Journal articles: 'Persian poetry'

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Farhad Ahmad and Dr.Gohar Noshahi. "Ahmed Shamlo: Introductory Study." Dareecha-e-Tahqeeq 2, no. 1 (March 21, 2022): 1–11. http://dx.doi.org/10.58760/dareechaetahqeeq.v2i1.12.

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Persian literature is very rich literature of the world. Persian poets introduced a special identification in the world. Ahmed Shamlo one of the v renowned poet in persia. He bears a significant position in modern Persian poets. He is especially known due to his restive writing style in Persian poetry . This is an initial and interdictory essay pertaining to Ahmed Shamlo

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Armani, David, and Louise Gormley. "Persian Love Poetry." American Journal of Islam and Society 25, no. 1 (January 1, 2008): 136–38. http://dx.doi.org/10.35632/ajis.v25i1.1503.

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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 ...

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Zulyeno, Bastian. "Sastra Sufistik Persia; Citra Kehidupan dalam Masnawi Maknawi Karya Jalaluddin Rumi." EDUCULTURAL: International Journal of Education, Culture and Humanities 1, no. 1 (August 21, 2018): 40–45. http://dx.doi.org/10.33121/educultur.v1i1.28.

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Persian literature has been developing since hundreds of years BC, this can be seen from the Zoroastrian or "Avesta" holy books. This book contains mostly about the praise and greatness of the Lord "Ahuramazda" written in the form of poetry. The name Avesta itself comes from the name of the writing and the language used in this book, therefore the researchers named this holy book with the name Avesta. Avesta is the root of ancient Persian before Parthi, Soghdi and Pahlavi. One of the scientific traditions inherited by the Persians is the science of Tasawwuf and Sufistic literature is the biological child born of him. Persian land has long been fertile with Sufism thought with its typical eastern imagination. One of the Persian maestros whose thinking was global was Jalaluddin Muhammad ibn Sultan al Ulama Bahauddin Muhammad ibn Huasain ibn khatibi Bakri Balkhi who was better known as Rumi and all the works he left behind used Persian. Sufistic or mystical literature is a work produced by Sufi poets or a wise person whose poetry is based on his Sufistic experience. This paper discusses the main theme based on several verses of poetry contained in the Masnawi Maknawi of the great works of the great Persian Sufi of the 13th century.

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Khan Khattak, Dr Satar. "Comparative Study of Allama Iqbal’s Urdu and Persian Composition of ode." DARYAFT 14, no. 01 (October 31, 2022): 87–110. http://dx.doi.org/10.52015/daryaft.v14i01.213.

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Allama Muhammad Iqbal started his poetry from Urdu ode or amatory verses. But very soon he started his poetry in Persian. Iqbal realized that the skirt of Urdu language is very narrow for his ideas and thoughts. He recognized that Urdu is a young inexperienced language. Urdu is spoken, written and reading in a limited part of the subcontinent. On the other hand person is an old and experienced language of the world and is spoken, written and reading in a vast part of the Muslim world. Persian language keeps the most valuable assets of poetry and prose. The Persians odes of Allama Iqbal are found in Piyam-e-mashriq and Zaboor-e-Ajam. Some Urdu odes of Iqbal are found in Bang-e-Dara and Zarb-e-kaleem, but the most important odes are found in his famous book of Urdu poetry named as Bal-e-jibreel. This collection of poems by Allama Iqbal is very important, because what is clearly stated in his Persian odes, is what is indicated in Bal-e-Jibreel. The first part of Bal-e-Jibreel consists of ghazals. Essentially, these ghazals portray the same meaning that the Persian ghazals imply. However, the experimental writing of these ghazals, the sheer talent employed in this book are as climactic in terms of poetry.

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Ramazani, Jahan. "Persian Poetry, World Poetry, and Translatability." University of Toronto Quarterly 88, no. 2 (August 2019): 210–28. http://dx.doi.org/10.3138/utq.88.2.09.

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Kurbanov, M. M. "HISTORICAL INFLUENCE OF THE CREATIVE TRADITIONS OF PERSIAN CULTURE ON THE DEVELOPMENT OF FOLKLORE IN SOUTHERN DAGESTAN." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (May 11, 2021): 392–97. http://dx.doi.org/10.35634/2412-9534-2021-31-2-392-397.

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The article highlights the problems related to how ancient Persian culture in the Middle Ages had a powerful influence on the formation and development of folklore of the peoples of South Dagestan. Regional, ethnic, linguistic and cultural symbiosis was formed In the Derbent region, Tabasaran and Lezgistan in the V-XVIII centuries, which led the folklore of the Tabasarans, Lezgins, Azerbaijanis, resettled here Iranian-speaking Tats, Persians and Arabs to mutual enrichment and intensive development. Domestic, cultural and commercial relations led to the fact that most residents began to freely speak the “old Turkic”, Persian, Lezgin and Tabasaran languages, which ethnic groups used in communication, trade and in everyday life. The result of the influence of Persian folk and Ashug poetry on the development of the creativity of the peoples of the region can be considered the formation of a single form of genre varieties of extra-ritual lyrics and wedding poetry in the folklore of Tabasarans, Lezghins, Agulians in the form of band-quatrains. Fairy tales of the peoples of the region were also positively influenced, they were enriched by Eastern plots, themes, ideas, colorful images, Persian toponymy and vibrant poetry of genres.

