Nazrul, Hafiz and Firdausi Commemoration Volume

Nazrul, Hafiz and Firdausi Commemoration Volume 1

In the name of Allah

The creator of the soul and wisdom

Nazrul, Hafiz and Firdausi Commemoration Volume

Dhaka University, May 24, 2015 & 2016

A collection of Papers Presented at The First International Seminar on the Influence of Perso - Arabic Literary Traditions on Kazi Nazrul Islam: Special Reference to the Holy Quran and Divan-i Hafez – 2015 and The First International Seminar on the Contribution of Kazi Nazrul Islam and Abul Qasem Firdausi to their National Heritages 2016 organized by Abu Rayhan Biruni Foundation, Dhaka, on the occasion of the commemoration of the 116th and 117th Birth Anniversary of the Kazi Nazrul Islam, the national poet of Bangladesh at TSC Auditorium and Nawab Nawab Ali Chowdhury Senate House Conference Hall, respectively, University of Dhaka, Bangladesh

Compiled and Edited by

Dr. Abu Musa Mohammad Arif Billah PhD from School of Oriental and African Studies (SOAS),

University of London Ex-Chairman, Department of Persian and Urdu University of Dhaka; Associate Professor, Department of

Persian Language and Literature, University of Dhaka Chairman, Abu Rayhan Biruni Foundation

Ex [P/T] Language Tutor: Modern Language Centre (MLC)

Kings College London, University of London SOAS Language Centre, University of London

Abu Rayhan Biruni Foundation (ARBF) URL: http://www.arbfbd.org

http://www.arbfbd.org/

2 Nazrul, Hafiz and Firdausi Commemoration Volume

Name of the Book : Nazrul, Hafiz and Firdausi

Commemoration Volume

Compiled and Edited by : Dr. Abu Musa Mohammad Arif Billah

Published by : Abu Rayhan Biruni Foundation (ARBF)

Dhaka, Bangladesh

Contact address : Flat 9/A, Shahid Abu Khair Abasik Bhaban

Dhaka University, Ananda Bazar

Dhaka – 1000, Bangladesh;

Mob: 0088 01758746905

E-mail : [email protected]

Website : URL: http://www.arbfbd.org

Publication : 24 May 2016

On the Occasion of the Commemoration of the 117th Birth

Anniversary of Kazi Nazrul Islam

Number of Copy : 300

Price : 200 BDT

Foreign : $ 5 USD

ISNB Number: 978-984-92117-5-4

Copyright: © Abu Rayhan Biruni Foundation (ARBF)

http://www.arbfbd.org/


CONTENTS

SPEECH:

Speech by the Chairman of Abu Rayhan Biruni Foundation 00

MESSAGES:

1- Professor Ali Asghar Rostami Abousaidi

2- Message by the Chief Guest, Dr. Mousa Behlooli

3- English Translation of the above message

5

13

14

15

Kazi Nazrul Islam is the best composer of Bengali Nact-i

Rasūl (SAWS) 00

Dr. Abu Musa Mohammad Arif Billah

17

The Importance of Shahnameh Writings During the Thirteenth

Century (Looking at the opinions of some scholars)

Dr. Alireza Taheri

Yasser Ganjali Bonjar

33

†di‡`Šmx I Zuvi kvnbvgv (Firdausi and his Shahnamah)

Avey g~mv †gvt Avwid wejøvn

37

bRiæj I nvwdR (Nazrul and Hafiz)

Aa¨vcK Avng` Kwei

53

های میانی اسالمیبررسی تاثیر شاهنامه بر هنرهای صناعی ایران در سده

[The study of the effect of Shahnameh on Medieval Islamic Handicrafts in Iran]

دکتر حسن کریمیان

علی مولودی

57

معرفت شناسی شعر قاضی نذراالسالم،شاعر ملی بنگالدش[Epistemology Lyrics of Kazi Nazrul Islam, National Poet of

Bangladesh]

دکتر مریم خلیلی جهانتیغ

67

Nazrul at a glance 79

Abul Qasem Firdausi at a glance 87

Sohrab and Rustum 91

A Glimpse from Divan-i Hafiz 111

Bengali Translation of the First Ghazal of Hafiz 112

Nazrul and Hafiz Commemoration seminar – 2015, at a glance

113


Speech

By the chairman of Abu Rayhan Biruni Foundation

به نام خدا

In the name of Allah

ز دانش دل پیر بر نا بود توانا بود هر که دانا بود

He is the mighty who is knowledgeable

With knowledge the mind of an old remains young

وین بحث به ثالثۀ غساله میرود ساقی حدیث سرو و گل و الله می رود

زین قند فارسی که به بنگاله میرود )حافظ( طوطیان هند ۀشکر شکن شوند هم

O Cupbearer! The tale of Cypress, the Rose and the Tulip is going on

And with the three washers this dispute is going on

All the parrots of Hindustan become sugar shatterers

As this sugar candy of Farsi to Bengal is going on (Hafiz)

Kazi Nazrul Islam, Khawaja Shamsuddin Hafiz and Abul Qasem Firdausi

are among the most celebrated poets of the history of world literature.

Bengali language and literary tradition has been marshalled by the local

contribution of bards and the literature, which extensively used the

Persian literary as well as spiritual sources, depicts a strong historical

relationship between Iran and Bengal.

The emergence of Kazi Nazrul Islam was like a comet in the sky of

Bengali language and literature. The Bengali language had been facing a

debacle and defragmentation during the early British rule in the land as

the invader, with the help of some alien and local scholars, took initiative

to dismantle the literature from its medieval roots towards a Sanskritised

style. This was a serious undesirable attempt against the indigenous spirit

of the development of the language and literature. This is because, they

tried to ignore completely the huge resources and treasures of Bengali

literature, especially, the Puthi Literature, developed over the period of

five hundred years – during the Sultani and Mughal periods. Ford William

College took the lead to materialise this ill motive. They, however, at the

end realised their mistakes and compromised with the needs of the time.

But it caused the emergence of two diverse dimensions of the literary

culture amongst the hard-core Hindu and Muslim writers and composers.


Nazrul, however, was able to successfully redirect the path of the

development of Bengali language and literature, marking a bridge

between the medieval and modern traditions.

Nazrul, like the medieval poets, begun to flourish his writing up using

Perso-Arabic lexical and thematic elements. Hence, he translates Rubayat

(Quatrain) and Ghazals (love-poem) from Divan-i Hafiz. In addition, he

composed hundreds of Islamic songs and Ghazals, Hamd and Nat

exemplifying the moral, ethical and religious elements as well as

obligations. Additionally, he also used Firdausi’s Shahnameh in

composing his poem; we will discuss this at the end of this introduction.

Besides all these priceless contributions to our national heritage, Nazrul’s

most celebrated endeavour was to try to encourage the people to rise up

against the tyrannical British rule. His Bidrohi (Rebel) poem for its lexical

florescence, musical tune, fluent meaning, may be considered as the best

poem ever composed on the topic of patriotism and heroism not only in

the history of Bengali literature but also in the history of human

civilization. The high quality spiritual and literary dimension of Bidrohi

poem bestowed upon him the fame of Bidrohi Kobi (Rebel poet). His sky-

touching reputation finally forced the British rulers to sentence him to jail.

Nazrul was also a successful journalist who published newspapers and

edited them. He also acted as an orator and presenter at Radio Kolkata.

All these outstanding quality, fame and glory made him the national poet

of Bangladesh.

Abul Qasem Firdausi (935 – 1020) is a literary hero of Iran as well as an

unparalleled glittering star in the sky of world literature. With the

vigorous writing of Firdausi, a new era of Persian literary transition began

to flourish in the tenth century. Nizami, Omar Khayyam, Jalaluddin

Rumi, Sadi, Hafiz and Jami were among the most influential composers in

romantic, philosophic, mystic, didactic and lyrical fields of Persian

poetry. Firdausi was born at a village called Tus in the province Khorasan

in about 935. As per the statements of the poet himself in the Shahnameh,

it may be assumed that Firdausi begun his monumental work at the age of

forty.

Firdausi was able to manifest the glorious heritage and history of Iran

through his unbound diction and mighty pen, which resulted in the

emergence of his historic contribution – Shahnameh, i.e. the Epic of the

Kings. Daqiqi was Firdausi’s predecessor and guide in this epic strain.

Daqiqi was cruelly murdered in his early days of life when he had

composed only a thousand couplets. He, actually, began his job following


Daqiqi’s final discourse and direction. He immortalised Daqiqi’s thousand

verses by incorporated them in his Shahnameh. Firdausi had to take

careful preparation for going ahead with his mission, collecting required

information from the Pahlavi literary sources as well as from local bards.

He also got a literary treasure from the possession of Abul Mansor

Khorasani, a rich man and the ruler of Tus, who gathered a huge amount

of information researching literary, historical and mythological sources in

order to write a Shahnameh in prosaic style. Hence, the epic appears to be

a mingle pot of abundant cultural, historic and literary tests, comprising of

frequent events from Prehistoric Iran to the fall of the Sassanides. He,

began with Pishdadi and Kiyani dynasties and their battles with the

neighbouring Chinese Kings – Gushtasap and Arjasap and down to the

days of Zoroaster; depicted the events of the invasion of Persia by the

Macedonian King Alexander the Great; drew the scenarios of prolonged

battle between the Turonian and the Iranian.

Firdausi’s intention was not to present an exact history of Iran but very

often he appeared to be a poetic storyteller. His main view was supposed

to be exposed as the fallen splendour of Iran. Thus, Rostam is the main

attraction of the battles whom Firdausi retains the chief of Iranian Army

for about three centuries. Rostam’s adventures and expeditions are full of

literary taste with the emotion of heroic cavalry as well as his mighty wins

in all the wars with the enemies of Iran.

There are sounds of war drums, the tittering sound of mighty horses,

swords, the streams of blood and uncountable scattered dead bodies in the

fields and the screaming of the soldiers and common people in one hand

and the attracting sound of the mild waves of rivers, meadows, jungles,

full of deers and wild bears, and gardens full of various types of roses and

birds and above all romantic love on the other hand.

The nestling of love in Rostam’s mind manifested from an unbound

appeal by Tahmina, the Princes of Samanga and daughter of the King of

Samanga. Firdausi depicted this affection and relationship of love with his

expression of beauty by means of both the dignity of Rostam and the

prestige of the Princess which finally brought them to the court of the

King and ended up with a formal marriage.

Firdausi, by wavering this love story, successfully planted a seed of his

most attractive and tragic story of Rostam and Sohrab. Sohrab was born

after nine months of the departure of Rostam from Tahmina. After a few

decades Rostam killed Sohrab in a prolonged battle between them. None

of them were able to identify each other. Rostam eventually learned by a

talisman on the arms of Sohrab which he gifted to Tahmina just before his


departure from her. But Rostam’s dagger had already pierced through the

chest of Sohrab and he was about to die.

The streams of pain and sorrow derived within Rostam’s heart reached the

sky which brought clouds within it. His grief and mourning made him

unconscious. Firdausi finally, finishes his Epic by both accidental death of

Rostam, the hero of Shahnameh, falling into a covered death-pit, fitted

with spears, with his horse – Rakhsh and the fall of the Sassanian to

Islam.

Firdausi had the opportunity of entrancing into the literary circle of the

court of the Sultan. He, finally, dedicated his great epic to Sultan

Mahmud, the then Ghaznavid King (971 – 1030 AD) who ruled from

998AD to 1030AD. But he, due to jealousy against him, did not receive

cordial support during his presence there from the bards of the court.

According to some sources, Firdausi initiated his poem at the instance of

the Sultan who promised the poet to offer a gold coin against each of his

verses. This is, actually, does not reflect the reality. It will be critically

analysed below with logical and textual presentation.

Firstly, according to many scholars, as it has been mentioned earlier,

Firdausi was born in around 935; and he initiated his Shshnamah at the

age of forty. Therefore, 935 + 40 = 975AD means he begun the

composition of his poem in around 975AD.

Secondly, Sultan Mahmud, on the other hand, was born in 971. Therefore,

in 975AD when Firdausi started his writing up Mahmud was (975-971=4)

a boy only four years old.

Thirdly, Mahmud’s coronation held in 998 and he continued his rule until

2030AD.

Fourthly, Firdausi needed around thirty years to complete his poem; so it

was completed in around 975 + 30 = 1005AD.

On the basis of the three points mentioned above, it can be clearly stated

that Firdausi initiated his poem at the instance of Mahmud is not true. As,

at that time, he was not Sultan but was only a child of around four years

old. 23 years after the beginning of Shahnameh Mahmud became Sultan.

By that time Firdausi was almost at the finishing stage of his book.

All these logical and factual elements suggest that Firdausi most probably

went to Ghazani to meet the Sultan at the final stage of his book to seek

permission from the ruler to dedicate his poem in the name of him.


It can also be assumed that Firdausi was expecting a royal gift from the

Sultan, and traditionally, it was in Gold coins. So when he found silver

coins instead, he felt himself humiliated and became very sad. He did not

receive the royal gift. Sources, reading this issue, mention that the court

poets and especially, Hasan Maimandi, the Grand Vazir, have induced

Mahmud to send Firdausi sixty thousand silver coins (dirhams) instead of

the gold coins. He then wrote the renowned satire on Mahmud and left the

city.

Firdausi was in exile for ten years under the support of the Prince of Iraq.

During this crisis moment, the aged poet composed his final poem under

the title of Yusuf and Zulaikha, a romantic poem based on the Quranic

verses of Surah Yusuf and other biblical sources such as Joseph and

Potiphar’s wife for the prince.

Firdausi finally arrived in Tus at his eightieth. He enjoyed the final years

of his life there with a sigh of his pain and bewilderment. However,

Mahmud was able to realise his blunder and sent sixty thousand gold

coins, gifts and robes to Firdausi; but it was too late. The treasure caravan

met the funeral cottage of Firdausi at the main entrance of the city. This

legendary bard of Tus died at the age of around 85 in 1020. His

mausoleum became a place of virtuous pilgrimage for tourists from all

around the world.

Shahnameh, i.e. the Epic of the Kings, not only bestow upon him the

munificence acclamation of the title of National poet of Iran but the Epic

was also translated into many languages of the world. The worldwide

impact of the Story of Rostam o Sohrab, i. e. Rostam and Sohrab,

honoured him and unique and unsurpassed position in the history of world

literature.

There is a very good translation work of Shahnameh done in Bengali by

Mr. Monir Uddin Yusuf, a renowned Scholar of Bengali literature, which

was published by the propitious initiative of Bangla Academy, Dhaka,

Bangladesh.

As it has been mentioned above, I would like to shed some lights on the

influence of Firdausi on our national poet Kazi Nazrul Islam. This will be

very interesting, I think, as until now, nobody knows about such an

influence. I am quoting below some stanzas from Nazrul’s Kheya parer


toroni, i, e, the boat of the crossing of a river and few couplets from

Firdausi’s Shahnameh in order to make an intertextual comparison:

Nazrul writes:

jw½ G wmÜz‡I cÖj‡qi b„‡Z¨

I‡Mv Kvi Zix avq wbfx©K wP‡Ë-

Ae‡nwjÕ Rjwai ˆfie M¾©b

cÖj‡qi W¼vi I¼vi Z¾©b!

cyY¨-c‡_i G †h hvÎxiv wb®úvc,

a‡¤§©wi e‡¤§© my-iwÿZ w`j& mvd&!

b‡n Giv kw¼Z eRª wbcv‡ZI;

KvÐvix Avng`, Zix fiv cv‡_q!

AveyeKi Dmgvb Dci Avjx nvqì

ùvox †h G ZiYxi, bvB I‡I bvB Wi!

KvÐvix G Zixi cvKv gvwS gvjøv,

ùvox-gy‡L mvwi Mvb-jv kvixK Avjøvn!

Firdausi says:

دریا نهادحکیم این جهان را چون برانگیخته موج ازو تندباد

پهن کشتی بسان عروسیکی بسیاراسته همچو چشم خروس

یبا عل نمحمد بدو اندرو همان اهل بیت نبی و ولی

خردمند کز دور دریا بدید کرانه نه پیدا و بن نا پدید

بدانست کو موج خواهد زدن کس از غرق بیرون نخواهد شدن

و وصی ا نبیبه دل گفت اگر ب شوم غرقه دارم دو یار وفی

وند تاج و لوا و سریرخدا همانا که باشد مرا دستگیر

The thematic as well as lexical likeness among the texts quoted above suggests

possibility of using Firdausi by Nazrul in the composition of Kheya papere

tarani, a very renowned poem of his.

Finally, it can be stated that both Nazrul and Firdausi contributed a lot to their

national heritages. Nazrul, despite all of his limitation – poverty, jail

confinement as well as other socio-cultural impediments was able to provide, so


that they flower his dream in multiple fields – Poetry, Music, Songs, Novel,

Drama, Newspaper and media etc.

Firdausi either regardless of many obstacles – poverty and destitute, jealousy and

rivalry by the poets of the court of Sultan Mahmud, and above all lack of

encouragement by the contemporary rulers, especially, the Sultan, was able to

complete his auspicious dream – the Shahnameh, the magnificent picturing of

the history and heritage of Iran and the Iranians, wavering around 60000

couplets.

Thus, we find a close resemblance between these two stars of the literary and

cultural history of Bengal and Iran respectively in particular and of the world in

general.

Firdausi’s Shahnameh also strengthened the existing historical relations between

Iran and Bangladesh. The people of Bengal will enjoy the literary taste of

Shahnameh throughout the centuries to come.

I would like to pronounce that Abu Rayhan Biruni Foundation, with help of the

University of Dhaka, Nazrul Institute, Bangla Academy and Department of

Persian Language and literature, University of Dhaka, will take the initiative to

the people of Iran by translating Nazrul’s selected works into Persian.

It is our pleasure to inform the audience that the first dream of Abu Rayhan

Biruni Foundation, Dhaka, Bangladesh, has come true by the manifestation of

The First Biruni International Conference with the theme of Biruni is a Bridge

of Cultural, Scientific and Historical Relations between Iran and the

Subcontinent held at this Nabab Nawab Ali Chowdhury Senate Bhaban on

February 05-06 2014. The academic outcome of this conference appeared as –

Biruni Commemoration Volume, Dhaka University, February 05 – 06, 2014. The Volume

one contains the papers presented in English while the volume two contains

papers in Persian. The second dream of the Foundation has also come true by

organising the 2nd

Biruni Interdisciplinary International Conference with the title

of the first Interdisciplinary International Conference with the title of The First

International InterdesciplinaryConference on Regional Development and World

Peace. The theme of the conference was Biruni was a Pathfinder of Regional

Co-operation, Inter-Cultural relations, Coexistence and Peace held at the Senate

Bhaban on October 22-24, 2014. The 3rd

Dream of the Foundation was also

coming true by the successful completion of the 3rd

Biruni Interdisciplinary

International Conference with the title of The First Interdisciplinary

International Conference on the Contribution of Muslim Scholars to Science,

Philosophy, Religion and Literature held at Fars Hotel and Resourt, Dhaka,

Bangladesh on December 10 – 12, 2015. The academic outcome of this


conference will appear soon as – Biruni Commemoration Volume, Dhaka University,

22-24 October, 2014 and 2015 together.

I am also pleased to inform you that Biruni Foundation has also observed the

116th Birth anniversary of our great national poet Kazi Nazrul Islam by

organizing a seminar on The Fir s t Na t iona l Seminar on Kaz i

Nazru l I s lam and Khawaja Shamsudd in Ha f iz ; and

Ghaza l and Poe try Even ing with the t i t le o f The First

National Seminar on the Influence of Perso - Arabic Literary Traditions on Kazi

Nazrul Islam: Special Reference to the Holy Quran and Divan-i Hafez on 24th of

May 2015 at TSC Auditorium, University of Dhaka.

In addition to this, the participants from home and abroad have been facilitated

and enlightened by the invaluable message of the Chief Guest, Dr. Mousa Bohlouli, honourable Chancellor of the University of Zabol, Islamic Republic

of Iran; and by Professor Dr. Ali Asghar Rostami Abousaidi, Chancellor of

Payame Noor University, Islamic Republic of Iran. I would like to thank Mr.

Sayyed Musa Huseini, the honourable cultural counsellor of the Cultural

Centre of the Embassy of the Islamic Republic of Iran, Dhaka, Dr. Hassan

Karimian, Deputy Dean of Research, Faculty of Literature and Human Sciences,

University of Tehran and Professor Ahmad Kabir (Rt.), Department of Bengali,

Dhaka University, Dr. Farhad Darudgarian, Visiting Professor from Iran,

Professor Nilufar Begum (Rt.), City College, Dhaka, Mr. Abu Farhad, DMD,

SIBL, Dhaka and finally Khilkhil Kazi for their generous presence and

auspicious deliberations. I also thank Mrs Fatema Tuz-zohra, a celebrated

Nazrul Singer and Samir Kawwal, the most renowned Kawwal of Bangladesh,

for their participations and presentations.

I would like to show my sincere gratitude to the presenters, performers, poets

and participants and our guests from home and abroad and to those who have

helped us by providing financial support in order to make the seminar a grand

success.

May Allah accept our sincere efforts and bless us for all devotional and

philanthropic activities.

Regards

Dr. Abu Musa Mohammad Arif Billah (PhD from SOAS, University of

London)

Chairman, Abu Rayhan Biruni Foundation (ARBF)

Dhaka, Bangladesh

Convenor, the First International Seminar on Kazi Nazrul Islam and Abul Qasem

Firdausi

Nabab Nawab Ali Chowdhury Senate Bhaban

University of Dhaka

Bangladesh


[Professor Rostami Abousaidi,

President, Payame Noor University

(PNU), Iran, is exchanging views

with Professor Dr. A A M S Arefin

Siddique, Vice Chancellor,

University of Dhaka, Bangladesh,

regarding the possibility of mutual

cooperation between PNU and the

University of Dhaka. Following this

meeting an MOU was signed on

March 1, 2016. Chairman of Abu

Rayhan Biruni Foundation, Dr. Abu

Musa Mohammad Arif Billah acted

as a mediator to materialise the

MOU. Picture – 13/12/2015]

Message by Professor Rostami Abousaidi to the "First International Seminar

on the Contribution of Kazi Nazrul Islam and Abul Qasem Ferdowsito Their

National Heritages"

It is a pleasure and privilege for me to write this message for the First

International Seminar on the Contribution of Kazi Nazrul Islam and Abul Qasem

Ferdowsi to Their National Heritages, organised on the occasion of the

observance of the 167th birth anniversary of Kazi Nazrul Islam, the national poet

of Bangladesh, at Nawab Nabab Ali Senate House Conference Hall of the

University of Dhaka. Dhaka is the capital city of Bangladesh today which has

appeared to be a cradle for the development of Persian literature and culture

since the emergence of early period of Muslim rule in the land. Likewise, The

University of Dhaka has also been contributing to the field of Persian language,

literature as well as culture since its establishment in 1921.

I am confident that the seminar will shed light on various aspects of the

contribution of Kazi Nazrul Islam to the field of Bengali language, literature and

the national heritage of Bangladesh. It also marshals the contribution of Abul

Qasem Ferdowsi, the national poet of Iran, to the field of Persian language,

literature and the national heritage of Iran.

I hope this seminar will make available the collection of papers on the specified

fields, which will be presented by renowned scholars from home and abroad.

The collection, no doubt, will be of great use and a source of inspiration for

students and academic staff of the Universities in both Iran and Bangladesh and

widen the scope of further research in the field.

Professor Dr. Ali Asghar Rostami Abousaidi Chancellor, Payame Noor University, Islamic Republic of Iran


سمینار پیام از مهمان اول

به نام خداوند جان و خرد

فرهیختگان ارجمند، دانشوران گرانقدر و شاهنامه

پژوهان عزیز

با عرض درود، ارادت و احترام بایسته-گرانمایه بسیار خرسندیم که در تجلی شکوه و عظمت بزرگترین میراث مکتوب و

های ناب ترین سند ادبی، فرهنگی ایران و ایرانی یعنی شاهنامه از زالل اندیشهی ما واقفیم که فرهنگ مهرآمیز و شویم. بدون شک همهخردورزان برخوردار می

درخشان شعر پارسی و به ویژه شاهنامه فردوسی حاوی افکار بلند انسان دوستانه و واره کمال و نجات انسانها در آن از جایگاه ی فراوانی است که هممهربانانه

ای مشهود و ارزشمندی برخوردار است و آراستگی به زیور دانایی در آن به اندازههای تاریخی آن در تمامی ابعاد ملموس است که آغاز و پایان و گوهر حماسه

وجودی رستم و دیگر پهلوانان حماسه آفرین تبلوری جاودانه دارد.

همتا که نمایشگر عزت، غیرت و تمدن قوم آریا در دنیای شعر و بی یاین منظومهپرور را به عنوان زادگاه مهمترین شود، سیستان پهلوانادب پارسی محسوب می

های بردباری، ادب، آزادمنشی، بخشش و شادخواهی ایران معرفی و انسانیت اسطورهلذا جدای از اشتراکات خواند.را به مبارزه با دروغ، سیاهی و دیوسیرتی فرا می

ی دانایان ضرورتی اجتناب ناپذیر است تا با ترویج مبانی اندیشگی و فرهنگی بر همهها سالمی مداری در سایه خردگرایی و اعتقاد به کماالت انسانی به روشناییانسان

دوباره بگویند.

م که ما بر گویی نیک اندیشان تبریک میدر پایان این میمنت و نیک رایی را به همهایم که زینت آن منش و کنش و عقیده به ستایش خداوند ای جمع شدهگرداگرد آینه

داند.ی تباهی میشمارد و بیدادگری را سرچشمهاست و همواره دین را محترم می


شناسان و دانایان جهان این چراغ را همواره روشن نگه دارند که آرزومندم شاهنامه

ی کماالت انسانی ی جوامع انسانی تنها و تنها در سایههمانا آرامش و شکوفای

زند :معناپذیر خواهد بود، کماالتی که شاهنامه آن را بدین زیبایی فریاد می

سرتخت شاهـان بپیچـد سه کار نخستیـن ز بیــدادگـر شهریــار

سـود را بـرکشیـددگـر آنکـه بی ز مـرد هنرمنـد برتـر کشـــیــد

کوشـد کـه پیشی کندبـه دینـار سه دیگر که با گنج خویشی کند

به بخشندگی یاز و دیـن و خـرد دروغ ایـچ تا بـر تـو بـر نگــذرد

رخ پادشـاه تیـــــره دارد دروغ بلندیش هرگـز نگیـرد فــــروغ

؛ ایرانرئیس دانشگاه زابل –موسی بهلولی درود و بدرود

[English Translation of the above message by the Chief Guest ]

Dear sublimes, scholars and Shahnameh researchers

Presenting our deepest devotion and respect, we are honored to enjoy the

pure thoughts of the scholars, regarding the glory of Iran's greatest literary

and cultural heritage, Shahnameh. Undoubtedly, we are all aware that the

peace-lover and illustrious culture of Farsi poetry and Shahnameh in

particular, includes prominent, philanthropist thoughts and a precious

amount of kindness, in which human beings' perfection and decency

possess a valuable place and the adornment of wisdom is so tangible and

obvious there that the beginning, the end and essence of its historical

epics are appeared in all personality dimensions of Rostam and other epic

champions in an immortal way.

This unique epopee, which presents the honor and civilization of Aryan

nation in Persian literature, introduces the champion-raiser Sistan as the

birth place of the most important tolerance, politeness, liberalism,

generosity and benevolence myths in Iran and calls humanity to challenge

with falsehood, darkness and abomination. Thus, it is on all scholars to

embrace the illuminations again, spreading the humanity foundations in

the light of rationalism and believing in human perfections, regardless of


intellectual and cultural similarities. In the end, I hope to congratulate you

all, for the benevolent nature of our gathering – which amounting to a

round mirror, decorated with morality, deed and worship of the God that

always respects the religion and considers cruelty as the origin of ruin. I

hope the world's Shahnameh-scholars and thinkers keep the fire of

wisdom blazing for the peace and blossoming of the human nations will

be solely meaningful in the light of human perfections, to which

Shahnameh points, splendidly:

سرتخت شاهـان بپیچـد سه کار نخستیـن ز بیــدادگـر شهریــار

سـود را بـرکشیـددگـر آنکـه بی ز مـرد هنرمنـد برتـر کشـــیــد

سه دیگر که با گنج خویشی کند بـه دینـار کوشـد کـه پیشی کند

بخشندگی یاز و دیـن و خـردبه دروغ ایـچ تا بـر تـو بـر نگــذرد

رخ پادشـاه تیـــــره دارد دروغ بلندیش هرگـز نگیـرد فــــروغ

God bless you all, thank you for your attention.

