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The poetry of the Iran-Iraq War (1980–1988) is commonly grafted to classical Persian topoi, imagery, metaphors. Several war poets use classical poetry to communicate with their audiences as this poetry is familiar and they can effortlessly convey their political and ideological message. This article investigates how modern amateur poets use classical poetry to create their own poems for political and religious use. I shall specifically analyse a few instances in which the poetry of the classical Persian poet Hafez of Shiraz (1315–1390) is integrated in various ideologically Shiite contexts. Some scholars have argued that Hafez's ghazals have little cohesion, characterizing the poem's couplets as 'pearls at random strung', but as we shall see these ghazals enjoy thematic coherence, even their ambiguity creates spaces for a modern appropriation and interpolation of couplets in his poetry, allowing the use of a poem as a commentary on religious and political events. While I shall give attention to Hafez's art of poetry, my main focus will be upon the modern application of his poetry by professional Shiite singers (maddāḥs) who perform such poems to whet the emotions of their audiences, placing the poem in a purely Shiite or ideologically Islamist propaganda. [ABSTRACT FROM AUTHOR]

This paper compares and contrasts the writings of William Shakespeare and Mawlana Jalaluddin Rumi to examine the issue of love in both Eastern and Western literature. Shakespeare, an English playwright and poet from the 16th century, and Rumi, a Persian poet and Sufi mystic from the 13th century, both present complex and nuanced depictions of love that are a reflection of their distinct philosophical and cultural backgrounds. Love is portrayed in Rumi's poetry as a means of achieving unity with God, with an emphasis on spiritual enlightenment and divine love. Shakespeare, on the other hand, frequently captures romantic love in all its complexities in his plays, emphasizing both its tragic and profoundly joyful aspects. By examining the perspectives of Eastern and Western literature on love, the study offers insights into the varied yet interconnected ways love is portrayed in these two literary canons. It draws on primary texts such as Shakespeare's plays as well as Rumi's "Masnavi" and "Divan-e Shamse Tabrizi." It also illustrates how their perspectives on love are similar and different, as well as the universal qualities of love that are shown in their writings, as well as cultural and philosophical ideas. This study concludes that despite the difference in the views of both regarding love, there are some kinds of similarities and closeness as well. [ABSTRACT FROM AUTHOR]

