Persian Literature Research Articles

SADİ-Yİ ŞİRAZÎ’NİN AŞK VE SABIR ÜZERİNE BİR TERCİİBENDİ

Saʿdi Shirazi, who lived between VI-VII. (XII-XIII.) the centuries is one of the greatest poets of Persian literature. He was born in Shiraz in 606/1209. The full name of him is Abu Mohammad Mosharref-al-Din Mosleh b. ʿAbd-Allah b. He used the pen name Sa‘dî in his poems. Youth of the poet who was born during the period of the Salghurids coincided with the Mongols invasion period. The poet has important works that have greatly influenced and resonated in both Eastern and Western literature. The poet wrote both poetic and prose works. His Kolliat is a pretty important work as well as his world-renowned works of Gulistan and Bostan. He based all of his works on a didactic moral and sentimental basis. As can be understood from both his works and the sources that mention him, he traveled to Iraq, Hejaz, Damascus, Lebanon, North Africa, Anatolia and even the Far East and he talked with the notable people of the that period and the in those lands. After his 30-year journey, he returned to Shiraz and died here (690/1291). In this study, after giving shortly information about Saʿdi's life and literary personality, the Persian text of his love and patience Tarjı-Band in his Kolliat was written and translated into Turkish and it was examined in terms of literary arts and grammar. This is known as the only Tarjı-Band, other than the Tarjı-Band, which Saʿdi said as elegy upon Sa‘d b. Ebi Bekr’'s death and it is the subject of love and patience for the troubles of love. Tarjı-Band is a type of poetry in Persian poetry, which consists of several verse in the same meter and different rhythm. Some information was given in the annotation about the proper names and some issues in the Tarjı-Band.

An Overview of Life and Works of Jami & His Perception of Love

Abd al-Rahman Jami (817/1414- 898/1492) is regarded as the last grand classical poet of Persian literature and a great Sufi of his time. Towards the end of his life, he compiled his <em>Divan</em> in which one can trace his life pattern that he has divide into three main phases. These include: 1) the period of his childhood and early phases of education, which is reported in <em>Fātiḥah al-Shabāb</em>; 2) his mid-life phase as elaborated in <em>Wāsiṭah al-‘Aqd; </em>and, 3)<em> </em>the last stage of his life, discussed in <em>Khātimah al-Ḥayāt. </em>In<em> </em>the latter, Jami tends to evaluate his life span in search of elixir of salvation. This search led him to an elevated stage of self-realization where he questioned his previous actions and all that which he was praised for, i.e. a prolific writer, an imaginative poet, and a distinguished commentator of Sufi thought. This spiritual self-assessment eventually directed him to the path of ‘love’ – the transforming power that reveals the essential meaning of life, realization of the inner divine self, and that which could bring about union with God. This paper intends to trace Jami’s transformation of thought, character and worldview. It begins with a bibliographical account followed by an elaboration of the three phases of Jami’s life, his status as a poet, a melting pot of Sufism, and, finally his perception of true love and its transforming and purifying effect on the seeker of truth.<strong></strong>

DEVELOPMENT OF THE MEDIA VOCABULARY IN IRAN

The research is aimed at determining the relationship between the scientific and oral discourse of various Iranian television programs and the development of Persian vocabulary in the media before and after the revolution. Colloquial vocabulary (spoken language and sometimes slang) makes up a significant part of the general vocabulary of Iranian television. It differs from oral literature at all linguistic stages. Professor of Moscow State University V. At the 3rd International Symposium of Teachers of Persian Language and Literature Ivanov noted the absence of recommendations for the study of Persian oral speech (2002). He also talked about the importance of Persian language scholars watching Iranian films. But there is a problem: even students studying Persian for 3 years could not understand the speech on the screen. This suggests that you should pay attention to the Persian spoken language, as well as its vocabulary and phraseology.