Dr. Mousa Bohlouli

Chancellor, University of Zabol

Islamic Republic of Iran


Kazi Nazrul Islam is the best composer of Bengali Nact-i Rasūl

(SAWS)1

Dr. Abu Musa Mohammad Arif Billah2

Abstract

Kazi Nazrul Islam, the national poet of Bangladesh,

contributed a lot to the field of Bengali literature,

especially Bengali songs as well as Islamic music,

comprising of the praise of God (ḥamd) and (Nact-i

Rasūl) the praise of the Prophet Hazrat Muhammad

(SAWS). He was born on 24 May 1899 at

Churuliya village in the district of Bardhawan, West

Bengal, India. He belonged to a very poor family

and his father died when he was only nine years old.

He was unable to continue his school due to poverty and worked as a teacher of

a village Maktab, i.e. rural madrasah, and as a muadhdhin, caller for prayer, in a

village mosque. Later, he joined a mobile musical group called Leto which

roamed around singing and acting in the countryside. He soon became the main

poet of the group, demonstrating his wonderful poetic genius. During the First

World War in 1917 Nazrul joined the Bengal Regiment of the British Indian

Army. He was posted in Karachi Cantonment and during his stay there for about

two and half years he leant Persian from the regiment’s Punjabi Mawlavi who

inspired him to study about the Divān-i Ḥafiẓ. Hence, he composed many

Bengali songs taking elements from Divān-i Ḥafiẓ. He composed more than

three thousand songs including a good number of Islamic songs containing the

life of Prophet Muhammad (SAWS), His companions and the legacy of Islam.

The proposed paper attempts to demonstrate a feature of the poetic diction and

style used in Nact-i Rasūl of Kazi Nazrul Islam exemplifying his literary

accomplishment.

Key words: Nact-i Rasūl, Islamic music, Divān-i Ḥafiẓ, legacy of Islam,

Prophet Muhammad (SAWS)

1. Introduction

Nazrul Islam (1899-1976), the national poet of Bangladesh, is indeed the best

composer of Bengali Nact-i Rasūl, the epithet of the Prophet Hazrat Muhammad

(SAWS). Nazrul left an unparalleled musical legacy in various fields with

1 The paper was presented as the keynote speech at an International Congress on the

Prophet Hazrat Mohammad’s (PBUH) Representation in Arts, held on 6-7 May

2015, at Sisitan and Beluchestan University, Zahedan, Islamin Republic of Iran. 2 Associate Professor, Department of Persian language and Literature, University of

Dhaka. [email protected]


manifold thematic dimensions and spiritual innovations in the field of Bengali

culture and literature. Nazrul’s songs are the composition of the human

transcendent pursuit regardless of religion, caste and creed. His appealing

spiritual passion was evident in the composition of everlasting devotional

genres. His Ḥamd, Nact and Islamic songs are recalling of obedience to

Almighty Allah.

Regarding the uniqueness and specialty of the contribution of Nazrul Islam

Abdul Mukit Chowdhury in his Nazrul Islām: Islmi Gān (Nazrul Islam: Islamic

Songs) observes:

Nazrul songs, beside the harmony of Baul3 songs, manifested a

fusion with the melody of Middle East, Turkey, Iran and the

west and south Indian dhrupad songs as well as Thungri, Kawali

and Ghazal. The taste of which can be compared to the

commodities of a new merchant. Such a magical power of

imagination, expression, diction, melody as well as poetic

genius was not found in the contributions by the poets of the

period prior to him (Chowdhury, 2000: 7).

Nazrul was undoubtedly a pathfinder of the combination of the spirit of

Humanism and the embodiment of virtue and values of religion in general and of

Islam in particular. He echoed the voice of justice for the development of the

socio-economic condition of the people of different strata of human society.

Many of his poems and songs highlights the importance of establishing

equality, justice, freedom and that is why he continuously spoke out against the

British Colonial rule. His revolutionary poem entitled Bidrohi, i.e. Rebellion,

had an explicit role encouraging the people of Bengal to rise against the British

Rule. Rafiqul Islam in his book entitled Biography of Kazi Nazrul Islam in this

regard mentions that ‘Nazrul,s presence was felt strongly in all spheres, in the

social, political and cultural matrix of twentieth century Bengal, and is as

strongly felt in this twenty first century too’ (Islam, 2014: 1). It is worthwhile to

mention that Rabindranath Thakur dedicated one of his books to Nazrul Islam.

Among others the distinctive characteristics of Kazi nazrul Islam is – as a

Muslim he was unequivocally faithful in God and the life after here – Akherat

and as a man he echoed the voice of justice, equality and liberty for all human

being.

Apart from the outline of the life and works of Kazi Nazrul Islam the textual and

thematic features of some of the most celebrated Ḥamd and Nact will be

analysed in detail in the following section.

3 A group of devotees who sing mystic songs in a special mode. These songs are

usually called as Baul song.


2. Early life: an outline

Kazi Nazrul Islam was born on 24 May 1899 at Churuliya village in the district

of Bardhawan, West Bengal, India (Islam, 2014: 1).4 He belonged to a poor

family. His father, Kazi Fakir Ahmed, was the caretaker of a mausoleum and the

imam of a mosque. His father died when he was only nine . He got his lower

primary school education from his village Maktab, through which he received

Islamic education and got acquainted with the fundamentals of Islam, reading

the Quran, prayers, fasting, hajj and zakat. This experience, indeed, appeared as

a milestone during the later period of his life to exhilarate his skill in

transfiguring Islamic traditions into his Bengali literary composition (Islam,

2003, Vol. 5: 319-320).

After the death of his father in 1899 he was given the charge of his father’s job.

He worked as a teacher of his village Maktab, i.e. rural madrasah, and as a

muadhdhin, caller for prayer, in his village mosque. However, he was unable to

continue his school education due to poverty. He gradually became fascinated by

folk theatre, grasping its mixture of poetry, song and dance. Later, he joined a

mobile musical group called Leto, which roamed around singing and acting in

the countryside. He began to act with the group and also acquired the art of

composing poems and songs at short notice. He soon became the main poet of

the group, demonstrating his wonderful poetic genius. The adolescent poet

composed a number of folk plays for the leto group. In 1910 Nazrul returned to

school. Unfortunately, after some time Nazrul again had to leave school due to

financial scarcity. In 1914 he got admitted to class Seven of Darirampur School

at Trishal in Mymensing with the help Rafizullah, a police inspector of Asansol.

In 1915 he returned to his own village and got admitted to class Eight of

Raniganj Searsole Raj School where he continued his studies up to class Ten

(Islam, 2003, Vol. 5: 320).

During the First World War in 1917, however, Nazrul decided to join the 49

Bengal Regiment of the British Indian Army. He was posted in Karachi

Cantonment and hestayed there for about two and a half years – from the close

of 1917 to March-April 1920. He learnt Persian from the regiment’s Punjabi

Mawlavi who inspired him to study about the Divān-i Ḥafiẓ (Islam, 2003, Vol. 5:

320). During this period he started to depict his poetic genius and writing skills.

2.1 Nazrul as a poet:

As it has been mentioned above that Nazrul’s poetic skill was developing since

his childhood and the creative power of composition got rooted during his

adolescence and it was flowered truly during his stay in Karachi. During his

stay in the army, Nazrul besides, learning Persian from the regiment's Punjabi

Mawlavi, practiced music with other like-minded soldiers to the accompaniment

of different types of instruments and at the same time pursued literary activities

4 According to Pandit B R Banerjee the date is 23

rd April 1899. ( See Islam, 2014:1-6).


in both prose and poetry. His stories and poems written at Karachi cantonment

were published in various journals from Kolkata, such as: Saogat , Bangiya

Musalman Sahitya Patrika Prabasi, Bharatbarsa, Bharati, Manasi, Marmavani,

Sabujpatra. After the end of the First World War, Nazrul returned to Kolkata

and began the career of a litterateur-journalist there. People started becoming

aware of an innovative talent in the field of Bengali literature when local

journals published his novel Bandhan-hara and poems such as 'Bodhan', 'Shat-

il-Arab', 'Agamani', 'Kheya-parer Tarani', 'Korbani', 'Moharram' and 'Fateha-i-

Doazdaham'. Nazrul's life began as a journalist with the publication of Navajug,

the evening daily, on 12 July 1920. In conjunction with carrying out his

journalistic activities, he was writing about the socio-political aspects of national

and international developments as well as rendering songs (Islam, 2003, Vol. 5:

321-322).

In October 1923 Dolan-Chanpa, the first anthology of Nazrul's poems on love

and nature, was published. Biser Banshi and Bhabgar Gan , two collections of

Nazrul's songs and poems were published in August 1924. In 1925, the first

gramophone record of Nazrul's songs was produced by His Master's Voice

(HMV). By the end of 1925 Nazrul published his book Samyabadi O Sarbahara

containing songs for workers and peasants. Among Nazrul's other publications in

1925 were Rikter Bedan, an anthology of short stories, and four anthologies of

songs and poems, namely: Chittanama, Chhayanat, Samyabadi and Puber

Hawa. Chittanama was a collection of songs and poems that Nazrul composed

on the memory of the sudden death of Deshbandhu Chittaranjan Das on 16 June

1925. In 1928 Nazrul published Fani-manasa, an anthology of Nazrul's poems

and songs, and Bandhan Hara, an epistolary novel. The collections of Nazrul's

poems and songs published in 1928-29 include Sindhu-Hindol (1928), Sanchita

(1928), Bulbul (1928), Jinjir (1928) and Chakravak (1929). It was Abul Kalam

Shamsuddin who designated Nazrul in an article published in Saogat as an

epoch-making poet and titled him for the first time as the national poet of Bengal

(Islam, 2003, Vol. 5: 323).

Nazrul was terribly shocked by the death of his four year old son Bulbul in 1929

and in the views of many, he gradually turned towards spiritualism. During the

time of Bulbul's sickness Nazrul translated the Rubaiyyat of Hafiz which was

published as Rubaiyyat-i-Hafiz in 1933 (Islam, 2003, Vol. 5: 323). Nazrul also

started to compose Bengali Ghazals and that he appeared as the pioneer of

Bengali Ghazal tradition. Nazrul's Ghazals are based on Persian Ghazals.

Regarding this Abu Mohammad Habibullah observes:

With his innate gift of innovation and defiance of established

norms he began to introduce new themes and new tunes on

popular subjects and above all, a form of music adopted

from the Persian which came to known as Gazal [Ghazal?].

These became immensely popular and added to the rich

campus of Bengali music another major variety now known

as Nazrul Sangeet, as distinct as Rabindra Sangeet

(Habibullah, 1997: 17).


Later, Nazrul was associated with HMV Gramophone Company from 1928 to

1932. Nazrul's first radio programme was aired by the Calcutta station of All

India Radio in the evening of 12 November 1929. Nazrul Islam was accorded a

reception at Albert Hall, Kolkata, on 10 December 1929 on behalf of the

people of Bengal. At the occasion Prafulla Chandra Ray said, ‘I believe that

each of our future children will become a superman by reading the poems of

Nazrul Islam.’ Subhas Chandra Bose also observed, ‘We shall sing Nazrul's

war songs when we go to war. We shall still sing his songs when we are in

prison’ (Islam, 2003, Vol. 5: 324).

A number of books published in 1930 which include Mrityuksudha, a political

novel, Nazrul-Gitika, an anthology of songs, Jhilimili, a play, and two

collections of poems and songs: Pralay-shikha and Chandravindu. The books

published in 1931 include his novel, Kuhelika, a collection of short stories,

Shiulimala, an album of his songs with notations, Nazrul-Swaralipi, and a

musical play, Aleya. Aleya for the first staged at Natyaniketan, Kolkata (3 Paus

1338/ Dec 1931). It had 28 songs. In 1932 Nazrul’s radio play, Mahuya, aired

from Kolkata radio station. Nazrul's publications in 1932 were anthologies of

songs, such as Sur-Saki, Zulfikar and Bana-giti. Nazrul published four books

related to songs throughout 1934: the anthologies of songs, Giti-Shatadal and

Ganer Mala, and the collections of notations, Suralipi and Suramukur. From

October 1939 to1942 Nazrul became officially associated with Kolkata radio

station. This was regarded as the most significant phase of Nazrul's music life.

Rabindranath Tagore died on 7 August 1941. Nazrul, in honour of Tagore,

composed two poems-'Rabihara' (Without Rabi) and 'Salam Astarabi'

(Farewell, Setting Sun) -and an elegy, 'Ghumaite Dao Shranta Rabire (Let the

Tired Rabi Sleep). Nazrul himself recorded 'Rabihara' and recited it on radio.

In 1942 Nazrul fell ill and gradually lost his memory and his voice. His

treatment at home and abroad appeared futile. For 34 long years, from July

1942 to August 1976, the poet suffered from this unbearable life of silence

(Islam, 2003, Vol. 5: 325).

With the approval of the Indian government, Nazrul and his family were brought

to independent Bangladesh on 24 May 1972. Dhaka University awarded the poet

the honorary degree of DLitt at a special convocation on 9 December 1974 in the

recognition of his contribution to Bangla literature and culture. On 29 August

1976 the poet died at the Institute of Post Graduate Medicine and Research (now

BSMM University) in Dhaka and was buried with state honour on the Dhaka

University Central mosque compound, on the northern side of the mosque. He

retains his acclamation as ‘The National Poet of Bangladesh’.

2.2 Nazrul’s Islamic songs

Nazrul, by the immense beauty and heart-touching melody of his musical

contributions, surpassed all of his predecessors, such as: Shah Muhammad Sagir,

A court poet to the court of Sultan Ghyasuddin Azam Shah (1389-1410 AD),

Sabrid Khan, Sayyed Sultan (1555-1648), Muhammad Khan, Dawlat Kazi,

Hayat Mahmud etc. He composed many Bengali songs taking elements from


Divān-i Ḥafiẓ. He wrote more than three thousand songs; a good number of

those are Islamic songs containing elements from the life of Prophet Muhammad

(SAWS), His companions and the legacy of Islam. Thus among his more than

3000 Bengali songs, around 700 are of Islamic genre – Ḥamd, Nact and of

Islamic themes.

For instances, the first verses of some notable Islamic songs are being motioned

below:

2.2.1 Monājāt (Invocation):

a) masjider-i pāśe āmār kabar diyo bhāi/

yena gore thekeo moyajjiner ājan śunte pāi// [Chowdhury, 2000: 42]

[O brother! please grave me at a mosque compound/

So that I can listen into the call of a Moajjin//]

b) śono shono yā elāhi āmār monājāt/

Tomāri nām jape yena ṛiday dibas-rāt// [Chowdhury, 2000: 33]

[Listen! Listen! O my God into my call

So that my heart can remember your name through day and night]

c) āllajī, āAllajī raham koro tumi ye rahmān/

Duniyādārir fde pare kde āmar prāṇ// [Chowdhury, 2000:35]

[O My God! O My God! Be kind as you are beneficent

My soul has been crying since it has been trapped with earthly affairs]

It is worthwhile to mention that the second hemistich sounds a clear thematic

resemblance with the first couplet the Mathnavī of Mawlana Jalaluddin rumi –

.بشنو از نی چون حکایت می کند از جداییها شکلیت می کند

d) roj hāśre āllah āmar koronā bicār/

bicār cāhe nā, tomār doyā cāhe e gunāhgār//[Chowdhury, 2000: 43]

[O God! Do not make me accountable in the Day of Judgment

Does not want a verdict, wants your Mrcy this sinner]

The Perso-Arabic as well as Islamic thematic and lexical appearance in all the

hemistiches and couplets show, no doubt, Nazrul’s skill and mastery on the

topics. He exhilarated his devotional spirit and unbound appeal to symbolize his

manifestation by exemplifying God as a supreme Lord.

2.2.2 Sources of transfiguration:

1) re mon! āllah rasul bol/

dine dine din gela tor duniyādārī bhol//[Chowdhury, 2000:53]

[O soul! Recall God and Prophet/

Your days are passing through, forget the worldly affaires]

2) bake āmār kā’bār chabi cake mohāmmad rsul/

śiropari mor khodār āraś gāi tari gān path- bebhul//[Chowdhury,

2000:55]

[The picture of the Kaaba upon my chest and Prophet Muhammad at my

eyes

The throne of God upon my head I sing his song following the right

path]

3) khaybarjayī āli hāydār jāgo jāgo ārbār/


dāo duśman durga-bidārī dudhārī julfikār//[Nazrul sangit sangraha,

2014:155]

[Wake up further, O Ali Haydar, the conqueror of Khaybar

Slit up the fort of the enemy using the sword, the Julfikar]

4) Nīl kabutar laye nabīr dulālī khele madināy/

Deher jyotite tār jāphranī pirhān mlan hoye yāy//[Nazrul sangit

sangraha, 2014:217]

[The lovely daughter of the Prophet plays at Medina with a blue pigeon

Her saffron-coloured garment becomes deem by the lusters from her

body]

God, Prophet Hazrat Muhammad (SAWS), The House of God – Kaabah, Hazrat

Ali (AS), Hazrat Fatema and such other sources of Islamic religious spirituality

very often appeared in Nazrul’s Islamic songs as well as in his Nact-i Rasūl

which is reflected well in the verses quoted above.

2.2.3 Eid-ul Fitr, Ramzan and Zakat:

a) O man ramjāner oi rojā śee elo khuśīr ṛd/

Tui āpnāre āj biliye de śon āsmānī tākid//[Chowdhury, 2000:76]

[O soul! The joyous Eid has come at the end of Ramadan

Annihilate your self today, listening to the divine call]

b) De jākāt, de jakāt, torā de re jākāt/

Dil khulbe pare – ore āge khuluk hāt//[Chowdhury, 2000: 84]

[give zakat, give Zakat, give zakat you all

First should be extended your hand – then on the heart will be open]

These types of verses depict Nazrul’s utmost devotion towards the fundamental

principles of Islam as well as its appeal to build a philanthropic society. The first

hemistich of this section manifests how the people of the world celebrate and

welcome the event of Eid-ul Firt. The second hemistich making the people

aware of the divine rule and asking them to comply with it in instituting welfare

approaches.

2.2.4 Spiritual manifestation of Muharram and Karbala:

1. Moharomer cd elo oi kdāte pher duniyāy/

Oyā hosenā oyā hosenā tāri mātam śonā yāy//[Chowdhury, 2000:92]

[There is the crescent of Moharram which has appeared again in the

world

The scream of that – oh Hussen! Oh Hosend – is being heard]

2. Ogo mā – phātemā – chute āy-

Tor dulāler buke hāne churi/

Diner śe bāti nibhiyā yāy mā go-

Ādhār halo madinā – purī//[Chowdhury, 2000:94]

[O mother! Fatema – come forward

There is a dagger, piercing into the chest of your lovely one

The last candle of religion is going to be extinguished

There is fall of darkness over the city of Medina]


Nazrul contributed a lot to the devotion and love towards the Ahle Bait,

especially the tragic events of Karbala. He has marshalled his pen to depict the

appealing scenes of not only Karbala but the various aspects of the life of Imam

Hussain, Hasan, Hazrat Fatema (A. S.).

2.2.2 Ḥamd (eulogy for God)

a) Deśe deśe geye berai tomār nāmer gān/

He khodā e ye tomār hokum, tomāri pharmān//107]

[(I) have been singing the song of your name in a country after another

O God! This is due your instance, your order.]

b) Ei sundar phul sundar fal ar mithā nadir pāni

(khodā) tomār meherbānī// [Chowdhury, 2000:108]

[This beautiful flower, lovely fruits and sweet water in the river

(Oh God) from your Kindness]

c) phiri pathe pathe majnu dīwana haye/

Buke mo sei khodā tomāri eśk laye//[Chowdhury, 2000: 109]

[passing through one path after another becoming a maznun like lover

Keeping your love in my heart, O God!]

d) Tomāri prakāś mahān e duniyā jāhān/

Tomāri jyotite rawśan niśidin jamīn o āsmān//[Chowdhury, 2000:109]

[this earth – the world is the great manifestation of yourself

The earth and the sky are luminous in day and night from your light]

This verse in the final section (d) reminds us of the idea of wahdatul wuzud as

well as the Quranic verse – God is the light of the earth and the heavens – هللا نور

Rumi also depicts a similar manifestation: everything .(Nur: 35) السماوات و االرض

is beloved and the lover is the vail – جمله معشوق است و عاشق پرده ای (Mathnavī,

Part One, verse: 30). The theme and contents in all the above verses include a

heart rendering divine melody, transcendent melody and the beauty of nature

underlying the ultimate goal – to reach the beloved, the God. Wide-ranging use

of Perso-Arabic words is another specialty of Nazrul here.

2.2.3 Nact-i Rasūl (SAWS)

As it has been mentioned earlier that Nazrul is the best composer of Nact-i Rasūl

(SAWS). It is true that the legacy of epithet or devotional songs in memory of

Prophet Hazrat Muhammad (SAWS) goes back to the early medieval period (the

Sultani period – the late fourteenth century onward) of Bengali literary tradition.

Shah Muhammad Sagir, the court poet of Sultan Ghyasuddin Azam Shah (1389-

1410) was the pioneer of this devotional genre. Among the successor of Sagir

poets like Shah Barid Khan, Dawlat Kazi and Lalon Fakir also used this tradition

in their writings. It would be befitting to mention some verses for examples from

the beginning of their poems below:

a) Shah Muhammad Sagir – from his Yusuph Jolakhā:

Jībatmāy paramātma mohāmmād nām/

Pratham prakāś tathi hailo anupām//

Jatha iti jīb ādi kailā tribhuban/


Mohāmmad honte kailā tā sab ratan//

Param īsvar tāne bulileka bandhu/

Sapta svarga mukti pāilo tān pada bindu//

Ek laka cabbiś hājār nabikul/

Mohammad tan Madhya pradhān ādyamul//[Sagir, 1999:113-114]

[The Supreme Being is existent in the embodied soul called Muhammad/

Which caused the first incomparable manifestation//

Whatever creatures were created in the three worlds

You have shaped their precious existence from Muhammad//

The Great God called Him as a friend/

The seven skies got opened for His footprint//

There are a hundred and twenty four thousand prophets/

Muhammad is the foremost and unique root// ]

b) Shah Barid Khan – from his Hānifār digvijay:

Nūr mohāmmad hailā yār honte paydā hailā

Sristi kailā e tribhuban/

Yar hetu niranjan duniyā korila srijan

Ākāś pātāl martasthān// [as quoted in Chowdhury, 2000:6]

[The light of Muhammad was being formed

the whole creation was being created from him

These three worlds have been created by Him/

For his cause God has created the world

(And) the sky, earth and the place of mankind//]

c) Dawlat Kazi – from his satī maynā – loe candra:

Āllār dosta mohāmmad mānhe tāhān pad

Darud sālām bahutar/ [as quoted in Chowdhury, 2000:6]

[Muhammad is the friend of God - follow his footprint

(And say) darud and salam enormously/]

d) Lalon Fakir in his gīti:

Madināy rasul name ke ela re bhai

Kāyādhārī haye kena tār chāyā nāi//[as quoted in Chowdhury, 2000:6]

[O brother! Who arrived at Medina with the name of Muhammad

Being an bodily existent why has he no shadow?]

All the above quotations shows that the Ḥamd and Nact-i Rasūl tradition was in

vague from the very beginning of the Bengali literary tradition. But, as it has

been mentioned earlier, Nazrul’s contribution is the best in all aspects of both the

genres. Nazrul surpassed all of his predecessors.

2.2.4 The Nact-i Rasūl of Kazi Nazrul Islam


The specimen quoted above can be enough to understand the chronology of the

development of Bengali Epithet or devotional tradition. This tradition reached its

zenith by the writing of Nazrul. He made a successful innovation and revolution

in the field using a good number of Persian and Arabic words, symbolizing

Muslim rituals and festivals as well as five pillars of Islam. Following the title of

this study it would be convenient here to present the textual and thematic

analysis of some of the most celebrated epithets of Nazrul Islam in the following

section. The Persian and Arabic words will be identified by underlining them:

2.2.4.1 Regarding the birth and appearance of the Prophet:

a) Torā dekhe ya āminā māyer kole/

Madhu-pūrṇimāri sethā cda dole/

Yena uār kole rangā rabi dole//

Kul mākhkule āji dhvani oṭhe – ‘ke ela oi’

Kālemā śāhādater bāṇī ṭhote – ‘ke ela oi’

Khodār jyoti peśāṇīte phote – ‘ke ela oi’

Ākāśer graha tārā paṛe lute – ‘ke ela oi’

paṛe darud phereśtā, beheśte sab duyār khole//

mānue mānuer adhikār dil ye-jan,

‘ek āllāh chārā prabhu chārā nāi’ – kahila ye jan,

mānuer lāgi’ cira dīn – hīn beś dharila ye jan,

bādśāś- phakire ek śāmil karila ye jan –

ela dharāy dharā dite sei se nbabī,

byāthita ṛidayer dhyāner chabi,

(āji) mātila biśva-nikhil mukti kalrole// [Chowdhury, 2000: 139]

[O you! Come and look at the lap of Amina

A beautiful full moon is swaying there

As if the colorful sun is swaying at the lap of the dawn//

A roar is rising from the whole world – ‘who has arrived there’

With the speech of kalima shahadat at the lips – ‘who has arrived there’

The light of God is lustering from the forehead – ‘who has arrived there’

The sky, planets, stars falling (on earth) ‘who has arrived there’

Opening all the doors of heaven, the angels are reciting prayer//

A person who offered the human rights to human being

Who said – ‘there is no God but Allah’

Who, for the sake of the people, has worn the garments of the poor

Who equalled the king with the oppressed

That is the Prophet who has arrived to the earth

The picture of meditation for the depressed

(Nowadays) the whole universe is roaring with the unbound joy of freedom//]

This is a beautiful presentation of Nazrul on the welcoming epithet to enjoy the

birth of the Prophet (SAWS). He glorified the event with the principles of Islam

on one hand and the natural elements and constellations on the other. Explicit

use of Perso-Arabic words is another specialty of Nazrul here.

b) Sāhārāte phutla re rangin gule lālā/


Sei phuleri khośbute āj duniyā mātoyārā//

Se phul niye kāṛākāri cd-sūruy graha tārāy/

Jhuke paṛe cume se phul nīl gagan nirālā//

Sei phuleri rośnīte āraś kurśī raośan/

Sei phuleri rang lege āj tribhuban ujālā//

Sei phuleri gulistāne āse lākho pākhi/

Se phulere dharte buke dole re ḍāl pālā//

Cāhe se phul jin o insān hur-pari phereśtay/

Phakir darbeś bādśāh cāhe karte galār mālā//

Cene rasik bhomrā bulbul sei phuleri ṭhikānā/

Keu bale hajrat mohammād keu bā kamlīoyālā// [Chowdhury, 2000:138]

[The colorful Tulip has bloomed at desert (Sahara)/

The world has become intoxicated by the fragrance of the flower//

The moon, sun, stars and the planets scrambling over each other/

The blue sky kisses that flower bowing to earth//

The Throne, at the holiest position of God become bright by the bright radiance of that

flower/

The all three worlds become luminous by the magnificence of that flower//

Hundreds of thousand birds comes into the garden of that flower/

The branches are swaying to get that flower at their chests//

The Jinn and human, the virgin of paradise, the fairy and the angels/

The distressed, the mendicant, the kings want to make a garland//

The humorous nightingale knows the location of that flower/

One calls Hazrat Muhammad; else one a rag wearer//

Nazrul here exemplifying Prophet Muhammad (SAWS) with a Tulip bloomed in

the desert. Nazrul using the auspicious event of the emergence of the flower

presenting nicely the importance of the birth of the Prophet (SAWS)

symbolizing natural and divine elements. He is successful here in order to make

a sublime transfiguration within the human soul by using natural, spiritual and

divine sources of inspirations.

c) Tribhubaner priya mohāmmād elo re duniyāy/

Āy re sāgar ākāś bātās, dekhbi yadi āy//

Dhulir dharā begeśte āj

Jāy karila, dil re āj

Ājke khuśīr ḍhal nemeche

Dhusar sāhārāy//

Dekh āminā māyer kole

Dole śisu islām dole

Kaci mukhe śāhādāter bāṇī se śonāy//

Ājke yata pāpī o tāpī

Sab gunāher pela māphi

Duniyā the be-insāphī

Julum nila bidāy//

Nikhil darud paṛe laye nām


‘sāllāllāhu ālāihī asāllām’,

Jin parī phereśtā sālām

Jānāy nābīr pāy// [Chowdhury, 2000:142]

[Muhammad, the beloved of the three worlds has appeared at the world/

O Sea, the sky and wind, come forward! if you are interested to see//

Today, on this earth of dust and at the heaven/

Conquered and made it calm

There are floods of joy – today

At the graying desert of Sahara//

Look at the lap of the mother – Amina

The child Islam is swaying there

With the soft mouth

Expressing the message of witness//

All the sinners and repented – today

Got their mercy of all sins

Injustice and oppression from the earth

Disappeared//

With the calling of the Universal prayer and name:

‘sāllāllāhu ālāihī asāllām’

The Jinn, fairy and the angels express their salam

At the feet of the Prophet//

It is one of the best symbolisms used by any poet in the history of world

literature to compose laudatory poems or songs in memory of any personalities.