This essay titled "Book 7 Preface: Recap From Prior Books of the Series," is an opening to the book Khayyami Art: The Art of Poetic Secrecy for a Lasting Existence: Tracing the Robaiyat in Nowrooznameh, Isfahan's North Dome, and Other Poems of Omar Khayyam, and Solving the Riddle of His Robaiyat Attributability, which is the seventh volume of the twelve-book series Omar Khayyam's Secret: Hermeneutics of the Robaiyat in Quantum Sociological Imagination, authored by Mohammad H. Tamdgidi. It offers a summary of prior books of the series. In the overall series, Tamdgidi shares the results of his research on Omar Khayyam, the enigmatic 11th/12th centuries Persian Muslim sage, philosopher, astronomer, mathematician, physician, writer, and poet from Neyshabour, Iran, whose life and works still remain behind a veil of deep mystery. The purpose of his research has been to find definitive answers to the many puzzles still surrounding Khayyam, especially regarding the existence, nature, and purpose of the Robaiyat in his life and works. To explore the questions posed in the series, he advances a new hermeneutic method of textual analysis, informed by what he calls the quantum sociological imagination, to gather and study all the attributed philosophical, religious, scientific, and literary writings of Khayyam. In the first book of the series, subtitled New Khayyami Studies: Quantumizing the Newtonian Structures of C. Wright Mills's Sociological Imagination for A New Hermeneutic Method, following a common preface and introduction to the series, Tamdgidi developed the quantum sociological imagination method framing his hermeneutic study in the series. The second book of the series, subtitled Khayyami Millennium: Reporting the Discovery and the Reconfirmation of the True Dates of Birth and Passing of Omar Khayyam (AD 1021-1123), was dedicated to exploring in depth the hitherto findings and controversies surrounding the dates of birth and passing of Omar Khayyam. Therein, Tamdgidi discovered the true dates of birth and passing of Omar Khayyam. The third book of the series, subtitled Khayyami Astronomy: How the Newly Discovered True Birth Horoscope of Omar Khayyam Reveals the Origins of His Pen Name and Independently Confirms His Authorship of the Robaiyat, was devoted to a close examination of Omar Khayyam's newly discovered true birth date horoscope, and what information its hermeneutic study can offer for understanding Khayyam's life and works, especially the origin, nature, and the purpose of his Robaiyat. Therein, Tamdgidi discovered the horoscope origins of Omar Khayyam's pen name and independently confirmed his authorship of a collection of robaiyat. The fourth book of the series was subtitled Khayyami Philosophy: The Ontological Structures of the Robaiyat in Omar Khayyam's Last Written Keepsake Treatise on the Science of the Universals of Existence. It was devoted to an in-depth examination of Omar Khayyam's treatise "Resaleh dar Elm-e Kolliyat-e Vojood" (Treatise on the Science of the Universals of Existence) which was written originally in Persian for keepsake toward the end of his life. The fifth book of the series was subtitled Khayyami Theology: The Epistemological Structures of the Robaiyat in All the Philosophical Writings of Omar Khayyam Leading to His Last Keepsake Treatise. It was devoted to an in-depth examination of all of Omar Khayyam's philosophical treatises written before his last keepsake treatise on the science of the universals of existence, one Tamdgidi examined already in depth in Book 4 of the series. The purpose of the study of these texts, applying the quantum hermeneutic method developed for the series, was to arrive at an understanding of the structures of the theological epistemology informing any collection of quatrains or Robaiyat Khayyam may have written in his life. The sixth book of the series, subtitled Khayyami Science: The Methodological Structures of the Robaiyat in All the Scientific Works of Omar Khayyam, was devoted to a hermeneutic study of all of Khayyam's scientific works. The study was undertaken for the specific purpose of gaining hermeneutic insights into the methodological structures of Khayyam's scientific thinking that can shed light on his literary works, especially his poetry writing. In the book, Tamdgidi shared the Arabic texts, his new English translations (based on others' or his new Persian translations, also included in the volume), and hermeneutic analyses of five extant scientific writings of Khayyam: a treatise in music on tetrachords; a treatise on balance to measure the weights of precious metals in a body composed of them; a treatise on dividing a circle quadrant to achieve a certain proportionality; a treatise on classifying and solving all cubic (and lower degree) algebraic equations using geometric methods; and a treatise on explaining three postulation problems in Euclid's book Elements. Khayyam wrote three other non-extant scientific treatises on nature, geography, and music, while a treatise in arithmetic is differently extant since it influenced the work of later Islamic and Western scientists. His work in astronomy on solar calendar reform is also differently extant in the calendar used in Iran today. A short tract on astrology attributed to him has been neglected. The present volume, the seventh book of the series, is subtitled Khayyami Art: The Art of Poetic Secrecy for a Lasting Existence: Tracing the Robaiyat in Nowrooznameh, Isfahan's North Dome, and Other Poems of Omar Khayyam, and Solving the Riddle of His Robaiyat Attributability. In this book Tamdgidi will share his updated edition of Omar Khayyam's Persian book Nowrooznameh, and for the first time his new English translation of it, followed by his careful analysis of its text. He will then visit recent findings about the possible contribution of Khayyam to the design of Isfahan's North Dome. The texts and his Persian (where needed) and English translations and analyses of Khayyam's other Arabic and Persian poems will then follow. Next, he will study the debates surrounding the attributability of the Robaiyat to Omar Khayyam, before offering the book's conclusion. [ABSTRACT FROM AUTHOR]

