Books by Franklin Lewis
"Study of Rumi's circle (his father, his teacher Borhan al-Din, Shams of Tabriz, Salah al-Din Zar... more "Study of Rumi's circle (his father, his teacher Borhan al-Din, Shams of Tabriz, Salah al-Din Zarkub, Hosam al-Din Chelebi and Sultan Valad), his life, his poetry, his teachings and his reception history around the world. Winner of the British-Kuwaiti Friendship Prize for 2001.
Translations of this book have been published as:
two in Persian: (Mowlana: Diruz ta emruz, sharq ta gharb. Tehran: Nashr-e Namak, translated by Hassan Lahouti & as Mowlavi: Diruz o emruz, sharq o gharb. Tehran: Nashr-e Saless, translated by F. Farahmandfar)
Turkish (http://www.kabalciyayinevi.com/kitap.asp?KitapId=337)
Danish (http://www.forlagetvandkunsten.dk/107561/)"
Arabic ( http://syrbook.gov.sy/index.php?ACT=2&Cid=4&id=151&Mod=2
http://syrbook.gov.sy/index.php?ACT=2&Cid=4&id=152&Mod=2 )
See on the Publisher's Website: https://oneworld-publications.com/rumi-past-and-present-east-and-west-pb.html
The attached file contains: Table of Contents and preface to the 2008 revised edition
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الرومي: ماضيًاً و حاضراً، شرقاً و غرباً : حياة جلال الدين الرومي و تعاليمه و شعره، ترجمه الدكتور عيسى العاكوب (دمشق: منشورات الهيئة العامة السورية للكتاب، 2011)، 2ج , 2011
the attached pdf contains the Table of Contents and the translator's introduction (in Arabic) by ... more the attached pdf contains the Table of Contents and the translator's introduction (in Arabic) by Professor Issa Ali al-Akoub, Professor of Rhetoric and Criticism in the Department of Arabic Literature at the University of Aleppo, Syria, who undertook the laborious task of translation with my approval.
al-Rūmī: Māḑīyan wa ḥāḑiran, sharqan wa gharban. Ḥayāt Jalāl al-Dīn al-Rūmī wa taʿālīmuh wa shi`ruh, trans. by ʿĪsā al-ʿĀkūb, 2 vols. (Damascus: Manshūrāt al-Hay’at al-`Āmmat al-Sūriyya li’l-Kitāb, 2011), 1226pp.
الرومي: ماضيًاً و حاضراً، شرقاً و غرباً : حياة جلال الدين الرومي و تعاليمه و شعره،
ترجمه الى العربية و راجع اصوله الفارسيّة و قدّم له الدكتور عيسى علي العاكوب
( دمشق: منشورات الهيئة العامة السورية للكتاب، 2011)، 2 ج
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Rumi før og nu, öst og vest. Jalal al-Din Rumis liv, lære og digtning. Carsten Niebuhr Biblioteket(Copenhagen: Forlaget Vandkunsten, 2010), 609pp. , Jan 1, 2010
Danish translation of Rumi: Past and Present, East and West. The attached pdf contains the table... more Danish translation of Rumi: Past and Present, East and West. The attached pdf contains the table of contents, the foreword and the introduction in Danish.http://www.forlagetvandkunsten.dk/107561/
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فرانکلین لوئیس، مولانا: دیروز تا امروز، شرق تا غرب، ترجمه از حسن لاهوتی (تهران: نشر نامک، ۱۳۸۴ / 2006) ، ص1024 ٌ, 2006
This is the authorized Persian translation of Rumi: Past and Present, East and West, done by Hass... more This is the authorized Persian translation of Rumi: Past and Present, East and West, done by Hassan Lahouti in cooperation with the author. First printing 1384 / 2006. The late Hassan Lahouti was an accomplished translator of academic works from English to Persian, especially on the subject of Mowlana Jalal al-Din Rumi . This book is now in its fifth printing in Iran.
The attached pdf contains the table of contents, the author's foreword to the Persian translation, and the Translator's preface.
ترجمه مرحوم حسن لاهوتی از کتاب فرانکلین لوئیس، مولانا: دیروز تا امروز، شرق تا غرب با مشورت مؤلف انجام شده است. جناب لاهوتی مفقود مترجم زبردست بودند با معللومات مخصوصی درباره مولانا . این پرونده پی دی اف دارای فهرست مندرجات است همراه با "دیباچۀ مؤلف بر ترجمۀ فارسی" و "سخنی از مترجم
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Nashr-e Saless, 2004
(تهران: نشر ثالث 1383) فرانکلین لوئیس، مولوی: دیروز و امروز، شرق و غرب ، ترجمه فرهاد فرهمندفر
... more (تهران: نشر ثالث 1383) فرانکلین لوئیس، مولوی: دیروز و امروز، شرق و غرب ، ترجمه فرهاد فرهمندفر
Mowlavi: Diruz o emruz, sharq o gharb (Tehran: Nashr-e Sāles, 1383 Sh./2004), 904pp. Trans. Farhad Farahmandfar. This was the first Persian translation of Rumi: Past and Present, East and West (Oxford: One World, 2000), outside of the copyright convention.
(اینجا فقط فهرست ترجمه کتاب ضمیمه شده است)
There is also a second, authorized translation of this book by Hasan Lahouti, Mowlānā: diruz tā emruz, sharq tā gharb (Tehran: Nashr-e Nāmak, 1384 Sh./2005), 1024pp. 2nd ed., 1385 sh./2006, based on collaboration with the author, using a revised printing of the English text and with a new preface [in Persian] for the Persian translation, by the author.
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Mevlânâ: Geçmiş ve şimdi, Doğu ve Batı (Mevlânâ Celâleddin Rumi’nin Hayatı, öğretisi ve şiiri (Istanbul: Kabalcı Yayınevi, 2010), 789pp. , Jan 1, 2010
Turkish translation of Rumi: Past and Present, East and West. Attached pdf contains Table of Con... more Turkish translation of Rumi: Past and Present, East and West. Attached pdf contains Table of Contents preface and author's foreword and acknowledgment, as well as publisher's introduction.
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Unpublished Ph. D. diss., Dept. of Near Eastern Languages and Civilizations, University of Chicago, 1995, Jan 1, 1995
Sana'i of Ghazna (d. 525/1131) is the first Persian poet whose corpus of poetry includes a large ... more Sana'i of Ghazna (d. 525/1131) is the first Persian poet whose corpus of poetry includes a large number of ghazals (approximately 450), and for this reason, he has been known as the "father of the ghazal," the primary lyric form of Persian poetry. The question of the organic unity or structural coherence of individual ghazals and of the generic ghazal, specifically as epitomized in the Divan of Hafez, is one of the most problematized questions in the study of Persian literature. However, none of the proposals so far offered by scholars have satisfactorily accounted for how and what meaning inheres in the ghazal. By focussing on the origins and early history of the genre, as reflected in the ghazals of Sana'i, this study proposes new critical approaches to the generic conventions of the ghazal and the process by which the conventional symbols of the genre acquired specific meanings, depending on the textual communities to which they were addressed and the manner in which they were performed.
This dissertation traces the etymology of the word gazal, explores the historical development of the ghazal as a genre, and emphasizes its origins as a performance and musical art form. Sana'i's life, the various audiences for which his poetry was performed, and the socio-cultural factors which converged to replace the qasideh with the ghazal as the pre-eminent genre of Persian literature, are next examined. Because the textual history of Sana'i's poetry is both complex and suspect, Persian codicology; the transmission history of three representative texts from various genres of Persian poetry; the question of the social uses of manuscripts; and the contribution of the bibliographic codes of manuscripts to the "meaning" of the texts that they inscribe; are all addressed. To better illustrate the complex interplay of meaning and form, fifty of Sana'i's ghazals have been selected and categorized according to ten distinct sub-genres, topoi or moods. The Persian text of these poems, based upon the edition of Modarres-e Razavi and two of the oldest manuscripts of Sana'i's Divan, is presented with an English translation, an explication de texte, a discussion of the iconology and typography of the specific sub-genre, as well as an analysis of the form and structure of the poems.
