Literature Persian

The literature Persian is the Littérature written in Persan. Some consider that the literature Persian includes the work written by Perses in other languages, like the Greek and the Arab . Although the Persan is an Indo-European language, it with the characteristic to be written with a Semitic writing (the characters Arab S).

The remaining work written in languages Persians (like the Old man-Persan or the Means-Persan ) as goes up far as in 650 av JC, the date of the inscriptions oldest Achéménides found. The essence of the literature Persian, however, goes back to the period of the Conquête of Iran by Islam around 650 of our era. After the Abbassides arrived at the capacity (750 ap JC), the Persan ones became the scribes and the bureaucrats of the Islamique empire and also, more and more, its writers and poets. The Persan ones wrote at the same time in Arabic and Persan; the Persan one then prevailed in the successive literary circles. The Persian poets such as Saadi, Hafez and Rûmi are read in the whole world and had one great influence on the literature in many countries. The contemporary literature Persian is perhaps less known.

The literature Persian is in particular re-elected for his poetry, which can be epic, historical, philosophical, in love…

The principal Persan writers, whose style holds at the same time of poetry and philosophy, are Ferdowsi, author of the Shâh Nâmâ, the great Iranian epopee, Nizami, author of the Khamsa, or Five Poems , Sa' adi, author of a Bustan and a Golestan, Hafez, author of the Divan , Omar Khayyam with her Quatrains , Attar with the memorial of the Saints , the conference of the birds and the book of the secrecies , Rûmi with the Mesnâvi , Rûzbehân with the jasmine of faithful of love , Ghazali and its Revification of sciences of the religion …

Among the contemporary writers, one can also quote Hedayat, Shariati, Fereydoon Moshiri, Furough Farrokhzad…

Traditional literature Persian

Pre-Islamic literature Persian

It remains little of literary vestiges of old Persians. The majority consist of inscriptions of the Kings Achéménides, in particular Darius Ier (522-486 av JC) and of his/her son Xerxès.

Although the majority of the writings zoroastriens were destroyed at the time of the conquest of Iran by Islam, the Parsis which fled in India carried with them some books zoroastriens, of which the old Avesta and comments ( Zend ) of this one.

Some work of geography Sassanide and notebooks of voyages remains in translations in Arabic.

The contemporary academics Ahmad Tafazzoli and Jaleh Amouzegar carried out extensive work on the writings Achéménides and Sassanides which survived.

Literature Persian of the medieval and pre-modern periods

Whereas it was initially maintained in the shade by Arabic during the caliphate Omeyyade and at the beginning of the caliphate Abbasside, the Persan modern one again became a literary language in all the territories of the Central Asia.

The rebirth of the language in its new form is often allotted to Ferdowsi, Unsuri, Daqiqi, Rudaki and their generation, since they used pre-Islamic nationalism like a means of making revive the language and the habits of Persia antique.

In particular, Ferdowsi says itself in its Shâh Nâmâ:

بسیرنجبردمدراینسالسی

عجمزندهکردمبدینپارسی

" During thirty years, I endured many pain and conflicts,
with the Persan one, I gave to the Ajam liveliness and the vie".

The Persan one was the language of the courses and its literature apart from the borders of contemporary Iran in which the Persan one reappearing. For example, Rûmi, or Molana, one of the most loved poets Islam (and of Persia) wrote into Persan, but lived with Konya, maintaining in Turkey, which was then the capital of Seldjoukides. The Ghaznavides conquered broad territories in Central Asia and South, and adopted the Persan one like official language of the court. There thus exists a literature Persian in territories which form now part of the Afghanistan, of the Pakistan, and the India, and in the Central Asia.

Poetry

The writings of the beginning of the time of poetry Persian are characterized by a strong patronage of the courses, an extravagance of Panégyrique S and by what is known like (سبکفاخر) " of style exalté". The Qasideh was perhaps the most famous form of panegyrics used, although the Quatrain S such as those of the Ruba' iyyat of Omar Khayyam are also very largely popular. The tradition of the royal patronage is a tradition which goes up at the time Sassanide, continuing at the time of the courses Abbassides and Samanides and in each dynasty Persian.

Generally known under the name of " Khorasani" style; because the majority of its artists were associated with the Khorasan, one can classify this style by its scornful diction, its worthy tone and a language relateivement literary. The principal representatives of this lyricism are Asjadi, Farrukhi Sistani, Unsuri, and Manuchehri. The Masters of panegyric, as Rudaki were well-known to show a love of nature and Flore with theirs towards descriptions.