The Jewish Ḥāfeẓ: Classical New Persian Literature in the Judeo-Persian Garšūni Literary Tradition

AbstractThe immensity of the corpus and diversity of genres of Classical New Persian in Judeo-Persian garb is remarkable, comprising a wide-ranging multitude of genres from translations of the Tanakh and rabbinic works to chronicles, lexicographies, religious poetry, translations of medieval Hebrew poems, and a large corpus of non-Jewish Classical Persian literature transcribed in Hebrew script. Yet, Judeo-Persian literary corpora remain incompletely catalogued as well as unsatisfactorily studied. While detailed studies of the genres of Judeo-Persian literature-in-transcription, as well as comparisons with literature in the common Perso-Arabic script, are still desiderata, this article aims to undertake a preliminary survey of the extant Judeo-Persian versions of the Dīvān of Šams od-Dīn Moḥammad Ḥāfeẓ of Shiraz (d. 792/1390) and address some contextual aspects of its popularity among Iranian Jewry.

Anger and Atonement in Mughal India: An alternative account of Akbar's 1578 hunt

AbstractAnger as an emotion is seldom attributed to Akbar (r. 1556–1605), the most admired of the Mughal emperors. Yet, on one notable day in 1578, he allegedly got so enraged that he almost lost his mind, according to Dalpat Vilas, an obscure chronicle composed in the vernacular. While the aftermath of Akbar's anger was reported in several Persian histories emanating from court circles, the royal rage itself was not. Why and how Dalpat Vilas ascribed anger, not only to the emperor but also to the local king, Raja Ray Singh of Bikaner, is the central issue addressed here. What little we know about the history of anger in precolonial India indicates it was an emotion that kings were advised to avoid, in both Sanskrit and Persian literature. But, from the more subaltern vantage point of Dalpat Vilas, written for a young Rajput warrior in a local dialect, rulers did act angrily and not always justly. This case illustrates the historiographic value of Indic-language texts sponsored by local subordinates of the Mughals, which can provide alternative perspectives on the empire. It also suggests the existence of multiple emotional communities in Mughal India, in which the significance of anger differed.

Poetry, satire, and self in the post-constitutional Iranian-Jewish periodical Ha-Hayyim

ABSTRACT The Iranian-Jewish newspaper Ha-Hayyim represented a high point of Jewish engagement with the wider public sphere in the late Qajar period. Its modernizing agenda saw it and its editor Shemuel Hayyim become subjects of controversy as Jews debated their political future in Iran. This article examines four poems featured in Ha-Hayyim as a means of illuminating a period of Jewish literary creativity mostly neglected by scholarship. The paper explores the poems as literary and historical texts and outlines the writers’ employment of modern literary techniques, comparing them with contemporary Iranian writing in Persian and Hebrew. Jewish literary engagement with Persian literature represents an important linguistic and political self-assertion in a dynamic cultural environment. The article pursues the poems’ overlapping treatment of Zionism and constitutionalism, examining how the two ideologies informed each other, and argues for a literary optic to the well-documented antagonism between Hayyim and his political rivals.

НАВОИЙ ВА АТТОР1(II қисм)

Corresponding member of the USSR Academy of Sciences, Doctor of Science, prof. E.E. Ber-tels substantiated with many theoretical and factual materials the originality of Alisher Navai’s poetry in his monograph "Navai and Attar", since when this monograph was written, Alisher Navai was considered not a poet, but a translator-imitator of the Persian-classical literature in Western European literature. "Navai and Attar" consists of three parts. The first part substantiates the relativity of the connec-tion between the Turkic literature and the Persian and the fallacy of the widespread opinion regard-ing the inferiority of the Turkic literature. The second part defines the purpose and tasks of writing the poem "The Language of Birds" by Alisher Navai and describes his attitude to his predecessor, the Persian poet Fariduddin Attar. The third part belongs to line by line comparison of the poems by F. Attar "Mantik ut - tayr" and A. Navai "Lison ut - tayr". Conclusion proves that Alisher Navai was an original and unsurpassed poet of oriental literature.Key words: academy of sciences, literature, Turkic literature, Persian literature, Western Eu-ropean literature, poet, translator, imitator, orientalist, scientific study of Navai, monograph, the purpose of recreating the poem