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Muhtadi, Dr Hussein. "Manifestations of Persian civilization among the Arabs before Islam from Islamic poetry telescope." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 223, no. 1 (December 1, 2017): 57–76. http://dx.doi.org/10.36473/ujhss.v223i1.319.

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The Arab and Persian peoples since the old Testament neighbors, some of whom have contacted the other is better communication, particularly in the pre-Islamic and pre-Islamic times. The question that comes to mind is: What are the components that saved us pre-Islamic poetry manifestations of Persian civilization among the Arabs before Islam? Is poetry managed to convey the image of Persian culture that were common in the Arabian Peninsula? This article has addresses through poems ignorance manifestations of Persian culture in the lives of the Arabs before Islam. And it is designed to detect a relationship gallop capacity Arabs before Islam. Have we come to that Arabs were not Bmnazl events neighbor sophisticated, they even Aguetpsoa many landmarks his or her own and used it in all walks of life. The importance of this research look like when we did not find any source for the study of Persian civilization and culture of ancient pre-Islam, but rarely. As this study has shown us how civilizational and cultural friction between the Persians and the Arabs, they are extracted from the belly of the history of literature. The pre-Islamic poetry Kdioan Arabs keeping us through history tells us about the relationship between people of the Persian Bjarhm in ignorance. Researcher has adopted in his study on the descriptive approach of this article and will go on the descriptive and analytical.

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Dr Ali Kavousi Nejad. "Prose Translations of Ghalib’s Persian Poetry." Tasdiqتصدیق۔ 3, no. 01 (September 27, 2021): 1–19. http://dx.doi.org/10.56276/tasdiq.v3i01.56.

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Mirza Asadullah Khan Ghalib is amongst the most eminent poets & writers of India. His poetry & letters, both in Persian & Urdu, remain a significant part of India’s literary history. Ghalib not only proved his command in Urdu poetry but also showed his abilities and mastery in Persian verse. He was proud of his Persian poetry and is rightfully considered amongst the most prominent Persian poets of his time. Many translators and critics have attempted to translate & write commentaries on his Persian poetry, both in prose and versified. Amongst these critics & translators, several individuals had the potential of taking forward the translations of Ghalib’s Persian Poetry into Urdu and produced many notable translations. In This study, we shall first introduce their translations and then present a comparative analysis of their prose translations to determine which translator was more successful in terms of considering all the minute textual details.

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Najafova, F. F. "MODERNISM IN PERSIAN POETRY." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 2, no. 5 (2021): 61–67. http://dx.doi.org/10.32838/2710-4656/2021.5-2/10.

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Davis, Dick, and Julie Scott Meisami. "Medieval Persian Court Poetry." Journal of the American Oriental Society 110, no. 1 (January 1990): 141. http://dx.doi.org/10.2307/603944.

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Menocal, Maria Rosa, and Julie Scott Meisami. "Medieval Persian Court Poetry." Comparative Literature 41, no. 3 (1989): 289. http://dx.doi.org/10.2307/1771116.

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Jabbari, Alexander. "From Persianate Cosmopolis to Persianate Modernity: Translating from Urdu to Persian in Twentieth-Century Iran and Afghanistan." Iranian Studies 55, no. 3 (July 2022): 611–30. http://dx.doi.org/10.1017/irn.2022.21.

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AbstractThis article examines twentieth-century Persian translations of Urdu-language works about Persian literature, focusing on two different Persian translations of an influential Urdu-language work on Persian literary history, Shiʿr al-ʿAjam (Poetry of the Persians), by Shibli Nuʿmani. The article offers a close, comparative reading of the Afghan and Iranian translations of Shiʿr al-ʿAjam in order to understand why two Persian translations of this voluminous text were published within such a short time period. These translations reveal how Indians, Afghans, and Iranians were invested in the same Persianate heritage, yet the emergence of a “Persianate modernity” undergirded by a cultural logic of nationalism rather than cosmopolitanism, along with Iran’s and Afghanistan’s differing relationships to India and Urdu, produced distinct approaches to translation.

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Kamaladdini, Seied Mohammad Bagher. "Abai and Firdowsi." International Letters of Social and Humanistic Sciences 51 (May 2015): 147–51. http://dx.doi.org/10.18052/www.scipress.com/ilshs.51.147.

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Abay Qunanbaev (Qunanbaiuli) was the founder and architect of Kazakh written literature. Since his childhood, he studied religious science and got acquainted with eastern literature, particularly Iranian classic literature and Persian poetry and poets such as Ferdowsi, Hafiz, Sa’adi, Molavi, Nezami and etc.Abay read epic poetry and odes from the great eastern poets on their original texts or Jugatay (old language of central Asia) translations and first raised prosody derived from Persian poetry in Kazakh poetry and this way many Persian vocabulary entered Kazakh language.Using a bibliographic method, the author in current research studies this Kazakh poet’s works from valid and reliable resources. Regarding the special attention paid by this poet to the existing concepts in Persian poetry, particularly those of Ferdowsi, we have attempted to express some of their similarities.

