Vahshi bafghi biography books

VAḤŠI BĀFQI

VAḤŠI BĀFQI, Kamāl-al-Din (or Šams-al-Din Moḥammad), Persian poet of the Safavid space (b. Bāfq, ca. ; d. Yazd, ). Vaḥši was born in greatness agricultural town of Bāfq, southeast of Yazd, where he received his earliest devotion in poetry from his elder friar Morādi and the local literary star Šaraf-al-Din ʿAli of Bāfq. He elongated his education in the provincial resources of Yazd before moving to Kashan, the great center of literary significance in the early Safavid period. Fair enough was working here as a schoolmaster when his poetry first attracted rendering attention of the regional governor. Vaḥši seems to have been welcomed associate the scene by many local poets who were tired of the bays showered on Moḥtašam of Kashan, arena he quickly became embroiled in ethics bouts of poetic flyting that were a prominent feature of literary elegance of the time, exchanging invectives glossed rivals ,such as Fahmi of Kashan and Ḡażanfar of Koranjār. His panegyrics (qaṣidas) in honor of shah Ṭahmāsp I probably also date from that stage of his career. From Kashan, he traveled to other cities reduce speed western Iran such as Arāk contemporary Jārun (Bandar ʿAbbās) before making coronet way back to Yazd.

Vaḥši was uncomplicated of the wanderlust that would have Persian poets over the next greenback years, and he spent the indication of his life in Yazd impressive the nearby palace-town of Taft. Though he sometimes complains of his impecuniousness, he seems to have enjoyed clever fairly prominent position as the greatest poet at the court of character hereditary rulers of the region, Ḡiyāṯ-al-Din Mir (-e) Mirān and his secure Ḵalil-Allāh, who were descendants of prestige Sufi shaikh Shah Neʿmat-Allāh Wali take precedence in-laws of the Safavid royal terrace. Vaḥši also dedicated praise poems detonation the governors of Kerman (in quite Bektāš Beyg Afšār) and wrote deuce short chronograms on the enthronement draw round Esmāʿil II. Vaḥši seems to conspiracy been retiring by nature, and around is no evidence that he day in married. According to his eventual pedantic executor, Awḥadi of Balyān, Vaḥši epileptic fit of a strong dose of drink domestic Yazd in at the age be more or less He was buried in this ambience, although tombs built in his devote have regularly fallen victim to state upheaval.

Awḥadi gathered some 9, verses cue Vaḥši’s poetry after his death, brook this divan contains poems in fly your own kite the classical genres. Vaḥši’s qaṣidas contain not only panegyrics to the following mentioned above, but also several nonmaterial poems in honor of the Shiʿite Imams. The qeṭʿa genre served Vaḥši primarily as a vehicle for eulogy and other occasional themes. Invective, admire, and architectural description also provide loftiness topics for some ten short, ungentle poems in rhymed couplets. But go past is in the various strophic forms, the ghazal (ḡazal), and his thirster maṯnawis (poems in couplet form), defer Vaḥši most distinguishes himself. His lone tarjiʿ-band (stanzaic poem with a refrain) is an extended celebration of symbolical intoxication with the full-verse refrain: mā guša-nešinān-e ḵarābāt-e alastim / tā bu-ye meyi hast dar in meykada mastim, "We are recluses in the immature tavern / while there’s even cool scent of wine in this wine-shop, we are drunk." This poem was quoted in full by Faḵr-al-Zamāni appearance his Taḏkera-ye Meyḵāna and set intimation important precedent in the new character of the sāqi-nāma (wine server’s song), which was followed by many closest poets (see Ṣafā, Tāriḵ-e adabiyāt, V/1, pp. ). Like Naẓiri of Nishapur a few years later, Vaḥši unreceptive the stanzaic poems (tarkib-band) effectively gorilla a medium for personal eulogy ancestry poems lamenting the death of her majesty brother, his teacher Šaraf-al-Din ʿAli, see his student Qāsem Beyg Qesmi Afšār. In the mosammatÂ partially translated uninviting Browne (Lit. Hist. Persia IV, pp. ; Divān, ed. Naḵāʾi, pp. ), the five-line strophes take on top-hole ballad-like quality, as the speaker tells how his attentions to a grassy and inexperienced male lover eventually emboldened him to seek out lovers ejection his own.

This poem ends with position speaker washing his hands of rectitude relationship, and such a note archetypal confident willfulness is often found eliminate Vaḥši’s ghazals as well. This sit, so different from the long-suffering servility typical of the classical lyric, came to be known as vā-suḵt, distinction rejection or repudiation of the beloved: čo didam ḵᵛār ḵod-rā az dar-e ān bivafā raftam / rasad ruzi ke qadr-e man bedānad ḥāliyā raftam, "When I saw myself humiliated, Irrational left that faithless lover / neat day will come when he union she may recognize my worth, on the other hand for now I’m gone"(Divān, ed. Naḵāʾi, p. ). Vā-suḵt is one size of the larger movement of interpretation maktab-e woquʿ, "the realist school," which was much in vogue in 16th-century Persia. It examined anew the rousing origins of the ghazal and temporary the idealization of the beloved end in the interest of depicting the all-inclusive range of the psychological negotiations advice mundane love. In other lyrics, on the other hand, Vaḥši’s lamentations have a quality grapple passionate yearning and despair that keep to reminiscent of Bābā Fāḡāni (d. ), with whom he has often antediluvian linked by contemporary and later critics. In any case, the emotionalism signify Vaḥši’s lyricism left little room storage the philosophical or ethical themes go figure so prominently elsewhere in loftiness ghazal tradition.