This dissertation won the Foundation of Iranian Studies Best Dissertation of the Year award for 1995: https://fis-iran.org/fa/programs/dissertationaward/winners
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Things We Left Unsaid: A Novel by Zoya Pirzad, translated by Franklin Lewis (London: Oneworld, ... more Things We Left Unsaid: A Novel by Zoya Pirzad, translated by Franklin Lewis (London: Oneworld, 2012; reprint 2013; Persian original, Tehran: Nashr-e Markaz, 2002). 346pp.
A model wife and mother, Clarisse leads an unremarkable life as an Armenian-Iranian woman living in Abadan, Iran, where one of the world's largest oil refineries is situated. She has all she's ever wanted: a well-respected engineer husband and three children, tucked away in a wealthy, middle-class neighborhood. But her tranquillity ends with the arrival of an enigmatic Armenian family across the street. The debonair widower, his beguiling tween daughter, and his mother, a domineering aristocrat with an exotic past, steal their way into Clarisse's home. Before she has time to understand what's happening, passions, politics, and a plague of locusts have whipped up emotions that she never knew she had. Suddenly, there are options, opinions, and desires, a wholly different life ready for the taking - but only if she can figure out what they are. Things We Left Unsaid (a.k.a. "I'll Get the Lights" ( چراغ ها را من خاموش می کنم) is a humorous and pointed insight into the hopes and aspirations of Iranians in the years of increasing prosperity and cosmopolitanness in the early 1960s, when women gained the right to vote, less then two decades before the Islamic Revolution.
Chapters 1 and 2 are available from the publisher's website:
https://oneworld-publications.com/things-we-left-unsaid-pb-1321.html
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معصومۀ شیرازی، داستانی از محمد علی جمالزاده (بر گرفته از رمان صحرای محشر), 2015
translation by Franklin Lewis of a novella (in four acts) by the Persian writer, Sayyed Mohammad-... more translation by Franklin Lewis of a novella (in four acts) by the Persian writer, Sayyed Mohammad-Ali Jamalzadeh, entitled Ma`sumeh of Shiraz. This story was excerpted by Jamalzadeh from his novel Sahra-ye Mahshar, originally published in Tehran in 1947. He excerpted the present story and published it in stand alone form in 1954. It has also been published under the title Shaykh va Fahisha (the Shaykh and the Whore)
Translation published by the Association for the Study of Persian Literature, 2015
http://www.persian-literature.org/publications/
َA recorded version of the book in Persian is available on Youtube:
https://www.youtube.com/watch?v=fB0onFb1J_E
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The Necklace of the Pleiades 24 Essays on Persian Literature, Culture and Religion , 2010
"The Necklace of the Pleiades is a volume on Persian literature, culture and religion by Persian ... more "The Necklace of the Pleiades is a volume on Persian literature, culture and religion by Persian scholars from around the world. This book reflects the state of the field of Persian literary studies and will be of substantial interest not only to scholars of Iranian culture, history and religions, but of Middle Eastern and South Asian studies, as well.
The topics of the 24 essays range from the Persian Alexander romance, to Ferdowsi’s Shahnama and other epics, the poetics and imagery of the ghazal and the qasida, Mughal court poetry, Sufism, Ismaili history, Baha’i literature, Iranian linguistics, the modern writer Sadeq Hedayat, and the reception of Salman Rushdie’s novel in Persian translation.
In Persian literature the Necklace of the Pleiades is a metaphor for the six or seven stars (Parvin, or Sorayyâ, high up in the constellation Taurus) which the heavens bestow, like precious pearls, upon a poet in gratitude and reward for composing a beautiful poem. The poem itself is compared to a string of pearls, with its carefully chosen words bored like unique pearls and strung in perfect metrical proportion. As Hafiz puts it:
You’ve sung a ghazal, pierced the pearls, come and sing it sweetly, Hafiz!
The heavens strew the very Necklace of the Pleiades upon your verse. "
This volume was presented as a Festschrift for Prof. Heshmat Moayyad of the University of Chicago on his 80th birthday. Originally published by (Amsterdam: Rozenberg Publishers and West Lafayette, Indiana: Purdue University Press, 2007)
Publisher's Website: https://www.lup.nl/product/the-necklace-of-the-pleiades/
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My translations (free verse and blank verse) done directly from the Persian, and organized themat... more My translations (free verse and blank verse) done directly from the Persian, and organized thematically to highlight some of the major ideas in Rumi's poetry, especially the ghazals, but including excerpts from the Masnavi. 228pp.
Introduction: on translating Persian poetry and Rumi, ix-xxxiii
1: Orisons to the Sun: Poems of Praise and Invocation, 1-8.
2: Poems of Faith and Observance, 9-28
3. Poems on Poetry and Music, 29-40.
4. Poems of Silence, 41-54.
5. Poems of Loss and Confusion, 55-64.
6. Poems from Disciple to Master, 65-74.
7. Poems from Master to Disciple, 75-86.
8. Poems from Master to Master, 87-98.
9. Poems of Dreams and Vision, 99-112.
10. Poems about the Religion of Love: Ways of Reason, Modes of Love, 113.-128.
11. Poems Celebrating union, 129-142.
12. Poems of Death and Beyond, 143-150.
13. Poems about Birthing the Soul, 151-166.
Notes on the Poems 167-200.
Index of First Lines, 201.
On the Publishers website: https://oneworld-publications.com/rumi-past-and-present-east-and-west-pb.html
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Mystical Poems of Rumi, revised and corrected ed. by Franklin Lewis with Hasan Javadi, 2009
This is an extensively corrected edition in one volume of the two previously published volumes of... more This is an extensively corrected edition in one volume of the two previously published volumes of A.J. Arberry's translations of 400 ghazals of Jalal al-Din Rumi. With new formatting and new foreword, as well as new notes, by Franklin Lewis.
The first volume was published in 1968 toward the end of Arberry's life, with notes prepared by Hasan Javadi, who had been a Lector at Cambridge and assistant to Arberry. Prof. Javadi also prepared and annotated the second volume of Arberry's translations for publication after Arberry's death, which appeared in 1979.
After teaching as Professor of English at the University of Tehran, Prof. Javadi returned to the US, where he taught me Persian literature at UC Berkeley in the early 1980s. Prof. Javadi has retained the handwritten translations made by Arberry, and together we went over these in 2007-8 to help correct the many mistakes that appeared in the original 1979 publication (Prof. Arberry suffered from Parkinson's and his handwriting was very difficult to read, leading to many errors).
The new edition I have prepared brings together both volumes of Arberry's translations of Rumi's ghazals in one corrected edition with new notes and a new introduction.
http://www.press.uchicago.edu/ucp/books/book/chicago/M/bo6035379.html
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The Colossal Elephant and His Spiritual Feats: Shaykh Ahmad-e Jam (The Life and Legend of a Popular Sufi Saint of 12th-Century Iran, translated and annotated by Heshmat Moayyad and Franklin Lewis (Costa Mesa, CA: Mazda Publishers, 2004), 460pp, 2004
Shaykh Ahmad of Jâm, nicknamed “the Colossal Elephant,” was a popular Muslim saint who lived from... more Shaykh Ahmad of Jâm, nicknamed “the Colossal Elephant,” was a popular Muslim saint who lived from 1049 to 1141 in eastern Iran. His career as a religious figure and worker of miracles is here vividly and imaginatively portrayed through delightful and often fantastic tales. The unique portrait that emerges of Shaykh Ahmad, while drawing on the hagiographic traditions of Persian and Arabic literature, depicts a Sufi saint unlike any other. Told in plain and folksy language, the anecdotes in The Colossal Elephant and His Spiritual Feats provide a close-up view of popular piety and the practice of Islam in the rural and provincial areas of eastern Iran in the medieval period.