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Badar, Rukhsana, and Sadaf Naqvi. "Urdu-12 Persian Elements in Iftikhar Arif’s Religious Poetry: An Analysis." Al-Aijaz Research Journal of Islamic Studies & Humanities 5, no. 2 (June 20, 2021): 157–64. http://dx.doi.org/10.53575/urdu12.v5.02(21).157-164.

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"Iftikhar Arif has beautifully presented the problems of the modern age in Nazm and Ghazal. He has coined nice Persian structures to depict contemporary sensibility, consciousness and internal emotions. These structures have the name of their creator stamped on them. He has extensively used Persian words and structures in his Nazms and Ghazlas. Many beautiful Persian structures are found in the verses of his Nazms, Ghazals and Couplets on the topics of Dua and Hamd. Iftikhar Arif’s attachment with Urdu Classic poetry and Persian language is also evident from the names of his books on poetry. Even the names of his books on poetry are composed of Persian structures. Moreover the titles of his poems are also in Persian language."

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Fallahi, Esmaeil, Pontia Fallahi, and Shahla Mahdavi. "Ancient Urban Gardens of Persia: Concept, History, and Influence on Other World Gardens." HortTechnology 30, no. 1 (February 2020): 6–12. http://dx.doi.org/10.21273/horttech04415-19.

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The history of Persian gardens goes back to a few millennia before the emergence of Islam in Iran (Persia). Designs of Persian gardens have influenced and are used extensively in the gardens of Al-Andalus in Spain, Humayun’s Tomb and the Taj Mahal in India, and many gardens in the United States and other countries around the globe. Bagh in the Persian language (Farsi) means garden and the word Baghdad (the capital city of Iraq) is rooted from the words bagh and daad (meaning “the garden of justice”). Pasargadae, the ancient Persian capital city, is the earliest example of Persian garden design known in human civilization as chahar bagh or 4-fold garden design. Bagh-e-Eram, or Garden of Eden or Eram Garden, is one the most attractive Persian gardens and is located in Shiraz, Iran. There are numerous other urban ancient gardens in Iran, including Bagh-e-Shahzadeh (Shazdeh), meaning “The Prince’s Garden” in Mahan, Golestan National Park near the Caspian Sea; Bagh-e-Fin in Kashan; Bagh-e-El-Goli in Tabriz; and Bagh-e-Golshan in Tabas. The design of each Persian garden is influenced by climate, art, beliefs, poetry, literature, and romance of the country and the region where the garden is located. In addition, each garden may have a gene bank of fruits, flowers, herbs, and vegetables. Although countless gardens were destroyed in the hands of invaders throughout the centuries, Persians have attempted either to rebuild or build new gardens generation after generation, each of which has become a favorite destination to tourists from around the world.

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Sadeqi-Zadeh, Mahmud. "Mul "Wine" in Classical Persian Poetry." Iran and the Caucasus 13, no. 1 (2009): 131–33. http://dx.doi.org/10.1163/160984909x12476379008089.

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AbstractThe paper examines the historical and literary characteristics of mul "wine" in Persian poetry. Unlike may, which is a wide-spread term denoting "wine" in New Persian, mul is never employed in the writings of many outstanding representatives of Persian poetry—from the early period until Rūdakī and Daqīqī. The first occurrences of this lexeme are attested in the Shahnameh by Firdousū.

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Rajani, Shayan. "Regionalization without Vernacularization: The Place of Persian in Eighteenth-Century Sindh." Journal of the Economic and Social History of the Orient 63, no. 5-6 (November 11, 2020): 788–819. http://dx.doi.org/10.1163/15685209-12341527.

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Abstract This article examines a turn towards the region in two genres related to Persian poetry in eighteenth-century Sindh, the bayāẓ or poetic anthology and taẕkira or biographical dictionary. I argue that poets in Sindh’s premier city, Thatta, established Sindh as an organizing principle for poetry and the poetic community, initiating a process of regionalization in Persian after the end of Mughal rule. Notably, this was done without the patronage or encouragement of the regional successors to the Mughals in Sindh. These poets neither sought out vernaculars, nor predicated regionalization upon cultural difference. Rather, regionalization without vernacularization was the basis for their participation in the transregional enterprise of Persian poetry in a milieu where the Mughals and their officials were no longer sources of patronage or of poetic standards. The case of Persian poetry in Sindh calls for rethinking the function and status of Persian beyond its role as a language of power and for considering the role of Persian poets in bringing the region to renewed cultural salience in eighteenth-century Sindh.

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Toorawa, Shawkat M., and Suzanne Pinckney Stetkevych. "Reorientations: Arabic and Persian Poetry." Journal of the American Oriental Society 117, no. 4 (October 1997): 759. http://dx.doi.org/10.2307/606487.