In 1932, Basil Bunting was lodging with the Pounds in Genoa when he first encountered a French manuscript translation of Abul-Qasem Firdausi's classical Persian epic the Shahnameh (1010). Upon realizing that the manuscript was incomplete, Bunting decided there was 'nothing to do but learn Persian and read Firdausi, so I undertook that'. By 1942 his knowledge of Persian was good enough for the Ministry of Information to send him to Iran with the Royal Airforce, at which point he toured the Middle East, Central Asia, and parts of Africa. Through these travels, and in particular his time in Iran, he discovered renewed possibilities for his personal and poetic life. His engagement with classical Persian literature over the 1940s was extensive and allowed him to eventually compose masterful translations of canonical classical Persian poets. I argue that his later translations, especially those written from 1947, demonstrate how translating Persian poetry refined Bunting's Poundian poetics of condensation. I show that this synthesis produced formally and generically pluralistic poems that straddle multiple cultures, such as Odes 35 (1947) and 36 (1948). Through an analysis of The Spoils (1951), I explore the way in which Bunting's own poetry was inflected by the Arabo-Persian 'bait' such that its literary traditions were made resonant with Anglophone ones. I then conclude by illustrating how the translations, the later odes, and The Spoils enabled him to write his irreducibly multiple magnum opus Briggflatts (1965). [ABSTRACT FROM AUTHOR]

This essay titled "Book 6 Preface: Recap From Prior Books of the Series," is an opening to the book Khayyami Science: The Methodological Structures of the Robaiyat in All the Scientific Works of Omar Khayyam, which is the sixth volume of the twelve-book series Omar Khayyam's Secret: Hermeneutics of the Robaiyat in Quantum Sociological Imagination, authored by Mohammad H. Tamdgidi. It offers a summary of prior books of the series. In the overall series, Tamdgidi shares the results of his research on Omar Khayyam, the enigmatic 11th/12th centuries Persian Muslim sage, philosopher, astronomer, mathematician, physician, writer, and poet from Neyshabour, Iran, whose life and works still remain behind a veil of deep mystery. The purpose of his research has been to find definitive answers to the many puzzles still surrounding Khayyam, especially regarding the existence, nature, and purpose of the Robaiyat in his life and works. To explore the questions posed in the series, he advances a new hermeneutic method of textual analysis, informed by what he calls the quantum sociological imagination, to gather and study all the attributed philosophical, religious, scientific, and literary writings of Khayyam. In the first book of the series, subtitled New Khayyami Studies: Quantumizing the Newtonian Structures of C. Wright Mills's Sociological Imagination for A New Hermeneutic Method, following a common preface and introduction to the series, Tamdgidi developed the quantum sociological imagination method framing his hermeneutic study in the series. The second book of the series, subtitled Khayyami Millennium: Reporting the Discovery and the Reconfirmation of the True Dates of Birth and Passing of Omar Khayyam (AD 1021-1123), was dedicated to exploring in depth the hitherto findings and controversies surrounding the dates of birth and passing of Omar Khayyam. Therein, Tamdgidi discovered the true dates of birth and passing of Omar Khayyam. The third book of the series, subtitled Khayyami Astronomy: How the Newly Discovered True Birth Horoscope of Omar Khayyam Reveals the Origins of His Pen Name and Independently Confirms His Authorship of the Robaiyat, was devoted to a close examination of Omar Khayyam's newly discovered true birth date horoscope, and what information its hermeneutic study can offer for understanding Khayyam's life and works, especially the origin, nature, and the purpose of his Robaiyat. Therein, Tamdgidi discovered the horoscope origins of Omar Khayyam's pen name and independently confirmed his authorship of a collection of robaiyat. The fourth book of the series was subtitled Khayyami Philosophy: The Ontological Structures of the Robaiyat in Omar Khayyam's Last Written Keepsake Treatise on the Science of the Universals of Existence. It was devoted to an in-depth examination of Omar Khayyam's treatise "Resaleh dar Elm-e Kolliyat-e Vojood" (Treatise on the Science of the Universals of Existence) which was written originally in Persian for keepsake toward the end of his life. The fifth book of the series was subtitled Khayyami Theology: The Epistemological Structures of the Robaiyat in All the Philosophical Writings of Omar Khayyam Leading to His Last Keepsake Treatise. It was devoted to an in-depth examination of all of Omar Khayyam's philosophical treatises written before his last keepsake treatise on the science of the universals of existence, one the author examined already in depth in Book 4 of the series. The purpose of the study of these texts, applying the quantum hermeneutic method developed for the series, was to arrive at an understanding of the structures of the theological epistemology informing any collection of quatrains or Robaiyat Khayyam may have written in his life. The present, sixth book of the series, subtitled Khayyami Science: The Methodological Structures of the Robaiyat in All the Scientific Works of Omar Khayyam, is devoted to a hermeneutic study of all of Khayyam's scientific works. The study is undertaken for the specific purpose of gaining hermeneutic insights into the methodological structures of Khayyam's scientific thinking that can shed light on his literary works, especially his poetry writing. [ABSTRACT FROM AUTHOR]