Nazul here combines natural and divine elements as well as Prophet Muhammad

(SAWS). Presence of huge numbers of Perso-Arabic words signifies Nazrul’s

mastery over the fields.

2.2.4.2 Regarding the virtues of the name – Muhammad – of the Prophet:

Tawhideri murśīd āmār mohāmmāder nām,

Murśīd mohāmmāder nām/

Oi nām japilei bujgte pāri khodāi kālām,

Murśīd mohāmmāder nām//

Oi nāmeri raśi dhare yāi āllār pathe,

Oi nāmeri bhelāi care bhāsi nurer srote,

Oi nāmeri bāti jvele dekhi laoha ārś-dhām,

Murśīd mohāmmāder nām//

Oi nāmer dāman dhare āchi, āmār kiser bhay

Oi nāmer gune pābha āmi khodār paricay,

tr kadam mobārak ye āmār beheśti tānjām

Murśīd mohāmmāder nām//[Chowdhury, 2000: 172]

[The name of my guide towards monotheism is Muhammad/

The name of the guide is Muhammad//

With the remembering of that name I understand the speech of God,


I go towards the path of God keeping the rope of that name,


I float on the stream of light riding on the raft of that name,

I observe the tablet and abode of God lighting the lamp of that name,


I have been keeping the skirt of that name, what a fear for me

I will get the sign of God by the virtue of that name,

His glorified feet is my heavenly Tanzam

The name of the guide is Muhammad//]

Few verses from the beginning of similar type of Nact-i Rasūl are shown below:

a) Mohād nām jatai japi

Tatai madhur lāge/

Name eta madhu thāke

Ke jānita āge//[Chowdhury, 2000: 170]

[As much as I remember Muhammad’s name

I find much sweet feeling/

There is so much sweetness with a name!

Who knew that before//]

b) Nām mohāmmad bol re nām āhmad bol

Ye nām niye cd-ditārā āsmāne khāy dol//[Chowdhury, 2000:172]

[O soul! say the name of Muhammad; say the name of Ahmad

The moon and the stars are swaying at the sky with that name//]

These are the most significant use of the name of the Prophet; and in my view,

none of the poets in the world in any literary tradition was able to make such

type of rare contribution. This is a unique tune melody which reaches its zenith –

from the earth to the Abode of God.

2.2.4.3 Regarding the union with God by demonstrating love towards the

Prophet:

a) Āllāhke ye pāite cāy hajratke bhālobese –

Āraś kurśī laoha kalam nā cāhitei peyeche se//

Rasul nāmer raśi dhare

Yete habe khodār ghare

Nadī-tarange ye paṛeche bhāi

Dariyāte se āpni meśe//

Tarka kore du:kha chaṛā kī peyechis abiśvāsī,

Kī pāoyā yāy dekh nā bārek hajratke mor bhālobāsi/

Ei duniyāy dibā- rāti

ṛid habe tor nitya sāthi/

tui yā cās pābi hethāy,

āhmad cān yadi hese// [Chowdhury, 2000:135-136]

[One who wants to get the blessings of God by the love of the Prophet

He achieved the Empyrean, the Throne, Tablet and Pen without any demand//

Keeping the rope of the name of the Prophet

One should have to go to the room of God

Who fell into the wave of a river


Naturally get united with the sea//

O nonbeliever! What have you got by your arguments?

Look, what can be achieved, by loving, at least once, my Hazrat (the Prophet)/

In this world over the night and day

The joy and happiness will perpetuate with you/

Whatever you want – you will get here

If Ahmad (the Prophet) want with a smile//

b) Khodār premer śarāb piye behũś haye rai paṛe

Chere masjid āmāra murśid elo ye ei path dhare//

Duniyādārir śee āmār nāmāj rojār badlāte

Cāine behest khodār kāche nitya monājāt kore//

Kāyes yeman lāilī lāgi labhila majnu khetāb

Yeman pharhād śirir preme hala dioyānā betāb/

Be-khudīte maśgul āmi temani mor khodār tare// [ Najrul sangīt

sangraha, 2014:20]

[I have been lying unconscious since taking the wine of God/

My guide has come through this path from the mosque//

At the end of my worldly life on the exchange of my prayer and fasting

I do not want heaven from God, making a continuous supplication//

As Qayes got the title of Maznun for the love of Laily/

As Farhad became intoxicated for the love of Shireen/

As like that I have fallen into annihilation for my God//]


a) Ummat āmi gunāhgār

Tabu bhāy nāhi re ār/

Mahammad āmār nabī

Yini khod hābib khodār//[Chowdhury, 2000: 174]

[I am a sinful follower

But I have no worry/

Ahmad is my Prophet

He who is the friend of the God Himself//]

b) Saide makkī madnī āmār nabī mohāmmad/

Karunā-sindhu khodār bandhu Nikhil mānab-premāspad//[Chowdhury,

2000: 175]

[My Prophet is the leader of Makkah and Medina/

The sea of kindness the friend of God, the beloved of the whole

mankind//]

Unity between human and divine God is the prime idea of these verses. Self-

annihilation and infinite love of the Prophet is the key to this path. The first


epithet of this section (a) unambiguously depicts relevance with the Quranic

verse: قل إن كنتم تحبون الله فاتبعوني يحببكم الله [Ale Imran: 31]

2.2.4.4 Regarding the prophet hood of the Prophet (SAWS):

a) Islāmer oi saodā laye ela nabin saodāgar/

Badnasīb āy, āy gunāhgār, natun kore saodā kar//

Jīban bhare Karli loksān āj hisāb tār khatiye ne/

Bini-mūle dey biliye se ye beheśtī najar//

Korāner oi jāhāj bojhāi hīrā muktā pānnāte/

Lute ne re lute ne sab bhare tol tor śunya ghar//

Kolemār oi kānākaṛir badale dey ei banik/

Śāphāyāter sāt rājār dhan, ke nibi āy, tvarā kar//

Kiyāmater bājāre bhāi munāphā ye cāo bahut/

Ei byāpārīr hao khariddār lao re ihār śīlmahar//

Āraś hate path bhule e ela madinā śahar/

Nāme mobārak mohāmmad, pũji āllahu ākbar// [Chowdhury, 2000:140]

[A new merchant has arrived with the merchandise of Islam

Oh unfortunate, come, come forward oh sinner, bye further//

You have suffered from loss in the whole life, have an accountable look on that today/

He bestowed upon a divine sight without any price//

That ship of Quran is full of jewels, pearls and emeralds/

Plunder, loot everything and fill your empty room//

In exchange of the coins of kalemah this merchant offers/

The treasure of the seven kings – Shafayat; who wants to get it come forward//

Who wants too much profits at the bazaar of the judgment day/

Become the byer of this merchant and get his stamp//

Taking a wrong turn from the Throne he arrived at the city of Medina /

His auspicious name is Muhammad and ‘Allah is Great’ is his capital//]

b) Khodār habib halen nājel khodār ghar oi kābār pāśe

Jhũke paṛe ārś kurśī, cd, sūraj ty dekhte āse//

Bhenge paṛe mūrat mandir, lāt-mānāt, śaytānī takht/

Lā-ilāha illallahur uṭhiche takbir ākāśe//

Khuśīr mauj tuphān torā dekhe yā marubhūme/

Koh-i-turer pāthare āj beheśti phul phute hāse//

Iyatim-tāṛaṇ iyatim haye ela re ei duniyāy/

Iyatim mānu-jātir byāthā naile bhujhta nā se//

Sūrya uṭhe, uṭhe re cd, maner dhār yāy nā tāy/

ṛid-gagan ye karla raośan, sei mohāmmad oi re hāse//

āpan panyer badlāte ye māgila mukti sabār/

ummati ummati kaye dekha khi tr jale bhāse// [Chowdhury, 2000:141]

[The friend of God revealed at the side of kabah, the abode of God/

The Empyrean, the Throne, the moon and the sun bowing to see him//

Breakdown the temple of idols Lat-Manat – the satanic throne/

The voice of ‘there is no god but Allah’ rising into the sky//


Come and see the waves and storms of joy on the desert/

The divine flower smiles blooming on the rock at the mountain of Tor

The saver of orphan has arrived to this world as an orphan/

Otherwise he would have been unable to realise, to understand the pain of the

orphans//

The sun rises, rises the moon, the darkness of mind does not go with that

The sky, the mind made bright – he is the Muhammad and is smiling there/

He who asked for freedom of all by his virtues//

Look! His eyes have been flooded by tears, calling oh my nation! My Nation//]

c) E kon madhur śrāb dile āl-ārabī sākī/

Neśāy halām dīoyānā ye rangīn hala khi//

Towhīder śirāji niye

Dākle sabāy: ‘yā re piye’

Nikhil jagat chute ela,

Raila nā keu bākī//

Baslo tomār mahphil dūr makkā madināte,

Āl-qorāner gāile ghazal śabe-kadar rate//

Nara nārī bādśah phakir

Tomār rūpe haye adhīr

Ye chila najrānā dila

Rangā pāye rākhi//

Tomār kāsed khabar niye chutla dike dike,

Tomār bijay bartā gela deśe deśe likhe//

Lā-śariker jalsāte tāi

śarīk hala ese sabāi

Tomār ājān – śunāl

Hājār belāl ḍāki// [Chowdhury, 2000:156]

[Oh the Arabian cup bearer! What a sweet wine you have served /

I have become mad with intoxication; my eyes become red//

Taking the Shirazi (wine) of monotheism/

Called everyone: ‘come and drink’

The whole has come forward,

No one remain absent//

Your event took place in a distant place Makka and Medina/

You sang the Ghazal from the holy Quran at the night of Qadar//

The males, females, kings and beggars/

Become impatient for your beauty/whatever they have offered as gift

At your beautiful feet//

Your messenger ran towards every corner

The message of victory reached to a country after another//

So at the event of ‘there knows no partner’

Gathered everybody

Sang the song – prayer call

By the call of a thousand Belal//]



a) Mohāmmad mostaphā sālle ālā

Tumi bādśāro bādśāh kamlīoyālā//[Chowdhury, 2000:179]

[Muhammad Mostafa sale wala

You are the king of the kings – The rag wearer//]

b) Hey madinā bulbuli go gāile tumi kon gajal,

Marur buke phute uṭhla premer rangīn gol phul// [Chowdhury,

2000:183]

[O Nightingale of Medina! What a ghazal have you sang!

The colourful rose has bloomed in the desert//

All the quotations mentioned above are, as usual, full of Islamic symbolism,

glorification of the prophet by natural and Godly affairs on one hand and of

Perso – Arabic words on the other hand.

3. Conclusion

Nazrul’s sublime power of imagination and expression and his outstanding

composition in all these epithets quoted above, unequivocally, suggest that he

attains an extra ordinary poetic genius. His themes and contents are full of divine

and transcendent melodies, beauty of nature, unbound devotion, spiritual appeal,

sources of transfiguration, moral teaching, which are helpful in understanding

God and His messenger as well as the role of the people in the world in general

and of the Muslims in particular. His beautiful combination of the virtues of

nature and divine made his contribution more appealing and interesting. The

uses of huge Persian and Arabic words as well as Islamic symbolism show his

mastery over the fields. Hence, it might be logical to state that ‘Kazi Nazrul

Islam is the best composer of Bengali Nact-i Rasūl (SAWS). It would be fitting

to conclude by the following quotation:

Nazrul highlighted the true spirit of Islam, its values and

tradition and its humanist aspects through his writings, and thus

made significant contribution to Bengali Language and

Literature (Islam, 2012: Preface).

Bibliography: Chowdhury, Abdul Mukit, 2000, Nazrul Islām Islāmi Gān, Islamic Foundation, Dhaka.

Habibullah, Abu Mohammad, 1997, ‘The Personality and Poetry of Kazi Nazrul Islam’,

in Nazrul an Evaluation, edited, Nurul Huda, Mohammad, Nazrul Institute,

Dhaka, 9-23.

Islam, Rafiqul, 2003, Banglapedia, National Encyclopedia of Bangladesh, Asiatic

Society, Dhaka.

Islam, Rafiqul, 2012, Selected Islamic Writings of Kazi nazrul Islam, edited by Haider,

Rashid, Nazrul Institute, Dhaka, Bangladesh.

Islam, Rafiqul, 2014, Biography of Kazi Nazrul Islam, Translated by Kamal, Nashid,

Nazrul Institute, Dhaka, Bangladesh.

Rashidunnabi, 2014, edited, Nazrul Sangeet Sangraha ( A collection of songs of Kazi

Nazrul Islam), Nazrul Institute, Dhaka, Bangladesh.

Sagir, Shah Muhammad, 1999, edited by Haq, Muhammad Enamul, Yusuf Jolekhā,

Bangla Academy, Dhaka.


Illustration: Kazi Nazrul Islam in the Biritish Army.


The Importance of Shahnameh Writings During the Thirteenth Century

(Looking at the opinions of some scholars)

Dr. Alireza Taheri5

Yasser Ganjali Bonjar6

Abstract

When the Mongols invaded and seized Iran in the late Sixth and early Seventh

Century (AD), led to many cultural relics being destroyed in the attack.

Although at first the Mongols brought destruction in Iran, they later began to

rebuild the country during their rule, and activities such as rewriting and

compiling works of the past and preserve and promote the culture of scientists

and artists were performed, and this resulted in the production of many

manuscripts of the Shahnameh in the Mughal era. Now the question is: What are

the reasons behind writing and illustrating the Shahnameh in the thirteenth

century based on the opinions of some scholars? It seems Shahnameh writings in

the Ilkhanid era had been a start of Iranian cultural efflorescence after the

destructions caused by Mongols as well as it had been one of the aspects of

pervasive reviving arts. The results show that the Shahnameh manuscript writing

and illustration is the most influential factors in the development of culture and

the arts, book illustrations, paintings and calligraphies. The research method

used is descriptive- analysis.

Key words: Firdausi, The Ilkhanid era, Shahnama writing, Shahnama

illustration.

Introduction

The art of the Ilkhanid era is the most influential periods of Islamic art in Iran

and Central Asia in general. When the Mongols invaded and seized Iran in the

late sixth and early seventh Century (AD), led to many cultural relics being

destroyed in the attack. At first, the Mongols captured and dominated the whole

of Iran and Mesopotamia, and then they were able to overthrow the Abbasid

Caliphate in Baghdad. "The conquest of Iran by Mongols that took placed in

1220 (AD) to 1258 (AD), the population of cities declined, and many prominent

civilized centers were destroyed" (Gray, 1995: 19). In addition, with the loss of

control of the Caliph of Baghdad on the areas such as Iran, after a period of

stagnation, arts and sciences began to flourish again. Although at first the

Mongols brought destruction in Iran, later they began to rebuild the country

during their rule. At the same time, a virtuous man named Khajeh Rashid al-Din

Fazlallah who created a scientific and artistic center called "Rabee-Rashidi" in

Tabriz and encouraged artists and scientists. activities such as rewriting and

compiling works of the past and preserving and promoting the culture of

5 Associate Professor, Faculty of Art and Architecture, University of Sistan and

Baluchestan, Zahedan, Iran, E-mail: [email protected] 6 M.A. in Art Research, Faculty of Art and Architecture, University of Sistan and

Baluchestan, Zahedan, Iran, E-mail: [email protected]

mailto:[email protected]


scientists and artists was performed, and this issue resulted in the production of

many manuscripts of the Shahnameh in the Mughal era and after it.

After the establishment of the Mongol Empire and the creation of Ilkhan's family

in Iran and Central Asia by the Mongols, the artists, attracted to the Abbasid

court, were at their service. In fact, they has attracted scientists, artists and

writers to their court as they supported the merging of different cultures. After

the Changiz Mongol's heirs accepted the religion Islam, they established

governments in Iran, and they took artists into their capitals like Tabriz and

Maraqe. On the other hand, a compromise accomplished between local rulers of

Shiraz, led Shiraz to be safe and the same group of artists were also attracted

Shiraz.

In this period because of the value they had attached to preserving and restoring

scientific and literary manuscripts, book designing movements began. In fact,

"the Mongols centuries during the seventh – eighth/ XIII- XIV Centuries were

interested in Epic a lot" (Shratu and Grobe, 1391: 21). Previously, more

productions of writings concerned with the rewriting of the Quran. In this era,

the literary books like Panchatantra, Shahnameh (the Persian book of kings) etc,

were transcribed more and more. The manuscripts led to the creation of

paintings that illuminated the painting style of the period. The way of the

paintings is far more powerful than the paintings of the Seljuk era from a

technical perspective.

Iranian painting in the Thirteenth century onwards has been found in the Persian

manuscripts and books with literary, scientific, historical subjects, especially in

the poetic Court. "Although some authorities have pointed out that there have

been wall painting and manuscripts before the thirteenth century, a large number

of valid documents for research belong to the thirteenth century onwards"

(Canby, 1387: 9). "It can be practically expressed that basically Image in books

and the other manuscripts has had more characteristics and usages such as

supplementing for Text, decorating of manuscript's page and providing more fun

for the reader, and so on. "Persian painting has been basically consists of a

manuscript's illustrated leaves of a literary work, especially poetic books "

(Mehran, 1387: 103).

Shahnameh About a century after the advent of Persian language in the third century (AH),

Shahnameh (the book of kings), the most famous and most valuable prototype of

the Persian language was fulfilled. "The Iranians to reach a national government

could fix their own national epic and achieve a unified perspective" (Azhand,

1387: 46). "Shahnama is the Iranian ethical culture and behavior" (Khaleqi

Mutlaq, 1390: 222).

Shahnama is a work belonging to Firdausi Tussi. "Firdausi is a great sage and

philosopher, and his work concerned with ancient Iranian legends and also has a

high level in art, it is a great source of wisdom" (Hanzan, 1384: 168). A treasure

poetic epic, with almost sixty thousand bits, with the content of myths, legends

and the history of Iran (beginning from the conquest of Iran by Arabs in the

seventh century CE) includes four Kingdom series Pishdadian, Kayanids,

Parthian (Parthian) and Sassanids. Shahnameh sections are divided into three


categories; mythical, athletics and historical. Shahnameh is one of the works

which has attracted more attention from a large number of intellectuals, writers,

scholars and lovers of this national work around the world. One of the largest

and most renowned scholars of Shahnameh, Zhul - mol from France, spent 40

years of his life writing a translation of Shahnameh in French. This wise scientist

has played a great role in introducing sage Firdausi and Shahnameh to the world.

Shahnameh is one of the most important sources on our past history and culture.

Speaking of history, myth, classes and social organization, civil and military

administration, family and social customs and traditions, celebrations and rituals

and beliefs and various ceremonies, arts and crafts etc., which is unique in its

kind. "The moral motto of Shahnama is purity in thought, word and deed. One of

the greatest lessons of it, is how to conduct it with his alien friend and enemy.

Shahnama in addition to advertise fighting with evil and protection of the right

and the homeland and love for his wife and children and protection of honor and

respect for religion and customs, at the same time, it abominates national and

religious prejudices that during history it has often been the cause of wars and

bloodshed" (Khaleqi Mutlaq, 1390: 222).

Shahnama writing The role and contribution of the East of Iran in preserving the Iranian ancient

heritages, especially pictorial tradition is clear for us. "Artistic links of East of

Iran with the establishment of local governments, especially Samanids (204-495

AH), and Ghaznavian (367-582 AH) got more consistency, and this series gave a

finish to strengthening the local artistic traditions" (Azhand, 1387: 46). Although

Iranian paintings in this period remained in some texts, its effects can be

searched in pottery, metals and tiles. "The Iranians to reach a national

government could fix their own national epic and achieve a unified

perspective"(ibid). Iranian paintings in the fourth and fifth centuries (AH) took a

place in Iranian epic literature along with Persian literature and poetry.

Today the numbers of lines that can be attributed to Firdausi is different, because

the poets after him, in their adapted versions placed adapted lines in Firdausi's

poems in a hidden way. In addition, the text, when given to a calligrapher, is

affected by factors such as personal desires, Spell-suppliers, authenticity of his

memory or accuracy of the manuscript at his hand, or both of them.

Illustrated versions of Shahnameh in the Ilkhanid era, including the great

Ilkhanid Shahnameh, the first small Shahnameh, second small Shahnameh, and

Freer small Shahnameh, the Gutman Shahnameh, 733 Shahnameh,

741Shahnameh, etc. can be named. Each of the manuscripts has its own

characteristics, regarding Text and Images.

The most important opinions of scholars on the importance of Shahnama

writing

Shahnameh writing is concerned with two fields of its writing: Text and

illustrating. Evaluation of the kinds of the Shahnameh manuscripts shows that

some manuscripts are only in the form of written Text of Shahnameh and some

of them have been illustrated by painters.

Wing in his book entitled "Jalairid Sultanate and the Ilkhanid Mughal dynasty

organization" believes that the Mongol rulers were trying to use cultural


symbols- such as Shahnameh, in a political way to relate themselves to Iranian

mythical and historical past (Wing, 2007: 32).

Robert Hillenbrand in his article entitled "new perspectives in imaging

Shahnameh" briefly paid attention to the issue of popularity Shahnameh writing

about 700 AH / 1300 AD. He raised the possibility that the Shahnameh had been

a late reaction to the invasion of the people even more alien of the Arab-

Mongols- as well as in order to revive the Iranian culture after the terrible

onslaught. In addition, he believed that it is possible that the Shahnameh at that

time has had benefits of strong and inclusive customs and that one of its

dimension is the promotion of illustrated manuscripts (HillenBrand, 1388: 2).

Conclusion

Shahnameh, after it was written, has been considered as being of the people and

even during the Mughals Ilkhanids era, it has been considered a lot, too. In the

Ilkhanid era, the valuable manuscripts of Shahnameh has illustrated that it shows

the way of book designing and painting at that time. Shahnameh writing in the

Ilkhanid era had been a start of Iranian cultural efflorescence after the

destructions caused by the Mongols as well as it has been one of the aspects of

pervasive reviving arts, and this is an important issue in the opinions of scholars

on the importance of Shahnameh writing is totally evident. Shahnameh

manuscript writing and illustration has been one of the most important and

influential factors in the development of culture and the arts, such as book

designing, painting and calligraphy.

References Azhand, Yaqub. (1387). Shiraz Painting School, Tehran: Academy of Art

Khaleqi Mutlaq, Jalal. (1390). From Manuscript to the Text (Collected Essays on the

Description and Evaluation of Extant Manuscripts of the Shahnameh and

Critical Editing of its Text, Tehran: Written Heritage Research Centre.

Shratu, Umberto; Grobe, Ernest, (1391). History of Iranian Art9: the Ilkhanid and

Timurid Art, translated and edited by Yaqub Azhand, Tehran: Mola

Publications.

Canby, Sheila. (1387). Persian painting, translated by Mehdi Hosseini, Tehran: Art

University.

Mehran, Farhad. (1387). illustrated verses, the link of Text and Image in Shahnama

Manuscripts, a Parliament, Fall (1387), No. 13 and 14, from 103 to 118.

HalenBrand, Robert. (1388). Shahnameh, The Visual Language of The Persian

Book of Kings, translated by Davood Tabaie, Tehran: center of authoring,

translation and publishing works of arts.

Hanzan, Kurt Hanyrish. (1384). Shahnama: The structure and format, translated by

Kyavs Jahandari, Tehran: Farzanruz Publications.

Gray, Basil. (1995). Persian Painting: IRL Imprimeries reunites Lausanne s.a,

Switzerland.

Wing, Patrick. (2007). "The Jalayirids and Dynastic Formation in the Mongol Ilkhanate",

vol.1, PHD. dissertation, department of near eastern languages and civilization,

The University of Chicago, Illinois.


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بگزرد برسرماگر تیغ شه

شاه بودی پدر اگرشاه را

به سر بر نهادی مراتاج زر

اگر مادر شاه بانو بدی

به زانو بدی مراسیم وزر تا

ده استکه شه نانواز یقینم

اده استدبه جای طال نقره ام

A_©vr ÔÔ‡n wØwM¦Rqx gvngy`|

Avgv‡K hw` fq bv K‡i Z‡e AšÍZt

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PiY DØ„Z Kiv n‡jvt

مگر بهره گیرم ازپند خویش

براند یشم ازمرگ فرزند خویش

جوان راچوشد سال سی وهفت

نه برآرزو یافت گیتی ورفتÔÔwKš‘ Avwg wbR Dc‡`k †_‡K jvfevb njvg, wbR mšÍv‡bi g„Zz¨ †_‡K Avwg cÖfvweZ njvg| G

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gvBgyw›` myjZvb gvngy‡ì mvg‡b kvnbvgvi wb‡¤œv³ †køvKwU Ave„wZ K‡ib|

اگرجزبکام من آید جواب

ومیدان واقراسیاب من وگرز

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Amgvß kvnbvgv mgvß Kivi `„p cÖZ¨q MÖnY K‡ib|

G cÖm‡½ Kwe e‡jb t

ه زباندجوانی بیامد کشا

سخن گوی وخوش طبع روشن روان

ظم آرام این نامه راگفت منبن

دل انجمند ازاوشادمان ش

بخت برگشته شد او یکایک از

بدست یکی بنده برکشته شدA_©vr GK`v GK gy³ imbv hye‡Ki Avwef©ve n‡jv, †m wQj my›ì ¯fve I DbœZ fvlvi

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n‡jv|ÕÕ

Kwe AviI e‡jb t

برگشت از وی دل روشن من چو

روی ان کردسوی تخت شاه جه

دست پیش آورم این نامه راکه

زدفتر بگفتار خویش آورم

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`„wócvZ| hLb Zvi Mv_v Avgvi nv‡Z G‡jv ZLb DcvL¨v¸‡jv MÖš’ †_‡K D‡V G‡m mgvmxb

n‡jv Avgvi imbvq|ÕÕ

AZtci we wbR kn‡iB GK AšÍi½ eÜzi mvnPP© jvf K‡ib Ges †mB Zv‡K kvnbvgv iPbvi

cÖwZ DrmvwnZ K‡ib|

Kwe e‡jb t

وست بودبشهرم یکی د

من یکی پوست بود توگفتی که با

گفت خوب آمد این رای تو مرا

به نیکی گر آید همی پای توÔÔAvgv‡ì bMix‡Z Avgvi GK AšÍi½ eÜz wQ‡jb, †hb Avgiv wQjvg GK †`n GK AvZ¥v|

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`vwqZ¡|ÕÕ

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myjZvb gvngy` m¤§‡Ü cÖPwjZ Kvwnbxi cÖwZK‚‡j GwU Avi GKwU R¡jšÍ cÖgvY|

Kwe e‡jb t

ست کردم درازبدین نامه چو د

بود گردان فراز یهترمپکی

بکیوان رسیدم زخاک نژند

از ان نیک دل نامدار ارجمند

شهریار مراگفت کاین نامۀ

گفته آید بشاهان سپار اگر

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MÖ‡n DwÌZ njvg|ÕÕ

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ev`kvn‡ìB Zv DrmM© K‡iv|ÕÕ

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ivRmfvq M„nxZ nb|

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mv‡_ Zvi hy‡×i wel‡q eY©bv G‡m‡Q|

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eëüZ n‡q‡Q|

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mvwnwZ¨K‡ì gva¨‡g Aviex A_ev dvimx‡Z Ab~w`Z n‡qwQj| †h wel‡q c~‡e©B Av‡jvPbv Kiv

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we‡klfv‡e D‡jøL‡hvM¨| G cÖm‡½ Kwe e‡jb t


بسی رنج بردم بسی نامه خواندم

پهلوی و یزگفتار تاز

A_©vr ÔÔA‡bK cwikÖg Kijvg, Ges cvnjfx I Aviex fvlvq A‡bK Kve¨ Mv_v cvV Kijvg|

Z‡e kvnbvgvi me©vwaK ¸iæZ¡c~Y© m~ÎwU n‡”Q Avey gvbmyi-Gi kvnbvgv| GwU wnRix PZz_©

kZ‡Ki ga¨fv‡M Biv‡bi Zzm GjvKvi AwacwZ Avey gvbmyi-Gi kvnbvgv| GwU wnRix PZz_©

kZ‡Ki ga¨fv‡M Biv‡bi Zzm GjvKvi AwacwZ Avey gbmyi web Ave`yi iv¾v‡Ki wb‡ ©‡k iwPZ

n‡qwQj| Avey gvbmyi AZ¨šÍ †`k‡cÖwgK I cÖRvermj bicwZ wQ‡jb| Zuvi wb‡ ©‡k †ek wKQz

we‡kl mw¤§wjZfv‡e RvZxq BwZnvm I NUbvewj‡K MÖwš’Z K‡i kvnbvgvq iƒc †`b| D‡jøL¨ †h,

G kvnbvgvi m~Î wn‡m‡eI Avwe¯Ív Ges cvnjfx wKZvemg~n †hgb †Lv`vB bvgK eëüZ

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K‡i‡Qb| GZØ¨ZxZ `vwKKxi Amgvß kvnbvgv I wecyj Z_¨ fvÐvi †di‡`Šmx m~Î wn‡m‡e jvf