Extensively annotated and with a detailed introduction about Shaykh Ahmad and the sources for his life, this book presents translations of four Persian texts. First, a hagiographical account from the late 12th century by one of Shaykh Ahmad’s own disciples, Mohammad-e Ghaznavi, containing over 350 vignettes chronicling Shaykh Ahmad’s career as a Sufi leader, and detailing his interactions with famous political and historical figures, as well as local townspeople, disciples and members of his own family.
This is followed by a short compilation of miracles purportedly performed by Shaykh Ahmad after his death. In contrast to this hagiographical portrait, a treatise is then presented by Shaykh Ahmad’s own son, who attempts to downplay the miraculous tales circulating among his father’s followers and the townspeople in Jam. This is followed by fragments of Shaykh Ahmad’s own treatises and epistles, which stand in stark contrast to the legendary thaumaturge portrayed in the miracle stories, are also included. Read in juxtaposition, these texts shed much light on the process of saint formation in the medieval Muslim world. They furthermore provide unique information about economic, social, and political conditions in eastern Iran in the 12th century, especially the geography, economy and local history of Khorasan during the Saljuq period. The wealth of detail about everyday life, including medicine, cuisine, agricultural practices, domestic life, relations between the sexes, relations between the Sunnis and the Ismailis, relations between Muslims with Zoroastrians and Christians, etc., makes the text useful for historians, anthropologists and Islamicists alike.
The attached file contains the cover, the Table of Contents and part of the introduction.
Publishers website:
http://www.mazdapublishers.com/book/colossal-elephant-and-his-spiritual-feats
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In a Voice of Their Own: Stories Written by Iranian Women since the Revolution of 1979 (Mazda Publishers (Costa Mesa, Calfornia), 1996
This collection provides a window on the concerns of Iranian women, writers in particular, since ... more This collection provides a window on the concerns of Iranian women, writers in particular, since the Revolution of 1979 and the establishment of Islamic Republic in Iran. The collection includes eighteen stories written by more than a dozen women during the last twenty years, some of them well-known writers and others just establishing their careers. In these stories, most never before available in translation and rendered here into readable English that captures the style and flavor of the original Persian, Iranian women speak in their own voice to the western reader about marriage, sex, politics, exile and the place of women in Iranian society.
There is an introduction about modern fiction and the role of women in Persian literature, as well as a bibliography of translations and studies of Iranian women authors.
Authors whose stories are included here:
Goli Taraghi (1939-)
Shokooh Mirzadegi (1944-)
Mehri Yalfani (ca.1945-)
Shahrnush Parsipur (1946-)
Mihan Bahrami (1947-)
Moniru Ravanipur (1954-)
Farkhondeh Aghai (1956-)
Tahereh Alavi (1959-)
Soudabeh Ashrafi (1959-)
Fariba Vafi (1962-)
Roya Shapurian (1966-)
Shahla Shafiq
Mahkameh Rahimzadeh
----
The attached file contains the Table of Contents and the Introduction.
Publisher's website: http://www.mazdapublishers.com/book/in-a-voice-of-their-own
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Chapters in Books by Franklin Lewis
Multi-Religious Perspectives on a Global Ethic: In Search of a Common Morality, ed. Myriam Renaud and William Schweiker, 2021
a Response to Martin Nguyen's paper "Sunni Islam and the Estranged Ideal: The Displaced, the Raci... more a Response to Martin Nguyen's paper "Sunni Islam and the Estranged Ideal: The Displaced, the Racially Disenfranchised, and the Islamic Prophetic", ranging over the theology of the stranger and strangeness in Islamic theology, the feeling of loneliness and the notion of exile and homesickness in Arabic and Persian literature, the concept of diaspora and the major role of both refugee host and refugee source countries in the Middle East, the theology and politics of minority status and human rights in the modern Islamic context....
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Jāmī in Regional Contexts: The Reception of ʿAbd al-Raḥmān Jāmī’s Works in the Islamicate World, C. 9th/15th-14th/20th. Ed. Thibaut d’Hubert and Alexandre Papas (Leiden: Brill, 2018), 463-571. , 2018
This is a pre-publication form of a paper that attempts to reconstruct the canon of Persian poetr... more This is a pre-publication form of a paper that attempts to reconstruct the canon of Persian poetry as it was generally understood about six centuries after poets began writing down their compositions in the late 9th century CE. Ultimately, it is an attempt to understand the extent to which 15th-century Persian poets read and were inspired by earlier poets writing in older styles. Simply put, what was considered "old-fashioned" in the 15th century: whose poetry was thought to be modern and part of the style current among poets in the later Timurid period, and which "oldies" poets could still be regularly read and deeply appreciated?
Special attention is given to the ghazal, through the works of Abd al-Rahman Jami and Ali-Shir Nava'i (Fani), who often indicate which poet they are inspired by or imitating in a given ghazal. Jami's Baharistan and its chapter on the history of Persian poetry is also analyzed, side-by-side with Dawlatshah-i Samarqandi's Lives of the Poets. Even when poets and litterateurs of the Timurid era write literary histories of Persian poetry, they do not seem to have extensive material from earlier poets -- typically not full divans, and often just a few anthologized poems. They do, however, have a distilled sense of what each poet's particular strengths and weaknesses were - that is to say, there is a well-established reception history, and poets knew what to think about earlier poets, even poets who were barely read.
Spoiler alert: Timurid poets did not seem to spend much time reading 9th- and 10th-c Persian poets; even 11th- and 12th-century poets are respected at a distance. Timurid poets and their stylistic affinities in the ghazal do not go much further back than Sa`di, but focus in particular on Amir Khosrow and Hafez. In the Masnavi form, Jami has his eye on Nezami and Amir Khosrow, as well as Mawlana and Sana'i, and seems to want to outdo his predecessors in the number of poems and the variety of forms/genres he writes in.
This article appears in a large volume studying the reception of Jami in a magnificently international context (Persian, Arabic, Chinese, Georgian, Malay, Pashto, Sanskrit, Urdu, Turkish, and Bengali). While my article looks at Jami's reception of the Persian poetic past, others look at the reception of Jami, in Persian and in many many other languages and traditions.
I drew up a chart of poets who composed poems or prose works that mention earlier poets. This chart could not be included by the publisher in the book, because it would not display in a meaningful form. Not to worry, as the chart displays well on the internet in pdf form, and is available here for download for free:
https://figshare.com/articles/Lewis_Catalogues_of_Poets_table_15_3/7212176
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The Layered Heart: Essays on Persian Poetry, ed. A.A. Seyed-Ghorab (Washington DC: Mage, 2019),, 2019
This paper first compares the statements about religious affiliation made by Daqiqi and by Ferdow... more This paper first compares the statements about religious affiliation made by Daqiqi and by Ferdowsi, and then considers the section about the conversion of Goshtasp and Lohrasp to Zoroaster's call, and how the process of changing religious affiliation is presented in the Shahnameh. Next, we see how the two sisters or daughters of Jamshid, Shahrnaz and Arnavaz (who are the first two women named in the Shahnameh, despite several generations having gone by without the appearance of any women characters) introduced as undergoing a change of allegiance from the household of Jamshid to that of Zahhak. The threat of rape or death under which this process takes place raises the question of how these two sisters feel about being the consorts of Zahhak, a subject on which the Shahnameh gives only very subtle clues. After Feraydun conquers Zahhak's castle, he "converts" the women back by a process of purification, a process which is analyzed. There are long-term problems for all the characters who convert or change affiliation in these cases.