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Chraibi, Aboubakr, and Suzanne Pinckney Stetkevych. "Reorientations/Arabic and Persian Poetry." Studia Islamica, no. 83 (1996): 164. http://dx.doi.org/10.2307/1595750.

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Karimi‐Hakkak, Ahmad. "Contemporary trends in Persian poetry." Wasafiri 18, no. 38 (March 2003): 56–60. http://dx.doi.org/10.1080/02690050308589830.

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Yahyapour, Marzieh, Janolah Karimi-Motahhar, and Lyudmila N. Korneeva. "A.S. Pushkin in Persian poetry." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2020): 68–79. http://dx.doi.org/10.20339/phs.6-20.068.

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The authors of the article, in the theoretical framework of comparative literature, using the examples of the artistic reception of A.S. Pushkin’s works in Iranian poetry, show the ideological and artistic foundations of the interpenetration of the literature of Russia and Iran. The search context concretizes and develops a picture of the functioning of A.S. Pushkin’s artistic world in a foreign culture.

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Chalisova, Natalia. "Persian scholarly treatises and the hermeneutics of Persian poetry." Shagi / Steps 4, no. 1 (2018): 93–115. http://dx.doi.org/10.22394/2412-9410-2018-4-1-93-115.

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Saadia Irshad. "Commemoration of Prophet (SAWW) in Ghalib's Poetry." Tasdiqتصدیق۔ 2, no. 1 (January 20, 2021): 82–90. http://dx.doi.org/10.56276/tasdiq.v2i1.30.

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Mirza Ghalib, a poet of Urdu and Persian, spent most of his life, refining his Persian poetry. In the field of praise and adoration of Mohammad (PBUH), his Persian poetry is the mirror of his creative endeavors. In his Persian Poetry, Ghalib kept on mentioning Prophet (PBUH) at the quatrains, odes, qitas, qasaids, and masnavis in praise of the Holy Prophet (PBUH). A study of Ghalib’s Persian kalam (word) mentions the prophet (PBUH) and shows all of his poems that have been written in the praise of the Holy Prophet (Peace be upon him) are key topics in the articles. There secondary subjects such as the embodiment of Rasool (PBUH), Faraq-e-Madinah, and worldly demands are not mentioned. On the contrary, by describing the greatness of the Holy Prophet (PBUH) everywhere he has entrusted this gift of love to Allah in a very beautiful way.

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Oroskhan, Muhammad Hussein, and Elham Mahmoudi. "Nima Yushij's Phoenix: From Romanticism to the First Modern Persian Poetry." Theory and Practice in Language Studies 10, no. 3 (March 1, 2020): 318. http://dx.doi.org/10.17507/tpls.1003.08.

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The beginning of twentieth century is marked by the Constitutional Revolution in Iran. Alongside the revolution, sweeping changes were brought about in every aspects of Iranian society. Undeniably, these extensive changes affected the literature of time. With respect to Persian poetry, Nima Yushij stamped a new pattern on Persian poetry and released it from its long-standing tradition. The plausible reason explaining Yushij's innovation has remained an enigma for literary scholars. Nonetheless, Yushij's attachment to Romanticism can be analyzed to clarify the ambiguous realm behind Yushij's big step for the modernization of Persian poetry. As such, Morse Peckham's theory of Romanticism which is subdivided into four consecutive stages is recruited to encapsulate Yushij's progress in Romanticism. Studying Yushij with respect to these stages proves that Yushij's Phoenix previously dismissed as a romantic poem is indeed Yushij's culmination of Romanticism. Eventually, this is concluded that Yushij reaching the pinnacle of Romanticism in Phoenix has been a decisive factor in creating a new path for Persian poetry.

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Oroskhan, Muhammad Hussein, and Esmaeil Zohdi. "Nima Yushij's "Afsaneh" as a Striking Exemplar of the 'Greater Romantic Lyric'." International Letters of Social and Humanistic Sciences 66 (February 2016): 23–30. http://dx.doi.org/10.18052/www.scipress.com/ilshs.66.23.

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Persian poetry lingered upon the old classical Persian prosody for more than a thousand year that it stagnated and stopped flowering new concepts and forms. However, Nima broke the dull and monotonous routine of Persian poetry by writing the first true modernist poem. When Nima's "Afsaneh" appeared, traditionalist adamantly opposed its new artistic and aesthetic view due to revealing some similarity with great European romantic examples. The similarity can never be considered as a weak point of "Afsaneh" because Nima has masterfully used European romantic elements to refresh the long-standing tradition of Persian poetry. In this respect, Nima has written his poetry consciously or unconsciously in the same poetic style of great European romantic poets. M. H. Abrams has labeled this poetic style "the greater romantic lyric". As a result, it is tried to examine Nima's "Afsaneh" with respect to Abrams's definition of "the greater romantic lyric" so as to prove that Nima's "Afsaneh" closely conform to this new poetic genre.