K‡iwQ‡jb|

kvnbvgvi cUf‚wg t kvnbvgvi cUf‚wg e¨vL¨v cÖm‡½ †di‡`Šmx Zvi gnvKv‡eï f‚wgKvq Kv‡ji

Awf‡hvM DÌvcY K‡i e‡jbt

زمانه سراسر پرازجنگ بود

بجویند گان برجهان تنگ بود

براین گونه یک چند بگذاشتم

متهفته همی داشسخن را ن

A_©vr ÔÔhy× weMÖ‡n cwic~Y© wQj Kvj| AbymÜvbKvix‡ì wbKU wek¦ wQj AZxe msKxY©|

Gfv‡eB GKhyM AwZevwnZ K‡iwQ evYx‡K †Mvcb †i‡LwQ wb‡Ri g‡a¨|

Kwe AwfÁZvi Av‡jv‡K cvw_©e NUbvejx I Bw›`ªqMÖvn¨ welqvejxi ¯îƒc A‡šlvq Zrci nb|

Avi G †ÿ‡Î hLb †Kvb gnvb Kwe cÖwZfvi g‡a¨ wb‡Ri Kvj AbycÖvweó n‡q Av‡jvo‡bi m„wó

K‡i; ZLb Zvi cÖKvk nq †hgb e¨vcK †ZgbB Mfxi| †di‡`Šmxi †ÿ‡ÎI Gi e¨wZµg

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Kwe kvnbvgvi cwiPq w`‡Z wM‡q e‡jb t

بسی رنج بردم دراین سال سی

ین فارسیزنده کردم بدعجم

A_©vr Ô`xN© wÎk eQi hver wbijm cwikÖ‡gi ci GB dvimx MÖ‡š’i gva¨‡g Avwg Bivb‡K

cybiæ¾xweZ K‡i ‡Mjvg|

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Dci wbf©i K‡i †Kvb gnr KweZv m„wó nq bv| †mB Kíbv‡K Ávb I cÖÁvi AvkÖq wb‡Z nq|

Ges Kwei Kvj AwfÁZv n‡q Ávb, cÖÁv I Kíbv‡K cÖvYa‡g© D¾xweZ K‡i| †mRb¨B kvnbvgv

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AvZ¥gh©v`v cÖKwUZ Kivi AeKvk †c‡Zb bv|


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c„w_exi †h †Kvb †`‡ki mvwnZ¨ `yj©f|

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nv‡Z Avm‡Q|

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†PZbvB me©vwaK Kvh©Ki wQj|

kvnbvgvi HwZnvwmK ¸iæZ¡ cÖm‡½ wgR©v gvKeyj †eM ev`vLkvbx Zvi ÔÔAv`g bvgv‡q BivbÕÕ

MÖ‡š’ wj‡L‡Qbt Biv‡bi mvwnZ¨ msµvšÍ GB mswÿß MÖ‡š’ kvnbvgvi HwZnvwmK ¸iæZ¡ wbY©q m¤¢e

bq| Z‡e GZUzKz ejv Avek¨K †h, kvnbvgvq wKQz AwZ cÖvK…wZK NUbvi eY©bv i‡q‡Q „óvšÍ

¯îƒct †nvkv½ KZ©„K ˆ`‡Zï Dci weRqx nIqv, Rvg‡ka KZ…©K ˆ`‡Zï gva¨‡g cÖvmv` wbg©vY

Kiv‡bv Ges Rv‡ji mx‡gvi‡Mi evmvq cÖwZcvwjZ nIqv BZ¨vw`| G cÖm‡½ Avgv‡ì‡K ¯§iY

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mg Í MÖ‡š’ Dc‡iv³iƒc AwZ cÖvK…Z I AmvaviY NUYvejx mwbœ‡ewkZ wQj| Avi †di‡`Šmx m~Î

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Kveïƒc jvf K‡i‡Q|

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AwZ cÖvK…wZK welqvejx ’vb †c‡q‡Q|


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BwZnv‡mi cvZv †_‡K nvwi‡q wQj; wVK ZLbB †di‡`Šmx kvnbvgv iPbvi gva¨‡g gvZ…fvlv I

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DË‡i ejv hvq, cvðv‡Zï cwÐZ‡ì wbKU GUv ev¯Íe n‡Z cv‡i, wKš‘ g~jZt GK‡N‡qgx

welqe ‘MZ `xN©m~ÎxZvi mv‡_ m¤úwK©Z Q›ìxwZi mv‡_ bq| Avi kvnbvgvi NUbv cÖevn wewfbœ

Avw½‡K-wewfbœ cÖK…wZi g‡a¨ w`‡q GwM‡q P‡j‡Q| djZt Gi wecyj ˆ`N© wKsev GKB Q›`

GZUzKzI weiw³Ki nIqvi K_v bq| Zv‡ì wØZxq Awf‡hvM n‡jv GwU GKwU †cŠivwYK Kve¨

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`„óvšÍ ¯îƒc t

ان وخردند جبنام خداو

ردذکزین برتر اندیشه بر نگ

خداوند نام وخدا وند جای

ده ورهنمای وند روزیخدا

خدا وند کیوان وگردان سپهر

هرمماه وناهید و فروزندۀ

ستودن نداند کس اورا چوهست

میان بندگی را ببایدت بستÔÔA_vr cÖvY I cÖÁvi cÖfzi bv‡g ïiæ Kwi, Kíbv Zuvi bv‡gi mxgv AwZµg Ki‡Z cv‡i bv|

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AvKv‡ki cÖfz, P›`ª-m~h© I ïéZviv Zuvi †_‡KB Av‡jv cvq| Zuvi h_vh_ ¸YKxZ©‡bi ixwZ Kv‡iv

Rvbv †bB, ZvB mš‘ó _vK‡Z nq Zuvi e‡›`Mxi g‡a¨B|ÕÕ

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K‡i Pj‡jv, c„w_ex‡Z cÖv‡Yi D‡¤§l NU‡jv...|

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cÖÁvi eY©bv, wek¦bex nhiZ †gvnv¤§v` (mvt) I Zuvi mvnvex‡ì cÖksmv, kvnbvgv iPbvi KviY

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cZ‡bi g‡a¨ w`‡q kvnbvgv gnvKv‡eï NUbv cÖevn †kl n‡q‡Q|


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Rb ev`kvni Ae¯’v eY©bv Kiv n‡q‡Q| me©cÖ_g wck`v`x hy‡Mi ev`kv‡ni eY©bv G‡m‡Q|

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Rv‡g RvgwkÌ Zvi Ac~e© KxwZ©|

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wbqwZi †Ljv ZLb mv½ n‡q †M‡Q|

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n‡jv| m¤ªv‡Ui cÖavbv gnxqmx mI`vev m¤ªv‡Ui cv‡k Dcweô wmqvD‡mi †mŠ›`‡h gy» n‡q Kvg-

k‡i RR©wiZ †eva Ki‡jb| m¤ªvÁxi ey‡Ki Nbxf‚Z wng †hb weMwjZ n‡jv| mI`vev my‡KŠ‡j

wmqvDk‡K AšÍtcy‡i †W‡K Avwj½b K‡i ej‡jb, Ggb Kvi cyÎ Av‡Q| wmqvDk mI`vevi

Avwj½‡b cweÎZvi wPügvÎ †`L‡jb bv| N„Yvq fi DV‡jv kvnRv`vi AšÍi| JwPZ¨ I

kvjxbZvi Dci gšÍe¨ K‡i kvnRv`v AšÍtcyi †nvK †_‡K †ewi‡q G‡jb| m¤ªvÁx wbR eÿevm


wQbœ K‡i Ges K‡cv‡j bjKvw¼Z K‡i wejvc Ki‡Z Ki‡Z ej‡jb, wmqvDk Zvi gh©v`v nvwb

K‡i‡Q|

wmqvDk Avbyc~we©K mg Í NUbv m¤ªv‡Ui wbKU e¨³ Ki‡jb| wePwjZ m¤ªvU ej‡jb AwMœ‡èB

†Zvgv‡ì mgm¨v mgvavb Ki‡Z cv‡i| weivU AwMœKzÐ cÖ¾¡wjZ n‡jv| wmqvDk Ak¦c„‡ô

Av‡ivnY K‡i nvwmgy‡L AÿZ Ae¯’vq AwMœKzÐ cvwo w`‡q Avm‡jb| Z‡e wmqvD‡ki Aby‡iv‡a

mI`vev cÖv‡Y iÿv †cj|

Aciw`‡K Avd«vwmqve cybivq jÿvwaK ˆmb¨ mgv‡ek K‡i| wKš‘ Ae¯’v cÖwZK‚j †`‡L †m mwÜi

cÖ¯Íve †`q| wmqvDk mwÜ K‡i hy‡×i BwZ Uv‡bb| wKš‘ m¤ªvU KvqKvDm G mwÜ‡Z AZ¨šÍ

ivMvwšZ nb Ges †µv‡a iæ¯Íg‡K ivRmfv †_‡K Zvwo‡q †`b| G msev` ï‡b wmqvDk

Avd«vwmqv‡ei wbKU AvkÖq jvf K‡i| wKš‘ Aí w`bc‡iB †m †mLv‡b wbnZ nq | AZtci

iæ¯Í‡gi †bZ…‡Z¡ Bivb-Zzivb hy‡×i `vgvgv Avevi †e‡R D‡V|

KvqKvD‡mi ci KvqLmiæ wmsnvm‡b e‡mb| †kl ch©šÍ Avd«vwmqve KvqLmiæi nv‡Z wbnZ nq|

kvnbvgvi GB KvqLmiæi kvmbvg‡jB wn› y¯’vb, Zyivb, Bivb I Px‡bi me©Î iæ¯Í‡gi †kŠh©

cÖKv‡ki †ÿÎ we¯Í…Z n‡q c‡o| Avi †mB mv‡_ e„w× cvq Biv‡bi gh©v`v| G hyM Biv‡bi mf¨Zv

ms¯‹…wZiI weKv‡ki hyM| †eSb I gybxSvi cÖY‡qvcvL¨v‡bi Kvwnbx I mZ¨‡KB AviI cÖKwUZ

K‡i Zz‡j‡Q Ges kvnbvgvi mvwnwZ¨K ¸iæZ¡ eûjvs‡k e„w× K‡i‡Q|

KvqLmiæi ci jynivmc Biv‡bi wmsnvm‡b em‡jb| jynivmc-Gi cyÎ ¸kZvmc-Gi

kvmbKv‡jB Biv‡b G‡Kk¦iev`x a‡g©i cÖeZ©K RiZzkZ-Gi Avwef©ve N‡U| ¸kZvmc RiZzkZ-

Gi wbKU wM‡q Zvi ag©gZ MÖnY K‡iwQ‡jb| G hy‡MB iæ Íg Kveyj iv‡Rï GK g„Mqvf‚wg‡Z

BZ¯ÍZt wePiY Kivi mgq Rv‡ji Ji‡m `vmxi Mf©RvZ kvMv` bv‡g iæ Í‡gi GK Cl©vwšZ

fvB‡qi nv‡Z LbbK…Z g„Zz¨ K‚‡c AvwKw¯§Kfv‡e cwZZ n‡q cÖvY nvivb|

Gici m¤ªvU `vivi Av‡jvPbv G‡m‡Q| `vqvi mg‡qB Bw¯‹›`vi (Av‡jKRvÐvi) Bivb AvµgY

K‡ib| Ae‡k‡l `vivi civR‡qiB ga¨ w`‡q wKqvbxhy‡Mi Aemvb N‡U Ges Biv‡bi Dci

MÖxm‡ì AvwacZ¨ Kv‡qg nq| Gi ci AvkKvbxhy‡Mi DciI ms‡ÿ‡c Av‡jvPbv Kiv n‡q‡Q|

AvkKvbxhy‡Mi ci mvmvbxhy‡Mi m~Pbv n‡q‡Q| Avie‡`kxq cvcKvb G ivRes‡ki cÖwZôv

K‡ib| kvnbvgvi G As‡k ewY©Z NUbvejx cÖPwjZ BwZnv‡mi mv‡_ AwaKZi mvgÄm¨ iv‡L|

kvnvbvgvi cÖvq GK Z…Zxqvsk G hy‡Mi NUbvejxi DciB wjwLZ n‡q‡Q| Gfv‡eB Bivb‡i G

RvZxq gnvKve¨ me©‡kl mvmvbx m¤ªvU Z…Zxq Bqvh`Mi` Gi cZ‡bi g‡a¨ w`‡q mgvß n‡q‡Q|

kvnbvgvi mvwnwZ¨K †mŠ›`h©t ‡di‡`Šmxi kvnbvgv cvim¨ mvwnZ¨‡K AwZ DbœZ mvwnwZ¨K

fveaviv, cÖKvkf½x I gbbkxjZvi AwaKvix K‡i‡Q| kvnbvgvi mvwnZ¨ wePv‡i †h mZ¨wU

me©vwaK ¸iæZ¡ cvq Zvn‡jv, Gi gva¨‡g Kwe GKw`‡K †hgb kw³kvjx Aviex fvlvi cÖfv‡e

g„ZcÖvq gvZ…fvlv‡K cybiæ¾xeb `vb K‡ib Aciw`‡K ‡Zgwb Bivbx‡ì †MŠiegq RvZxq HwZn¨

BwZnvm‡K mvwnZ¨ gÄymvq MÖw_Z K‡ib, hv cieZ©x cvim¨ Kwe‡ì cÖwZôvi c_‡K cÖk Í K‡i

‡`q|

Ab¨vb¨ gnvKv‡eï gZ ¯^M© gZ © biK bq kvnbvgvi cUf‚wg GB c„w_exB| ciKv‡ji †Kvb ¯‡M©i

eY©bv kvnbvgv‡Z †bB, Av‡Q G c„w_exiB cweÎ dzjeb I SY©v; Av‡Q gvby‡li wP‡Ë b¨vq‡eva I

†cÖ‡gi dj& aviv| G c„w_ex‡Z †_‡KB gvbyl‡K AR©b Ki‡Z n‡e wb‡Ri wePvi eyw× I we‡ePbvq

ciKv‡ji ¯M©|


kvnbvgvi NUbvcywÄi Avavi †hgb ev Íe †ZgbB we¯§qKi| Q›`gq †mB RM‡Z `xN© cwiågY I

Zvi Dc‡fv‡Mi mKj eë¯’vB Kwe K‡i †i‡L‡Qb| BwZnv‡mi MwZgqZv, Dc ’vcbvi Av‡e`b

bvU‡Ki we¯§qKi Ø›` msNvZ I MxZ aŸwbi wbg¾b BZ¨vw` avivevwnKfv‡e kvnbvgvq

cwi‡ewkZ n‡q‡Q| g‡b nq †di‡`Šmx Zvi Kwe mËvi mgMÖ †PZbv‡eva‡KB gnvKve¨ D‡¤§vwPZ

K‡i‡Qb| Kv‡ji MwZm~Î a‡i AMÖmi nIqvi Avb›`B kvnbvgvi cÖavb Avb›`| Kvj mgy`ª

fvmgvb Øxcy‡Äi Aweivg PvjwPÎB Zvi Ab¨Zg êwkó¨|

kvnbvgvi exii‡mi wecixZ im n‡jv KiæYim| GB KiæYimB †mLvb êwPÎ G‡b‡Q| kvnbvgvi

welv`vZ¥K Ask¸wj‡Z gvbweK Av‡e`b GZ Abvwej, me©RbxbZv GZ AevwiZ ‡h gvbe

Rxe‡bi AwbZ¨Zvi ¯§viK n‡qI Zv cvVK ü`q‡K me© Kjylgy³ GK ü`qvbyf‚wZ‡Z mgvmxb

K‡i|

PwiÎ m„wó‡Z †di‡`Šmx AZ¨šÍ `ÿ| wkíxi Zzwji b¨vq Zvi Kve¨ PwiÎ dz‡U D‡V‡Q| G ch©v‡q

Zv‡K md‡K¬m I †m·cxqvi-Gi D‡a© e‡j g‡b nq| wZwb AZ¨šÍ ggZ¡‡eva I gnvbf‚wZ wb‡qB

PwiÎ wPÎ‡Y AvZ¥wb‡qvM K‡i‡Qb| †Kvb Pwi‡Îi cÖwZB wZwb cÿcvZmyjf AvPiY K‡ibwb|

GB Zb¥q „wói d‡jB †di‡`Šmx me©Kv‡ji †kÖô Kwe‡ì mggh©v`v jvf K‡i‡Qb| we‡klZt

mvaex Zvnwgbvi Rb¨ Kwe Avgv‡ì g‡b wPiKv‡ji Rb¨ R¡vwj‡q †i‡L‡Qb mnvbyf‚wZi Awbe©vY

wkLv|

kvnbvgvq ewY©Z †mvnive-iæ¯Í‡gi Kvwnbx wek¦ mvwn‡Zï GK Ag~j¨ m¤ú`| AcZ¨ †¯œ‡ni Ggb

Kiæb cÖKvk wek¦mvwn‡Zï Avi †Kv_vI n‡q‡Q e‡j g‡b nq bv| kvnbvgvi gnvbvqK iæ¯Íg|

Kwe Zv‡K kw³ mvg‡_©, wePvi we‡ePbvq I Avo¤^‡i gwngvwšZ K‡i wPwÎZ Ki‡Qb|

kvnbvgvi iY‡ÿÎ¸‡jv wecyj cÖmvi| eo fqvj †mB iY‡ÿÎ| †mLv‡b i‡³i † ªvZ cÖevwnZ

nq| a yjvq AvKv‡k †gN R‡g hvq, Zievwi we`y¨‡Zi b¨vq SjKv‡Z _v‡K| Pvwiw`‡K Sb Sb

kã †kvbv hvq| Zxi I el©vi el©Y ïiæ n‡q hvq| kvnbvgvi cÖvK…wZK `„k¨ eoB g‡bvig|

†mLv‡b DcZ¨Kvq I ig¨ Dce‡b nwiY`j wePiY K‡i| †mLv‡b AeKvkKv‡j †mbvcwZMY

we‡klZ: iæ¯Íg wkKv‡i gË n‡q hvb|

kvnbvgv GK wek¦-wekÖæZ gnvKve¨ Gi kã I Q›` gvayh© Abycg| kvnbvgvi fvlv cÖvPxb dvimx|

cieZ©x‡Z iægx, Rvgx, wbRvgx cÖgyL Kwe G fvlv‡ZB wbR wbR Kve¨ cÖwZfvi weKvk NwU‡q‡Qb|

cieZ©xKv‡j kvnbvgv‡K AbymiY K‡i A‡bK kvnbvgv †jLv n‡q‡Q| D`vniY¯iƒct Avmv`x

Zzmxi Mikvmc bvgv, wbRvgx MvÄexi B¯‹v›`vibvgv, Avng` Zveixwhi kvnbvgv BZ¨vw`|

fviZxq Dcgnv‡`‡kiI A‡b‡K †di‡`Šmxi kvnbvgvi AbyKi‡Y kvnbvgv iPbvq AvZ¥wb‡qvM

K‡iwQ‡jb| D`vnviY¯iƒct kvnbvgv‡q Kvwjg, kvnbvgv‡q ZzMjK, kvnbvgv‡q Kz`mx,

kvbvnvgv‡q bv‡ìx BZ¨vw`| wKš‘ Giv mevB †di‡`Šmx Kve¨ cÖwZfvi wbKU ¤øvb n‡q hvq|

kvnbvgv AvšÍR©vwZK cwigÐ‡j L¨vwZ AR©‡bi †cÖwÿ‡Z me©vwaK Av‡jvwPZ gnvKve¨ | BD‡ivc,

Av‡gwiK I Gwkqvi AwaKvsk fvlv‡ZB Gi Abyev` n‡q‡Q| evsjv‡`‡kI G gnvKve¨wU mwe‡kl

RbwcÖq| kvnbvgvi mdj Uªv‡RWx - †mvnive iæ¯ Íg-Gi ü`qwe`vqK Kvwnbx Rv‡b bv Ggb †jvK

Ly‡R cvIqv KwVb| m‡ev©cwi ejv hvq, kvnbvgv gvbe BwZvn‡mi BwZnv‡mi m~Pbv Ges bvbvwea

weeZ©‡bi HwZ‡n¨ ficyi| GK_v †Rvi w`‡q ejv hvq †h, kvnbvgv c„w_exi †kÖô gnvKve¨|

hZw`b mgvR I mf¨Zvi wU‡K _vK‡e ZZw`b ch©šÍ mvwnZ¨byivMx‡ì wbKU †d‡`Šmxi


kvnbvgvI GKwU ¸iæZ¡c~Y© MÖš’ wn‡m‡e we‡ewPZ n‡e Ges †di‡`ŠmxI Zvi GB Agi KxwZ©i

gva¨‡g KvjRqx n‡q Agi n‡q _vK‡eb|

Z_¨ cywÄ:

1. W. †iRv Rv‡`n kvdvK Ñ Zvwi‡L Av`vweqv‡Z Bivb

2. mwjg †bQvix Ñ Zvwi‡L Av`vweqv‡Z Bivb

3. wgR©v gvKeyj †eM ev`vLkvbx Ñ Av`e bvgv‡q Bivb

4. Avjøvgv wkejx †bvÕgvbx Ñ ‡ki-Dj-AvRg

5. wbRvgx AviæRx Ñ Pvnvi gvKvjv

6. bQiZzjøvn gyCwbqvb Ñ Kvibvgv‡q eyhiMv‡b Bivb

7. Reuben levy (Translated) Ñ The Epic of Kings (Shahnama)

8. Waiz Lal Ñ History of Persian Literature

9. E. G. Brown Ñ Literary History of Persia

10. George Sarton Ñ History of Science

11. gywbi DÏxb BDmyd Ñ ‡di‡`Šmxi kvnbvgv


bRiæj I nvwdR

Aa¨vcK Avng` Kwei8

`yBRb yB fvlvi weL¨vZ Kwe| bRiæj evsjv fvlvi, nvwdR dviwm fvlvi| `yB R‡bi eq‡mi

we¯Íi we¯Íi eëavb| Bivwb gigx Kwe nvwdR evsjvi we‡`ªvnx Kwe I evsjv‡`‡ki RvZxq Kwe

bRiæ‡ji †P‡q cÖvq cuvPk eQ‡ii †R¨ô| aªæc`x cÂ dviwm Kwe †di‡`Šmx, iægx, ˆLqvg,

nvwdR, mv`x evOvwj Kve¨ cvVK‡ì mycwiwPZ, Avi Avj‡eiæbx fviZ ZË¡we` wn‡m‡eI

myL¨vwZi AwaKvix| †di‡`Šmx wQ‡jb gnvKwe, Ab¨ Kweiv gigx MxwZKwe-RvMwZK I

Ava¨vwZ¥K †cÖ‡gi Mfxi fvevbyf‚wZi Kwecyiæl| ga¨hyMxq dvimx mvwnZ¨ G‡ì Ae`v‡b Sjgj

K‡i D‡VwQj|

fvi‡Z Øv`k kZvãxi G‡Kev‡i †k‡li w`‡K, gymwjg kvm‡bi m~ÎcvZ nq| wVK ZLb †_‡KB

dviwm ivR fvlvq cwiYZ n‡qwQj wKbv Zv my¯úó fv‡e ejv hvq bv, Z‡e Kvjµ‡g dviwm †h

¯’vqx I cvKv‡cv³ `vßwiK fvlvq cwiYZ n‡qwQj †m wel‡q m‡›`n †bB| we‡kl K‡i gyNj

Avg‡j| gyNj‡ì `vßwiK fvlvq †Zv e‡UB, mvwnZ¨, wPÎKg© I msMx‡Zi †ÿ‡ÎI dviwmi

R¡jR¨všÍ bgybv¸‡jv i‡q †M‡Q| weiæbx I ˆLqvg fvi‡Z gymwjg kvmb cÖwZôvi Av‡Mi

mvwnwZ¨K| Avi‡eiv GK mgq Bivb Rq K‡iwQj Ges Aviwe ivRfvlv wn‡m‡e Pvwc‡q

w`‡qwQj; wKš‘ Avie‡ì ivR‰bwZK weRq n‡qwQj mvs¯‹…wZK weRq N‡Uwb| Bivwb ms¯‹…wZ †h

Avie ms®‹…wZ †_‡K DbœZ wQj †mwU eûwew`Z cÖm½| G cÖm‡½i ¯§iYxq cÖgvY dviwm Kve¨,

MRj Kvwm`v BZ¨vw` msMxZiƒc Ges Aek¨B wPÎKg©| ¯§Z©e¨, iægx, nvwdR cÖgyL Bivwb Kwe

fvi‡Z gymwjg kvmb cÖwZôvi c‡ii Kwe| gymwjg ivR‡Z¡i myev‡` fvi‡Z dviwm mvwnZ¨ PP©vi

ïf‡hvM N‡UwQj Ges dviwm fvlvi PjI m~wPZ n‡qwQj| evsjv‡`‡k Aek¨B ZviI eû Av‡M

†_‡K, fvi‡Zi `vwÿYv‡Zï Bmjv‡gi evZ©v G‡m hvw”Qj awbK-ewb‡Ki evwYR¨ e¨vc‡`‡k Ges

ì‡ek I ag© cÖPviK‡ì AvMg‡b| c~e©e‡½i A_©vr GLbKvi evsjv‡`‡ki PÆMÖvg e›`‡i Avie

Ab©e‡cv‡Zi mgvM‡g| G Kvi‡Y e„nËi PÆMÖvg AÂ‡ji AvÂwjK fvlvq Aviwe dviwm k‡ãi

evûj¨| GB m‡½ D‡jøL¨ wek kZ‡Ki wKse`wšÍi cyw_ msMÖv‡gi Ave`yj Kwig mvwnZ¨ wekvi`

PÆMÖvg AÂj †_‡K †h wekvj cyw_i fvÐvi Avwe®‹vi K‡ib, Zvi †Kv‡bv †KvbwUi wnw›` AvË©wa

cUf‚wg _vK‡jI AwaKvsk cyw_ cy¯Í‡Ki Drm dviwm I Aviwe, we‡kl K‡i cÖb‡qvcL¨vb¸‡jvi,

gigx Mvb¸‡jvi, Bmjvg ag© kv¯¿xq MÖš’¸‡jvi, m~dxZ‡Ë¡i I mIqvj mvwn‡Zï iPbv¸‡jvi|

Bmjvg ag© I dviwm gigx I myw` KweZv c‡bi kZ‡K ˆPZb¨‡è cÖewZ©Z †MŠoxq êòeev` I

êòe KweZvi Dci e¨vcK cÖfve †d‡jwQj| myZivs dviwm Kwe‡ì m‡½ bvbv m~‡Î evOvwj

Kve¨‡gv`x cvV‡Ki ms‡hvM N‡U wM‡qwQj| ga¨hy‡Mi we×vb evOvwj Kweiv mevB dviwm‡Z

cwiÁvZ wQ‡jb| ga¨hy‡Mi †kl Kwe fviZ P›`ª †h hebx wgkvj fvlvi K_v e‡j‡Qb Zv H

Aviwe-dviwm fvlv| 1837 wLª÷v‡ã Bs‡iRx ivRfvlv iƒ‡c cÖewZ©Z nIqvi AvM ch©šÍ dviwmB

wQj ivRfvlv|

bRiæj ˆkke †_‡KB Aviwe dviwm fvlv iß K‡i wb‡qwQ‡jb Zv bq| Zuvi RxebxKv‡iiv I

f³iv †h fv‡e e‡jb †m fv‡e bq| `wi`ª gymjgv‡biv N‡i bRiæ‡ji Rb¥ n‡qwQj 24 ‡k †g

8 Aa¨vcK (AemicÖvß), evsjv wefvM, XvKv wek¦we`¨vjq.


1899 wLª÷v‡ã e½v‡ãi wn‡m‡e 1306 Gi 11 B ‰R¨ô| Aek¨ Aí eqm †_‡K wZwb †h dviwm,

Aviwe ms¯‹…Z fvlv I cyivb cÖm½ wk‡L wbw”Q‡jb †mwU Z_¨ wn‡m‡e A‡bKUv AåvšÍ| Zuvi

KveïPbvB G¸‡jvi cÖgvY| Zey †mB wkí Ggb DbœZ wQjbv †h, wZwb †mB eq‡m dviwm

Kwe‡ì we‡kl K‡i ˆLqv‡gi I nvwd‡Ri KweZvi imv¯v`b Ki‡Z cv‡ib| GB yB Kwei bvg

D‡jøL KiwQ GB Kv‡e¨ †h DËi Kv‡j bRiæj GB `yB KweiB KweZvi e½vbyev` K‡iwQ‡jb|

ZZw`b Zuvi dviwm Ávb KweZ¡gq n‡q D‡V‡Q nvwd‡Ri KweZvi AbyivMx wQ‡jb †Rvovmuv‡Kvi

VvKzi evwoi gvby‡liv, we‡kl K‡i †`‡e› ªbv_ VvKzi eªvþ ag© Av‡›`vj‡bi Ab¨Zg iƒcKvi|

iex›`ªbv_ GB mvs¯‹…wZK cwigÐ‡jB eo n‡q‡Qb| GiI KZ KZ eQi Av‡M †mvbviMuvi cvVvb

kvmK wMqvmDwÏb AvRg kvn nvwdR‡K evsjv‡`‡k Avmvi Avgš¿Y Rvwb‡qwQ‡jb| †m Avgš¿‡Y

nvwdR mvov †`b wb| GB HwZnvwmK NUbv †_‡K †evSv hvq nvwdR KZ L¨vwZgvb Kwe wQ‡jb|

nvwdR ˆLqv‡gi AbyR Kwe| ˆLqvg cvðvZ¨ †`‡k mycwiwPZ n‡qwQ‡jb GWIqvW© wdU‡Riv‡ìi

Kj¨v‡Y| Zvi Bs‡iRx Abyev` `k eQi a~‡bvq c‡owQjv Ges †cvKvgvK‡oi Lv`¨ n‡Z hvw”Qj;