The Translator-text Interaction Based on Gadamer’s Theory of Fusion of Horizons: A Case Study of Translations of Romantic Poetry into Persian

Love of poetry has a long history among Iranians, so is the case with translation of poetry in their recent attempts. Thus, the significant number of translations has been made from Western poems. British Romantic poetry, as one type of Western poetry, has been translated since the beginning of poetry translation in Iran. This paper aims to investigate the translations of the British Romantic poems diachronically, the translations published in the 20th century, before the Revolution of 1979, and synchronically, the Romantic poems translated in the 21st century, the post-Revolutionary period. To fulfill the purpose, Schäffner’s theory of translation competences was applied to reveal which century met them more adeptly. For the linguistic competence, besides the text analysis of all translations, the number of the parts of speech of four translations attributed to a poem was counted and compared to the number of the original poem to verify the result. The analysis of the competences, as one of the tools of translation assessment, proves the attainment of Gadamer’s theory on the fusion of horizons for translators. The examination indicates that the translation competences are more developed in the translations of the 21st century. Therefore, in this century, translators achieve the fusion of horizons more effectively, and the translation trend of British Romantic poetry has improved.&#x0D; Keywords: Poetry translation, British Romantic poetry, Translation competence, Fusion of horizons, Persian literature, The Revolution of 1979.

تأثیر الرمز الصوفي في الشرق الأقصى على الأدب الفارسيّ المعاصر قراءة مضامین مذهب (زِن بوذا) في شعر (سهراب سبهري)

یعد الشاعر (سهراب سبهري) من الشعراء المولدين الذين يمتازون بأسلوب خاص، وقد استفاد من الرمز الصوفي الخاص بالتصوف الشرقي؛ لإظهار منازل الإشراق والشهود الخاصة به، ونجد أنه عبر في شعره عن کافة العناصر الصوفية من ظواهر واصطلاحات بشکل رمزي وشاعري؛ بهدف إيصال مفهوم التصوف للقارئ بشکل مبسط وميسر قابلا للفهم، ومما يميز لغته الشعرية هو استخدامه رمزية خاصة يعبر فيها عن أحواله وتجلياته الصوفية، وکذلک تغنيه بالطبيعة، فهو يلجأ إليها طلبا لاطمئنان الروح وسکينتها، والتعلق بالطبيعة لدى (سهراب) ممزوج بالنظرة الشرقية لها، وجذور هذا التعلق ضاربة في أعماق تصوف الشرق الأقصى(اليابان)، فـ(سهراب) عاش في نصوص الثقافة الشرقية، وتأثر بعناصرها مما انعکس ذلک على شخصيته وشعره. The Influence of Sufi Symbol in the Far East on Contemporary Persian Literature Reading the Tenors of Zen Buddha's1 Doctrine in the (Sohrab Sepehri) Poetry Abstract The Iranian poet (Sohrab Sepehri) is considered one of the novice and stylist poets who have their own unique style. Actually, Sohrab has benefited from the Sufi symbol of the oriental eastern mysticism, in order to show its special brightening positions and statuses. Obviously, and through his poems, Sohrab has expressed all the aspects and elements of Sufi phenomena as well as idioms in a symbolic and poetic way, with a view to conveying the Sufism concept to readers in an easy and understandable way. It is worth mentioning that what distinguishes his poetic language is exploiting a special symbolism which assists him in expressing his conditions and Tajalli (self-manifestation), in addition to his praise of nature. Sohrab resorts and turns to the nature asking for reassurance of his soul. Sohrab’s harmony with the nature is combined with the Eastern view of it, the roots of this harmony is extremely obvious in the deeps of the Far East mysticism (Japan), where Sohrab lived in the eastern culture texts and writings, and he was affected and influenced by its elements, which directly reflected on Sohrab’s personality as well as his own poetry.