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Nooriala, Esmail, and Ahmad Karimi-Hakkak. "Recasting Persian Poetry: Scenarios of Poetic Modernity in Iran." Rocky Mountain Review of Language and Literature 51, no. 1 (1997): 92. http://dx.doi.org/10.2307/1348085.

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Ghanoonparvar, M. R., and Ahmad Karimi-Hakkak. "Recasting Persian Poetry: Scenarios of Poetic Modernity in Iran." Journal of the American Oriental Society 118, no. 2 (April 1998): 291. http://dx.doi.org/10.2307/605914.

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Hanaway, William L., and Ahmad Karimi-Hakkak. "Recasting Persian Poetry: Scenarios of Poetic Modernity in Iran." World Literature Today 70, no. 4 (1996): 1021. http://dx.doi.org/10.2307/40152516.

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Nadwi, M. A. "Review: Persian Poetry at the Indian Frontier * Sunil Sharma: Persian Poetry at the Indian Frontier." Journal of Islamic Studies 15, no. 1 (January 1, 2004): 97–99. http://dx.doi.org/10.1093/jis/15.1.97.

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Bhat, Abdul Manan. "Future’s Moving Terrains." English Language Notes 61, no. 2 (October 1, 2023): 23–38. http://dx.doi.org/10.1215/00138282-10782054.

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Abstract This essay shows how the Islamic Persianate poetic tradition is a critical conceptual resource for imagining futures in which poetry is a technology of congregation through which futures are postulated, negotiated, and lived. The essay engages the multilingual poetic milieu of Kashmir (Urdu, Persian, and Kashmiri) in the first half of the twentieth century, offering an inaugural analysis of the itinerant nature of Persian, Urdu, and Kashmiri poetry in relation to the form of ghazal and its consequences for future making. Kashmiri poets and critics, in poetry as well as prose, made prominent contributions to the literary and political debates about the purposes and potentialities of poetry as a socially aware public form in an anti-imperial context, a theme that animated multiple Urdu and Persian literary circles from the 1930s.

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Rezvani, Saeid. "Outdated Humanism and Literary Authority as Threats to the Popularity of Ahmad Shāmlu’s Poetry." Advances in Language and Literary Studies 10, no. 1 (February 28, 2019): 117. http://dx.doi.org/10.7575/aiac.alls.v.10n.1p.117.

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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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Vali-Zadeh, Mahdieh. "Agency of the Self and the Uncertain Nature of the Beloved in Persian Love Mysticism: Earthly, Ethereal, Masculine, or Feminine?" Teosofi: Jurnal Tasawuf dan Pemikiran Islam 12, no. 1 (May 11, 2022): 22–42. http://dx.doi.org/10.15642/teosofi.2022.12.1.22-42.

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It seems that the controversies over the nature of the beloved in classical Persian mystic poetry (also known as Sufi poetry) as an earthly or ethereal phenomenon would never end. Those in favor of the celestial reading of it consider their counterparts to be narrow-minded. The adherents of terrestrial love, though, see mystical readings dogmatic and outdated, prevailed by traditionalists. The topic gets even more complicated when one takes into account the attitudes in the medieval Muslim world toward pederasty, shāhid-bāzī, on the one hand, and the Divine Feminine /Masculine Beloved, on the other hand, and, thus, the gender of this beloved. The present article explores the beloved in Persian classical mystical poetry via five different but related approaches: historical, philosophical, translational and comparative, linguistic and poetic, and, ultimately, developmental. The study concludes that an essentialist reading of the beloved in Persian love mystic poetry would create numerous problems, and that the spirit of Persian classical poetry in this regard is the spirit of uncertainty with a certain purpose: it is the manifestation of the self-poet’s agency, choosing one’s object of desire without explicitly revealing it and, thus, living one’s own life of choice without fearing the threads of religious fundamentalism.

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Jabbari, Alexander. "The Introduction to Mohammad-Taqi Bahār’s Sabkshenāsi: A Translation." Journal of Persianate Studies 15, no. 2 (April 27, 2023): 257–80. http://dx.doi.org/10.1163/18747167-bja10031.

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Abstract Mohammad-Taqi Bahār’s 1942 textbook Sabkshenāsi (“Stylistics”) was a landmark text in modern Persian literary studies. It coined terms (like sabk-e Hendi or the “Indian style” of Persian poetry) and laid out a tripartite, geographical-temporal model for the history of Persian poetry which largely remain dominant today. Bahār’s articulation of a national canon of Iranian literature (comprising writings in various stages of the Persian language as well as Arabic) made Sabkshenāsi an important text not only for the nascent department of Persian literature at the University of Tehran for which it was written, but for twentieth-century Iranian nationalism in general. By combining traditional forms of knowledge with the methodologies pioneered by European Orientalists, it played an important role in modernizing Persian literary studies. The influential introduction to Sabkshenāsi is translated here into English in full for the first time, along with a preface explaining the work’s importance for Persian literary studies.

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Bangha, Imre. "Lover and Saint The Early Development of Ānandghan's Reputation." Journal of the Royal Asiatic Society of Great Britain & Ireland 11, no. 2 (July 2001): 175–90. http://dx.doi.org/10.1017/s1356186301000220.