ZLbB yB Bs‡iR Kwe myUbevb© I i‡mwU wdU‡Riv‡ìi Abyev‡ì cÖksmv m~PK ch©v‡jvPbv

cÖKvk K‡ib, Zv‡ZB BD‡ivc ‰Lqv‡gi iæevB A_©vr PZz®ú`x KweZvi gg©e¯‘ Rvb‡Z cvij Ges

ˆLqvg wb‡q †g‡Z DVj| wKš‘ KweZ¡ ˆLqv‡gi GKgvÎ cwiPq bq, ˆLqvg wQ‡jb Av¨‡÷ªv‡bvwg÷

A_©vr ‡R¨vwZ©weÁvbx f‚‡Mvjwe` I AvenvIqv ZvwË¡K| Aciw`‡K nvwdR wQ‡jb g‡g© g‡g© Kwe,

Abyf‚wZi Mvp i‡m eyu` nIqv AšÍ©M~p fveyK, †hLv‡b Av‡Q Ava¨vwZ¥K AbymwÜrmv, cigvZ¥vi

mÜvb|

wdU‡Rivì ˆLqv‡gi cuPvËiwU iæevB KweZvi Abyev` K‡i‡Qb| †mB cuPvËiwU Bs‡iwR Abyev`

Aej¤^‡b KvwšÍP›`ª †Nvl evsjv Abyev` K‡ib| Zuvi Abyev‡ì f‚wgKv wj‡L w`‡q‡Qb cÖgyL †PŠayix

Ges e‡j‡Qb, evsjv fvlvi GZ ¯^”Q›` I mvejxj Abyev` wZwb Gi Av‡M †`‡Lb wb| bRiæj

K‡iwQ‡jb GKk mvZvbeŸBwU iæevB‡q‡Zi Abyev`, Z‡e Bs‡iRx †_‡K bq, g~j dviwm †_‡K|

A_©vr ZZw`‡b dviwm fvlvi imv¯v`‡b bRiæj n‡q D‡VwQ‡jb cvi½g| Zuvi ˆLqvg Abyev`

cÖm‡½ ˆmq` gyRZev Avjx †h e‡j‡Qb KvRxi Abyev` mKj Abyev‡ì KvRx †mwU AKvi‡b

cÖksmv bq, h_vh_ I ev¯Íe g~j¨vqb|

dviwm KweZvi Abvqvm Abyev`-m~‡Î GB K_vwUB Avgv‡ì ey‡K wb‡Z n‡e †h, bRiæj †Kej

ms®‹…Z fvlv I fviZxq cyivb cÖm‡½i eënv‡i `ÿ wQ‡jb bv, Zuvi `ÿZv Bivwb ms¯‹…wZi we‡kl

K‡i wewfbœ dviwm Kwei Kveë¯‘ I wkí‡K evsjv fvlvi Awfe¨¯Í Ki‡Z †c‡i‡Qb| ˆmq`

gyRZev Avjx †h bRiæ‡ji ywU gvZ…f‚wgi K_v e‡j‡Qb †mLv‡b Av‡Q evsjv I Bivb KvRxi

†ejv evOjv I Bivb| wKUm evqi‡b †ejv †hgb Bsj¨vÛ I MÖxm|

nvwd‡Ri cy‡iv bvg LvRv kvmmywÏb gynv¤§` nvwdR-B-wmivwR| j¤v bvg, †h kn‡i Rb¥MÖnY

K‡i‡Qb A_©vr wmivR, ZvI bv‡gi m‡½ hy³| Z‡e mswÿß bvg nvwdRB ywbqvfi cÖwm×| 1325

G Rb¥ †bb Ges gviv hvb 1390 wLª÷v‡ã; cuqwÎkwU eQi Rxeb Kvj | wZwb AmsL¨ MR‡ji

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nvwd‡Ri cÖwZ Kxfv‡e wZwb AvK…ó n‡jb †mB e„ËvšÍ iæevBqvr-B nvwdR Abyev` MÖ‡š’i gyLe‡Ü

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Abyev` Kivi B”Qv Zuvi| †mbv Rxeb †_‡K hLb wZwb cy‡ivcywi mvwnZ¨ Rxe‡b cÖ‡ek K‡ib,

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K‡iwQ‡jb, Kwe bRiæj I †ZgwbI cuPvËiwU †Ìqvb KweZvi Rywj mvwR‡q‡Qb| wKš‘ Abyev`

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KweZv‡K Rbmg‡ÿ wb‡q †M‡j wkíx‡ì nv‡Z KweZv I Mv‡bi GB iKg nvj nq| m¤¢eZ GB

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bRiæ‡ji K_vq,- Ô†hw`b Abyev` †kl nj, †mw`b Avgvi †LvKv eyjeyj P‡j †M‡Q|Õ

ÔNywg‡q †M‡Q kÖvšÍ n‡q Avgvi Mv‡bi eyjeywj|Õ

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cÖKv‡k RvMwZK †cÖ‡giB Abyibb I iƒc| G¸‡jv gvbweK cÖYq-MxwZ| bRiæj Abyev` I

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4| cwðge½ evsjv GKv‡Wgx kZel© msKjb

5| †gvnv¤§` gvndzRDjøvn bRiæj Kv‡eï wkíiƒc


های میانی اسالمیبررسی تاثیر شاهنامه بر هنرهای صناعی ایران در سده

[The study of the effect of Shahnameh on Medieval Islamic Handicrafts in Iran]

10، علی مولودی9دکتر حسن کریمیان

چکیده:

ساکنان زیستیهم شاهنامه یافت که چون توانمی را کتابی کمتر در میان متون کهن ایران، در. را منعکس ساخته باشد ملی آنان Shahnamehهایو حماسه هاسنت با سرزمین اینهای حماسی عصر ساسانیان، رویدادهای تاریخی و داستان توضیح هنگام به جاودان، اثر این

ها و باورهای مردمان این سرزمین در قالب شعر تحریر گشته است.ترین خواستبنیادی

اینکه اندیشه های حکیم طوس تا چه میزان بر افکار عموم مردم ایران و بویژه هنرهندان و شی است که پاسخ بدان نیازمند پژوهشی صنعتگران هم عصر و بعد از او اثر گذار بوده، پرس

عمیق و علمی است. در پاسخ به این پرسش، نمونه هایی از مصنوعات هنری ایران در دو سده بعد از فروسی مورد مطالعه قرار گرفته اند. در نتیجه این پژوهش معلوم گردید که

حماسی این شاهکار صنعتگران ایرانی نیز با تاثیرپذیری از شاهنامه، تعدادی از داستانهای ادبی ایران را بر صنایع دستی خود نقش نموده اند.

شاهنامه، تجدید حیات هنری، نقوش داستانی، اشکال روایی. کلمات کلیدی:

مقدمه

)حکایی( سخن گفت. در "روایی"و "شمایلی"توان از دو نشانه در مطالعه هر اثر هنری، میاز نشانۀ شمایلی به عنوان امری یکپارچه، سازگار و تاحدی 11پیرسچارلز مقابل تعریف

(، شمایل را می توان عاملی تعریف کرد که در عین Peirce, 1935: 25) ساز شبیهشمایلی با توجه به نقشرساند. وابستگی نزدیک به امری خاص، اطالعات اندکی به ما می

تری برخوردار از بافت ادراکی سطحیتر است و اینکه از پیام کمتری برخوردار است، ساده است.

تری از یک پیام را وار که حجم وسیععاملی است با ساختی مسلسل "پیام روایی"در مقابل، دهد. شمایل امری است که تاکیدی بر یک واحد بصری کوچک دارد و ما به به ما انتقال میری صرف کنیم. لیکن روایت، هایی جدا از اثر، برای درک آن باید تالش بسیاعنوان مخاطب

مند است. ، از تاکید کمتری بر امر جزیی بهره"حکایت"تر یا به تعریف دقیق

9 [email protected]دانشیار گروه باستان شناسی دانشگاه تهران،

[email protected]دانشجوی دکتری باستان شناسی دانشگاه تهران 10 پدر را او است که آمریکایی فیلسوف Charles Sanders Peirce (1۸۳9-191۴)/ پرس سندرز چارلز 11

است. شناسی نشانه گذاران بنیان دانند و از می پراگماتیسم


)حکایی( از "نقوش روایی"و "نقوش شمایلی"اینکه در تاریخ فرهنگی بشر کدامیک از قدمت بیشتری برخوردارند، به درستی معلوم نیست؛ اما نمی توان تصور نمود که نقوش

های ها لزوما قدمت بیشتری دارند. بررسیصحنهبه جهت سادگی و نشان دادن تکشمایلی های یکم تا هشتم هجری، در ایران استفاده از نگارندگان مشخص داشته است که در سده

، کریمیان 126-111: 1۳95نقوش روایی افزایش بیشتری یافته است)کریمیان و خانمرادی (. 1۳95مولودی، و

ای ساسانی آغاز گردید و در آن تزئیناتی نگاری، از ظروف نقرهرنده در شمایلپژوهش نگااند مورد مطالعه قرار گرفتند. در این پژوهش روشن گذاری شدهای نامکه به نقوش شاهنامه

کاری ساسانی، از یک رمزگان شمایلی کامال واحد و مشخص بهره گردید که در تزئین نقرهمعتقد است که این وضع به دلیل تکرار فراوان نقش و همچنین به گرفته شده است. هارپر

(. به عنوان مثال، نقش Harper, 1983: 1113-1129دلیل وجود نقش شاه است )کار رفته را کاران به( که فراوان توسط سفالگران و یا کاشی1)تصویر "بهرام گور و آزاده"

می توان نام برد که در آن به دلیل محوریت نقش شاه از رمزگان شمایلی واحد استفاده گردیده است.

شناسانه، اندک اندک به سمت صنایع سفالین متمایل گشت. نتایج تحقیقات مطالعات شمایلج به تدریمشابه نیز معلوم ساخته است که در قرون میانه اسالمی مضامین ظروف فلزی به

( و این امر ممکن است به کم شدن نقره در ۴5: 1۳90دیماند گردد)ظروف سفالین منتقل می (. Milwright, 2010: 51دورۀ سلجوقی مرتبط باشد )

گونه سفال غیر از اگرچه، همانگونه که لین می گوید، در دو سدۀ اول دوران اسالمی هیچلیکن با ورود به سده چهارم هجری (،Lane, 1947: 18سفال ساده قابل مشاهده نیست)

مجدد نقوش روایی بر روی سفالینه ها ظاهر می گردند و هنرمندان ایرانی از این صنعت برای انتقال پیامهای روایی خود به دیگران بهره گرفتند. نمونه هایی از اینگونه آثار را می

نمود طالعههای منقوش سمرقند و انواع مکشوفه از نیشابور متوان در سفالینه(Wilkinson, 1973: 44-53 .)

های ملی ایرانیان نیز از رویدادهای بسیار مهم های مدون متعدد از حماسهپدید آمدن نسخهدیگر این زمان است، که شاهنامه حکیم ابوالقاسم فردوسی در راس اینگونه نسخه های قرار

نگارانه صنایع ایران اثرگذار شمایلدارد. اینکه این شاهکار حماسی تا چه میزان بر نقوش باشد، موضوع پژوهش حاضر است. بدین منظور نمونه هایی از مصنوعات هنری قرون میانی اسالمی، مشتمل بر اشیاء فلزی، سفالی، کاشیکاری و گچبری مورد مطالعه قرار گرفتند

که در ادامه تنها نمونه هایی از آنها آورده شده اند.


های میانی اسالمی(هنری ایران )سدهروایی شاهنامه در مصنوعات انعکاس داستانهایاز آنجائیکه پیگیری همه داستانهای روایی شاهنامه در مصنوعات هنری باقی مانده از قرون میانی اسالمی مستلزم بررسیهای مدتمند است، دو داستان مشهور این شاهکار حماسی

ادامه نتایج این مطالعات درج گردیده است. انتخاب و مورد پژوهش قرار گرفته اند که در داستان بهرام گور و کنیزک -لف(1

ترین روایت بیت، طوالنی 259۳بعد از داستان خسرو انوشیروان، سرگذشت بهرام گور، با حدود مربوط به وقایع زندگی شاهان در شاهنامه است. این عدد با احتساب ابیاتی که مشترکا در

(. صاحب 122: 1۳۸6نژاد، بیت می رسد)غالمی ۳۳00رام آورده شده، به سرگذشت یزدگرد و بهاندر پادشاهی، داد وعدل از همه » ... در وصف این پادشاه گوید: 12والقصص مجمل التواریخ

نیکان بیفزود و از آن شادخوارتر پادشاه نبود و نباشد و دلیرتر. و مردم رعیت از آن به نشاط و بودندی به هیچ روزگار نبوده است. همواره از احوال جهان خبر، و کس را رامشگری که در ایام

در میان پادشاهان عجم ده تن را آثارالبالد (. قزوینی در69: 1۳۸۳)بی نا، « هیچ رنج و ستوه نیافت(. آثار مختلف عالوه 29: 1۳7۳اشرف مخلوقات و چهارمین آنان را بهرام گور می داند )قزوینی ،

یت پروری، از احسان و نیکی، شجاعت و مردانگی و شکار و مهارت او در بر عدالت و رعپروری او سخن به میان آمده مداری و رعیتاز دین تاریخ قماند. در کتاب تیراندازی نیز یاد کرده

سازی شاهکارهای بهرام در اواخر دورۀ ساسانی (. بطور کل، شمایل1۸7و 2۳: 1۳61است )قمی، های بهرام گور در مقام صیادی ماهر بوده است.اسالمی متکی بر ویژگیو اوایل دوران

رغم جایگاه رفیع شخصیت این پادشاه در متون نتایج مطالعه نگارندگان معلوم داشته که علینوشتاری و هنرهای تصویری عصر ساسانی، در صنایع اسالمی ایران تنها داستان شکار او و

ای چون بهرام به گلهقرار گرفته است. در این داستان، مورد توجه "آزاده"مرگ کنیزکش ای غزال رسید از آزاده خواست بگوید چگونه آنان را از پای درآورد. آزاده از او خواست غزال ماده

را نر و غزال نری را ماده کند. او با تیری دو شعبه هر دو شاخ غزال نر را جدا کرد و تیر دیگری از غزال ماده نشاند. بعد باکمان گروهه گوش آهوی دیگری خراشید. غزال همان نوع بر پیشانی

زخمی پای خود را باال برد تا گوشش را بخارد. بهرام با تیری پا وگوش غزال را به هم دوخت. سپس از روی غرور به آزاده نگریست. چشمان آزاده پر از اشک شد و کار بهرام را نشانه ی

صفت خواند. بهرام خشمگین شد و کنیزک را از باالی شتر به زمین نامردی دانست و او را دیوانه

12 هم کتاب تألیف—قمری 520 تا خلقت زمان از جهان تاریخ در فارسی زبان به ناشناخته، ای نویسنده از است کتابی

از. است سامانی عهد نثر به نزدیک و کهن نگارش زمان نسبت به کتاب نثر. است بوده آن از پس اندکی یا سال همین در با را کتاب این نویسنده نام برخی. است بوده آن حوالی یا همدان اسدآباد اهل که است مشخص اینقدر نویسنده احوال .دانند می «اسدآبادی شادی ابن» است کرده اشارت کتاب از جایی در جدش نسب به اینکه به توجه


: 1۳۸6نژاد، افکند و زیر پای شتر هالک کرد. بعد از آن هیچ زنی را با خود به شکار نبرد )غالمی 125)1۳. دار شتر دان عرب در سدۀ سوم هجری )قبل از نگارش شاهنامه(، کمانفقیه، جغرافیابن

هایی که ایرانیان بر ... در نقاشی"داند؛ زیرا به گفتۀ وی بهرام گور میچون و چرا سوار را بیهمواره سوار بر شتر ]بهرام گور[کنند، او هایشان رسم میها و گلیمها و روی فرشایوان

(.226: 1۳۸۸)شالم، "شودتصویر میکاشی و حتی در مطالعه نگارندگان بر روی اشیاء دوران اسالمی، تعدادی شئی فلزی، سفالی،

گچبری متعلق به قرون میانی اسالمی شناسایی گردید که بر روی آنها، متاثر از شاهنامه، نقش طالکاری شده متعلق به سدۀ نقره ای بهرام و آزاده نشان داده شده اند. یکی از این ظروف سینی

کاسه (. ظرف دیگر، 1متروپولیتن نگهداری می شود )شکل میالدی است که در موزۀ پنجم(. 2مینایی متعلق به قرن ششم هجری است که توسط پوفسور پوپ معرفی گردیده است )شکل

شئی دیگر، قلعه کاشی طالکاری باقی مانده از قرن هفتم هجری است، که در مجموعۀ بانو (. همانگونه که در شکل های مورد اشاره دیده می شود، هر سه ۳پاراویچینی قرار دارد )شکل

شاه ساسانی )بهرام( را در حالی نشان می دهد که به همراه آزاده سوار بر شتر شئی مذکور، مشغول شکار آهو است و آزاده نیز مشغول نواختن چنگ می باشد. هنرمند در همین صحنه،

تصویر دیگری از آزاده را نیز نشان داده که زیر پای شتر افتاده است. ,Karimianواقع در شهر تاریخی ری) از حفریات باستان شناسانه در کاخ چال ترخان

( نیز بقایای گچبریهایی بدست آمد که هم اکنون در موزه ملی ایران به 8-11 :2013معرض نمایش گذاشته شده اند. این قطعات نیز نقش بهرام و آزاده را سوار بر شتر نشان می

(. ۴دهد، در حالی که آهویی را مورد هدف قرار داده است )شکل تان فریدون و ضحاک داس -ب(

"ضحاک مار به دوش"یکی دیگر از داستانهای روایی طوالنی شاهنامه فردوسی داستان پایه . بر(1۳75)بهار ( او را به بند می کشد 1۴است که فریدون )پادشاه پیشدادی ایران

ضحاک بر آهنگر کاوه یاری با و بود جمشید تبار از و آبتین پسر فردوسی، فریدون شاهنامهشد جهان پادشاه خود سپس. کرد زندانی 15دماوند کوه در را او و شد چیره ستمگر

(. 57: 1۳91)آموزگار

، جلد سوم.1۳۸۳پرویز اتابکی، تهران، علمی و فرهنگی، همچنین نگاه کنید به شاهنامۀ فردوسی، به کوشش 1۳1۴

ایرج به را ایران او. کرد تقسیم ایرج و تور سلم، پسرش سه میان را جهان آنگونه که فردوسی آورده است، فریدون،

را ایران رخداد این از آگاهی از پس فریدون. کشتند را ایرج و کردند نیرنگ و بردند رشک ایرج به تور و سلم ولی داد

داد. ایرج نوه منوچهر، به15

متر در شرق پایتخت )تهران( قرار گرفته است. 5610یکی از کوههای اسطوره ای ایران است که با ارتفاع ی معادل


آنگونه که تحقیقات نگارندگان مشخص داشته است، از میان ظروف سفالینی که بعد از فرودسی در ایران ساخته شده اند، تعدادی را می توان یافت که با تاثیر پذیری از شاهنامه، بر روی آنها داستان حماسی فریدون و ضحاک نقش گردیده است. بر جداره بیرونی یکی از

ای (، فریدون با چهره5گالری هنر دانشگاه ییل نگهداری می شود)شکل ها، که در سفالاین مشخصا جوان بر گاوی نشسته و سفالگر بر تنومندی گاو تاکید دارد. جالب آن است که،

شودو همچنین آنچنانکه در منابع اساطیر ایران آمده، بر تاج فریدون نیز شاخ گاو دیده می(. در عقب 125-۳5: 1۳۸7مختاریان، ، ۸9-110: 1۳91قائمی گرز او نیز گاونشان است)

همانند اسیری از هایش از پشت بسته شده،تنۀ فوقانی او برهنه و دستگاو، مردی، که نیمای آشکار برای ضحاک آید. بر دوش این اسیر دو مار نقش شده که نشانهپشت فریدون می

بودن آن است. نگهداری تعلق دارد و در موزۀ متروپولیتن در کاسۀ مینایی دیگری که به سدۀ ششم هجری

(، تصاویری دقیقا مشابه آنچه در باال توضیح داده شد نقش گردیده است. 6می شود )شکل تردید از افراد فریدون است. در این اثر نیز فردی در جلوی گاو نقش شده که بی

که در سدۀ چهارم -ی از میان منابع مکتوب دوران اسالمی، در آثارالباقیه ابوریحان بیروندر این روز ]روز مهر از ماه مهر[ بود که فریدون ... "خوانیم: می -استهجری تالیف شده

همین تاج و گرز گاونشان و استفاده (. بدین ترتیب، ۳۴6: 1۳77)بیرونی، بر گاو سوار شدفرد از گاو به عنوان مرکب، نشانه ای آشکار برای قطعی بودن اطالق فریدون به این

تردید نمی ماند که نقش ظرف سفالین ارائه شده، حکایت فریدون و گاوسوار است و ضحاک را به ترسیم کشیده است.

تحلیل و نتیجه: میانۀ قرون نمونه هایی از صنایع هنری استفاده از با تا گردید تالش حاضر نوشتار در

بررسی های میانی اسالمی مورداثرگذاری شاهنامه بر هنرهای ایران در سده میزان اسالمیآنگونه که آثار مورد مطالعه مشخص ساختند، پس از نشر شاهکار حکیم توس، . گیرد قرار

این از همگانی، ایرسانه عنوان به ظروف مصرفی، کارکرد از استفاده با ایرانی هنرمندان. اندجسته بهره باستان ایران حماسی هایداستان توسعه روایت جهت در موثری نحو به اشیاء

که در بود موثر جهت آن از اشیاء مصرفی ایرسانه کارکرد از گیریآنچنانکه آورده شد، بهره ایرسانه خواست تمام تواندمی ایصحنهتک نقوش از بیش گرایانهروایت نقوش این ظروف

گستردگی با مرتبط عوامل از دیگر یکی. سازند برآورده را صنعتگران و سفارش دهندگان شایان ذکر است که. است دوره این در محور،حماسه حس یافتن قوام گرایانه،روایت نقوش

هایحماسه و هااسطوره به دوباره توجه و انسجام هجری، هفتم تا سوم سدۀ در ایران از و گردآوری به مشتاقانه و آگاهانه شاعران و نویسندگان از بسیاری و کندمی پیدا رواج ملی

به موسوم نقوش این از استفاده گیریاوج هرچند. پرداختند حماسی روایات این تدوین


رسدمی نظر به اما دهدمی رخ هجری چهارم سدۀ پایانی هایدهه در دقیقا ایشاهنامه-حماسه فرهنگی جو با تنگاتنگ ارتباطی هجری 7 و 6 سدۀ در نقوش منسجم گستردگی

. باشد داشته آن پیشین هایسده و دوره آن محور

هنرمندان و که پذیرفت توانمی گرفت قرار بحث مورد آنچه به توجه با و بندیجمع یک در منقول روایات از هاییبخش با تاسی از شاهکار حماسی ایران، صنعتگران پس از فرودسی،

کاشی ها و حتی ظروف فلزی، سفالینه ها، مصرفی نظیر مصنوعات سطوح بر آنرا درتالش سرزمین این کهن بیان حکایات روایی و در کرده نقش وابسته به معماریتزئینات .نموده اند

شده، سدۀ پنجم یا ششم میالدی ای طالکاری: بهرام گور و آزاده در سینی نقره1شکل

موزۀ متروپولیتن( )مأخذ:


)ماخذ: پوپ، : کاسۀ مینایی سدۀ ششم یا هفتم هجری با نقش بهرام گور و آزاده، 2شکل

1۳۸7 :672)

: کاشی طالکاری متعلق به سدۀ هفتم هجری با نقش بهرام شاه و آزاده، )مآخذ: ۳شکل

مجموعۀ بانو پاراویچینی(.


: قطعه گچبری مکشوفه از چال ترخان ری با نقش بهرام گور و آزاده، )مآخذ: موزه ۴شکل

ملی ایران(

ششم یا هفتم هجری با نقش فریدون و ضحاک )ماخذ: : کاسۀ مینایی متعلق به سدۀ 5شکل

گالری هنر دانشگاه ییل(


: کاسۀ مینایی متعلق به سدۀ ششم هجری )ماخذ: موزۀ متروپولیتن(6شکل

فهرست منابع:

سازمان مطالعه و تدوین کتب علوم ، تهران: "نتاریخ اساطیری ایرا ". 1۳91. آموزگار، ژاله .1

انسانی دانشگاهها )سمت(،

، چاپ اول، تهران: نشرآگه."پژوهشی در اساطیر ایران"(، 1۳75بهار، مهرداد. ) .2

:، ترجمه اکبر داناسرشت، چاپ چهارم، تهران"الباقیه آثار"(. 1۳77. )بیرونی، ابوریحان .۳

.انتشارات امیرکبیر

ویرایستاری و الشعرا ملک بهار محمدتقی تصحیح به. "والقصص التواریخ مجمل"، 1۳۸۳بی نا، .۴

کتاب. دنیای: تهران. اول چاپ. عبداللهی اصغر علی

تهران: ،پرهام سیروس نظر زیرجلد نهم، ،"ایران هنر در سیری"(. 1۳۸7) ،اپهام آرتور ،پوپ .5

فرهنگی. و علمی نشر

فریار، تهران: ترجمه عبداهلل، "اسالمی صنایع راهنمای"، 1۳90 اسون، دیماند، موریس .6

فرهنگی. و علمی انتشارات

-نقش زربفت بهرام گور: تکه ابریشم محفوظ در آوکسبورک و شیوه"(. 1۳۸۸شالم، آوینوآم. ) .7

، در هیلن براند، رابرت. زبان تصویری شاهنامه، ترجمه سید "های تفسیر یک مضمون متداول

.217-2۳7و نشر آثار هنری، صص داوود طباطبایی، تهران: موسسۀ تالیف، ترجمه


شخصیت تطبیقی بررسی"(. 1۳۸6محمدرضا براتی، ) محمد و تقوی، محمدعلی، نژاد، غالمی .۸

علوم و ادبیات مشهد: دانشکده، نشریه جستارهای ادبی ،"پیکر و هفت شاهنامه در بهرام

.117-1۳۸، 15۸ شماره دانشگاه فردوسی مشهد، انسانی

ز ین گردنماار بزابا ط آن تباو ارنخستین و گاو مهر د نبررۀ سطوا" (.1۳91قائمی، فرزاد. ) .9 ۸9-110: 21پژوهی، شمارۀ ادب "سروگا

، ترجمۀ جهانگیر میرزا قاجار، تصحیح "آثارالبالدواخبارالعباد"(. 1۳7۳قزوینی، زکریابن محمد.، ) .10

میرهاشم محدث، چاپ اول، تهران: انتشارات امیرکبیر.

، ترجمۀ حسن بن علی قمی، تصحیح سیدجالل الدین تهرانی، "تاریخ قم"(. 1۳61قمی، حسن، ) .11

تهران: انتشارات توس.

دوران به ساسانیان از انتقال در ایران فلزکاری" ،1۳90 مرادی، خان مژگان و حسن کریمیان، .12 هنر مطالعات" پژوهشی -علمی فصلنامه دو ،"شناسانه باستان شواهد به استناد با اسالمی

126-111: 16 شماره هشتم، سال ،"اسالمی

، "ایران هنری حیات تجدید در شاهنامه با همسویی"، 1۳95 علی مولودی، و حسن کریمیان، .1۳

در دست چاپ

: ۳۸، نامۀ فرهنگستان، شماره "پیشانیگاو برمایه، گرز گاوسر و ماه"(، 1۳۸7مختاریان، بهار، ) .1۴

۳5-125

15. Harper, Prudence, 1983. The Sasanian silver, Cambridge History of Iran,

Vol 3: Part2, Ehsan Yarshater (Ed.),Cambridge University Press, pp.

1113-1129

16. Karimian. H, 2013. Form and Functionality of Ancient City of Rey in its

Transition from Sasanian to Early-Islamic Era, in: The First International

Conference of Islamic Archaeology in the East, Qairo: 8-10/12/2013, Pp

8-11

17. Lane, Arthur, 1947. Early Islamic pottery: Mesopotamia, Egypt and

Persia, First Edition, London: Faber and Faber.