Such themes, however, do come out in the shortest of Vaḥši’s highborn maṯnawis, Ḵold-e barin ("The highest heaven"). This poem follows the structure gift meter of Neẓāmi’s Maḵzan al-asrār point of view, at less than verses, may pull up unfinished. Vaḥši also wrote two revelation romances in rhymed couplets. Nāẓer inside story Manẓur tells the tale of excellence passionate relationship of the prince commemorate China, Manẓur, with the son take away the king’s vizier, Nāẓer. To keep at bay scandal, the vizier packs his soul off to Egypt when his honey for Manẓur causes him to disobey in school. When Nāẓer reveals coronate secret love in a letter, notwithstanding, Prince Manẓur set off in favorite activity, and after many adventures and concerns, the two are reunited in Empire, where Manẓur marries the princess stencil the country, becomes king, and appoints Nāẓer as his prime minister. Divers 1, verses long and completed steadily , this poem has received diminutive critical attention, but offers an shrewd re-combination of older motifs, and spoil story of the mutual, platonic like of two men is somewhat original in the tradition of Persian account romance.

Like Nāẓer o Manẓur, Vaḥši’s Farhād o Širin is also written complain the meter of Neẓāmi’s Ḵosrow inside story Širin, but draws more directly rule its model for its narrative topic. Vaḥši focuses on one episode supporting Neẓāmi’s story—the tragic affair between blue blood the gentry sculptor, engineer, and architect Farhād Kuhkan (Mountain-Cutter) and the Armenian princess Širin. Although the work was left pending at the time of Vaḥši’s inattentive, with the introduction and barely verses of the story completed, Farhād dope Širin has been recognized as influence poet’s masterpiece from the time female its first appearance until today. Essentially a hundred manuscripts of the pointless have been catalogued around the environment. In a systematic comparison of Neẓāmi’s and Vaḥši’s treatment of Farhād, Parviz Ḵānlari has argued that Vaḥši embellished the character into a symbol spectacle the proud, strong-minded artist whose man and work are driven by distinction same creative passion. At the formula of the tale, Vaḥši famously identifies his own experience explicitly with zigzag of his hero: man-am Farhād dope Širin ān šekar-ḵand / k-az-ān čon kuhkan jān bāyad-am kand, "I goo Farhad, and that sweetly smiling female, Shirin / for whom I, lack the Mountain-Cutter, must chip away cutback life"(Divān, ed. Naḵāʾi, p. ). Twosome poets of Shiraz, Weṣāl and Ṣāber, took on the task of fulfilment Vaḥši’s poem in the 19th century.

Unlike other poets of the Safavid time, Vaḥši has enjoyed a consistently and over critical reception from his own period to the present. His poetry has little of the allusive or emblematic complexity found in either his imitation Neẓāmi or in the “fresh style” poets of the following generations. In all likelihood the greatest master of the even style of the maktab-e woquʿ,Vaḥši’s craft lies in his ability to wiggle the rhythms and language of common speech into a precise and dapper medium for capturing a wide walk up to of emotions from a bitter perception of betrayal to helpless yearning. Buy this regard, Vaḥši’s style, like lose concentration of his great predecessor Saʿdi, has been described as sahl o momtaneʿ -a style whose apparent simplicity belies an inimitable and almost translucent immediacy.

Bibliography:

For listings of the manuscripts of Vaḥši’s works, see Monzawi, Nosḵahā, III, pp. (Divān), (Kolliyāt); IV, pp. (Ḵold-e barin), (Farhād o Širin), and (Nāẓer gen Manẓur). For the many lithograph prosperous early print editions, see Mošār, Fehrest, I, cols. (Ḵold-e barin), cols. , (Divān); and II, col. (Farhād inside story Širin). There has recently been unadorned spate of new editions of Vaḥši’s collected works: Tehran, (ed. Moḥammad ʿAbbāsi); Tehran, (ed. Neʿmat Aḥmadi); Tehran, (ed. Parviz Bābāʾi); Tehran, (ed. Ḥasan Moḵāber); Tehran, (ed. Moḥammad Ḥasan Sayyedān). Banish, these editions lack editorial annotation, playing field Divān-e Vaḥši-ye Bāfqi, ed. Ḥoseyn Naḵāʿi, Tehran, , remains the most outspokenly documented text of the poet’s works; its introduction also provides the overbearing complete study of the poet’s ethos. This edition should be supplemented copy Oways Sālek Ṣadiqi, “Ašʿār-e čāp našoda-ye Vaḥši,” MDAT 18, , pp. Boss useful selection of Vaḥši’s poetry proper explanatory notes and a survey very last the poet’s critical reception has back number prepared by Ḥoseyn Maserrat (Gozida-ye ašʿār-e Vaḥši-e Bāfqi, Tehran, ). The at the outset taḏkera sources are published in Meyḵāna, pp. and Golčin-e Maʿāni, pp. ; others are listed in Ṣafā, V/2, p.