Persian poets have made use of gladiole in their poetry and paid attention to particulars and descriptions of gladiole. The purpose of this study is to investigate numerous and various images of gladiole. The evolution of this image in different periods at the vertical axis of Persian literary history is studied as well. All images for gladiole are classified and studied in 53 poets and, according to the factor of initiator and imitator poet, original and imitative images are presented. Tables and charts are used to show the frequency and images of gladiole. The results of the study indicate that more than 753 various images and 396 original images appear in these works, and that images referring to relation between gladiole and flower, gladiole and cedar, gladiole and liberally, gladiole and face, gladiole and narcissus, gladiole and language, gladiole and smell, gladiole and ten languages, gladiole and silence and etc are respectively more frequent. Mavlana Rumi, Amirmoezi, Hassan Qaznavi, Qatran, Farokhi and Jami peresent the more original images of gladiole. [ABSTRACT FROM AUTHOR]

Copyright of RUMELI: Journal of Islamic Studies is the property of Trakya University, Faculty of Theology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Saʿdi's Golestān has been translated into German numerous times since the seventeenth century. The purpose of this article is to examine the social and literary context of three German translations and translators: Karl Heinrich Graf, a theologian and researcher of the Old Testament, published his translation of the Golestān in 1846 during German Romanticism; Dieter Bellmann, a professor of Oriental studies, published a revision of Graf's Rosengarten in 1982 in the German Democratic Republic, where literature was strictly regulated; Kathleen Göpel published her indirect translation from English, prepared by the Afghan translator Omar Ali-Shah, in 1997, at a time of intercultural literature, also called "bridge literature." Through examples the article shows how the context may have influenced their translations and how the text has changed when traveling across linguistic and cultural borders. [ABSTRACT FROM AUTHOR]

The article focuses on a very particular episode of the eastern Alexander legend, i.e. the building of an extraordinary "metal army" employed by Alexander in his war against the Indian King Porus, which is present in at least three Persian accounts written between the tenth and fourteenth centuries CE: the "Book of Kings" (Shāh-nāmeh) by Ferdowsi, the "Book of Dārāb" (Dārāb-nāmeh), attributed to Tarsusi, and an "Alexander-book" (Eskandar-nāmeh) in prose copied by ʿAbd al-Kāfi ibn Abu al-Barakāt. Compared to the most remote source, the text of Pseudo-Callisthenes, and to the closest ones (the Armenian version of the fifth century, the Syriac text of the sixth‒seventh centuries, and the Hebrew version of the tenth‒eleventh centuries), it is argued that the Persian authors have not passively received the inherited materials; on the contrary, they have been able to liven up the scene of Alexander's battle against the Indian King Porus by bringing onto the battlefield a fiery and phantasmagorical army of metal, giving us one of the more amazing episodes in the eastern legend of the great Macedonian. [ABSTRACT FROM AUTHOR]

This article follows a thread of translation and intertextual dialogue, taking us from the thirteenth-century Persian poet Saʿdi to the nineteenth-century French poet Marceline Desbordes-Valmore. It reads Desbordes-Valmore's poem 'Les roses de Saadi' (1860) with the two passages from Saʿdi's Golestān from which it was inspired, shedding new light on the poem's metapoetic subtext. The original Persian text is compared to two French translations that were circulating at the time when Desbordes-Valmore was writing. This analysis of the Golestān's reception forms the basis for the argument that Desbordes-Valmore recast in secular terms Saʿdi's discourse on poetic language, emphasizing the continuity, rather than difference, between her concerns and Saʿdi's. The case of Desbordes-Valmore thus reveals a forgotten facet of nineteenth-century French engagements with Middle Eastern culture: one of identification and literary influence, which existed alongside the processes of "othering" for which the period is better known. [ABSTRACT FROM AUTHOR]