From the publisher's website:
http://magepublishers.com/the-layered-heart-essays-on-persian-poetry-a-celebration-in-honor-of-dick-davis/?fbclid=IwAR1YgKBOH8-jy331xzHhp72xqSGwkFfpCCJG4Fnh1zBp-vt_daopjRCp33k
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in The Philosophy of Ecstasy, ed. Leonard Lewisohn (Bloomington, IN: World Wisdom, 2014), 145-176, 2014
This article concerns the historical genesis of Rumi's works, prose and poetry. Using the primar... more This article concerns the historical genesis of Rumi's works, prose and poetry. Using the primary biographical evidence from the poems and discourses, this article analyzes them in the light of the hagiographical tradition, using the hagiographies quite cautiously to tease out further information. Contrary to the view that the poetry of Mawlana Rumi emerged from a trance or other orphic means, this article shows that Rumi was a careful reader of the literary tradition and responded to it, as we might expect a modern reader or critic to do. While it may be ultimately impossible to date many of the poems, based on internal evidence and histroical allusions, we can glean some information by attentively readng about the relative dating of many poems.
Publisher's website: http://www.worldwisdom.com/public/products/978-1-936597-42-0_The_Philosophy_of_Ecstasy-Rumi_and_the_Sufi_Tradition.aspx?ID=275
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Reorientations/Arabic and Persian Poetry, ed. Suzanne Pinckney Stetkevych (Bloomington and Indianapolis: Indiana University Press, 1994), 1994
This paper traces the origins of the refrain "atash u ab" in Persian qasidas and the extreme fad ... more This paper traces the origins of the refrain "atash u ab" in Persian qasidas and the extreme fad for this radif in the 12th century across several Persian courts. However, the radif largely disappeared after a relatively short period of time, rarely reprised after that. This article uses the phenomenon of the meteoric rise and near complete disappearance of this radif to document the way that literary developments moved across geographically disparate and politically distinct courts, especially in the panegyric genre, and illustrates the way that tastes/styles changed from one generation to the next in the high period of the Persian qasida. The article considers this phenomenon from the point of view of Harold Bloom's "anxiety of influence" and Jackson Bate's "Burden of the (poetic) past" and documents how the dynamics of stylistic and politically competitive imitation can override such anxieties and contribute to the creation of an international Persianate style.
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Ghazal as World Literature II: From a Literary Genre to a Great Tradition. The Ottoman Gazel in Context. Ed. Angelika Neuwirth, Michael Hess, Judith Pfeiffer and Borte Sagaster (Wurzburg: Orient Institut, 2006): 121-139 , 2006
This paper traces the evolution of the Persian ghazal from a topical genre on love, like it's Ara... more This paper traces the evolution of the Persian ghazal from a topical genre on love, like it's Arabic predecessor, into a fixed form poem that can treat many topics.
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Books by Franklin Lewis
Translations of this book have been published as:
two in Persian: (Mowlana: Diruz ta emruz, sharq ta gharb. Tehran: Nashr-e Namak, translated by Hassan Lahouti & as Mowlavi: Diruz o emruz, sharq o gharb. Tehran: Nashr-e Saless, translated by F. Farahmandfar)
Turkish (http://www.kabalciyayinevi.com/kitap.asp?KitapId=337)
Danish (http://www.forlagetvandkunsten.dk/107561/)"
Arabic ( http://syrbook.gov.sy/index.php?ACT=2&Cid=4&id=151&Mod=2
http://syrbook.gov.sy/index.php?ACT=2&Cid=4&id=152&Mod=2 )
See on the Publisher's Website: https://oneworld-publications.com/rumi-past-and-present-east-and-west-pb.html
The attached file contains: Table of Contents and preface to the 2008 revised edition
al-Rūmī: Māḑīyan wa ḥāḑiran, sharqan wa gharban. Ḥayāt Jalāl al-Dīn al-Rūmī wa taʿālīmuh wa shi`ruh, trans. by ʿĪsā al-ʿĀkūb, 2 vols. (Damascus: Manshūrāt al-Hay’at al-`Āmmat al-Sūriyya li’l-Kitāb, 2011), 1226pp.
الرومي: ماضيًاً و حاضراً، شرقاً و غرباً : حياة جلال الدين الرومي و تعاليمه و شعره،
ترجمه الى العربية و راجع اصوله الفارسيّة و قدّم له الدكتور عيسى علي العاكوب
( دمشق: منشورات الهيئة العامة السورية للكتاب، 2011)، 2 ج
The attached pdf contains the table of contents, the author's foreword to the Persian translation, and the Translator's preface.
ترجمه مرحوم حسن لاهوتی از کتاب فرانکلین لوئیس، مولانا: دیروز تا امروز، شرق تا غرب با مشورت مؤلف انجام شده است. جناب لاهوتی مفقود مترجم زبردست بودند با معللومات مخصوصی درباره مولانا . این پرونده پی دی اف دارای فهرست مندرجات است همراه با "دیباچۀ مؤلف بر ترجمۀ فارسی" و "سخنی از مترجم
Mowlavi: Diruz o emruz, sharq o gharb (Tehran: Nashr-e Sāles, 1383 Sh./2004), 904pp. Trans. Farhad Farahmandfar. This was the first Persian translation of Rumi: Past and Present, East and West (Oxford: One World, 2000), outside of the copyright convention.
(اینجا فقط فهرست ترجمه کتاب ضمیمه شده است)
There is also a second, authorized translation of this book by Hasan Lahouti, Mowlānā: diruz tā emruz, sharq tā gharb (Tehran: Nashr-e Nāmak, 1384 Sh./2005), 1024pp. 2nd ed., 1385 sh./2006, based on collaboration with the author, using a revised printing of the English text and with a new preface [in Persian] for the Persian translation, by the author.
This dissertation traces the etymology of the word gazal, explores the historical development of the ghazal as a genre, and emphasizes its origins as a performance and musical art form. Sana'i's life, the various audiences for which his poetry was performed, and the socio-cultural factors which converged to replace the qasideh with the ghazal as the pre-eminent genre of Persian literature, are next examined. Because the textual history of Sana'i's poetry is both complex and suspect, Persian codicology; the transmission history of three representative texts from various genres of Persian poetry; the question of the social uses of manuscripts; and the contribution of the bibliographic codes of manuscripts to the "meaning" of the texts that they inscribe; are all addressed. To better illustrate the complex interplay of meaning and form, fifty of Sana'i's ghazals have been selected and categorized according to ten distinct sub-genres, topoi or moods. The Persian text of these poems, based upon the edition of Modarres-e Razavi and two of the oldest manuscripts of Sana'i's Divan, is presented with an English translation, an explication de texte, a discussion of the iconology and typography of the specific sub-genre, as well as an analysis of the form and structure of the poems.
This dissertation won the Foundation of Iranian Studies Best Dissertation of the Year award for 1995: https://fis-iran.org/fa/programs/dissertationaward/winners
A model wife and mother, Clarisse leads an unremarkable life as an Armenian-Iranian woman living in Abadan, Iran, where one of the world's largest oil refineries is situated. She has all she's ever wanted: a well-respected engineer husband and three children, tucked away in a wealthy, middle-class neighborhood. But her tranquillity ends with the arrival of an enigmatic Armenian family across the street. The debonair widower, his beguiling tween daughter, and his mother, a domineering aristocrat with an exotic past, steal their way into Clarisse's home. Before she has time to understand what's happening, passions, politics, and a plague of locusts have whipped up emotions that she never knew she had. Suddenly, there are options, opinions, and desires, a wholly different life ready for the taking - but only if she can figure out what they are. Things We Left Unsaid (a.k.a. "I'll Get the Lights" ( چراغ ها را من خاموش می کنم) is a humorous and pointed insight into the hopes and aspirations of Iranians in the years of increasing prosperity and cosmopolitanness in the early 1960s, when women gained the right to vote, less then two decades before the Islamic Revolution.