INFORMATION ON THE HISTORY OF DAGESTAN IN AN ANONYMOUS PERSIAN WORK OF 1126

Among the historical and geographical works of the XII century, researchers were less in demand for an anonymous monument, which is dated by scientists to 1126 and is called «Mujmal at-tawarih wa-l-kisas» («a Set of stories and narratives»). Despite the fact that this anonymous work has been known to the scientific world for quite a long time, V. V. Barthold has already given it a detailed description in one of his works, so far we have not seen its translation into European languages, as well as special studies on this monument. Russian and foreign scholars have focused on the description of «Mujmal at-tavarikh» either in the analysis of the corpus of monuments of the XII century, or in General works on the history of Persian literature or Seljuk historiography. In such studies, for obvious reasons, the authors have given «Mujmal at-tawarih» much less attention than it, from our point of view, deserves. At the same time, the anonymous essay, which will be discussed in this article, was analyzed, with rare exceptions, for the content of historical information in it. In the same article, we will be interested in both historical and geographical information that can be found in the framework of «Mujmal at-tavarikh» regarding Dagestan. Note that this kind of research is the first experience, at least we are not aware of other special works of this kind, the analysis of «Mujmal at-tawarih» for the presence of information in this source for the specified region. We will also be interested in possible historiographical connections between this work and earlier Arab-Persian historical and geographical monuments. Given the fact that this monument, as the researchers have already noted, is compiled, it seems to us an important scientific task to identify the above-mentioned connections. We hope that this article will increase the interest of researchers, both directly to «Mujmal at-tavarikh» and to the history of Dagestan in the pre-Mongol period.

Literary Criticism and Interdisciplinary Studies in Iran with a Closer Look at the Book Literary Theory and Criticism: An Interdisciplinary Textbook

Literary Theory and Criticism: An Interdisciplinary Textbook is written by Hossein Payendeh as a university textbook for master's degree course in Persian language and literature. It was first published in two volumes in 2018 by SAMT publications. Given the global importance of interdisciplinary studies in literature in recent decades as well as the need of the same in Persian literature, the current article makes an attempt to investigate the extent and manner of the application of interdisciplinary approaches in the aforementioned book. Taking into account historiographical and critical-analytical approaches, we could obtain a history of the theory and literary criticism in the West and then in Iran. This topic has also been presented in the official curriculums of Iranian universities. The form and structure of the book were studied after explaining the prevalence of the literary criticism discourse in Iran. In the section on reviewing the content, while enumerating the most important variables of the book, the relation of topics with the current situation of the theory and literary criticism in the West and Iran was explained and its contents drew the attention in order to confirm interdisciplinary studies in Persian literature. Based on the findings of this article, it can be argued that the publication of Literary Theory and Criticism: An Interdisciplinary Textbookwhile preserving the link with literary theories, indicating a break from those theories and turning attention to interdisciplinary studies in Persian literature. Its publication as an academic textbook can be considered as a turning point in academic literary studies in Iran.

Processed Syllepsis: a New Rhetorical Art in Persian Literature

اهل بلاغت استخدام را دارای سه حوزۀ استخدام تشبیهی، غیرتشبیهی و استخدام ضمیر می‌دانند. استخدام ضمیر بیشتر مربوط به زبان عربی است و در زبان فارسی کاربرد چندانی ندارد؛ اما دوگونۀ دیگر، در متون ادبی فارسی به‌وفور به‌کار رفته‌اند. در این پژوهش به سیر تعاریف استخدام از دیدگاه بلاغیون و چندوچون خلق استخدام تشبیهی و غیرتشبیهی پرداخته‌ایم و پس از ذکر نمونه‌هایی از دیوان برخی از شاعران ایهام‌پرداز، گونۀ تازه‌ای از صنعت استخدام را معرفی کرده‌ایم که در زیرمجموعۀ استخدام تشبیهی و غیرتشبیهی قرار می‌گیرد. تفاوت این گونۀ استخدامی با گونه‌های دیگر در این است که شاعر در بافت کلام استخدامی، با افزودن یک یا چند مورد ایهام در سطح لغت یا ترکیب، طرفین استخدام را در یک کلمه یا ترکیب جمع می‌کند و با این شگرد، سطح تأویل‌پذیری و چندمعنایی‌شدن جمله را ارتقا می‌دهد. این گونۀ نویافته، به‌لحاظ فشردگی صنایع بلاغی، نسبت به گونه‌های شناخته‌شدۀ استخدام، ارزش ادبی بیشتری دارد.

