scholarly journals سبک ادبی مجموعه شعری «درغارهای پر از نرگس» علی باباچاهی The Literary Style of Ali Baba Chahi’s collected poems In Caves full of Daffodils

2020 ◽  
Vol 0 (42) ◽  
pp. 286-307
Author(s):  
Biyash Jabbar Zyarah ◽  
Keyword(s):  
Critical Analysis ◽  
Persian Literature ◽  
Literary Style ◽  
Persian Poetry ◽  
Postmodern Poetry

ادبیات فارسی معاصر در گستره پهناور خویش در بردارنده سبک ها و روش و نوآوری ها و نمودهای گوناگونی است یکی از عرصه های شعر فارسی معاصر که در حدود نیم قرن پیشینه اش اندک اندک جای خویش را باز می نماید شعر پست مدرنیسم است. علی باباچاهی از سرآمدان شعر پارسی در عرصه پسا نیمایی و پست مدرن محسوب می گردد. این پژوهش بر آن است تا با مطالعه در مجموعه شعر در غارهای پر از نرگس، به ویژگی های سبکی عمومی وهمچنین نوآوری ها و خلاقیت های سبکی که باباچاهی در این اثر، پایه نهاده است دست یابد. در نتیجه این پژوهش بسیاری از اختصاصات سبکی شعر پست مدرنیستی باباچاهی با پختگی و کمال بیشتر، نمایان می گردد وافزون بر آن شناخت بیشتری در زمینه نقد و بررسی تحلیل سبک شناسانه کتاب در غارهای پر از نرگس فراهم می گردد. Abstract Post Modern Persian poetry that is rich with visions and creations has slowly but firmly regained its statues in modern Persian literature and poetry. Ali Baba Chahi is considered one of Iran’s most prominent postmodern and post-Nimaie writer and poet. The present paper discusses the general style characteristics as well as the distinctive stylistic creations of Ali Baba Chahi as presented in his collected poems In Caves full of Daffodils. In conclusion, the study crystallizes some of the stylistic characteristics of Ali Baba Chahi as a leading figure in postmodern poetry. The study, also, provides a comprehensive critical analysis of the collection of In Caves full of Daffodils.

scholarly journals Sabk-e Hendi and the Crisis of Authority in Eighteenth-Century Indo-Persian Poetics

2016 ◽  
Vol 9 (1) ◽  
pp. 60-82 ◽  
Author(s):  
Arthur Dudney
Keyword(s):  
Eighteenth Century ◽  
Literary Criticism ◽  
Native Speakers ◽  
Literary Culture ◽  
Persian Literature ◽  
Literary Style ◽  
Persian Poetry ◽  
The Many

Modern debates over the merits of the so-called Indian Style (Sabk-e Hendi) in Persian literature, which was dominant from the late sixteenth to early nineteenth centuries, have been based on problematic assumptions about how literary style is tied to place. Scholars have often therefore interpreted the Persian literary criticism of the first half of the eighteenth century as a contest between Indians who praised Persian texts written in India and Iranians who asserted their privilege as native speakers to denigrate them. A more nuanced reading suggests that the debates mainly addressed stylistic temporality, namely the value of the writing styles of the “Ancients” (motaqaddemin) versus the innovative style of the “Moderns” (motaʾakhkherin). In the thought of the Indian critic Serāj al-Din ʿAli Khān Ārzu (d. 1756), there is clear evidence of a perceived rupture in literary culture that we can call a “crisis of authority.” Ārzu was concerned because Persian poetry had been judged according to “sanad” or precedent, but poets—both Indian and Iranian—were composing in a relatively new style (tāza-guʾi, literally “fresh speech”) that routinely went beyond the available precedents. All poets who know Persian well, he argued, including Indians, are allowed to innovate. While there was obvious rivalry between Persian-knowing Indians and the many Central Asians and Iranians settled in India, the contemporary terms of the debate have little in common with the later nationalism-tinged framing familiar to us.

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.

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.

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.

scholarly journals The authorship of the poem ‘Ushshaq-nama from the prospect of academic orientalist studies and modern computer technologies

2020 ◽  
Vol 3 (5) ◽  
pp. 1360-1378
Author(s):  
V. A. Drozdov
Keyword(s):  
Computational Methods ◽  
Point Of View ◽  
Computational Method ◽  
Persian Literature ◽  
Full Field ◽  
Religious Context ◽  
Modern Computer ◽  
Persian Poetry ◽  
The Subject ◽  
The Creation

