جستجوی مقالات مرتبط با کلیدواژه "کسایی" در نشریات گروه "علوم انسانی"

One type of Persian poetry, which was used as an amusement and rather unknown, is “Shahrashub”. Lexically, “Shahrashub” means a person who excites the people by his/ her beauty and, but in literary terms, it refers to the poems in which the poet praises or criticizes the city, people, and courtiers, or describes the artisans, their jobs and crafts. This kind of poetry divided into two categories, i.e. vocational and urban, has much benefit sociologically, due to including technical words and terms, as well as historically, politically, economically, and socially. Also, the vocational ones have educational features. Those written for describing jobs are stanza and quatrain, and those praising or criticizing a city are often in the form of elegy or couplet.
“Shahrashub” can be found in Urdu, Arabic, and Turkish as well as Persian. However, in answering from what nation it is originated, it should be noted that professor Gibb, in his book “Turkish History of Literature” named this type of poetry as one of the Osmanians’ inventions, but Edward Brown, unlike unaware of Masud Sa’d’s Shahrashubs in the 5th century, doubted about Gibb’s assumption. Regarding the Urdu poets, the author of “Khorasani Style in Persian Poem” affected by “Arguments” by Seyed Abdollah attributes the first Shahrashub to the Lahuri poet in India; however, providing some earlier documents and reasons, the author of “Shahrashub in Persian Poem” rejected Mahjub’s claim and knows it undoubtedly as one of the Iranians’ inventions.
The literature shows the first Shahrashubs by Masud Sa’d in Persian; Muhammad Ja’far Mahjub published an article titled “Shahrashub” in the book “Week”, in 1963, and attributed the oldest Shahrashub to Masud Sa’d. After that, Golchin Ma’ani in his book “Shahrashub in Persian” (1966) introduced Masud Sa’d as the inventor of this style. After them, other researchers and writers studying the works by Mahjub and Golchin named Masud Sa’d as the oldest poets composing Shahrashub; some of them are mentioned here based on the chronology: (Dehkhoda: Shahrashub), (Masaheb: Shahrashub), “Silent Mountain” (Nourian, 1985: 6), “Literary Genres” (Shamisa, 1990: 229), the article “A Review on Shahrashub by Lesani Shirazi” (Shahrestani, 1997: 5), “Persian Poem Types” (Rastgarfasaee, 2001: 227), the article “The Value and Significance of Shahrashub” (Keshavarz Ghasemi, 2007: 37), the article “Shahrashub” (Nosrati Siahmezgi, 2007: 28), “Literary Fun in Persian Poem” (Daneshpajuh, 2001: 317), the article “Six Shahrashub Recovered from the 10th Century” (Fazeli, Jahad: 2009: 120), and in the last article seen by the writers, there can be found no change in the previous assumptions (Dadabayov, 2012: 80).
Studying the Shahrashubs by Masud Sa’d, the writers of this article proved that there existed a background on composing Shahrashub by other poets; in other words, composing 92 stanzas in the form of a novel genre was not …… and we could not know Masud Sa’d as the inventor of this genre since several years before him, some like Ksaee Maruzi wrote some stanza describing professions: florist, launderer, drawer, and poets (Riyahi, 1996: 79, 87, and 88). Even Rudaki, prior to Kasaee wrote a quatrain describing the businesspeople (Nafisi, 2003: 516). Also, there is a quatrain by Abu Abdollah Muhammad Ibne Musa Faralavi, a contemporary poet to Rudaki, whose one verse is available (Lazar, 1982: 45). Moreover, many research resources studying Shahrashub forms, or Mahasti Ganjei’s poems mentioned him as the first quatrain-writer in this field, which is rejected in this article due to mentioned evidence.

This research aims to familiarize the researchers with “Qisas Al-anbiya” written by "Mohammad Ibn Abdollah Kisai", to introduce detailed Persian translations of this book manuscript. Study within the text of the translations in order to achieve the structure of style (language and literature) is also one of the strategic objectives of this research. Considering the lack of information on the author's life and identity of the Persian translators work, cataloging and bibliographers critical comments about it in this article are intended. The main reasons for the author's approach to this issue can be the narrative style and the popularity of Kisai's work of fiction among Muslim communities and numerous manuscripts in the libraries of the world, as well as translations of Persian manuscripts unknown in Iran and the world considered

The history of didactic literature with its focus on jurisprudence and piety states of affairs in poetry and prose is rooted long into Iran''s ancient times at Zoroastrianism and Avesta. Then، in The Sassanid era some the advice of letters for provoking ethical teachings appeared. This was also followed by some Islamic scientists like Ibn- Moghafai، the author of Dinkerd. Within the third era، similar routes were delectable among some pioneers of Iranian poets at the time. At the glorious time of Persian poetry which dates back to the fourth century، such educational themes were concurrent with famous Iranian poets including Kassaie، Balkhi، Ferdowsi and Roudaki with Kasaie maintaining more excellency in epic themes. In fact، he has always referred his readers to Godly teachings and humane mannerism. The main themes and focus in his poems are abandoning worldly matters and gaining God''s consent. Within earlier times until the fourth century، the major lines of thinking were piety and devoutness with ethicality issues getting a second prominence. This signifies among other things that mere epic tendencies is rather less in those earlier scholars beforeNasirKhosrowGhobadiani though this doesn''t imply the absence of such lines of Islamic، ethical thinking at that time. From the fourth century onwards، the appearance of pious thinking in poetry with a religious focus is more brought into being with Kasaiemaintaining morerigor. In this article، an attempt was made to describe such Islamic themes within ancient Iranian era beginning with Sasanians، then the first three periods and finally the fourth century with Kasaie and Abu-ShakourBalkhi respectively.

To research a poet about whose life there is little information does not seem to be easy، especially since in the few researches already done، there are differences and sometimes contradictions between the opinions of the researchers who have expanded the range of Kasaei’s lifetime from the Ghaznavids to the Samanids and his religious affiliations between eulogy of Abbasids to the Shiite Imams. Apparently، researchers like Brown، Ethe، Rypka، Mirzayef، Nafisi، Derakhshan، and others–who have researched Kasaei–were affected by Ufi and his book Lobabol-Albab، and an inaccurate reading of the first distich of the Lamiyye Ode. This resulted in their missing the fact of Kasaei’s contemporaneity with Rudaki.. While if we interpret the life of Kasaei with a new understanding of this distich، many of contradictions of his life will disappear. Contemporaneity of Rudaki and Kasaei، Kasaei’s eulogy for Otba، writing Manqebat Ode after his fiftieth year، the fact that Kasaei and Mahmud Ghaznavi never met، disappearance of poetic epistle between Kasaei and Naser Khosrow، and perhaps attributing an ode to Kasaei which might have been written in consequence of Rudaki’s famous ode، are some of the results of this new understanding of Kasaei’s ode. The position of Kasaei Marvazi and his role as a pioneer in Persian literature and the ambiguities and contradictions of his life، define the importance and necessity of this research. The author wants to highlight some ambiguities about the life and poetry of Kasaei and، to acquire some new results by examining the connections between Kasaei and historical figures and poetry of his time.