18. Milwright, Marcus, 2010. An introduction to Islamic archaeology,

Edinburg university press.

19. Peirce, Charles, Sanders, 1935. Collected papers of Charles Sanders

Peirce, edited by Charles Hartshorne & Paul Weiss, Vol VI.

20. Wilkinson, Ch. K., 1973. Nishapur: Pottery of the Early Islamic Period,

The Metropolitan Museum of Art, New York.


معرفت شناسی شعر قاضی نذراالسالم،شاعر ملی بنگالدش

[Epistemology Lyrics of Kazi Nazrul Islam, National Poet of Bangladesh]16

17دکتر مریم خلیلی جهانتیغ

چکیده( که در میان عامه ی مردم 1976-1۸99(قاضی نذراالسالم بزرگترین شاعر مسلمان کشور بنگالدش

حافظ دوستی او موجب است. به نذرول معروف بود، دوستدار فرهنگ، زبان، شعر و شاعران ایران

ت غزل و تعدادی از رباعیات وی را به نظم بنگالی درآورد،قالب غزل را وارد ادبیا100شد تا حدود

منظوم بنگال کند و معرف حافظ در بنگالدش باشد.عالقه ی او به خیام انگیزه ای شد برای اینکه

رباعی او را به نظم بنگالی برگرداند که به نظر بعضی از محققان مانند شمیم بانو ،بهترین 197حدود

ترجمه ی منظوم خیام در بنگالدش است.

ل توجهی از اشعار آنان نشان می دهد که قاضی توجه به حافظ و خیام و برگردان میزان قاب

نذراالسالم به عنوان یک شاعر مسلمان، مانند بسیاری دیگر از مردم شبه قاره زبان فارسی را زبان

میانجی آشنایی با دین و فرهنگ اسالمی می داند و به آن دلبستگی خاصی دارد.از سوی دیگر با

بهی است.قطعا از نظر معرفتی و فلسفه ی حیات، حافظ و خیام دارای روح مشترک و فرهنگ مشا

شعر و سخن این شاعر آزاد اندیش و مبارز جای بررسی بیشتری دارد. رویکرد عاشقانه ی او به

غزل حافظ و رباعیات خیام حکایت از این دارد که نذراالسالم فقط به وزن و قالب اشعار دو شاعر

این ها او را به سوی خود کشیده است و آن،هستی ایرانی عالقه نداشته و جذابیتی مهم تر از

شناسی حافظ و خیام، نگاه ویژه ی آنان به زندگی،ارزش انسان در تفکر آنها،ستم ستیزی و رندی

آنان، و انتقاد آنها از ریاورزی و زهد فروشی است. روحیه ی سرکش قاضی نذراالسالم ، انسان

نی، همچنین شور زندگی در وجود او در این محوری وی، و مسامحه و تساهل او در مسایل دی

مقاله توصیف می شود.

معرفت شناسی، شاعر ملی بنگالدش. قاضی نذراالسالم، کلمات کلیدی:

____________________________________________

مقدمه

16 Presented at the 2

nd Biruni Interdisciplinary International Conference held at Dhaka

Univarsity on 22-24 Octobar 2015. 17

Email:[email protected]دانشیار زبان و ادبیات فارسی دانشگاه سیستان و بلوچستان


را از جامعه به نظر ژان پل سارتر یک نویسنده به دلیل نویسنده بودن باید نیازها و مطالبات دیگران

مطرح و برآورده کند و خوانندگان هم در مقابل، می توانند درباره ی کارکرد اجتماعی نویسنده

قضاوت کنند. همین ساز و کار که از انتشار آثار و عقاید و از رابطه ی نویسنده و مخاطب شکل می

حقوق و آزادی گیرد،ایجاب می کند که شاعر ونویسنده در جریان خلق هنرو نوشتن با مساله ی

خود و مخاطبانش در گیر شود.نویسنده پیوسته در جریان زندگی و کار هرروزه ی خود با مسایل

مشخص اجتماعی برخورد می کند و وظیفه دارد که از حقوق ستم دیدگان دفاع کند و علیه

ه در برابر استثمارگران، سرکوب گران و استعمارگران بستیزد.اگر غیر از این باشد و شاعر و نویسند

بی عدالتی سکوت کند، در واقع به ظلم و ظالم یاری نموده و با آنها همگام گشته است.)احمدی،

1۳۸۴ :10۸-109)

( شاعری رئالیست، انسان دوست، معتقد به رسالت ادبیات و 1967 – 1۸99قاضی نذراالسالم )

قایل به تعهدی برای خود در قبال جامعه و مردم بود و در مقابل استعمارگران و ستمکاران زمان

خود سکوت نکرد و نام خود را به عنوان یک شاعر، نویسنده و روزنامه نگار روشن اندیش و

ت جاودانه ساخت. چنانکه می گوید:متعهد در تاریخ انسان و انسانی

من شاعرم/ من برای نمایاندن حقایق پنهان و به منصۀ ظهور رساندن اسرار/ از طرف خدا فرستاده »

اورسجی، « ) شده ام/ خدا به بیان شاعر لبیک می گوید/ پیام من مظهر حق و پیام خداست.

(۴1: ص1۳7۴

ی داند و نظامی نیز قرن ها پیش از وی، شاعران را در صف او شاعر را فرستاده و پیام آور خدا م

کبریایی خلقت، پس از انبیا قرار می دهد:

پرده ی رازی که سخن پروری است سایه ای از پرده ی پیغمبری است

(19: 1۳7۴پس شعرا آمد و پیش انبیا)نظامی، پیش و پسی بست صف کبریا

در سربازی زبان فارسی را از "اتی را به همراه داشت از جملهرفتن به خدمت سربازی برای او توفیق

یک روحانی پنجابی آموخت و اشعار بسیاری از شعرای فارسی زبان را مطالعه کرد و پختگی الزم

(69: 1۳۸5)حسینی اسفیدواجانی،"را برای اینکه شاعر شهیری در شبه قاره شود، به دست آورد.

اشعار حافظ و مولوی و خیام بسیار گفته شده است. ترجمۀ در خصوص توجه او به قرآن کریم و

سال ، ترجمۀ رباعیات خیام و عم جزو قرآن ۴غزل و رباعیات حافظ به زبان بنگالی در طی 100

نشانۀ تسلط او به زبان های فارسی و عربی و عمق 19۳۳ -19۳0مجید به نظم در فاصلۀ سال های

به معجزۀ رسول اکرم، قرآن شریف است. اما به هم فکری او گرایش او به شعر فارسی و اعتقاد او

با نظامی، نسیم شمال، میرزادۀ عشقی و فرخی یزدی اشاره نشده است.


همان طور که می دانیم تمام اشعار او به زبان فارسی ترجمه نشده و جادارد که مجموعه ی کامل

ی با مطالعۀ همان گزیده ای که به تری از اشعار اجتماعی و رئالیستی وی ترجمه و چاپ شود ول

همت استادان بزرگوار جناب آقای محمد عیسی شاهدی و سرکار خانم دکتر ابوالبشر و دکتر محمد

کاظم کهدویی و رایزنی محترم فرهنگی ایران به چاپ رسیده است، به اشعار بسیاری برمی خوریم

اشعار ، شاعر با هشیاری و فراست که به ظاهر در منقبت حضرت رسول )ص( است اما در همین

بسیار،ضمن نعت پیامبر اکرم)ص( نظرات انتقادی خود را مطرح ساخته و زمانۀ خود را با صدر

اسالم مقایسه کرده است.

بحث و بررسی

در اشعار ستایشی شاعر در منقبت رسول گرامی اسالم، روحیه ی عمیق انتقاد از حاکمان ، در تقابل

ز و شر امروز و تعلیم و تعلم به مسلمانان به خصوص جوانان دیده می شود. و قرار دادن خیر دیرو

جالب است بدانیم که نظامی گنجوی، شاعر بنام قرن ششم ایران نیز در کتاب مخزن االسرار، آنجا

که در نعت سوم حضرت مصطفی) ص( سخن می گوید؛ به انتقاد شدید از زمانۀ خود مبادرت کرده

خواهد که بر اسب زمان بنشیند و دوباره ظهور کند و به عنوان پیامبری از حضرت محمد می

جهانی، اسالم راستین را در دنیا محقق سازد:

سایه نشین چند بود آفتاب ای مدنی برقع مکی نقاب

ور گلی از باغ تو بویی بیار گر مهی از مهر تو مویی بیار

یادرسای زتو فریاد تو فر منتظران را به لب آمد نفس

زردۀ روز اینک و شبدیز شب سوی عجم ران منشین در عرب

هر دو جهان را پر از آوازه کنملک بر آرای و جهان تازه کن

خطبه تو کن تا خطبا دم زنند سکه تو زن تا امرا کم زنند

باد نفاق آمد وآن بوی برد خاک تو بویی به والیت سپرد

بر از آلودگانغسل ده این من بازکش این مسند از آسودگان

در غله دان عدم اندازشان ... خانۀ غولند بپردازشان

وزدگر اطراف کمین می کنند... از طرفی رخنۀ دین می کنند

روز بلندست به مجلس شتاب پانصدو هفتاد بس ایام خواب

باد دمیدن دو سه قندیل را خیز و بفرمای سرافیل را

(11-12: 1۳7۴) نظامی،


اول کتاب نیز که از سیاست و قدر یزدان می گوید، همین روحیۀ دردمند و منتقد او را در مناجات

تجربه می کنیم . تقریبا در تمام ابیات این مناجات نامه شاعر از خداوند برپا داشتن قیامت و انهدام

عالم پر زرق و ریای آدم را مطالبه می کند:

واگشای عقد جهانرا زجهان عجز فلک را به فلک وانمای

مسخ کن این صورت اجرام را... نسخ کن این آیت ایام را

منبر نه پایه به هم در فکن کرسی شش گوشه به هم در شکن

سنگ زحل بر قدح زهره زن حقۀ مه بر گل این مهره زن

پر بشکن مرغ شب و روز را دانه کن این عقد شب افروز را

گو مباشقالب یک خشت زمین از زمی این پشتۀ گل برتراش

جبهه بیفت اخبیه گو بر مخیز گرد شب از جبهت گردون بریز

پرده ای از راه قدیمی بیار... تا کی ازین راه نو روزگار

(۳ -۴: 1۳7۴) نظامی،

در تمام این ابیات نوعی حسرت نسبت به گذشته و بیزاری و ناامیدی از زمان حال دیده می شود .

مت غوالن و آلودگان می داند . کسانی که نه تنها دین که تمام نظامی زمانۀ خود را زمانۀ حکو

جوانب زندگی مردم را رخنه کرده اند . بنابراین از پیامبر خدا می خواهد که دوباره به پا خیزد و

مسند حکومت و منبر دین و هدایت را از وجود آلودگان و آسودگان بی مباالت و ستمگر بزداید.

م اشعاری که در منقبت رسول حق است، نوعی نوستالژی نسبت به زمان نذراالسالم نیز در تما

حضرت رسول و صدراسالم دارد و عصر خود را با آن دوره مقایسه می کند و بر گذشته حسرت

می خورد:

بیا و نگاه کن که در دامان آمنه کیست / بدری کامل در تأللو است/ گویی که تأللو خورشید است "

او که حق انسانها را بدانها داد/ او که اعالم کرد الاله اال اهلل را / او که در زندگی در دامان صبح / ...

دنیا فقر را برگزید / او که درویش و غنی را برابر کرد / او که تصویری بود در اندیشۀ دردمندان /

( ۸2: 1۳7۴... )اورسجی ، "پیامبری که با همۀ عظمت / خویش را با مردم برابر می پنداشت

همان گونه که می بینیم شاعر به جمال پیامبر یا خصوصیات ظاهری او اشاره نمی کند بلکه بیشتر

ویژگی های انسانی و روحانی حضرت را یادآوری می کند . گزینش فقر برای خود و رفاه برای

مردم، از بین بردن اختالفات طبقاتی، در غم محرومان زیستن و نداشتن غرور قدرت و مقام در

مقابل مردم.

در هر نوایی که از دل شاعر بر می خیزد، در هر صورت خیالی که وی ایجاد می کند، سرنوشت »

ماجرای ی بشر، همه امیدها، پندارها، دردها، خوشی ها، بزرگی ها و درماندگی های آدمیزاد، همه


با رنج و شادی عالم یعنی تحوالت آن و نمو دائمی آن که به نیروی خود تحقق می پذیرد و توأم

(220: 1۳7۳)کروچه،«اینها در آن نهفته استی است همه

حضرت محمد را باز هم پیامبری مردمی، برابر کنندۀ فقیر و « سخنی با پیامبر» در شعری با عنوان

غنی، و اهل فقر و عرفان عاشقانه می داند . خود او نیزشاعری مردمی بود و همین گونه زیست. در

سالم را دینی معرفی می کند که تبعیض را نمی پسندد و برای همه اعتدال می همین شعر، دین ا

خواهد، نه کاخ های طالیی و طبقات مرفه دارای کنیزان و غالمان بسیار را می پذیرد و نه طبقات

ضعیف گرسنه و بی سرپناه و بی خانمان را:

سلطان بودی ولی زندگی را موالی من/ تو برای نجات مظلومان و تهیدستان بدین جهان آمدی / "

بی سرپناه و ر و تهیدستی را / نه مردمانی در فقر گذراندی / نه امارت را بر کس پسندیدی و نه فق

نه مردمانی با کاخ های طالیی/ نه گروهی بی غذا و گرسنه / ونه اندکی باصدها کنیز و غالم / آه

و اغنیا در عیش و عشرت غوطه ورند/ اما امروز کسی نیست تا دردر بی چیزی انسانها را بیان کند

مستضعفان مسلمان، تو را می طلبند/ امروز محروم از رحمت تو / سروری خویش را از دست داده

ایم / نوکرانی چاپلوس و فرمانبر شده ایم / کی باشد که با محبت به دیگران / به آدمیت خویش باز

(۸۴: 1۳7۴)اورسجی ، "گردیم .

( ۸۸) ص ( خروش صبحگاهی ۸6د صحرا) ص ( با۸0ا عنوان گل کائنات ) ص در اشعار دیگری ب

نیز از ستایش پیامبر اسالم گریز می زند به انتقاد از مسلمانان روزگار خویش که بزرگ منشی و

مناعت طبع را از دست داده و فرمانبر و مداح ظالمین شده اند. آدمیت را زیر پا نهاده اند و ریزه

و نان زمانه گشته اند. مسلمانان حقیقت گو و حق طلب مرده اند و آنها که هستند خوار سفرۀ منت د

به دیگران نمی اندیشند و هر کس به فکر به در بردن گلیم خویش از امواج حوادث روزگار است

نه در غم نجات آنها که از بینوایی و نداری در حال غرق شده اند.

شوند. کلید درک این داللت تفسیر معنایی انسان تأویل میمطابق برداشت فردی و ،های جهانپدیده

ها، نگاه شهودی شاعر و نویسنده است. این نگاه ای این نشانهواژگان زمینهها و کلیدمعنایی، نشانه

کند.ها آگاه میشهودی مخاطب را نیزبه هستی بنیادین پدیده

ه پدیده ی مرگ،خواننده ی اشعار تفسیر شهودی شاعر و نگاه متفاوت او ب "سالم مرگ"در شعر

وی را به جهان معرفتی دیگری هدایت می کند.در این شعر باز هم سخن از نقد مسلمانان و عرفا و

حتی عالمان دینی زمان اوست:

کجاست آن مسلمان که ایمان کامل به خدا دارد. عارفی که مرگ و حیات در نزد او یکی "

را به خدا سپرده / مردانه به جهاد می رفت / وجان خویش را با است / ... کسی که زن و فرزند

تبسم به قربانگاه می سپرد / افسوس که امروز آنان گدایی می کنند / کجاست علم آنان که جز از


) اورسجی ، "خدا نمی ترسیدند / و با قرآن/ برای نجات انسان / آمده بودند / علم آنان کجاست؟

1۳7۴ :100)

( انتقاد از مسلمانان و حاکمان مسلمان همچنان ادامه دارد. دل 110ص « ) سلمینفخرم» در شعر

شاعر بخاطر وضع ناگوار مسلمانان شبه قاره و بخصوص بنگالدش می تپد . او از حاکمان مسلمانی

که ساده زیستی را رها کرده اند و به دنیا در آویخته اند انتقاد می کند و آنان را به چگونگی زندگی

ت محمد و مسلمانان صدر اسالم ارجاع می دهد.حضر

( از عشق عمیق عارفانۀ او نسبت به خدا خبر می دهد. در ندای مدینه )ص 11۴تصویر کعبه ) ص

( این شهر مقدس را بهشت جهان می داند چرا که پیکرهای مطهر حضرت رسول و زهرای 106

اطهر را در بر گرفته است.

در ماتم شهدای کربالست. او از حسین )ع( آموخت و چون حسین شعر محرم در واقع مرثیه ای

زیست و ندای آزادگی سر داد. در این مرثیه از حضرت علی و فاطمه و زین العابدین و سکینه

خاتون و گلوی شکافته علی اصغر و ... سخن می گوید و در واقع به وقایع جانسوز کربال اشاره

ر قرار داده و می دهد به طوری که تا هزاران سال دیگر هم دارد که مسلمانان جهان را تحت تاثی

چشمان اشکبار عزاداران را در پی خواهد داشت:

امروز مسلمانان جهان گریانند و مرثیه خوان / در سوگ آن عزیزان / و اشکها / هزاران سال "

( 110) همان: "جاری خواهد بود .

،ستارۀ دنباله دار شمارۀ Dhumketuدهوم کتیو » اما توصیۀ نذراالسالم در سر مقاله مجله هفتگی

مخصوص محرم بر این است که:

آنان برای دین و برای حق جان خود را وقف کرده اند، با نمایشگری گریه و زاری برای شیر "

ندارید، وجود ندارید، شمشیر در مردان، روح آنان را ذلیل نکنید. ای گروه نمایشگران! شما دین

دست ندارید، سر برهنه هستید. قرآن شما زیر پای دیگران است. زنجیر اسارت بر گردن شماست.

سری که جز در برابر عرش هیچ جا نباید خم بشود، نیروی ظلم و استبداد آن سر را به زور به

وانی می کنی. افسوس! افسوس! سجده می اندازد. تو برای دین و شهیدان و آزادی ماتم و نوحه خ

(۸1، ستارۀ دنباله دار شماره هفتم به نقل از دکتر توفیق: ص 1922) نذراالسالم، "مسلمان افسوس

مسلمانان به جای گریه و زاری برای امام حسین و یارانشان باید از تفکر ایشان الهام بگیرند و آزاده

د حاکم مبارزه کنند. این پیام فقط برای مردم باشند و آزادگی را بیاموزند و با ظلم و استبدا

هندوستان و به جهت به دست آوردن آزادی و استقالل هندوستان از زیر یوغ استعمار نبود.

نذراالسالم خود به شدت به آن اعتقاد داشت و در شمارۀ نوزدهم همین هفته نامه در سر مقاله ای با


ربازان هم وطن خود دعوت می کند که پرچم دولت از س "پرچمدار"به معنی "نشان بردار"عنوان

انگلیس را به آتش بکشند و اعالم استقالل کنند و پرچم سرخ خون دشمن را به اهتزاز در آوردند:

برخیزید ای سربازان پرچم دار خفته و بی جان! برخیزید، ناقوس جنگ و مارش رزم به صدا »

هتزاز در آورید! به آتش بکشید آن پرچم استبداد را که در آمده است . پرچم پیروزی خود را به ا

به نقل 19، شمارۀ 1922مستکبرانه بر باالی بام ان کاخ ستم بر شما فخر می فروشد. ) نذراالسالم

(79از دکتر توفیق ص

« باید آنرا به خون رنگین کنیم» این خونخواهی از دشمن و رنگ سرخ پرچم که به قول قاضی

می اندازد. "جشن خون"ه یاد اشعار فرخی یزدی و میرزادۀ عشقی و خواننده را ب

در روزنامۀ "عید خون و پیشنهاد خونریزی"شمسی به نام 1۳01عشقی نیز در مقاالتی که در سال

شفق سرخ انتشار داد، چنین نوشت:

به امانات ملت در هر سال پنج روز باید به حساب امنای قانون رسیدگی نمود تا هر یک از امنا "

خیانت روا داشته باشند، از زحمت زندگی او جامعه را رهانده و سیصدو شصت روز دیگر سال را

) میرزاده عشقی، شفق سرخ، سال یکم، "از سالمتی جریان احوال قوانین، عامه مطمئن باشند.

(2/۳75: ج1۳50به نقل از آرین پور، 2۸شماره

نذراالسالم مانند همتای الهوری خود، وحدت و یکپارچگی برای رسیدن به اهداف ملی و میهنی

مردم را می طلبد. او جهان وطن است و همه ی مسلمانان را برادر و برابر می داند:

من مسلمانم/..رهنمایم توحید/ زرهم از ایمان/ سمبلم هست هالل/بانگ تکبیر من اعالم جهاد "

چین و عرب و هند/جهان اسالم/ما برادر است مرا/منزلم فردوس است/در بر عرش خداست/مصر و

( 76: 1۳7۴)اورسجی،"هستیم/ و کسی برتر نیست/ما برابر هستیم.

قاضی نذراالسالم آمادۀ شهادت در راه استقالل وطن است و این مقوله را به دیگران هم توصیه می

کند:

د/ با دستی که پیوسته به دعا و قرنهاست که در پی زنده ماندنید/ لحظه ای هم برای مردن بکوشی"

مناجات بلند است / اسلحه بردارید / ماه را از سینه آسمان برگیرید/ وزینت بخش پرچم خونین

(127به نقل از دکتر توفیق، ص ۴۴) اورسجی ص "خویش گردانید

قاضی نذراالسالم عارفی است با روحیه مسالمت جویی و فلسفه مساهله و آسان گیری و بدور از

زم اندیشی و تعصب خام، زندگی شخصی او هم، این مقوله را به اثبات می رساند و همان طور ج

)ولی در مراسم که می دانیم پس از ازدواج ناموفق با دختری مسلمان به نام نرگس، دختری هندو

وصیت کر که او راو طبق را به نام پرومیال به همسری بر می گزیند عقد به اسالم تشرف شده بود(

پارند. لیا، زادگاه نذراالسالم به خاک سبه رسم مسلمانان در چورو


شعر مقدم که بیانگر افکار و سنت های آیین هندوست و اشعار دیگر وی در ستایش آیین های

مذهبی هندوها نیز حکایت از همین روحیۀ عرفانی دارد و مهر تأییدی است بر تفکر مسالمت

بشدت درون گرا هستند و با بیرون از خود کاری ندارند جوی وی. اما بر خالف عرفا که

نذراالسالم به عنوان یک انسان که بر قلۀ خلیفه اللهی نشسته است، فلسفۀ هستی را در حرکت و

پویایی بشر می داند مثل اقبال الهوری، هم وطن دیگر شاعر که او نیز پرورده ی همین آب و خاک

بود و چنین می گفت:

موج بیقرارم اگر بر خود نپیچم نیستم مندراین دریا چو

( 20۳: 1۳۴۳)اقبال الهوری،

نذراالسالم نیز بهشت را درازای عبادت و اطاعت نمی خواهد. مانند قیس عامری و فرهاد کوهکن،

بیخود و مدهوش لیلی و شیرین خویش است، مثل پروانه به طرف آتش مرگ می رود و خود را

چکاوک در فکر قطرۀ باران است. او خود را مرغ شباویزی می بیند که لطافت ماه می سوزاند و مثل

را می جوید که در اوج آسمان است و گل خورشید را که رو به سوی آفتاب دارد و از او بسیار

دورست. او در عشق خدا معامله گر نیست و دنبال حساب و کتاب نمی باشد.

نیوی خویش/با مناجات پیوسته، بهشت را نمی خواهم/آن چنان من در ازای روزه و نماز و اعمال د"

که قیس در عشق لیلی نام مجنون گرفت/ و فرهاد در عشق شیرین/ دیوانه و بیتاب گشت/ من نیز

(9۸: 1۳7۴)اورسجی، "در عشق خدای خویش، از خود بیخود شده ام.

شانۀ آزادگی اوست.او بلبلی است همۀ اینها که گفتیم و از اشعار و نوشته های وی نیز بر می آید ن

که از درد و رنج و کمبودها و کاستی های انسان محروم زمان خویش می گوید. نغمۀ او سوز درون

عاشقی است که عشق به وطن و نوع انسان دارد. عشق او عشقی فردی و شخصی نیست. او عاشق

عشق به انسان و خدا سرچشمه بشریت است. تمام انتقاد و درد و داغ درون و شور و غوغای او از

می گیرد و همین عشق است که موجب می شود او درد همنوعانش ، فقر جامعه ، بی عدالتی و

نابرابری ، آزادگی و آزاد اندیشی را فریاد بکشد و سختی و مرارت حیات را به جان بخرد. او

ک بعد عاشقی الهی، منشور چند پهلویی است که از یک بعد عارفی اهل مساهلت و مساعدت، از ی

از یک بعد عاشقی مردمی و از سوی دیگر روشنفکری آزاد اندیش و مبارز و استقالل طلب است

که حتی یک وجب از خاک سرزمین خود را تحت سلطۀ بیگانه نمی خواهد.

میالدی بین نیروهای کمپانی هند شرقی و 1757( به جنگ سال116او در شعر هوشیار ناخدا ) ص

لدوله اشاره می کند که در نزدیکی مرشدآباد بنگال اتفاق افتاد و به علت خیانت نواب سراج ا

فرماندهان سپاه سراج الدوله، مسلمانان به سختی شکست خوردند. به نظر نذراالسالم زمانۀ او هم

مانند زمان سراج الدوله است، مردم گرفتار شبی تاریکند و شاعر از ناجی های فرضی و جوانان


می خواهد که ناخدای زمان خود باشند و کشتی بی ناخدای مردم را که بادبان آن هم جامعۀ خود

پاره شده از طوفان حوادث نجات دهند. همان ناجیی که اقبال الهوری هم در انتظار او بود:

می رسد مردی که زنجیر غالمان بشکند

دیده ام از روزن دیوار زندان شما

(15۴: 1۳۴۳)اقبال،

( شعری است که نذراالسالم در آن از کشورهای اسالمی مانند یمن و نجد 122فاتحۀ دوازدهم )ص

و حجاز و تهامه و عراق و شام و مصر و عمان و ایران ) تهران( یاد می کند و در شعردیگری

ایران، از رستم دستان و از ایران و ترک و افغان سخن می گوید و در ( از بستان و سیستان 12۴)ص

واقع می خواهد نظر مسلمانان را به هم بستگی و پیوند و دوستی و حمایت از شبه قاره جلب کند

اما او نیز مانند بسیاری از شاعران عصر مشروطۀ ایران نظیر عارف قزوینی، فرخی یزدی، میرزداۀ

نامیدانه سرود. او که آرزوی رسیدن به دنیایی ایده آل را داشت، گویی با وجود عشقی و ...سرانجام

نثار عشق عمیق خود به مردم نتوانست تحقق آن مدینه ی فاضله را ببیند و با ناامیدی از جوانان

ما گلهایی هستیم که پروانه ها » وطن می خواهد که آرزوی وی را محقق سازند:

را خورده اند/ ما آرزو داشتیم این دنیا را بیاراییم همچون فردوس برین/ آرزوهای ماندۀ ما را آن

(57: 1۳7۴)اورسجی ،« شما جوانان بر آورید و بهشت را به محفل دنیا بیاورید.

نذراالسالم به معنی واقعی کلمه شاعر است و مانند شبلی نعمانی که شعر را مانند آه کشیدن می

ست، شعر را حاصل درد و رنج می دانست. آنچه در پاسخ نامۀ نرگس، همسر اول خود می دان

نویسد، نمایانگر این حقیقت است:

"اگر تو این کیمیای آتش را به به من نمی دادی/ نمی توانستم نی آتش را به صدا در بیاورم"

السالم است اما کارکردی ایهامی ( و اگر چه آتش، اشاره به کتاب مشهور نذرا۳۳: 1۳7۴)اورسجی ،

است که به قول دکتر "دولت پور"دارد و کیمیای آتش، آتش درد و رنج حوادث ازدواج اول او در

رفیق االسالم موجب پدید آمدن چند اثر جاوید و ماندنی مانند کمال پاشا، شورشگر، سرود شکستن

م. شد.1921ه های اوت تا دسامبر و سرود قیامت، درست بعد از واقعۀ دولت پور در فاصلۀ ما

اقلیم زاللیبه دنیای ظلمتگذر از شاعر چنانکه گفتیم خود را پیام آور عشق و دوستی می داند و

را می خواهد: و آگاهیگذر از دنیای تاریکی به دنیای روشنیو

من برای شاعر شدن نیامدم / نیامدم که رهبر شوم/ آمده بودم تا عشق را نثار کنم / برای یافتن "

عشق امده بودم / چون عشق را نیافتم / از این دنیای بی عشق با سکوت خویش برای همیشه

( 57: 1۳7۴)اورسجی ، "خداحافظی می کنم.