Through these courts and this system of patronage the style emerged epic E poetry, with the Shâh Nâmâ of Ferdowsi to its apogee. By glorifiant the last history of Iran in heroic and high worms, it and the other notable ones like Daqiqi and Asadi Tusi presented " the Ajam " as a source of pride and of inspiration which helped to preserve a direction of the identity for the Iranian people through the centuries. Ferdowsi set up a model which will be followed by other poets thereafter.

The 13th century marks the ascent of lyric poetry with the development of the Ghazal like a form of major versification, like in the appearance of mystical poetry and soufie. This style is often called " Eraqi" style; and is known for its emotional lyric qualities, its rich meters and the relative simplicity of the language used. Emotional and romantic poetry was however not new, since work like Vis O Ramin of Asad Gorgani, and Yusof O Zoleikha of Am' aq shows it. Poets such as Sana' I and Attar (whose Rumi says that they were a source of inspiration for him), Khaqani Shirvani, Anvari, and Nizami, was very respected by the writers of ghazals. But the elite of this school were not other than Rûmi, Saadi, and Hafez.

In the Didactic kind, one can as well as mention the Hadiqatul Haqiqah of Sanai Makhzan-ul-Asrar of Nizami. Some work of Attar also belongs to this kind, as well as the most important writings of Rûmi, although some tend to classify them in the lyric style because of their mystical and emotional qualities. Some also tend to gather work of Naser Khosrow in this style, however, the true jewel of this style is the Bustan of Saadi, a heavy truck of the literature Persian.

After the 15th century, the “Indian style” of poetry Persian (sometimes called style Esfahani or Safavide ) took the top. The style plunges its roots in the time Timouride, and produced work like those of Amir Khosrow Dehlavi.

Tests

The writings more significants of this type in the literature Persian are Chahar Maqaleh of Nizami Arudhi Samarqandi, as well as the collection of Anecdote S entitled Jawami ul-Hikayat of Zahiriddin Nasr Muhammad Aufi.

The famous text of Shams Al-Mo' Ali Abol-hasan Ghaboos ibn Wushmgir, celebrates it Qabusnama ( a mirror for the Princes ), is a work very appraisal of the Belles-lettres of the literature Persian. Other work very appraisal in this style is the Zahiriddin Nasr Muhammad Aufi of large the Persan Vizier, Nizam Al-Mulk.

Historical biographies, Hagiographie S, and work

Major works historical and biographical into Persan traditional, one can mention the Lubab ul-Albab of Zahiriddin Nasr Muhammad Aufi, which is regarded as a reliable source by many experts, as well as famous the Tarikh-i Jahangushay-i Juvaini of ATA Al-Mulk Juvayni, which reports the events of the Mongolian times and Ilkhanides of Iran. Tadkhirat Al-Awliya (" Biographies of Saints") of Attar is also an account detailed on the mystics Soufis, who is taken in reference by many authors and is regarded as a significant work of the mystical Hagiographie.

Another work of historical value having significantly influenced the kind is famous the Tarikh-i Beyhaqi of Abolfazl Beyhaghi, written at the 11th century.

Satire

  • Obeid Zakani
  • Dehkhoda
  • Kiumars Saberi Foumani
  • Hadi Khorsandi

Folklore

  • Kelileh goes Demneh (translated of an Indian folk tale)

Contemporary literature Persian

Literature of 19th, 20th and 21e centuries.

The Literature Persian in Iran

With the XIXe century, the literature Persian knows a deep upheaval and enters one era of change. The beginning of this transformation is illustrated by an incident during half of the nineteenth century, at the court of Aldine Nasser Shâh, where the reforming Prime Minister, Amir Kabir, punishes the poet Habibollah Qa' ani to have " menti" in a Panegyrical in form dqasida in its honor. Amir Kabir, of course, in general saw poetry and the kind of poetry which had developed during the period Qadjar like entrâves with the " progrès" and with the " modernization" in the Iranian Company, which had great needs to change. Concerns " extra Literary s" similar were expressed in a way growing by others, such Fath- 'Ali Akhundzadeh, Mirza Aqa Khan Kermani, etMirza Malkom Khan, which sought to also satisfy the needs for change in literary terms in the Poésie Persan E but by always connecting them to the social problems.

