A Qasida by Rudaki

1926 ◽  
Vol 58 (2) ◽  
pp. 213-237 ◽  
Author(s):  
E. Denison Ross
Keyword(s):  
Long Poem ◽  
Persian Literature ◽  
Persian Poetry ◽  
History Of

In the course of an article I published in this Journal (October, 1924) entitled ‘ Rūdakī and Pseudo-Rūdakī ’ I referred to a long qaṣīda beginning with the words ‘ mādar-i-may’, which has been commonly attributed to Rūdakī, but could not be definitely assigned to that poet until the identity of the mamdūḥ Abū Ja‘far Aḥmad b. Muḥammad had been established. Moreover, Riẓā Qulī Khān, who quotes a few verses from it, was persuaded that the poem was not the work of Rūdakī but of Qaṭrān. I pointed out that I had not found it anywhere else attributed to Qaṭrān, and that the mamdūḥ was certainly not among the patrons of this poet. Thanks to my learned friend Mīrzā Muḥammad Khān of Qazwīn, the question has now been finally disposed of, and the qaṣīda is proved beyond doubt to be the work of Rūdakī. This discovery is of the highest importance for the history of Persian literature, as the qaṣīda represents the only genuine long poem of the “ Father of Persian Poetry ” which has hitherto been found. I naturally wish to disclaim any credit for the discovery, and the notes I now give and the edition of the poem which I print below are due entirely to the learned Mirza Muhammad.

scholarly journals Outdated Humanism and Literary Authority as Threats to the Popularity of Ahmad Shāmlu’s Poetry

2019 ◽  
Vol 10 (1) ◽  
pp. 117
Author(s):  
Saeid Rezvani
Keyword(s):  
Structural Quality ◽  
Special Relationship ◽  
Literary Authority ◽  
Persian Literature ◽  
Distinctive Character ◽  
Persian Poetry ◽  
History Of ◽  
Contemporary Work ◽  
A Minor ◽  
Relationship Of

Shāmlu belongs to the few poets of the modern Persian poetry, who can be called neoclassical, namely, those whose work has a distinctive character and who are influential in the history of modern Persian literature. These special characteristics of Shāmlu’s poetic features together with his socio-cultural and political vision as manifested in his poems had excessively allowed for his oeuvre to be popularized, forming a large crowd of admirers who even tried to mythologize his character and art. Shāmlu’s enthusiastic admirers, moreover, insist that his poetry is everlasting and even immortal. This article claims that critics should not function as judges of history, declaring a contemporary work of art as an immortal artefact. To this light, the article will argue that Shamlu’s innovation in poetry is not just linguistic, but rather an element that signifies his intellectual superiority. Moreover, the article examines two characteristics of Shāmlu’s poetry, which could probably endanger the popularity of his poems with future generations. It, therefore, first explores the authoritative position of the poet vis-à-vis his audience; and then examines the special relationship of humans with nature.INTRODUCTIONIn the modern Persian poetry, Ahmad Shāmlu is best seen as a neo-classist whose poetry bears a distinctive structural quality, allowing for the work and at once the poet to emerge as historico-literary markers. The elements that had pushed Shāmlu’s poetry to such literary significance are as follows:- Shāmlu is one of the few poets with a distinctive language of his own. While some scholars find Nimā Yushij as the progenitor of modern Persian poetry, Shāmlu belongs to a minor crowd with a rather personal and particular language and lingual authority. Shāmlu’s take on language, the sort which is regarded as a combination of the 4th and 5th century prose (Barāhani, Qāleb-e sheʻr-e Shāmlu, p. 895) with contemporary features and even slangs and colloquial discourse (Rezvani, pp. 179, 185-187), appears as one of the accepted poetic languages of the modern Persian poetry. Considering the notable number of current modern Persian poets who had borrowed from “linguistically authoritative” poets, one can understand Shāmlu’s

The Preparation of a Bio-Bibliographical Survey of Persian Literature

1972 ◽  
Vol 3 (2) ◽  
pp. 169-186
Author(s):  
Yu. E Borshchevsky ◽  
Yu. E. Bregel
Keyword(s):  
Central Asia ◽  
Late Development ◽  
Persian Literature ◽  
The Caucasus ◽  
Iranian Studies ◽  
History Of ◽  
Bibliographical Survey ◽  
Eastern Turkestan ◽  
History Of Literature ◽  
Source Materials

The history of literature in Persian has not been sufficiently studied although it is almost twelve centuries old, and was at times in widespread use in Afghanistan, Eastern Turkestan, India, Turkey and the Caucasus, as well as in Iran and Central Asia. The comparatively late development of Iranian studies and the condition of source materials are to blame for this situation.