Chapters 1 and 2 are available from the publisher's website:
https://oneworld-publications.com/things-we-left-unsaid-pb-1321.html
Translation published by the Association for the Study of Persian Literature, 2015
http://www.persian-literature.org/publications/
َA recorded version of the book in Persian is available on Youtube:
https://www.youtube.com/watch?v=fB0onFb1J_E
The topics of the 24 essays range from the Persian Alexander romance, to Ferdowsi’s Shahnama and other epics, the poetics and imagery of the ghazal and the qasida, Mughal court poetry, Sufism, Ismaili history, Baha’i literature, Iranian linguistics, the modern writer Sadeq Hedayat, and the reception of Salman Rushdie’s novel in Persian translation.
In Persian literature the Necklace of the Pleiades is a metaphor for the six or seven stars (Parvin, or Sorayyâ, high up in the constellation Taurus) which the heavens bestow, like precious pearls, upon a poet in gratitude and reward for composing a beautiful poem. The poem itself is compared to a string of pearls, with its carefully chosen words bored like unique pearls and strung in perfect metrical proportion. As Hafiz puts it:
You’ve sung a ghazal, pierced the pearls, come and sing it sweetly, Hafiz!
The heavens strew the very Necklace of the Pleiades upon your verse. "
This volume was presented as a Festschrift for Prof. Heshmat Moayyad of the University of Chicago on his 80th birthday. Originally published by (Amsterdam: Rozenberg Publishers and West Lafayette, Indiana: Purdue University Press, 2007)
Publisher's Website: https://www.lup.nl/product/the-necklace-of-the-pleiades/
Introduction: on translating Persian poetry and Rumi, ix-xxxiii
1: Orisons to the Sun: Poems of Praise and Invocation, 1-8.
2: Poems of Faith and Observance, 9-28
3. Poems on Poetry and Music, 29-40.
4. Poems of Silence, 41-54.
5. Poems of Loss and Confusion, 55-64.
6. Poems from Disciple to Master, 65-74.
7. Poems from Master to Disciple, 75-86.
8. Poems from Master to Master, 87-98.
9. Poems of Dreams and Vision, 99-112.
10. Poems about the Religion of Love: Ways of Reason, Modes of Love, 113.-128.
11. Poems Celebrating union, 129-142.
12. Poems of Death and Beyond, 143-150.
13. Poems about Birthing the Soul, 151-166.
Notes on the Poems 167-200.
Index of First Lines, 201.
On the Publishers website: https://oneworld-publications.com/rumi-past-and-present-east-and-west-pb.html
The first volume was published in 1968 toward the end of Arberry's life, with notes prepared by Hasan Javadi, who had been a Lector at Cambridge and assistant to Arberry. Prof. Javadi also prepared and annotated the second volume of Arberry's translations for publication after Arberry's death, which appeared in 1979.
After teaching as Professor of English at the University of Tehran, Prof. Javadi returned to the US, where he taught me Persian literature at UC Berkeley in the early 1980s. Prof. Javadi has retained the handwritten translations made by Arberry, and together we went over these in 2007-8 to help correct the many mistakes that appeared in the original 1979 publication (Prof. Arberry suffered from Parkinson's and his handwriting was very difficult to read, leading to many errors).
The new edition I have prepared brings together both volumes of Arberry's translations of Rumi's ghazals in one corrected edition with new notes and a new introduction.
http://www.press.uchicago.edu/ucp/books/book/chicago/M/bo6035379.html
Extensively annotated and with a detailed introduction about Shaykh Ahmad and the sources for his life, this book presents translations of four Persian texts. First, a hagiographical account from the late 12th century by one of Shaykh Ahmad’s own disciples, Mohammad-e Ghaznavi, containing over 350 vignettes chronicling Shaykh Ahmad’s career as a Sufi leader, and detailing his interactions with famous political and historical figures, as well as local townspeople, disciples and members of his own family.
This is followed by a short compilation of miracles purportedly performed by Shaykh Ahmad after his death. In contrast to this hagiographical portrait, a treatise is then presented by Shaykh Ahmad’s own son, who attempts to downplay the miraculous tales circulating among his father’s followers and the townspeople in Jam. This is followed by fragments of Shaykh Ahmad’s own treatises and epistles, which stand in stark contrast to the legendary thaumaturge portrayed in the miracle stories, are also included. Read in juxtaposition, these texts shed much light on the process of saint formation in the medieval Muslim world. They furthermore provide unique information about economic, social, and political conditions in eastern Iran in the 12th century, especially the geography, economy and local history of Khorasan during the Saljuq period. The wealth of detail about everyday life, including medicine, cuisine, agricultural practices, domestic life, relations between the sexes, relations between the Sunnis and the Ismailis, relations between Muslims with Zoroastrians and Christians, etc., makes the text useful for historians, anthropologists and Islamicists alike.
The attached file contains the cover, the Table of Contents and part of the introduction.
Publishers website:
http://www.mazdapublishers.com/book/colossal-elephant-and-his-spiritual-feats
There is an introduction about modern fiction and the role of women in Persian literature, as well as a bibliography of translations and studies of Iranian women authors.
Authors whose stories are included here:
Goli Taraghi (1939-)
Shokooh Mirzadegi (1944-)
Mehri Yalfani (ca.1945-)
Shahrnush Parsipur (1946-)
Mihan Bahrami (1947-)
Moniru Ravanipur (1954-)
Farkhondeh Aghai (1956-)
Tahereh Alavi (1959-)
Soudabeh Ashrafi (1959-)
Fariba Vafi (1962-)
Roya Shapurian (1966-)
Shahla Shafiq
Mahkameh Rahimzadeh
----
The attached file contains the Table of Contents and the Introduction.
Publisher's website: http://www.mazdapublishers.com/book/in-a-voice-of-their-own
Chapters in Books by Franklin Lewis
Special attention is given to the ghazal, through the works of Abd al-Rahman Jami and Ali-Shir Nava'i (Fani), who often indicate which poet they are inspired by or imitating in a given ghazal. Jami's Baharistan and its chapter on the history of Persian poetry is also analyzed, side-by-side with Dawlatshah-i Samarqandi's Lives of the Poets. Even when poets and litterateurs of the Timurid era write literary histories of Persian poetry, they do not seem to have extensive material from earlier poets -- typically not full divans, and often just a few anthologized poems. They do, however, have a distilled sense of what each poet's particular strengths and weaknesses were - that is to say, there is a well-established reception history, and poets knew what to think about earlier poets, even poets who were barely read.
Spoiler alert: Timurid poets did not seem to spend much time reading 9th- and 10th-c Persian poets; even 11th- and 12th-century poets are respected at a distance. Timurid poets and their stylistic affinities in the ghazal do not go much further back than Sa`di, but focus in particular on Amir Khosrow and Hafez. In the Masnavi form, Jami has his eye on Nezami and Amir Khosrow, as well as Mawlana and Sana'i, and seems to want to outdo his predecessors in the number of poems and the variety of forms/genres he writes in.
This article appears in a large volume studying the reception of Jami in a magnificently international context (Persian, Arabic, Chinese, Georgian, Malay, Pashto, Sanskrit, Urdu, Turkish, and Bengali). While my article looks at Jami's reception of the Persian poetic past, others look at the reception of Jami, in Persian and in many many other languages and traditions.