One cannot include/understand the current of the news Littérature Persian without taking into account the intellectual and social movements in the Iranian philosophical circles. Being given the social climate and policy of the Persian (Iran) at the end of the nineteenth century and the beginning of the twentieth Century, which brought the constitutional Révolution Persian of 1906 - 1911, the idea of the need for a change in poetry Persian, in order to reflect realities of a Pays of transition was spread gradually, propagated by eminent figures of the Littérature, such Ali Akbar Dehkhoda and Abolqasem Aref, who defied the traditional system of poetry Persian by introducing new contents there, in an experimentation of the aspects rhetorics, lexicosemantic and structural of the Poésie . Whereas Dehkhoda, for example, uses a less known traditonnelle form, the mosammat, in a reduced for the execution of a revolutionary Journaliste, 'Aref makes use of the Ghazal, to write its " Payam-e Azadi" (Message of Freedom).

A important Débat in the development of the modern Littérature Persian (and of course in other aspects of the Iranian Company) was centered on the question of modernization and the Occident alisation, and so yes or not, in practice, these terms are adequate to describe the evolution of the Iranian Société, and for the literature Persian two century old last. One can advance that almost all defenders of the modernism in the Littérature Persian, of Akhundzadeh, Kermani, and Malkom Khan until Dehkhoda, Aref, Bahar, and Rafat inter alia, were inspired to differing degree by the developments and the changes which have occurred in the literature of Occident and particularly that of Europe. That did not want to say that had to be copied blindly the Western models, but that in practice, the aspects of the Western literature were to be adapted and adjusted with the needs for the Iranian culture.

For Sadeq Hedayat, which was regarded as most modern of all the modern writers, modernity was not only one question of scientific rationality or a pure imitation of the European values . An outstanding feature in the modernism of Hedayat is its criticism éculaire in comparison with the Iranian Société. Hedayat thus establishes a critical approach which was almost single during the time among the two wars in Iran. Its modern search of the truth avoids any romantic glorification of an ideology and a more realistic vision of the underdeveloped and disadvantaged layers Iranian Société. Hedayat generally used for that a tone and a universal style. It is perhaps for that Hedayat can be regarded as a universal writer and not only Iranian.

Succeeding works pionnières of Ahmad Kasravi, Sadeq Hedayat and others, the vague Iranian woman of Literature compared and literary critic reached a top symbolic system with the emergence of literary figures like Abdolhossein Zarrinkoub, Shahrokh Meskoob, Houshang Golshiri and Ebrahim Golestan.

The Afghan Literature Persian

The literature Persian in Afghanistan also knew a spectacular evolution during these last decades. At the beginning of the twentieth century, Afghanistan was confronted with economic and social changes which gave rise to also an new approach of the literature. In 1911, Mahmud Tarzi, which returned to Afghanistan after years of exile to Turkey and had been subject to the influence of the governmental circles there, launched a publication by fortnight, Saraj' ul Akhbar . Saraj was not the first publication of this kind in the country, but in the field of journalism and the literature, he announced one new period of change and modernization. Saraj did not play a big role only in journalism; it gave also a new impulse to the literature and opened the way with a poetry and a lyricism which sought new means of expression so that the personal thoughts took a more social turn. In 1930 (1309 H), after months of cultural stagnation, a group of writer founded the Literary circle of Herat. The following year another group which baptized itself the Literary circle of Kabul was founded in the capital. the two groups published each one their review dedicated to the culture and the literature Persians. But both, and particularly the review of Kabul, had only little success in the advent of a poetry and a writing Persian news. Finally the Kabul review became a bastion of the writers and traditional poets, and the modernism in the literature Indian millet was pushed back in margin of the social life and cultural. Three of the traditional poets most eminent of Afghanistan of this time were Ghary Abdullah, Abdul Hagh Beytat and Khalil Ullah Khalili. The two first accepted the honorary title of Malek ul Shoara (King of the poets), one after the other. Khalili, the youngest third and, felt attracted by the poetic style of the Khorassan in the place of the usual style Hendi . It was also interested in modern poetry, and wrote some poems in a more modern style, with some innovations in the thought and the direction. In 1318H, after two poems of Nima Youshidj, entitled " Gharab" and " Ghaghnus" were published, Khalili wrote a poem entitled " Sorude Kuhestan" or " Song of the montagne" in the same rhythmic diagram that Nima, and sent it to the Literary circle of Kabul. But the tradionnalists of Kabul refused poetry for their stores because she was not written on the old traditional rate/rhythm, and they criticized Khalili to have modernized its poetic style. However, very gradually and in spite of all the efforts of the traditionalists, the new styles ended up clearing a way in literature and in the literary circles. The first collection of new poetry appeared in 1957 (1336H), and 1962 1341H), an anthology of modern poetry Persian was published in Kabul.
The first group which wrote poetries in the new style included/understood ehntre other Mahmud Farani, Baregh Shafi' I, Solyman Layegh, Sohail and Ayeneh. Later, they were joined in particular by Vasef Bakhtari, Asadullah Habib and Latif Nazemi. All brought a personal share to the modernization of poetry Persian to Afghanistan. The other notable figures are Ustad Behtab, Leila Sarahat Roshani, Sayed Elan Bahar etParwin Pazwak. Poets like Vladimir Maïakovski, Yase Nien and Lahouti (an Iranian poet in exile in Russia) exerted a particular influence on the Persan poets of Afghanistan. The influence of the Iranians (like Farrokhi Yazdi and Ahmad Shamlou) on Afghan modern prose and its poetry, especially starting from second half of the twentieth century, must also be taken into account. Major Afghan writers such Asef Soltanzadeh, Reza Ebrahimi, Ameneh Mohammadi, and Abbas Jafari grew in Iran and were under the influence of the teachers and Iranian writers.