Politics of Evasion and Tales of Abjection: Postmodern Demythologization in Angela Carter and Ghazaleh Alizadeh

Angela Carter and Ghazaleh Alizadeh as the prophetesses of postmodern fairy tales in British and Persian literature re-narrativize these tales as a loophole from socio-political stagnation and cultural paralysis. Evading direct contact with the political jargons of their eras, they seek gender generativity via the fairy tale machine. Alizadeh finds refuge in modernizing Persian fairy tales. Carter chants her frustration at Thatcherism through gender subversion. Carter’s and Alizadeh’s revulsion at the politics of gender in their eras can be read via the duet between the abject and the chora in Kristeva’s thought. It is through the encounter with the external abject that the internal abject is activated culminating in the efflorescence of the chora. The liminality of the chora becomes the battleground on which poetics of gender beats off politics of logos through subversion and syncretism. While Carter obtains abjection through overt sexualization of fairy tales, Alizadeh resorts to indirection due to the political climate of her time. Unlike Carter who is quite outspoken about her fairy tale project, Alizadeh is reticent, allusive, and somber trying to remind her readers of the gloomy reality that being a woman in the Middle Eastern countries is always already punctuated with docility.

Persia in German Baroque literature—Sa‘dī’s Rose Garden and Adam Olearius’s embassy to Persia

Despite renewed efforts to establish world literature, most of the presently available theoretical models do not provide solid concepts as to the meaning and relevance of this approach. After a critical review of recent publications, this article analyzes a unique and most revealing case, the reception of medieval Persian literature (Sa‘dī) through translations into European languages beginning in the seventeenth century, primarily by the German diplomat, traveler, librarian, philologist, and linguist Adam Olearius. Here we can observe what truly constitutes world literature, with Sa‘dī serving as a major literary inspiration for early modern reflections on virtues and vices, relevant also for Western audiences. He was not a Christian, but the poet’s truly noble ideals were to have a deep impression on his future readers in East and West, especially since the early modern age.

НАВОИЙ ВА АТТОР1(I қисм)

Corresponding member of the USSR Academy of Sciences, Doctor of Science, prof. E.E. Bertels substantiated with many theoretical and factual materials the originality of Alisher Navai’s poetry in his monograph “Navai and Attar”, since when this monograph was written, Alisher Navai was considered not a poet, but a translator-imitator of the Persian-classical literature in Western European literature. “Navai and Attar” consists of three parts. The first part substantiates the relativity of the connection between the Turkic literature and the Persian and the fallacy of the widespread opinion regarding the inferiority of the Turkic literature. The second part defines the purpose and tasks of writing the poem “The Language of Birds” by Alisher Navai and describes his attitude to his predecessor, the Persian poet Fariduddin Attar. The third part belongs to line by line comparison of the poems by F. Attar “Mantik ut - tayr” and A. Navai “Lison ut - tayr”. Conclusion proves that Alisher Navai was an original and unsurpassed poet of oriental literature.Keywords: academy of sciences, literature, Turkic literature, Persian literature, Western European literature, poet, translator, imitator, orientalist, scientific study of Navai, monograph, the purpose of recreating the poem

Osamu Otsuka. “The Hazaraspid Dynasty’s Legendary Kayanid Ancestry: the Flowering of Persian Literature under the Patronage of Local Rulers in the Late Il-khanid Period”

Osamu Otsuka. “The Hazaraspid Dynasty’s Legendary Kayanid Ancestry: the Flowering of Persian Literature under the Patronage of Local Rulers in the Late Il-khanid Period”