I drew up a chart of poets who composed poems or prose works that mention earlier poets. This chart could not be included by the publisher in the book, because it would not display in a meaningful form. Not to worry, as the chart displays well on the internet in pdf form, and is available here for download for free:
https://figshare.com/articles/Lewis_Catalogues_of_Poets_table_15_3/7212176
From the publisher's website:
http://magepublishers.com/the-layered-heart-essays-on-persian-poetry-a-celebration-in-honor-of-dick-davis/?fbclid=IwAR1YgKBOH8-jy331xzHhp72xqSGwkFfpCCJG4Fnh1zBp-vt_daopjRCp33k
Publisher's website: http://www.worldwisdom.com/public/products/978-1-936597-42-0_The_Philosophy_of_Ecstasy-Rumi_and_the_Sufi_Tradition.aspx?ID=275
Translations of this book have been published as:
two in Persian: (Mowlana: Diruz ta emruz, sharq ta gharb. Tehran: Nashr-e Namak, translated by Hassan Lahouti & as Mowlavi: Diruz o emruz, sharq o gharb. Tehran: Nashr-e Saless, translated by F. Farahmandfar)
Turkish (http://www.kabalciyayinevi.com/kitap.asp?KitapId=337)
Danish (http://www.forlagetvandkunsten.dk/107561/)"
Arabic ( http://syrbook.gov.sy/index.php?ACT=2&Cid=4&id=151&Mod=2
http://syrbook.gov.sy/index.php?ACT=2&Cid=4&id=152&Mod=2 )
See on the Publisher's Website: https://oneworld-publications.com/rumi-past-and-present-east-and-west-pb.html
The attached file contains: Table of Contents and preface to the 2008 revised edition
al-Rūmī: Māḑīyan wa ḥāḑiran, sharqan wa gharban. Ḥayāt Jalāl al-Dīn al-Rūmī wa taʿālīmuh wa shi`ruh, trans. by ʿĪsā al-ʿĀkūb, 2 vols. (Damascus: Manshūrāt al-Hay’at al-`Āmmat al-Sūriyya li’l-Kitāb, 2011), 1226pp.
الرومي: ماضيًاً و حاضراً، شرقاً و غرباً : حياة جلال الدين الرومي و تعاليمه و شعره،
ترجمه الى العربية و راجع اصوله الفارسيّة و قدّم له الدكتور عيسى علي العاكوب
( دمشق: منشورات الهيئة العامة السورية للكتاب، 2011)، 2 ج
The attached pdf contains the table of contents, the author's foreword to the Persian translation, and the Translator's preface.
ترجمه مرحوم حسن لاهوتی از کتاب فرانکلین لوئیس، مولانا: دیروز تا امروز، شرق تا غرب با مشورت مؤلف انجام شده است. جناب لاهوتی مفقود مترجم زبردست بودند با معللومات مخصوصی درباره مولانا . این پرونده پی دی اف دارای فهرست مندرجات است همراه با "دیباچۀ مؤلف بر ترجمۀ فارسی" و "سخنی از مترجم
Mowlavi: Diruz o emruz, sharq o gharb (Tehran: Nashr-e Sāles, 1383 Sh./2004), 904pp. Trans. Farhad Farahmandfar. This was the first Persian translation of Rumi: Past and Present, East and West (Oxford: One World, 2000), outside of the copyright convention.
(اینجا فقط فهرست ترجمه کتاب ضمیمه شده است)
There is also a second, authorized translation of this book by Hasan Lahouti, Mowlānā: diruz tā emruz, sharq tā gharb (Tehran: Nashr-e Nāmak, 1384 Sh./2005), 1024pp. 2nd ed., 1385 sh./2006, based on collaboration with the author, using a revised printing of the English text and with a new preface [in Persian] for the Persian translation, by the author.
This dissertation traces the etymology of the word gazal, explores the historical development of the ghazal as a genre, and emphasizes its origins as a performance and musical art form. Sana'i's life, the various audiences for which his poetry was performed, and the socio-cultural factors which converged to replace the qasideh with the ghazal as the pre-eminent genre of Persian literature, are next examined. Because the textual history of Sana'i's poetry is both complex and suspect, Persian codicology; the transmission history of three representative texts from various genres of Persian poetry; the question of the social uses of manuscripts; and the contribution of the bibliographic codes of manuscripts to the "meaning" of the texts that they inscribe; are all addressed. To better illustrate the complex interplay of meaning and form, fifty of Sana'i's ghazals have been selected and categorized according to ten distinct sub-genres, topoi or moods. The Persian text of these poems, based upon the edition of Modarres-e Razavi and two of the oldest manuscripts of Sana'i's Divan, is presented with an English translation, an explication de texte, a discussion of the iconology and typography of the specific sub-genre, as well as an analysis of the form and structure of the poems.
This dissertation won the Foundation of Iranian Studies Best Dissertation of the Year award for 1995: https://fis-iran.org/fa/programs/dissertationaward/winners
A model wife and mother, Clarisse leads an unremarkable life as an Armenian-Iranian woman living in Abadan, Iran, where one of the world's largest oil refineries is situated. She has all she's ever wanted: a well-respected engineer husband and three children, tucked away in a wealthy, middle-class neighborhood. But her tranquillity ends with the arrival of an enigmatic Armenian family across the street. The debonair widower, his beguiling tween daughter, and his mother, a domineering aristocrat with an exotic past, steal their way into Clarisse's home. Before she has time to understand what's happening, passions, politics, and a plague of locusts have whipped up emotions that she never knew she had. Suddenly, there are options, opinions, and desires, a wholly different life ready for the taking - but only if she can figure out what they are. Things We Left Unsaid (a.k.a. "I'll Get the Lights" ( چراغ ها را من خاموش می کنم) is a humorous and pointed insight into the hopes and aspirations of Iranians in the years of increasing prosperity and cosmopolitanness in the early 1960s, when women gained the right to vote, less then two decades before the Islamic Revolution.
Chapters 1 and 2 are available from the publisher's website:
https://oneworld-publications.com/things-we-left-unsaid-pb-1321.html
Translation published by the Association for the Study of Persian Literature, 2015
http://www.persian-literature.org/publications/
َA recorded version of the book in Persian is available on Youtube:
https://www.youtube.com/watch?v=fB0onFb1J_E
The topics of the 24 essays range from the Persian Alexander romance, to Ferdowsi’s Shahnama and other epics, the poetics and imagery of the ghazal and the qasida, Mughal court poetry, Sufism, Ismaili history, Baha’i literature, Iranian linguistics, the modern writer Sadeq Hedayat, and the reception of Salman Rushdie’s novel in Persian translation.
In Persian literature the Necklace of the Pleiades is a metaphor for the six or seven stars (Parvin, or Sorayyâ, high up in the constellation Taurus) which the heavens bestow, like precious pearls, upon a poet in gratitude and reward for composing a beautiful poem. The poem itself is compared to a string of pearls, with its carefully chosen words bored like unique pearls and strung in perfect metrical proportion. As Hafiz puts it:
You’ve sung a ghazal, pierced the pearls, come and sing it sweetly, Hafiz!
The heavens strew the very Necklace of the Pleiades upon your verse. "
This volume was presented as a Festschrift for Prof. Heshmat Moayyad of the University of Chicago on his 80th birthday. Originally published by (Amsterdam: Rozenberg Publishers and West Lafayette, Indiana: Purdue University Press, 2007)
Publisher's Website: https://www.lup.nl/product/the-necklace-of-the-pleiades/
Introduction: on translating Persian poetry and Rumi, ix-xxxiii
1: Orisons to the Sun: Poems of Praise and Invocation, 1-8.