The Literature inhabitant of Tajik

New poetry with the Tadjikistan was especially influenced by the lifestyle of its inhabitants and the revolution, and this impact on modernization was powerful, until the arrival of the contemporary poetry of France, Asia and Latin America. In the Sixties, Iranian modern poetry and that of Mohammad Iqbal Lahouri made great impression on poetry inhabitant of Tajik and this period is undoubtedly richest, most fertile and most active for the development of topics and forms new in poetry Persian of the Tadjikistan. Some poets inhabitants of Tajik were only imitateurs and one feels the influence and the features of foreign poets in their works. Only two or three poets were able to assimilate foreign poetry and to create a new poetry. From Tajikistan, the shape and the images of the news and novels were borrowed from the literatures Russian and European. The most famous names of the literature Persian to the Tadjikistan are those of Golrokhsar Safi Eva, Mo' men Ghena' At, Farzaneh Khojandi and Layeq Shir-Ali.

Poetry

The principal poets are:

News

The well-known novellists include:
  • Simin Daneshvar

Tests

Satire

  • Ebrahim Nabavi

Critical arts person

The critics of the 19th century are, inter alia:

  • Mirza Fath `Ali Akhundzade
  • Mirza Malkom Khan
  • Mirza `Abd Al-Rahim Talebof
  • Zeyn Al `Abedin Maraghe `I

The great critics of the 20th century include inter alia:

Among the contemporary critics:

  • Abdolhossein Zarrinkoub
  • Shahrokh Meskoob

Dictionaries

Ali Akbar Dehkhoda names 200 lexicographical works in its monumental Dictionnaire Dehkhoda, oldest dating from the end of the time Sassanide, namely Farhang-i Avim (فرهنگاویم) and Farhang-i Menakhtay (فرهنگمناختای).

The Lexique S most largely used during the Moyen-âge were those of Abu Hafs Soghdi (فرهنگابوحفصسغدی) and of Asadi Tusi (فرهنگلغتفرس) which was written in 1092.

In 1645, Ravius and Lugduni carried out a dictionary Persan - Latin. This work was followed by the dictionaries Persan-English of J. published Richardson in 2 volumes to Oxford (1777) and of Gladwin-Malda' S (1770), the French-Persan dictionary of Alexandre Handjeri (1840), the dictionary Persan-Russian of Scharif and S. Peters (1869) and a whole of 30 other lexicographical translations of Persan until the years 1950.

The other works very considered in the lexical corpora literary Persan are those of Mohammad Moin and Soleiman Haim.

The influence of the Literature Persian on the other literatures of the world

Poetry Sufie

The medieval poets cash among most appreciated in Persia was soufis, and their poetry was, and always, is largely read by Soufis of the Morocco until the Indonesia. In particular, Rûmi (Molana) is recognized at the same time like poet and founder of this so widespread Soufi kind. The topics and the styles of this poetry of devotion were imitated much by many poets soufis.

Areas having been under Ghaznavide influence or Mongolian

Afghanistan and Central Asia

Afghanistan and the Transoxiane claim to be the place where was born the Persan Modern one. The majority of the large patrons it literature Persian like the Sultan Sanjar and the courses Samanides and Ghaznavides were located in this area, just as the geniuses like Rudaki, Unsuri, and Ferdowsi. This rich person literary heritage always survives in the current countries of the Tadjikistan, the Ouzbékistan and the Turkmenistan.