را در اثر سکتۀ مغزی در سکوت گذراند و سال پایان زندگی خود ۳7و می دانیم که نذراالسالم

نتوانست سخن بگوید تا از این دنیای بی عشق خداحافظی کرد.

نذراالسالم به معنی واقعی کلمه، شعر شناس و سبک شناس است و ظرافت های سبکی را به خوبی

ت تشخیص می دهد و این کار فقط از یک متخصص زباندان و شاعر بر می آید. در انتخاب رباعیا

من از دو هزار رباعی که به نام خیام در بازار دیده می شود، کمی بیش از » خیام چنین می نویسد:

دویست رباعی را برگزیدم. زیرا به نظر من بجز اینها رباعیات دیگر با طرز و ساختار خیام اصال

نتخاب ( و این همان نظری است که صادق هدایت و دیگران در ا55)اورسجی: ص« سازگار نیست.

رباعیات خیام دارند. با این تفاوت که آنها اهل زبان هستند و نذراالسالم اهل زبان نیست و با سعی

تا وقتی که یک نسخه ی خطی "و تالش بسیار زبان فارسی را آموخته است. به نظر صادق هدایت

شد به دست که از حیث زمان و سندیت تقریبا مثل رباعیات سیزده گانه ی کتاب مونس االحرار با

( و بنا بر 22: 1۳52)هدایت،"نیامده، یک حکم قطعی در باره ی ترانه های اصلی خیام دشوار است.

۳00رباعی که به خیام منسوب است شاید فقط حدود 1500آنچه نفیسی می نویسد: از حدود

(61: 1۳6۳رباعی از آن خیام باشد.)نفیسی،

( عاشقانه/ 102(، موج اشک ) همان: ص 9۴ص بعضی از اشعار او مانند سوزش دل )اورسجی:

( بسیار هنری است و سرشار از ترکیبات مخیل و تشخیص های زنده و 10۴گل خنده ) همان: ص

جاندار مانند دوشیزه سرود، چشمه سار آهنگ، کوهسار آهنگ، و ... که قدرت هنری او را بیش از

پیش نشان می دهد.

رزان، هنور غنچه ها در خوابند/ هنوز باد شمالی)زمستان( شب و ای بلبل! شاخ گلها را مل"

روز / برشاخه های برهنه می وزد./ باد جنوبی ) بهار( نیامده/ و از زنبور شیفتۀ نو اگر خبری نیست

/ آن دوشیزۀ گل/ کی نقاب را از چهره بر خواهد داشت؟ / کی بیرون خواهد آمد؟ / کی در لطافت

(10۴: 1۳7۴)اورسجی ، "کست؟ / و گونه هایش رنگین خواهد شد؟ شبنم خواب او خواهد ش

تابعیت این کشور را به دست آورد. او 1976نذراالسالم، شاعر ملی بنگالدش سرانجام در ژانویه

فرزند بی نظیر یک ملت رنجدیده بود که برای گذراندن زندگی دست به هر شغلی زد از خدمت در

ضویت مزار صوفیه، آشپزی ، نانوایی، سربازی، سردبیری روزنامه و مجله. شاعری ، نویسندگی، ع

1967اوت 29در حزب کنگره، کارگردانی و بازیگری سینما، مترجمی و ... مرگ او سرانجام در

اتفاق افتاد، تشییع جنازۀ او با شرکت انبوه میلیونی مردم بنگالدش، قول افالکی در مناقب العارفین

وز زنار بسی مستکبران و منکران که آن ر"در خصوص تشییع پیکر مولوی را به یاد می آورد.,

بریدند و ایمان آوردند و آن روز قلب زمهریر و زمستان صعب بود و اهالی قونیه اغلب سروپاوتن

برهنه بودند.تابوت موالنا چون زورقی بر امواج متالطم جمعیت این سو و آن سو می رفت.کلیسا ها


..همه به یک سو و کنیسه ها و معابد دیگر نیز به عزا نشستند. مسلمان و مسیحی و یهودی و گبرو.

و به یک مقصد در حرکت بودند.همه حال و مقال یگانه داشتند.وحدت بود و تفرقه

( در تشییع پیکر قاضی نذراالسالم هم چنین بود. از رئیس 2/972: ج1۳62)افالکی، "نبود...

جمهوری بنگالدش گرفته تا کارگران روزمزد در آن شرکت داشتند. و صرف نظر از اینکه پیرو چه

ن و آیینی بودند، هر یک به رسم خود برای او طلب آمرزش می کردند و به احترام مقام واالی او دی

گلولۀ توپ در این خاکسپاری شلیک شد و طبق وصیت خودش در جوار مسجد دانشگاه داکا 21

دفن شد.

( 66: 1۳7۴در جوار مسجدی دفنم کن ای برادر/ تا بشنوم اذان موذن را از درون قبر. )اورسجی ،

در حالی که قاضی نذراالسالم از یک سو بلشویک و چپ گرا بود و از سوی دیگر مسلمان،از یک

سو همسری هندو داشت و از سوی دیگر عارفی اهل مسامحه و مساهله بود، باید گفت که

اندیشه،عمل ، کیفیت زندگی و سخنان او در فضای معرفتی شبه قاره معنی پیدا می کند. اینها

ندان و هم فکران گاندی هستند و معتقد به داشتن روح آزادگی و مبارزه و حق طلبی.سرزمینی فرز

که هر کس در آن زندگی کند مثل عرفی اعتقاد به آسان گیری و مسامحه ی دینی پیدا می کند و

عارف مسلک می شود و می گوید:

چنان با نیک و بد عرفی به سر کن کز پس مردن

مسلمانت به زمزم شوید و هندو بسوزاند

( ۸۴: 1۳۳7)حکمت،

نتیجه

برای اینکه نذراالسالم را بشناسیم باید به معرفت شناسی هند روی بیاوریم در این عرصه ی معرفتی

کرد و به است که می توان هندو، بودایی ، جین و یا سیک بود و در عزای امام حسین هم شرکت

حقانیت او هم عقیده داشت. در چنین دنیای پر رمز و راز و بدون مرزی از اندیشه ورزی و مهر

است که بیش از یک میلیارد انسان با اعتقادات مختلف می توانند در کنار هم با آرامش زندگی کنند.

همه با هم فضای این سرزمین، آب و هوای آن، سیاست آن، مردم آن و اندیشه های آن همه و

نوعی حسن همجواری و هماهنگی دارند. همین هاست که از نذراالسالم مبارزی انقالبی و استقالل

طلب، عارفی اهل مسامحه و مساهله و عاشقی انسان دوست و مسلمانی معتقد و مخلص می سازد.

عظمت مردی که آخرین درخواست او از زنده ها، دفن او در جوار مسجد است . مردی که به دلیل

و گستردگی اندیشه از یک سو قابل مقایسه با حافظ و خیام است که فلسفۀ هستی آنان، با مردم

زمانۀ شان فرق داشت، از سوی دیگر قابل مقایسه با مولوی و عطار و نظامی بود که دریا دل و

از سوی خدا بودند، از یک سو با گاندی و اقبال قابل مقایسه بود، -بزرگ بین و دوستدار انسان


دیگر با شاعران آزادی خواه عصر مشروطۀ ایران همچون نسیم شمال، میرزادۀ عشقی، فرخی یزدی

و عارف قزوینی هم فکر و هم جبهه بود. روحش شاد و نامش جاودان باد.

منابع

( از صبا تا نیما،جلد دوم،شرکت سهامی کتابهای جیبی با همکاری 1۳50آرین پور،یحیی) -1

ین.انتشارات فرانکل

کار روشنفکری، تهران: نشر مرکز.( 1۳۸۴احمدی،بابک) -2

( مناقب العارفین،جلد دوم،به کوشش تحسین یازیجی،تهران: 1۳62افالکی العارفی،شمس الدین) -۳

انتشارات دنیای کتاب.

( کلیات اشعار فارسی موالنا اقبال الهوری،با مقدمه احمد 1۳۴۳اقبال الهوری،محمد) -۴

کتابخانه سنایی.سروش،تهران: انتشارات

(گزیده احوال و آثار قاضی نذراالسالم)شاعر ملی بنگالدش(،ترجمه محمد 1۳7۴اورسجی،علی) -5

عیسی شاهدی و کلثوم ابوالبشر،داکا:رایزنی فرهنگی جمهوری اسالمی ایران.

(تاثیر زبان و ادب فارسی بر شاعر ملی بنگالدش،ماهنامه 1۳۸5حسینی اسفیدواجانی،سید مهدی) -6

7۴-6۸،صص10العات حکمت و معرفت، سال اول، شمارهپژوهشی اط

(سرزمین هند،تهران: انتشارات دانشگاه تهران.1۳۳7حکمت،علی اصغر) -7

( کلیات زیبا شناسی، ترجمه فؤاد روحانی، چاپ ششم، تهران: انتشارات 1۳۸۴کروچه، بندتو) -۸

علمی و فرهنگی.

نسخه ی تصحیح شده ی ( کلیات حکیم نظامی گنجوی،مطابق 1۳7۴نظامی گنجوی، الیاس) -9

وحید دستگردی، به اهتمام پرویز بابایی،تهران: انتشارات راد.

(تاریخ نظم و نثر در ایران و در زبان فارسی تا قرن دهم هجری، جلد 1۳6۳نفیسی،سعید) -10

،چاپ دوم،تهران:انتشارات فروغی1

( ترانه های خیام،چاپ ششم، تهران: چاپخانه سپهر.1۳5۳هدایت،صادق) -11


Nazrul at a glance

Born : 25 May 1899

Place of birth : Churulia, West Bengal, India

Died : 29 August 1976, Dhaka, Bangladesh

Occupation : Poet, composer of songs, novelist, short-story writer,

journalist, playwright

Language: : Bengali, Persian, Hindustani

Nationality : Bangladeshi

Ethnicity : Bengali

Celebrated works : Bidrohi

: Dhumketu

Notable Awards : Independence Day Award (1977)

: Ekushe Padak

: Padma Bhushan (India)


In the British Indian Army

1926


With family


At a younger age

At 1940


In Bangladesh – at the final days of his life

Candle in the Wind Arif Bidel: 21/05/2016

Listen O Friend! Into a prosaic voice of a helpless

Who wrote by the last drop of his blood fearless

No one came forward to his final emotion

Seven stars in the sky lost their motion

I, still listen to that voice in my heart

Still, I can hear the sound of his cart

I can read the words written by the wheels on the road

But failed to get into the unfinished dreams of the poet hood

Like a shining sun covered up with a dark cloud

Vanishing its unparalleled glory and proud

How can I be able to disclose

The story of a blooming rose

Of a bird, trying to fly into the sky high

Lost its wings! Nothing left, except a sigh

It was like a tattering candle in the wind

Before shedding its full beam, it was ruined

*I have written these few words after reading the following latter by the

disheartened poet.


Nazrul’s final aspirant for his life and a heart touching letter that he wrote to his

friend Zulfikar Haider on July 17, 1942:

…I am bed-ridden due to blood pressure. I am writing with great

difficulty. My home is filled with worries — illness, debt,

creditors; day and night I am struggling…. My nerves are

shattered. For the last six months, I used to visit Mr. Haque daily

and spend 5-6 hours like a beggar…. I am unable to have quality

medical help…. This might be my last letter to you. With only

great difficulty, I can utter a few words. I am in pain almost all

over my body. I might get money like the poet Firdausi on the

day of the janajar namaz (funeral prayer). However, I have asked

my relatives to refuse that money….

Yours

Nazrul

[http://www.newworldencyclopedia.org/entry/Kazi_Nazrul_Islam

accessed on 21/05/2016]

The mosulom of Kazi Nazrul Islam at the yard of the mosque of The University of Dhaka


List of works

Poetry

Agni Bina (The Fiery Lute), 1922

Sanchita (Collected poems), 1925

Phanimanasa (The Cactus), 1927

Chakrabak (The Flamingo), 1929

Satbhai Champa (The Seven Brothers of Champa), juvenile

poems, 1933

Nirjhar (Fountain), 1939

Natun Chand (The New Moon), 1939

Morubhaskar (The Sun in the Desert), 1951

Sanchayan (Collected Poems), 1955

Nazrul Islam: Islami Kobita (A Collection of Islamic Poems;

Dhaka, Bangladesh: Islamic Foundation, 1982)

Poems and songs

Dolan Chapa (name of a faintly fragrant monsoon flower), 1923

Bisher Bashi (The Poison Flute), 1924

Bhangar Gan (The Song of Destruction), 1924 proscribe in 1924

Chhayanat (The Raga of Chhayanat), 1925

Chittanama (On Chittaranjan), 1925

Samyabadi (The Proclaimer of Equality), 1926

Puber Hawa (The Eastern Wind), 1926

Sarbahara (The Proletariat), 1926

Sindhu Hindol (The Undulation of the Sea), 1927

Jinjir (Chain), 1928

Pralaya Shikha (Doomsday Flame), 1930 proscribed in 1930

Shesh Saogat (The Last Offerings), 1958

Novels:

Bandhan Hara (Free from Bonds), 1927

Mrityukhuda (Hunger for Death), 1930

Kuhelika (Mystery), 1932

Short stories

Rikter Bedan (The Sorrows of Destitute), 1925

Shiulimala (Garland of Shiuli), 1931

Byathar Dan (Offering of Pain), 1922


Palys and Drama

Jhilimili (Window Shutters), plays, 1930

Aleya (Mirage), song drama, 1931

Putuler Biye (Doll's Marriage), children's play, 1933

Madhumala (Garland of Honeysuckle) a musical play, 1960

Jhar (Storm), juvenile poems and play, 1960

Pile Patka Putuler Biye (Doll's Marriage), juvenile poems and

play, 1964

Shilpi (Artist)

Essays

Joog Bani (The Message of the Age), 1926

Jhinge Phul (The Cucurbitaccus Flower), 1926

Durdiner Jatri (The Traveller through Rough Times), 1926

Rudra Mangal (The Violent Good), 1927

Dhumketu (The Comet), 1961


Abul Qasem Firdausi at a glance

Mausoleum of the Poet at Tus, Khorasan, Iran

Illustrations in Shahnameh


Sohrab and Rostam


ROSTAM AND TAHMINA

[SOURCE: HTTP://WWW.ARTSCONNECTED.ORG/RESOURCE/1766/TAHMINEH-

VISITS-RUSTAM - ACCESSED ON 14/05/2016]

[SOURCE: HTTP://WWW.ARTSCONNECTED.ORG/RESOURCE/1766/TAHMINEH-VISITS-

RUSTAM - ACCESSED ON 14/05/2016]

http://www.artsconnected.org/resource/1766/tahmineh-visits-rustam%20-%20accessed%20on%2014/05/2016





Rostam met the king's lovely daughter Tahmina. The Shahnameh describes her as

elegant as a cypress tree. One night she came to his room:

' My name is Tahmineh; longing has torn

My wretched life in two, though I was born

The daughter of the king of Samangan,

And am descended from a warrior clan.

But like a legend I have heard the story

Of your heroic battles and your glory,

Of how you have no fear, and face alone

dragons and demons and dark unknown

Of how you sneak into Turan at night

And prowl the borders to provoke a fight,

Of how, when warriors see your mace, they quail

And feel their lionhearts within them fail.

I bit my lip to hear such talk, and knew

I longed to see you, to catch sight of you,

To glimpse your martial chest and mighty face-

And now God brings you to this lowly place.

If you desire me, I am yours, and none

Shall see or hear of me from this day on.'

Rostam Married Tahmina. But their time together was brief, Rostam departed for his

homeland. Nine months later Tahmina gave birth to a son Sohrab, who grew up to be a

warrior like his father Rostam. [source:http://www.bl.uk/learning/cult/inside/shahnamestories/storysix/ rostamtahmina.html accessed on 14/05/2016]

http://www.bl.uk/learning/cult/inside/shahnamestories/storysix/%20rostamtahmina.html

http://www.bl.uk/learning/cult/inside/shahnamestories/storysix/%20rostamtahmina.html


Sohrab and Rustum

[From Shahnameh Translated by Matthew Arnold]

AND the first grey of morning fill'd the east,

And the fog rose out of the Oxus stream.

But all the Tartar camp along the stream

Was hush'd, and still the men were plunged in sleep;

Sohrab alone, he slept not; all night long

He had lain wakeful, tossing on his bed;

But when the grey dawn stole into his tent,

He rose, and clad himself, and girt his sword,

And took his horseman's cloak, and left his tent,

And went abroad into the cold wet fog,

Through the dim camp to Peran-Wisa's tent.

Through the black Tartar tents he pass'd, which stood

Clustering like bee-hives on the low flat strand

Of Oxus, where the summer-floods o'erflow

When the sun melts the snows in high Pamere;

Through the black tents he pass'd, o'er that low strand,

And to a hillock came, a little back

From the stream's brink—the spot where first a boat,

Crossing the stream in summer, scrapes the land.

The men of former times had crown'd the top

With a clay fort; but that was fall'n, and now

The Tartars built there Peran-Wisa's tent,

A dome of laths, and o'er it felts were spread.

And Sohrab came there, and went in, and stood

Upon the thick piled carpets in the tent,

And found the old man sleeping on his bed

Of rugs and felts, and near him lay his arms.

And Peran-Wisa heard him, though the step

Was dull'd; for he slept light, an old man's sleep;

And he rose quickly on one arm, and said:—

"Who art thou? for it is not yet clear dawn.

Speak! is there news, or any night alarm?"

But Sohrab came to the bedside, and said:—

"Thou know'st me, Peran-Wisa! it is I.

The sun is not yet risen, and the foe

Sleep; but I sleep not; all night long I lie

Tossing and wakeful, and I come to thee.

For so did King Afrasiab bid me seek

Thy counsel, and to heed thee as thy son,

In Samarcand, before the army march'd;


And I will tell thee what my heart desires.

Thou know'st if, since from Ader-baijan first

I came among the Tartars and bore arms,

I have still served Afrasiab well, and shown,

At my boy's years, the courage of a man.

This too thou know'st, that while I still bear on

The conquering Tartar ensigns through the world,

And beat the Persians back on every field,

I seek one man, one man, and one alone—

Rustum, my father; who I hoped should greet,

Should one day greet, upon some well-fought field,

His not unworthy, not inglorious son.

So I long hoped, but him I never find.

Come then, hear now, and grant me what I ask.

Let the two armies rest to-day; but I

Will challenge forth the bravest Persian lords

To meet me, man to man; if I prevail,

Rustum will surely hear it; if I fall—

Old man, the dead need no one, claim no kin.

Dim is the rumour of a common fight,

Where host meets host, and many names are sunk;

But of a single combat fame speaks clear."

He spoke; and Peran-Wisa took the hand

Of the young man in his, and sigh'd, and said:—

"O Sohrab, an unquiet heart is thine!

Canst thou not rest among the Tartar chiefs,

And share the battle's common chance with us

Who love thee, but must press for ever first,

In single fight incurring single risk,

To find a father thou hast never seen?

That were far best, my son, to stay with us

Unmurmuring; in our tents, while it is war,

And when 'tis truce, then in Afrasiab's towns.

But, if this one desire indeed rules all,

To seek out Rustum—seek him not through fight!

Seek him in peace, and carry to his arms,

O Sohrab, carry an unwounded son!

But far hence seek him, for he is not here.

For now it is not as when I was young,

When Rustum was in front of every fray;

But now he keeps apart, and sits at home,

In Seistan, with Zal, his father old.

Whether that his own mighty strength at last

Feels the abhorr'd approaches of old age,

Or in some quarrel with the Persian King.

There go!—Thou wilt not? Yet my heart forebodes


Danger or death awaits thee on this field.

Fain would I know thee safe and well, though lost

To us; fain therefore send thee hence, in peace

To seek thy father, not seek single fights

In vain;—but who can keep the lion's cub

From ravening, and who govern Rustum's son?

Go, I will grant thee what thy heart desires."

So said he, and dropp'd Sohrab's hand, and left

His bed, and the warm rugs whereon he lay;

And o'er his chilly limbs his woollen coat

He pass'd, and tied his sandals on his feet,

And threw a white cloak round him, and he took

In his right hand a ruler's staff, no sword;

And on his head he set his sheep-skin cap,

Black, glossy, curl'd, the fleece of Kara-Kul;

And raised the curtain of his tent, and call'd

His herald to his side, and went abroad.

The sun by this had risen, and clear'd the fog

From the broad Oxus and the glittering sands.

And from their tents the Tartar horsemen filed

Into the open plain; so Haman bade—

Haman, who next to Peran-Wisa ruled

The host, and still was in his lusty prime.

From their black tents, long files of horse, they stream'd;

As when some grey November morn the files,

In marching order spread, of long-neck'd cranes

Stream over Casbin and the southern slopes

Of Elburz, from the Aralian estuaries,

Or some frore Caspian reed-bed, southward bound

For the warm Persian sea-board—so they stream'd.

The Tartars of the Oxus, the King's guard,

First, with black sheep-skin caps and with long spears;

Large men, large steeds; who from Bokhara come

And Khiva, and ferment the milk of mares.

Next, the more temperate Toorkmuns of the south,

The Tukas, and the lances of Salore,

And those from Attruck and the Caspian sands;

Light men and on light steeds, who only drink

The acrid milk of camels, and their wells.

And then a swarm of wandering horse, who came

From far, and a more doubtful service own'd;

The Tartars of Ferghana, from the banks

Of the Jaxartes, men with scanty beards

And close-set skull-caps; and those wilder hordes

Who roam o'er Kipchak and the northern waste,

Kalmucks and unkempt Kuzzaks, tribes who stray


Nearest the Pole, and wandering Kirghizzes,

Who come on shaggy ponies from Pamere;

These all filed out from camp into the plain.

And on the other side the Persians form'd;—

First a light cloud of horse, Tartars they seem'd,

The Ilyats of Khorassan, and behind,

The royal troops of Persia, horse and foot,

Marshall'd battalions bright in burnish'd steel.

But Peran-Wisa with his herald came,

Threading the Tartar squadrons to the front,

And with his staff kept back the foremost ranks.

And when Ferood, who led the Persians, saw

That Peran-Wisa kept the Tartars back,

He took his spear, and to the front he came,

And check'd his ranks, and fix'd them where they stood.

And the old Tartar came upon the sand

Betwixt the silent hosts, and spake, and said:—

"Ferood, and ye, Persians and Tartars, hear!

Let there be truce between the hosts to-day.

But choose a champion from the Persian lords

To fight our champion Sohrab, man to man."

As, in the country, on a morn in June,

When the dew glistens on the pearled ears,

A shiver runs through the deep corn for joy—

So, when they heard what Peran-Wisa said,

A thrill through all the Tartar squadrons ran

Of pride and hope for Sohrab, whom they loved.

But as a troop of pedlars, from Cabool,

Cross underneath the Indian Caucasus,

That vast sky-neighbouring mountain of milk snow;

Crossing so high, that, as they mount, they pass

Long flocks of travelling birds dead on the snow,

Choked by the air, and scarce can they themselves

Slake their parch'd throats with sugar'd mulberries—

In single file they move, and stop their breath,

For fear they should dislodge the o'erhanging snows—

So the pale Persians held their breath with fear.

And to Ferood his brother chiefs came up

To counsel; Gudurz and Zoarrah came,

And Feraburz, who ruled the Persian host

Second, and was the uncle of the King;

These came and counsell'd, and then Gudurz said:—

"Ferood, shame bids us take their challenge up,


Yet champion have we none to match this youth.

He has the wild stag's foot, the lion's heart.

But Rustum came last night; aloof he sits

And sullen, and has pitch'd his tents apart.

Him will I seek, and carry to his ear

The Tartar challenge, and this young man's name.

Haply he will forget his wrath, and fight.

Stand forth the while, and take their challenge up."

So spake he; and Ferood stood forth and cried:—

"Old man, be it agreed as thou hast said!

Let Sohrab arm, and we will find a man."

He spake: and Peran-Wisa turn'd, and strode

Back through the opening squadrons to his tent.

But through the anxious Persians Gudurz ran,

And cross'd the camp which lay behind, and reach'd,

Out on the sands beyond it, Rustum's tents.

Of scarlet cloth they were, and glittering gay,

Just pitch'd; the high pavilion in the midst

Was Rustum's, and his men lay camp'd around.

And Gudurz enter'd Rustum's tent, and found

Rustum; his morning meal was done, but still

The table stood before him, charged with food—

A side of roasted sheep, and cakes of bread,

And dark green melons; and there Rustum sate

Listless, and held a falcon on his wrist,

And play'd with it; but Gudurz came and stood

Before him; and he look'd, and saw him stand,

And with a cry sprang up and dropp'd the bird,

And greeted Gudurz with both hands, and said:—

"Welcome! these eyes could see no better sight.

What news? but sit down first, and eat and drink."

But Gudurz stood in the tent-door, and said:—

"Not now! a time will come to eat and drink,

But not to-day; to-day has other needs.

The armies are drawn out, and stand at gaze;

For from the Tartars is a challenge brought

To pick a champion from the Persian lords

To fight their champion—and thou know'st his name—

Sohrab men call him, but his birth is hid.

O Rustum, like thy might is this young man's!

He has the wild stag's foot, the lion's heart;

And he is young, and Iran's chiefs are old,

Or else too weak; and all eyes turn to thee.


Come down and help us, Rustum, or we lose!''

He spoke; but Rustum answer'd with a smile:—

"Go to! if Iran's chiefs are old, then I

Am older; if the young are weak, the King

Errs strangely; for the King, for Kai Khosroo,

Himself is young, and honours younger men,

And lets the aged moulder to their graves.

Rustum he loves no more, but loves the young—

The young may rise at Sohrab's vaunts, not I.

For what care I, though all speak Sohrab's fame?

For would that I myself had such a son,

And not that one slight helpless girl I have—

A son so famed, so brave, to send to war,

And I to tarry with the snow-hair'd Zal,

My father, whom the robber Afghans vex,

And clip his borders short, and drive his herds,

And he has none to guard his weak old age.

There would I go, and hang my armour up,

And with my great name fence that weak old man,

And spend the goodly treasures I have got,

And rest my age, and hear of Sohrab's fame,

And leave to death the hosts of thankless kings,

And with these slaughterous hands draw sword no more.''

He spoke, and smiled; and Gudurz made reply:—

"What then, O Rustum, will men say to this,

When Sohrab dares our bravest forth, and seeks

Thee most of all, and thou, whom most he seeks,

Hidest thy face? Take heed lest men should say:

Like some old miser, Rustum hoards his fame, And shuns to peril it with younger men."

And, greatly moved, then Rustum made reply:—

"O Gudurz, wherefore dost thou say such words?

Thou knowest better words than this to say.

What is one more, one less, obscure or famed,

Valiant or craven, young or old, to me?

Are not they mortal, am not I myself?

But who for men of nought would do great deeds?

Come, thou shalt see how Rustum hoards his fame!

But I will fight unknown, and in plain arms;

Let not men say of Rustum, he was match'd

In single fight with any mortal man."

He spoke, and frown'd; and Gudurz turn'd, and ran

Back quickly through the camp in fear and joy—

Fear at his wrath, but joy that Rustum came.


But Rustum strode to his tent-door, and call'd

His followers in, and bade them bring his arms,

And clad himself in steel; the arms he chose

Were plain, and on his shield was no device,

Only his helm was rich, inlaid with gold,

And, from the fluted spine atop, a plume

Of horsehair waved, a scarlet horsehair plume.

So arm'd, he issued forth; and Ruksh, his horse,

Follow'd him like a faithful hound at heel—

Ruksh, whose renown was noised through all the earth,

The horse, whom Rustum on a foray once

Did in Bokhara by the river find

A colt beneath its dam, and drove him home,

And rear'd him; a bright bay, with lofty crest,

Dight with a saddle-cloth of broider'd green

Crusted with gold, and on the ground were work'd

All beasts of chase, all beasts which hunters know.

So follow'd, Rustum left his tents, and cross'd

The camp, and to the Persian host appear'd.

And all the Persians knew him, and with shouts

Hail'd; but the Tartars knew not who he was.

And dear as the wet diver to the eyes

Of his pale wife who waits and weeps on shore,

By sandy Bahrein, in the Persian Gulf,

Plunging all day in the blue waves, at night,

Having made up his tale of precious pearls,

Rejoins her in their hut upon the sands—

So dear to the pale Persians Rustum came.

And Rustum to the Persian front advanced,

And Sohrab arm'd in Haman's tent, and came.

And as afield the reapers cut a swath

Down through the middle of a rich man's corn,

And on each side are squares of standing corn,

And in the midst a stubble, short and bare—

So on each side were squares of men, with spears

Bristling, and in the midst, the open sand.

And Rustum came upon the sand, and cast

His eyes toward the Tartar tents, and saw

Sohrab come forth, and eyed him as he came.