2: Poems of Faith and Observance, 9-28
3. Poems on Poetry and Music, 29-40.
4. Poems of Silence, 41-54.
5. Poems of Loss and Confusion, 55-64.
6. Poems from Disciple to Master, 65-74.
7. Poems from Master to Disciple, 75-86.
8. Poems from Master to Master, 87-98.
9. Poems of Dreams and Vision, 99-112.
10. Poems about the Religion of Love: Ways of Reason, Modes of Love, 113.-128.
11. Poems Celebrating union, 129-142.
12. Poems of Death and Beyond, 143-150.
13. Poems about Birthing the Soul, 151-166.
Notes on the Poems 167-200.
Index of First Lines, 201.
On the Publishers website: https://oneworld-publications.com/rumi-past-and-present-east-and-west-pb.html
The first volume was published in 1968 toward the end of Arberry's life, with notes prepared by Hasan Javadi, who had been a Lector at Cambridge and assistant to Arberry. Prof. Javadi also prepared and annotated the second volume of Arberry's translations for publication after Arberry's death, which appeared in 1979.
After teaching as Professor of English at the University of Tehran, Prof. Javadi returned to the US, where he taught me Persian literature at UC Berkeley in the early 1980s. Prof. Javadi has retained the handwritten translations made by Arberry, and together we went over these in 2007-8 to help correct the many mistakes that appeared in the original 1979 publication (Prof. Arberry suffered from Parkinson's and his handwriting was very difficult to read, leading to many errors).
The new edition I have prepared brings together both volumes of Arberry's translations of Rumi's ghazals in one corrected edition with new notes and a new introduction.
http://www.press.uchicago.edu/ucp/books/book/chicago/M/bo6035379.html
Extensively annotated and with a detailed introduction about Shaykh Ahmad and the sources for his life, this book presents translations of four Persian texts. First, a hagiographical account from the late 12th century by one of Shaykh Ahmad’s own disciples, Mohammad-e Ghaznavi, containing over 350 vignettes chronicling Shaykh Ahmad’s career as a Sufi leader, and detailing his interactions with famous political and historical figures, as well as local townspeople, disciples and members of his own family.
This is followed by a short compilation of miracles purportedly performed by Shaykh Ahmad after his death. In contrast to this hagiographical portrait, a treatise is then presented by Shaykh Ahmad’s own son, who attempts to downplay the miraculous tales circulating among his father’s followers and the townspeople in Jam. This is followed by fragments of Shaykh Ahmad’s own treatises and epistles, which stand in stark contrast to the legendary thaumaturge portrayed in the miracle stories, are also included. Read in juxtaposition, these texts shed much light on the process of saint formation in the medieval Muslim world. They furthermore provide unique information about economic, social, and political conditions in eastern Iran in the 12th century, especially the geography, economy and local history of Khorasan during the Saljuq period. The wealth of detail about everyday life, including medicine, cuisine, agricultural practices, domestic life, relations between the sexes, relations between the Sunnis and the Ismailis, relations between Muslims with Zoroastrians and Christians, etc., makes the text useful for historians, anthropologists and Islamicists alike.
The attached file contains the cover, the Table of Contents and part of the introduction.
Publishers website:
http://www.mazdapublishers.com/book/colossal-elephant-and-his-spiritual-feats
There is an introduction about modern fiction and the role of women in Persian literature, as well as a bibliography of translations and studies of Iranian women authors.
Authors whose stories are included here:
Goli Taraghi (1939-)
Shokooh Mirzadegi (1944-)
Mehri Yalfani (ca.1945-)
Shahrnush Parsipur (1946-)
Mihan Bahrami (1947-)
Moniru Ravanipur (1954-)
Farkhondeh Aghai (1956-)
Tahereh Alavi (1959-)
Soudabeh Ashrafi (1959-)
Fariba Vafi (1962-)
Roya Shapurian (1966-)
Shahla Shafiq
Mahkameh Rahimzadeh
----
The attached file contains the Table of Contents and the Introduction.
Publisher's website: http://www.mazdapublishers.com/book/in-a-voice-of-their-own
Special attention is given to the ghazal, through the works of Abd al-Rahman Jami and Ali-Shir Nava'i (Fani), who often indicate which poet they are inspired by or imitating in a given ghazal. Jami's Baharistan and its chapter on the history of Persian poetry is also analyzed, side-by-side with Dawlatshah-i Samarqandi's Lives of the Poets. Even when poets and litterateurs of the Timurid era write literary histories of Persian poetry, they do not seem to have extensive material from earlier poets -- typically not full divans, and often just a few anthologized poems. They do, however, have a distilled sense of what each poet's particular strengths and weaknesses were - that is to say, there is a well-established reception history, and poets knew what to think about earlier poets, even poets who were barely read.
Spoiler alert: Timurid poets did not seem to spend much time reading 9th- and 10th-c Persian poets; even 11th- and 12th-century poets are respected at a distance. Timurid poets and their stylistic affinities in the ghazal do not go much further back than Sa`di, but focus in particular on Amir Khosrow and Hafez. In the Masnavi form, Jami has his eye on Nezami and Amir Khosrow, as well as Mawlana and Sana'i, and seems to want to outdo his predecessors in the number of poems and the variety of forms/genres he writes in.
This article appears in a large volume studying the reception of Jami in a magnificently international context (Persian, Arabic, Chinese, Georgian, Malay, Pashto, Sanskrit, Urdu, Turkish, and Bengali). While my article looks at Jami's reception of the Persian poetic past, others look at the reception of Jami, in Persian and in many many other languages and traditions.
I drew up a chart of poets who composed poems or prose works that mention earlier poets. This chart could not be included by the publisher in the book, because it would not display in a meaningful form. Not to worry, as the chart displays well on the internet in pdf form, and is available here for download for free:
https://figshare.com/articles/Lewis_Catalogues_of_Poets_table_15_3/7212176
From the publisher's website:
http://magepublishers.com/the-layered-heart-essays-on-persian-poetry-a-celebration-in-honor-of-dick-davis/?fbclid=IwAR1YgKBOH8-jy331xzHhp72xqSGwkFfpCCJG4Fnh1zBp-vt_daopjRCp33k
Publisher's website: http://www.worldwisdom.com/public/products/978-1-936597-42-0_The_Philosophy_of_Ecstasy-Rumi_and_the_Sufi_Tradition.aspx?ID=275
Publisher's webpage: https://brill.com/view/title/15440
Publisher's website: https://www.routledge.com/Persian-Language-Literature-and-Culture-New-Leaves-Fresh-Looks/Talattof/p/book/9781138826212
commissioned article for A Companion to World Literature, edited by Ken Seigneurie, with Susan Andrade, Chris Lupke, B. Venkat Mani, Wen-chin Ouyang, and Dan Selden (Hoboken, NJ: Wiley-Blackwell, 2020), 13pp. Covers the Middle Persian pre-history, and Persian as a vernacular language, Ferdowsi's role in the composition of the narrative, the literary reception history over a millenium, the iconographic (miniature painting) traditions and their reception, the political significance, the traditions of scholarship, etc. .
Ed. Gerhard Bowering (Princeton: Princeton University Press, 2013), pp. 492-493.
http://referenceworks.brillonline.com/entries/encyclopaedia-of-the-quran/persian-literature-and-the-quran-EQCOM_00145?s.num=0&s.f.s2_parent=s.f.book.encyclopaedia-of-the-quran&s.q=Persian+Literature
The version posted here is an e-version and does not have the page numbers as printed in the 2004 paper version.
This paper presents three authorial versions of a poem by Najm al-Din Daye and the different circumstances under which he produced and dedicated the three versions in different contexts and for different patrons.