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AbstractThe article examines the material relating to the early reception of the eighteenth century Hindi poet Ānandghan (Ghanānand). Ānandghan's poetic ideas were not far from those expressed in Persian literature, popular at that time in India. Apart from an abundance of idiomatic usage and paradoxes his approach to love reflects his taste for Persian poetry: the beloved can be either a woman or an undefined God, or even Krishna. Ānandghan's ‘openness’ towards Persian poetry earned him disrepute. In this article three early schools of criticism of his quatrains are distinguished: those of his opponents, of his fellow-devotees and of Brajnāth, the secular connoisseur. All three parties expressed their views on Ānandghan through poetry sometimes employing bitter or pungent language.

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Shams, Fatemeh. "The Village in Contemporary Persian Poetry." Iranian Studies 51, no. 3 (February 21, 2018): 455–77. http://dx.doi.org/10.1080/00210862.2018.1431045.

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Gandjeï, Tourkhan. "Turkish in pre-Mongol Persian poetry." Bulletin of the School of Oriental and African Studies 49, no. 1 (February 1986): 67–75. http://dx.doi.org/10.1017/s0041977x0004249x.

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The rise and development of Persian poetry in Transoxiana and Khurāsān coincided with the growth in influence of the Turkish element in the Sãmãnid state. Although Turks had alredy been living in these regions at the time of the Arab conquest, it was under the Sāmānids especially that emerged into political and military prominence, having risen form the status of slaves to the highest ranks of power. In the fragmentary survivals of the Persian poetry of this period we not only find mention of Turks but even the occasional word of Turkish origin:‘This cloud is like a crazed Turk, shooting arrows; the lightning his shafts, and the rainbow his bow.’

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Haidari, A. A. "A medieval Persian satirist." Bulletin of the School of Oriental and African Studies 49, no. 1 (February 1986): 117–27. http://dx.doi.org/10.1017/s0041977x00042531.

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The thirteenth and fourteenth centuries are outstanding chapters even in such an eventful history as that of Persia. The former witnessed the Mongol invasion and occupation; the latter ended amidst the campaigns to Timur. Although the Mongol onslaught caused much destruction, the unexpected literary outburst of the period remains a monument to the indestructible spirit of man. It is ironic that an age of terror and devastation should bring in its wake an unprecedented flowering of culture, as though the phoenix rises renewed from the ashes. For this very period produced the three greatest Persian poets, namely, Rūmī, Sa‘dī and Ḥāfiṣ, and the age in which they lived is by common consent regarded as the Golden Age of Persian poetry. In prose too, although to a lesser extent, fine work was produced, most notably of course, Sa‘dī's Gulistān.

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Kamaladdini, Seied Mohammad Bagher. "Florescence of Revolution in Shafaq’s Poetry." International Letters of Social and Humanistic Sciences 56 (July 2015): 116–19. http://dx.doi.org/10.18052/www.scipress.com/ilshs.56.116.

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Blossoms of Persian poetry, although inspired by the pure nature, gradually took the attractive qualities of mysticism. In traditions, the Holy Quran is called the burgeoning of hearts and the greatest prophet (peace be upon him) is referred to as the burgeoning of souls. Spring in Persian literature is sometimes the symbol of improvement and deliverance and at other times is considered as the symbol of the afterlife. Actually, this is the highest symbol of spring in Persian literature.Desert land of Yazd bears fragrant flowers, in spite of its natural wrath, tickles the taste of souls of the pious people. One of these scented flowers is the deceased Behjati whose pen name is “Shafaq” and spring in his poetry possessed the qualities of revolution. Current study is going to address this concept in his poetry. The article was conducted with an analytical-descriptive method using bibliographic resources.

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Rachinsky-Spivakov, Yulya. "The Challenges of Translating Ḥāfiẓ into Russian." International Journal of Persian Literature 7 (September 2022): 101–25. http://dx.doi.org/10.5325/intejperslite.7.0101.

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Abstract Despite the geographical proximity, the cultural and linguistic gaps between the Russian and the Persian languages are too many to enumerate. The Russian translator’s grasp of Islam and Middle Eastern culture at the end of the nineteenth and the beginning of the twentieth century was limited—and frequently Orientalist. While the “exotic nature” of Persian poetry and Ḥāfiẓ’s ghazals in particular evoked great interest among translators and readers, it was presented to the Russian literary circles mostly in the tradition of secular lyrical poetry and was not placed in its mystical or allegorical context. Below, by citing four ghazals and their translation nuances by four Russian poets, this article will examine the means by which Russian translators introduced a nuanced Persian lyrical poetry to their Russian audience.

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Key, Alexander. "Translation of Poetry from Persian to Arabic: ʿAbd al-Qāhir al-Jurjānī and Others." Journal of Abbasid Studies 5, no. 1-2 (August 23, 2018): 146–76. http://dx.doi.org/10.1163/22142371-12340037.