The Politics of Writing in Iran: A History of Modern Persian Literature

2000 ◽  
Vol 74 (3) ◽  
pp. 684
Author(s):  
William L. Hanaway ◽  
Kamran Talattof
Keyword(s):  
Persian Literature ◽  
History Of

scholarly journals The first ghazal of the Divan of Ghalib

2021 ◽  
Vol 4 (5) ◽  
pp. 1323-1351
Author(s):  
Natalia I. Prigarina ◽  
Ludmila A. Vasilyeva
Keyword(s):  
Dimensional Analysis ◽  
Poetic Form ◽  
Persian Poetry ◽  
Great Poet ◽  
History Of ◽  
The Creation

The article offers a multi-dimensional analysis of the first ghazal from the Urdu Divan by the Indian classic poet Mirza Ghalib (1797–1869). Ghalib wrote in two languages – Urdu and Persian, but it was the completion of the Urdu Divan that made him a great poet. The article presents the history of the creation and publication of the Divan, as well as discusses its sources. The authors focus on the complexity of the style and the richness of poetic themes, images and writing techniques. They also discuss the Sufi component of the first ghazal of the Divan, thus highlighting the poetics of the ghazal. The “opening” ghazal, which is placed at the beginning of a divan usually takes over the function of the hamd, i.e. the eulogy to the Creator, which is typical for a traditional introduction to a large poetic form. However, in Ghalib’s ghazal, this praise comes in a paradoxical form, which is caused by Ghalib`s high criteria of humanism and dignity. The analysis of the first ghazal helps in many ways to understand the creative credo typical for all of Ghalib's poetry, as well as the difficult path the poet had taken, while continuously improving his art of “hunting” for a poetic word. The ghazal is discussed in the context of Ghalib’s other Urdu and Persian poetry, as well as of Sufism that prevailed in India of Ghalib’s time.

scholarly journals Persian Poetry and Wine in its Place

2017 ◽  
Vol 6 (7) ◽  
pp. 35
Author(s):  
Ali Mamkhezri ◽  
Kamran Pashaee-Fakhri ◽  
Parvaneh Aadelzadeh
Keyword(s):  
Persian Literature ◽  
Persian Poetry

In the Persian literature “wine” is divided in to three sub-categories:  mystic, true and literary. The true wine is used in texts, where the intention is to show the pleasures of life, whereas in some philosophical and mystic texts such as the story of Zartosht and Goshtasb, drinking wine and Haoma juice. results in achieving knowledge and cognition and being prepared for making important decisions .Sometimes it was only used ritually and not drunk and this made them to discover the unseen and unknown secrets. Therefore, on can classify the true wine- which is also called natural win - in to two groups: natural festive and natural Hikmah/philosophical wines. Basically, they differ in their usages. The first one drunk for joy and pleasure and the second one to reach knowledge and cognition.

Introduction

2021 ◽  
pp. 1-11
Author(s):  
Nerina Rustomji
Keyword(s):  
Twentieth Century ◽  
American Literature ◽  
Online Media ◽  
Islamic History ◽  
Early Twentieth Century ◽  
Persian Poetry ◽  
History Of ◽  
Time Region

The houri, the pure female companion of Islamic paradise, is a cosmic figure who has inspired interpreters across time, region, and language. The introduction presents the prevalence of the houri in print and online media and the vast and complex set of historical reflections about the houri. Houris appear in genres of Arabic theology and Arabic and Persian poetry, but they were also frequently found in English and American literature until the early twentieth century. The history of the houri is not an exclusively Islamic history. The Introduction also discusses theories about the houri’s origins and provides an overview of the chapters in the book.

The Politics of Poetics in Early Qajar Iran: Writing Royal-Commissioned Tazkeras at Fath-ʿAli Shāh’s Court

2017 ◽  
Vol 10 (2) ◽  
pp. 129-157 ◽  
Author(s):  
Naofumi Abe
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Seventeenth Century ◽  
Reciprocal Relationship ◽  
Persian Literature ◽  
Early Nineteenth Century ◽  
Royal Court ◽  
Literary Movement ◽  
Persian Poetry ◽  
Late Eighteenth

Abstract The middle of the eighteenth century reportedly witnessed the emergence of the new literary movement in Persian poetry, called the “bāzgasht-e adabi,” or literary return, which rejected the seventeenth-century mainstream Indian or tāza-guʾi style. This literary movement recently merits increased attention from many scholars who are interested in wider Persianate cultures. This article explores the reception of this movement in late eighteenth- and early nineteenth-century Iran and the role played by the Qajar royal court in it, mainly by the analysis of a specific sub-genre of tazkeras, called “royal-commissioned tazkeras,” which were produced from the reign of the second Qajar monarch Fath-ʿAli Shāh onward. A main focus will be on the reciprocal relationship between the court poets/literati and the shah, which presumably somehow affected our understanding of Persian literature today.

Poetry and the History of Citrus: Interpreting a Long Poem

2012 ◽  
Vol 2011 (29) ◽  
pp. 146-164
Author(s):  
Xiaogsheng Zeng
Keyword(s):  
Long Poem ◽  
History Of
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