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اگر در کارگاههای بسیاری شرکت میکردم که برای کامپیوتری کردن دروس علوم انسانی برگزار میشود، و حتی اگر به نیرومندترین کامپیوترهایی دسترسی مییافتم که بسآمدها و الگوریتمهای پیچیدۀ تجزیه و تحلیلهای سبکشناسی را انجام میدهند، بازهم تهیۀ سالشمار منظم و جامع مجموعه آثار مولانا جلالالدین امیدی بود دست نیافتنی. گفتنی آنکه، از برکت تحقیقات پژوهشگران شکسپیرشناس، تاریخچۀ تألیف آثار این نادرۀ بریتانیایی، امروز، دانسته است و بر اساس آن ناقدان ادبی توانستهاند معنی سرودهها و نوشتههای او را ژرفتر بکاوند. با این حال، در مورد شکسپیر که زندگانیش بسیار مستندتر است، ما هنوز نمیدانیم این شاعر بزرگ در آن ایام کجا بوده و چه در سر داشته و چه میکرده است. هنوز بانوی مرموز و مرد مرموزتر غزلهای او از پسِ پردۀ ابهام بیرون نیامدهاند. علیرغم همۀ این پژوهشها، حتی، از انتساب برخی نمایشنامهها به شکسپیر – گرچه نام او را بر خود دارند – هنوز هم با تردید سخن گفته میشود. اما، در هر حال، تاریخ سرودن غزلها و اکثر نمایشنامههای او را میدانیم، و بر آن اساس است که میتوانیم تطور درونمایهها و دل مشغولیهایی را مرور کنیم که شاعر در آثار خود مطرح کرده است و نیز، ابداعات سبکشناختی آنها را باز یابیم. تا کجا میتوان امید وار بود که به سال شمار ادبی مجملی برای مولانا جلال الدین دست پیدا کنیم و برخی از این نوع جستارهای ادبی/ تاریخی را (که در مورد شماری از نویسندگان پرآوازۀ غرب به کار برده شده است) دربارۀ آثار او نیز به کار بریم؟
But, let us examine more closely some of the things we tell ourselves we know about Rumi, and why they are important to us in our construction of who Rumi was and what he means. It is by now somewhat of an axiom that when we write history, we project our present on the past, even for those historians who strive to be meticulous about not misusing the past to present ends. The very choice of subject – what we highlight as important in the vast mass of detail that is the past – and how we then frame and narrate these at first disconnected events into a story, is something that we are perhaps subconsciously drawn to because if fulfills some need we feel in the present.
Abstract
In trying to fathom the crux of Rumi’s mystical ghazals, there is the thrill of investigation, the mental challenge of evaluating discordant sources, and the prospect of a better understanding of what Rumi wanted to say to his disciples, and by extension, what he might have wanted to say to us. Rumi tells a famous story, ultimately from a Buddhist source, in which people encounter an elephant for the first time in their lives, but it is in a pitch-black room, so that they are forced to feel it with their hands. Everyone comes up with a different description of the beast, based upon whether he touches the trunk, the tusks, the legs, the tail, the sides, and they fall to disputation, for lack of a candle to illuminate the truth. It was because of their vantage points that they disagreed.
All of us approach Rumi’s elephant from a particular, limited, vantage point. How might Rumi teach us to resolve these limitations? As we progress on our quest, step by step, toward the encounter with God, some are above us, some below us, but we cannot know where others are, and must be humble. We need a guide. Maybe not just one – who in Rumi’s case was the example of the Prophet Muhammad, but also there was Shams, then Salâh al-Din then Hosâm al-Din, and of course all through his life, his own spiritual practices. Perhaps, whatever civilization we identify with, his work may have something to tell us about how to avoid the kind of clash that diverts us from the path toward truth. Even if it does not fulfill that very lofty function, you may find that there are very beautiful stories and engaging, memorable poems from this 13th century Persian mystic, Rumi. Try to understand them historically, try to understand them traditionally, try to understand them spiritually, try to understand them poetically, try to understand them seriously.
article is “Montakabâti az Sâdeq Hedâyat” [book review in Persian], Irân Nâmeh 5, 4 (Summer 1987): 731-6.
بعد از انقلاب اسلامی در ایران و پرشور و آشوب شدن سایر کشورهای خاورمیانه، تعداد کتابهای جدید به زبان انگلیسی و زبانهای مختلف اروپا در مورد اقتصاد، سیاست و تاریخ کشورهای عالم اسلامی،و بخصوص ایران،کثرت یافتند.همراه با این کتابهای بیشمار،چند مجموعه از آثار ادبی معاصر ایران هم به انگلیسی ترجمه شده و بچاپ رسیده است.متأسفانه این چند کتاب که مشتمل بر نمونههای برگزیدهء شعر نو فارسی و منتخباتی از مشهورترین داستانهای کوتاه نویسندگان دوران اخیر ایران است، مورد توجه غریبان قرار نگرفته است.این دلیل نیست که ادبیات معاصر ایران در مقابل ادبیات غربی قاصر و ضعیف مانده است،بلکه علت آن،کمبود آشنایی مردم امریکا و اروپا با فرهنگ ایرانی است از یک جهت و از جهت دیگر فقدان مترجمین ماهرکه در آن واحد ذوق و طبع ادبی و هم آشنایی کافی با زبان فارسی و زبان انگلیسی داشته باشند.طبعا وقتی که ترجمههای زیبا از آثار ادبیات یک ملت به زبان دیگر وجود نداشته باشد،نمیتوانیم انتظار داشته باشیم که عموم مردم به خواندن آن رغبت کنند.
Also published in Tree voor tree naar Gods troon: Essays over Het leven en werk van Mowlana Jalal al-Din Rumi, ed. Asghar Seyed-Gohrab (Leidschendam: Uitgeverij Quist, 2010), 63-81
Publisher website: https://www.quist.nl/uitgeverij/nl/perzische-taal-en-cultuur/20-tree-voor-tree-naar-gods-troon-9789077983621
Published originally in:
Franklin Lewis and Farzin Yazdanfar, eds. and trans. In A Voice of Their Own: Stories Written by Iranian Women since the 1979 Revolution (Costa Mesa, CA: Mazda Publishers, 1996)
Let the Butterfly Go (1965 پروانه را رها کن)
Laleh (1966 لاله)
The Palace of Samanbar (1965 تخت سمنبر)
Publisher's Website:
http://magepublishers.com/black-parrot-green-crow-a-collection-of-short-fiction/
Kindle Version:
http://magepublishers.com/black-parrot-green-crow-a-collection-of-short-fiction-kindleipad-version/
((سياوش))
رضا افضلی
...
.
با من بگو
سياوش
اين چندمين گذارِ تو از كوهِ آتش است؟
*
سودابه هاي سودا
هر روز، هيمه هاي هوس را
در امتدادِ راهِ تو
انبار مي كنند
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اي جسته بارها
از شعله زارها
با توسن بلند
اين بار هم ز بيشۀ آتش
تازان و سرفراز
گذركن
زان سان كه عاشقانِ شكوهت
در سورگاهِ آخرِ هر سال
خود آزمونِ جَستن از انبوه شعله را
تكرار مي كنند
*
با من بگو
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اي گُردِ سربلند!
اين چندمين گذارِ تو از كوه آتش است؟
69/8/8
"خواب زدگی"
واهه آرمن
بیدار شدم
پس از نیمهشب
در کوچه
زیر یک بوتۀ یاس
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خدا و شیطان
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صدای دیگری
شبیه ریختن مشتی خاک در چاه
by Sohrab Sepehri
سمت خیال دوست
*(سهراب سپهری از ما هیچ ما نگاه (۱۹۷۷
برای ک.تینا
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ماه
رنگ تفسیر مس بود
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سرو
شیهه بارز خاک بود
کاج نزدیک
مثل انبوه فهم
صفحه ساده فصل را سایه میزد
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از زمین های تاریک
بوی تشکیل ادراک می آمد
دوست
توری هوش را روی اشیا
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امشب
راه معراج اشیا چه صاف است
"Grieving for the Garden" دلم برای باغچه می سوزد