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Abstract ʿAbd al-Qāhir al-Jurjānī (d. 471/1078 or 474/1081) wrote in his Asrār al-balāgha that he had translated a line of Persian poetry, and he used that Arabic translation to illustrate the rhetorical figure of ḥusn al-taʿlīl. He did not provide the Persian original, but when the Asrār was integrated, via al-Sakkākī (d. 626/1229) and al-Qazwīnī (d. 739/1338), into al-Taftazānī’s (d. 793/1390) Muṭawwal, a number of Ottoman readers wrote a Persian verse in the margin. This paper investigates al-Jurjānī’s translation theory, other translations of Persian poetry, the marginalia, and Perseo-Arabic-Turkic multilingualism, while comparing al-Jurjānī’s attitude to language and translation with some European and Anglophone discussions.

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Dr. Aamar Iqbal and Dr. Mazhar Iqbal Kalyar. "Academic And Literary Services Of Daim Iqbal Daim "A Research Review"." Dareecha-e-Tahqeeq 3, no. 3 (January 16, 2023): 104–13. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.55.

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This study highlighted the literary and poetry efforts of Daim Iqbal Daim. He spotted the love for his fields, hills, and plains in his poetry. He blended the traditions with new culture showing passion for patriotism and nationalism. Daim poetry consisted of Naat verses in all aspects with humbleness. Daim writings are in Urdu, Hindi, Punjabi and Persian on progressiveness with emphasizing on national, religious and ethical values. He also contributed in Naat, Manqabat and Karbala Nama. Daim translated the Persian writings into Punjabi and Urdu. His efforts and also in islamic preaching as well as efforts in Pakistan Movement. Daim Iqbal wrote on multifaceted in poetry including Naat, Poem, Ghazal, Songs, Kafi, C-Harfi, Translation, Elegy and storytelling.

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Li, Mengbi, Hing-Wah Chau, Elmira Jamei, and Hamidreza Pourakbar. "Nature's Poetry Unveiled: Exploring the Symbolism and Design Philosophy of Chinese and Persian Gardens through Metaphor and Art." Landscape architecture and art 22, no. 22 (December 20, 2023): 157–65. http://dx.doi.org/10.22616/j.landarchart.2023.22.16.

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This paper delves into the symbolism and design philosophy of Chinese and Persian gardens, revealing the profound depths of their metaphorical and artistic expressions. As landscape architecture, gardens act as conduits for cultural transmission, embodying an understanding of the cosmic order and reflecting the passage of history. Focusing on pre-modern Chinese and Persian gardens, this study explores their design philosophy and characteristics. Chinese gardens prioritise the harmonious coexistence of humanity and nature, exemplified through a deep reverence for the natural world. Meticulous treatment of the landscape seamlessly integrates gardens with their surroundings, drawing inspiration from elements found in Chinese landscape painting. Persian gardens, on the other hand, showcase the distinctive Chahar Bagh layout, providing glimpses into an ideal cosmic order. Influenced by the beauty of Persian poetry, these gardens take on the essence of living poems, evoking a sense of tranquillity and allegorical meaning. Waterways, pavilions, and lush vegetation create captivating oases within the arid landscape, inviting relaxation. By analysing the architecture, symbolism, and design philosophy of both Chinese and Persian gardens, this study uncovers the remarkable similarities and differences that exist between them. However, these gardens extend beyond their physical manifestations, beckoning visitors to engage with metaphorical realms. The integration of poetry, painting, and various art forms enriches the multidimensional experience, eliciting profound sentiments and unlocking the transformative power of nature's poetry. Ultimately, Chinese and Persian gardens embody the very essence of nature's poetry, serving as bridges between built environments, humanity, and the natural world. Through the harmonious fusion of art, design, and the intricate relationship between humans and nature, these gardens inspire awe and reveal the timeless beauty that resides within nature's realms.

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Dilorom, Akhmedova. "Narrative Poetry And Poetry Only Couplets Of Persian-Tadjik Literature Of X-Xi Centuries." American Journal of Social Science and Education Innovations 02, no. 09 (September 26, 2020): 290–96. http://dx.doi.org/10.37547/tajssei/volume02issue09-45.

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Nafisi, Gholam Abas, Mohammad Ali Davood Abadi Farahani, and Ali Sar Yaghoubi. "Tajikistan Contemporary Poetry Themes." Journal of Language and Literature 19, no. 2 (October 2, 2019): 55. http://dx.doi.org/10.24071/joll.v19i2.2130.

