hossein ghorbanpoor arani

Nauʿi Khabushani’s Suz va Gudaz (“Burning and Melting”) received much attention in the Safavid period. The story comprises the Hindu practice of sati. According to this tradition, after the death of a man, his widow burns herself by joining her deceased groom on the funeral pyre. Although many Persian poets have referred to sati in their poems, Nauʿi Khabushani, Amir Hassan Dihlavi and Mujrim Kashmiri are the only poets who have composed independent works on sati. By the sixteenth century, because of the migration of many poets to India, some of the Indian themes, like sati, entered into the Persian poetry. The wealthy Mughal patrons provided an attractive incentive for the Persian poets and artists.  Although the sati was a bitter and dolorous tradition, its theme of “the unity of lover and beloved” was accepted by the Persian poets. Nauʿi’s Suz va Gudaz, which is a rather unusual subject for a Persian text, enjoyed great popularity in Iran, so that at least five illustrated copies of the text survive. Subsequent to Shahnama, Suz va Gudaz was the most popular illustrated text in later Safavid Iran. The poem, which is modeled after Nizami’s Khusrau va Shirin, recounts the story of the love of a Hindu youth and his marriage. When he rides towards his beloved’s house, and crosses an old bazar, the buildings collapses, burying him and his companions alive. The bride accompanies her groom’s coffin and immolated herself on the funeral pyre. When her friends fail to dissuade her, the Mughal Emperor Akbar, who had heard about the event, promises to adopt the bride and provide her with every comfort, but she remains steadfast in her decision. Thus, the Emperor asks his son Daniyal to accompany the bride to the funeral pyre. This paper, which seeks to survey the reason of the widespread popularity of this text in the Persian art of the seventeenth century, introduces the illustrated manuscripts of the Suz va Gudaz, and in particular focuses on a codex preserved in the Walters Art Museum. Based on historical evidence, the reason of the popularity of Nau‘i’s work can be traced in an event that occurred during the conquest of Qandahar in later Safavid period. Vali Quli Shamlu, the court historian of Shah Abbas II, recounts the story of the death of one of the officials of the Mughal emperor during the siege of the Qandahar fort. His faithful wife decided to commit sati on the funeral pyre. Shamlu detects parallels between this incident and the story of Nau‘i’s poem. He claims that this event inspired Nau‘i to compose a poem. Thus the popularity of the Suz va Gudaz, was in large part related to the commemoration of the single most important military victory of Shah Abbas II.   The poem, which is modeled after Nizami’s Khusrau va Shirin, recounts the story of the love of a Hindu youth and his marriage. When he rides towards his beloved’s house, and crosses an old bazar, the buildings collapses, burying him and his companions alive. The bride accompanies her groom’s coffin and immolated herself on the funeral pyre. When her friends fail to dissuade her, the Mughal Emperor Akbar, who had heard about the event, promises to adopt the bride and provide her with every comfort, but she remains steadfast in her decision. Thus, the Emperor asks his son Daniyal to accompany the bride to the funeral pyre.This paper, which seeks to survey the reason of the widespread popularity of this text in the Persian art of the seventeenth century, introduces the illustrated manuscripts of the Suz va Gudaz, and in particular focuses on a codex preserved in the Walters Art Museum. Based on historical evidence, the reason of the popularity of Nau‘i’s work can be traced in an event that occurred during the conquest of Qandahar in later Safavid period. Vali Quli Shamlu, the court historian of Shah Abbas II, recounts the story of the death of one of the officials of the Mughal emperor during the siege of the Qandahar fort. His faithful wife decided to commit sati on the funeral pyre. Shamlu detects parallels between this incident and the story of Nau‘i’s poem. He claims that this event inspired Nau‘i to compose a poem. Thus the popularity of the Suz va Gudaz, was in large part related to the commemoration of the single most important military victory of Shah Abbas II.

The eponym is a noun and an adjective that has become a concept. In fact, the concept has become one with the object, and nowis used in as aconcept that has been accepted by the collective subconscious.Unlike Metaphor, eponym is not used in literary language; rather it is mostly used in common language; and contrary to metaphor, which requires a symmetrical understanding, eponym is rooted in the unconscious group of a particular people or culture.In fact, eponyms are stereotyped metaphors which understanding them depends on cultural similarity. Such words have been widely used in language; but in Persian, so far no research has been done on this genre. This research seeks to introduce eponym as a genre and also to classify such nouns based on their semantic domain and type of its usage.The method of this research has been qualitative and its data has been done based on descriptive-analytical method and using library study tools. The result of this division is putting eponyms in eight different groups: religious and non-religious, animals and people, positive and negative, politics and place. On the other hand, they have been put in six categories: names of persons, animals, place, accessories related to religious and mythical elders, and in the meanings of virtual worlds and adjective. The most frequent eponyms in Persian are special nouns that have become adjectives such as Iblis and the Antichrist. Some eponyms are animals that have become adjectivessuch as carnivores and hyenas. Some place names have also become adjectives; like Sahrayeh Karbala & Resurrection.

Writers sometimes use verses to show their complete and artistic mastery in rhetoric and sometimes with poetic illustrations and skillful illustrations,by referring to verses,they have placed the speech with balanced and equal expressions and words on the basis of rhyme,leonine verse and paromoiosis,or they have created a masterpiece with alliteration,allegory,poetical aetiology,metaphor,personification and paromoiosis,and of course,masterpiece.Nafsat al-Masdoor,the excellent work of Mohammad Zeidari Nasavi, is an exemplary example of this;Especially that the author,while using the verbal virtues of verses and hadiths as well as the literary style of the Qur'an and the rhythm of words,has considered the deep conceptual use of verses of the Qur'an and hadiths. Adaptation and use of verses and hadiths is one of the most important features of technical prose and Nafsat al-Masdoor Zeidari is one of the most prominent historical-literary books in which the use of verses and hadiths is due to the authors' connection with the Ghaznavid sultans. And the Mongols and knowledge of political events and the expression of their taste-motivational goals and their political secrecy in the form of literary tricks, is one of the important features of the prose of this book. The present study uses the library method and content analysis to follow the common methods and methods of using the verses and hadiths of Nafsat al-Masdoor as well as the innovative methods of Zeidari in adapting verses and hadiths. It should be noted that in the verbal application of the verses, the methods of " paromoiosising the verse as a sequence of words", "relative that" and "noun in generative case" are included as additional explanations in the text, which indicate the author's power in combining words. The Qur'an is with its words. Spiritually, in most cases, the adaptation of verses and hadiths has been completed and completed without semantic mediation