The most important names of the literature Persian to the Tadjikistan are:

  • Golrokhsar Safi Eva * Mo' men Ghena' At * Farzaneh Khojandi

Some of the most important names of the literature Persian in Afghanistan are:

  • Ustad Behtab

  • Ustad Khalilullah Khalili * Wasef E Bakhteri
  • Leila Sarahat Roshani
  • Sayed Dash Bahar
  • Parwin Pazwak

India, Pakistan, and Cashmere

With the emergence of the Ghaznavides and their successors such as the Ghourides, the Timourides and the Mongolian Empire, the Persian culture and its literature gradually diffused in vast the Indian Sous-continent. The Persan was the language of the nobility, the literary circles and the courses royal Mongolian during hundreds of years. (At the time modern, the Persan one was generally supplanted by the Ourdou, a dialect of the Hindustani strongly influenced by the Persan one.)

Poetry Persian flowered in these areas at the time when the literature Iran ienne of the time post- Safavide stagnated. In fact, Dehkhoda and other academics of the 20th century largely sat their work on the detailed lexicography produced in India, by using compilations such as Adat Al-Fudhala (اداهالفضلا) of Ghazi khan Badr Muhammad Dehlavi, Farhang-i Ibrahimi (فرهنگابراهیمی) of Ibrahim Ghavamuddin Farughi and particularly on Farhang-i Anandraj (فرهنگآناندراج) of Muhammad Padshah. Famous poets of South Asia and writers like Amir Khosrow Dehlavi and Muhammad Iqbal originating in Lahore found to them-even many admirors in Iran even.

Western literature

The Persian literature was little known in Occident before the 19th century. It became much more known after the publication of several translations of Persian work of poets of the end of the medieval time and inspired by works of poets and Western writers.

German literature

  • In 1819, Goethe published its West-östlicher Divan , a collection of lyric poems inspired by a translation in German of Hafez (1326-1390).
  • the essay writer and German philosopher Nietzsche was the author of the book Ainsi spoke Zarathoustra (1883-1885), referring to ancient the Perse prophet Zoroastre (in the neighborhoods of 1700 av JC).

English literature

  • a selection of text drawn from the Shâh Nâmâ of Ferdowsi (935-1020) was published in 1832 by James Atkinson, a doctor employed by the English Compagnie of the Eastern Indies.
  • part of this partial translation was versified later by the British poet Matthew Arnold in 1853, under the title of Rostam and Sohrab .
  • the American poet Ralph Waldo Emerson was another admiror of poetry Persian. He published several tests in 1876 treating poetry Persian: Letters and Social Aims , " From the Persian off Hafiz" , and " Ghaselle" .

The Persan poet most popular of the 19th century and the beginning of 20th was perhaps Omar Khayyam (1048-1123), whose Rubaiyat was translated freely by Edward Fitzgerald in 1859. Khayyam is estimated more as a scientist than poet on his native soil of Persia, but in the work of Fitzgerald, it became one of the poets most quoted in English. The worms of Khayyam, “a piece of bread, a bribe are enough” is known much which could say neither when nor where the worms was written.

The Persan and mystical poet Rûmi (1207-1273) (known under the name of Mowlana in Iran) attracted many readers at the end of 20th and the beginning of the 21e century. The translations of Coleman Barks made it possible Rûmi to be popularized by presenting it like wise. There are also many translations much more literary of writers like A.J. Arberry.

The traditional poets (Hafez, Saadi, Khayyam, Rûmi, Ferdowsi) are now largely known in English as in French and can be read in several translations. Other works of the literature Persian are not translated and are little known.

Contemporary literature Persian

Authors and poets

See List of the poets and Persan authors

See too

  • Persan
  • Culture of Iran
  • Iranian Mythology
  • Literature Persian in Occident

Advised readings

  • Aryanpur, Manoochehr -- has off History Persian Literature , Kayhan Press, Teheran, 1973

  • E.G. Browne. Literary History off Persia 1998. ISBN 0-700-70406-X
  • Jan Rypka, History off Iranian Literature . Reidel Publishing Company. ASIN B-000-6BXVT-K
  • Zarrinkoub, Two centuries off silence , ISBN 964-5983-33-6
  • Persian poetry in Kashmir , G.L. Tikku, 1971, ISBN 0-520-09312-7

External bonds

Into Persan

  • Rira.ir - a collection of many Persan poets, with their poems in the original language.

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