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Tajik poetry deviated from its mainstream with the victory of the communist revolution. The imposition of Russian language and the new communist literature made Tajik poetry to take influence from the works of Russian romantic poets and to have new themes. Meanwhile, it benefited from the ancient Persian poets and one can see the rhetorical figures such as metaphor, simile, conflict, pun, Īhām, proverb, husn-i ta'lil (good reason), imagery and paradox in the works of Tajik poets. Additionally, Bīdel's poem has also had a clear influence on the poetry of some contemporary poets. Tajik poetry is very close to the informal language of the people, and in these poems, we encounter words that are specific to the Tajik dialect. The first Persian she'r-e now (new poetry) in Central Asia was written by Sadriddin Ayni.In Tajik poetry, we occasionally encounter with recurrences, the nostalgia of the missed glory, the oppression of the nation, and the unwanted fate of their ancestors. In these poems, the rely on emotion and content, and the epic and passionate tone prevail other poetic performances. The present study gives a general overview of the poetry of some Tajik poets.Keywords: Poetry, Tajikistan, Tajik, Persian language_________________________________________DOI > <a href="https://search.crossref.org/?q=10.24071%2Fjoll.2019.190206">https://doi.org/10.24071/joll.2019.190206</a>

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Tahmasebian, Kayvan, and Rebecca Ruth Gould. "Translating Line Breaks: A View from Persian Poetics." Comparative Literature 75, no. 3 (September 1, 2023): 373–91. http://dx.doi.org/10.1215/00104124-10475471.

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Abstract Line breaks are arguably the defining feature of poetry, in the absence of which a text becomes prose. Consequently, the translation of line breaks is a decisive issue for every poetry translator. Classical and modern literary theorists have argued that the potential for enjambment, which we understand as the effect that makes line breaks possible in poetry, constitutes the difference between poetry and prose. Yet, the translation of line breaks is among the least studied areas of translation theory. This essay explores the challenge of translating classical and modernist line breaks through examples from Persian and European literary canons. From Shams-i Qays’s classic treatise on Persian prosody to Arthur Rimbaud and William Carlos Williams to modernist poet Bijan Elahi’s poetic rewriting of One Thousand and One Nights, we explore the options open to the translator-poet who seeks to create a new poem in and through translation.

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Davlatov, Olimjon. "Artistic Improvement of the image of Rind in Classical Literature." Golden scripts 4, no. 2 (June 1, 2022): 25–42. http://dx.doi.org/10.52773/tsuull.gold.2022.2/kvrv7271.

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The article discusses the gradual and artistic development of the image of Rind in classical oriental literature, in particular in Persian and Turkish literature. The author of the article first pays attention to the lexical and terminological meanings of this word, noting that in the sources the word rind is used in the meanings of a hooligan, troublemaker and drunkard. He also points out that in Persian classical poetry the word was first used in its original meaning and then used in a mystical sense. The article examines the image of Rind in Persian literature based on the works of Sanoi Gaznevi, Nizomi Ganjavi, Fariduddin Attor, Saadi Sherozi, Hafiz Sherozi, in Turkic literature in the works of Alisher Navoi.According to the author of the article, thanks to Hafiz Shirazi, the rind symbol became one of the central images of Persian classical poetry. In the poetry of Hafiz, the rind acts only as the main character of lyrical works, while Alisher Navoi managed to fully express the lexical, artistic, aesthetic, historical, epistemological and terminological meanings of this image in his works. In the article this issue is considered on the example of lyrics, poems and prose works of Navoi.

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Hadi W.M., Abdul Hadi W. M. "Jejak Parsi dalam Sejarah Kebudayaan dan Sastra Melayu." SUHUF 3, no. 1 (November 21, 2015): 107–30. http://dx.doi.org/10.22548/shf.v3i1.82.

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This paper examines the influence of Persia in the history of Malay culture and literature. Persian influence appears in prayers, religious ceremonies and the tendency towards Sufi ideas. It is also found in Malay vocabulary, types of writing, traditional literary romances known as hikayat, poetry and historical texts. Further influence appears in Malay cultural values, canon law and religious treatises which are commonly also regarded as literary works. This influence is not coincidental but the result of historical factors which cannot be ignored. Persian religious scholars, intellectuals and cogniscenti played an important role in the spread of Islam and its intellectual traditions. This influence can be seen in works such as Taj al-Salitan, Hikayat Amir Hamzah, Hikayat Muhammad Ali HanafiyanÂ and Hikayat Burung Pingai.

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Ochilova, M. I. "Elements of Persian literature in Arabic poetry by Mehyar Deylam." ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ 103, no. 2 (2023): 202–4. http://dx.doi.org/10.18411/trnio-11-2023-114.

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The article dwells on issues beset with the study of elements of Persian literature in Arabic poetry by Mehyar Deylami. As it is known, Persian culture is one of the richest cultures in the world, which has always attracted the attention of many poets.

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Mamkhezri, Ali, Kamran Pashaee-Fakhri, and Parvaneh Aadelzadeh. "Persian Poetry and Wine in its Place." International Journal of Applied Linguistics and English Literature 6, no. 7 (October 10, 2017): 35. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.7p.35.

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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.

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Akhmedova, Mastura Negmatdzonovna, Alsu Junisovna Giniyatullina, and Alsu Mansurovna Nigmatullina. "Poetry "Sacred Defense" in Modern Persian Literature." Journal of History Culture and Art Research 8, no. 3 (October 1, 2019): 251. http://dx.doi.org/10.7596/taksad.v8i3.2246.

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Journal articles on the topic 'Persian poetry'

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