Translation as Alienation: Sufi Hermeneutics and Literary Modernism in Bijan Elahi’s Translations

The history of Iranian modernism is inseparable from the history of literary translation. In most accounts of Iranian literary history, the translation of European literary works played a formative role in the redefinition of poetic discourse as well as in the introduction of new literary genres, such as the short story and the novel, to modern Persian literature. In his

ТРАДИЦІЯ СВЯТКУВАННЯ "ЯЛДА" В ІСТОРІЇ, ЛІТЕРАТУРІ ТА НАРОДНІЙ КУЛЬТУРІ ІРАНУ

This article deals with Yaldā, one of the most prominent national festivities of Iranian culture. It first reviews Yaldā's background in history and mythology, then examines the approach of various Persian-speaking poets to the concept of Yaldā, and finally studies some of the folklore related to Yaldā that is common in different regions of Iran. The main question presented is whether it is possible to determine a specific historical origin for Yaldā. In Persian literature, what have different poets said about Yaldā, and have they mentioned its roots? Is Yaldā important because it has roots in ancient rituals? Yaldā is celebrated at a time of year when in pre-Islamic times, religious festivals such as Khorramrooz and Azarjshan were held. Various sources that have spoken about Mithraism have also mentioned the celebration of the birth of God Mehr at the beginning of winter in ancient Iran. However, it is not possible to say with certainty exactly which of these celebrations Yaldā is stemmed from and it may have been influenced by any of them. It appears that the celebration of the first night of winter in ancient times had more religious aspects, but due to the roots of those celebrations in past religions, elements such as fire have faded in the Islamic period, and Yaldā rituals emphasize family gatherings. Without the support of official institutions, this tradition has been kept alive by the general public and classes such as farmers. The public does not mention the festivals of ancient Iran or Mithraism during the Yaldā ceremony, and these notions are only encountered in articles and books. Today, the concepts associated with Yaldā are the emphasis on the importance of family and intimate relationships, friendship and reconciliation, and the importance of nature.

A reflection on Attar Neyshabouri's Masnavi illustration

Image or imagination, ink and paste are the main themes of poetry, and since the end of the sixth century, which is one of the most fertile periods of Persian literature, the poets of this period freely imposed many poetic fantasies on Persian literature, And for centuries, with various acquisitions, they were influential in the poetry of the poets of the generations after them (Shafiee, 1999, pp. 404 and 405). The use of abstract and difficult philosophical and philosophical concepts in mystical poetic works has been common in various ways and forms in the form of allegorical anecdotes, educational stories and moral sermons. And provides various perspectives for the study and evaluation of such works. Attar Neyshabouri also believes that the world is a picture of the beauty of truth that reflects all the beauties of the beloved in itself, and one can easily see the attributes of beauty in the world and creatures. Since Attar Neyshabouri is both a poet, a Sufi and a sage, his works can be examined from three mystical, philosophical and literary perspectives. Attar Neyshabouri's works, such as his Masnavi, are among the mystical works in which the poet has used legal and philosophical themes and terms in accordance with the subject. He has also benefited greatly from the elements of imagery in order to make his words effective. In this discourse, the method of illustration and the method of using the elements of imagination, such as simile, metaphor, permission, irony, have been evaluated.

A review on historical aspect of vitiligo

Vitiligo is a common hypomelanotic disorder of skin characterized by circumscribed depigmented macules of different size. It is due to progressive loss of melanocytes from the affected area of skin. Multiple factors are responsible for the development of vitiliginous patches, like auto immunity and genetic factors. According to our various Unani atibba (Unani physicians) it is due to excess of khilt e balgham (phlegm) in blood, change in the temperament of skin and weakened quwatte mughaiyarah are the main cause behind this diseases. The description of this disease is also found in Vedas, Quran, Bible, Egyptian literature and in Persian literature which shows that vitiligo is not new for humans. Though it is also very much clear that no permanent cure is available till date. In this review we look at back and to bring the history of this disease in this paper.