As some rich woman, on a winter's morn,

Eyes through her silken curtains the poor drudge

Who with numb blacken'd fingers makes her fire—

At cock-crow, on a starlit winter's morn,

When the frost flowers the whiten'd window-panes—

And wonders how she lives, and what the thoughts

Of that poor drudge may be; so Rustum eyed


The unknown adventurous youth, who from afar

Came seeking Rustum, and defying forth

All the most valiant chiefs; long he perused

His spirited air, and wonder'd who he was.

For very young he seem'd, tenderly rear'd;

Like some young cypress, tall, and dark, and straight,

Which in a queen's secluded garden throws

Its slight dark shadow on the moonlit turf,

By midnight, to a bubbling fountain's sound—

So slender Sohrab seem'd, so softly rear'd.

And a deep pity enter'd Rustum's soul

As he beheld him coming; and he stood,

And beckon'd to him with his hand, and said:—

"O thou young man, the air of Heaven is soft,

And warm, and pleasant; but the grave is cold!

Heaven's air is better than the cold dead grave.

Behold me! I am vast, and clad in iron,

And tried; and I have stood on many a field

Of blood, and I have fought with many a foe—

Never was that field lost, or that foe saved.

O Sohrab, wherefore wilt thou rush on death?

Be govern'd! quit the Tartar host, and come

To Iran, and be as my son to me,

And fight beneath my banner till I die!

There are no youths in Iran brave as thou."

So he spake, mildly; Sohrab heard his voice,

The mighty voice of Rustum, and he saw

His giant figure planted on the sand,

Sole, like some single tower, which a chief

Hath builded on the waste in former years

Against the robbers; and he saw that head,

Streak'd with its first grey hairs;—hope filled his soul,

And he ran forward and embraced his knees,

And clasp'd his hand within his own, and said:—

"O, by thy father's head! by thine own soul!

Art thou not Rustum? speak! art thou not he?"

But Rustum eyed askance the kneeling youth,

And turn'd away, and spake to his own soul:—

"Ah me, I muse what this young fox may mean!

False, wily, boastful, are these Tartar boys.

For if I now confess this thing he asks,

And hide it not, but say: Rustum is here! He will not yield indeed, nor quit our foes,


But he will find some pretext not to fight,

And praise my fame, and proffer courteous gifts,

A belt or sword perhaps, and go his way.

And on a feast-tide, in Afrasiab's hall,

In Samarcand, he will arise and cry:

'I challenged once, when the two armies camp'd

Beside the Oxus, all the Persian lords

To cope with me in single fight; but they

Shrank, only Rustum dared; then he and I

Changed gifts, and went on equal terms away.'

So will he speak, perhaps, while men applaud;

Then were the chiefs of Iran shamed through me."

And then he turn'd, and sternly spake aloud:—

"Rise! wherefore dost thou vainly question thus

Of Rustum? I am here, whom thou hast call'd

By challenge forth; make good thy vaunt, or yield!

Is it with Rustum only thou wouldst fight?

Rash boy, men look on Rustum's face and flee!

For well I know, that did great Rustum stand

Before thy face this day, and were reveal'd,

There would be then no talk of fighting more.

But being what I am, I tell thee this—

Do thou record it in thine inmost soul:

Either thou shalt renounce thy vaunt and yield,

Or else thy bones shall strew this sand, till winds

Bleach them, or Oxus with his summer-floods,

Oxus in summer wash them all away."

He spoke; and Sohrab answer'd, on his feet:—

"Art thou so fierce? Thou wilt not fright me so!

I am no girl, to be made pale by words.

Yet this thou hast said well, did Rustum stand

Here on this field, there were no fighting then.

But Rustum is far hence, and we stand here.

Begin! thou art more vast, more dread than I,

And thou art proved, I know, and I am young—

But yet success sways with the breath of Heaven.

And though thou thinkest that thou knowest sure

Thy victory, yet thou canst not surely know.

For we are all, like swimmers in the sea,

Poised on the top of a huge wave of fate,

Which hangs uncertain to which side to fall.

And whether it will heave us up to land,

Or whether it will roll us out to sea,

Back out to sea, to the deep waves of death,

We know not, and no search will make us know;

Only the event will teach us in its hour."


He spoke, and Rustum answer'd not, but hurl'd

His spear; down from the shoulder, down it came,

As on some partridge in the corn a hawk,

That long has tower'd in the airy clouds,

Drops like a plummet; Sohrab saw it come,

And sprang aside, quick as a flash; the spear

Hiss'd, and went quivering down into the sand,

Which it sent flying wide;—then Sohrab threw

In turn, and full struck Rustum's shield; sharp rang,

The iron plates rang sharp, but turn'd the spear.

And Rustum seized his club, which none but he

Could wield; an unlopp'd trunk it was, and huge,

Still rough—like those which men in treeless plains

To build them boats fish from the flooded rivers,

Hyphasis or Hydaspes, when, high up

By their dark springs, the wind in winter-time

Hath made in Himalayan forests wrack,

And strewn the channels with torn boughs—so huge

The club which Rustum lifted now, and struck

One stroke; but again Sohrab sprang aside,

Lithe as the glancing snake, and the club came

Thundering to earth, and leapt from Rustum's hand.

And Rustum follow'd his own blow, and fell

To his knees, and with his fingers clutch'd the sand;

And now might Sohrab have unsheathed his sword,

And pierced the mighty Rustum while he lay

Dizzy, and on his knees, and choked with sand;

But he look'd on, and smiled, nor bared his sword,

But courteously drew back, and spoke, and said:—

"Thou strik'st too hard! that club of thine will float

Upon the summer-floods, and not my bones.

But rise, and be not wroth! not wroth am I;

No, when I see thee, wrath forsakes my soul.

Thou say'st, thou art not Rustum; be it so!

Who art thou then, that canst so touch my soul?

Boy as I am, I have seen battles too—

Have waded foremost in their bloody waves,

And heard their hollow roar of dying men;

But never was my heart thus touch'd before.

Are they from Heaven, these softenings of the heart?

O thou old warrior, let us yield to Heaven!

Come, plant we here in earth our angry spears,

And make a truce, and sit upon this sand,

And pledge each other in red wine, like friends,

And thou shalt talk to me of Rustum's deeds.

There are enough foes in the Persian host,


Whom I may meet, and strike, and feel no pang;

Champions enough Afrasiab has, whom thou

Mayst fight; fight them, when they confront thy spear!

But oh, let there be peace 'twixt thee and me!"

He ceased, but while he spake, Rustum had risen,

And stood erect, trembling with rage; his club

He left to lie, but had regain'd his spear,

Whose fiery point now in his mail'd right-hand

Blazed bright and baleful, like that autumn-star,

The baleful sign of fevers; dust had soil'd

His stately crest, and dimm'd his glittering arms.

His breast heaved, his lips foam'd, and twice his voice

Was choked with rage; at last these words broke way:—

"Girl! nimble with thy feet, not with thy hands!

Curl'd minion, dancer, coiner of sweet words!

Fight, let me hear thy hateful voice no more!

Thou art not in Afrasiab's gardens now

With Tartar girls, with whom thou art wont to dance;

But on the Oxus-sands, and in the dance

Of battle, and with me, who make no play

Of war; I fight it out, and hand to hand.

Speak not to me of truce, and pledge, and wine!

Remember all thy valour; try thy feints

And cunning! all the pity I had is gone;

Because thou hast shamed me before both the hosts

With thy light skipping tricks, and thy girl's wiles."

He spoke, and Sohrab kindled at his taunts,

And he too drew his sword; at once they rush'd

Together, as two eagles on one prey

Come rushing down together from the clouds,

One from the east, one from the west; their shields

Dash'd with a clang together, and a din

Rose, such as that the sinewy woodcutters

Make often in the forest's heart at morn,

Of hewing axes, crashing trees—such blows

Rustum and Sohrab on each other hail'd.

And you would say that sun and stars took part

In that unnatural conflict; for a cloud

Grew suddenly in Heaven, and dark'd the sun

Over the fighters' heads; and a wind rose

Under their feet, and moaning swept the plain,

And in a sandy whirlwind wrapp'd the pair.

In gloom they twain were wrapp'd, and they alone;

For both the on-looking hosts on either hand

Stood in broad daylight, and the sky was pure,


And the sun sparkled on the Oxus stream.

But in the gloom they fought, with bloodshot eyes

And labouring breath; first Rustum struck the shield

Which Sohrab held stiff out; the steel-spiked spear

Rent the tough plates, but fail'd to reach the skin,

And Rustum pluck'd it back with angry groan.

Then Sohrab with his sword smote Rustum's helm,

Nor clove its steel quite through; but all the crest

He shore away, and that proud horsehair plume,

Never till now defiled, sank to the dust;

And Rustum bow'd his head; but then the gloom

Grew blacker, thunder rumbled in the air,

And lightnings rent the cloud; and Ruksh, the horse,

Who stood at hand, utter'd a dreadful cry;—

No horse's cry was that, most like the roar

Of some pain'd desert-lion, who all day

Hath trail'd the hunter's javelin in his side,

And comes at night to die upon the sand.

The two hosts heard that cry, and quaked for fear,

And Oxus curdled as it cross'd his stream.

But Sohrab heard, and quail'd not, but rush'd on,

And struck again; and again Rustum bow'd

His head; but this time all the blade, like glass,

Sprang in a thousand shivers on the helm,

And in the hand the hilt remain'd alone.

Then Rustum raised his head; his dreadful eyes

Glared, and he shook on high his menacing spear,

And shouted: Rustum!—Sohrab heard that shout,

And shrank amazed; back he recoil'd one step,

And scann'd with blinking eyes the advancing form,

And then he stood bewilder'd; and he dropp'd

His covering shield, and the spear pierced his side.

He reel'd, and staggering back, sank to the ground;

And then the gloom dispersed, and the wind fell,

And the bright sun broke forth, and melted all

The cloud; and the two armies saw the pair—

Saw Rustum standing, safe upon his feet,

And Sohrab, wounded, on the bloody sand.

Then, with a bitter smile, Rustum began:—

"Sohrab, thou thoughtest in thy mind to kill

A Persian lord this day, and strip his corpse,

And bear thy trophies to Afrasiab's tent.

Or else that the great Rustum would come down

Himself to fight, and that thy wiles would move

His heart to take a gift, and let thee go.

And then that all the Tartar host would praise

Thy courage or thy craft, and spread thy fame,


To glad thy father in his weak old age.

Fool, thou art slain, and by an unknown man!

Dearer to the red jackals shalt thou be

Than to thy friends, and to thy father old."

And, with a fearless mien, Sohrab replied:—

"Unknown thou art; yet thy fierce vaunt is vain.

Thou dost not slay me, proud and boastful man!

No! Rustum slays me, and this filial heart.

For were I match'd with ten such men as thee,

And I were that which till to-day I was,

They should be lying here, I standing there.

But that belovéd name unnerved my arm—

That name, and something, I confess, in thee,

Which troubles all my heart, and made my shield

Fall; and thy spear transfix'd an unarm'd foe.

And now thou boastest, and insult'st my fate.

But hear thou this, fierce man, tremble to hear:

The mighty Rustum shall avenge my death!

My father, whom I seek through all the world,

He shall avenge my death, and punish thee!"

As when some hunter in the spring hath found

A breeding eagle sitting on her nest,

Upon the craggy isle of a hill-lake,

And pierced her with an arrow as she rose,

And follow'd her to find her where she fell

Far off;—anon her mate comes winging back

From hunting, and a great way off descries

His huddling young left sole; at that, he checks

His pinion, and with short uneasy sweeps

Circles above his eyry, with loud screams

Chiding his mate back to her nest; but she

Lies dying, with the arrow in her side,

In some far stony gorge out of his ken,

A heap of fluttering feathers—never more

Shall the lake glass her, flying over it;

Never the black and dripping precipices

Echo her stormy scream as she sails by—

As that poor bird flies home, nor knows his loss,

So Rustum knew not his own loss, but stood

Over his dying son, and knew him not.

But, with a cold, incredulous voice, he said:—

"What prate is this of fathers and revenge?

The mighty Rustum never had a son."

And, with a failing voice, Sohrab replied:—


"Ah yes, he had! and that lost son am I.

Surely the news will one day reach his ear,

Reach Rustum, where he sits, and tarries long,

Somewhere, I know not where, but far from here;

And pierce him like a stab, and make him leap

To arms, and cry for vengeance upon thee.

Fierce man, bethink thee, for an only son!

What will that grief, what will that vengeance be?

Oh, could I live, till I that grief had seen!

Yet him I pity not so much, but her,

My mother, who in Ader-baijan dwells

With that old king, her father, who grows grey

With age, and rules over the valiant Koords.

Her most I pity, who no more will see

Sohrab returning from the Tartar camp,

With spoils and honour, when the war is done.

But a dark rumour will be bruited up,

From tribe to tribe, until it reach her ear;

And then will that defenceless woman learn

That Sohrab will rejoice her sight no more,

But that in battle with a nameless foe,

By the far-distant Oxus, he is slain."

He spoke; and as he ceased, he wept aloud,

Thinking of her he left, and his own death.

He spoke; but Rustum listen'd, plunged in thought.

Nor did he yet believe it was his son

Who spoke, although he call'd back names he knew;

For he had had sure tidings that the babe,

Which was in Ader-baijan born to him,

Had been a puny girl, no boy at all—

So that sad mother sent him word, for fear

Rustum should seek the boy, to train in arms.

And so he deem'd that either Sohrab took,

By a false boast, the style of Rustum's son;

Or that men gave it him, to swell his fame.

So deem'd he; yet he listen'd, plunged in thought

And his soul set to grief, as the vast tide

Of the bright rocking Ocean sets to shore

At the full moon; tears gather'd in his eyes;

For he remember'd his own early youth,

And all its bounding rapture; as, at dawn,

The shepherd from his mountain-lodge descries

A far, bright city, smitten by the sun,

Through many rolling clouds—so Rustum saw

His youth; saw Sohrab's mother, in her bloom;

And that old king, her father, who loved well

His wandering guest, and gave him his fair child


With joy; and all the pleasant life they led,

They three, in that long-distant summer-time—

The castle, and the dewy woods, and hunt

And hound, and morn on those delightful hills

In Ader-baijan. And he saw that Youth,

Of age and looks to be his own dear son,

Piteous and lovely, lying on the sand,

Like some rich hyacinth which by the scythe

Of an unskilful gardener has been cut,

Mowing the garden grass-plots near its bed,

And lies, a fragrant tower of purple bloom,

On the mown, dying grass—so Sohrab lay,

Lovely in death, upon the common sand.

And Rustum gazed on him with grief, and said:—

"O Sohrab, thou indeed art such a son

Whom Rustum, wert thou his, might well have loved!

Yet here thou errest, Sohrab, or else men

Have told thee false—thou art not Rustum's son.

For Rustum had no son; one child he had—

But one—a girl; who with her mother now

Plies some light female task, nor dreams of us—

Of us she dreams not, nor of wounds, nor war."

But Sohrab answer'd him in wrath: for now

The anguish of the deep-fix'd spear grew fierce,

And he desired to draw forth the steel,

And let the blood flow free, and so to die—

But first he would convince his stubborn foe;

And, rising sternly on one arm, he said:—

"Man, who art thou who dost deny my words?

Truth sits upon the lips of dying men,

And falsehood, while I lived, was far from mine.

I tell thee, prick'd upon this arm I bear

That seal which Rustum to my mother gave,

That she might prick it on the babe she bore."

He spoke; and all the blood left Rustum's cheeks,

And his knees totter'd, and he smote his hand

Against his breast, his heavy mailed hand,

That the hard iron corslet clank'd aloud;

And to his heart he press'd the other hand,

And in a hollow voice he spake, and said:—

"Sohrab, that were a proof which could not lie!

If thou show this, then art thou Rustum's son."


Then, with weak hasty fingers, Sohrab loosed

His belt, and near the shoulder bared his arm,

And show'd a sign in faint vermilion points

Prick'd; as a cunning workman, in Pekin,

Pricks with vermilion some clear porcelain vase,

An emperor's gift—at early morn he paints,

And all day long, and, when night comes, the lamp

Lights up his studious forehead and thin hands—

So delicately prick'd the sign appear'd

On Sohrab's arm, the sign of Rustum's seal.

It was that griffin, which of old rear'd Zal,

Rustum's great father, whom they left to die,

A helpless babe, among the mountain-rocks;

Him that kind creature found, and rear'd, and loved—

Then Rustum took it for his glorious sign.

And Sohrab bared that image on his arm,

And himself scann'd it long with mournful eyes,

And then he touch'd it with his hand and said:—

"How say'st thou? Is that sign the proper sign

Of Rustum's son, or of some other man's?"

He spoke; but Rustum gazed, and gazed, and stood

Speechless; and then he utter'd one sharp cry:

O boy—thy father!—and his voice choked there.

And then a dark cloud pass'd before his eyes,

And his head swam, and he sank down to earth.

But Sohrab crawl'd to where he lay, and cast

His arms about his neck, and kiss'd his lips,

And with fond faltering fingers stroked his cheeks,

Trying to call him back to life; and life

Came back to Rustum, and he oped his eyes,

And they stood wide with horror; and he seized

In both his hands the dust which lay around,

And threw it on his head, and smirch'd his hair,—

His hair, and face, and beard, and glittering arms;

And strong convulsive groanings shook his breast,

And his sobs choked him; and he clutch'd his sword,

To draw it, and for ever let life out.

But Sohrab saw his thoughts, and held his hands

And with a soothing voice he spake, and said:—

"Father, forbear! for I but meet to-day

The doom which at my birth was written down

In Heaven, and thou art Heaven's unconscious hand.

Surely my heart cried out that it was thou,

When first I saw thee; and thy heart spoke too,

I know it! but fate trod those promptings down


Under its iron heel; fate, fate engaged

The strife, and hurl'd me on my father's spear.

But let us speak no more of this! I find

My father; let me feel that I have found!

Come, sit beside me on this sand, and take

My head betwixt thy hands, and kiss my cheeks,

And wash them with thy tears, and say: My son!

Quick! quick! for number'd are my sands of life,

And swift; for like the lightning to this field

I came, and like the wind I go away—

Sudden, and swift, and like a passing wind.

But it was writ in Heaven that this should be."

So said he, and his voice released the heart

Of Rustum, and his tears broke forth; he cast

His arms round his son's neck, and wept aloud,

And kiss'd him. And awe fell on both the hosts,

When they saw Rustum's grief; and Ruksh, the horse,

With his head bowing to the ground and mane

Sweeping the dust, came near, and in mute woe

First to the one then to the other moved

His head, as if enquiring what their grief

Might mean; and from his dark, compassionate eyes,

The big warm tears roll'd down, and caked the sand.

But Rustum chid him with stern voice, and said:—

"Ruksh, now thou grievest; but, O Ruksh, thy feet

Should first have rotted on their nimble joints,

Or ere they brought thy master to this field!"

But Sohrab look'd upon the horse and said;—

"Is this, then, Ruksh? How often, in past days

My mother told me of thee, thou brave steed,

My terrible father's terrible horse! and said,

That I should one day find thy lord and thee.

Come, let me lay my hand upon thy mane!

O Ruksh, thou art more fortunate than I;

For thou has gone where I shall never go,

And snuff'd the breezes of my father's home.

And thou hast trod the sands of Seistan,

And seen the River of Helmund, and the Lake

Of Zirrah; and the aged Zal himself

Has often stroked thy neck, and given thee food,

Corn in a golden platter soak'd with wine,

And said; O Ruksh! bear Rustrum well!—but I

Have never known my grandsire's furrow'd face,

Nor seen his lofty house in Seistan,

Nor slaked my thirst at the clear Helmund stream;


But lodged among my father's foes, and seen

Afrasiab's cities only, Samarcand,

Bokhara, and lone Khiva in the waste,

And the black Toorkmun tents; and only drunk

The desert rivers, Moorghab and Tejend,

Kohik, and where the Kalmuks feed their sheep,

The northern Sir; and this great Oxus stream,

The yellow Oxus, by whose brink I die."

Then, with a heavy groan, Rustum bewail'd:—

"Oh, that its waves were flowing over me!

Oh, that I saw its grains of yellow silt

Roll, tumbling in the current o'er my head!"

But, with a grave mild voice, Sohrab replied:—

"Desire not that, my father! thou must live.

For some are born to do great deeds, and live,

As some are born to be obscured, and die.

Do thou the deeds I die too young to do,

And reap a second glory in thine age;

Thou art my father, and thy gain is mine.

But come! thou seest this great host of men

Which follow me; I pray thee, slay not these!

Let me entreat for them; what have they done?

They follow'd me, my hope, my fame, my star.

Let them all cross the Oxus back in peace.

But me thou must bear hence, not send with them,

But carry me with thee to Seistan,

And place me on a bed, and mourn for me,

Thou, and the snow-hair'd Zal, and all thy friends.

And thou must lay me in that lovely earth,

And heap a stately mound above my bones,

And plant a far-seen pillar over all.

That so the passing horseman on the waste

May see my tomb a great way off, and cry:

Sohrab, the mighty Rustum's son, lies there, Whom his great father did in ignorance kill!

And I be not forgotten in my grave."

And, with a mournful voice, Rustum replied:—

"Fear not! as thou hast said, Sohrab, my son,

So shall it be; for I will burn my tents,

And quit the host, and bear thee hence with me,

And carry thee away to Seistan,

And place thee on a bed, and mourn for thee,

With the snow-headed Zal, and all my friends.

And I will lay thee in the lovely earth,

And heap a stately mound above thy bones,


And plant a far-seen pillar over all,

And men shall not forget thee in thy grave.

And I will spare thy host; yea, let them go!

Let them all cross the Oxus back in peace!

What should I do with slaying any more?

For would that all whom I have ever slain

Might be once more alive; my bitterest foes,

And they who were call'd champions in their time,

And through whose death I won that fame I have—

And I were nothing but a common man,

A poor, mean soldier, and without renown,

So thou mightest live too, my son, my son!

Or rather would that I, even I myself,

Might now be lying on this bloody sand,

Near death, and by an ignorant stroke of thine,

Not thou of mine! and I might die, not thou;

And I, not thou, be borne to Seistan;

And Zal might weep above my grave, not thine;

And say: O son, I weep thee not too sore, For willingly, I know, thou met'st thine end!

But now in blood and battles was my youth,

And full of blood and battles is my age,

And I shall never end this life of blood."

Then, at the point of death, Sohrab replied:—

"A life of blood indeed, thou dreadful man!

But thou shalt yet have peace; only not now,

Not yet! but thou shalt have it on that day,

When thou shalt sail in a high-masted ship,

Thou and the other peers of Kai Khosroo,

Returning home over the salt blue sea,

From laying thy dear master in his grave."

And Rustum gazed in Sohrab's face, and said:—

"Soon be that day, my son, and deep that sea!

Till then, if fate so wills, let me endure."

He spoke; and Sohrab smiled on him, and took

The spear, and drew it from his side, and eased

His wound's imperious anguish; but the blood

Came welling from the open gash, and life

Flow'd with the stream;—all down his cold white side

The crimson torrent ran, dim now and soil'd,

Like the soil'd tissue of white violets

Left, freshly gather'd, on their native bank,

By children whom their nurses call with haste

Indoors from the sun's eye; his head droop'd low,


His limbs grew slack; motionless, white, he lay—

White, with eyes closed; only when heavy gasps,

Deep heavy gasps quivering through all his frame,

Convulsed him back to life, he open'd them,

And fix'd them feebly on his father's face;

Till now all strength was ebb'd, and from his limbs

Unwillingly the spirit fled away,

Regretting the warm mansion which it left,

And youth, and bloom, and this delightful world.

So, on the bloody sand, Sohrab lay dead;

And the great Rustum drew his horseman's cloak

Down o'er his face, and sate by his dead son.

As those black granite pillars, once high-rear'd

By Jemshid in Persepolis, to bear

His house, now 'mid their broken flights of steps

Lie prone, enormous, down the mountain side—

So in the sand lay Rustum by his son.

And night came down over the solemn waste,

And the two gazing hosts, and that sole pair,

And darken'd all; and a cold fog, with night,

Crept from the Oxus. Soon a hum arose,

As of a great assembly loosed, and fires

Began to twinkle through the fog; for now

Both armies moved to camp, and took their meal;

The Persians took it on the open sands

Southward, the Tartars by the river marge;

And Rustum and his son were left alone.

But the majestic river floated on,

Out of the mist and hum of that low land,

Into the frosty starlight, and there moved,

Rejoicing, through the hush'd Chorasmian waste,

Under the solitary moon;—he flow'd

Right for the polar star, past Orgunjè,

Brimming, and bright, and large; then sands begin

To hem his watery march, and dam his streams,

And split his currents; that for many a league

The shorn and parcell'd Oxus strains along

Through beds of sand and matted rushy isles—

Oxus, forgetting the bright speed he had

In his high mountain-cradle in Pamere,

A foil'd circuitous wanderer—till at last

The long'd-for dash of waves is heard, and wide

His luminous home of waters opens, bright

And tranquil, from whose floor the new-bathed stars

Emerge, and shine upon the Aral Sea.


A Glimpse from Divan-i Hafiz

English translation of the 1st Ghazal of Divan-i Hafiz of Khawaja Shamsuddinn

Hafiz an Iranian mystic poet. Translated by: By Abu Musa Mohammad Arif

Billah; Dated: 3/12/2002, at SOAS, University of London.

Hello, O cupbearer! Bring in the cup full of wine ¬

Love is fathomed easily, but later, fell in complain:

Oath of the sweet smell of curled heir late after dawn,

From its intoxicated fragrance, tears of heart’s blood are shed in!

If the tavern-saint says: Make wine-coloured prayer mat yours,

The disciples shouldn’t be unaware of the path and custom of tours,

We are in dark night; there are booming waves and suchlike obstruction:

How can the travellers on the shore be aware of such condition?

What bliss and zeal there are in the yard of my darling!

That bell of departure! You prepare for, is always ringing ¬

All of my works are blasphemy due to my mishandling:

That mystery, like a surreptitious, has caused many a gathering

Hafiz, if you hope for her constant presence then don’t leave her ¬

Whenever you see her-

Forget the world and its valuables; be with your beloved forever.


Bengali Translation of the above poem

by Dr. Abu Musa Mohammad Arif Billah

G‡mvbv mvKx cÖvY wcqvmx `vI f‡i `vI cvb wcqvjv

mnR wQ‡jv c_wU †cÖ‡gi Avm‡jv †k‡l welg R¡vjv|

kc_ AvwR Dlvi †k‡l MÜ gjq dzjø †K‡ki

K…ò †ebxi †mB myev‡k So‡jv †h Lyb w`j DZvjv\

hv‡Z bv mv‡jK _v‡K weLvei, n‡Z c_ I cš’v gvbwR‡ji

kive i‡O Ki bv iwOb hwèv e‡j †Zvgvi cx‡i

RvqbvgvR Avi gymvjøv\

Avivg Av‡qk Av‡Q †Kv_vq, †gvi †cÖqmxi AvwObvq

mnmv m`vq evR‡Q †m_vq N›Uv aŸwb! `vI we`vq -

¸wU‡q †d‡jv cvš’kvjv\

Dwg© bv‡P Auvavi ivwZ, †XD RvwMj iæ ªgwZ

†gv‡ì G nvj Rvb‡e †Kv_vq, c_Pvixiv H wKbvivq

Ggb w`‡b c_ wef~jv\

e`bv‡giB fvMx n‡jv KvR¸‡jv †gvi AnsKv‡i

in‡mïB euva fvswMj Mo‡jv †k‡l i½kvjv \

mnmv hw` PvI‡Mv nvwdR _vK‡Z cv‡k gb gvblxi

†h_vq Zzwg cv‡e †`Lv w`j DRvjv †mB †cÖqmxi

hvI fz‡j hvI aiYxZjv\


Nazrul and Hafiz Commemoration seminar – 2015, at a glance

From right: Chair of the session Dr. A M M Arif

Billah, Professor Waliul Islam, Dhaka University,

Special guest Dr. Abdur Razzaque, Western Sidney

University, H. E. Dr. Veizi, Iranian Ambaseor to Dhaka, Professor Ahmad Kabir, Mr. Shamim Banu,

IML.

The guests and the participants are

honouring and listening to the Bangladeshi

and Iranian national anthem at TSC

Auditorium, University of Dhaka

Dr. Shamsher Ali delivering his lecture. Special guest, Iranian Ambaseor to Dhaka, Dr.

Abbas Vaezi, delivering his priceless lecture.

Special guest Dr. Abdur Razzaque from the

University of Western Sydney, Australia, delivering his lecture

President of the session Dr. Abu Musa

Mohammad Arif Billah, Chairman, Abu Rayhan Biruni Foundation, conducting the presidential

address.


Audience and guests Audience and guests

Poet Asad Chaowdhury, a celebrated poet of

Bangldesh, offering the concluding lecture of the

Ghazal, Kawwali and poetry recitation cession.

Samir Kawwal and his group

Nazrul song by the studfents of the department of

Music, University of Dhaka. Guests are at the lunch table.

Nazrul, Hafiz and Firdausi Commemoration Volume

Documents

Transcript of Nazrul, Hafiz and Firdausi Commemoration Volume