured an agreement not to actually write any laureate poems. But these dazzling early pieces can get lost behind the later establishment figure. We try to recreate their weird and experimental first appearance for a modern audience, performing over a nervous contemporary beat.

The simple folk ballad metre was a rootsy innovation at the time, reversing the classical formality and by then tired artificiality of the previous ('Augustan') age of reason and 'art' which Wordsworth and Coleridge helped to blast open with feeling, folk-magic and nature. The language is not 'Poetic' but that really used by ordinary people, the imagery sparse (when used at all) and when used natural and simple ('fair as a star when only one...') yet vivid and original ('a violet by a mossy stone'). But the most powerful thing about these love poems is the colossal emotional charge handed to single rhyme-emphasised words - 'trees', 'me', 'be' (such a tiny word conveying such enormity) at the end of lines and verses; not to mention that impossibly expressive 'oh'. There is nowhere in this naked language for a performer to hide. 

That's a real peacock adding its tale at the start and recurring.
lyrics
Strange fits of passion have I known,
And I will dare to tell,
But in the lover's ear alone,
What once to me befel.

She dwelt among the untrodden ways
Beside the springs of Dove,
A Maid whom there were none to praise
And very few to love.

A violet by a mossy stone
Half-hidden from the Eye!
—Fair, as a star when only one
Is shining in the sky.

She lived unknown, and few could know
When Lucy ceased to be;
But she is in her Grave, and, oh,
The difference to me!

credits
from Poachers on the Common (LP), track released September 30, 2021 https://peacocks-tale.bandcamp.com/album/poachers-on-the-common-lp
Lake District photography by Bhas Allan

Weirdsworth's Lucy

رستاک حلاج با صدای مهدی یراحی

Az Khodet Khabar Biar - از خودت خبر بیار

اجرای زنده پالت - تالار وحدت - خرداد ۹۵

پالت - صدایم کن (اجرای زنده)

Mohsen Namjoo - Alaki - 02 - Halal Halaa Saadi

کجا بود آن جهان

چَشیای ناز ِمَسْتُشْ ، وَ یَه غَمْزَه خارُم اُشکُ
بَخدا که هِسکَه نادِین، چه وَ روزگارُم اُشکُ

گَپیای دِلنِشینُش ، وَ خَشی چُن بَرُن دِن
وَ لِطافتِ کَلومُش، هَمَه آیه بارُم اُشکُ

مُ اُمیدُم از خدا دِن ، که مُگِی خداش بِبِنِم
چُنِ مُرغ شَو کِه تَنهان ، مُگَه غُصَّه خارُم اُشکُ

چُن خُشْ کسی نَنی دِن ، چُن صورت جَمیلُش
که گناهِ بُت پَرستی ، وَ مه طرحُ کارُم اُشکُ

اِ نَه دستِ سَرنُوشتِن ، که مو اِندِه بی نوا بِم
تِه دل مو خار محنت ، گل دست یارُم اُشکُ

عَسَل ِکپ شیرینُش، چُنِ سینه ی مَمْامو
شَتِه کَپ نَدِم خُدایا ، گِنَه ای تبارُم اُشکُ

اگَه زندگیم نَشابی ، چه بُگُم کَرِ خُدا دِن
زِرِ خاکِ پاکِ بَستَک ، وَ خَشی مزارُم اُشکُ
www.achomestan.com

Daste-sarnevesht-دست سرنوشت -ابراهیم منصفی

Mohsen Namjoo - Hin Kajo Rast
محسن نامجو - هین کژ و راست
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این اثر قطعه‌ایست از آلبوم اول محسن نامجو با نام "دماوند" که در زمان خود منتشر نشده بود و به تازگی در اینترنت منتشر شده است