The poem ‘Ushshaq-nama by Fakhr ad-Din ‘Iraqi (610–688 / 1213–1289) is the first poetical writing on the subject of mystical love in Persian literature. ‘Iraqi’s authorship of this work has never been questioned by researchers. However, the English orientalist J. Baldick 1973 cast a doubt on ‘Iraqi’s authorship of this poem. The article examines in detail the arguments of J. Baldick both from the point of view of the context of the creation of the poem, as well as the methods of the latest computational methods, in particular stylometry. Boldik's arguments concern both the historical and religious context in which ‘Iraqi lived and the peculiarities of his works, primarily the poem‘Ushshaq-name. The paper demonstrates that this computational method may be used for the study of the features of the style of Persian poetry and the confirmation of the authorship of doubtful Persian writings. Further expert decision full-field by Artjoms Šeļa based on stylometric methods for the establishment of the poem ‘Ushshaq- nama is expounded. While the results of the analysis of the historical and religious contexts of the poem may serve as confirmation of the authorship of ‘Iraqi and the refutation of the Baldick hypothesis, the results of the stylometric analysis do not give an unambiguous answer to the question of its authorship.

scholarly journals An Apology for Flowers

2017 ◽  
Vol 5 (1) ◽  
pp. 31
Author(s):  
Mehdi Aghamohammadi
Keyword(s):  
Present Article ◽  
Critical Reflection ◽  
Female Sexuality ◽  
Persian Literature ◽  
Persian Poetry ◽  
The Common

Prompting critical reflection on the common claim that flowers are always symbolic of female sexuality, the present article intends to explore symbolic roles of flowers in Persian literature and provide examples, mainly from Persian poetry, with the aim of refuting the claim. The writer, in fact, attempts to highlight overshadowed facets of flower symbolism by overshadowing carnal and ignoble readings of it. The reason why Persian literature has come into the focus of this study is that flowers have always had a prominent role in Iranian culture and Persian literature; however, those delving into flower symbolism have never paid due attention to the significance of flowers in Persian literature, otherwise they would have never placed undue emphasis on the sexuality of flowers.    

scholarly journals Persian Love Poetry

2008 ◽  
Vol 25 (1) ◽  
pp. 136-138
Author(s):  
David Armani ◽  
Louise Gormley
Keyword(s):  
Art History ◽  
Family Members ◽  
British Museum ◽  
Social Consciousness ◽  
Modern Poetry ◽  
Love Poetry ◽  
Persian Literature ◽  
Persian Poetry ◽  
The World

This little book is a beguiling collection of Persian love poems drawn fromboth classical and modern poetry, but united by the theme of love in its myriadinterpretations. Included are poems that explore the spiritual lovebetween humans and God, the magical love between lovers or spouses, theaffectionate love between family members and between friends, and eventhe patriotic love for one’s homeland. Each poem is accompanied with a preciousPersian chef d’oeuvre from the British Museum and, in particular, numerous illustrations of Persian miniatures. The editors come to this subjectwith vast expertise: Vesta Sarkhosh Curtis is curator of Islamic andIranian coins in the British Museum, and Sheila R. Canby is an assistantkeeper in the British Museum specializing in Islamic Iran. Both have publishedon Persian art, art history, archaeology, and myths, among other topics.Their aim is not to produce a well-researched and exhaustive collectionof Persian love poetry, but rather “to encourage readers to delve further intothe wealth of Persian literature” (p. 5). With its modest aim of capturing theinterest of novice western readers, theirs is a delightful book that charms itsway to success.As explained in the “Introduction,” Iranians and other Persian (Farsi)speakers treasure poetry not only because of the beauty of the poetic languageitself, but also because they derive joy and comfort from the poets’ perspectivetoward the world. The most famous Persian poets often have a mystical(Sufi) viewpoint toward life, whereby passion is a path to reach God and thetruth. Interwoven into the people’s social consciousness, poetry holds arevered place in Persian culture. A single verse from the best-known Persianpoems can capture an idea with elegant brevity. Iranians and other Persian(Farsi) speakers still recite poetry as a succinct and powerful way to expressa point, thought, or emotion. To explain how deeply embedded poetry is inthe Persian psyche, many oft-quoted proverbs draw much of their meaningand message from Persian poetry ...

scholarly journals The Effects of Kindness in Saadi's Bustan

2018 ◽  
Vol 8 (9) ◽  
pp. 1208
Author(s):  
Nasrin Mozaffari ◽  
Faranak Siyanat ◽  
Mina Khubanian ◽  
Ali Akbar Khansir
Keyword(s):  
World Literature ◽  
Persian Literature ◽  
Persian Poetry ◽  
The World ◽  
Human World

This study intends to highlight the effects of kindness in one of the best literature and poetry books called "Bustan" in the world. Every poetry is a model of culture and civilization to the human world.  Persian literature is one of the richest literatures over the world. Persian poetry is one of the most fruitful branches of the world literature in the area of aphorism. One of the main topics of aphorism is about kindness which is typified in its greatest mood in Saadi's Bustan. Kindness and love are good ethos which has been recommended to man in all of the moral Scriptures. Understanding the effects of kindness is the least thing a man can do to foster a spirit of love in him and others. Therefore, choosing this book, ''Bustan'', which is full of the effects of kindness, is one of the best choices. The main aim of this article is to investigate the effects of kindness from Saadi's viewpoint in "Bustan,".

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

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