In the review of Hafez's poetry, it can be seen that many of his poetry's images deal with the poems of the ancient poets, in addition to the imagery, these elements include the combined structure and composition of the clusters of his poetic image. The purpose of this article is to study this image with the poems of his poetry and compare it with the poetic images of his past or contemporary poets. In this study, while investigating the relationship between the poetic images of Hafez and other poets, the amount of initiation and imitation in his poems and the reasons for his poetry survival are explained. In this research, through descriptive –analytical and comparative methods, Hafez’s poems and extracting the images if his poetry have been analyzed. Comparing it with the poems of several poets before him and analyzing their poems, we have achieved the following results. The first distinction between Hafez's poetry and past poets is the choice of the word with ambiguity; the other point is that Hafez's mind is often combined in the design of imagery. Also, Hafez has given a new structure to the old images by combining various literary techniques in an image, such as the use of simile, metaphor, inspirational, indoctrination. Bringing the synonymous words and meaning to the past poets, and the miracle in the quality of their compilation with other words and the harmony of the letters has resulted in better presentation of the theme and the structure of the beats by Hafez, and what taken from the others may have stated.in the most beautiful and sophisticated form. [ABSTRACT FROM AUTHOR]

Many scholars still firmly believe that the Safavid period was one of hostility towards poets and men of letters. Numerous learned men fled Iran to India, for both religious and ideological reasons, which in turn affected both the quality and quantity of Persian literature from this era. There is evidence that corroborates this line of argument, but there are other socio-political, religious and cultural factors that must also be addressed in relation to this historical phenomenon. Drawing on original sources, this paper aims to analyze this historical ambiguity. [ABSTRACT FROM AUTHOR]

This study, after a summary of the verse romance Homāy o Homāyūn by the medieval Persian poet Ḫwājū Kermānī (14th c.), focuses on its rich semantic stratification and casts doubt on its usual classification as a mere "story of love and adventure". In particular, this analysis attempts to highlight the numerous and consistent "signals" disseminated by Ḫwājū in his work that deliberately intend to direct the reader to a markedly spiritual perspective in which the hero's journey in search of his beloved becomes an allegorical spiritual quest. [ABSTRACT FROM AUTHOR]

The article discusses value of Persian language storytellers in Mughal India. Topics discussed include value of romance genre; book "The Urdu Romance Tradition" by Frances Pritchett and reference of Punjabi mirasi storyteller Kamal Din and poets laureate Ghazali Mashhadi, Talib Amuli and Kalim Kashani.

Copyright of Dirasat: Human & Social Sciences is the property of University of Jordan and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses eternity of the world according to Persian poet Abd al-Ra : hma ¯n al-Ja ¯mi ¯. Topics discussed include the poet as the most renowned writer in the Persian-speaking world, according to author Paul Losensky, the book " Treatise Dealing with the Verification of the Doctrines of the Sufis, the Theologians and the Philosophers" and the religious and cultural politics of Mehmed II.

The article discusses the close interconnection of Persian politics and literature from the ninth and tenth centuries which includes works by poets Mirzadeh-ye Ê¿Eshqi, Aref Qazvini, and Farrokhi Yazdi.

The article presents information on Persian literature in the 13th through 19th centuries, focusing on descriptions of cities in the genre known as Shahr Ashob. Particular focus is given to the 17th century manuscript "Rawaihi Gulshan i Qutbshahi (Fragrances of the Qutb Shahi Garden)" by Iranian poet Ulfati Sawaji, which included descriptions of the city of Hyderabad during the Qutbshahi period. Other Persian authors discussed include Amir Khusrau, Nasir Khusrau, and Shyam Prasad.

This paper looks at how the leading characters in Shakespeare's Romeo and Juliet and the Persian poet, Nezami's Layli and Majnoon challenge the patriarchal system of their societies through subverting power and power relations within their respective societies. It uses Althusser and Foucault's conception of power in order to examine the lovers' subversion of the patriarchal system. The aim is to show the various ways in which these lovers challenge and undermine the patriarchal institutions in their societies, hence threatening the patriarchal system. [ABSTRACT FROM AUTHOR]